2019 International Pinot Noir Celebration Program

This document is the 2019 program for the International Pinot Noir Celebration (IPNC), held annually on the campus of Linfield College in McMinnville, Oregon. The program contains a detailed schedule of the celebration’s major events, presentations, and meals, as well as information regarding guest speakers and chefs visiting the campus. The program also includes a short description of all participating wineries for 2019, both foreign and domestic, along with a listing of the IPNC board of directors and all major supporters and contributors to the event

“On soulless feet we cross the floor...” The Illusion of Control in Grim Fandango and Virtual Spaces

Even though users can choose what they do in virtual spaces, they are forced to operate within the confines of realms designed by the invisible authors of the game’s code. The illusion of choice blinds users to an assessment of the hidden structure supporting immersive virtual worlds

Game Characters as Narrative Devices. A Comparative Analysis of Dragon Age: Origins and Mass Effect 2

This article presents a comparative analysis of how characters are used as narrative tools in Bioware’s computer role-playing games Dragon Age: Origins (2009) and Mass Effect 2 (2010). The analysis aims to demonstrate how sophisticated narrative features can be integrated in gameplay through the development of interesting characters. Using a comparative analysis, the author shows that the two games’ have different approaches to using characters as narrative tools within the same genre, while also incorporating these narrative features tightly into gameplay. Central to the argument is the idea that presenting the player as protagonist is not necessarily the most fruitful approach to narrative experiences in games, and that narrative coherence may be better established and maintained through letting non-player characters carry the weight of narrative progression

Invisible Belfast:Flat ontologies and remediation of the post-conflict city

[in]visible Belfast was a research-driven indie alternate reality game (ARG) that ran for 6 weeks during the spring of 2011 in Belfast and was subsequently adapted, 5 years later into a fictional documentary for BBC Radio 4. The ARG is a participatory and dispersed narrative, which the audience play through. The text expands outward across both physical and digital platforms to create a mystery for the players using everyday platforms. The ARG is a product of media convergence and at its heart transmedial, defined by its complexity and modes of participation. The fictional radio documentary which remediated the ARG into a more simple linear structure, but possibly a more complex narrative form, retells parts of the story for new audiences. The premise of [in]visible belfast – the game and later the documentary – is itself an adaptation of writer Ciaran Carson’s novel The Star Factory (1997): a postmodern adventure through the complex psychogeography of Belfast. A trail through the labyrinthine text, which paints the history of Belfast in poetic prose. This article will map the concept’s journey from novel to game to radio, contextualising its development within its political and urban landscape and charting the remediation of the narratives as they fold out across multiple media and complex story arches. The article will draw together ideas from previous publications on ARG, transmediality and complex textualities from the authors and reflect on the textual trajectories that the remediation of the narrative has taken from the original book, through the ARG, into the radio documentary. Building upon recent approaches from environmental philosopher Tim Morton and games theorist Ian Bogost, the authors argue that Belfast’s history propels medial adaptations of a particular kind, characterised by a ‘flat’ ontology of space and time and a sort of diffuse and dark urban experience for designers/producers and players/listeners

2016 International Pinot Noir Celebration Program

This document is the 2016 program for the International Pinot Noir Celebration (IPNC), held annually on the campus of Linfield College in McMinnville, Oregon. The program contains a detailed schedule of the celebration’s major events, presentations, and meals, as well as information regarding guest speakers and chefs visiting the campus. The program also includes a short description of all participating wineries for 2016, both foreign and domestic, along with a listing of the IPNC board of directors and all major supporters and contributors to the event

2006 International Pinot Noir Celebration Program

This document is the 2006 program for the International Pinot Noir Celebration (IPNC), held annually on the campus of Linfield College in McMinnville, Oregon. The program contains a detailed schedule of the celebration’s major events, presentations, and meals, as well as information regarding guest speakers, chefs, and artists visiting the campus. The program also includes a short description of all participating wineries for 2006, both foreign and domestic, along with a listing of the IPNC board of directors and all major supporters and contributors to the event

The Advocate, February 8, 2007

https://red.mnstate.edu/advocate/1132/thumbnail.jp

Humour in Video Games: Play, Comedy, and Mischief

Tämä opinnäytetyö tutkii, kuinka huumoria käytetään ei-abstrakteissa videopeleissä keskittyen pelaajan agenssiin ja emergenttiin huumoriin. Pelien humoristisia ominaisuuksia analysoidaan pohjaten elokuvakomediatekniikkoihin ja kolmeen tärkeimpään huumoriteoriaan: inkongruenssi-, ylemmyys- ja huojennusteoriaan. Humoristisia hetkiä käsitellään tarkemmin pelimekaniikoiden, hahmojen ja pelimaailman näkökulmasta ja asettamalla erilliset elementit narratiivien muodostuksen ja pelaajien käytöksen viitekehyksiin. Tulee ilmi, että pelaajan rooli tietyissä huumorityypeissä eroaa ei-interaktiivisesta mediasta: pelaajat voivat joko aiheuttaa humoristisia hetkiä tai joutua niiden uhreiksi. Pelaajan panoksen salliminen myös ennalta kirjoitetuissa tapahtumasarjoissa tekee kokemuksesta henkilökohtaisen. Hahmot, pelimaailma ja erityisesti pelimekaniikat tarjoavat tapoja luoda emergenttiä huumoria etenkin, kun narratiivi ja pelattavat elementit nivoutuvat yhteen, ja pelaajien yllättäminen on tehokasta luodessa sekä emergenttiä että käsikirjoitettua huumoria. Huumorin kautta voi koetella sosiaalisia sääntöjä pelaajien ja pelaajan ja suunnittelijan välillä. Todetaan, että pelien ainutlaatuisissa ominaisuuksissa on huumorin kohdalla vielä käyttämätöntä potentiaalia ja että pelaajan rooli on avain sen hyödyntämiseen.This thesis studies how humour is used in non-abstract video games, focusing on the player’s agency and emergent humour. Humorous qualities of games are analysed in light of film comedy techniques and the main three theories of humour: incongruity, superiority, and relief. Instances of humour are further examined through game mechanics, characters, and the game world, and by putting the single elements into the larger contexts of building narratives and player behaviour. It is found that the player’s role in certain types of humour differs from non-interactive media: players can either initiate humorous instances or become their victims. Allowing for the player’s input even in scripted sequences personalises the experience. Characters, the game world, and especially game mechanics offer ways to create emergent humour, particularly when the narrative is fused with the gameplay, and surprising the players is effective for eliciting both emergent and scripted humour. Humour can be used to push the boundaries of social contracts between players and the player and the designer. It is suggested that the unique features of games are not currently used to their full extent when it comes to humour, and the role of the player is the key into taking advantage of them