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On the level of the video game, I propose to investigate choice-making on the basis of the overall game design, i. . narrative structures and techniques, and the player’s choices both in design and actual engagement. These questions will then be extrapolated to transmedia storytelling as a more open ludic environment by investigating how the di? rent media platforms contribute to the construction of the narrative within a transmedia project and what kinds of navigational choices users make in their consumption of the project, including the ways in which they can exert agency and authorship within the project. Firstly, and in its essence, this question addresses the concept of agency and its often controversial relationship to narrative. The second question extrapolates the results from the game analysis to the relationships Agency and Authorship in Ludic Narrative Environments 187 between the di? rent media platforms in a transmedia setting, addressing the ways in which they contribute to the construction of the narrative and the ways in which audiences exert agency within the project. The qualitative method of textual analysis will be used to investigate the narrative design of video game and transmedia storytelling project, and will therefore provide the starting foundation in answering both sub-questions. During the participant observation, participants will play a section of a video game selected on the basis of textual analysis, which would ideally be narrative-heavy and o? r players di? rent levels of engagement. The play session will then be followed by a semi-structured interview in which certain player choices can be investigated more closely. In the focus groups, participants will be able to investigate and discuss their everyday engagement with a transmedia franchise and the consumption choices that they make, possibly through methods such as visually mapping out the engagement.

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Were there any songs that changed significantly as a result of how they handled in live shows. And for those not in the Portland area, how many other songs does Tar Pit have that haven't yet made their way onto studio recordings. Brandon: The sessions began in early March of 2017, when the band decided to regroup and I stepped in as the guitarist. Mat and I would get in a room together and I would have him play drums. We would pretty much just drink and hash out ideas and then show them to Derek and Hayden. We recorded the demo, played a show with Weedeater and Telekinetic Yeti, and then Huston left. We started looking for a new lead player after that, and Stephen filled that spot. That song started off a little rough, but I think it came out great once we figured out what direction to take it. We’ve written other songs, but most of those have been dissected and rewritten. TBB: How would you say the revived line-up of Tar Pit has been received at live shows so far. This is the first band I have personally played with that has gotten to open for bigger acts and actually play in front of a bigger crowd. We just wait for something we really want to be a part of to come through and try and get an opening slot if so. It's been great and the turnouts are always packed. TBB: I really dig the cover art for Tomb of Doom, the heavy texturing and use of light do a fantastic job of evoking that subterranean feel.

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Lot more action than horror, even the Leprechaun is using guns. For some reason (lazy writing), Leprechaun doesn't really speak in rhymes anymore. Some decent thrills, but it didn't live up to the expectations I've read. I honestly couldn't pick one favorite song, they're all of great quality. Even if they don't battle until so late into the movie, this movie had a great plot that kept me engaged. Of course the effects by Stan Winston are amazing to see. Odd to see Grandpa Joe (from Willy Wonka) in a horror movie. Easily a modern horror masterpiece, probably my favorite in the past decade. No guessing or tricks, you know what's going on right away. Lots of fun throughout, loved the rules showing up more than once, and an epic cameo. Don't know why Ug (from 1 and 2) is now the bad guy. Like most horror sequals, spends more time explaining origins of the spread. Has two parts like the first, the first half being the introduction of characters and the second half being the blood bath. Not for the gore or suspense, but rather for the story contents.

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I’m not sure this kind of stuff begs to be shared and socialized. I can vaguely imagine sharing a kwest with friends to compete to achieve it. I didn’t see a way to add rewards or prizes. Badges? Hm. Yawn. I’m sure they’re working on that aspect of the game. At this point, it comes across more like another means to try to motivate myself to be a better person, which I would probably ignore and feel guilty about. I didn’t pick up on a competitive vibe at all (then again I didn’t connect with anyone on it). Thinking bigger, though, when I consider his goal to partner with brands to provide on-location Kwestr integrated experiences, and this thing might have some spark. In any case, this iteration has a honey-badger as a mascot. We can make any kind of event into an RPG experience. You can bring your friends into it by challenging them to be part of your kwest. Once you’ve completed your kwest you receive a badge.