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Artículos de revistas sobre el tema "War games – fiction"

Autor: Grafiati

Publicado: 28 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.

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In this paper, I would like to take a closer look at the hybrid genre of digital documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, opponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line M

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Mallan, Kerry. "Everything You Do: Young Adult Fiction and Surveillance in an Age of Security." International Research in Children's Literature 7, no. 1 (2014): 1–17. http://dx.doi.org/10.3366/ircl.2014.0110.

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Espionage, surveillance and clandestine operations by secret agencies and governments were something of an East–West obsession in the second half of the twentieth century, a fact reflected in literature and film. In the twenty-first century, concerns of the Cold War and the threat of Communism have been rearticulated in the wake of 9/11. Under the rubric of ‘terror’ attacks, the discourses of security and surveillance are now framed within an increasingly global context. As this article illustrates, surveillance fiction written for young people engages with the cultural and political tropes th

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Green, Andrew, and Roger Dalrymple. "Playing at Murder: The Collaborative Works of the Detection Club." Crime Fiction Studies 2, no. 1 (2021): 63–78. http://dx.doi.org/10.3366/cfs.2021.0034.

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This paper explores the inter-war collaborative works of the Detection Club as a source of commentary and insight on the ludic and dialogic nature of Golden Age detective fiction. Less well known than the single-authored works of Detection Club members, the multi-authored Behind the Screen, The Scoop, The Floating Admiral, Ask a Policeman and Six Against the Yard capitalise upon the genre's capacity for intertextual play and self-conscious engagements with literary formula and convention. By adopting a range of collaborative approaches and working in different combinations, the joint authors (

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4

Korolev, Cyril M. "BACK TO THE USSR, OR GAMES OF QUASI-HISTORICAL IMAGINATION: FICTITIOUS LATE SOVIET CHILDHOOD IN CONTEMPORARY RUSSIAN POPULAR CULTURE." Children's Readings: Studies in Children's Literature 24 (2023): 336–64. http://dx.doi.org/10.31860/2304-5817-2023-2-24-336-364.

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At the turn of the 2010s, one more plot, which implies the physical movement of the protagonist back in time in order to change the past, has begun to be actively developed in modern Russian science fiction — a return to the USSR, and not to the years of the Great Patriotic War, where the first authors of current alternative science fiction sent their heroes, but to the much more peaceful years of “zastoy”, in the late Soviet Union of Brezhnev times. In many works, the hero, during such a transfer, ends up in a child’s body and thereby is forced to live through late Soviet childhood — the way

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Fouzia Usmani and Shahin Fatma. "Adaptation Odyssey: Tracing the Evolution of Postcolonial Narrative from Fiction, Film to Digital Gaming." Shanlax International Journal of English 12, S1-Dec (2023): 433–39. http://dx.doi.org/10.34293/rtdh.v12is1-dec.137.

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The vibrant advancement of Joseph Conrad’s Heart of Darkness is observed in this essay through an ongoing process of modification and alteration. The novella, which first appeared in 1902 and was based on Conrad’s experiences in the Congo in the 1890s, has subsequently been the subject of numerous adaptations that have sparked debates and criticisms. As a Nigerian writer, Chinua Achebe engaged in a thoughtful analysis of the novella, scrutinizing it for potential instances of racism. Conversely, Francis Ford Coppola fearlessly reimagined the narrative within the context of the Vietnam War in h

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Pittner, Fruzsina, and Iain Donald. "Gaming the Heart of Darkness." Arts 7, no. 3 (2018): 46. http://dx.doi.org/10.3390/arts7030046.

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The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active parti

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7

Blades, Peter. "Encyclopedia of Weird War Stories: Supernatural and Science Fiction Elements in Novels, Pulps, Comics, Film, Television, Games and Other Media." Reference Reviews 32, no. 2 (2018): 13–14. http://dx.doi.org/10.1108/rr-10-2017-0210.

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Lynch, Deidre. "“Is This Real?”." Victorian Literature and Culture 47, no. 1 (2018): 103–9. http://dx.doi.org/10.1017/s1060150318001365.

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One salutary effect of encountering the often bizarre materials—Leibniz's possible worlds theory, war-games played in Prussian military academies, books about the presidency of Jefferson Davis—that Catherine Gallagher has assembled in Telling It Like It Wasn't is that one obtains a better purchase on the deep weirdness that also informs normal realist novels. That weirdness is central to the realist tradition's historical fictions especially, by virtue of the peculiar manner in which they compound together fictional invention and referentiality and call on readers to traverse the ontological c

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Ivashyna, Oleksandr. "“Planless Life”: Leisure Studies in the Context of Melvillean Paradigmatic Figure of Bartleby." NaUKMA Research Papers. History and Theory of Culture 7 (August 7, 2024): 42–51. http://dx.doi.org/10.18523/2617-8907.2024.7.42-51.

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Considered differently at different historical times, leisure as a particular lifestyle is quite a common research topic. Today, at times of war, we tend to compensate for its horrors and nonsense with something remote, and this can be leisure, either in the form of what the global culture industry recommends to a mass consumer (Netflix, crime fiction reads, computer games), or as moments of personal development and education. Both, however, seem to transform us into cogs in the machine of culture industry.Is there any possibility of leisure without any project, leisure which would not comply

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10

Blažić, Milena Mileva. "OVERLOOKED AVANT-GARDE IN THE YOUTH OPUS OF LOJZE KOVAČIČ." ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, no. 7 (2023): 11. http://dx.doi.org/10.58885/ijllis.v12i7.11mb.

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<p><span>The article presents the literary works foryouth by Lojze Kovačič (1928-2004) who mostly wrote for adults.He was born in Basel, Switzerland, but before the Second World War, the author's family had to leave Switzerland and they emigrated to the then Kingdom of Yugoslavia, to the birthplace of his father. As early as 1947, he began publishing in Slovene in the student newspaper “Mi mladi” (We Young). After 1950, he wrote short modern fairy tales for children with modernist elements typical of adult literature. This deliberate modernity already heralds a top author who, for

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11

Pfister, Eugen. "“Know your History!”." Tiempo devorado 7, no. 1 (2022): 11–32. http://dx.doi.org/10.5565/rev/tdevorado.166.

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The conflict, which expanded geographically, sociopolitically, and culturally in all directions and on all levels, not only dominated international relations but could also be felt in everyday life. As a “war of cultures,” it permeated the narratives and aesthetics of movies, comics, popular music, literature, and also digital games. It is however not possible to speak of a homogeneous field of Cold War Games. The Cold War is in these games sometimes only a superficial flourish. Sometimes it serves as the motivation for conflict, sometimes it is used as a historical or fictional setting. What

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Vorobyeva, O. V., and F. V. Nikolai. "DIGITAL FRONT: WORLD WAR I IN COMPUTER GAMES." Вестник Пермского университета. История, no. 4(59) (2022): 129–39. http://dx.doi.org/10.17072/2219-3111-2022-4-129-139.

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The article presents a brief overview of contemporary discussions on the transformation of historical memory in digital culture, and above all in video games. The representation of the heroic and tragic narratives in games, most often related to World War II and World War I, respectively, differs significantly. The former uses a realistic strategy of representation and emphasizes visual detailing, linear plot construction, and the synchronization of in-game, fictional, and historical time. Authenticity is perceived here through the realism of details. The tragic narrative uses a deconstructivi

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Jiresch, Ester, and Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT." Tijdschrift voor Skandinavistiek 37, no. 1 (2020): 38–54. http://dx.doi.org/10.21827/tvs.37.1.36929.

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This article discusses the most recent (twenty-first century) development in reception and adaptation of Nordic mythology (particularly referring to the Prose and Poetic Edda) and the appropriating of Nordic identities (stereotypes) that is taking place in the so-called new media. In the last two decades the reception of Nordic mythology or Nordic 'themes' in different new media like film, comic books, heavy metal music and computer games has exploded. New media are generally considered expressions of 'popular' culture and have therefore not yet received much scholarly attention. However, sinc

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14

Pichlmair, Martin. "Assembling a Mosaic of the Future: The Post-Nuclear World of Fallout 3." Eludamos: Journal for Computer Game Culture 3, no. 1 (2009): 107–13. http://dx.doi.org/10.7557/23.6000.

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Fallout is a series of role-playing games set in a prolonged nuclear age that follows the fictional Great War of 2077. Its story follows an alternate history scenario that branches from our history at about 1950. During the years following the nuclear fallout, the earth changes its face. Species mutate, some animals become sentient, and many humans lose their mind. This review focusses on the historic context of the nuclear age and how it informed the world of Fallout.

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15

Goelz, Christine. "Through a Chilly Land – between First-Person Shoot-Em-Up and Tourist Blockbuster. Jáchym Topol's Fictional Statement on the Possibility of Immersive Remembrance." Digital Icons: Studies in Russian, Eurasian and Central European New Media, no. 6 (June 7, 2011): 63–79. https://doi.org/10.5281/zenodo.14730205.

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The new media have brought with them new forms of engagement with history. Jáchym Topol’s most recent novel, which plays with a grotesque war of memorial strategies in the Czech Republic and Belarus, reacts to this challenge with intermedial references, including structural imitation and a computer game. This article describes the textual means of creating an immersive experience that include literary modelling of the narrative strategies on the first-person shooter computer games. The article shows how a critical commentary on current practices of engaging with history, from

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Bender, Reet. "Levkoi, Waschnik, härra Krokus ja teised. Baltisaksa laste mängu- ja kasvamismaailmad." Mäetagused 89 (August 2024): 51–76. http://dx.doi.org/10.7592/mt2024.89.bender.

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This article focuses on imaginative childhood games and fictional playmates in Baltic German children’s games, as seen in the context of, and in relation to, Baltic German domestic and educational culture. Through reminiscing about these games, a view of the Baltic German domestic environment in all its diversity is opened up. It gives an insight into the mental environment – relationships within the immediate and extended family and domestic circle (which also included servants) and the relationships and interactions beyond, but also shares information about the physical environment – the eve

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17

Mehrstam, Christian. "Recomposing Lovecraft: Genre Emulation as Autopoiesis in the First Edition of Call of Cthulhu." International Journal of Role-Playing, no. 12 (October 5, 2022): 106–28. http://dx.doi.org/10.33063/ijrp.vi12.293.

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The article examines how genre is emulated in the first edition of Call of Cthulhu (1981 ), analyzing the game's potential to answer social needs during the Reagan era. Genre is understood in the response aesthetic sense, as collections of traits sedimented from authors' and designers' attempts to meet their audiences. Similar to how software can be engineered to replace older hardware, Call of Cthulhu replaces the genre functions underpinning Lovecraftian stories. Previous research discusses Call of Cthulhu as a horror RPG, mostly referencing later editions. This article's analysis, based on

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18

Groppo, Pedro. "Death Games and the Persistence of Memory: J. G. Ballard’s World War II Fictions." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 74, no. 1 (2021). http://dx.doi.org/10.5007/2175-8026.2021.e72740.

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This article is a discussion of J. G. Ballard’s (semi-)autobiographical war narratives, with a focus on the different textual strategies and processes of signification Ballard employs from his avant-garde novel The Atrocity Exhibition (1970) to the feverish fictional account of his time in World War II China in “The Dead Time” (1977) and Empire of the Sun (1984) to his more reflective autobiographical texts The Kindness of Women (1990) and Miracles of Life (2008). Ballard’s obsessive repetition of many of the same images and attest to a problematics of representation of the traumatic event, an

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19

-, Chirag Arikella. "World of Warcraft / The Witcher and the Impact of Literature on Gaming : A Postmodern Phenomenon." International Journal For Multidisciplinary Research 5, no. 5 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.7612.

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The research titled "World of Warcraft /The Witcher and the Impact of Literature in Gaming” is an insight on how the gaming industry has been implementing Literature as a foundation for their works. The study highlights how the Gaming industries have been adapting pre-existing fiction works while also actively producing their own literary works to serve as a foundation for their games. This merging of Fiction and gaming results in a stimulative and interactive medium of storytelling, where the reader/player gets to decide how the storyline and plot unfolds, where essentially, playing these gam

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Ottens, Michel. "A Broken Mirror Held to History’s Face On the Narrative Use of Computer Screens, Multi Screen Experiences, and a Transmedia Theoretical Console in the Popular Assassin’s Creed Series." International Journal of Transmedia Literacy (IJTL) 5 (January 12, 2021). http://dx.doi.org/10.7358/ijtl-2019-003-otte.

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This paper presents media theorist Nanna Verhoeff’s concept of the theoretical console, as a popular and overt form of transmedia narrative. The theoretical console is taken to be a transmedia assemblage that draws attention to itself, as comprising diverse and meaningful media objects, that can be connected in a shared narrative. My main examples of this concept here are those popular video games that spatially juxtapose several types of computer screens and computer uses, with a narrative emphasis. With extensive references to theory on screened media and on transmedia narratives, Assassin’s

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Torbó, Annamária. "Kívülállók, varázslók, disztópiák." Studia Litteraria 58, no. 1-2 (2019). http://dx.doi.org/10.37415/studia/2019/58/4272.

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Young adult (YA ) is a determinative contemporary pop culture term, mostly known from the movie industry. However, it is originally a literary category that emerged in the 1960s. In the first section of the study I argue for an age-framework for ”teenager”, as a distinctive age group. Then I introduce the antecedents and bestsellers of YA from the very first books (The Outsiders, The Contender) through the first golden age (Are You There God, It’s Me Margarete, Chocolate War) to the current flourishing, while using the best-known novel adaptations from the screen of the cinema and television.

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Kaspi, Niva. "Bill Lawton by Any Other Name: Language Games and Terror in Falling Man." M/C Journal 15, no. 1 (2012). http://dx.doi.org/10.5204/mcj.457.

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“Language is inseparable from the world that provokes it”-- Don DeLillo, “In the Ruins of the Future”The attacks of 9/11 generated a public discourse of suspicion, with Osama bin Laden occupying the role of the quintessential “most wanted” for nearly a decade, before being captured and killed in May 2011. In the novel, Falling Man (DeLillo), set shortly after the attacks of September 11, Justin, the protagonist’s son, and his friends, the two Siblings, spend much of their time at the window of the Siblings’ New York apartment, “searching the skies for Bill Lawton” (74). Mishearing bin Laden’s

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Banks, John. "Controlling Gameplay." M/C Journal 1, no. 5 (1998). http://dx.doi.org/10.5204/mcj.1731.

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Computer and video games are one of the primary uses of personal computer technologies, and yet despite an increasing interest in cultural practices that are organised around computer and information technologies cultural studies has paid very little attention to this phenomenon. In the War of Desire and Technology Allucquére Roseanne Stone comments "that there seems no question that a significant proportion of young people will spend a significant and increasing proportion of their waking hours playing computer-based games in one form or another, and so far the implications of this trend have

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thomas. "FromSoftware Confirms "Multiple New Projects", One In "Final Stages"." July 6, 2022. https://doi.org/10.5281/zenodo.6804148.

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Elden Ring engineer FromSoftware has uncovered that it has multiple new projects being developed, as the organization is currently hiring new ability to chip away at these games. The organization is at present working diligently releasing patch refreshes for Elden Ring, which might culminate in a full DLC extension later on, yet there is something else to FromSoftware's undertakings besides Elden Ring. FromSoftware has delivered probably the most widely praised computer games of the beyond not many control center ages, starting with Demon's Souls, which made a whole subgenre that has b

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Kimberley, Maree. "Neuroscience and Young Adult Fiction: A Recipe for Trouble?" M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.371.

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Historically, science and medicine have been a great source of inspiration for fiction writers. Mary Shelley, in the 1831 introduction to her novel Frankenstein said she was been inspired, in part, by discussions about scientific experiments, including those of Darwin and Galvani. Shelley states “perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth” (10). Countless other authors have followed her lead, from H.G. Wells, whose mad scientist Dr Moreau takes a

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May, Lawrence. "Confronting Ecological Monstrosity." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2827.

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Introduction Amidst ecological collapse and environmental catastrophe, humankind is surrounded by indications that our habitat is turning against us in monstrous ways. The very environments we live within now evoke existential terror, and this state of ecological monstrosity has permeated popular media, including video games. Such cultural manifestations of planetary catastrophe are particularly evident in video game monsters. These virtual figures continue monsters’ long-held role in reflecting the socio-cultural anxieties of their particular era. The horrific figures that monsters present pl

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Burgess, Jean, Joy McEntee, and Emma Nelms. "How to Pick a Fight." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2131.

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In a post September 11 era “the fight”, as a cultural construct, could hardly be more pertinent. We are seemingly forever poised on the edge of controversial U.S. led attacks on wayward Middle Eastern states and unexamined oppositions between the concepts of ‘good’ and ‘evil’ are evoked as valid justifications for battle. Our leaders muster us into wars of vigilance and national cohesion against unseen, unknown and uncomprehended terrorists hiding where communists once lurked under our beds. The articles in this issue examine fights in terms of media strategies and cultural divides in a range

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Brandt, Marisa Renee. "Cyborg Agency and Individual Trauma: What Ender's Game Teaches Us about Killing in the Age of Drone Warfare." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.718.

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During the War on Terror, the United States military has been conducting an increasing number of foreign campaigns by remote control using drones—also called unmanned aerial vehicles (UAVs) or remotely piloted vehicles (RPVs)—to extend the reach of military power and augment the technical precision of targeted strikes while minimizing bodily risk to American combatants. Stationed on bases throughout the southwest, operators fly weaponized drones over the Middle East. Viewing the battle zone through a computer screen that presents them with imagery captured from a drone-mounted camera, these co

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Caldwell, Nick. "Rocketships, Rayguns and UFOs." M/C Journal 1, no. 2 (1998). http://dx.doi.org/10.5204/mcj.1707.

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A curious sense of the past, the present, and the future is evoked when I consider the sweeping curves and gleaming surfaces of the rocketships, rayguns and UFOs beloved of 1950s SF illustrators and filmmakers. A sense of the past, of course, because they are things of history, designed and conceived at the pre-dawn of the space age, and representing an old aesthetic and innocent notions of infinite progress and glistening technology. Modernity, pure and distilled. A sense of the present, because these designs and aesthetics are constantly being reworked, re-modelled, re-contextualised and re-

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DeJong, Scott, and Alexandre Bustamante de Monti Souza. "Playing Conspiracy." M/C Journal 25, no. 1 (2022). http://dx.doi.org/10.5204/mcj.2869.

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Introduction Scholars, journalists, conspiracists, and public-facing groups have employed a variety of analogies to discuss the role that misleading content (conspiracy theory, disinformation, malinformation, and misinformation), plays in our everyday lives. Terms like the “disinformation war” (Hwang) or the “Infodemic” (United Nations) attempt to summarise the issues of misleading content to aide public understanding. This project studies the effectiveness of these analogies in conveying the movement of online conspiracy theory in social media networks by simulating them in a game. Building f

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Finn, Mark. "Computer Games and Narrative Progression." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1876.

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As one of the more visible manifestations of the boom in new media, computer games have attracted a great deal of attention, both from the popular press, and from academics. In the case of the former, much of this coverage has focussed on the perceived danger games pose to the young mind, whether that danger be physical (in terms of bodily atrophy due to inactivity) or social (in terms of anti-social and even violent behaviour, caused by exposure to specific types of content). The massacre at Columbine High School in the United States seems to have further fuelled these fears, with several sto

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Bender, Stuart Marshall. "You Are Not Expected to Survive: Affective Friction in the Combat Shooter Game Battlefield 1." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1207.

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IntroductionI stumble to my feet breathing heavily and, over the roar of a tank, a nearby soldier yells right into my face: “We’re surrounded! We have to hold this line!” I follow him, moving past burning debris and wounded men being helped walk back in the opposite direction. Shells explode around me, a whistle sounds, and then the Hun attack; shadowy figures that I fire upon as they approach through the battlefield fog and smoke. I shoot some. I take cover behind walls as others fire back. I reload the weapon. I am hit by incoming fire, and a red damage indicator appears onscreen, so I move

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Hackett, Lisa J., and Jo Coghlan. "Why <em>Monopoly</em> Monopolises Popular Culture Board Games." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2956.

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Introduction Since the early 2000s, and especially since the onset of COVID-19 and long periods of lockdown, board games have seen a revival in popularity. The increasing popularity of board games are part of what Julie Lennett, a toy industry analyst at NPD Group, describes as the “nesting trend”: families have more access to entertainment at home and are eschewing expensive nights out (cited in Birkner 7). While on-demand television is a significant factor in this trend, for Moriaty and Kay (6), who wouldn’t “welcome [the] chance to turn away from their screens” to seek the “warmth and conne

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Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2134.

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I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Ge

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Sweeny, Robert. "Code of the Streets: Videogames and the City." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2637.

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   Cities are shared spaces. As the massive worldwide Iraq war protests that began in 2002 indicate, the structure of the city allows for the presentation of social statements, where large groups can gather, share ideas or argue beliefs, and where media outlets can broadcast these activities. While cities enable these forms of interaction, digital technologies also allow for worldwide connections, both through communication and entertainment. What is the relationship between the shared, often contested spaces of the city and how they are represented in interactive media such

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Nairn, Angelique, and Lorna Piatti-Farnell. "The Artificial." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3141.

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Orvell noted that despite the evolution of society, imitation and authenticity function as “compass points” that guide meaning-making and retain potency as humans continue to negotiate the real and the unreal in society (ix). Describing the natural and the artificial, Birnbacher contended that, simply put, it is the difference “between what has ‘become’ and what has been ‘made’” (2): the view is that if something exists independent of human intervention, then that would make it a natural entity. Of course, he noted such a definition was not straightforward, citing examples of products manufact

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Graf, Shenja van der. "Blogging Business." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2395.

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SuicideGirls.com In September 2001 two entrepreneurs Missy (coal-black Betty Page bangs and numerous tattoos) and Sean launched SuicideGirls.com. With their backgrounds in graphic design, programming and photography, they came up with the idea of launching an alternative adult site that started out as “a kind of an art project” — it grew out of an interest in Bunny Yeager’s pinup photos, where the control and attitude of the sexy women were emphasized, only now it was about pierced and tattooed females. Missy describes the portrayal of women on the site in the following words: The site is abou

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Proctor, Devin. "Wandering in the City: Time, Memory, and Experience in Digital Game Space." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1549.

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As I round the corner from Church Street onto Vesey, I am abruptly met with the façade of St. Paul’s Chapel and by the sudden memory of two things, both of which have not yet happened. I think about how, in a couple of decades, the area surrounding me will be burnt to the ground. I also recall how, just after the turn of the twenty-first century, the area will again crumble onto itself. It is 1759, and I—via my avatar—am wandering through downtown New York City in the videogame space of Assassin’s Creed: Rogue (AC:R). These spatial and temporal memories stem from the fact that I have previousl

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39

Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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Young, Sherman. "Beyond the Flickering Screen: Re-situating e-books." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.61.

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The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the o

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41

Staite, Sophia. "Kamen Rider." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2834.

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2021 is the fiftieth anniversary year for Japanese live-action superhero franchise Kamen Rider. For half a century, heroes bearing the name Kamen Rider have battled rubber suited monsters and defended the smiles of children. Unlike many superheroes, however, the Kamen Riders are grotesque heroes, usually drawing their powers from the same source as the villains they battle. Grotesque human-machine-animal hybrids, they differ from their opponents only in the kindness of their hearts and the strength of their spirits. Although the Kamen Rider franchise includes a variety of texts including manga

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42

Marshall, Jonathan. "Resistances of Gender." M/C Journal 6, no. 4 (2003). http://dx.doi.org/10.5204/mcj.2232.

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Online life is embedded within the complexes, organisations, power ratios, and conceptualisations of offline life. The ambiguities of the interaction between online and offline - the testing and questioning, asking and affirming of their match - make a vital part of their current phenomenology. One factor which seems to exert resistance - some form of implacability - however unexpectedly, is that of gender. Other categories, such as politics and nationality, seem to have similar, but more direct, effects. Online folklore is quite specific, and the folklore can be academic as analysts are affec

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Murphie, Andrew. "When Fibre Meets Fibre." M/C Journal 6, no. 4 (2003). http://dx.doi.org/10.5204/mcj.2227.

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The Virtual and the Physical A wide range of ritual practices have accompanied the ‘rise of the network society’. This is witnessed in the secular and non-secular magic and mysticism that is endemic in contemporary science fiction, in war-chalking, in new forms of compulsion, neurosis and addiction, or just in the everyday use of networked technologies. Such ritual practices are often only seen as interesting diversions or attachments to the main social issues involved in networking. Indeed, some might see these diversions precisely as attempts to cope with the network society, or even to flee

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Brien, Donna Lee. "Bringing a Taste of Abroad to Australian Readers: Australian Wines & Food Quarterly 1956–1960." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1145.

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IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and in

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King, Ben. "Invasion." M/C Journal 2, no. 2 (1999). http://dx.doi.org/10.5204/mcj.1741.

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The pop cultural moment that most typifies the social psychology of invasion for many of us is Orson Welles's 1938 coast to coast CBS radio broadcast of Invaders from Mars, a narration based on H.G. Wells's The War of the Worlds. News bulletins and scene broadcasts followed Welles's introduction, featuring, in contemporary journalistic style, reports of a "meteor" landing near Princeton, N.J., which "killed" 1500 people, and the discovery that it was in fact a "metal cylinder" containing strange creatures from Mars armed with "death rays" which would reduce all the inhabitants of the earth to

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Phillips, Maggi. "Diminutive Catastrophe: Clown’s Play." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.606.

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IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in E

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Losh, Elizabeth. "Artificial Intelligence." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2710.

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   On the morning of Thursday, 4 May 2006, the United States House Permanent Select Committee on Intelligence held an open hearing entitled “Terrorist Use of the Internet.” The Intelligence committee meeting was scheduled to take place in Room 1302 of the Longworth Office Building, a Depression-era structure with a neoclassical façade. Because of a dysfunctional elevator, some of the congressional representatives were late to the meeting. During the testimony about the newest political applications for cutting-edge digital technology, the microphones periodically malfunctione

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McDonald, Donna. "Shattering the Hearing Wall." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.52.

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She leant lazily across the picnic hamper and reached for my hearing aid in my open-palmed hand. I jerked away from her, batting her hand away from mine. The glare of the summer sun blinded me. I struck empty air. Her tendril-fingers seized the beige seashell curve of my hearing aid and she lifted the cargo of sound towards her eyes. She peered at the empty battery-cage before flicking it open and shut as if it was a cigarette lighter, as if she could spark hearing-life into this trick of plastic and metal that held no meaning outside of my ear. I stared at her. A band of horror tightened arou

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Altiok, Revna. "Unveiling Ken." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3067.

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Introduction "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him", states the narrator in Barbie (2023). Directed by Greta Gerwig, the film not only claimed the title of the highest-grossing film of the year but also prompted its audience to reconsider a character they had previously mostly overlooked; another one of Barbie’s many accessories: Ken. Ken's identity as Barbie's companion is fundamentally dependent upon the presence and recognition of his more prominent female counterpart. This highlights Ken's secondary role, where he serves as a supporting figu

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Taylor, Nick. "LEGO and the Infrastructural Limits of Open Play." M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2945.

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LEGO and Adult Hobbyism For much of its history, LEGO has been regarded as a – if not the – children’s toy. Partially through The LEGO Group (TLG)’s own careful deployment of research on constructivist learning, the building system’s recombinatory logic, bright colours, and foot-destroying durability have become associated with paradigmatic notions of what children’s play is and does (Giddings; Maddalena). And yet the world of adult LEGO hobbyism is complex, rich, and worthy of scholarly attention in its own regard. As recent headlines about the popularity of toys among adults have indicated,

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