Not Signed-In
Which clippings match 'Zombie' keyword pg.1 of 1
19 JANUARY 2016

Love Punks: online game created by Australian Indigenous kids

"The Love Punks online game was created by a gang of 9,10 and 11 year old Love Punks from Roebourne in WA. For the last 8 months the Love Punks have been sweating it out, in 40 degree heat, on computers creating stop motion animations of themselves and friends in photoshop and flash."

(26 April 2012)

1
2

TAGS

2012 • 9-11 year olds • Aboriginal Australian kids • Aboriginal culture • Aboriginal kids • Adobe Flash • bearded dragon • Big hART • Burrup Peninsula • childhood imagination • Chynna Campbell • comic bookcommunity participatory projectcreative participationdesert • designers of the future • disadvantaged communitiesDIY • Duncan Gates • First Nations youthfroggame designgreen screenhomemade gamesimagineeringIndigenous Australiansindigenous community • indigenous games and play • Indigenous people • Indigenous young people • interactive comic • kids • lizard • Lovepunks Game • mining • mud flats • Murujuga • NEOMAD • online game • outdoor game • peacockpersonal empowerment • Pilbara desert • pogona • remote communities • Roebourne • salt flats • Satellite Sisters • sea • social arts • stop motion animationstop-frame animation • Stu Campbell • Telen Rodwell • Trevor Jamieson • video gamevideo games and Indigenous peopleWestern Australia • Woodside (natural gas company) • Yijala Yala Project • young designersyoung peoplezombie

CONTRIBUTOR

Simon Perkins
12 OCTOBER 2015

Social media platform affordances promote phatic communication

"Facebook, for example, encourages phatic communication through sociable add-ons like 'vampire bites', 'zombies', 'hot potatoes' and automating messages encouraging participation between friends in quizzes, film taste reviews and the like.[6] Furthermore, Facebook's new 'beacon' technology creates an environment where one's online purchases and interests get relayed to one's network of friends through automated communication. Twitter encourages phatic communication through the imposed limits of the medium itself. The 160 character limit for messages creates brevity in communication. The lack of a private messaging facility, promotes generic 'announcements' over dialogue or targeted conversation. "

(Vincent Miller, 2008, p.398)

[6] For example, a typical automated message such as ''Mr X' has challenged you to a movie quiz' suggests a personal invitation to compete. However, it is usually the case that if 'Mr X' has participated in a movie quiz, you will, by default, be automatically 'challenged' to the quiz, by virtue of being friends with 'Mr X'.

Miller, V. (2008). "New Media, Networking and Phatic Culture." Convergence: The International Journal of Research into New Media Technologies 14(4): 387–400.

1

TAGS

2008 • activity patterns • announcements • automated communication • automated messagesbrevitycharacter limitconstant connection • conversation for its own sake • Facebookfriendship networks • generic announcements • grooming talking • hot potatoe • I share therefore I am • imposed limits • linguisticsmedium limitationonline activitiesonline followersperformativitypersonal interests • phatic communication • phatic communion • phatic expression • phatic speech • relationship communication • self-disclosureshare your interestssharing personal informationsharing platformshow and tellsmall talk • sociable add-on • social groomingsocial practices • social task • spectacular society • speech act • status updatethe mediumTwitterutterances • vampire bite • Vincent Miller • zombie

CONTRIBUTOR

Simon Perkins
13 OCTOBER 2011

Dead Island: a holiday paradise gone mad

"The player is drawn into the world of Dead Island on the brink of a mysterious epidemic that suddenly, and without warning, breaks out on the fictional island of Banoi. As a guest of the Royal Palms Resort, the player's stay was supposed to be a dream holiday; a luxurious getaway to the beautiful beaches of a tropical paradise. But faced with the reality of a zombie apocalypse, there is only one thing left to do: Survive."

(Deep Silver Inc.)

1

TAGS

2011apocalypse • atmosphere design • Banoi • beach • Bedlam • CGchaos • co-operative play • Dead Island • Deep Silver Inc. • dream holiday • epidemic • escape the island • fictional island • first-person • first-person action • game • gruesome zombies • holiday • holiday paradise • horrorhotellighting • luxurious • madnessmysteriousmysterious outbreakopen worldPlaystation 3 • Royal Palms Resort • RPGslasherstory-based experienceterrortexturingtrailer • tropical island • tropical paradise • uninfected • vacation • VFXviolencevisual effects • weapon customisation • Xbox 360zombie • zombie apocalypse • zombie outbreak • zombie-slasher

CONTRIBUTOR

Jade Oakley
20 DECEMBER 2010

Deliver Me To Hell: Hell Pizza Interactive Zombie Adventure

"Hell Pizza in New Zealand entered the twilight zone with the Hell Pizza Interactive Zombie Adventure, launched on YouTube on July 30, 2010. 'Deliver Me To Hell' is set in a world in which Christchurch has been over run by bloodthirsty flesh–seeking zombies. Steve (Dj Iwikau) at Hell Pizza must get a $15 smoky barbecue sauce Lust pizza order over to a stranded woman on a container in Avonhead. Along the way he must navigate zombies, work out whether to take a passenger (Ben Edwards), navigate shortcuts and get to the girl (Emily Trenberth)."

(Duncan Macleod, The Inspiration Room)

1

TAGS

2010adadvertadvertisingAotearoa New Zealand • Ben Edwards • branching narrativechoose your own adventureChristchurchcommercial • Deliver Me To Hell • Dj Iwikau • Emily Trenberth • film • Hell Pizza • Hell Pizza Interactive Zombie Adventure • humourInspiration Roominteractiveinteractive adventureinteractive advertisinginteractive narrativeinteractive storyinteractive YouTube video • Little Sister Films • Logan McMillan • moviepizzashort filmTVC • twilight zone • video agency • video productionviralYouTubezombie

CONTRIBUTOR

Simon Perkins
08 DECEMBER 2009

Gamers and Gorehounds: The Influence of Video Games on the Contemporary Horror Film

"In translating a digital game to the big screen, these titles rely on the integration of aesthetics and narrative from their game counterparts to further enhance the viewing experience. The utilization of game narrative in the horror adaptation film is partially based on the acceptance of the video game medium as a cyberdrama, which emphasizes 'the enactment of the story in the particular fictional space of the computer.'[54] Many popular titles were not only about motor coordination and skill, but about becoming immersed in good storytelling. Author Janet Murray states, 'A story has greater emphasis on plot; a game has greater emphasis on the actions of the player. But where the player is also the protagonist or the god of the story world, then player action and plot event begin to merge.'[55] Murray describes the player's attachment to the game narrative as dramatic agency, which 'requires that we script the interactor as well as the world, so that we know how to engage the world, and so that we build up the appropriate expectations.'[56] "

(Timothy D. Alley, p.47, 2007)

54. Janet Murray, "From Game–Story to Cyberdrama." First Person. Eds. Noah Wardrip– Fruin and Pat Harrigan (Cambridge, MA: The MIT P, 2004) 4.

1

TAGS

aesthetics • Brainscan • consoleconvergenceculture • cyberdrama • David Cronenbergdigital culture • Doom • Duke Nukem 3Ddystopia • eXistenZ (1999) • first-person point of viewfirst-person shooterFPS • Freddys Dead • gamesGrand Theft Autohorrorhorror filmJanet Murray • Lawnmower Man • mediumQuakeremediationrepresentationtechnologytechnophobiaThe Matrix (1999)The Wizard of Ozvideo gamevirtual realityvisual communicationvisual designvisual languageWolfenstein 3Dzombie • zombie invasion

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.