Back to the Shire: Lego Dimensions and Intertextual Transmedia Play
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The document discusses Lego Dimensions and transmedia play. It notes that kids no longer distinguish between digital and physical play, using examples like Minecraft and Lego sets. It describes how Lego is a transmedial medium that can adapt franchises and bring together characters from different universes, as seen in The Lego Movie. Lego Dimensions is presented as appropriating these transformative practices by incorporating characters from various franchises into a single Lego world and gameplay experience.
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The aim of this study is to explore the relationship between playable, interactive games and game culture in the exhibition of digital games.
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This document provides tips for academics to increase their online visibility, including making an online hub with their own domain, using Twitter carefully to share ideas, writing publicly but carefully, effectively participating in conferences including attending banquets, and sending a consistent message about who they are.
Future Of Play - Keynote MIT 2010 - Sandbox Summit
Our culture has created more game players than game designers (or designers of play). Why does this distinction matter? This keynote introduces the four pillars of future play, including: open architecture, flexible tools, rule making and the 21st Century Super Powers of Play.
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The aim of this study is to explore the relationship between playable, interactive games and game culture in the exhibition of digital games.
Playable games while central to the exhibition of games have limitations in communicating important sociocultural context and can even resist added layers of contextualization.
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It is highly recommended to not just view the images but download and view with full notes. It's rather dense.
In fact, the full recommendation is to go to http://www.rezed.org/group/ludiclife to watch the powerpoint while listening to the presentation audio or watching the video.
Enjoy.
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The document discusses how advances in gaming technology could blur the lines between virtual and real identities and worlds. It explores how games increasingly allow customization of avatars, environments, and social networks. This level of control and anonymity online may lead players to confuse or prefer their virtual lives. While gaming offers new freedoms, overreliance on virtual worlds could damage perceptions of reality and increase addiction issues. The future of fully immersive technologies like virtual and augmented reality may make distinguishing the digital and real even harder.
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Approaches, Issues, Applications edited by Steffen.docx
Approaches,
Issues,
Applications
edited by Steffen P. Walz and Sebastian Deterding
© 2014 Massachusetts Institute of Technology
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (includ-
ing photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.
MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information,
please email [email protected]
This book was set in Gentium Book Basic 10/14pt by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound
in the United States of America.
Library of Congress Cataloging-in-Publication Data
The gameful world: approaches, issues, applications/ edited by Steffen P. Walz & Sebastian Deterding.
pages cm
Includes bibliographical references and index.
ISBN 978-0-262-02800-4 (hardcover: alk. paper) 1. Games-Social aspects. 2. Play- Social aspects. 3. Creative ability-
Social aspects. 4. Social psychology. I. Walz, Steffen P ., 1973- editor of compilation. II. Deterding, Sebastian, 1978-
editor of compilation.
GV1201.38.G36 2014
306.4'87- dc23
2014013731
10 9 8 7 6 5 4 3 2 1
POSITION STATEMENT
LOSING IS FUN
McKenzie Wark
If "Never work!" was the apex of critical strategy in
the twentieth century, perhaps "Never play!" could
be the same point of extreme negation for the twenty-
first. It is of course almost impossible to never work,
but it at least defines an ambition: to abolish wage
labor and the commodity form.
It was and remains a surprisingly popular ambi-
tion. The cycle of struggles in the overdeveloped
world in the late twentieth century took it as their
lodestar, whether unwittingly or not. The whole
counterstrategy of making work seem like some-
thing else, like play even, stems from the boredom
that both wage labor and the commodity form
generated.
This boredom is spreading even to what was once
called the underdeveloped world. By their tens of
millions, peasants left the land, in China and else-
where, and in some cases ended up in the factories
that make the world's commodities. But it's getting
harder to keep them there. The riots and suicides at
Foxconn are just the tip of the iceberg. Nobody much
likes to do this sort of work if there's any option.
In the overdeveloped world, work is only one of
the ways of creating a value chain and extracting a
profit. The more advanced form of spectacular
economy extracts value from play. This is why the
critical slogan of the times might need to be "Never
play!" Where play was some kind of alternative for
so many late-twentieth-century avant-gardes, from
the Situationists to the Fluxus movement to the New
Games movement, the overdeveloped world in the
twenty-first century is all about recuperating those
energies, those desires, those appetites, for the com-
modity form.
There are several versions of the recupe.
Approaches, Issues, Applications edited by Steffen.docx
Approaches,
Issues,
Applications
edited by Steffen P. Walz and Sebastian Deterding
© 2014 Massachusetts Institute of Technology
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (includ-
ing photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.
MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information,
please email [email protected]
This book was set in Gentium Book Basic 10/14pt by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound
in the United States of America.
Library of Congress Cataloging-in-Publication Data
The gameful world: approaches, issues, applications/ edited by Steffen P. Walz & Sebastian Deterding.
pages cm
Includes bibliographical references and index.
ISBN 978-0-262-02800-4 (hardcover: alk. paper) 1. Games-Social aspects. 2. Play- Social aspects. 3. Creative ability-
Social aspects. 4. Social psychology. I. Walz, Steffen P ., 1973- editor of compilation. II. Deterding, Sebastian, 1978-
editor of compilation.
GV1201.38.G36 2014
306.4'87- dc23
2014013731
10 9 8 7 6 5 4 3 2 1
POSITION STATEMENT
LOSING IS FUN
McKenzie Wark
If "Never work!" was the apex of critical strategy in
the twentieth century, perhaps "Never play!" could
be the same point of extreme negation for the twenty-
first. It is of course almost impossible to never work,
but it at least defines an ambition: to abolish wage
labor and the commodity form.
It was and remains a surprisingly popular ambi-
tion. The cycle of struggles in the overdeveloped
world in the late twentieth century took it as their
lodestar, whether unwittingly or not. The whole
counterstrategy of making work seem like some-
thing else, like play even, stems from the boredom
that both wage labor and the commodity form
generated.
This boredom is spreading even to what was once
called the underdeveloped world. By their tens of
millions, peasants left the land, in China and else-
where, and in some cases ended up in the factories
that make the world's commodities. But it's getting
harder to keep them there. The riots and suicides at
Foxconn are just the tip of the iceberg. Nobody much
likes to do this sort of work if there's any option.
In the overdeveloped world, work is only one of
the ways of creating a value chain and extracting a
profit. The more advanced form of spectacular
economy extracts value from play. This is why the
critical slogan of the times might need to be "Never
play!" Where play was some kind of alternative for
so many late-twentieth-century avant-gardes, from
the Situationists to the Fluxus movement to the New
Games movement, the overdeveloped world in the
twenty-first century is all about recuperating those
energies, those desires, those appetites, for the com-
modity form.
There are several versions of the recupe.
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Reading on a Holodeck
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The document discusses different types of games and code that promote diversity and inclusion. It mentions how smaller, indie games have more freedom to be experimental compared to bigger budget games. It also discusses three types of feminist code: code for feminist purposes, code-like works not meant to be executed, and code that allows for a different feminist approach to software development. The document reflects on how playing games where you can damage characters can feel like "killing my babies," but explores how representing diverse experiences through games, even if imperfect, expands representation and is valuable.
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1) A discussion of "culture wars" between social justice advocates and opponents, arguing that advocates are making progress through compassion and challenging norms.
2) Analyses of how games represent different identities beyond the "default" player and how experimental games with smaller budgets can take more risks in representation.
3) Discussions of visual novels, queer representation in games, and balancing accurate portrayal with genres like dating sims that may unintentionally reduce characters.
4) References to tools like Ren'Py that allow creating visual novels and debates around ensuring representation avoids stereotypes or making identity a character's sole
MLA 18: Super Social Justice Warriors
Green Arrow has become a social justice warrior character under recent Rebirth comics, reflecting contemporary political issues and questioning how a billionaire can fight against inequality. The character struggles with his wealth conflicting with his Robin Hood inspiration of fighting against the wealthy elite. Previous 1980s comics portrayed Green Arrow as a more lighthearted vigilante who still promoted fair notions of justice without being as angsty as other vigilantes. Vigilante justice in comic books helped normalize violence operating outside the law but still aiming to submit criminals to the justice system without killing opponents.
MLA 18: Games Trolls Play
In 2014, feminist discourse within the games community came under attack from the “anti-SJW” movement of #GamerGate. The movement brought with it new levels of understanding of the personal risk undertaken by progressive voices in conservative communities, with tactics including trolling, doxxing, swatting, and revenge porn all rising in popularity and visibility. I will examine #GamerGate’s rhetorical strategies and particularly their emphasis on owning language, encouraging a culture of silence through fear while using apparent marginalized voices (the #notyourshield campaign) as part of a fake news strategy for creating the illusion of a diverse coalition of support. With many of the same figures and news sources involved in GamerGate now continuing to rise as part of the so-called alt-right, these tactics and their impact demonstrate the consequences of visibility, particularly for women and nonbinary individuals engaging with the current discourse on social media.
AnthropologyCon
This document contains excerpts from multiple sources discussing various aspects of games. It begins by introducing Anastasia Salter and her research interests in narrative games and platforms. Several excerpts discuss how game studies has focused on differences from other media but also note similarities. Other excerpts discuss how AAA games reinforce social norms, how games can make rhetorical arguments through processes, and how violence is often the default choice in many genres. The document concludes by encouraging making games.
Not Just Point and Click
This document discusses several topics related to video games including: the popularity of violent games in times of conflict and hate; how games can make procedural arguments through their systems and mechanics rather than through words or images; debates around narrative and medium specificity in game studies; designed identities in games and the types of stories typically told for different player identities; and how smaller, experimental games have more creative freedom than big budget titles. It also briefly summarizes several games and concepts including code as feminist act, different game development tools, and how one developer drew inspiration for a game about soothing a crying child from his own experiences as a parent.
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Moogbot 1.0 - Final Presentation
This is a presentation for Major Studio 2 for my Moogbot Prototype. Moogbot is a toy that allows blind users to interact with a virtual landscape that they can only touch and hear, but not see. This presentation includes photos of my work and my overall documentation.
Ready for Metaverse: NOTES version
Goes with the slides https://www.slideshare.net/LoriLanday/ready-for-the-metaverse-immersive-and-interactive-experiences-in-virtual-worlds-game-audio-boston-92562619
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The following is the powerpoint from Barry Joseph's keynote at the SLEDcc 2008 Second Life educator's convention. Barry write that: "In it I introduce a term I have coined, "the ludic life," and discuss its implications for Second Life and learning. In short, Eric Zimmerman, the game designer, has recently been making the argument that we have entered "a ludic century." We once moved from an industrial age to an information age. However, we are now interacting with that information in a way Zimmerman finds best described as ludic, which is not to say everything is becoming a game but rather game/play dynamics, aesthetics and sensibilities will increasingly define our social interactions.
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It is highly recommended to not just view the images but download and view with full notes. It's rather dense.
In fact, the full recommendation is to go to http://www.rezed.org/group/ludiclife to watch the powerpoint while listening to the presentation audio or watching the video.
Enjoy.
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Produsage within games and it’s potential future
The document discusses how advances in gaming technology could blur the lines between virtual and real identities and worlds. It explores how games increasingly allow customization of avatars, environments, and social networks. This level of control and anonymity online may lead players to confuse or prefer their virtual lives. While gaming offers new freedoms, overreliance on virtual worlds could damage perceptions of reality and increase addiction issues. The future of fully immersive technologies like virtual and augmented reality may make distinguishing the digital and real even harder.
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The document examines social video games and gaming communities. It discusses how the structures of social video games challenge traditional player-text relationships and definitions of video games. It also explores the concepts of gaming communities, references to other media forms in games, and whether social video games can be considered postmodern.
To succeed in social media, you need to be social
Social media isn't just about tools or an online presence. It is also about being out in the 'real' world, connecting and socializing.
Approaches, Issues, Applications edited by Steffen.docx
Approaches,
Issues,
Applications
edited by Steffen P. Walz and Sebastian Deterding
© 2014 Massachusetts Institute of Technology
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (includ-
ing photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.
MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information,
please email [email protected]
This book was set in Gentium Book Basic 10/14pt by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound
in the United States of America.
Library of Congress Cataloging-in-Publication Data
The gameful world: approaches, issues, applications/ edited by Steffen P. Walz & Sebastian Deterding.
pages cm
Includes bibliographical references and index.
ISBN 978-0-262-02800-4 (hardcover: alk. paper) 1. Games-Social aspects. 2. Play- Social aspects. 3. Creative ability-
Social aspects. 4. Social psychology. I. Walz, Steffen P ., 1973- editor of compilation. II. Deterding, Sebastian, 1978-
editor of compilation.
GV1201.38.G36 2014
306.4'87- dc23
2014013731
10 9 8 7 6 5 4 3 2 1
POSITION STATEMENT
LOSING IS FUN
McKenzie Wark
If "Never work!" was the apex of critical strategy in
the twentieth century, perhaps "Never play!" could
be the same point of extreme negation for the twenty-
first. It is of course almost impossible to never work,
but it at least defines an ambition: to abolish wage
labor and the commodity form.
It was and remains a surprisingly popular ambi-
tion. The cycle of struggles in the overdeveloped
world in the late twentieth century took it as their
lodestar, whether unwittingly or not. The whole
counterstrategy of making work seem like some-
thing else, like play even, stems from the boredom
that both wage labor and the commodity form
generated.
This boredom is spreading even to what was once
called the underdeveloped world. By their tens of
millions, peasants left the land, in China and else-
where, and in some cases ended up in the factories
that make the world's commodities. But it's getting
harder to keep them there. The riots and suicides at
Foxconn are just the tip of the iceberg. Nobody much
likes to do this sort of work if there's any option.
In the overdeveloped world, work is only one of
the ways of creating a value chain and extracting a
profit. The more advanced form of spectacular
economy extracts value from play. This is why the
critical slogan of the times might need to be "Never
play!" Where play was some kind of alternative for
so many late-twentieth-century avant-gardes, from
the Situationists to the Fluxus movement to the New
Games movement, the overdeveloped world in the
twenty-first century is all about recuperating those
energies, those desires, those appetites, for the com-
modity form.
There are several versions of the recupe.
Approaches, Issues, Applications edited by Steffen.docx
Approaches,
Issues,
Applications
edited by Steffen P. Walz and Sebastian Deterding
© 2014 Massachusetts Institute of Technology
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (includ-
ing photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.
MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information,
please email [email protected]
This book was set in Gentium Book Basic 10/14pt by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound
in the United States of America.
Library of Congress Cataloging-in-Publication Data
The gameful world: approaches, issues, applications/ edited by Steffen P. Walz & Sebastian Deterding.
pages cm
Includes bibliographical references and index.
ISBN 978-0-262-02800-4 (hardcover: alk. paper) 1. Games-Social aspects. 2. Play- Social aspects. 3. Creative ability-
Social aspects. 4. Social psychology. I. Walz, Steffen P ., 1973- editor of compilation. II. Deterding, Sebastian, 1978-
editor of compilation.
GV1201.38.G36 2014
306.4'87- dc23
2014013731
10 9 8 7 6 5 4 3 2 1
POSITION STATEMENT
LOSING IS FUN
McKenzie Wark
If "Never work!" was the apex of critical strategy in
the twentieth century, perhaps "Never play!" could
be the same point of extreme negation for the twenty-
first. It is of course almost impossible to never work,
but it at least defines an ambition: to abolish wage
labor and the commodity form.
It was and remains a surprisingly popular ambi-
tion. The cycle of struggles in the overdeveloped
world in the late twentieth century took it as their
lodestar, whether unwittingly or not. The whole
counterstrategy of making work seem like some-
thing else, like play even, stems from the boredom
that both wage labor and the commodity form
generated.
This boredom is spreading even to what was once
called the underdeveloped world. By their tens of
millions, peasants left the land, in China and else-
where, and in some cases ended up in the factories
that make the world's commodities. But it's getting
harder to keep them there. The riots and suicides at
Foxconn are just the tip of the iceberg. Nobody much
likes to do this sort of work if there's any option.
In the overdeveloped world, work is only one of
the ways of creating a value chain and extracting a
profit. The more advanced form of spectacular
economy extracts value from play. This is why the
critical slogan of the times might need to be "Never
play!" Where play was some kind of alternative for
so many late-twentieth-century avant-gardes, from
the Situationists to the Fluxus movement to the New
Games movement, the overdeveloped world in the
twenty-first century is all about recuperating those
energies, those desires, those appetites, for the com-
modity form.
There are several versions of the recupe.
Man & Machine Power Point For Video Gaming
Completed for a video gaming course at UWM, Dec. 07 taught by Terrence Newell, "Video Gaming and Information Literacy. Assignment was to critique a video game from an educator\'s viewpoint.
Reading on a Holodeck
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
COMPISSUES04 - Games
A presentation introducing students to the concept of Games and their importance in modern life. Non-technical, and suitable for use in a 'soft skills' module.
Level Criticism
Paint is limited by physics of light and mass, and buildings are limited by the physics of materials and load… similarly games are limited by “digital physics”, the computational power of today’s computers and a developer’s ability to feasibly express ideas in a digital mode. I argue that effective games criticism must take technical constraints into consideration, and those same constraints influence the social norms, values, and diversity of developer communities. I also want to model a type of inquiry for other developers to consider — this idea of “reflective practice”, to critically deconstruct why we craft games the way we do, and the assumptions embedded within our craft… basically, I’m just going to play some first person levels, and talk about how these levels work / how they are constructed / the technical considerations that went into designing them.
Virtual worlds: Implications for teaching children with autism
The document discusses how the virtual world game Minecraft can provide benefits for children with autism. It describes how Minecraft allows for creative building and learning about spatial relationships and materials. It highlights the Autcraft server, a safe space within Minecraft created for autistic children and their families where griefing and bullying are prohibited. On Autcraft, children are encouraged to collaborate on projects to develop social and cooperation skills in a protected environment catered for their needs. While Minecraft may not be suitable for all autistic children, the document argues it can offer a safe place for learning, communication, creativity, and building friendships.
05. g325 contemporary media issues - videogames and postmodernism
05. g325 contemporary media issues - videogames and postmodernismAlleyn's School Film Studies Department
This document provides an overview of videogames and postmodernism. It discusses how videogames subvert traditional ideas of reality and simulation, and how concepts like flow and immersion help understand them as postmodern. It examines Grand Theft Auto IV as an example, and discusses debates around whether games should be analyzed through narratives or ludology. Fan productions are presented as an example of how games blur boundaries between producers and audiences, a hallmark of postmodernism.MCLS Keynote
The document summarizes a technical, tangible, and social game called "Picture the Impossible" created by RIT's Lab for Social Computing and the Rochester Democrat & Chronicle. The game encouraged community members to come together, learn about their city through games, support local charities, and imagine possibilities through location-based games and challenges. Despite challenges like funding, partnerships, and selling sponsorships, over 2,000 players participated, sharing photos, recipes, and local history facts. The game achieved its goals of learning, exploration, giving back, and socialization.
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More from Anastasia Salter
Verbs of Play
The document discusses different types of games and code that promote diversity and inclusion. It mentions how smaller, indie games have more freedom to be experimental compared to bigger budget games. It also discusses three types of feminist code: code for feminist purposes, code-like works not meant to be executed, and code that allows for a different feminist approach to software development. The document reflects on how playing games where you can damage characters can feel like "killing my babies," but explores how representing diverse experiences through games, even if imperfect, expands representation and is valuable.
Lookin' Good, Daddy
This document contains summaries and discussions of several topics related to diversity and representation in video games, including:
1) A discussion of "culture wars" between social justice advocates and opponents, arguing that advocates are making progress through compassion and challenging norms.
2) Analyses of how games represent different identities beyond the "default" player and how experimental games with smaller budgets can take more risks in representation.
3) Discussions of visual novels, queer representation in games, and balancing accurate portrayal with genres like dating sims that may unintentionally reduce characters.
4) References to tools like Ren'Py that allow creating visual novels and debates around ensuring representation avoids stereotypes or making identity a character's sole
MLA 18: Super Social Justice Warriors
Green Arrow has become a social justice warrior character under recent Rebirth comics, reflecting contemporary political issues and questioning how a billionaire can fight against inequality. The character struggles with his wealth conflicting with his Robin Hood inspiration of fighting against the wealthy elite. Previous 1980s comics portrayed Green Arrow as a more lighthearted vigilante who still promoted fair notions of justice without being as angsty as other vigilantes. Vigilante justice in comic books helped normalize violence operating outside the law but still aiming to submit criminals to the justice system without killing opponents.
MLA 18: Games Trolls Play
In 2014, feminist discourse within the games community came under attack from the “anti-SJW” movement of #GamerGate. The movement brought with it new levels of understanding of the personal risk undertaken by progressive voices in conservative communities, with tactics including trolling, doxxing, swatting, and revenge porn all rising in popularity and visibility. I will examine #GamerGate’s rhetorical strategies and particularly their emphasis on owning language, encouraging a culture of silence through fear while using apparent marginalized voices (the #notyourshield campaign) as part of a fake news strategy for creating the illusion of a diverse coalition of support. With many of the same figures and news sources involved in GamerGate now continuing to rise as part of the so-called alt-right, these tactics and their impact demonstrate the consequences of visibility, particularly for women and nonbinary individuals engaging with the current discourse on social media.
AnthropologyCon
This document contains excerpts from multiple sources discussing various aspects of games. It begins by introducing Anastasia Salter and her research interests in narrative games and platforms. Several excerpts discuss how game studies has focused on differences from other media but also note similarities. Other excerpts discuss how AAA games reinforce social norms, how games can make rhetorical arguments through processes, and how violence is often the default choice in many genres. The document concludes by encouraging making games.
Not Just Point and Click
This document discusses several topics related to video games including: the popularity of violent games in times of conflict and hate; how games can make procedural arguments through their systems and mechanics rather than through words or images; debates around narrative and medium specificity in game studies; designed identities in games and the types of stories typically told for different player identities; and how smaller, experimental games have more creative freedom than big budget titles. It also briefly summarizes several games and concepts including code as feminist act, different game development tools, and how one developer drew inspiration for a game about soothing a crying child from his own experiences as a parent.
This is fine.
This document summarizes and categorizes games created in response to the 2016 US election. It divides the games into three categories: informative games that spread knowledge, satirical games that engage in parody/stereotyping, and reflective games that share personal experiences of injustice. It acknowledges that many of these games served as an outlet for catharsis among designers and players in response to the polarizing election. In closing, it thanks the readers for their time.
You're the Star of the Story: Adventure Games in Virtual Reality
This document discusses adventure games and walking simulators, and their potential in virtual reality. It notes that adventure games are narrative and character-driven, without violence or resource management. Walking simulators focus on exploration and discovery through a leisurely pace. Challenges in VR include the interface, identity issues from embodying an avatar, and potential disembodiment. A case study discusses translating the TV show Rick and Morty into a VR adventure. Overall, the document analyzes the storytelling potential of adventure-style games in VR, but notes technical and narrative hurdles that must be addressed to fully realize this potential.
Fathering the Cursed Child
This document discusses several topics related to fan fiction and authorship within fandom communities:
- It discusses debates around whether fan fiction adds to or is only supplementary to the original fictional universe.
- It describes how some male fans have redefined stereotypes of fans from lonely basement dwellers to powerful visionaries in entertainment.
- It explores how the Harry Potter fandom online allowed youth to participate in non-heteronormative narratives and shape stories.
- It examines how fans attribute or deny authorship based on public personas and how much influence authors should have over textual interpretation.
Playing the Capstone
This document discusses reimagining capstone courses as games to make them more engaging for students. It provides examples of how elements from games like quest structures, badges, social communities, and alternate reality games could be incorporated. The document outlines a 5-step process for designing an educational game: 1) plan objectives, 2) build the storyline, 3) create clues and tasks, 4) include a final challenge, and 5) provide reflection. Examples of existing educational alternate reality games are provided. The goal is to get students to autonomously apply their knowledge, think critically, and demonstrate skills like leadership through a game-like project experience.
Always Be Batman
The document traces the history of Batman from his origins in comic books in 1938 to recent portrayals in films and television. It examines how Batman has reflected and commented on the social and political contexts of the times, from World War 2 propaganda to responses to censorship in the 1950s to commentary on issues like Vietnam and police brutality. Key events that shaped Batman's character and message over time include the introduction of the Comics Code Authority, the 1960s Batman television series, Frank Miller's The Dark Knight Returns, and more recent films that have tackled issues like gun violence and toxic masculinity.
Game-Based Learning
Game-based learning involves using games and gamification to engage students and teach concepts and skills. The document lists several projects Anastasia Salter worked on involving game-based learning, including developing badges and communities for social media games, running a games research group, consulting on developing a game layer for the Harry Potter universe, creating alternate reality games, and developing games to teach cultural transfer and visual impairment skills.
Tumbling and Trolling
This document summarizes research on social media platforms and their role in public discourse. It discusses how platforms like Tumblr enable the formation of counterpublics but also allow trolling behavior. Tensions exist between desires for privacy and public performance online. While Tumblr supports feminist discussion, it does not prevent trolling or the need to educate others. Overall, the document examines the complex relationship between social media platforms and their impact on online communities and public debates.
Whose Fantasy is it Anyway?
This document discusses the history of women's representation and participation in gaming industries such as video games, tabletop roleplaying games (RPGs), and wargaming. It provides statistics showing women remain underrepresented in video game industry jobs. It also discusses early involvement of women in tabletop RPGs and wargaming, including one of the first published D&D adventure modules co-authored by Judy Kerestan in 1976. Finally, it notes the new D&D Player's Handbook explicitly discusses gender diversity and fluidity in character creation.
Code before Content (elo slides)
This document discusses issues around gender and culture in programming, games, and electronic literature. It provides statistics showing gender disparities in various tech fields. It also examines the "brogrammer" stereotype and culture and how that can discourage women. Several passages discuss feminist approaches to coding and creating digital works, as well as debates around the purpose and history of tools like Twine. The document presents a variety of perspectives on these topics from scholars and creators in the field.
Make it work
This document discusses the educational potential of video games and digital media. It contains quotes from several experts and scholars such as Ian Bogost, James Paul Gee, and Barack Obama who argue that games can help develop important problem solving and systems thinking skills. They note that games externalize how the human mind works better than other technologies. The document also describes several alternate reality games and educational games created by Anastasia Salter to engage students in creative problem solving.
Playing Social Justice Warrior
This document discusses the concept of "social justice warriors" and their role in reclaiming video games through cultural revolution. It outlines how social justice advocates are fighting discrimination and lack of diversity in the gaming industry and culture. It also examines how some games are exploring themes of empathy, gender, and social issues. However, there is debate around whether games can effectively convey meaningful experiences or if they are limited due to being performance-based. Overall, the document analyzes the debate between social justice advocates and their critics in the gaming community.
Platforms of Play
Short talk on my research in new platforms for games & creating meaning at the UCF Board of Trustees meeting.
MLA16: The Language of Sexual Violence and the Rhetoric of Consent in Social ...
Anastasia Salter argues that efforts to fact check and criticize feminist academics by groups like Gamergate are not done in good faith and are actually meant to silence women. While fact checking is normally part of academic life, the way these groups have "combed through papers to pluck things out of context" and "the way they speak of feminists" shows their antagonism and intentions to discredit rather than have legitimate discussion. Katherine Cross agrees the process is not neutral but deeply antagonistic and spiteful.
It’s Not Just Subtext: Constructing the Fan Girl as Creator and Subject in Su...
Becky represents a caricature of an obsessive female fan that persists in fandom. While she engages in textual poaching as a fan writer, she also crosses boundaries by groping Sam without consent. Some analyze Becky and how she both threatens and claims power over the narrative as a woman and fan writer. The Supernatural episode "Fan Fiction" parodies fan fiction tropes like romantic subtext between brothers and the close physical proximity of characters. It suggests fan fiction allows for queer interpretations and spaces. The episode endorses fan creativity at the end by having Dean tell Marie to keep writing her own version.
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Main news related to the CCS TSI 2023 (2023/1695)
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The original Czech 🇨🇿 version of the presentation can be found here: https://www.slideshare.net/slideshow/hlavni-novinky-souvisejici-s-ccs-tsi-2023-2023-1695/269688092 .
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Back to the Shire: Lego Dimensions and Intertextual Transmedia Play
- 1. Back to the Shire: Lego Dimensions and Intertextual Transmedia Play Anastasia Salter @anasalter
- 4. Future Lab research has shown that kids no longer make meaningful distinctions between digital play, like Minecraft, and physical play, like snapping together a Nindroid MechDragon (a half-robot, ,half-pterodactyl ninja nemesis, obviously) out of Legos. "How Lego Became the Apple of Toys", Fast Company, Jonathan Ringen - January 8, 2015
- 7. Wyldstyle: It's almost like... like we're in a video game. Batman: That is the single most ridiculous thing I've ever heard.
- 10. Emmet Brickowoski: Hey - you seem familiar, have we met? Owen Grady: I dunno, did you work on the park?
- 12. LEGO is more than just a popular line of toys, it is a medium, a mediating substance through which ideas can be expressed, and with which art can be created...it is arguably as much a sculptural medium as clay or marble. As a medium, LEGO bricks are also a venue for adaptations from other media, and one into which an increasing number of franchises have been adapted. Mark Wolf - Lego Studies introduction, xxii
- 16. Lego is transmedial and transfranchisal
- 20. Other transfranchisal projects, like Who Framed Roger Rabbit (1988), have featured characters from many different franchises, but the Lego Movie is unique in that while chracters within it are characters from other franchises, they are simultaneously also based on the LEGo minifigures from the franchised sets, making them adaptations distinct and different from their source material, which all find common ground in the minifigure format. Mark Wolf - Lego Studies introduction, xxiii
- 22. Lego Dimensions as appropriation of Transformative Practices
- 27. Top Crossover Fandoms (Archive of Our Own, 2016)
- 28. Lego (Dimensions?) as Medium
- 29. TheMooseFigs