The Creative Gaming Award is granted anually during the PLAY – Creative Gaming festival and honors the most creative and innovative games and media.
Keen to learn more and expand into the universe, humankind has always been fascinated with unknown creatures. During the last century, aliens in particular have become a pop-cultural phenomenon. However, the depiction of extraterrestrial life, or the otherness, in films as well as other media has changed over the years. One aim of this paper is to show in how far the depiction of otherness has changed, exemplified by Ridley Scott’s Alien (1979) and Christopher Nolan’s Interstellar (2014). By comparing both films, I attempt to provide evidence for the thesis that possible differences in the depiction occur due to socio-political contexts and how this has changed throughout the last decades.
The plot of Life is Strange: Before the Storm revolves around Chloe Price and Rachel Amber. Both attend the Blackwell Academy in Arcadia Bay and supposedly belong to different social groups within the school’s network. While Rachel is one of the most popular students, Chloe barely has any friends as her only friend Max has left town. Their respective characters raise the question how and why these young women have become friends and whether there is more to their relationship than the mutual search for friendship. The game offers an answer on a subtle and metaphorical level that foreshadows dark and dramatic events and lets us surmise the truth behind Rachel Amber, which perhaps involves murder, abduction, and manipulation.
The first season of Twin Peaks introduces us to the plot, the murder of Laura Palmer, and besides letting us witness the lives of the surreal and glorified people of Twin Peaks, the first season of the 1990’s series is about subversion and development. While the first episode establishes relationships between characters and sets the mood for the rest of the series, the viewer’s expectations are subverted soon. The murder of Laura Palmer and the investigations of Agent Cooper, who comes to Twin Peaks in order to find the culprit, almost become secondary. They provide the framework for all the secrets that lay hidden beneath the peaceful surface. For someone who has not heard much about Twin Peaks before and watches it for the first time, there are some fascinating things going on, some of which will be explained henceforward – or at least I attempt to understand them.
Manchmal geschieht es, da begegnet man einem Spiel, das die eigene Welt verändert. Seien es besonders kreative Ideen, die den Horizont erweitern, eine immersive Erfahrung, die neuester Technologie und eingehender Musik geschuldet ist, oder eine Geschichte, die unter die Haut geht. Manchmal geschieht es, dass etwas scheinbar Belangloses sich zu etwas Großem entwickelt.
Beyond Final Fantasy 12: The Zodiac Age’s playful mask, beyond the surface of its nostalgic appearance and its carefree attitude, there is an additional layer that underlines the game’s hopeless notion, its desperate loneliness. While every other feature of the game suggests some kind of hope and a future for Dalmasca, there are some places in which the emptiness cannot be overlooked and, as will be discussed henceforward, this is a relevant aspect of the game’s reception.
There are few secrets hidden in the vast world of The Witcher 3: Wild Hunt that we have not yet discovered. While we travelled through dangerous woods and swamplands, unveiled mysteries in astonishing cities and had sexual intercourse with several characters, there is still information left that the developers themselves share rarely. At the 2016 PLAY Conference, which took place during the annual PLAY – Creative Gaming festival in Hamburg, Sebastian Kalemba, animation director at CD Projekt RED, shared his knowledge about motion capturing and character design in The Witcher 3, including the development of Geralt’s finishers and fight scenes, Olgierd’s fencing technique and Origin, Ciri’s appearance and the Giant Toad’s destiny.
This thesis aims to show the influences of transmedia storytelling on narration and reception exemplified by the novel A Study in Scarlet and a video game based on the detective stories by Arthur Conan Doyle called The Testament of Sherlock Holmes.
At this year’s gamescom I had the opportunity to take a look at Orwell, the highly successful „detective-data-mining-story and point’n’click-and-textadventure“. Furthermore, I talked to Art Director Melanie Taylor about the setting, the studio’s aim, difficulties during development and the game’s future.