video game

By Lene Tøftestuen, 25 May, 2021
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This paper explores two main mobile app narratives that deal with the issue of perilous irregular migration, 'Survival' (2017, Omnium Lab) and 'Bury me, my love' (2017, The Pixel Hunt, Figs, ARTE France). This paper explores the way in which the mobile app form lends itself to elevation of migrant narratives and explores the capacity of such works to generate empathy.The paper will analyse the way in which migration and its subjects are treated and placed into relation with the notion of the game. The paper will also address the comparison between game-style apps and other online modes whereby migrant experience is being represented, such as that of humanitarian photojournalism and portraiture as it arises in social media apps, such as Instagram.

(Source: Author's own abstract)

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By Lene Tøftestuen, 25 May, 2021
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Video games and their associated forms stand as the most lucrative entertainment sector on the planet, dominating other forms of visual media in dollars generated annually. In the proposed paper, adapted from a dissertation chapter, I will draw upon my experience as a game designer to illuminate the increasingly dire ways that various actors in the political sphere – from online trolls all the way to world leaders – have combined the language and techniques borne from the industrial practices of game design with the power of social media and other online communication platforms to produce new forms of disinformation, propaganda and conspiracy theory. In this paper, I will trace the history of a specific form of game – the Alternate Reality Game (ARG), from its early literary history in 1903 to its modern incarnations. Subsequently, by harnessing lessons from my own work developing ARGs for the 2016 video game Frog Fractions 2 and the 2020 film Dared My Best Friend, I will examine how closely the principles employed during ARG marketing campaign have been in similar use in American politics since the 2016 American presidential campaign, culminating in the January 6, 2021 attack on the US Capital. I will discuss how modern totalitarian systems will almost certainly continue to refine and deploy these strategies in the future as a new, dangerous form of propaganda: one that lives primarily in online discussion platforms and, much like the narrative of an ARG, is constructed both unwittingly and collaboratively by the targets of the propaganda themselves. Finally, I utilize my experience both as a designer and online community manager to address how, especially during COVID-19 quarantine, these emerging risks can be combated as the daily intersection of digital and analogue worlds continue to merge ever closer.

(Source: Author's own abstract)

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By Carlota Salvad…, 24 May, 2021
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The 2020 COVID-19 pandemic has had a considerable impact on the way cultural heritage organisations engage with their audiences. At a time when public exhibitions and events have to be postponed indefinitely or cancelled, many GLAM institutions have chosen to increase their online presence instead, looking at virtual platforms as a means to deliver content, showcase their collections and drive engagement. The British Library Simulator (https://giuliac.itch.io/the-british-library-simulator) is a brief video game created and released in June 2020, as a way to engage with our audience while the physical library buildings were closed. The game, created using the free online game engine Bitsy, allows players to explore a pixelated rendition of some popular areas of the British Library; by moving their avatar and interacting with other characters in the game, players can learn facts about the history of the building and discover some of the projects the library staff have been working on during the pandemic. One of the main projects we wanted to raise awareness about is the Emerging Formats project: the British Library, with the other five UK Legal Deposit Libraries, have been researching, collecting, archiving and preserving complex digital publications produced in the UK for the past four years. We curate a growing collection of web-based interactive narratives hosted in the UK Web Archive (https://www.webarchive.org.uk/en/ukwa/collection/1836), which includes a variety of format types and interaction patterns, and have just recently launched a collection of all winning and shortlisted entries for the New Media Writing Prize (https://www.webarchive.org.uk/en/ukwa/collection/2912). While most of the collected entries are only available on Library premises for legal reasons, a few can be accessed remotely, allowing for part of the collection to be accessible even during lockdown. Another aim of the game was to highlight the British Library’s effort to collect and archive around COVID-19: the Library has been collecting radio stations recordings, interviews, websites and testimonies to capture the experience of lockdown and living through the pandemic. These also include examples of e-lit produced in the UK, as well as extensive dedicated collections in the UK Web Archive (https://www.webarchive.org.uk/en/ukwa/collection/2975) and the British Library Sounds (https://sounds.bl.uk/). Both are mentioned in the game, in an effort to direct audiences to our digital resources and bring our steady online services into the spotlight. The British Library Simulator offered us a chance to present libraries not just as keepers of knowledge, but as active and engaging content creators; it allowed us to reach new audiences, outside of the usual academic circle; by being an interactive narrative itself, it helped us stress the importance of collecting and preserving contemporary born-digital publications, as well as provide and example of the electronic literature the Library is interested in collecting; and lastly, it highlighted our ongoing effort to keep offering our services online even while the physical Library remains closed.

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The appearance of new technologies and their exponential growth for several decades has changed our way of understanding knowledge. Although it is already a topic that is part of the contemporary background, it is worth remembering that digital culture and the possibilities of the internet have meant a radical change, only comparable, according to Alejandro Baricco, to the printing revolution.

The incorporation of the network and transmedia resources into the literary environment is fostering new poetics; new forms of textuality that, according to Joan-Elies Adell, go beyond the book and turn the computer or any mobile device into the natural space of the work. Hypertext, interaction, video game ... The very essence of literature is changing. Writers who think of the word in conjunction with HTML code, geolocation, processing or other programming tools. With their creations they come to expel us from our areas of literary comfort.

We are talking about jobs designed for the network, that new agora. We are talking about hypermedia works that, in contrast to orality or printed tradition, investigate within what Ernesto Zapata defines as electronality. We are talking simply about literature in the post-Gutenberg era.

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La aparición de nuevas tecnologías y su crecimiento exponencial desde hace varias décadas ha cambiado nuestra manera de entender el conocimiento. Aunque ya es un tema que forma parte del background contemporáneo, no está de más recordar que la cultura digital y las posibilidades de internet han supuesto un cambio radical, solo comparable, según Alejandro Baricco, a la revolución de la imprenta.

La incorporación de la red y de los recursos transmedia al entorno literario está propiciando nuevas poéticas; nuevas formas de textualidad que, según Joan-Elies Adell, desbordan el libro y convierten el ordenador o cualquier dispositivo móvil en el espacio natural de la obra. Hipertexto, interacción, videojuego… La esencia misma de la literatura está mutando. Escritores que piensan la palabra de forma conjunta al código HTML, a la geolocalización, al processing u otras herramientas de programación. Con sus creaciones vienen a expulsarnos de nuestras áreas de confort literario.

Hablamos de trabajos pensados para la red, ese nuevo ágora. Hablamos de obras hipermedia que, frente a la oralidad o la tradición impresa, investigan dentro de lo que Ernesto Zapata define como electronalidad. Hablamos, sencillamente, de literatura en la era post-Gutenberg.
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Super Mario Bros.[b] is a platform game developed and published by Nintendo. The successor to the 1983 arcade game, Mario Bros., it was released in Japan in 1985 for the Famicom, and in North America and Europe for the Nintendo Entertainment System (NES) in 1985 and 1987 respectively. Players control Mario, or his brother Luigi in the multiplayer mode, as they travel the Mushroom Kingdom to rescue Princess Toadstool from Bowser. They must traverse side-scrolling stages while avoiding hazards such as enemies and pits with the aid of power-ups such as the Super Mushroom, Fire Flower, and Starman.

The game was designed by Shigeru Miyamoto and Takashi Tezuka as "a grand culmination" of the Famicom team's three years of game mechanics and programming. The design of the first level, World 1-1, serves as a tutorial for first-time video gamers on the basic mechanics of platform gameplay. The aggressively size-optimized profile was intended as a farewell to the Famicom's cartridge medium in favor of the forthcoming Famicom Disk System, whose floppy disks temporarily became the dominant distribution medium for a few years.

Super Mario Bros. is frequently cited as one of the greatest video games of all time, with praise on its precise controls. It is one of the bestselling games of all time, with more than 40 million physical copies. It is credited alongside the NES as one of the key factors in reviving the video game industry after the 1983 crash, and helped popularize the side-scrolling platform game genre. Koji Kondo's soundtrack is one of the earliest and most popular in video games, making music into a centerpiece of game design. The game inspired an expansive franchise including a long-running game series, an animated television series, and a feature film. Re-releases and cameos of the game are on most of Nintendo's following systems. Alongside Mario himself, Super Mario Bros. has become prominent in popular culture.

(Source: Wikipedia)

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Tetris (Russian: Тетрис [ˈtɛtrʲɪs]portmanteau of "tetromino" and "tennis") is a tile-matching puzzle video game originally designed and programmed by Soviet Russian software engineer Alexey Pajitnov.[1] The first playable version was completed on June 6, 1984,[2] while he was working for the Dorodnitsyn Computing Centre of the Academy of Science of the Soviet Union in Moscow.[3] He derived its name from combining the Greek numerical prefix tetra- (the falling pieces contain 4 segments) and tennis, Pajitnov's favorite sport.[4][5] The name is also used in-game to refer to the play where four lines are cleared at once.

Tetris was the first game to be exported from the Soviet Union to the United States, where it was published by Spectrum HoloByte for the Commodore 64 and IBM PC. The game is a popular use of tetrominoes, the four-element case of polyominoes, which have been used in popular puzzles since at least 1907. (The name for these figures was given by the mathematician Solomon W. Golomb in 1953.)

The game, or one of its many variants, is available for nearly every video game console and computer operating system, as well as on devices such as graphing calculatorsmobile phonesportable media playersPDAsNetwork music players, and as an Easter egg on non-media products like oscilloscopes.[6] It has inspired Tetris serving dishes,[7] and it has even been played on the sides of various buildings.[8]

While versions of Tetris were sold for a range of 1980s home computer platforms as well as arcades, it was the successful handheld version for the Game Boy, launched in 1989, that established the game to critics and fans as one of the greatest video games of all time. In January 2010, it was announced that the games in the franchise had sold over 170 million copies—approximately 70 million physical and 100 million paid mobile downloads—making it the second best selling paid-downloaded game of all time behind Minecraft.

(Source: Wikipedia)

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Pac-Man[a] is a maze arcade game developed and released by Namco in 1980. The original Japanese title of Puck Man was changed to Pac-Man for international releases as a preventative measure against defacement of the arcade machines.[7] Outside Japan, the game was published by Midway Games as part of its licensing agreement with Namco America. The player controls Pac-Man, who must eat all the dots inside an enclosed maze while avoiding four colored ghosts. Eating large flashing dots called power pellets causes the ghosts to turn blue, allowing Pac-Man to eat them for bonus points. It is the first game to run on the Namco Pac-Man arcade board.

The development of the game began in April 1979, directed by Toru Iwatani with a nine-man team. Iwatani wanted to create a game that could appeal to women as well as men, as most video games at the time were war- or sports-themed. Although the inspiration for the Pac-Man character was, reportedly, the image of a pizza with a slice removed, Iwatani has said he also rounded out the Japanese symbol "kuchi", meaning "mouth". The in-game characters were made to be cute and colorful to appeal to younger players. The original Japanese title of Puckman was derived from the titular character's hockey-puck shape.

Pac-Man is a widespread critical and commercial success. The game is important and influential, and it is commonly listed as one of the greatest video games of all time. The success of the game led to several sequels, merchandise, and two television series, as well as a hit single by Buckner and Garcia. The Pac-Man video game franchise remains one of the highest-grossing and best-selling game series of all time, generating more than $14 billion in revenue (as of 2016) and $43 million in sales combined. The character of Pac-Man is the mascot and flagship icon of Bandai Namco Entertainment and has the highest brand awareness of any video game character in North America.

(Source: Wikipedia)

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Quake is a first-person shooter video game developed by id Software and published by GT Interactive in 1996. It is the first game in the Quake series.[5] In the game, players must find their way through various maze-like, medieval environments while battling a variety of monsters using an array of weaponry.

The successor to id Software's Doom series, Quake built upon the technology and gameplay of its predecessor.[6] Unlike the Doom engine before it, the Quake engine offered full real-time 3D rendering and had early support for 3D acceleration through OpenGL. After Doom helped to popularize multiplayer deathmatches in 1993, Quake added various multiplayer options. Online multiplayer became increasingly common, with the QuakeWorld update and software such as QuakeSpy making the process of finding and playing against others on the Internet easier and more reliable.

Quake features music composed by Trent Reznor and his band, Nine Inch Nails.[1] The overall atmosphere is dark and gritty, with lots of stone textures and a rustic, capitalized font.

(Source: Wikipedia)

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Breath of Fire II[a] is a role-playing video game developed and published by Capcom. First released in 1994, the game was licensed to Laguna for European release in 1996. It is the second entry in the Breath of Fire series. It was later ported to Game Boy Advance and re-released worldwide. The game was released on Wii's Virtual Console in North America on August 27, 2007. Nintendo of Europe's website mistakenly announced it for release on July 27, 2007, but it was in fact released two weeks later, on August 10, 2007.

Unlike later installments in the series, Breath of Fire II is a direct sequel to Breath of Fire. Set 500 years after the original game,[3] the story centers on an orphan named Ryu Bateson, whose family vanished mysteriously long ago. After his friend is falsely accused of a crime, Ryu embarks on a journey to clear his name.

(Source: Wikipedia)

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Terranigma, known as Tenchi Sōzō (天地創造, lit. "The Creation of Heaven and Earth")[1] in Japan, is a 1995 action role-playing game for the Super Nintendo Entertainment System developed by Quintet. Manga artist Kamui Fujiwara is credited with the character designs. Terranigma tells the story of the Earth's resurrection by the hands of a boy named Ark, and its progress from the evolution of life to the present day.

It was published by Enix in Japan before Nintendo localized the game and released English, German, French and Spanish versions in Europe and Australia. The game has never been officially released in North America.

(source: Wikipedia)

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