Mostrando postagens com marcador Games e Cultura. Mostrar todas as postagens
Mostrando postagens com marcador Games e Cultura. Mostrar todas as postagens
Infographic: How Video Games are Changing Education
originalmente publicado em http://gamification.co/2011/09/09/infographic-how-video-games-are-changing-education/
Enquanto o Atlas Test Brazil 2.0 não chega, o Guitar Ninja toca!
Olá a todos,
Por falta de um são dois que gerarão muitos: jogos, comentários, posts, alegrias e muitas outras coisas!
Sim para quem não jogou o Atlas Test Brazil, ele está cumprindo seu papel de ensino e diversão. Cada vez que jogar será uma experiência. Este projeto merece muitos posts, falando desde game design, ensino tangencial e outras coisas, porém eu só posso dizer, AGUARDEM! A equipe está empenhada e a nova versão já já esta ai, com direito a trilha do Thiago Adamo, e o excelente e minucioso trabalho do André Intentor e do Álvaro Gabriele!
Confira a versão que está no facebook, enquanto a nova não sai! ATLAS TEST BRAZIL
Além disso, existe o Guitar Ninja, personagem muito carismático que eu nestes últimos meses acabei criando um grande carinho por ele.
Os três mosqueteiros de artistas/guitarristas Alexandre Colella, Marcio Okayama Romulo Pedroso, me fizeram um convite que não tinha como negar, ajudar no game design do jogo do Guitar Ninja, o desafio foi aceito, e em breve também estará ai a disposição, se quiser jogar tem uma versão no FLG.
Por hora veja o vídeo.
#gamescontrar7 (for understanding - in english)
Have you seen the twitter´s hashtags #gamerscontrar7, well it's in TT's, reached 300 tweets in a few seconds. As much as there is a big "wow wow" and posts that are worthy of anything, But I think it is have a importance like this moment means.
The age that television talked for itself , like an Italian stage is over! With the so-called Web 2.0, the same Italian stage has become an arena, where viewers will not like it, fight back, swearing, do not let go unchallenged.
Anyway, even amid the unrest generated by the school massacre in Rio de Janeiro, learned material as a notebook and e-mails, record the recurring presence of games like GTA and Counter Strike.
In this search the entire cost for a culprit, the games entered in evidence being exposed to fire from the journalistic inquisition, of which two examples are worth highlighting:
- The "O Globo" newspaper ..
- A tv program on Tv Record, presented by the journalist Paulo Henrique Amorim.
These two issues have generated the movement of gamers in favor of gaming. The hash tag is being used widely and I believe will yield even more issues because the program isnt´t broadcast yet. We will see the developments in the coming times.
I would like to make some considerations, moreover, have remained active in my twitter account, not to attack the TV Record, but to be demanding an impartial stance, expressing my outrage as a gamer and game designer.
Here in Ginger I had a thought, anyone who will listen what I say click here.
I want to raise a few points:
- For what reason the games should "pay the piper"?
- It's hard to expect a fair field?
- I wonder, why not talk of good initiatives related to games such as Games for Change.
- Which explains why the TV games, but not expose yourself? Should make comparative studies on the exposure in television of nearly naked bodies compared with rape and domestic violence.
- How much a game sells? How many people reach and how many commit crimes?
- When it puts into circulation a matter like this, there is consultation with specialists in cognitive science and other industry professionals? We'll see tomorrow.
- At some point was earned that the topic might be offending a whole community, including people who dedicate their lives to study, work, develop, and promote the culture that the games provide?
Somehow I felt offended, disrespected, like many, that was my way of reaction, to avail myself of two-way communication current issue and expose my feelings here.
Os 5 melhores SERIOUS GAMES de 2010
Nada melhor que começar o ano falando de Serious Games.
Ano passado o site game4change.org fez uma votação e os escolheu os melhores jogos em relação ao impacto social.
Segue a lista para nossa referência dos jogos que foram votados e os vencedores.
Você pode clicar nos nomes se será redirecionado para a página do jogo.
- Admongo
- Breakthroughs to Cures
- The Cat and the Coup
- The Curfew
- Evoke
- Fate of the World
- Hey Baby
- Inside Diaster - The Experience
- InterroBang
- Macon Money
- Participatory Chinatown
- People Power
(sem clip)
- Phylo
(sem clip)
- By implication
(sem clip)
A ordem da votação foi:
#5 Macon Money
#4 People Power
#3 Participatory Chinatown
#2 Interrobang
#1 Evoke
Temos ai uma bela lista de jogos, logo uma boa base de referência e inspiração.
Ano passado o site game4change.org fez uma votação e os escolheu os melhores jogos em relação ao impacto social.
Segue a lista para nossa referência dos jogos que foram votados e os vencedores.
Você pode clicar nos nomes se será redirecionado para a página do jogo.
- Admongo
- Breakthroughs to Cures
Foresight Engine: Breakthroughs to Cures from Foresight Engine on Vimeo.
- The Cat and the Coup
- The Curfew
- Evoke
What is an EVOKE? from Alchemy on Vimeo.
- Fate of the World
- Hey Baby
- Inside Diaster - The Experience
- InterroBang
Interrobang Intro from Nuvana on Vimeo.
- Macon Money
- Participatory Chinatown
- People Power
(sem clip)
- Phylo
(sem clip)
- By implication
(sem clip)
A ordem da votação foi:
#5 Macon Money
#4 People Power
#3 Participatory Chinatown
#2 Interrobang
#1 Evoke
Temos ai uma bela lista de jogos, logo uma boa base de referência e inspiração.
Nosso herói, nosso espelho!
Realmente esse final de ano está muito corrido! Que bom!
Além das obrigações triviais como estudar, escrever e fechar projetos, tiveram outras coisas muito especiais!
- As bancas de Tcc´s da Fecap! Sempre é bom ir lá!
- Evento de roteiristas do Mackenzie. Vi pessoas muito queridas, perguntei ao roterista do Tropa de Elite uma dúvida que me dilacerava, apresentei trabalhos e inclusive fui convidado para mediar uma mesa.
- Ministrei duas oficinas na Estácio do Brooklin, uma de quadrinhos e outra de games, ambas ligadas a criação.
Para quem não sabe a Estácio do Brooklin, ocupa o lugar do colégio que estudei desde criança e me formei, o antigo Meninópolis. Um pouco antes de me formar o colégio fechou. Uns dois anos depois, conversando com um amigo de infância, no nosso primeiro emprego de professor, eu de geografia e ele de biologia, ele me disse algo que ficou marcado:"Toda pessoa quando se forma professor, tem o sonho de voltar e dar aula no colégio que estudou a vida inteira,infelizmente não poderemos fazer isso."
Toda vez que lembrava disso ficava um nó no coração, enfim, surpresas acontecem.
Nos dois dias de oficina realizei o mesmo percurso a pé, igual que fazia antigamente e esses 20 minutos de caminhada foram uma grande reflexão!
Talvez o maior balanço que fiz em minha vida! E posso dizer-lhes que o saldo foi extremamente positivo, quase 10 anos depois, 2 diplomas, 7 países, uma faixa preta, algumas perdas irreparáveis, uma cirurgia, uma namorada linda, e agora trabalhando com games e heróis. Além das pessoas especiais que conheci, verdadeiros tesouros!
Como diria a minha bisavó: "O mundo roda e acabamos sempre no mesmo lugar."
Vejo que os meus heróis daquela época são os mesmos + o Capitão Nascimento(que é a combinação de outros,LoL), mas vejo em meu EU uma fidelidade enorme a meus valores. Fico feliz demais de ver que orgulhei aquele menino, que fazia aquele caminho e cobrava ao EU do futuro não ser desapontado.
Mas o mais importante dessa regressão, foi estar no pátio do colégio e ver o lugar que eu ouvi a palavra Radouken a primeira vez! A minha vida mudou e me tornei mais fã de artes marciais!
Por conta deste gosto adquirido, fiz amigos de boa índole, desenvolvi bons hábitos, fiquei longe das drogas, conheci uma cultura milenar, pude participar de campeonatos inclusive fora do país e mais uma lista interminável!
Por isso hoje o meu herói escolhido é o Ryu! Por que além dele gritar Radouken, ele sempre foi empedernido de seus objetivos, tanto como lutador, como amigo e como professor da Sakura!
Primeiro uma foto minha na Tailândia indo buscar o Sagat e depois um vídeo em homenagem ao Ryu.
Sabe o que será mais legal disso tudo? O Leandro Tirolez, amigo desde o colégio, ler isso lá no Canadá!
Além das obrigações triviais como estudar, escrever e fechar projetos, tiveram outras coisas muito especiais!
- As bancas de Tcc´s da Fecap! Sempre é bom ir lá!
- Evento de roteiristas do Mackenzie. Vi pessoas muito queridas, perguntei ao roterista do Tropa de Elite uma dúvida que me dilacerava, apresentei trabalhos e inclusive fui convidado para mediar uma mesa.
- Ministrei duas oficinas na Estácio do Brooklin, uma de quadrinhos e outra de games, ambas ligadas a criação.
Para quem não sabe a Estácio do Brooklin, ocupa o lugar do colégio que estudei desde criança e me formei, o antigo Meninópolis. Um pouco antes de me formar o colégio fechou. Uns dois anos depois, conversando com um amigo de infância, no nosso primeiro emprego de professor, eu de geografia e ele de biologia, ele me disse algo que ficou marcado:"Toda pessoa quando se forma professor, tem o sonho de voltar e dar aula no colégio que estudou a vida inteira,infelizmente não poderemos fazer isso."
Toda vez que lembrava disso ficava um nó no coração, enfim, surpresas acontecem.
Nos dois dias de oficina realizei o mesmo percurso a pé, igual que fazia antigamente e esses 20 minutos de caminhada foram uma grande reflexão!
Talvez o maior balanço que fiz em minha vida! E posso dizer-lhes que o saldo foi extremamente positivo, quase 10 anos depois, 2 diplomas, 7 países, uma faixa preta, algumas perdas irreparáveis, uma cirurgia, uma namorada linda, e agora trabalhando com games e heróis. Além das pessoas especiais que conheci, verdadeiros tesouros!
Como diria a minha bisavó: "O mundo roda e acabamos sempre no mesmo lugar."
Vejo que os meus heróis daquela época são os mesmos + o Capitão Nascimento(que é a combinação de outros,LoL), mas vejo em meu EU uma fidelidade enorme a meus valores. Fico feliz demais de ver que orgulhei aquele menino, que fazia aquele caminho e cobrava ao EU do futuro não ser desapontado.
Mas o mais importante dessa regressão, foi estar no pátio do colégio e ver o lugar que eu ouvi a palavra Radouken a primeira vez! A minha vida mudou e me tornei mais fã de artes marciais!
Por conta deste gosto adquirido, fiz amigos de boa índole, desenvolvi bons hábitos, fiquei longe das drogas, conheci uma cultura milenar, pude participar de campeonatos inclusive fora do país e mais uma lista interminável!
Por isso hoje o meu herói escolhido é o Ryu! Por que além dele gritar Radouken, ele sempre foi empedernido de seus objetivos, tanto como lutador, como amigo e como professor da Sakura!
Primeiro uma foto minha na Tailândia indo buscar o Sagat e depois um vídeo em homenagem ao Ryu.
Sabe o que será mais legal disso tudo? O Leandro Tirolez, amigo desde o colégio, ler isso lá no Canadá!
Serious Games & Ensino Tangencial
Segue a apresentação da Palestra "Jogando e Aprendendo - Seriou Games e Ensino Tangencial".
Qualquer dúvida, entrar em contato. Terei a maior alegria de poder conversar e trocar idéias.
Adoro esse tema. É muito bom poder contribuir para o ensino, adequando minhas experiências em sala de aula e minhas pesquisas em tecnologia.
Qualquer dúvida, entrar em contato. Terei a maior alegria de poder conversar e trocar idéias.
Adoro esse tema. É muito bom poder contribuir para o ensino, adequando minhas experiências em sala de aula e minhas pesquisas em tecnologia.
Fatec 2 slideshare
View more presentations from Francisco Tupy.
Aprendendo com World Of War Craft - Primeira Parte
World of War Craft é um MMORPG.
Baseado em uma trilogia medieval fantástica, este jogo lidera as preferências do seu gênero.
Em linhas gerais, trata-se de criar um personagem e fazer relativamente o que quiser dentro de um vasto mundo.
De fato alguns players ficam vidrados com a vida paralela, vivendo-a mais do que a própria, por conta disso essa modalidade de game já foi chamada até de "um tipo de droga moderna".
Porém, indo na contra mão das críticas e do senso comum, surgiu uma ótima iniciativa de envolver os alunos e extrair o que esse sistema tem de melhor.
Iniciativas como essa são um grande exemplo e incentivo.
Baseado em uma trilogia medieval fantástica, este jogo lidera as preferências do seu gênero.
Em linhas gerais, trata-se de criar um personagem e fazer relativamente o que quiser dentro de um vasto mundo.
De fato alguns players ficam vidrados com a vida paralela, vivendo-a mais do que a própria, por conta disso essa modalidade de game já foi chamada até de "um tipo de droga moderna".
Porém, indo na contra mão das críticas e do senso comum, surgiu uma ótima iniciativa de envolver os alunos e extrair o que esse sistema tem de melhor.
Iniciativas como essa são um grande exemplo e incentivo.
Learning With The Lich King 2 0
View more presentations from Lucas Gillispie.
SERIOUS GAMES DESIGN
Um ótimo vídeo sobre a apresentação da Global Kids na convenção anual da Games for Change.
Muito boas referências.
Muito boas referências.
VIRADA CULTURA GAMER - EU VOU !!!!
Amanhã ocorrerá na cidade de São Paulo a Virada Cultural (todas as informações estão aqui) viradacultural.org.
Estou aqui para falar de dois eventos específicos, ambos relacionados a games e organizados pela Game Cultura .
Serão dois eventos um no Sesc Consolação e outro no Sesc Santana, o primeiro tem a temática dos anos 80 com jogos de Atari e tudo mais, o outro será um mega evento de DJ Hero no Sesc Santana. Ficou Com vontade? As informações estão ai em baixo.
EVENTO NÚMERO 1
Os Games dos Anos 80 na Virada Cultural
15.05.2010 - 16.05.2010 18.00 h - 04.00 h
SESC Consolação - São Paulo
Rua Dr. Vila Nova, 245
Descrição:
A sala de Internet Livre do SESC Consolação será transformada em uma grande game party dos Anos 80.
O público poderá conhecer ou relembrar os games clássicos dos Anos 80, ver consoles e cartuchos em exposição, e o mais importante: jogá-los!
Karateka - 1986
Police Quest - 1987
Arkanoid - 1988
Gauntlet II - 1989
Lode Runner - 1983
Pac Man - 1982
Paper Boy - 1988
Leisure Suit Larry - 1987
King's Quest 1 - 1984
Where in Europe is Carmen San Diego - 1988
Blockout - 1989
Tetris - 1986
Além de uma seleção especial de jogos de Atari, uma das plataformas de maior sucesso no Brasil.
A trilha sonora estará a cargo do jogo Guitar Hero Encore the 80´s, com as músicas dessa época tão característica.
Por fim, teremos a presença pontual de especialistas como Flávia Gasi, Roger Tavares, e Kao Cyber, e a equipe da Gamecultura, para bater papo e tirar as suas dúvidas sobre os jogos dos Anos 80.
Aguardamos a cidade gamer por lá!
O SESC SP dispõe de espaços equipados para a exploração das técnicas e conteúdos digitais, individualmente ou por meio de dinâmicas coletivas em 25 unidades operacionais no Estado. Os novos recursos de comunicação, o reaproveitamento de resíduos eletrônicos, a experimentação e a produção criativa utilizando a combinação de tecnologias permeiam as atividades oferecidas pelo programa Internet Livre. Projetados para estimular o comportamento em rede, os espaços dispõem de instrutores de Internet e multimídia, encarregados de propor conteúdos e procedimentos alternativos, bem como de dar soluções às dúvidas rotineiras ou às demandas específicas de cada usuário.
EVENTO NÚMERO 2
Virada Cultural: Cultura DJ, com DJ Hero (multiplayer)
Av. Luiz Dumont Villares, 579
15.05.2010 - 15.05.2010 18.00 h - 22.00 h
Instalações
Saguão de recepção, informações e matrícula
Teatro: 337 lugares + 04 lugares especiais para obesos + 08 lugares para deficientes físicos: total de 349 lugares, 120m² de área cênica
Ginásio coberto com 1600 m² com 2 quadras poliesportivas
Piscina Coberta com 560 m² de espelho dágua dividido em 3 piscinas semi olípica, recreação e infantil
Solarium
Área de Convivência com 190 m² (espaço para leitura, jogos e exposição)
1 sala de ginástica e 1 sala de dança.
Anotações da Palestra da @renatagames
Qual o melhor lugar para arquivar as anotações de uma palestra?
- Se eu colocar eu um caderno eu posso perder;
- Se eu salvar em um arquivo eu posso perder;
- Mas se eu colocar no blog, além de não perder, é mais fácil acesso, porém não fazem justiça a qualidade da palestra da Professora Renata. Este post é algo muito mais próximo a um diário do que qualquer outro modo informativo. OK?
No Dia 10/05 no Centro Britânico Brasileiro, Aula Introdutória ao Workshop de Matt Costello, foi dada pela Professora Doutora Renata Gomes - o título da palestra foi: ”Videogame: imagem, narrativa e participação”.
Daqui em diante foram as minhas anotações, as informações estão um tanto quanto telegráficas e totalmente subjetivas, boa parte copiada da sua apresentação e fora de ordem:
- Games e Narrativa
- De Espectador a Jogador
Agenciamento
Exercer ações Significativas
Observar Resultados
Atuação - Movimento
- Mundo da História
Ambiente Tridimensional
Jornada do Herói
imersão através de um corpo
capacidade corpo ambiente
AFFORDANCES (INFORMAÇÃO/CONSTRUIR O MUNDO- RELAÇÃO CENÁRIOS E UTILIDADE)
- Entrar no Filme não apenas cenas editadas
- experiência narrativa
- jogador - personagem
- implicado fisicamente
- Avatar
- Ponto-de-vista
- jogar = agir
- experiência narrativa
Jogabilidade > Bons Gráficos
Dilemas narrativos
Design da experiência
- Mescla de técnicas
- Roteiro de cinema multiplicado mil vezes
- Como avançar a trama sem colocar o jogador em um filme clicável
NPC
- Inteligência narrativa
- Personagem
- Empatia
- Espectadores
- leitura da mente - emoções - neurônios espelho
- espectador < > personagem
- ética
A EMERGÊNCIA DE UMA NOVA EXPERIÊNCIA NARRATIVA
Mais uma vez eu repito essas anotações foram pessoais, o objetivo é para guardar minhas percepções sobre o evento.
Qualquer coisa os dados de contato da Renata são:
twitter @renatagames
blog desdobramentos.wordpress.com
- Se eu colocar eu um caderno eu posso perder;
- Se eu salvar em um arquivo eu posso perder;
- Mas se eu colocar no blog, além de não perder, é mais fácil acesso, porém não fazem justiça a qualidade da palestra da Professora Renata. Este post é algo muito mais próximo a um diário do que qualquer outro modo informativo. OK?
No Dia 10/05 no Centro Britânico Brasileiro, Aula Introdutória ao Workshop de Matt Costello, foi dada pela Professora Doutora Renata Gomes - o título da palestra foi: ”Videogame: imagem, narrativa e participação”.
Daqui em diante foram as minhas anotações, as informações estão um tanto quanto telegráficas e totalmente subjetivas, boa parte copiada da sua apresentação e fora de ordem:
- Games e Narrativa
- De Espectador a Jogador
Agenciamento
Exercer ações Significativas
Observar Resultados
Atuação - Movimento
- Mundo da História
Ambiente Tridimensional
Jornada do Herói
imersão através de um corpo
capacidade corpo ambiente
AFFORDANCES (INFORMAÇÃO/CONSTRUIR O MUNDO- RELAÇÃO CENÁRIOS E UTILIDADE)
- Entrar no Filme não apenas cenas editadas
- experiência narrativa
- jogador - personagem
- implicado fisicamente
- Avatar
- Ponto-de-vista
- jogar = agir
- experiência narrativa
Jogabilidade > Bons Gráficos
Dilemas narrativos
Design da experiência
- Mescla de técnicas
- Roteiro de cinema multiplicado mil vezes
- Como avançar a trama sem colocar o jogador em um filme clicável
NPC
- Inteligência narrativa
- Personagem
- Empatia
- Espectadores
- leitura da mente - emoções - neurônios espelho
- espectador < > personagem
- ética
A EMERGÊNCIA DE UMA NOVA EXPERIÊNCIA NARRATIVA
Mais uma vez eu repito essas anotações foram pessoais, o objetivo é para guardar minhas percepções sobre o evento.
Qualquer coisa os dados de contato da Renata são:
twitter @renatagames
blog desdobramentos.wordpress.com
O Mês da Maio = Muitos Eventos Gamers
É muito difícil algum mês que comece atualiza-lo tão tarde,mas este mês teve um motivo, ou melhor, vários motivos, aqui gostaria de citar 3 dos mais interessantes:
Festival da Cultura Inglesa, Workshop com MATT COSTELLO.
Virada Cultural SESC Consolação - "Os Games dos Anos 80 na Virada Cultural"
SESC Santana - "Cultura DJ, com DJ Hero (multiplayer)"
Um roteiro bem diferente, simples e profundo, talvez algo que posso ser enquadrado como "reflexive game". Depois que tiver a situação definida posto aqui.
Contribuição para palestra do WEB DESIGNER e Artista Plástico Ronaldo Gazel, Sobre as 10 habilidades midiáticas na internet - fui responsável pela parte dos games, estou esperando a minha parte para colocar aqui.
Festival da Cultura Inglesa, Workshop com MATT COSTELLO.
Virada Cultural SESC Consolação - "Os Games dos Anos 80 na Virada Cultural"
SESC Santana - "Cultura DJ, com DJ Hero (multiplayer)"
Um roteiro bem diferente, simples e profundo, talvez algo que posso ser enquadrado como "reflexive game". Depois que tiver a situação definida posto aqui.
Contribuição para palestra do WEB DESIGNER e Artista Plástico Ronaldo Gazel, Sobre as 10 habilidades midiáticas na internet - fui responsável pela parte dos games, estou esperando a minha parte para colocar aqui.
Global Games Jam, estivemos lá
Recentemente foi feito um evento organizado pelo MIT, chamado Global Games Jam, diversos institutos de games pelo mundo se reuniram um final de semana para bolar jogos e arrecadar dinheiro para o Haiti.
Eu simplesmente me inscrevi no site e deixei um roteiro, então podemos falar que de alguma forma participamos, certo? Ok, em caráter extra-oficial mas estivemos.
Aqui está descrição do game, inclusive feito na temática do terremoto no Haiti: http://globalgamejam.org/blogs/francisco-tupy/haiti-onu-aid-troops
Eu simplesmente me inscrevi no site e deixei um roteiro, então podemos falar que de alguma forma participamos, certo? Ok, em caráter extra-oficial mas estivemos.
Aqui está descrição do game, inclusive feito na temática do terremoto no Haiti: http://globalgamejam.org/blogs/francisco-tupy/haiti-onu-aid-troops
Serious Games no Brasil
Texto escrito por James Portnow, originalmente publicado aqui: http://networkedblogs.com/p25563591
Brazil's Video Game Ecosystem: Superior Serious Games Products
Serious Games are part of nascent Brazilian games market
Via: Gamasutra - Analysis: Inside Brazil's Video Game Ecosystem
by James Portnow
Gamasutra has posted on January 20 an in-depth analysis of Brazil's video game market, authored by Divide By Zero CEO - James Portnow. According to the article, Brazil's game dev. market is underdeveloped, but James Portnow believes it has "infinite possibility." In this detailed regional analysis, he explains why.
James also states that "The Brazilian government has been active in subsidizing, assisting, and incentivizing the creation of educational games". As a result, the Serious Games products coming out of Brazil are, in his opinion, superior to what he has seen come out of the US.
Here is the full article:
Recently, an unusual opportunity came across my desk. It required that I do some business in Brazil. I knew nothing of the Brazilian games industry, so I began to ask around. To my surprise, no one else seemed to know much about either, so I just took the leap and headed south.
Beyond my business dealings, I tried to do as much general fact finding as possible while there. Here’s what I learned.
Overview
Brazil is a place of infinite possibility. It has the drive, the wealth, and a large enough highly educated populace to become the next Korea. It has a large, well established "gamer" demographic and a remarkable desire to grow its own national industry. It is also unfettered by the traditions and mindset that many of the more established markets have developed.
I believe there are great opportunities for members of the US game industry in Brazil, but there are also great obstacles. Piracy is rampant, the industry is inexperienced, funding is almost nonexistent, distribution is next to impossible, and the government is either apathetic or hostile. It’s a risky place. My money says there will either be a boom in the next decade or the industry in Brazil will never start.
I’ll try to go over in depth what I see as the challenges facing the industry in Brazil, the possibilities on the horizon, and what we, the international development community, can do to help the Brazilian industry overcome the hurdles they face -- and how we benefit by doing so.
Hurdles and Possibilities
First, the elephant in the room...
Hurdles
Piracy in Brazil
I’ve long heard other people in the industry say Brazil simply isn't a viable market for games because of the piracy rate. This isn't true. It’s not a viable market for games because of the tax rate.
Games which are six months old in the US are being sold through legitimate vendors at 250 reais, or around $140 US dollars. This is an exorbitant price. It’s prohibitive. If you’re reading this article, you're probably pretty into games and know many people who are. Think about yourself and your friends. How many games would you purchase per year at $140? One, maybe two? Would you buy a console in the first place if you knew that every game you were going to buy was $140? All the consoles I saw in Brazil were sold at roughly one and a half to two times their price in the United States as well.
What if I then told you that you couldn't get on Xbox Live in Brazil? Would you buy an Xbox 360?
Even the very wealthy Brazilians with whom I spoke bought the majority of their legitimate games through Steam or other digital distribution services. For console games, Play Asia is by far the most popular choice (Amazon won’t even ship most games to Brazil), followed by Submarino.com (which still has exorbitant prices but occasionally has good sales), with the local retail outlets being a distant third.
The sad fact about all this is that the retail outlets seem almost exclusively to cater to parents who don't know where else to go. That's anecdotal evidence, but after spending several hours loitering in major retail game stores in several different states, it seemed universally to be the case.
All this isn’t to say piracy isn't an issue. Pirate stores sell games at 5-15 reais ($2.80-$8.50) and have better service. For the most part, pirate game dealerships are small local operations that know their clientele and are willing to go further for their customers than the large retail chains. Interestingly enough, I heard people say that their pirate dealers would let them buy a game and, if they didn't like it, come back a few days later and switch it for something else. That's the sort of service I wish we had in the US.
Regardless of the extra service, people seemed interested in legitimate versions of games so long as they came at a reasonable price. In general people told me they’d be willing pay $20 to $30 more for a legitimate game over the pirated version. That number went up to approximately $40 if the game had internet play and required a legitimate version of the game to play online.
If anyone has sales figures of PlayStation 3 games in Brazil, I’d like to know. PS3 games are currently un-piratable due to the Blue Ray discs.
Academia in Brazil
In the field of research, Brazilian academics far outstrip current US efforts, at least with respect to the cultural and artistic merits of games. There is a disproportional number of government grants and university-sponsored research positions available to those who wish to explore the sociological and historical aspects of our medium.
Unfortunately, in terms of educating future developers to be prepared for the rigors of a career in the industry, Brazilian schools are woefully behind US standards (with the possible exception of a program being set up by Ubisoft in southern Brazil).
Universities across Brazil are currently making a concerted effort to offer game development as part of the potential coursework for students. Unfortunately these nascent programs have met with little success. Given the level of passion and determination I saw in the teachers and the students, I believe these programs will grow and perhaps become the backbone of the Brazilian games industry. But right now, they face challenges unthinkable in the United States.
Brazilian professors have an incredible opportunity -- their game development programs have the chance to grow alongside the private sector aspect of the industry and thus be considered a vital part of the industry as a whole, as opposed to in the United States, where university efforts aren’t well integrated into the larger machinery of the industry. Unfortunately, this opportunity brings with it a monumental challenge: building development classes without a strong local development community.
Schools in Brazil do not have the existing industry from which to draw resources. They do not receive technology from game companies, they don't have internships available to their students, and, perhaps most importantly, they don’t have the opportunity to draw on the experience and talent of the industry to provide teachers and lecturers.
Additionally, interdepartmental cooperation in Brazil seems to be an even bigger hurdle in Brazil than in the United States. In many of the schools I visited, the game development courses were the purview of specific departments. (The split is fairly even between schools that had game development courses run by an art department and those run by the computer science division. Humorously enough, I ran into several programs that were essentially part of the fashion design track.) This means students rarely get to work in interdisciplinary groups, and we all know game development simply can't be taught in a useful manner without exposing students to the diverse specialties that go into game creation.
On top of these underlying challenges, many of these programs lack the resources and infrastructure vital to a successful game development degree. They lack commercial software, modern hardware and even, at times, proper lab and classroom space. If anyone reading this is interested in donating software or hardware to some of these Brazilian programs, feel free to contact me.
Oi Futuro Nave
There was one particular school I came across during my trip, a high school called Oi Futuro Nave. In it I saw the future.
Oi Futuro Nave may be the boldest educational experiment I've ever encountered. It is the child of a partnership between one of Brazil's largest cell phone carriers, Oi, and the government of Rio de Janeiro. The goal of their experiment is nothing short of preparing students for the technological culture of the future.
Every classroom in Oi Futuro Nave is equipped with the latest technology, from digital white boards to modern computers. Even the building is a reminder of and a monument to technology, for Oi Futuro Nave occupies part of one of Oi’s central switching stations. Students can see the massive banks of cables that keep their neighborhood connected through the windows in the cafeteria's walls.
The students specialize in animation, script writing, or game programming. They work in multidisciplinary teams to create projects that incorporate each of these specialties. They spend long days, usually from 8am to 5pm (most Brazilian public high schools have a truncated school day of only four to five hours), working both on these projects and learning all traditional subjects.
t's a young school, having been around only three years, so it has yet to see a class graduate. When the first class enters college, the metrics they return in higher education will say a great deal about the success of the experiment, but so far what I saw there seemed like a testament to the power of technology and education.
Oi Futuro Nave is a public school. This means none of the students pay to go there and they all come from the public school system, which is otherwise notoriously awful. The engagement I saw from students who would may otherwise have simply checked out proves to me its success. Its value comes from the fact that, while the setup costs for the school exceeded other schools of its size, the year to year operating costs (as I understood it) are competitive with other schools of its size -- schools which offer a much worse education.
Oi Futuro Nave takes the mystery out modern technology for these kids, but it leaves the magic. This is the future of pedagogy.
Publishers
How do you finance a project in Brazil?
This question may present us with the biggest hurdle facing the Brazilian games industry. There are no major Brazilian publishers and none of the major Eastern or Western publishers have a large presence in Brazil, with the possible exception of Ubisoft. Venture capital for game development is even more difficult to acquire in Brazil than in the United States (I did not meet a single venture-backed developer, and all agreed that since the dot-com bubble, finding venture has been nearly impossible). Bank loans are equally difficult to get for Brazilian developers. All of the companies I encountered were either self-funded or backed by small private angels.
There is limited governmental support in the form of grants for edutainment games and simulations, which has lead to some growth in the serious games industry in Brazil, but there is little in the way of subsidies or matching funds available to traditional game developers.
Without financial support, many companies are reduced to relying on work for hire to stay in business. This means that their own projects drag on and rarely reach completion, which in turn hamstrings the growth of the Brazilian games industry.
Development
With the exception of Southlogic (the makers of Deer Hunter, recently acquired by Ubisoft) and perhaps Tendi Software (creators of TriLinea for Xbox Live Arcade Indie Games), most of the viable Brazilian industry is focused on smaller non-console titles. They have some incredibly strong mobile developers, including Gameloft and Glu Mobile, but -- much as in the United States -- the mobile game market is practically a separate industry to those creating experiences on any other platforms.
PC and console development in Brazil is in its nascent stages and the Brazilian games industry suffers from many of the problems that afflict the amateur and independent game development community in the United States. Primarily, they have no sense of scope (this is a gross generalization; there are plenty of exceptions, but not many that I encountered). Unlike in the US, where the industry had the luxury of growing up in the Atari era, when a game could be brought to completion by a single individual, game makers in Brazil expect to jump in and start making AAA experience like those they play. Given the funding and trained talent available in the Brazilian industry today, this is an impossibility.
The Brazilian industry is also plagued with too many people who want to be designers. The industry there hasn't coalesced enough yet to establish designer as a separate job. In many of the teams I encountered, most of the team members took part in the design (with perhaps a designated designer as the lead) and, while I believe everyone should have some input, this design by committee approach leads to massive amounts of scope creep and lack of a clear and unified vision. This is something the industry will mature beyond, but until it does, it will prevent the community from ever successfully developing larger products.
There is also something of a brain drain. The most talented and successful Brazilian developers tend to end up working in the US, which means that there aren't enough experienced leads available for beginning businesses. Many times I saw Brazilian developers reach outside the industry for their leads, looking to commercial software engineers and members of the advertisement industry, which uses a great deal of pre-rendered CG, for artists and developers.
On the positive side, wages are lower than in the US. Junior staff tended to receive roughly 20 percent of US wages, with more senior people (especially foreign employees) getting closer to parity with their US counterparts. Unfortunately for anyone hoping to set up a company there, it’s important to remember that you have to estimate wages to roughly double in total cost because of taxes and mandatory benefits.
Another difficulty facing the nascent Brazilian games market is the way the international community deals with Brazil. The few major multinational companies that have game development studios in Brazil seem to be focused on producing products for the international market rather than attempting to grow the national market. This is clearly the safer choice at this point, and may be the correct business decision, but it does curtail the growth of Brazil as a viable marketplace for games.
Several startup companies working on handheld projects mentioned to me they had difficulty getting dev kits and had to switch over to developing for the PC instead. I don’t know how prevalent this is, but without development kits, Brazilian talent will never learn to build for the consoles and will remain of little use to the triple-A console industry.
Distribution
The Brazilian games market also faces the lack of a dominant national retail chain devoted exclusively to games. Say what you will about GameStop, but they do us one service: They provide us with a single entity to work with.
uring my stay in Brazil I visited 31 different game stores. Each of these stores had different ownership, different stock, different displays, and different billing systems. Ensuring your product got into all of the small legitimate stores in Brazil would be a nightmare. Trying to ensure they all paid you on time -- well, that might be an impossibility.
Brazil lacks its own digital distribution structure as well. The majority of the Brazilian gamers I spoke with knew (and sometimes used) Steam. Some had heard of Impulse and Greenhouse. None could tell me of a Brazilian company that provided the same sort of service.This problem is compounded for the Brazilian developers. Most of the studios I talked to didn’t know how to, and didn't believe they even could, get distributed through US services.
Without distribution the internal market in Brazil is stillborn.
Possibilities
Despite all this, there are many ways for Brazil to bloom into an incredible market and a powerful development industry.
Online
The first and most obvious area of opportunity is the online space. I don't think Brazilian developers have the knowhow at this point to make a major Western-style MMO or even compete with second-tier MMOs coming out of Korea or China, but they do have the ability to create very powerful social network- or browser-based MMOs.
The market for traditional MMOs in Brazil is deceptively small. There are about 1.5 million players playing traditional MMOs on legitimate servers in Brazil, but there are a great number of people in Brazil who play MMOs on pirate servers. For many MMOs, Brazil is second only to Russia in its number of pirate servers. While this may seem like a negative, it proves two things: one, that there is interest in MMOs, and two, that there is a lot of rudimentary knowledge of how the back end for MMOs works. After all, if you can figure out how to set up a pirate server from the packets sent to your client, you’ve got to know something.
Brazil also has a highly wired culture, with a great deal of wi-fi-based internet access in the urban centers and 2,000 to 3,000 major internet cafes plus an additional 20,000 smaller unlicensed internet cafes. The problem with the internet in Brazil is that it's not always reliable.
All these facts, as well as the limitations of the hardware available at the internet cafes, suggest to me the possibility of a vibrant web-based MMO community fueled by microtransactions or even more creative monetization methods. Anything that could leverage the man hours and human labor available in Brazil rather than charge hard currency could be incredibly powerful there.
Outside Political Pressure
At relatively low cost, I believe international corporations could work with the industry in Brazil to get the protective tariff on games removed, which would allow game retailers to drop the prices of consoles and console games to US standards, which would in turn go a long way to help eliminate piracy. Without such a step, I believe eradicating piracy or reducing it to manageable levels will be impossible.
There is already such a bill in front of the Brazilian senate, but it is currently languishing in committee.
I also believe the Brazilian government could be convinced to begin incentivizing foreign investment in the games industry. The government is amenable to both cultural programs and to technological investment.
Once piracy decreases, the Brazilian development community and the internal Brazilian market can become viable within a few years. As it takes publishers much longer to coalesce than development houses, I see an opportunity for major Western (or even Eastern) publishers to become the dominant force and the exclusive publishers for Brazil. Foreign publishers could then exploit the comparatively lower development costs in Brazil to turn out culturally relevant (that is, locally successful) titles for all of Latin America, Spain, and Portugal.
Serious Games
The Brazilian government has been active in subsidizing, assisting, and incentivizing the creation of educational games. As a result, the Serious Games products coming out of Brazil are, in my opinion, superior to what I've seen come out of the US.
While subjects that fall under the liberal arts are harder to translate across international lines, the sciences are universal. I saw products that could easily be integrated into American classrooms or shipped around the world as top-tier educational games. In the world of edutainment, Brazil will undoubtedly be an international player in the years to come.
Interactive TV
The last and perhaps most interesting prospect for kick-starting the games industry in Brazil is the country's version of digital cable. Its system is designed for interactivity to a much greater degree than ours is in the US. In 2016 they will stop using analog signals entirely, forcing a nationwide switch to digital, and, given television's incredible 90 percent-plus penetration rate, there will be roughly 150 to 170 million digital televisions in Brazilian homes as soon as the switch occurs.
This means that in 2016 there will effectively be a new console with an install base of at least 150 million -- higher than the install base of every current-generation console on the market combined right now -- with software that is totally unpiratable, which lends itself to smaller games, and which is free from outside competition. You can see where I'm going with this.
The only question is how the content will be monetized. None of the developers that I spoke with could tell me if the government or cable companies would simply pay for content then freely distribute it, or if there would be some sort of App Store-like model. If they go with the latter, I believe it will single-handedly infuse the Brazilian industry with the capital it needs to get off the ground.
There might also be incredible opportunities here for foreign developers. I am currently exploring the possibility of getting foreign content onto the system.
Conclusion
Now is the time to get into Brazil. The margin is right. If I were a betting man, I'd say the odds are about three to one that the Brazilian industry never gets off the ground. But at the same time, I'd say the return on resources invested in Brazil at this point will be at least ten to one if the industry does get past its infancy. I also believe that foreign entities have an opportunity to better those odds of the Brazilian industry becoming successful.
But Brazil is not a place for the risk-averse. You can't walk into Brazil assuming things operate there the way they do in the US. It's an easy place to lose your money and wind up with absolutely nothing to show for it. Things there will be the wild west for at least another five years. On the other hand, companies can test the waters right now at little expense, and if things go the right way, a little money now could be a lot of money in the near future.
For what it’s worth, I’m going to commit a little down there. Not enough to leave me busted, but enough that if it goes well, I'm in on the ground floor.
If you have any further questions or inquiries about the Brazilian video game industry, please contact me. I will respond to the best of my ability, or at least see that they get forwarded to the right people.
Brazil's Video Game Ecosystem: Superior Serious Games Products
Serious Games are part of nascent Brazilian games market
Via: Gamasutra - Analysis: Inside Brazil's Video Game Ecosystem
by James Portnow
Gamasutra has posted on January 20 an in-depth analysis of Brazil's video game market, authored by Divide By Zero CEO - James Portnow. According to the article, Brazil's game dev. market is underdeveloped, but James Portnow believes it has "infinite possibility." In this detailed regional analysis, he explains why.
James also states that "The Brazilian government has been active in subsidizing, assisting, and incentivizing the creation of educational games". As a result, the Serious Games products coming out of Brazil are, in his opinion, superior to what he has seen come out of the US.
Here is the full article:
Recently, an unusual opportunity came across my desk. It required that I do some business in Brazil. I knew nothing of the Brazilian games industry, so I began to ask around. To my surprise, no one else seemed to know much about either, so I just took the leap and headed south.
Beyond my business dealings, I tried to do as much general fact finding as possible while there. Here’s what I learned.
Overview
Brazil is a place of infinite possibility. It has the drive, the wealth, and a large enough highly educated populace to become the next Korea. It has a large, well established "gamer" demographic and a remarkable desire to grow its own national industry. It is also unfettered by the traditions and mindset that many of the more established markets have developed.
I believe there are great opportunities for members of the US game industry in Brazil, but there are also great obstacles. Piracy is rampant, the industry is inexperienced, funding is almost nonexistent, distribution is next to impossible, and the government is either apathetic or hostile. It’s a risky place. My money says there will either be a boom in the next decade or the industry in Brazil will never start.
I’ll try to go over in depth what I see as the challenges facing the industry in Brazil, the possibilities on the horizon, and what we, the international development community, can do to help the Brazilian industry overcome the hurdles they face -- and how we benefit by doing so.
Hurdles and Possibilities
First, the elephant in the room...
Hurdles
Piracy in Brazil
I’ve long heard other people in the industry say Brazil simply isn't a viable market for games because of the piracy rate. This isn't true. It’s not a viable market for games because of the tax rate.
Games which are six months old in the US are being sold through legitimate vendors at 250 reais, or around $140 US dollars. This is an exorbitant price. It’s prohibitive. If you’re reading this article, you're probably pretty into games and know many people who are. Think about yourself and your friends. How many games would you purchase per year at $140? One, maybe two? Would you buy a console in the first place if you knew that every game you were going to buy was $140? All the consoles I saw in Brazil were sold at roughly one and a half to two times their price in the United States as well.
What if I then told you that you couldn't get on Xbox Live in Brazil? Would you buy an Xbox 360?
Even the very wealthy Brazilians with whom I spoke bought the majority of their legitimate games through Steam or other digital distribution services. For console games, Play Asia is by far the most popular choice (Amazon won’t even ship most games to Brazil), followed by Submarino.com (which still has exorbitant prices but occasionally has good sales), with the local retail outlets being a distant third.
The sad fact about all this is that the retail outlets seem almost exclusively to cater to parents who don't know where else to go. That's anecdotal evidence, but after spending several hours loitering in major retail game stores in several different states, it seemed universally to be the case.
All this isn’t to say piracy isn't an issue. Pirate stores sell games at 5-15 reais ($2.80-$8.50) and have better service. For the most part, pirate game dealerships are small local operations that know their clientele and are willing to go further for their customers than the large retail chains. Interestingly enough, I heard people say that their pirate dealers would let them buy a game and, if they didn't like it, come back a few days later and switch it for something else. That's the sort of service I wish we had in the US.
Regardless of the extra service, people seemed interested in legitimate versions of games so long as they came at a reasonable price. In general people told me they’d be willing pay $20 to $30 more for a legitimate game over the pirated version. That number went up to approximately $40 if the game had internet play and required a legitimate version of the game to play online.
If anyone has sales figures of PlayStation 3 games in Brazil, I’d like to know. PS3 games are currently un-piratable due to the Blue Ray discs.
Academia in Brazil
In the field of research, Brazilian academics far outstrip current US efforts, at least with respect to the cultural and artistic merits of games. There is a disproportional number of government grants and university-sponsored research positions available to those who wish to explore the sociological and historical aspects of our medium.
Unfortunately, in terms of educating future developers to be prepared for the rigors of a career in the industry, Brazilian schools are woefully behind US standards (with the possible exception of a program being set up by Ubisoft in southern Brazil).
Universities across Brazil are currently making a concerted effort to offer game development as part of the potential coursework for students. Unfortunately these nascent programs have met with little success. Given the level of passion and determination I saw in the teachers and the students, I believe these programs will grow and perhaps become the backbone of the Brazilian games industry. But right now, they face challenges unthinkable in the United States.
Brazilian professors have an incredible opportunity -- their game development programs have the chance to grow alongside the private sector aspect of the industry and thus be considered a vital part of the industry as a whole, as opposed to in the United States, where university efforts aren’t well integrated into the larger machinery of the industry. Unfortunately, this opportunity brings with it a monumental challenge: building development classes without a strong local development community.
Schools in Brazil do not have the existing industry from which to draw resources. They do not receive technology from game companies, they don't have internships available to their students, and, perhaps most importantly, they don’t have the opportunity to draw on the experience and talent of the industry to provide teachers and lecturers.
Additionally, interdepartmental cooperation in Brazil seems to be an even bigger hurdle in Brazil than in the United States. In many of the schools I visited, the game development courses were the purview of specific departments. (The split is fairly even between schools that had game development courses run by an art department and those run by the computer science division. Humorously enough, I ran into several programs that were essentially part of the fashion design track.) This means students rarely get to work in interdisciplinary groups, and we all know game development simply can't be taught in a useful manner without exposing students to the diverse specialties that go into game creation.
On top of these underlying challenges, many of these programs lack the resources and infrastructure vital to a successful game development degree. They lack commercial software, modern hardware and even, at times, proper lab and classroom space. If anyone reading this is interested in donating software or hardware to some of these Brazilian programs, feel free to contact me.
Oi Futuro Nave
There was one particular school I came across during my trip, a high school called Oi Futuro Nave. In it I saw the future.
Oi Futuro Nave may be the boldest educational experiment I've ever encountered. It is the child of a partnership between one of Brazil's largest cell phone carriers, Oi, and the government of Rio de Janeiro. The goal of their experiment is nothing short of preparing students for the technological culture of the future.
Every classroom in Oi Futuro Nave is equipped with the latest technology, from digital white boards to modern computers. Even the building is a reminder of and a monument to technology, for Oi Futuro Nave occupies part of one of Oi’s central switching stations. Students can see the massive banks of cables that keep their neighborhood connected through the windows in the cafeteria's walls.
The students specialize in animation, script writing, or game programming. They work in multidisciplinary teams to create projects that incorporate each of these specialties. They spend long days, usually from 8am to 5pm (most Brazilian public high schools have a truncated school day of only four to five hours), working both on these projects and learning all traditional subjects.
t's a young school, having been around only three years, so it has yet to see a class graduate. When the first class enters college, the metrics they return in higher education will say a great deal about the success of the experiment, but so far what I saw there seemed like a testament to the power of technology and education.
Oi Futuro Nave is a public school. This means none of the students pay to go there and they all come from the public school system, which is otherwise notoriously awful. The engagement I saw from students who would may otherwise have simply checked out proves to me its success. Its value comes from the fact that, while the setup costs for the school exceeded other schools of its size, the year to year operating costs (as I understood it) are competitive with other schools of its size -- schools which offer a much worse education.
Oi Futuro Nave takes the mystery out modern technology for these kids, but it leaves the magic. This is the future of pedagogy.
Publishers
How do you finance a project in Brazil?
This question may present us with the biggest hurdle facing the Brazilian games industry. There are no major Brazilian publishers and none of the major Eastern or Western publishers have a large presence in Brazil, with the possible exception of Ubisoft. Venture capital for game development is even more difficult to acquire in Brazil than in the United States (I did not meet a single venture-backed developer, and all agreed that since the dot-com bubble, finding venture has been nearly impossible). Bank loans are equally difficult to get for Brazilian developers. All of the companies I encountered were either self-funded or backed by small private angels.
There is limited governmental support in the form of grants for edutainment games and simulations, which has lead to some growth in the serious games industry in Brazil, but there is little in the way of subsidies or matching funds available to traditional game developers.
Without financial support, many companies are reduced to relying on work for hire to stay in business. This means that their own projects drag on and rarely reach completion, which in turn hamstrings the growth of the Brazilian games industry.
Development
With the exception of Southlogic (the makers of Deer Hunter, recently acquired by Ubisoft) and perhaps Tendi Software (creators of TriLinea for Xbox Live Arcade Indie Games), most of the viable Brazilian industry is focused on smaller non-console titles. They have some incredibly strong mobile developers, including Gameloft and Glu Mobile, but -- much as in the United States -- the mobile game market is practically a separate industry to those creating experiences on any other platforms.
PC and console development in Brazil is in its nascent stages and the Brazilian games industry suffers from many of the problems that afflict the amateur and independent game development community in the United States. Primarily, they have no sense of scope (this is a gross generalization; there are plenty of exceptions, but not many that I encountered). Unlike in the US, where the industry had the luxury of growing up in the Atari era, when a game could be brought to completion by a single individual, game makers in Brazil expect to jump in and start making AAA experience like those they play. Given the funding and trained talent available in the Brazilian industry today, this is an impossibility.
The Brazilian industry is also plagued with too many people who want to be designers. The industry there hasn't coalesced enough yet to establish designer as a separate job. In many of the teams I encountered, most of the team members took part in the design (with perhaps a designated designer as the lead) and, while I believe everyone should have some input, this design by committee approach leads to massive amounts of scope creep and lack of a clear and unified vision. This is something the industry will mature beyond, but until it does, it will prevent the community from ever successfully developing larger products.
There is also something of a brain drain. The most talented and successful Brazilian developers tend to end up working in the US, which means that there aren't enough experienced leads available for beginning businesses. Many times I saw Brazilian developers reach outside the industry for their leads, looking to commercial software engineers and members of the advertisement industry, which uses a great deal of pre-rendered CG, for artists and developers.
On the positive side, wages are lower than in the US. Junior staff tended to receive roughly 20 percent of US wages, with more senior people (especially foreign employees) getting closer to parity with their US counterparts. Unfortunately for anyone hoping to set up a company there, it’s important to remember that you have to estimate wages to roughly double in total cost because of taxes and mandatory benefits.
Another difficulty facing the nascent Brazilian games market is the way the international community deals with Brazil. The few major multinational companies that have game development studios in Brazil seem to be focused on producing products for the international market rather than attempting to grow the national market. This is clearly the safer choice at this point, and may be the correct business decision, but it does curtail the growth of Brazil as a viable marketplace for games.
Several startup companies working on handheld projects mentioned to me they had difficulty getting dev kits and had to switch over to developing for the PC instead. I don’t know how prevalent this is, but without development kits, Brazilian talent will never learn to build for the consoles and will remain of little use to the triple-A console industry.
Distribution
The Brazilian games market also faces the lack of a dominant national retail chain devoted exclusively to games. Say what you will about GameStop, but they do us one service: They provide us with a single entity to work with.
uring my stay in Brazil I visited 31 different game stores. Each of these stores had different ownership, different stock, different displays, and different billing systems. Ensuring your product got into all of the small legitimate stores in Brazil would be a nightmare. Trying to ensure they all paid you on time -- well, that might be an impossibility.
Brazil lacks its own digital distribution structure as well. The majority of the Brazilian gamers I spoke with knew (and sometimes used) Steam. Some had heard of Impulse and Greenhouse. None could tell me of a Brazilian company that provided the same sort of service.This problem is compounded for the Brazilian developers. Most of the studios I talked to didn’t know how to, and didn't believe they even could, get distributed through US services.
Without distribution the internal market in Brazil is stillborn.
Possibilities
Despite all this, there are many ways for Brazil to bloom into an incredible market and a powerful development industry.
Online
The first and most obvious area of opportunity is the online space. I don't think Brazilian developers have the knowhow at this point to make a major Western-style MMO or even compete with second-tier MMOs coming out of Korea or China, but they do have the ability to create very powerful social network- or browser-based MMOs.
The market for traditional MMOs in Brazil is deceptively small. There are about 1.5 million players playing traditional MMOs on legitimate servers in Brazil, but there are a great number of people in Brazil who play MMOs on pirate servers. For many MMOs, Brazil is second only to Russia in its number of pirate servers. While this may seem like a negative, it proves two things: one, that there is interest in MMOs, and two, that there is a lot of rudimentary knowledge of how the back end for MMOs works. After all, if you can figure out how to set up a pirate server from the packets sent to your client, you’ve got to know something.
Brazil also has a highly wired culture, with a great deal of wi-fi-based internet access in the urban centers and 2,000 to 3,000 major internet cafes plus an additional 20,000 smaller unlicensed internet cafes. The problem with the internet in Brazil is that it's not always reliable.
All these facts, as well as the limitations of the hardware available at the internet cafes, suggest to me the possibility of a vibrant web-based MMO community fueled by microtransactions or even more creative monetization methods. Anything that could leverage the man hours and human labor available in Brazil rather than charge hard currency could be incredibly powerful there.
Outside Political Pressure
At relatively low cost, I believe international corporations could work with the industry in Brazil to get the protective tariff on games removed, which would allow game retailers to drop the prices of consoles and console games to US standards, which would in turn go a long way to help eliminate piracy. Without such a step, I believe eradicating piracy or reducing it to manageable levels will be impossible.
There is already such a bill in front of the Brazilian senate, but it is currently languishing in committee.
I also believe the Brazilian government could be convinced to begin incentivizing foreign investment in the games industry. The government is amenable to both cultural programs and to technological investment.
Once piracy decreases, the Brazilian development community and the internal Brazilian market can become viable within a few years. As it takes publishers much longer to coalesce than development houses, I see an opportunity for major Western (or even Eastern) publishers to become the dominant force and the exclusive publishers for Brazil. Foreign publishers could then exploit the comparatively lower development costs in Brazil to turn out culturally relevant (that is, locally successful) titles for all of Latin America, Spain, and Portugal.
Serious Games
The Brazilian government has been active in subsidizing, assisting, and incentivizing the creation of educational games. As a result, the Serious Games products coming out of Brazil are, in my opinion, superior to what I've seen come out of the US.
While subjects that fall under the liberal arts are harder to translate across international lines, the sciences are universal. I saw products that could easily be integrated into American classrooms or shipped around the world as top-tier educational games. In the world of edutainment, Brazil will undoubtedly be an international player in the years to come.
Interactive TV
The last and perhaps most interesting prospect for kick-starting the games industry in Brazil is the country's version of digital cable. Its system is designed for interactivity to a much greater degree than ours is in the US. In 2016 they will stop using analog signals entirely, forcing a nationwide switch to digital, and, given television's incredible 90 percent-plus penetration rate, there will be roughly 150 to 170 million digital televisions in Brazilian homes as soon as the switch occurs.
This means that in 2016 there will effectively be a new console with an install base of at least 150 million -- higher than the install base of every current-generation console on the market combined right now -- with software that is totally unpiratable, which lends itself to smaller games, and which is free from outside competition. You can see where I'm going with this.
The only question is how the content will be monetized. None of the developers that I spoke with could tell me if the government or cable companies would simply pay for content then freely distribute it, or if there would be some sort of App Store-like model. If they go with the latter, I believe it will single-handedly infuse the Brazilian industry with the capital it needs to get off the ground.
There might also be incredible opportunities here for foreign developers. I am currently exploring the possibility of getting foreign content onto the system.
Conclusion
Now is the time to get into Brazil. The margin is right. If I were a betting man, I'd say the odds are about three to one that the Brazilian industry never gets off the ground. But at the same time, I'd say the return on resources invested in Brazil at this point will be at least ten to one if the industry does get past its infancy. I also believe that foreign entities have an opportunity to better those odds of the Brazilian industry becoming successful.
But Brazil is not a place for the risk-averse. You can't walk into Brazil assuming things operate there the way they do in the US. It's an easy place to lose your money and wind up with absolutely nothing to show for it. Things there will be the wild west for at least another five years. On the other hand, companies can test the waters right now at little expense, and if things go the right way, a little money now could be a lot of money in the near future.
For what it’s worth, I’m going to commit a little down there. Not enough to leave me busted, but enough that if it goes well, I'm in on the ground floor.
If you have any further questions or inquiries about the Brazilian video game industry, please contact me. I will respond to the best of my ability, or at least see that they get forwarded to the right people.
Street Fighter, um grande signo da cultura pop!
Street Fighter é Street Fighter. Seu legado ao mundo transcendeu as fronteiras do jogo, influenciando outros games, narrativa de filmes e lutas em diversos tipos de histórias. Além de tudo isso, seus personagens, trilhas sonoras, e onomatopéias, cresceram com gerações e hoje rendem sátiras muito engraçadas.
Inclusive podemos até representar um último evento do cenário internacional.
Obama até tentou
Mas o Blanka levou a melhor:
Inclusive podemos até representar um último evento do cenário internacional.
Obama até tentou
Mas o Blanka levou a melhor:
Visa lança jogo sobre Futebol e Finanças
A Visa, colocou a disposição na internet jogos que se usam a temática do futebol para disseminar lições sobre finanças. Segue uma breve tradução sobre os princípios do jogo.
- Resumo: cada módulo começa com uma visão narrativa dos conceitos a serem ensinados. Este pequeno resumo dará ao educador e estudantes uma idéia rápida do material a
seguir.
- Ensino de Metas e Objetivos: descrever brevemente os resultados esperados de aprendizagem da módulo.
- Notas de Ensino: as notas de ensino são o principal material de que os conceitos do módulo são aprendidas. Os educadores podem utilizar as notas de ensino tal como está ou adaptá-las ao seu próprio estilo de ensino.
- Discussão: estudantes e educadores colocam em prática conceitos aprendidos através da discussão de exemplos concretos.
- Atividade: pode ser usado como um grupo exercício ou como uma avaliação da aprendizagem dos alunos. Neste seção, os estudantes respondem a várias perguntas para testar sua conhecimento dos conceitos aprendidos.
Maiores informações e os módulos de jogo no site http://www.financialfootballbeta.com/learn/index.php
Atividade: Seja curador de uma exposição de Arte Mongol
Navegando pela internet achei algo bem interessante, um site que propõem organizar uma exposição com a arte mongol. Aqui está o link .
Embora o conteúdo seja em inglês, e o objeto seja algo um tanto quanto distante da nossa realidade, trata-se de uma atividade muito bem elaborada, com seus objetivos e procedimentos bem descritos. Inclusive, pode servir de exemplo e ser adaptada de acordo com o objetivo de trabalho, nível etário e disponibilidade de materias.
The history of the Mongols in China dates back thousands of years. The Mongols were a fierce breed of people who survived and prospered in a time of war and violence. The most powerful and famous warlord in Mongol history was Chinggis Kahn, also known by his Persian name, Genghis Kahn. Born in 1167 AD, Chinggis Kahn's military power succeeded in uniting many of the individual tribes of Mongolia into one unified country under one powerful leader.
Although Chinggis Kahn will be remembered throughout history for controlling the largest empire at one time, much about Mongolia and its inhabitants still remains a mystery. Due to the geographical and political isolation of Mongolia, much about their culture and the religious beliefs are just recently coming to light. Western civilization is finally getting a chance to appreciate the fierce beauty of these nomadic people.
View Teacher Notes
The Task
You are a curator of a new Mongolian museum exhibit. It will be the first exhibit in history to reveal some of the mysterious artifacts of Mongolia. This could be the break that your curator career has been waiting for!
There is only one small problem...the anthropologist who has arranged the shipment of the artifacts in Mongolia has mysteriously disappeared. It does not appear that the anthropologist recorded any descriptions of the artifacts, but he did label each piece. Basically, you have a bunch of crates with old, expensive, and rare "stuff" in them. If you are going to pull off this exhibit, it will be up to you to carefully examine each artifact, identify it, and explain what each piece reveals about Mongolian culture.
Once you have determined all you can from each artifact, you will write a description to be included in the museum tour for each piece in the exhibit. You will also create a brochure detailing the exhibit and include a floor plan of the exhibit.
The Process
Step I - Inference Scenario
Before attempting to examine and identify the Mongolian artifacts, you must first brush up on your inference techniques. Complete the following scenario to refresh your inference skills:
SCENARIO:
You are an archeologist from the future whose task is to investigate a small uninhabited planet called Earth. The population of Earth has been extinct for thousands of years. After extensive searches, your archeological team discovers only one artifact, a small, metal disc.
After examining the metal disc, you need to answer the following questions:
What are the physical characteristics of the object? (Use your five senses to describe the object -- however, it would probably not be wise to taste the object!)
What inferences can you make about the function of the object?
What inference can you make about the culture of the people who made it?
what were their values?
what was their world view?
what was their philosophy?
What generalizations can you make about the people?
Now that you have sharpened your inference skills, you are ready to tackle the Mongolian artifacts!
Step II - Mongolian Poster
Before beginning to identify the art pieces, you need to review a bit of Mongolian history. Create a poster that creatively summarizes the key points of Mongolian History to hang in the foyer of the museum exhibit. Create a poster summarizing the following key areas of Mongolian history:
Shifting borders, invasions, and conquests
Tribal structures
Ways the Mongolian people lived, the Mongolian beliefs
Key Leaders (3-4 people)
Once you have identified the key aspects of Mongol history, put the key points on a poster. Be creative with the poster, by using pictures and colors! Be sure that the poster summarizes the key points clearly.
Step III - Artifact Identification
When you arrive at the museum warehouse, your team helps you uncrate each artifact. As you uncrate each artifact, you find it has already been labeled by the anthropologist. These labels give you a good starting point to begin your inferences.
Artifact I
The first artifact is a labeled "saddle". Click on the blue words to see the image.
What can you infer about the Mongolian people by looking at this saddle?
What did they value? Explain.
What materials are the saddle made from?
What do the materials tell you about the people? Explain.
Who do you think this saddle belonged to? Explain.
Artifact II
The second artifact is labeled "double spouted ewer". This ewer has an interior wall that separates two chambers so that two different liquids could be served simultaneously.
What can you infer about the Mongolian people from looking at this ewer?
What three animals are depicted on this ewer?
What do you think is significant about each animal?
What important animal is missing?
What materials were used in making this ewer? What do the materials tell you about the Mongol society?
Artifact III
The next artifact is a jacket labeled Boy do Khan jacket.
Who do you think wore this jacket? Explain.
What do the materials reveal about the person who wore this jacket? Explain.
What is the function of this garment?
Artifact IV
The next artifact is a tapestry or fabric hanging depicting the Phagspa Lama.
Who do you think the Phagspa Lama was based on in this depiction?
What was his occupation?
Was he wealthy or poor?
What was his importance to the Mongolian culture?
What material was this made from? What can you infer about the importance of Phagspa Lama based on the material?
Does the position of the Phagspa Lama figure resemble any other figure in history? Explain.
What is the lama holding in his hand?
Artifact V
The next artifact is a Tsongkhapa statue.
What do you think was the function of this piece?
Who is this statue depicting? Is it a positive or negative image?
What is important about the position of the physical body in this statue?
The eyes are downcast, what does this reveal about the identity and purpose of the figure in the statue?
Who is the statue depicting?
What can you infer that this statue reveals about the culture of the people who created it?
Artifacts VI-IX
The next crate contains an entire series of statues.
Statue A
Statue B
Statue C
Statue D
Select two of these artifacts and answer the following:
What do you think was the function of this piece?
Who are the pieces depicting?
Are they positive or negative figures?
What are the emotional expressions of the figures?
Are they connected to each other?
What do these figures help you infer about the culture that produced them?
Artifact X
The next artifact is labeled "horse statue".
What is this figure portraying?
Based on the materials used, what can you infer about the importance of this figure in the culture?
Why might this figure be made green? Do you think the green may symbolize something? Explain.
Artifact XI-XVI
The next crate holds another series of artifacts. They are several different statues.
Statue E
Statue F
Statue G
Statue H
Statue I
Select three of these statues and answer the following questions:
Looking at each statue, can you identify who each figure might be?
Of what importance to the culture is each statue?
Can you identify the genders of each figure?
What is the purpose of each statue?
Step IV - Artwork Exhibit Identification Cards
Now that you have identified all of the artwork, it is time to create the identification cards that will appear in the exhibit brochure.
Fill out the following for each piece of artwork:
The title of this piece is ...
Date-Early 19th Century (for all pieces)
The medium used to create this piece is...
Interpretation of Artwork:
The function of this piece was...
This piece reveals what about the Mongolian culture and people...
ARTIFACT INFORMATION CARD
TITLE:
DATE:
MEDIUM:
INTERPRETATION OF WORK:
Function:
Cultural Revelation:
Step V - Check Your Work With the Team
After all of the work you have put into this exhibit, it looked like you were actually going to pull it off successfully! Just two days before the tour grand opening, who shows up - but the original anthropologist who disappeared!!
The anthropologist has all of the records about each of the artifacts! Now you need to check all of your information against the information that you inferred from the artifacts.
Your career is on the line and the museum exhibit is scheduled to open in two days! You are desperate for help, so you ask the head curator (your teacher) of the entire museum for assistance. The head curator assigns each member of your team to look up two artifacts using the anthropologist's newly discovered notes. Check each Artifact Identification Card before you create the exhibit brochure.
Your teacher will assign each student to look up two artifacts using the new information provided by the anthropologist. Click here to view the anthropologist's detailed notes about each artifact. Create a new Artifact Identification Card for the two artifacts that you were assigned by the head curator. Include the following information on the new cards:
The title of this piece is...
Dates: Early 19th century
Artist:
Medium:
Interpretation of Artwork:
The function of this piece is...
This piece reveals what about the Mongolian culture and people.
While you are researching the two artifacts, your teacher will hang a large target in front of the class.
Each student will share their new artwork identification card with the entire class. After all of the new information has been shared, each student will place his/her original cards on the target board in the front of the class.
Each student will place his/her original card according to the following chart. Place the card...
in the center if their original inferences of the artwork were on target
slightly off target if their original inferences were slightly different
off of the target if their original inferences completely missed the board.
Step VI - Whole Class Discussion
Prepare to answer the following questions with the entire class:
After discovering the anthropologists notes, were most original cards on or off the target?
Were there specific artifacts that appeared on or off target more frequently than the others?
Were there common misconceptions made about the Mongolian culture?
Do you think there was any cultural bias involved in making the inferences about the artifacts?
Step VII - Museum Exhibit Brochure
Using the information you have gained by examining the Mongolian artifacts and reviewing the anthropologists notes, create a brochure to be used as a guide when people tour the museum exhibit. Create color sketches of each artifact and copy the Artwork Identification Card information into the brochure. Your brochure can take many forms. Try a tri-fold, a standard brochure format, or a flip chart format.
Also, create a floor map of the exhibit showing visitors to the various artifacts. Be sure to group all of the artifacts so that like pieces are together and the exhibit has a good flow. Be sure to label each artifact in the exhibit on the floor map and coordinate it to the description.
Try creating a tri-fold brochure for your exhibit!
Resources
Other Internet resources that will help you are :
BUHU
Mongolia Homepage
Mongolia
Virtual Mongol
Mongolian Exhibition
Learning Advice
If you have access to PageMaker, Quark, or Microsoft Publisher or a good word processing program, use it to make your exhibit tour brochure.
Evaluation
You will be evaluated on the thoughtfulness of your inferences about the artifacts. You will be evaluated on your final artifact research and whole class discussion. Also, you will be evaluated on the creativity, quality, and accuracy of the brochure you create.
Reflection
What role did technology play in completing this activity?
Why is it important for exhibits like the Mongolian Museum to tour different locations around the world?
How do inference skills help modern archeologists and anthropologists piece together the past?
Conclusion
The scope of the Mongolian empire was vast and powerful. In the midst of the war and turmoil that plagued the Mongolian people, great works of beauty emerged. The exhibit of Mongolian art gives us a brief glimpse of the more aesthetic side of the traditional Mongolian culture.
Extension Activities
Create a piece of artwork that reflects your culture. Be sure that the artwork is clear enough that if an archeologist uncovers it in a thousand years, they will be able to piece together some aspect of your life.
Create a geographical map of Mongolia at different times of its history. Show the extent of Mongolia's conquests and invasions throughout history.
Create a pictorial history of the life of Chinggis Kahn.
Embora o conteúdo seja em inglês, e o objeto seja algo um tanto quanto distante da nossa realidade, trata-se de uma atividade muito bem elaborada, com seus objetivos e procedimentos bem descritos. Inclusive, pode servir de exemplo e ser adaptada de acordo com o objetivo de trabalho, nível etário e disponibilidade de materias.
The history of the Mongols in China dates back thousands of years. The Mongols were a fierce breed of people who survived and prospered in a time of war and violence. The most powerful and famous warlord in Mongol history was Chinggis Kahn, also known by his Persian name, Genghis Kahn. Born in 1167 AD, Chinggis Kahn's military power succeeded in uniting many of the individual tribes of Mongolia into one unified country under one powerful leader.
Although Chinggis Kahn will be remembered throughout history for controlling the largest empire at one time, much about Mongolia and its inhabitants still remains a mystery. Due to the geographical and political isolation of Mongolia, much about their culture and the religious beliefs are just recently coming to light. Western civilization is finally getting a chance to appreciate the fierce beauty of these nomadic people.
View Teacher Notes
The Task
You are a curator of a new Mongolian museum exhibit. It will be the first exhibit in history to reveal some of the mysterious artifacts of Mongolia. This could be the break that your curator career has been waiting for!
There is only one small problem...the anthropologist who has arranged the shipment of the artifacts in Mongolia has mysteriously disappeared. It does not appear that the anthropologist recorded any descriptions of the artifacts, but he did label each piece. Basically, you have a bunch of crates with old, expensive, and rare "stuff" in them. If you are going to pull off this exhibit, it will be up to you to carefully examine each artifact, identify it, and explain what each piece reveals about Mongolian culture.
Once you have determined all you can from each artifact, you will write a description to be included in the museum tour for each piece in the exhibit. You will also create a brochure detailing the exhibit and include a floor plan of the exhibit.
The Process
Step I - Inference Scenario
Before attempting to examine and identify the Mongolian artifacts, you must first brush up on your inference techniques. Complete the following scenario to refresh your inference skills:
SCENARIO:
You are an archeologist from the future whose task is to investigate a small uninhabited planet called Earth. The population of Earth has been extinct for thousands of years. After extensive searches, your archeological team discovers only one artifact, a small, metal disc.
After examining the metal disc, you need to answer the following questions:
What are the physical characteristics of the object? (Use your five senses to describe the object -- however, it would probably not be wise to taste the object!)
What inferences can you make about the function of the object?
What inference can you make about the culture of the people who made it?
what were their values?
what was their world view?
what was their philosophy?
What generalizations can you make about the people?
Now that you have sharpened your inference skills, you are ready to tackle the Mongolian artifacts!
Step II - Mongolian Poster
Before beginning to identify the art pieces, you need to review a bit of Mongolian history. Create a poster that creatively summarizes the key points of Mongolian History to hang in the foyer of the museum exhibit. Create a poster summarizing the following key areas of Mongolian history:
Shifting borders, invasions, and conquests
Tribal structures
Ways the Mongolian people lived, the Mongolian beliefs
Key Leaders (3-4 people)
Once you have identified the key aspects of Mongol history, put the key points on a poster. Be creative with the poster, by using pictures and colors! Be sure that the poster summarizes the key points clearly.
Step III - Artifact Identification
When you arrive at the museum warehouse, your team helps you uncrate each artifact. As you uncrate each artifact, you find it has already been labeled by the anthropologist. These labels give you a good starting point to begin your inferences.
Artifact I
The first artifact is a labeled "saddle". Click on the blue words to see the image.
What can you infer about the Mongolian people by looking at this saddle?
What did they value? Explain.
What materials are the saddle made from?
What do the materials tell you about the people? Explain.
Who do you think this saddle belonged to? Explain.
Artifact II
The second artifact is labeled "double spouted ewer". This ewer has an interior wall that separates two chambers so that two different liquids could be served simultaneously.
What can you infer about the Mongolian people from looking at this ewer?
What three animals are depicted on this ewer?
What do you think is significant about each animal?
What important animal is missing?
What materials were used in making this ewer? What do the materials tell you about the Mongol society?
Artifact III
The next artifact is a jacket labeled Boy do Khan jacket.
Who do you think wore this jacket? Explain.
What do the materials reveal about the person who wore this jacket? Explain.
What is the function of this garment?
Artifact IV
The next artifact is a tapestry or fabric hanging depicting the Phagspa Lama.
Who do you think the Phagspa Lama was based on in this depiction?
What was his occupation?
Was he wealthy or poor?
What was his importance to the Mongolian culture?
What material was this made from? What can you infer about the importance of Phagspa Lama based on the material?
Does the position of the Phagspa Lama figure resemble any other figure in history? Explain.
What is the lama holding in his hand?
Artifact V
The next artifact is a Tsongkhapa statue.
What do you think was the function of this piece?
Who is this statue depicting? Is it a positive or negative image?
What is important about the position of the physical body in this statue?
The eyes are downcast, what does this reveal about the identity and purpose of the figure in the statue?
Who is the statue depicting?
What can you infer that this statue reveals about the culture of the people who created it?
Artifacts VI-IX
The next crate contains an entire series of statues.
Statue A
Statue B
Statue C
Statue D
Select two of these artifacts and answer the following:
What do you think was the function of this piece?
Who are the pieces depicting?
Are they positive or negative figures?
What are the emotional expressions of the figures?
Are they connected to each other?
What do these figures help you infer about the culture that produced them?
Artifact X
The next artifact is labeled "horse statue".
What is this figure portraying?
Based on the materials used, what can you infer about the importance of this figure in the culture?
Why might this figure be made green? Do you think the green may symbolize something? Explain.
Artifact XI-XVI
The next crate holds another series of artifacts. They are several different statues.
Statue E
Statue F
Statue G
Statue H
Statue I
Select three of these statues and answer the following questions:
Looking at each statue, can you identify who each figure might be?
Of what importance to the culture is each statue?
Can you identify the genders of each figure?
What is the purpose of each statue?
Step IV - Artwork Exhibit Identification Cards
Now that you have identified all of the artwork, it is time to create the identification cards that will appear in the exhibit brochure.
Fill out the following for each piece of artwork:
The title of this piece is ...
Date-Early 19th Century (for all pieces)
The medium used to create this piece is...
Interpretation of Artwork:
The function of this piece was...
This piece reveals what about the Mongolian culture and people...
ARTIFACT INFORMATION CARD
TITLE:
DATE:
MEDIUM:
INTERPRETATION OF WORK:
Function:
Cultural Revelation:
Step V - Check Your Work With the Team
After all of the work you have put into this exhibit, it looked like you were actually going to pull it off successfully! Just two days before the tour grand opening, who shows up - but the original anthropologist who disappeared!!
The anthropologist has all of the records about each of the artifacts! Now you need to check all of your information against the information that you inferred from the artifacts.
Your career is on the line and the museum exhibit is scheduled to open in two days! You are desperate for help, so you ask the head curator (your teacher) of the entire museum for assistance. The head curator assigns each member of your team to look up two artifacts using the anthropologist's newly discovered notes. Check each Artifact Identification Card before you create the exhibit brochure.
Your teacher will assign each student to look up two artifacts using the new information provided by the anthropologist. Click here to view the anthropologist's detailed notes about each artifact. Create a new Artifact Identification Card for the two artifacts that you were assigned by the head curator. Include the following information on the new cards:
The title of this piece is...
Dates: Early 19th century
Artist:
Medium:
Interpretation of Artwork:
The function of this piece is...
This piece reveals what about the Mongolian culture and people.
While you are researching the two artifacts, your teacher will hang a large target in front of the class.
Each student will share their new artwork identification card with the entire class. After all of the new information has been shared, each student will place his/her original cards on the target board in the front of the class.
Each student will place his/her original card according to the following chart. Place the card...
in the center if their original inferences of the artwork were on target
slightly off target if their original inferences were slightly different
off of the target if their original inferences completely missed the board.
Step VI - Whole Class Discussion
Prepare to answer the following questions with the entire class:
After discovering the anthropologists notes, were most original cards on or off the target?
Were there specific artifacts that appeared on or off target more frequently than the others?
Were there common misconceptions made about the Mongolian culture?
Do you think there was any cultural bias involved in making the inferences about the artifacts?
Step VII - Museum Exhibit Brochure
Using the information you have gained by examining the Mongolian artifacts and reviewing the anthropologists notes, create a brochure to be used as a guide when people tour the museum exhibit. Create color sketches of each artifact and copy the Artwork Identification Card information into the brochure. Your brochure can take many forms. Try a tri-fold, a standard brochure format, or a flip chart format.
Also, create a floor map of the exhibit showing visitors to the various artifacts. Be sure to group all of the artifacts so that like pieces are together and the exhibit has a good flow. Be sure to label each artifact in the exhibit on the floor map and coordinate it to the description.
Try creating a tri-fold brochure for your exhibit!
Resources
Other Internet resources that will help you are :
BUHU
Mongolia Homepage
Mongolia
Virtual Mongol
Mongolian Exhibition
Learning Advice
If you have access to PageMaker, Quark, or Microsoft Publisher or a good word processing program, use it to make your exhibit tour brochure.
Evaluation
You will be evaluated on the thoughtfulness of your inferences about the artifacts. You will be evaluated on your final artifact research and whole class discussion. Also, you will be evaluated on the creativity, quality, and accuracy of the brochure you create.
Reflection
What role did technology play in completing this activity?
Why is it important for exhibits like the Mongolian Museum to tour different locations around the world?
How do inference skills help modern archeologists and anthropologists piece together the past?
Conclusion
The scope of the Mongolian empire was vast and powerful. In the midst of the war and turmoil that plagued the Mongolian people, great works of beauty emerged. The exhibit of Mongolian art gives us a brief glimpse of the more aesthetic side of the traditional Mongolian culture.
Extension Activities
Create a piece of artwork that reflects your culture. Be sure that the artwork is clear enough that if an archeologist uncovers it in a thousand years, they will be able to piece together some aspect of your life.
Create a geographical map of Mongolia at different times of its history. Show the extent of Mongolia's conquests and invasions throughout history.
Create a pictorial history of the life of Chinggis Kahn.
Games como reconstituição Histórica
Alguns jogos permitem criação de filmes, a lista de exemplos é vasta. Cada um com o seu tema (vida cotidiana, medieval, guerras, etc...). Alguns exemplos já foram postados aqui antes, igual a Gay Parade Medieval no Mundo de Warcaft.
Recentemente vi no Youtube uma reconstituição de uma batalha entre o Exército Napoleônico e um agrupamento de Cossacos, na Bielo-Rússia. Creio que isso é uma grande ferramenta para ensino de episódios do passado, servindo para aumentar a abstração e compreensão além das aulas e leituras.
Recentemente vi no Youtube uma reconstituição de uma batalha entre o Exército Napoleônico e um agrupamento de Cossacos, na Bielo-Rússia. Creio que isso é uma grande ferramenta para ensino de episódios do passado, servindo para aumentar a abstração e compreensão além das aulas e leituras.
#gameplay exposição no Centro Cultural Itaú
Originalmente publicado aqui.
"GamePlay"
Itaú Cultural faz exposição de games
Mostra reúne seis instalações artísticas interativas e 11 consoles
15/07/09 às 14:25 | Agência Estado
Experimentando as seis instalações artísticas interativas e os 11 consoles da exposição "GamePlay", do Itaú Cultural, Laura Fiorato, de 11 anos, não sabia muito bem diferenciar os dois. Gostou tanto de jogar "Mario Kart", com o Wii, quanto de brincar com objetos na obra "Diorama Table", de Keiko Takahashi, que promove a interação entre os ambientes físico e virtual.
"As crianças, pelo aspecto lúdico das obras, não distinguem o que é um produto do mercado e o que se propõe arte", repara Marcos Cuzziol, gerente do Núcleo de Arte e Tecnologia da instituição. A mostra foi aberta na semana passada em São Paulo.
Assim como as crianças, a curadoria da mostra optou por não separar os games comerciais daqueles montados com uma intenção conceitual ou estética. De um lado, está o popular jogo de tiro em primeira pessoa "Halo 3".
Do outro, a "KinoArcade Machine", de Fernanda Neves Gomes, um fliperama no qual você pode remixar a narrativa do clássico filme "O Encouraçado Potemkin", de Sergei Eisenstein. Com o joystick e os botões, você pode borrar a imagem, realçar o contraste e adicionar cores ao original em preto e branco.
"Não quisemos entrar no mérito de discutir o que é ou não é arte, mas fazer que as pessoas interajam com ambos. A jogabilidade da arte pode até ser mais atrativa, já que não é padronizada. O estranhamento só dura até a pessoa entender a lógica do game", explica Cuzziol.
Experimento e mercado
Para o francês Maurice Benayoun, que desde os anos 1980 trabalha com obras interativas, a indústria de games e os artistas se complementam. "Nós apresentamos alternativas que, mesmo sem querer, acabaram sendo assimiladas comercialmente. Já o mercado, com sua produção, acaba barateando o nosso material de trabalho", explica.
Provando o que diz, Benayoun usa os sensores do Nintendo Wii na obra que expõe na GamePlay, "World Skin". Montada pela primeira vez em 1996 em Linz, na Áustria, a instalação usa uma câmera fotográfica para levar o jogador a cenários como o da 2ª Guerra Mundial. Ao enquadrar uma cena, ela some, mas não sem deixar um vulto permanente. "Não se apaga o passado", esclarece Benayoun, que ainda vê preconceito na atitude das pessoas em relação aos videogames.
Para o artista Carlos Praude, cuja obra "Quadro Sonoro" tem até fila para ser usada, essa atitude preconceituosa, hoje, fica restrita às pessoas mais velhas.
"Os moleques de 10, 11 anos não só estão adaptados à narrativa do game como já querem entender como fazê-lo", diz Praude, que desenvolveu uma caneta que permite que você "desenhe sons" em uma tela.
O software faz uma melodia própria para cada forma rabiscada. "A aceitação é enorme. Afinal, que criança não gosta de fazer uma arte na parede com o giz de cera?", brinca.
SERVIÇO:
"Gameplay Itaú Cultural". Até 30 de agosto. Itaú Cultural, Avenida Paulista, 149. Terça a sexta-feira, das 10 às 21h. Sábados, domingos e feriados, das 10 às 19h. Site: www.itaucultural.org.br. Entrada gratuita.
"GamePlay"
Itaú Cultural faz exposição de games
Mostra reúne seis instalações artísticas interativas e 11 consoles
15/07/09 às 14:25 | Agência Estado
Experimentando as seis instalações artísticas interativas e os 11 consoles da exposição "GamePlay", do Itaú Cultural, Laura Fiorato, de 11 anos, não sabia muito bem diferenciar os dois. Gostou tanto de jogar "Mario Kart", com o Wii, quanto de brincar com objetos na obra "Diorama Table", de Keiko Takahashi, que promove a interação entre os ambientes físico e virtual.
"As crianças, pelo aspecto lúdico das obras, não distinguem o que é um produto do mercado e o que se propõe arte", repara Marcos Cuzziol, gerente do Núcleo de Arte e Tecnologia da instituição. A mostra foi aberta na semana passada em São Paulo.
Assim como as crianças, a curadoria da mostra optou por não separar os games comerciais daqueles montados com uma intenção conceitual ou estética. De um lado, está o popular jogo de tiro em primeira pessoa "Halo 3".
Do outro, a "KinoArcade Machine", de Fernanda Neves Gomes, um fliperama no qual você pode remixar a narrativa do clássico filme "O Encouraçado Potemkin", de Sergei Eisenstein. Com o joystick e os botões, você pode borrar a imagem, realçar o contraste e adicionar cores ao original em preto e branco.
"Não quisemos entrar no mérito de discutir o que é ou não é arte, mas fazer que as pessoas interajam com ambos. A jogabilidade da arte pode até ser mais atrativa, já que não é padronizada. O estranhamento só dura até a pessoa entender a lógica do game", explica Cuzziol.
Experimento e mercado
Para o francês Maurice Benayoun, que desde os anos 1980 trabalha com obras interativas, a indústria de games e os artistas se complementam. "Nós apresentamos alternativas que, mesmo sem querer, acabaram sendo assimiladas comercialmente. Já o mercado, com sua produção, acaba barateando o nosso material de trabalho", explica.
Provando o que diz, Benayoun usa os sensores do Nintendo Wii na obra que expõe na GamePlay, "World Skin". Montada pela primeira vez em 1996 em Linz, na Áustria, a instalação usa uma câmera fotográfica para levar o jogador a cenários como o da 2ª Guerra Mundial. Ao enquadrar uma cena, ela some, mas não sem deixar um vulto permanente. "Não se apaga o passado", esclarece Benayoun, que ainda vê preconceito na atitude das pessoas em relação aos videogames.
Para o artista Carlos Praude, cuja obra "Quadro Sonoro" tem até fila para ser usada, essa atitude preconceituosa, hoje, fica restrita às pessoas mais velhas.
"Os moleques de 10, 11 anos não só estão adaptados à narrativa do game como já querem entender como fazê-lo", diz Praude, que desenvolveu uma caneta que permite que você "desenhe sons" em uma tela.
O software faz uma melodia própria para cada forma rabiscada. "A aceitação é enorme. Afinal, que criança não gosta de fazer uma arte na parede com o giz de cera?", brinca.
SERVIÇO:
"Gameplay Itaú Cultural". Até 30 de agosto. Itaú Cultural, Avenida Paulista, 149. Terça a sexta-feira, das 10 às 21h. Sábados, domingos e feriados, das 10 às 19h. Site: www.itaucultural.org.br. Entrada gratuita.
Professor Henry Jenkins + Games + Educação
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