爱好
发表于 2025-3-30 11:54:26
On Nintendo’s Visual Humour: Slapstick Cinema and Comic Theatre inslapstick cinema, Japanese theatre and commedia dell’arte, drawing on interviews with game designers as well as oral testimonies from comedians, filmmakers and art historians. In order to interrogate the specificity of visual humour in game environments, and particularly within Nintendo’s imagery,
名字
发表于 2025-3-30 14:42:19
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amplitude
发表于 2025-3-30 20:26:11
The , Space Game: From an April Fools’ Joke to Digital Cultural Heritage epic space flight, trading, combat and empire building title that was more than a game, rather a way of life. In reality, the game did not exist at all, but the April Fools’ joke was taken seriously by many readers. In this chapter we analyse the cultural and historical context of the prank, its pl
简略
发表于 2025-3-30 23:50:39
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使害羞
发表于 2025-3-31 02:38:37
“Sorry, You , Won”: Satirical French Digital Games Responding to National Sociopolitical Crisis (198ce. Drawing upon Bohdan Dziemidok’s notion of satire in literature and using Astrid Ensslin’s functional ludostylistic theoretical framework, the author analyses three games: ., . and .. These titles represent a satirical approach: cruel, bitter, and pessimistic. Whereas . focuses on existential asp
和平主义者
发表于 2025-3-31 08:30:32
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Ardent
发表于 2025-3-31 10:50:19
Ridiculing the Player: Live-Action Visualisations of Game Experience in YouTube Parody Videos as an address the inherent potential for ridicule generated by the act of playing games. Simultaneously, the presented analysis explores the specificity of the said strategy and indicates the possibility of its shifting from a product of self-reflection to a tool for predetermining the player’s identity.
减弱不好
发表于 2025-3-31 14:12:31
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