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\u2460\uff1aEcogames: Playful Perspectives on the Climate Crisis
\u2461\uff1aNarrative-musical puzzle. Reading the media mix effects through music.<\/p>\n\n\n\n
\u2460\uff1aJoost Raessens(Utrecht University)
\u2461\uff1aAlberto Porta-P\u00e9rez(Jaume I University)<\/p>\n\n\n\n
2023\u5e7410\u670825\u65e5 15:30-19:20<\/p>\n\n\n\n
-15:30- 17:20 1st Presentation and Discussion
–Joost Raessens(Utrecht University), Ecogames: Playful Perspectives
on the Climate Crisis
–Comment : Kazuhiko Ota(Nanzan University)
-17:30- 19:20 2nd Presentation and Discussion
–Alberto Porta-P\u00e9rez(Jaume I University), Narrative-musical puzzle.
Reading the media mix effects through music.<\/p>\n\n\n\n
\u7acb\u547d\u9928\u5927\u5b66\u8863\u7b20\u30ad\u30e3\u30f3\u30d1\u30b9 \u5b66\u800c\u9928\u7814\u7a76\u4f1a\u5ba4 3\u3000\u30a2\u30af\u30bb\u30b9<\/a>
Ritsumeikan Kinugasa Campas, Gakujikan Reserch Room 3\u3000Access<\/a><\/p>\n\n\n\n
\u25b7Ecogames: Playful Perspectives on the Climate Crisis
With the climate crisis and its repercussions becoming more and more tangible, the media are increasingly participating in the production, circulation, and interrogation of environmental assumptions, using both explicit and implicit ways of framing the crisis. In this lecture, I will present an overview of my research on green media\/ecogames, and will do so in three steps. First, I will present our \u2018Green Media Studies initiative\u2019 that seeks to contribute to the understanding of the interconnectedness of media representations, media use, media impact, and media technologies in addressing the climate crisis. Then I will give a short overview of the four thematic sections of our book Ecogames: Playful Perspectives on the Climate Crisis. <\/em>They are:<\/em> Today\u2019s Challenges: Games for Change; Future Worlds: New Imaginaries; The Nonhuman Turn; and Critical Metagaming Practices. Finally, I will introduce our Horizon Europe project STRATEGIES: Sustainable TRAnsiTion for Europe\u2019s Game IndustriES\u2019 (2024-2028). It is the project\u2019saim to support Europe\u2019s game industries in realising their potential as drivers of sustainable innovation, helping to achieve the goals of the European Green Deal.
\u25b7Narrative-musical puzzle. Reading the media mix effects through music.
Why does Sephiroth appears musically in Jenova boss battle theme? Is Zack\u2019s memory present in \u201cOne-Winged Angel – Rebirth\u201d instrumental section? Can players prevent the future narrative events through music? We analyze the musical compositions of Final Fantasy VII Remake (Square-Enix, 2020) boss battle themes from a ludomusical and ludonarrative prism comparing it with the original 1997 soundtrack. However, more than twenty years have passed between the two video games releases. In that time, Final Fantasy VII (Squaresoft, 1997) has built itself into its own transmedia universe and we have been able to consume an anime, an animated movie, live concerts or other video game (both spin offs and participations in other franchises). All this range of transmedia products has affected the remake, in general, as well as the soundtrack, in particular. This research is supported by the term ludomusical boomerang, it’s understood as the sonic evolution that occurs in a video game whose soundtrack has gone through different transmedia products until it is reintegrated into the game’s playful and narrative layer. The research demonstrates how this ludomusical boomerang affects the game design of Final Fantasy VII Remake and contributes to the player’s immersion and pleasant experience through a narrative-musical puzzle.<\/p>\n","protected":false},"excerpt":{"rendered":"