Quem já viu minhas palestras de criação de cenários e personagens, sabe que eu dou um monte de exemplos, nestes exemplos, uma hora eu brinco com a possibilidade de reconhecer personagens diferentes atuando em tabuleiros, apenas uma abstração.
Imagem o Presidente estadunidense, Barack Obama, ele é um personagem histórico, seu cenário é a Casa Branca, reuniões com a Onu etc etc...certo? Agora vamos coloca-lo em um contexto de game, que tipo de jogo é o dele com o mundo? Quais as jogadas mais pertinentes que ele faz?
- Será que ele joga War? Ele e os outros dirigentes, cada um com sua carta, dominando territórios, tentando cumprirem seus objetivos nas cartas?;
- Será que ele joga Xadrez? Ele de um lado, o mundo, outros governantes no outro? Imagine o cheque, as manobras, o xeque pastor de uma nação, como será isso?
- Será que é o Jogo da Velha? Freneticamente fazendo X ou bolinhas contra seus adversários?
Enfim, creio que esse é um exercício divertido, de compreensão, abstração, uma forma de associar e traçar semelhanças, para compreender melhor o objeto em questão.
Agora na net, vejo esse vídeo para divulgar uma competição, fez um clip, super legal, falando de estratégias de guerra
Mostrando postagens com marcador Midias Integradas. Mostrar todas as postagens
Mostrando postagens com marcador Midias Integradas. Mostrar todas as postagens
Board Games no I PAD
Não tenho palavras para descrever o quanto fico empolgado quando vejo coisas assim.
Imagine, os jogos de tabuleiro migrando para o I PAD! Imaginem as ifinitas possibilidades!
Para da água na boca:
Imagine, os jogos de tabuleiro migrando para o I PAD! Imaginem as ifinitas possibilidades!
Para da água na boca:
Voce sabe o que é uma Machinima?
Segundo a Wikipédia:
Machinima, termo criado a partir das palavras da língua inglesa machine (máquina) e animation (animação), é tanto uma coleção de técnicas de produção associadas quanto um gênero fílmico, ou filme criado por tais técnicas de produção.
Como uma técnica de produção, o termo diz respeito à computação gráfica produzida através de máquinas domésticas, em oposição à produção através das complexas máquinas programas 3D dos profissionais. Jogos em primeira pessoa costumam ser utilizados.
Como gênero fílmico, o termo refere a filmes criados pelas técnicas descritas acima. Usualmente, machinimas são produzidos usando ferramentas e recursos disponíveis em um jogo.
Machinima, termo criado a partir das palavras da língua inglesa machine (máquina) e animation (animação), é tanto uma coleção de técnicas de produção associadas quanto um gênero fílmico, ou filme criado por tais técnicas de produção.
Como uma técnica de produção, o termo diz respeito à computação gráfica produzida através de máquinas domésticas, em oposição à produção através das complexas máquinas programas 3D dos profissionais. Jogos em primeira pessoa costumam ser utilizados.
Como gênero fílmico, o termo refere a filmes criados pelas técnicas descritas acima. Usualmente, machinimas são produzidos usando ferramentas e recursos disponíveis em um jogo.
2 lembretes de coisas bem legais
Esse post é breve a correria está apertada - mas... vou deixar aqui duas coisas interessantes, ok?
Um texto do professor Henry Jenkis sobre o Demolidor e um texto sobre Storytelling e Ensino, recomendo a leitura de ambos.
http://henryjenkins.org/2010/06/man_without_fear.html
http://electronicportfolios.org/portfolios/SITEStorytelling2006.pdf
Boas leituras!
Um texto do professor Henry Jenkis sobre o Demolidor e um texto sobre Storytelling e Ensino, recomendo a leitura de ambos.
http://henryjenkins.org/2010/06/man_without_fear.html
http://electronicportfolios.org/portfolios/SITEStorytelling2006.pdf
Boas leituras!
He-Man and the Masters of Transmedia
He-Man and the Masters of Transmedia (Publicado originalmente em http://henryjenkins.org/2010/05/he-man_and_the_masters_of_tran.html)
The other day I flew back to Cambridge at the request of Scot Osterweill, the research director for The Education Arcade, in order to participate in the Sandbox Summit, a fascinating gathering of game designers, toy makers, television producers, children's book authors, and educators drawn together through their shared interests in "how media is changing our play and how play is changing our media." I had been asked to give a keynote address which would share some of my thoughts about transmedia entertainment in a way that might be relevant to people who were shaping children's culture.
As I was pulling my thoughts together for the talk, I stumbled onto an article in I09, one of my favorite blogs about geek culture, which listed the "ten most unfortunate Masters of the Universe Toys." I shared the blog post with my son, now 29, who had grown up as part of the "He-Man" generation and we both took great pleasure in realizing that he had at one time had almost all of their examples in his collection and that we both remembered all of these toys. There was, for example, Moss-Man, an action figure covered in green fuzz; Stinkor, an action figure that smelled and looked like a skunk; and Mosquitor, an action figure which contained a red blood-like fluid.
And I began to ponder why these toys had been such a memorable part of his childhood and what it meant that the generation of young men and women who were, in many cases, controlling the production of transmedia entertainment had come of age playing with this particular media franchise. In some ways, contemporary transmedia is being produced by kids who grew up playing with He-Man to be consumed by kids who grew up playing Pokemon.
Peggy Charren, who formed Action for Children's Television and lobbied the Federal Communication Commission to regulate childrens programming, would have had an explanation. At the time, she argued that Heman and similar programs were simply "half hour commercials" which had no redeeming value, because they "blur the distinction between program content and commercial speech. Children are attracted to the concepts of the shows and don't fully understand the selling intent behind them... [This has become] a gold mine to station managers and toy manufacturers, but a commercial nightmare to most parents." She and her allies argued that the stories and characters, she feared, were being sacrificed in order to turn the cartoons into advertisements for tie-in toys and as a consequence, these toys were going to stifle youngsters' imaginations. Charren's critique of these toys has taken deep roots among the professional classes, as was reflected by the many different ways these concerns got evoked by speakers at the Sandbox Summit. I do not mean to make light of these concerns, though I have also always found myself resistant to the language used to critique these toys, which often assumes that the play around these fictional narratives necessarily reproduces the terms of the original stories without creating a space for the child's own imaginative contributions.
There is no denying that Mattel had a clear commercial interest in producing the program and extending our experience of watching the show into a line of associated toys. And the same can be said of contemporary transmedia entertainment content which is often funded by the branding and promotional budget for the media property. Minimally, transmedia extensions are selling the "mother ship." Often, they are creating alternative sources of income - they are products in their own right just as the He-Man dolls are.
Yet, I don't think we can reduce the experience which young people had playing to He-Man to simply the selling and buying of commercial commodities, however distasteful such toys seem to many academic parents. After all, all of us have bought many commodities in our lifetime, most of which we forgot as soon as we had consumed them, yet these particular toys have become part of the shared memories of my son's generation in part because they were tokens of stories and entertainment experiences which were deeply meaningful to them. More than that, though, these toys became resources for their own imaginations, tokens which they used to claim a space for themselves within the stories.
Whether they fully recognized it or not, when media producers sold these toys to our children, they also told them things about the nature of the story - the story you saw on the screen was not complete and self contained; these characters had a life beyond the stories we've been sold and told, and what happens next is literally and figuratively in the hands of the consumer. These toys were in effect an authoring system which encouraged young people to make up their own stories about these characters much as the folk in other time periods might make up stories about Robin Hood or Pecos Bill.
Children have long played with the core narratives of their culture, as might be suggested by the fact that Tom Sawyer played Robin Hood, Anne of Green Gables King Arthur, and Meg of Little Women Pilgrim's Progress, each central stories of their own time. In the 20th century, mass media displaced many traditional stories, but it does not follow from this that children's play with narrative was none the less meaningful to them as a way of trying on adult roles and asserting their own ability to build on and revise core stories that matter to them.
As a father during that period, I have vivid memory of the intense pain of stepping barefoot on some molded piece of plastic when I was called into my son's bedroom at night to comfort him about a bad dream. I'd pick up the plastic shield, sword, or pick ax, and grumble, "grrrmble snarl Teela" and my son, a stickler for details, would correct me, "No, Dad, that belongs to Sorceress." These details mattered. I often reflected at such moments (or at least I did when the pain of my punctured flesh subsided!) on the ways that this attachment to distinctive shields, say, mirrored the detailed descriptions of the shields and weapons of the different Greek heroes found in Homer, suggesting that heraldry in some forms remains an active element in stories across history.
The accessories were extensions of the characters, reflections of their personalities, artifacts of their stories, and signs of their capacities for action. Each character was connected to every other character through complex sets of antagonisms and alliances and each character bore their own mythology which could become the point of entry for a new as yet unrealized story. He-Man was teaching his generation to think not just about individual stories but about the process of world-building and part of the pleasure of collecting these toys was to demonstrate their mastery over the lore of these worlds.
In some cases, the characters would be deeply embedded in the aired episodes and in other cases, they would exist only in the background or only in one episode and often these were the characters most vividly remembered because they became the child's own possession, their backstory fleshed out from their own imagination, their personality constructed from their own playful performances. Each of the characters had different personalities (and thus demanded different voices) and over time, you would learn their verbal ticks, the quirks of their personality, and the sound of their voice, even though no two children would necessarily perform these characters in the same way. We might think of these characters as in effect avatars, an extension of the child into a virtual or imagined world, and see these constant shifts between personalities as a predecessor of what we would describe as identity play in adolescence.
Of course, the performance doesn't end there. The child themselves might become He-Man or some of the other characters through Halloween dress-ups and the web is full of yellowing family photographs of children of my son's generation physically embodying the heroes of their programs. Their mothers (or in my son's case, their grandmothers) might be coaxed into decorating birthday cakes with images copied from He-Man coloring books. And those lacking coloring books (or possessing artistic temperaments) would draw their own pictures of these characters which gave another tangible form to their fantasy lives. My son wrote countless stories which he dictated to his mother and I about He-Man and in the process, he moved from playing with physical objects to playing with words and with the basic building blocks of narratives.
In many ways, Masters of the Universe was already a transmedia story, at least as much as the technology of the day would allow. He-Man not only appeared in the Filmnation-produced cartoons but his story was extended into the mini comic books which came with each action figures, on the collector cards and sticker books and coloring books and kids books, each of which gave us a chance to learn a little something more about Eternia, Castle Grayskull, and the other places where these stories took place.
And of course, He-Man was only one of the many media franchises which were producing action figures. My son collected figures from Pee-Wee's Playhouse and the World Wrestling Federation, not to mention a smathering of Transformers, Thundercats, Silverhawks, and many other toy lines. Once they were removed from their packages, these toys could be mixed and matched to create new kinds of stories, which might involve meet-ips and cross-overs unlikely to occur in commercial media (though there was at least one DC comic where Superman and He-Man combined forces) but almost inevitable once kids got their hands on the toys.
Sometimes an action figure would stand in for another character not yet acquired much as an actor plays a fictional role and in other cases the pleasure was in experimenting with the boundaries between texts and genres, with the mixing of characters forcing them to rethink the scripts. The cross-over points to the generative dimensions of this action figure play - the ways that kids would move from re-performing favorite stories or ritualizing conventional elements from the series to breaking with conventions and creating their own narratives.
I never understood the parents who feared such toys would stifle my son's imagination because what I observed was very much the opposite - a child learning to appropriate and remix the materials of his culture. The fact that these stories were shared through mass media with other kids and that they were some vividly embodied in the action figures meant that it was easy for children to have intersubjective fantasies, to share their play stories with each other, and to pool knowledge about the particulars of this fictional realm.
So, is it any surprise that as this generation has grown older, they have continued to use these stories, characters, even the toys themselves as resources for their own creative expression? The web is full of amazing fan art in which artists lovingly recreate the assemblage of action figures and accessories they enjoyed as a child, much as earlier generations of artists sketched or wrote stories about the stuffed toys of their childhood imagination. (Think Winnie the Pooh or Raggedy Ann and Andy for earlier kinds of toy focused stories.)
There is a whole genre on YouTube of action figure movies, movies which may lovingly recreate the specific images the filmmakers remembered from the source material but may also playfully evoking the mixing and matching of characters that were part of toyroom play.
This same aesthetic of action-figure cinema gave rise to Adult Swim's successful Robot Chicken series, which also mixes and matches characters or recasts them to achieve desired effects. Here's one of their spoofs of the He-Man characters.
And I am particular fan of the web-based Skeltor Show, which remixes and remasters footage from the original He-Man cartoons for irreverent comedy.
All of this suggests that these toys left a lasting imprint on the imaginations of the generation that grew up playing with them.
When I speak to the 20 and 30 somethings who are leading the charge for transmedia storytelling, many of them have stories of childhood spent immersed in Dungeons and Dragons or Star Wars, playing with action figures or other franchise related toys, and my own suspicion has always been that such experiences shaped how they thought about stories.
From the beginning, they understood stories less in terms of plots than in terms of clusters of characters and in terms of world building. From the beginning they thought of stories as extending from the screen across platforms and into the physical realm. From the beginning they thought of stories as resources out of which they could create their own fantasies, as something which shifted into the hands of the audience once they had been produced and in turn as something which was expanded and remixed on the grassroots level.
In that sense, the action figure is very much the harbinger of the transmedia movement.
The other day I flew back to Cambridge at the request of Scot Osterweill, the research director for The Education Arcade, in order to participate in the Sandbox Summit, a fascinating gathering of game designers, toy makers, television producers, children's book authors, and educators drawn together through their shared interests in "how media is changing our play and how play is changing our media." I had been asked to give a keynote address which would share some of my thoughts about transmedia entertainment in a way that might be relevant to people who were shaping children's culture.
As I was pulling my thoughts together for the talk, I stumbled onto an article in I09, one of my favorite blogs about geek culture, which listed the "ten most unfortunate Masters of the Universe Toys." I shared the blog post with my son, now 29, who had grown up as part of the "He-Man" generation and we both took great pleasure in realizing that he had at one time had almost all of their examples in his collection and that we both remembered all of these toys. There was, for example, Moss-Man, an action figure covered in green fuzz; Stinkor, an action figure that smelled and looked like a skunk; and Mosquitor, an action figure which contained a red blood-like fluid.
And I began to ponder why these toys had been such a memorable part of his childhood and what it meant that the generation of young men and women who were, in many cases, controlling the production of transmedia entertainment had come of age playing with this particular media franchise. In some ways, contemporary transmedia is being produced by kids who grew up playing with He-Man to be consumed by kids who grew up playing Pokemon.
Peggy Charren, who formed Action for Children's Television and lobbied the Federal Communication Commission to regulate childrens programming, would have had an explanation. At the time, she argued that Heman and similar programs were simply "half hour commercials" which had no redeeming value, because they "blur the distinction between program content and commercial speech. Children are attracted to the concepts of the shows and don't fully understand the selling intent behind them... [This has become] a gold mine to station managers and toy manufacturers, but a commercial nightmare to most parents." She and her allies argued that the stories and characters, she feared, were being sacrificed in order to turn the cartoons into advertisements for tie-in toys and as a consequence, these toys were going to stifle youngsters' imaginations. Charren's critique of these toys has taken deep roots among the professional classes, as was reflected by the many different ways these concerns got evoked by speakers at the Sandbox Summit. I do not mean to make light of these concerns, though I have also always found myself resistant to the language used to critique these toys, which often assumes that the play around these fictional narratives necessarily reproduces the terms of the original stories without creating a space for the child's own imaginative contributions.
There is no denying that Mattel had a clear commercial interest in producing the program and extending our experience of watching the show into a line of associated toys. And the same can be said of contemporary transmedia entertainment content which is often funded by the branding and promotional budget for the media property. Minimally, transmedia extensions are selling the "mother ship." Often, they are creating alternative sources of income - they are products in their own right just as the He-Man dolls are.
Yet, I don't think we can reduce the experience which young people had playing to He-Man to simply the selling and buying of commercial commodities, however distasteful such toys seem to many academic parents. After all, all of us have bought many commodities in our lifetime, most of which we forgot as soon as we had consumed them, yet these particular toys have become part of the shared memories of my son's generation in part because they were tokens of stories and entertainment experiences which were deeply meaningful to them. More than that, though, these toys became resources for their own imaginations, tokens which they used to claim a space for themselves within the stories.
Whether they fully recognized it or not, when media producers sold these toys to our children, they also told them things about the nature of the story - the story you saw on the screen was not complete and self contained; these characters had a life beyond the stories we've been sold and told, and what happens next is literally and figuratively in the hands of the consumer. These toys were in effect an authoring system which encouraged young people to make up their own stories about these characters much as the folk in other time periods might make up stories about Robin Hood or Pecos Bill.
Children have long played with the core narratives of their culture, as might be suggested by the fact that Tom Sawyer played Robin Hood, Anne of Green Gables King Arthur, and Meg of Little Women Pilgrim's Progress, each central stories of their own time. In the 20th century, mass media displaced many traditional stories, but it does not follow from this that children's play with narrative was none the less meaningful to them as a way of trying on adult roles and asserting their own ability to build on and revise core stories that matter to them.
As a father during that period, I have vivid memory of the intense pain of stepping barefoot on some molded piece of plastic when I was called into my son's bedroom at night to comfort him about a bad dream. I'd pick up the plastic shield, sword, or pick ax, and grumble, "grrrmble snarl Teela" and my son, a stickler for details, would correct me, "No, Dad, that belongs to Sorceress." These details mattered. I often reflected at such moments (or at least I did when the pain of my punctured flesh subsided!) on the ways that this attachment to distinctive shields, say, mirrored the detailed descriptions of the shields and weapons of the different Greek heroes found in Homer, suggesting that heraldry in some forms remains an active element in stories across history.
The accessories were extensions of the characters, reflections of their personalities, artifacts of their stories, and signs of their capacities for action. Each character was connected to every other character through complex sets of antagonisms and alliances and each character bore their own mythology which could become the point of entry for a new as yet unrealized story. He-Man was teaching his generation to think not just about individual stories but about the process of world-building and part of the pleasure of collecting these toys was to demonstrate their mastery over the lore of these worlds.
In some cases, the characters would be deeply embedded in the aired episodes and in other cases, they would exist only in the background or only in one episode and often these were the characters most vividly remembered because they became the child's own possession, their backstory fleshed out from their own imagination, their personality constructed from their own playful performances. Each of the characters had different personalities (and thus demanded different voices) and over time, you would learn their verbal ticks, the quirks of their personality, and the sound of their voice, even though no two children would necessarily perform these characters in the same way. We might think of these characters as in effect avatars, an extension of the child into a virtual or imagined world, and see these constant shifts between personalities as a predecessor of what we would describe as identity play in adolescence.
Of course, the performance doesn't end there. The child themselves might become He-Man or some of the other characters through Halloween dress-ups and the web is full of yellowing family photographs of children of my son's generation physically embodying the heroes of their programs. Their mothers (or in my son's case, their grandmothers) might be coaxed into decorating birthday cakes with images copied from He-Man coloring books. And those lacking coloring books (or possessing artistic temperaments) would draw their own pictures of these characters which gave another tangible form to their fantasy lives. My son wrote countless stories which he dictated to his mother and I about He-Man and in the process, he moved from playing with physical objects to playing with words and with the basic building blocks of narratives.
In many ways, Masters of the Universe was already a transmedia story, at least as much as the technology of the day would allow. He-Man not only appeared in the Filmnation-produced cartoons but his story was extended into the mini comic books which came with each action figures, on the collector cards and sticker books and coloring books and kids books, each of which gave us a chance to learn a little something more about Eternia, Castle Grayskull, and the other places where these stories took place.
And of course, He-Man was only one of the many media franchises which were producing action figures. My son collected figures from Pee-Wee's Playhouse and the World Wrestling Federation, not to mention a smathering of Transformers, Thundercats, Silverhawks, and many other toy lines. Once they were removed from their packages, these toys could be mixed and matched to create new kinds of stories, which might involve meet-ips and cross-overs unlikely to occur in commercial media (though there was at least one DC comic where Superman and He-Man combined forces) but almost inevitable once kids got their hands on the toys.
Sometimes an action figure would stand in for another character not yet acquired much as an actor plays a fictional role and in other cases the pleasure was in experimenting with the boundaries between texts and genres, with the mixing of characters forcing them to rethink the scripts. The cross-over points to the generative dimensions of this action figure play - the ways that kids would move from re-performing favorite stories or ritualizing conventional elements from the series to breaking with conventions and creating their own narratives.
I never understood the parents who feared such toys would stifle my son's imagination because what I observed was very much the opposite - a child learning to appropriate and remix the materials of his culture. The fact that these stories were shared through mass media with other kids and that they were some vividly embodied in the action figures meant that it was easy for children to have intersubjective fantasies, to share their play stories with each other, and to pool knowledge about the particulars of this fictional realm.
So, is it any surprise that as this generation has grown older, they have continued to use these stories, characters, even the toys themselves as resources for their own creative expression? The web is full of amazing fan art in which artists lovingly recreate the assemblage of action figures and accessories they enjoyed as a child, much as earlier generations of artists sketched or wrote stories about the stuffed toys of their childhood imagination. (Think Winnie the Pooh or Raggedy Ann and Andy for earlier kinds of toy focused stories.)
There is a whole genre on YouTube of action figure movies, movies which may lovingly recreate the specific images the filmmakers remembered from the source material but may also playfully evoking the mixing and matching of characters that were part of toyroom play.
This same aesthetic of action-figure cinema gave rise to Adult Swim's successful Robot Chicken series, which also mixes and matches characters or recasts them to achieve desired effects. Here's one of their spoofs of the He-Man characters.
And I am particular fan of the web-based Skeltor Show, which remixes and remasters footage from the original He-Man cartoons for irreverent comedy.
All of this suggests that these toys left a lasting imprint on the imaginations of the generation that grew up playing with them.
When I speak to the 20 and 30 somethings who are leading the charge for transmedia storytelling, many of them have stories of childhood spent immersed in Dungeons and Dragons or Star Wars, playing with action figures or other franchise related toys, and my own suspicion has always been that such experiences shaped how they thought about stories.
From the beginning, they understood stories less in terms of plots than in terms of clusters of characters and in terms of world building. From the beginning they thought of stories as extending from the screen across platforms and into the physical realm. From the beginning they thought of stories as resources out of which they could create their own fantasies, as something which shifted into the hands of the audience once they had been produced and in turn as something which was expanded and remixed on the grassroots level.
In that sense, the action figure is very much the harbinger of the transmedia movement.
Palestra sobre Personagens e seus Universos
Hoje dei uma palestra muito legal para o curso de Animação 2D,na turma de Artes Plásticas, Professor Pelopydas Cipriano. Unesp, Blav, Barra Funda.
Misturei os conceitos da Teoria geográfica da paisagem para auxiliar os alunos a criarem personagens e seus respectivos universos.
Eu até me empolguei e criei um para mostrar no curso.
Um clima super divertido e arrojado, pelos os alunos artistas e também pelo professor artista Pel e seus vídeos sobre Thunderbirds (FANTÁSTICO).
REGISTRO AQUI MEU MUITO OBRIGADO.
Misturei os conceitos da Teoria geográfica da paisagem para auxiliar os alunos a criarem personagens e seus respectivos universos.
Eu até me empolguei e criei um para mostrar no curso.
Um clima super divertido e arrojado, pelos os alunos artistas e também pelo professor artista Pel e seus vídeos sobre Thunderbirds (FANTÁSTICO).
REGISTRO AQUI MEU MUITO OBRIGADO.
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
Adeus ao Rei do Pop, inclusive nos Video-Games!
Este post é uma singela homenagem a Michael Jackson. Tal fato não poderia passar em branco. Sinto-me feliz pelo auge de sua carreira ter feito parte de minha infância e adolescência: tentar imitar os passos na hora no lanche, ter visto seus video-clips até a exaustão e ter jogado muito Moonwalker.
Michael Jackson, descanse em paz.
Deixo aqui o tributo que o site de Jogos On-Line Miniclip fez ao Rei do Pop (personagens de seus jogos, dançando Thriller).
Michael Jackson, descanse em paz.
Deixo aqui o tributo que o site de Jogos On-Line Miniclip fez ao Rei do Pop (personagens de seus jogos, dançando Thriller).
Entrevista , com John Ridley, roteirista de filmes, falou sobre jogos de tabuleiro e filmes na indústria de Hollywood no portal americano de notícias NPR.
(para ver o original clique aqui)
Para ouvir a entrevista no Podcast clique aqui.
Morning Edition, June 24, 2009 · Hollywood loves a good story, particularly if that story comes from something besides an original script. From Gone with the Wind to Harry Potter, Tinseltown spinning source material into box-office gold is a Hollywood tradition as old as younger, hotter third wives.
So in Hollywood there's an entire microeconomy of highly paid folks who race around trying to figure out what's the next hot trend to turn into a movie. And the next hot trend is ...
Board games.
Yes, really. Board games. Reportedly, directors as notable as Ridley Scott and Peter Berg have respectively signed on to big-budget versions of Monopoly and Battleship, and there's even a version of Candy Land in the works. No word yet, though, on the Steven Spielberg adaptation of Chutes and Ladders.
It might seem like trying to turn board games into event movies is the height of creative laziness. Actually, Land of the Lost is the height of creative laziness. But there might be some rationality to the board game idea.
For a while now, the source material du jour has been video games. The thinking: If 18- to 29-year-old males will pay 50 bucks to interact with a game console for hours on end, surely they'll pay 12 bucks to sit and watch a movie based on the game they could be home enjoying. But that kind of logic gave us films like Doom and Hitman and Resident Evil, and a whole bunch of other stuff that's gonna go straight into the American Film Institute's vault for priceless gems.
The consensus in Hollywood wasn't that video game movies sucked, but that the source material they came from was far too complicated for the general public. So, Hollywood figured it needed to base movies on something a little less complex. Like theme-park rides. Country Bear Jamboree, Haunted Mansion and Pirates of the Caribbean were all theme-park attractions before they were movies. It worked. Three Pirates movies later, Hollywood came to the conclusion that the simpler the source material, the bigger the box office success. So from theme park rides, we got downgraded to toys. Transformers, and this summer Transformers 2 and G.I. Joe. And if toys could hit it big, didn't it just figure something more simplistic would hit it even bigger?
Board games.
Truth is, while everywhere else in the world familiarity breeds contempt, in Hollywood it tends to breed comfort. Execs like to go with what they know, and what they know is name recognition makes it easier to cut through the constant white noise of advertising and help a film gain awareness. But does that guarantee a good movie? I suppose that depends on how you feel about the 1985 movie version of the board game Clue.
You do remember the 1985 movie version of the board game Clue … don't you?
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Morning Edition, June 24, 2009 · Hollywood loves a good story, particularly if that story comes from something besides an original script. From Gone with the Wind to Harry Potter, Tinseltown spinning source material into box-office gold is a Hollywood tradition as old as younger, hotter third wives.
So in Hollywood there's an entire microeconomy of highly paid folks who race around trying to figure out what's the next hot trend to turn into a movie. And the next hot trend is ...
Board games.
Yes, really. Board games. Reportedly, directors as notable as Ridley Scott and Peter Berg have respectively signed on to big-budget versions of Monopoly and Battleship, and there's even a version of Candy Land in the works. No word yet, though, on the Steven Spielberg adaptation of Chutes and Ladders.
It might seem like trying to turn board games into event movies is the height of creative laziness. Actually, Land of the Lost is the height of creative laziness. But there might be some rationality to the board game idea.
For a while now, the source material du jour has been video games. The thinking: If 18- to 29-year-old males will pay 50 bucks to interact with a game console for hours on end, surely they'll pay 12 bucks to sit and watch a movie based on the game they could be home enjoying. But that kind of logic gave us films like Doom and Hitman and Resident Evil, and a whole bunch of other stuff that's gonna go straight into the American Film Institute's vault for priceless gems.
The consensus in Hollywood wasn't that video game movies sucked, but that the source material they came from was far too complicated for the general public. So, Hollywood figured it needed to base movies on something a little less complex. Like theme-park rides. Country Bear Jamboree, Haunted Mansion and Pirates of the Caribbean were all theme-park attractions before they were movies. It worked. Three Pirates movies later, Hollywood came to the conclusion that the simpler the source material, the bigger the box office success. So from theme park rides, we got downgraded to toys. Transformers, and this summer Transformers 2 and G.I. Joe. And if toys could hit it big, didn't it just figure something more simplistic would hit it even bigger?
Board games.
Truth is, while everywhere else in the world familiarity breeds contempt, in Hollywood it tends to breed comfort. Execs like to go with what they know, and what they know is name recognition makes it easier to cut through the constant white noise of advertising and help a film gain awareness. But does that guarantee a good movie? I suppose that depends on how you feel about the 1985 movie version of the board game Clue.
You do remember the 1985 movie version of the board game Clue … don't you?
Heróis - meios de comunicação e meios de produção
Após ver algumas imagens da Toy Fair 2009 de Nova Iorque, constato algo que vinha pensando ultimamente: o poder associado dos meios de comunicação e produção, principalmente sobre heróis.
Existem mais motivos que geram a onda de heróis no cinema do podemos imaginar. Por exemplo:
- a decadência do mercado impresso;
- diversas concorrências de entretenimento que levam a uma busca por uma briga de igual para igual;
- a cópia das idéias por roteiristas “meia-boca”, que estragam o conceito original;
- a expiração do prazo de direitos autorais, pois com o passar do tempo os personagens acabam se tornando domínio público, entre outros fatores.
Vemos a recuperação de um mercado que havia sido taxado como decadente. A superação de valores e das práticas ultrapassadas, deram lugar a ações de massa que levam ao conhecimento de públicos distintos que nunca chegariam perto desse material. Basicamente as ações são embasadas em: cinema e bens de consumo como videogames e brinquedos. O mais engraçado é a realização do caminho inverso, que leva a procura desses personagens nas suas histórias em quadrinhos.
Obviamente, que essa idéia não é nova. Todos aqui já ouviram falar do He-Man? Pois bem, aquilo que conhecíamos como um desenho animado, era para ser inicialmente, material publicitário. Entretanto, os vídeos agradaram tanto a diretoria da empresa, que ao invés de usa-lo como propaganda, optou-se por realizar uma série de episódios, cujo impacto seria maior junto as crianças e suas famílias.
Voltando a falar da Toy Fair 2009, o que mais se viu lá eram os personagens do Watchmen, de "X-men Origins: Wolverine", além dos ilustres Batman e Joker. O que todos tem em comum? Todos estiveram em cartaz e cada um a sua maneira aparecem em uma série de jogos.
Cada vez mais estes Heróis deixam de ser algo cult e restrito, para se tornar parte da mitologia social moderna não só pelos conceitos imagéticos, mas também ligado aos meios de interação.
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