Holographic Oracle Deck
‘Crystals +id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-nature-of-crystals-and-minerals-as-energy-storing-matter.">‘Crystals & Energy’ is a holographic oracle deck exploring a range of energy -sources through the magical (mystical) nature of crystals as -energy-storing matter
-‘Crystals & Energy’ is a holographic oracle deck exploring a -range of energy sources through the nature of crystals and minerals as -an energy-storing matter.
+sources through the nature of crystals and minerals as energy-storing +matter.Lídia and Artemis, Special Issue 20 guest editors, asked us to modify an oracle deck of our choice. We, Cara and Boyana, prototyped a holographic oracle deck where a type of crystal is coupled with a type of energy resource in a single card in an attempt to talk about the global energy crisis we are facing today. It was important to us to -provide multiple perspectives not only on how energy is used, but where +provide multiple perspectives not only on how energy is used but where and under what conditions it is sourced. We attempted this by using crystals sourced in particular areas to provide a specific insight and -perspective onto a facet of the global energy eco-system. In practice, +perspective onto a facet of the global energy ecosystem. In practice, our deck provides an educational experience through the use of a DIY prism and complimentary audiovisual materials, which serve to create an immersive learning environment.
@@ -966,13 +963,13 @@ similar to what geologists do when documenting their discoveries. He also mentioned a few things about caverns and a mine (which later turned into a museum) located near the city in which he used to live.To visualise the card, we used a hologram video-maker app. The -process was fun and easy. All we had to do was simply find a high -resolution image of the Aquamarine crystal on a black surface and upload -it into the app. Lastly, we made a model of a pyramid prism so that we -could demonstrate the prototype fully. To get the full holographic -effect, we had to put it on top of a phone screen and play the video, -which we uploaded on YouTube and embedded as a link onto our Special -Issue’s website.
+process was fun and easy. All we had to do was simply find a +high-resolution image of the Aquamarine crystal on a black surface and +upload it into the app. Lastly, we made a model of a pyramid prism so +that we could demonstrate the prototype fully. To get the full +holographic effect, we had to put it on top of a phone screen and play +the video, which we uploaded on YouTube and embedded as a link onto our +Special Issue’s website.We saw in this prototype a potential to provide new knowledge, to create an engaging learning experience around energy sources, and also to provide a bit of wonder and immersion into a discourse that can often @@ -1097,18 +1094,27 @@ Unwelcome Gifts’ from The Player’s Power to Change the Game by Anne-Marie Schleiner, we started dissecting the ideology behind the games we have played as children. To do that, we utilised several prompts to help us examine the ideology that two popular video games -enforce through their narrative and gameplay. The list of questions we -needed to answer while playing the game includes:
-What are the win conditions? If the game is quest based, what types -of quests are you asked to complete? What is the gameplay? What is the -narrative? How much space is there for alternative ways of playing this -game? What is missing? What type of relationships are you allowed to -form? What is the role of non-player characters? What are the -requirements for surviving the game? Which behaviours are rewarded? What -real-world values are reproduced in the game you are playing? How are -you situated in the hierarchy of the game? What change in status is -promised? What are you being trained for? What fantasies are lived out -or explored?
+enforce through their narrative and gameplay. +The list of questions we needed to answer while playing the game +includes:
+What are the win conditions?
+If the game is quest based, what types of quests are you asked to +complete?
+What is the gameplay?
+What is the narrative?
+How much space is there for alternative ways of playing this +game?
+What is missing?
+What type of relationships are you allowed to form?
+What is the role of non-player characters?
+What are the requirements for surviving the game?
+Which behaviours are rewarded?
+What real-world values are reproduced in the game you are +playing?
+How are you situated in the hierarchy of the game?
+What change in status is promised?
+What are you being trained for?
+What fantasies are lived out or explored?
Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie: When Pizzas Attack. Soon after we started investigating the game, its elements and modifications, we discovered that other players had already @@ -1125,8 +1131,8 @@ storyline that focuses on healing and coping as a response to grief and loss, rather than violence. To link the new storyline to SI20’s topic we added ritualistic elements as actions during the gameplay.
What was changed was the topic, purpose and outcome of the game. Papa -no longer fought to save his customers, but he dealt with his own loss -and grief over what happened. Our version promoted rest and rituals for +no longer fought to save his customers, but he dealt with his loss and +grief over what happened. Our version promoted rest and rituals for healing instead of revenge-seeking, violence and toxic pizzeria culture.
We started by putting some keywords and suggestions on a blackboard @@ -1157,10 +1163,10 @@ of the game:
unlocking a new stage in his grieving process and healing from that loss. Rituals thus are the actions players needed to execute at each level. -And so our story went like this: The Onion ring mafia kidnapped Papa +
And so our story went like this: *The Onion ring mafia kidnapped Papa Louie’s clients, and he lost his Pizzeria. However, along with this external change, he lost his identity as a pizza owner/maker. He was -full of grief and seeked ways to cope with grief and ease himself. He +full of grief and sought ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.
Following this comic production, a small text-adventure Pyhton game was developed following the same storyline. The game was fundamentally -an explorative game, in which the player could follow four levels of +an explorative game in which the player could follow four levels of healing. Playing as Papa Louie and helping him heal his shattered soul, -the player would go in each room and type “take” or “carry” to pick up -possibilties for healing. The possbilities for each room were:
-1. empty pizzeria: [closure,catharsis, anger]
-2. living room: [connection,understanding,support]
-3. study room: [expression,hope,new experiences]
-4. bedroom: [self-discovery,self-care]
-5. kitchen: [work,nourishment,purpose].1. empty pizzeria: [closure, catharsis, anger]
+2. living room: [connection, understanding, support]
+3. study room: [expression, hope, new experiences]
+4. bedroom: [self-discovery, self-care]
+5. kitchen: [work, nourishment, purpose].Once one had picked up enough healing chances, the game would end and -thank you for healing papa. The following picture shows the introductory +thank you for healing Papa. The following picture shows the introductory illustration.
@@ -1223,7 +1229,7 @@ alt="Duif met kroon by Claude Mellan 1608 - 1688, courtesy of the Rijksmuseum’
Peace works less as a game per-se, and more +
Peace works less as a game per se, and more as an exercise in reconnecting to your senses (smell, temperature, touch) by imagining oneself in imaginary landscapes. It takes on the text-adventure format by asking its players to respond “yes” to continue @@ -1258,27 +1264,27 @@ Would you like to explore another daydream?
@@ -1534,8 +1540,8 @@ are! ")