Fictional worlds as the key to adaptation: The Blade Runner video game case study.

La narratología tradicional se centra en describir estructuras basadas en modelos lingüísticos que complican entender la narrativa en medios interactivos. Sin embargo, basándonos en teorías más recientes como las propuestas por Herman en Story Logic (2002), quien se refiere a los storyworlds (mundos-historia) como el elemento central de las narrativas, podemos ver cómo los mundos de ficción nos sirven tanto para entender las narrativas en medios interactivos como el proceso de translación entre ellos. Para esto, utilizaremos como ejemplo el videojuego Blade Runner (1997) y su relación con los textos en los que está basado, la novela ¿Sueñan los androides con ovejas eléctricas? de Philip K. Dick y la película Blade Runner de Ridley Scott. A través de un análisis comparativo de estos textos podemos apreciar cómo el juego utiliza los textos originales para recrear su mundo de ficción, utilizando los pilares que según Herman definen el mundo-historia, que son los estados, acontecimientos y acciones que lo caracterizan.  Estos pilares se ven reflejados en el atrezo, que sirve para dar pie a las acciones del jugador, así como las micronarrativas que invocan eventos que se narran en los textos en los que se inspira el juego. El juego también reproduce la ambigüedad ontológica característica de los mundos de Philip K. Dick a través de su diseño, recreando uno de los estados dominantes del mundo de ficción.La narratologia tradicional se centra a descriure estructures basades en models lingüístics que compliquen entendre la narrativa en mitjans interactius. No obstant això, basant-nos en teories més recents, com les proposades per Herman a Story Logic (2002), el qual es refereix als storyworlds (mons-història) com l'element central de les narratives, podem ver com els mons de ficció ens serveix tant per entendre les narratives en mitjans interactius com en el procés de translació entre ells. Per això, farem servir com a exemple el videojoc Blade Runner (1997) i la seva relació amb els textos en els quals està basat, la novel·la Blade Runner. Els andoides somnien xais elèctrics? de Philip K. Dick i la pel·lícula Blade Runner de Ridley Scott. Per mitjà d'una anàlisi comparativa de textos, podem apreciar com el joc fa servir els textos originals per recrear el seu món de ficció, fent servir els pilars que segons Herman defineixen el món-història, que són els estats, esdeveniments i accions que el caracteritzen. Aquests pilars es veuen reflectits en l'attrezzo, que serveix per donar peu a les accions del jugador, així com les micronarratives que invoquen esdeveniments que es narren en els textos en els quals s'inspira el joc. El joc també reprodueix la ambigüitat ontològica característica dels mons de Philip K. Dick per mitjà del seu disseny, tot recreant un dels estats dominants del món de ficció.Traditional narratology utilizes linguistic models based on linguistic models, which makes it difficult to understand narrative in interactive media. Taking more recent narrative theories, such as Herman’s Story Logic (2002), which points to the concept of the storyworld as the key element of narrative, it becomes evident how fictional worlds facilitate understanding narrative in interactive media, as well as the process of translation between them. In order to illustrate this, we use the case study of the video game Blade Runner (1997) and the texts on which it is based, the novel Do Androids Dream of Electric Sheep? by Philip K. Dick and the film Blade Runner, by Ridley Scott. The comparative analysis will highlight how the game uses the source texts to recreate their fictional world, relying on the pillars that define the storyworld according to Herman, which are the states, events and actions that characterize it. These pillars are reflected in the props, which give cues to player interaction, as well as micronarratives that invoke events narrated in the texts on which the game is inspired. The game also reproduces the ontological ambiguity typical of Philip K. Dick’s work through its design, recreating one of the predominant states of the fictional world

Electronic Literature for All: Performance in Exhibits and Public Readings

Events involving electronic literature, such as public readings or exhibits, constitute a type of performance. These are the lessons learned from two different types of events, an exhibit featuring adaptations of literary works into digital games, and a series of public readings of interactive fiction. The performative aspects of electronic literature affect the design of the event, and must be taken into account in order to create a successful and engaging experience for the attendants. (Prepared after the presentation of the same title at the Electronic Literature Organization Conference, Morgantown, West Virginia, June 20-23, 2012

Videogame Editions for Play and Study

We discuss four types of access to videogames that are analogous to the use of different sorts of editions in literary scholarship: (1) the use of hardware to play games on platforms compatible with the original ones, (2) emulation as a means of playing games on contemporary computers, (3) ports, which translate games across platforms, and (4) documentation, which can describe some aspects of games when they cannot be accessed and can supplement play. These different editions provide different information and perspectives and can be used in teaching and research in several ways

Orson Welles' intermedial versions of Shakespeare in theatre, radio and film

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.Includes bibliographical references (p. 153-156). Filmography: p. 157.In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. Close reading of these texts will show the recurrence of intermediality in Welles' work, namely, the way techniques from one medium feed into the other two. Borrowing conventions and devices that are proper to other media and importing them into a target medium is his basic innovative strategy. This use of intermediality brings about innovative effects that favour agile and gripping storytelling, though it can also hamper the understanding of the piece.by Clara Fernández-Vara.S.M

SALMANTICOR study. Rationale and design of a population-based study to identify structural heart disease abnormalities: a spatial and machine learning analysis

[EN]Introduction: This study aims to obtain data on the prevalence and incidence of structural heart disease in a population setting and, to analyse and present those data on the application of spatial and machine learning methods that, although known to geography and statistics, need to become used for healthcare research and for political commitment to obtain resources and support effective public health programme implementation. Methods and analysis: We will perform a cross-sectional survey of randomly selected residents of Salamanca (Spain). 2400 individuals stratified by age and sex and by place of residence (rural and urban) will be studied. The variables to analyse will be obtained from the clinical history, different surveys including social status, Mediterranean diet, functional capacity, ECG, echocardiogram, VASERA and biochemical as well as genetic analysis. Ethics and dissemination: The study has been approved by the ethical committee of the healthcare community. All study participants will sign an informed consent for participation in the study. The results of this study will allow the understanding of the relationship between the different influencing factors and their relative importance weights in the development of structural heart disease

The evolution of the ventilatory ratio is a prognostic factor in mechanically ventilated COVID-19 ARDS patients

Background: Mortality due to COVID-19 is high, especially in patients requiring mechanical ventilation. The purpose of the study is to investigate associations between mortality and variables measured during the first three days of mechanical ventilation in patients with COVID-19 intubated at ICU admission. Methods: Multicenter, observational, cohort study includes consecutive patients with COVID-19 admitted to 44 Spanish ICUs between February 25 and July 31, 2020, who required intubation at ICU admission and mechanical ventilation for more than three days. We collected demographic and clinical data prior to admission; information about clinical evolution at days 1 and 3 of mechanical ventilation; and outcomes. Results: Of the 2,095 patients with COVID-19 admitted to the ICU, 1,118 (53.3%) were intubated at day 1 and remained under mechanical ventilation at day three. From days 1 to 3, PaO2/FiO2 increased from 115.6 [80.0-171.2] to 180.0 [135.4-227.9] mmHg and the ventilatory ratio from 1.73 [1.33-2.25] to 1.96 [1.61-2.40]. In-hospital mortality was 38.7%. A higher increase between ICU admission and day 3 in the ventilatory ratio (OR 1.04 [CI 1.01-1.07], p = 0.030) and creatinine levels (OR 1.05 [CI 1.01-1.09], p = 0.005) and a lower increase in platelet counts (OR 0.96 [CI 0.93-1.00], p = 0.037) were independently associated with a higher risk of death. No association between mortality and the PaO2/FiO2 variation was observed (OR 0.99 [CI 0.95 to 1.02], p = 0.47). Conclusions: Higher ventilatory ratio and its increase at day 3 is associated with mortality in patients with COVID-19 receiving mechanical ventilation at ICU admission. No association was found in the PaO2/FiO2 variation

El mundo de ficción como clave en el proceso de adaptación : El caso de Blade Runner, el videojuego

Article inclòs a: Sección monográfica 1ª parte: «Juego digital»La narratología tradicional se centra en describir estructuras basadas en modelos lingüísticos que complican entender la narrativa en medios interactivos. Sin embargo, basándonos en teorías más recientes como las propuestas por Herman en Story Logic (2002), quien se refiere a los storyworlds (mundos-historia) como el elemento central de las narrativas, podemos ver cómo los mundos de ficción nos sirven tanto para entender las narrativas en medios interactivos como el proceso de translación entre ellos. Para esto, utilizaremos como ejemplo el videojuego Blade Runner (1997) y su relación con los textos en los que está basado, la novela ¿Sueñan los androides con ovejas eléctricas? de Philip K. Dick y la película Blade Runner de Ridley Scott. A través de un análisis comparativo de estos textos podemos apreciar cómo el juego utiliza los textos originales para recrear su mundo de ficción, utilizando los pilares que según Herman definen el mundo-historia, que son los estados, acontecimientos y acciones que lo caracterizan. Estos pilares se ven reflejados en el atrezo, que sirve para dar pie a las acciones del jugador, así como las micronarrativas que invocan eventos que se narran en los textos en los que se inspira el juego. El juego también reproduce la ambigüedad ontológica característica de los mundos de Philip K. Dick a través de su diseño, recreando uno de los estados dominantes del mundo de ficción.Traditional narratology utilizes linguistic models based on linguistic models, which makes it difficult to understand narrative in interactive media. Taking more recent narrative theories, such as Herman's Story Logic (2002), which points to the concept of the storyworld as the key element of narrative, it becomes evident how fictional worlds facilitate understanding narrative in interactive media, as well as the process of translation between them. In order to illustrate this, we use the case study of the video game Blade Runner (1997) and the texts on which it is based, the novel Do Androids Dream of Electric Sheep? by Philip K. Dick and the film Blade Runner, by Ridley Scott. The comparative analysis will highlight how the game uses the source texts to recreate their fictional world, relying on the pillars that define the storyworld according to Herman, which are the states, events and actions that characterize it. These pillars are reflected in the props, which give cues to player interaction, as well as micronarratives that invoke events narrated in the texts on which the game is inspired. The game also reproduces the ontological ambiguity typical of Philip K. Dick's work through its design, recreating one of the predominant states of the fictional world

Introduction to Game Analysis

Analisis permainan game ini memungkinkan kita untuk memahami permainan dengan lebih baik, memberikan wawasan tentang hubungan pemain-game, pembangunan permainan, dan relevansi sosiokulturalnya. Seiring berkembangnya bidang studi permainan, penulisan videogame berkembang dari sekedar evaluasi gameplay, grafis, suara, dan replayablity, hingga tulisan yang lebih reflektif yang berhasil menyampaikan kompleksitas permainan dan cara bermain dalam konteks budaya. Pengantar Analisis Game berfungsi sebagai panduan yang dapat diakses untuk menganalisis permainan dengan menggunakan strategi yang dipinjam dari analisis tekstual. Dasar ringkas Clara Fernández-Vara memberikan instruksi tentang blok dasar analisis permainan - pemeriksaan konteks, isi dan penerimaan, dan kualitas formal - serta kosa kata yang diperlukan untuk membicarakan karakteristik pembeda videogame. Contoh diambil dari berbagai permainan, baik digital maupun non-digital-dari Bioshock dan World of Warcraft hingga Monopoli-dan buku ini menyediakan berbagai latihan dan analisis sampel, serta ludografi dan glosarium yang komprehensif

Interview with Doris C. Rusch

An interview with Doris C. Rusch, postdoctoral researcher at the Singapore-MIT GAMBIT Game Lab, conducted by Clara Fernández-Vara