Of course, rebooting can never truly wipe the slate clean. The slate is a palimpsest and contains all the traces and ghosts of previous incarnations. However, we can see (hypothetically) intertextuality and dialogism spiralling along a horizontal axis – the paradigmatic – and the story itself unfolding sequentially along a vertical axis which is the syntagm. Intertextuality may “destroy the linearity of the text,” as Laurent Jenny argues, but linearity is still preserved.
In order to give maximum creative freedom to the filmmakers and also preserve an element of surprise and discovery for the audience, Star Wars Episodes VII-IX will not tell the same story told in the post-Return of the Jedi Expanded Universe. While the universe that readers knew is changing, it is not being discarded. Creators of new Star Wars entertainment have full access to the rich content of the Expanded Universe. For example, elements of the EU are included in Star Wars Rebels. The Inquisitor, the Imperial Security Bureau, and Sienar Fleet Systems are story elements in the new animated series, and all these ideas find their origins in roleplaying game material published in the 1980s.
Land Rover reveals world’s first Transparent Bonnet Concept allowing a new level of driver awareness with a ’see-through‘ augmented reality view of the terrain ahead, making the front of the car ‚virtually‘ invisible from inside the cabin.
Lots of people have come up with lots of ways to map, chart, categorize, name and formulate story patterns and structures. Also see The Story Structure Countdown: How Different ‘Experts’ Say You Should Structure a Story.
As the television industry has been remapping the flow of media content, as new forms of producers and distributors enter the marketplace, there has also been an accompanying effort to rethink their interface with media audiences. Over the past decade, we’ve seen a renewed emphasis on audience engagement strategies which seek to ensure consumer loyalty and social buzz as a way for individual programs or networks to “break through the clutter” of the multiplying array of media options. New metrics are emerging for measuring the value of engaged viewers and the kinds of social and cultural capital they bring with them when they embrace a program. So, for example, the rise of Black Twitter has been credited with helping to rally support behind new programs with strong black protagonists, such as ABC’s “Scandal,” Fox’s “Sleepy Hollow” and BET’s “Being Mary Jane.” Second-screen apps are becoming ubiquitous as television producers seek to hold onto the attention of a generation of viewers who are prone to multitasking impulses. The successful “Veronica Mars” Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. And the commercial success of “50 Shades of Grey,” which was adapted from a piece of “Twilight” fan fiction, has alerted the publishing world to the previously underappreciated value of women’s fan fiction writing as a recruiting ground for new talent and as a source for new creative material. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved?
Ivan Askwith – Lead strategist, “Veronica Mars” Kickstarter Campaign
Vicky L. Free – Chief marketing officer, BET Networks
Nick Loeffler – Director of business development, Kindle Worlds
Stacey Lynn Schulman – Senior vice president, chief research officer, Television Bureau of Advertising
Sharon L. Strover – Professor, College of Communication, University of Texas at Austin
Henry Jenkins – Co-director, Transforming Hollywood / provost professor of Communication, Journalism, Cinematic Arts and Education, USC Annenberg School for Communication
The difficulty of capturing ephemeral moments is felt deeply in video game archival work. „Preserving Virtual Worlds,“ a landmark paper and project in the field, uses the example of virtual candlelight vigils held in Asheron’s Call and Everquest after the September 11th attacks. One version of a single-player game can stay more or less the same over the years, but these moments were as fleeting as their real-world counterparts — and unlike those, there are no physical relics left behind. If EVE Online somehow manages to keep running into the next century, it won’t be the same game it was in 2013. Even going back 10 years is a struggle: in the early days, Ólafsson says, CCP had to overwrite older data to keep from running out of server space. Today, the company keeps a huge archive, of which MoMA currently has only a fragment.
My take on visually presenting Kurt Vonnegut’s theories about archetypal stories, designed after researching the subject. Prints are available on my shop on Etsy.
We take video games as our impetus and our enterprise. With multidisciplinarity and interdisciplinarity as our tools, we look to the past of video gaming in order to orchestrate and build its future. Looking to rhetoric, media studies, and cultural studies, many apparatuses of analysis are present, but they all must be brought into these media and reborn.