Starting from the well-known video game series “The Legend of Zelda,” the present essay explores the connection between Beauty, Goodness, and Truth in the Western philosophical tradition from Plato to Thomas Aquinas to Hans-Georg Gadamer. It becomes evident that “The Legend of Zelda” can also unveil existential truths.
{"title":"Das Schöne, Gute, Wahre oder Urlaub in Hyrule","authors":"Martin G. Weiß","doi":"10.23963/cnp.2023.8.1.5","DOIUrl":"https://doi.org/10.23963/cnp.2023.8.1.5","url":null,"abstract":"Starting from the well-known video game series “The Legend of Zelda,” the present essay explores the connection between Beauty, Goodness, and Truth in the Western philosophical tradition from Plato to Thomas Aquinas to Hans-Georg Gadamer. It becomes evident that “The Legend of Zelda” can also unveil existential truths.","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"293 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134981367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The last years have shown an increase in (online) gaming. Especially during Covid-19 restrictions many players made use of games to stay in contact with others and to socialize. Although the concept of the third place was originally meant to address only real-life spaces, there are some characteristics of third places that can be projected onto virtual spaces and especially onto Massively Multiplayer Online Games as well. Another term being related to online games are affinity spaces – defined as online spaces where socializing as well as learning and exchanging knowledge take place. These affinity spaces are often found close to popular media – and also as communities around games. Although research has linked spending time in online games with negative psychological consequences for the players for some time, newer research shows also the positive outcomes on wellbeing when spending time in virtual worlds. As far as teaching and media literacy are involved, online games and virtual worlds should be regarded as places in which learning can take place.
{"title":"Virtuelle Räume als Ort des Lernens oder als Zufluchtsort vor der Realität?","authors":"Sonja Gabriel","doi":"10.23963/cnp.2023.8.1.4","DOIUrl":"https://doi.org/10.23963/cnp.2023.8.1.4","url":null,"abstract":"The last years have shown an increase in (online) gaming. Especially during Covid-19 restrictions many players made use of games to stay in contact with others and to socialize. Although the concept of the third place was originally meant to address only real-life spaces, there are some characteristics of third places that can be projected onto virtual spaces and especially onto Massively Multiplayer Online Games as well. Another term being related to online games are affinity spaces – defined as online spaces where socializing as well as learning and exchanging knowledge take place. These affinity spaces are often found close to popular media – and also as communities around games. Although research has linked spending time in online games with negative psychological consequences for the players for some time, newer research shows also the positive outcomes on wellbeing when spending time in virtual worlds. As far as teaching and media literacy are involved, online games and virtual worlds should be regarded as places in which learning can take place.","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135311644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper explores the history of the future in Western society, from the Renaissance to the post-pandemic present, and the media through which the shifting visions of the future are expressed. Four distinct phases are identified: the pre-modern era and its quest for a secular future focusing on the organizational improvement of worldly conditions; the modern era, which emphasized progress and the promise of better times ahead; the post-modern era, marked by dystopian scenarios of humanity’s destruction of the planet; the current period and its aspirations for humanity’s evolution through digital technology. – An accumulating number of ‘new’ media have shaped these designs of the future: First, the printed book allowed for the literary evocation of utopian and early science fiction visions. Later, the industrial media of film and television represented imagined futures audiovisually. Currently, digital games provide interactive simulations of dystopian and utopian futures, enabling immersive experiences and cyborg-like engagement. The further evolution of media may hybridize material reality and different software virtualities, thus facilitating extended experiences of potential futures. – The paper demonstrates that – as a consequence of changing cultural values and technological advances – four overarching “grand narratives” have structured the modern media history of the future: the humanistic metanarrative of secularization in pre-industrial modernity; the mass humanistic metanarrative of welfare through progress in the industrial age; the post-humanistic metanarrative of the climate catastrophe during the de-industrialization and early digitalization period; and finally, the emerging transhumanistic metanarrative of an impending digital singularity entailing a technological augmentation of the human species.
{"title":"Hoffen und Bangen","authors":"Gundolf S. Freyermuth","doi":"10.23963/cnp.2023.8.1.6","DOIUrl":"https://doi.org/10.23963/cnp.2023.8.1.6","url":null,"abstract":"The paper explores the history of the future in Western society, from the Renaissance to the post-pandemic present, and the media through which the shifting visions of the future are expressed. Four distinct phases are identified: the pre-modern era and its quest for a secular future focusing on the organizational improvement of worldly conditions; the modern era, which emphasized progress and the promise of better times ahead; the post-modern era, marked by dystopian scenarios of humanity’s destruction of the planet; the current period and its aspirations for humanity’s evolution through digital technology. – An accumulating number of ‘new’ media have shaped these designs of the future: First, the printed book allowed for the literary evocation of utopian and early science fiction visions. Later, the industrial media of film and television represented imagined futures audiovisually. Currently, digital games provide interactive simulations of dystopian and utopian futures, enabling immersive experiences and cyborg-like engagement. The further evolution of media may hybridize material reality and different software virtualities, thus facilitating extended experiences of potential futures. – The paper demonstrates that – as a consequence of changing cultural values and technological advances – four overarching “grand narratives” have structured the modern media history of the future: the humanistic metanarrative of secularization in pre-industrial modernity; the mass humanistic metanarrative of welfare through progress in the industrial age; the post-humanistic metanarrative of the climate catastrophe during the de-industrialization and early digitalization period; and finally, the emerging transhumanistic metanarrative of an impending digital singularity entailing a technological augmentation of the human species.","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135661436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is a relatively new idea to include video game narratives in German lessons. The following article argues that this genuin digital media offers a specific potential for learning with literature. Because of dramatic agency the players can influence the story and experience kaleidoscopic storytelling. It is to be assumed that especially immersion, involvement and engagement are intensified. The focus is on finding identity and moral development and the example Detroit: Become Human (2018/19). The genre of the video game narrative is science fiction with the city Detroit in 2038 as the setting. Androids and AI are part of every day life and raise the question what it really means to be human.
{"title":"Dramatic agency und moralische Dilemmata","authors":"Stefan Emmersberger","doi":"10.23963/cnp.2023.8.1.2","DOIUrl":"https://doi.org/10.23963/cnp.2023.8.1.2","url":null,"abstract":"It is a relatively new idea to include video game narratives in German lessons. The following article argues that this genuin digital media offers a specific potential for learning with literature. Because of dramatic agency the players can influence the story and experience kaleidoscopic storytelling. It is to be assumed that especially immersion, involvement and engagement are intensified. The focus is on finding identity and moral development and the example Detroit: Become Human (2018/19). The genre of the video game narrative is science fiction with the city Detroit in 2038 as the setting. Androids and AI are part of every day life and raise the question what it really means to be human.","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135151601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay specifies how a sub-genre of the digital adventure game – the so-called walking simulator – reproduces and reflects ideas, motifs, and (narrative) structures of European Romanticism. The goal here is to draw attention to the genre’s potential for the academic discussion, analysis, and teaching of Romantic theories and patterns. To achieve this, I provide an introductory overview on the history of the walking simulator with emphasis on the early experimental games Explorer, The Forest, and LSD: Dream Emulator. An analysis of Dear Ether’s landscape design and narrative structure serves as access point into the discussion of how the Romantic ideas of 1. the sublime, 2. the silent poetry of nature, and 3. The Freudian Uncanny as well as the storytelling techniques of 1. synesthesia, 2. (reflective and meditative) walking, 3. fragmented narratives, and 4. (romantic) self-referentiality have been used in different walking simulators (such as Proteus, What Remains of Edith Finch, Gone Home, and The Beginners Guide) to tell (spatial) stories about emotions, identity, individuality. Walking simulators subvert traditional expectations towards digital games and, through their use of Romantic storytelling techniques, have changed the discourse about digital games as not only entertainment but a form of art.
本文详细阐述了数字冒险游戏的子类型——所谓的行走模拟器——是如何再现和反映欧洲浪漫主义的理念、主题和(叙事)结构的。这里的目标是引起人们对这一流派在浪漫主义理论和模式的学术讨论、分析和教学中的潜力的关注。为了实现这一点，我将介绍行走模拟器的历史，重点介绍早期的实验游戏Explorer, the Forest和LSD: Dream Emulator。通过对《亲爱的以太》的景观设计和叙事结构的分析，我们可以探讨《1》的浪漫主义思想是如何形成的。2.崇高;2 .大自然无声的诗;《弗洛伊德的神秘》以及《1》的讲故事技巧。联觉,2。(沉思和冥想)散步;4.支离破碎的叙述;(浪漫的)自我指涉性在不同的行走模拟器(如《Proteus》、《What Remains of Edith Finch》、《Gone Home》和《The Beginners Guide》)中被用来讲述关于情感、身份和个性的(空间)故事。行走模拟器颠覆了人们对数字游戏的传统期望，通过使用浪漫的故事叙述技巧，改变了关于数字游戏不仅是娱乐，而且是一种艺术形式的说法。
{"title":"Die (Spiel-)Welt muss romantisiert werden! – Die Rezeption europäischer Romantik in Walking Simulator-Games","authors":"Katja Aller","doi":"10.23963/cnp.2023.8.1.3","DOIUrl":"https://doi.org/10.23963/cnp.2023.8.1.3","url":null,"abstract":"This essay specifies how a sub-genre of the digital adventure game – the so-called walking simulator – reproduces and reflects ideas, motifs, and (narrative) structures of European Romanticism. The goal here is to draw attention to the genre’s potential for the academic discussion, analysis, and teaching of Romantic theories and patterns. To achieve this, I provide an introductory overview on the history of the walking simulator with emphasis on the early experimental games Explorer, The Forest, and LSD: Dream Emulator. An analysis of Dear Ether’s landscape design and narrative structure serves as access point into the discussion of how the Romantic ideas of 1. the sublime, 2. the silent poetry of nature, and 3. The Freudian Uncanny as well as the storytelling techniques of 1. synesthesia, 2. (reflective and meditative) walking, 3. fragmented narratives, and 4. (romantic) self-referentiality have been used in different walking simulators (such as Proteus, What Remains of Edith Finch, Gone Home, and The Beginners Guide) to tell (spatial) stories about emotions, identity, individuality. Walking simulators subvert traditional expectations towards digital games and, through their use of Romantic storytelling techniques, have changed the discourse about digital games as not only entertainment but a form of art.","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134890657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Mediterranean Sea as B/Order Space in \"African Titanics\": A Geo-Literary Analysis","authors":"S. Ruzzi","doi":"10.7359/990-2022-ruzz","DOIUrl":"https://doi.org/10.7359/990-2022-ruzz","url":null,"abstract":"","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78565968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Crossing Borders, Intersecting Loyalties: Italian Americans' Allegiances in World War I","authors":"S. Luconi","doi":"10.7359/990-2022-luco","DOIUrl":"https://doi.org/10.7359/990-2022-luco","url":null,"abstract":"","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76316558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Raccontare l’urbano, raccontare l’umano: spazio, memoria e domani in \"La bocca del lupo\" di Pietro Marcello","authors":"Letizia Modena","doi":"10.7359/990-2022-mode","DOIUrl":"https://doi.org/10.7359/990-2022-mode","url":null,"abstract":"","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81357909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Traduttore-traditore: sottotitoli e censura politica in un film di Pasolini","authors":"D. Fioretti","doi":"10.7359/990-2022-fior","DOIUrl":"https://doi.org/10.7359/990-2022-fior","url":null,"abstract":"","PeriodicalId":34863,"journal":{"name":"Colloquium","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81248589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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