Kestrell

Kes: This is a fundraiser for the Cambridge Boys and Girls Club, but really, I think I know one or two people who are champions in this sport. It also seems like a really good exercise for people who want to design their own games and want to know what gamers hate.

"We Mock So They Can Play!"
Twelve straight hours playing games you hate? Live on Ustream? That's what our GAMBIT Game Lab is putting itself through on the 18th. A marathon of misery: the 2012 Crappy Game Complaining Marathon.

Why?

Because we love our local Boys and Girls Club. All the money we raise through our pain goes straight to them.
Donate now!
http://gambit.mit.edu/cgcm

We ask two things of you...
Donate $15 or more to the Cambridge Boys and Girls Club today.
Watch the complaining live on Ustream on the 18th between noon and midnight. The feed will go live at http://gambit.mit.edu/cgcm

We thank you for your support!
Your friends at the Singapore-MIT GAMBIT Game Lab and MIT Comparative Media Studies
How to Part with Your $
Visit gambit.mit.edu/cgcm.
The Cambridge Boys and Girls Club puts it to great use, funding youth programs in leadership, the arts, sports, and much more.

Kes: The recording of this should be posted to the CMS site at some point later--I'll post a link to it when it goes online.

Join us today at 5pm for a look at...

Theatre and Videogames as Performance Activities

Featuring Clara Fernández-Vara of
the Singapore-MIT GAMBIT Game Lab (gambit.mit.edu).

CMS Colloquium
02.17.11 | 5:00 PM | MIT Building 2, Room 105

From Elsinore to Monkey Island:
Theatre and Videogames as Performance Activities
with Clara Fernandez-Vara, Singapore-MIT GAMBIT Game Lab
What do Shakespeare and videogames have in common?

Clara Fernandez-Vara, a Comparative Media Studies alumna, explains her journey from researching Shakespeare in performance to studying and developing videogames. Applying concepts from theatre in performance illuminates the relationship between the player and the game, as well as between game and narrative.

Videogames are not theatre, but the comparison gives way to productive questions: What is the dramatic text of the game? How does this text shape the actions of the player? Who are the performers? Who is the audience? These questions will be addressed in the context of adventure games, a story-driven genre where the player solves puzzles that are integrated in the fictional world of the game.