![]() ![]() In the process of discovering, decoding, remixing, and remaking Speculation, thousands of players transformed the game into a collaborative platform for speculating on the future of finance capital. Building on practice-based research methodologies, Speculation blurs conventional divisions between creators and consumers, producers and players, artists and researchers. The game appropriated the strategies and logics of capital in a medium already caught up in the contradictions of neoliberalism and explored the relationship between contemporary finance and convergence culture through a process that we call “derivative worlding.” This term entangles the futures projected by financial derivatives with the derivative nature of collaborative storytelling inherent to the ARG form. Because gamification (a design strategy that uses motivation-oriented game components to promote consumption, labor, and education) and convergence culture (the flow of content across multiple media platforms) are already core components of contemporary capitalism, Speculation’s ARG format offers a platform for thinking within and through our contemporary information economy. From cryptographic puzzles and online simulations to live performances and geocached dead drops, Speculation incorporates a wide range of media to imagine a transmedia world based on the culture of Wall Street investment banks and the context of the 2008 global economic collapse. This essay explores ARGs in relation to digital media and finance capital through the case study of Speculation, a game that we directed and cocreated with students at the University of Chicago and Duke University throughout 2012. Hence the worlds created by Amanita Design seem to be the answer to the dominant hyper-realistic aesthetics of mainstream games.Īlongside computer games and video games, a more experimental ludic form emerged in the early years of the twenty-first century: alternate reality games (ARGs). The new reality, however radically anti-realistic, does not try to pretend to be something else than itself. Every time they set a spatially complex structure in the two-dimensional environment of the game, it manages, despite its fantastic nature, to maintain its full integrity. The creators base their technique on a deconstruction of one reality, and at the same time they build entirely new worlds. Such refined structure of virtual assemblage seems to escape the concept of simulacrum. The structure of these game cluster spaces is built not only from material artefacts of human culture but also from the elements of nature. These examples are particularly interesting as the artistic technique in this case goes beyond the aesthetic aspects (visual art and music) and the narration, and actively informs the gameplay. The goal is simple: climb the colossi, locate their seals, and slay them, one-by-one.This paper will show how the collage technique actively influences the structure of Amanita Designs’ games, such as Samorost series, Botanicula, Machinarium. Ancient seals are carved in to the flesh of these creatures, which, if stabbed with the blessed sword that Wander carries, serve as their Achilles Heel. At least, that would be the case if the colossi did not have one major weakness: their seals. Faced with these sorts of foes, Wander seems almost destined to lose horribly. With an OverDrive account, you can save your favorite libraries for at-a-glance information about availability. In fact, several are literally hundreds of feet tall. Shadow of The Colossus, PC, PS4, Remake, Wiki, Cheats, Tips, Walkthrough, Game Guide Unofficial ebook By Chala Dar. However, these colossi are living mountains, for the most part. If Wander slays sixteen colossi who roam the lands, Dormin will revive a girl, known as Mono, whose body Wander carries with him. Dormin, having the power to bring back the dead, is approached by the protagonist, Wander, who makes a deal with the entity. It is here that a demon (or god of sorts), known as Dormin, resides. Shadow of the Colossus takes place nearing the edge of the known world, in an area known only as "The Forbidden Land".
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