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feverdreamjohnny · 1 year

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The Epitaph of Anything Goes

I decided that this morning I would talk about The Museum of Anything Goes and the subject of lost media.

For the uninitiated, The Museum of Anything Goes is an obscure "game" released in 1995 by Wayzata Technologies, a company that is so far under the radar that I was unable to find any useful information about it outside of TMoAG.

All I could uncover is that they published a few multimedia projects (which are essentially lost now) alongside some asset discs (clipart, SFX, etc.). That's it.

The brains behind Wayzata are even more difficult to locate these days: there are only two main names credited inside of TMoAG - Michael Markowski and Maxwell S. Robertson.

The game alleges that Michael and Maxwell are well known in the art world, but any additional information about the duo is scarce beyond the confines of the museum. Attempting to search for either name online turns up plenty of rabbit holes - but none of them have anything to do with the Michael and Maxwell responsible for TMoAG.

This is particularly fascinating because it essentially means that TMoAG is the only accessible record of their lives. Before we dig any deeper into that statement, let me step back and actually address what this game is.

The Museum of Anything Goes is, by definition, a virtual art museum. Functionally it's a prerendered point-and-click adventure game where you can explore a bunch of multimedia exhibits that give the surface-level impression of a children's edutainment game, but once you start exploring further it reveals a side that firmly plants the game's feet into a haze of substance abuse and surreal humor.

Many exhibits are essentially just toying around with the astonishing new powers of CD-ROM. Everything has to make noise. Everything has to spin and flitter around. There's an air of genuine excitement for the medium, and I can't help but find it extremely charming.

The game also functions as a scrapbook, filled to the brim with photos of random trips to the zoo and snow-mobile rides with friends. At one point we even get insight into something as specific as Michael's one-year job as a tutor at a Chicago middle school, where he talks about how it opened his eyes to how poorly funded and mismanaged the school system is.

It's simultaneously quaint and chilling to see so much personal history packed into a world doomed to obscurity. As I explore the deeper parts of the museum, I contemplate if the creators are still alive today. It's a bit morbid, but imagine that - you create a single obscure game with your friend and it's all the world can see. TMoAG is currently the only surviving piece that gives any insight into who these two men were.

While many exhibits are lighthearted or nonsensical, there are occasional moments where the game dips into the eerie.

One exhibit has the player kill a man by dropping him from the sky, and after burying him you open the coffin to a video of a rotting pig carcass being put into an incinerator.

Other exhibits just feature simple 3D renders shifting around a dark screen while haunting groans play in the background.

While I would never refer to the game as "scary," its darker moments combined with the occasional mature subject matter definitely begs the question: Who is this game for?

You have to remember that this game came out long before the concept of "alt-games" had become codified in the digital space. Sure, unconventional digital art had been around before the advent of 256 colors, but TMoAG was being sold on disk as a game! It came out 2 years after DOOM hit shelves!

The trend of using the PC for entertainment was certainly on the upswing around that time, but It's not like TMoAG had a massive audience to find a niche in. With its mature themes it certainly wasn't suited for the kids market either, so who was it for?

At the end of the day, it's a moot question. We already know the target audience for The Museum of Anything Goes: Nobody. It doesn't have an audience because by its nature, TMoAG wasn't being made FOR someone, it was being made BY someone. It's a raw, unfiltered form of personal expression.

I think games like these are pivotal, because they question why people assume a game has to exist for the sake of being a consumable product. TMoAG certainly has the shape of a product: it features an intro cutscene, it has a tutorial, it features intuitive UX, it even has a map! These are all features that are solely integrated to provide comfort to an end-user. But once you actually wander around the museum for a bit, you realize how bizarrely its packaging fits its contents.

I think TMoAG is criminally underrated. It's not because its core content contains some earth-shaking truth, it's because the game defied all odds and cheated death.

How many thousands of other personal projects were deemed a little "too exotic" to be archived? How much history was lost these past 40 years as the digital space evolved and ate its old skin?

God knows how many other TMoAGs we'll never learn about because they weren't lucky enough to be preserved.

The Museum of Anything Goes isn't just some nonsensical art piece, it's a grave marker for so much lost media. Its existence is a reminder that some people's lives were fossilized, then macerated into nothing because a construction company built a skyscraper over them. The only evidence we have of those other games existing is this little fossil that somehow slipped out from under the skyscraper unscathed.

Even though so much has been lost, TMoAG survives as an epitaph.

#the museum of anything goes #TMoAG #writing

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selkra-souza · 6 months

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The Moodsters Rabbit Hole

So I was bored one day and in my vain attempt to search the internet to find a knock off Inside Out movie to ironically enjoy, I find out that one does not exist. Vídeo Brinquedo, the studio behind the critically memed Ratatoing, has truly forsaken me, and alas, I can only dream. Instead of finding a rip off Inside Out movie, I ended up finding something that accused Inside Out of ripping off it, I'm talking suing. Turned out to be just as interesting.

The Moodsters is a multimedia edutainment brand and children's foundation centered around a cast of six monstrous critter "feelings detectives" called Moodsters. There's Coz, the yellow Moodster representing happiness, Snorf the blue Moodster representing sadness, Razzy representing anger, Quiggly representing fear, Lolly who represents love and Tully representing ... being calm I think? The Moodsters is an IP created by Denise Daniels and owned by JellyJam Entertainment (formally known as the Moodsters Company) who claim on their website (themoodsterschildrensfoundation.org, formally themoodsters.com) that they're "providing accessible science-based content on emotions for children, their parents, and teachers for more than 35 years". That science is based in collaboration with Marc Brackett PhD and Robin Stern PhD, to develop the RULER™ model for dealing with emotions. Besides their mission statement and credentials, their site currently has downloadable workbooks for kids to print and journal their thoughts and feelings on, along with guide booklets for their caretakers. Their children's foundation initiatives includes an "International Partnership for Children Displaced by War" and "Grief Relief with the Moodsters".

They've got a twitter account featuring one (1) post from 2016.

Let's dig deeper though. Hopping onto the Wayback Machine and searching for "Moodsters" will show you that they've had an online presence since 2008. Since then, the brand has gone through a few changes, and they've released a few toys and published a few books.

I first want to go over the plushies specifically because look at them.

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They're adorable. I want to firmly grasp them in my hand. These goobers were sold in retail in the mid 2010s and nowadays are pretty rare in the second hand market. They look soft and I appreciate everything from their embroidered features to Snorf's lopsided face. From looking at them, I like the quality. My only complaint is that their little detective capes lack edge stitches, which would make them more prone to tears, and I'm not convinced they have an accessible way to replace their batteries (though I could be wrong). Overall as a plushie lover though, I want them in my home so I can invite them to tea parties and have them sit on my bed.

Their website in 2015 teased a mobile app called, The Moodsters: Learn About Feelings, which - as far as I could search - does not exist. This page lists features such as an interactive story book, a Mood Meter that "gives children a basic vocabulary of feelings and helps them express themselves" by using a thermometer-shaped mood meter to take one's "feelings 'temperature'", a Moodster Mirror that "helps them make the connection between feelings on the inside and facial expressions on the outside" with demonstrations of 25 different emotions, and a Feelings Notebook that's an art program. The development of this app is no longer mentioned on the site currently, so it's probably a scrapped project.

At some point there was a Moodster themed memory match browser game and coloring pages (hard to tell if they were browser coloring games or printables).

Some of the features from the what would've been the app actually made it to market as toys. These toys were colorful little detective supplies. One for (almost) each Moodster. The top image of this very long post actually features each Moodster with their chosen detective tool on-hand. Coz wields a Moodster Mirror, Razzy carries a Moodster Meter, Quiggly has an emotional support Feelings Flashlight and Lolly writes in a Feelings Notebook, all (at some point) available at your (once) local Toys R Us. Whatever Snorf is carrying hasn't made it to market it seems, but it's apparently a First Aids Kit for Feelings (mentioned here). I can't find what Tully's item is supposed to be. Perhaps it's emotional identification cards, or positive affirmations? Who knows. My favorite out of these has got to be the notebook, mainly because I'm a sucker for cute stationary. I'd fold and decorate a little cardboard box just to house those crayons just for keepers sake.

And have I even mentioned the yoga mats?

Almost every plushie and detective tool toy appears to come with a picture book. I can't comment on most of the books since I can't buy any that still happen to be available as of now, but luckily there is a read along video I found shown below of one of them. It prominently features a more recent addition to the Moodsters lore, the human children.

These side characters where featured on the site as recent as October 2023 (I neglected to take a snapshot, so here's another from June), but are nowhere to be seen on the website now besides the older downloadable worksheets. There's a chance they've since been retired.

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It's exactly as boring as I feared that it would be. Obviously, I'm far from being in the target demographic for this anymore as an adult, nor am I any expert of child psychology beyond one elective course I took in university, but the one credibility that I do have is that I remember my personal tastes from when I was a kid, so I can comment on this from that perspective. I will say if I was handed this as a little kid, I would've liked the little monster dudes, but my attention would've shifted away from this pretty quickly and easily, because the little monster dudes aren’t really doing much. I was one of those kids that was really drawn to creature characters way more than I ever was to human characters (and to be perfectly honest, I still am as an adult, but that's besides the point I'm about to make). The plot of the book is perfectly serviceable with a good message about altruism, so that's not the problem. My grievance is with the fact that the human boy Zach takes center stage as the main character, when one would think that the main characters would be the Moodsters. They kind of take a back seat working on the sidelines for the most part here, and don't directly interact with Zach that much. Would've been hard for kid-me to latch onto this when the cool critter characters don't have as much of an active role as they could have. Not every kid is going to be as drawn to critter characters as I was (and am), but if the critter characters are going to be the face of your preschool IP, they should be presented front and center as much as they can be. Children's picture books are a media format that isn't particularly long nor complex, so their biggest strengths are in the characters and the art. If it were open to changes, I'd make a few: I'd have the Moodsters be just a bit more proactive, such as the suggestion to buy Sam a new bike coming from Coz or maybe Lolly instead of his sister Zoey, have them discover the "feelings emergency" while they're hanging outside with Zach and Sam instead of by spying on them with their cool and fancy desk setup, maybe have a one or two page mini side plot where Razzy's anger at the truck driver is addressed and resolved with breathing exercises or something, and change the art style to 2D illustrations to allow more dynamic poses and expressions since the 3D models and environments used here are pretty okay but nothing that stands out too much (or just instead use more expressive 3D models). No major changes that would fundamentally change the book, just enough to give the Moodsters more spotlight and expressions. Overall, as is, it's an okay children's book, just nothing that really stands out much as unique.

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Back in the 2000s, there was an animated pilot for the Moodsters (with art and animation direction by Drew Bloom) featuring different designs of them and an additional cat girl not present in the current iteration named Moodini voiced by Grace Garland. The earliest legible Wayback Machine snapshot for the Moodsters (May 16, 2008) lists their names as Zazz, Rizzi, Scootz, Snorf and Oola". Now, I unfortunately can't find the full pilot, only the intro, which is a massive bummer because it's the most interesting piece of Moodsters media I've encountered. Apparently, according to a few articles and court documents (we'll get to the lawsuit later I promise) it was titled "The Amoodsment Mixup", and said to be officially available in its entirety on Youtube ... only it's not there. It must've gotten unlisted or removed by the company owner, which is really disappointing since it looks like a fun watch. It's gone probably because it's an outdated interpretation of the Moodsters, which makes sense for the company to remove, but it's disheartening that I can't find it archived anywhere on the internet.

To comment on the intro that we can watch: I'm really digging these older designs! They've got that Muppet look to them with the high eye placement but with smaller mouths, and they've got more varied facial structures and come in different heights, along with overall looking more monstrous. The literal emotional roller coaster is a cute touch too! Honestly I wished they kept these looks, they're peak. I can't find an officially stated reason for the design overhaul and reboot of the IP; my only guess as to why was in order to incorporate human children for the Moodsters to interact with, so that the brand would be more relatable for kids and more easily applicable to them as an emotional analysis tool. There's merit to that decision I'm sure, but I personally prefer this older version because the Moodsters here look more critter-ly and kind of seem to just hang out in the woods doing their own thing, instead of having more "marketable" designs and hanging out directly educating human children. I was a kid in the 2000s, if this animation pitch made it to air on PBS, I absolutely would've tuned in to see these goobers. I likely would have enjoyed it as much as Dragon Tails, Cyberchase and Arthur, as long as the education came second to characters and story (as opposed to more overtly educational shows like Super Why). Honestly, I'm really bummed this pilot wasn't picked up for a full show, or heck, I can't even find the full pilot anywhere :(

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Speaking of old iterations, I really want to show off these old renders of the Moodster headquarters I found digging through Wayback Machine snapshots from (June 29, 2014). It's the Emote Control Headquarters, which was seen in one page of the book in the read along video linked above, but with more detail in the background surrounding the central desks and not in Zach’s room. It seems these renders were to be how their headquarters looked before the human characters were added to the lore. And lemme tell you I adore the amount of detail put into these! I've mentioned the fancy desk setups from the book, and they're shown here again. It's got to be my favorite design aspect for the Moodsters, because each one has their own personalized setup that's color coded and decked out in decor. Coz has some sports equipment at his desk, Lolly's got art supplies, Quigly's got a telescope, and so on. It's a really good way to visually show off their personalities, since they admittedly don't have that much personality otherwise. My hot take is that it way more creative than the console in Inside Out because of its attention to detail. These colorful set pieces are peak kids show aesthetic appeal to me, especially the third image with the ambient lighting. This holdover is something I'm glad made it to more recent Moodster products like the book mentioned above, even if it doesn't make that much sense for them to have such elaborate setups to monitor on the kid they live in the same house with, but it sure as heck at least looks cool.

Remember when I said that this was something that accused Inside Out of ripping it off? Well we’re finally getting to that. I have no formal education on law keep in mind, so here's my understanding on the situation: in Daniels v. Walt Disney, The Moodster Company filed suit against Disney for breaching an "implied-in-fact contract". The gist of the matter is that the Moodster Company had pitched their IP to several companies, the relevant one here being Disney, during the 2000s (likely the animated pilot mentioned earlier was what was pitched), and accused Disney of using the ideas they pitched to produce the film Inside Out, and failing to compensate The Moodster Company for it. It was an accusation of copyright infringement. Disney filed to have this case dismissed, claiming The Moodster Company "failed to meet the legal standard for copyright in a character", basically that the Inside Out emotion characters are not rip offs of the Moodster characters. Ultimately the court granted Disneys' dismissal, because The Moodsters are "lightly sketched" and "are not protectable by copyright". This was determined by the "Towle test" (based on Mark Towle v. DC Comics), which has three criteria for making a character design eligible for copyright protection:

" (1) has “‘physical as well as conceptual qualities,’” (2) is “‘sufficiently delineated to be recognizable as the same character whenever it appears’ and ‘display[s] consistent, identifiable character traits and attributes,’” and (3) is “especially distinctive’ and ‘contain[s] some unique elements of expression.’” " ~ McDermott Will & Emery

It was determined that The Moodsters met criteria (1) but not the later two, mainly because of the several redesigns and name changes the Moodster characters have gotten over the years, ultimately making them inconsistent and indistinctive. The Moodster characters also didn't pass the “Story Being Told test”, because in what little media they have been in, they don't have a proactive enough role nor go through any character arcs nor at least have any unique personality quirks that would make them distinguished characters, instead their personalities are summed up with a short description in their pitchbook and otherwise only just kind of exist. I'd hate to side with the massive corporation for pretty much any reason, but it's a stretch for The Moodster Company to have claimed that Disney ripped them off with inside Out. If the Moodsters had more consistent designs and personalities that Disney-Pixar copied in the Inside Out emotions, there would've have been a case, but that case isn't here. However, I don't think it was completely unreasonable for The Moodster Company to take the legal action that they did, even if they didn't really have much of a legal leg to stand on, because the creator of the company, Denise Daniels had directly pitched the Moodsters to Disney and a contract was involved. I can imagine pitching your idea about personified emotions to a huge company like Disney only for them to come out with their own personified emotions movie a few years later to feel like a contractual stab to the back. One last tidbit mentioned in the court documents though, the most interesting claim Daniels makes is that she discussed the Moodsters with Inside out director Pete Doctor, though the context for when and why this discussion took place isn't known. If that's true, it's very possible that Inside Out took inspiration from the Moodsters, as in, the general idea of personified emotions. The movie is also known to be inspired by Doctor's own daughter, so if anything, this is a case of taking inspiration at most, not copyright infringement. It just goes to show that even though the Moodsters is, first-and-foremost, an emotional educational tool, it's still worth the effort to make your educational tool have an iconic narrative with distinct characters at the very least. It's also interesting to learn that the history of the Moodsters is more intertwined with Inside Out than I initially guessed. If this law suit has taught me anything, it's that the more you redesign your commercially public OCs, the less they are eligible for copyright protection. Weird to think about, in my opinion. (sources and relevant court documents (1), (2) and (3)).

The last thing I want to talk about extensively are the designs of the Moodsters themselves. Honesty, I like them. I think they're cute! I probably wouldn't have have written all of this text if I didn't. I dig the idea of having little fluffball monsters represent emotions, even if they have that generic preschool edutainment mascot look to them. I prefer their pilot designs, but the current designs have been growing on me. You might have noticed the green one got redesigned into the orange one to make room for another green one. Or maybe you didn't notice because they both look the same. In fact, they all kind of look the same save for the colors and outfits. They admittedly are not the same exact 3D model copy pasted with different colors and clothes (each have different shaped ears, cheek fur, facial features and heights), but they're all so similar to each other overall that they're still hard to distinguish. The only bad thing about their designs are the fact that their silhouettes look near identical, really.

If I gave you only half a second to tell them apart based on this image, you'd probably have a difficult time. I'd imagine the preschoolers they're marketed to would as well. Now, a bad silhouette is a pretty fundamental character design issue, but it's easily fixed by just reshaping them with different body types. For fun, I tried my hand at it shown below. Essentially they're the same but with more exaggerated shapes, along with digitgrade legs and short tails to help sell the monstrous look. I drew Tully (the current green one) a little later after the original five (digitally, while the former five were drawn traditionally). It's a first draft that could be improved upon more, because if these critters need anything apparently, it's yet another redesign. I did have fun with it though!

Since I like the pilot animation, it got me thinking about how I might reboot the Moodsters for a hypothetical animated show. I’d change the lore a bit. The main change I’d make is scrap the fact that they live in Zach’s house. They’re not like his fairly oddparents or anything to my knowledge, so there’s no need for them to hang out exclusively (or even primarily) with him. Instead of only helping Zach out with his emotions, I’d have them help out everyone in the whole town with them. This would allow the Moodsters (and the audience) to experience a diverse cast of human characters with a wider variety of life and emotional problems. The Moodsters could help out other children, parents, teachers, the baker, the librarian, the mayor, basically there’s a lot more possibilities than Zach alone would ever provide. A diverse cast of townspeople characters would make it more likely that the audience will relate to at least one of them. Having them help out adults would teach kid audiences that even adults need help with their emotions (because boy do we ever), along with giving this show an all ages appeal (so parents would actually want to watch it together with their kids, or heck, even teens, and adults who don’t have children). It’d be an episodic show that focuses on introducing characters with emotional problems that the Moodster main characters help solve, with the townspeople being better neighbors to each other for it. I personally would avoid any fourth wall breaking (“talking down to”) teaching moments because I personally hated that in shows when I was a little kid (I’m looking at you Dora) and it would bore older viewers. Again, I'm going for a aimed-at-young-children-but-has-an all-ages-appeal. All you really need to teach young kids via a show (again I'm far from an expert, I'm making assumptions based on my anecdotal experiences as a child) in an engaging way is interesting character interactions going through a well written plot honestly, and their caregiver being there with them to talk about it with them.

Also, why isn't there a disgust Moodster? Disgust is a lot more than just wincing your nose at duck poop on the sidewalk, it's a feeling that can shape your entire worldview - particularly about other people - if you don't take the time to analyze it like you would other emotions. It's probably the emotion that's talked about and understood the least and absolutely should have a place in an educational tool that teaches about how to identify and handle emotions. Waltzing around with unchecked disgust can mold a person into an needlessly judgmental snob, at worst a bigot (something I sadly have witnessed growing up with my own parents). Again, for fun, I designed one shown below. Admittedly, she's inspired a bit (a lot) by Rarity from My Little Pony. The gem emblem on her detective cape represents her meticulous sense of aesthetics, since she's the most artistic of the Moodster group. She’s purple because that’s the only color left.

Listen, the Moodsters new detective hideout could be in a burrow under a tree stump in the park, there could be a hotline the townspeople can call to summon them for their help with emotional problems, the park could have a year round carnival with a whole ride dedicated to the Moodsters because they’re beloved by the townspeople called the Emotional Rollercoaster that’s a callback to the coaster in the animated pilot. The whole town could be called “Moodsville” or something. One of the school mascots can be a cow (because MOOdsters) with rainbow colored spots that represent each Moodster. Townspeople can participate in all sorts of community activities like community gardening and hanging out at rec centers. The Moodsters can emotionally help children acting for the school play or college students picking careers or parents handling a messy divorce, the possibilities are truly endless.

That's everything I can find online about the Moodsters. I pretty much focused more on the Moodster media as apposed to them as a children's foundation mainly because I find the media more interesting, and it was easier to find information on. If you're reading this and happen to know any other other info about it (especially if it's about the pilot animation), definitely tell me about it because my intrigue pertaining to these fuzzy goobers is immense.

I think it's an IP with a lot of potential, and one that's struggled to have much of any footing on the general public these past few decades. Pretty much any rare recent mention of the Moodsters online is in reference to their lawsuit against Disney, and it's disfavorable on the part of the Moodster Company since a quick-glance-view of the situation shows a company that sued for a copyright infringement case that ultimately looked silly.

I do like their mission statement about aiming to help children and their caretakers to better understand and cope with their emotions, because emotions really are ignored, misunderstood and dismissed a lot here in countries like the US, leading to many dysfunctional interactions between family, coworkers, and communities at large. Discovering the Moodsters has certainly inspired me to be more mindfull about my feelings, and I hope this 9 page wall of text has inspired you to do the same.

Fingers crossed that the Moodster Company re-releases those plushies in the future

#long post #essay #selkra squawks #the moodsters #moodsters #inside out #inside out fandom #pixar inside out #disney inside out #Youtube

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eziojensenthe3rd · 12 days

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Midnight Gaming: Long Live Eggbug

So last night I played Atari 50th anniversary collection, checked socials later to find.... cohost will shut down by the end of the year... aww..

So Atari is a company thats been around for a long while in the gaming industry, all the way back in the 70's with pong and asteroids, leading to the atari 2600 or vcs as it was called and finally leading to thier last console, the atari jaguar which flopped hard. It was a console that was advertised as a true 64 bit console even though it was really just 2 custom 32 bit processors, making it difficult to make games that run well, in the same decade that has the playstation and the nintendo 64. Yeah, "do the math".

Never really got to experience much of Atari when they were a contender in the scene, heck I wasn't even a year old when the Jaguar was launched so it wasn't really a part of gaming that I had a hands on experience with but I have heard of them. In my general interest in all things gaming in my youth, Atari was brought up sometimes in some gaming mags and online media, AVGN is probably for many people how they heard about Atari as he covered some games on the 2600, even did an episode on the failed 5200 and the Jaguar consoles.

So Digital Eclipse (not to be confused with digital extremes, the warframe folks) has done a 50th anniversary collection that has various games from atari's history, including some unreleased games. Naturally since these games can be easily emulated, a collection of old games wouldnt mean much but theres more to this than just that. You also get a bunch supplemental material such as artwork, behind the scenes documents and videos of interviews with several employees and key figures in atari's history, talking about various things. Cliffy B is there too for some reason.

For me its damn fascinating to follow along a timeline of events, looking at various media and playing some games, getting a feel on Atari's journey over the years. You do learn a few things about the company and how it ran at the time and uhhh.. it certanly looks a bit familiar. Developers having to work overtime, upper management ignoring concerns from thier employees, games being marketed beyond what could actually be delivered leading to consumer backlash, employees losing their jobs in mass. Yeah those problems are still around nowadays huh. 50 years later and nobody has really learnt anything, still making the same mistakes that one time led to the most infamous market crashes in history. Funny thing tho, while the games market did indeed crash in 83, leading to several businesses going bankrupt, for the average 2600 player it was just an odd time in which new 2600 games werent made. Because the 2600 had such a massive install base, eventually new 2600 games got made again, even during the time when the Sega Master System and the Nintendo Entertainment System were leading the console scene. To quote one Garry Kitchen "No one told consumers that there had been a crash. No one went to their house and said "You don't like video games anymore"".

Digital Eclipse also did some other games in the documentary style, the art of karateka and llamasoft. I wouldn't mind checking those out as I feel a documentary that covers a particular subject sounds fascinating to put the lenses of an interactive game, though I suppose it does veer a bit close to "edutainment" territory.

So now with that done, lets move onto the.... news. Cohost is announced to be closing down at the end of year with it converting to a read only format in October. I genuinly enjoyed my time on cohost even if it was short. From looking for alternatives to Tumblr, I stumbled onto it and found a chill sort of site that I felt comfortable browsing, chatting with peeps and sharing posts. It was a site that had an independent vibe that was unique and humble compared to some of its contemporaries. Tumblr weared the mask of being queer friendly despite nuking the odd trans blog every now and then, twitter is a cesspit run by that nepobaby bastard, discord seems to have issues with power tripping mods and creeps. A lot of social media seems to either be.full of techbro crypto ai weirdos or algorithmic data-harvesting software or both! But cohost had the vision of a place that didnt had user-unfriendly practices, instead of just making a site that demands engagement from the user for the sake of profit, the team made the site comfortable to browse and post on, letting people build up communities to hang out and chill in. Sadly that ambition wasnt sustainable due to the issues with both work and finance and in the end, it'll all be shut down.

I'll still be posting Midnight Gaming on Cohost until October as well as on tumblr until I find another site to host this series. Maybe I'll try that dreamwidth place I heard about, maybe i'll actually make a neocities site. We'll see what the future holds.

Until then, Rest in Piece Cohost. Hug your local eggbug today.... oh yeah james earl jones passed away too... awful lot of death lately, an old friend on my fathers side recently lost thier wife too. September what the hell you doing?

Hey whatever happened to those prizes that were won during the Swordquest contest?

Thats all for today, see you tomorrow. Feel free to leave any game suggestions or feedbacks. Anons are currently on.

#midnight gaming #gaming #atari #atari 50th #cohost #eggbug

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crayons-and-glitter-glue · 1 year

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I have another AU idea...

I dont exactly know how it would be executed but like

Digital Circus!DCA AU. Combine the mystique of the Circus and the slight darkness of what lurks behind the curtain with...

THIS aesthetic and some cryptic, glitchy other worldly vibes with an old video game.

(PROBABLY will contain things like digital horror, digital body horror in particular, dark themes, themes of isolation, and lots of glitchy features, so please know that from here on out)

The website is supposed to be a place for kids online to learn stuff in a Cdi-Phillips/early 90's disk of edutainment games with a circus theme, but it was the first of its kind to implement multi-player play. For a while, it's revolutionary! Kids could communicate safely online for the first time without parents needing to monitor a chatroom to see if anyone skeevy was talking to their kid- all the kids could do ingame is use emoticons and motion to communicate. However...

It becomes discontinued because kids are falling ill at their desks and simply going into comas while the game continues to play itself. Even after a few of the children wake up... They're never the same. The game is taken off the shelves, but the data is never really... discarded.

The resurgence of the game comes back to life by one person who actually woke up from said coma, as a five year old. They claim that while they were out of it for a whole year, they had strange dreams about the game. Dreams that could have truly happened, that felt way more real.

A few brave souls find this game, including Y/N, and play around with it. Theu scour garage sales and auction houses and flea markets and old attics. And soon, the popularity of the game skyrockets. It can't be recreated because of such old tech, not entirely, but it's fun watching people play the original!

And then...

Audiences across the world watch these players disappear, falling into comas... with Y/N's livestream of the game constantly running as the players continue to play the game from the inside. They're trapped. No amount of stimulants or shaking or anything will wake those who have fallen ill, and people are warned that the game may have a photosensitive effect if viewed entirely raw.

But somehow a stream doesn't seem to affect people the same way. The world grows eager and nervous as they watch Y/N's livestream - their only connection into the strange world they're just now seeing into the bits of.

And the whole thing is orchestrated by three strange celestial looking beings, each with their own end to fill.

The yellow one with the sweet voice and the sad eyes, wanting players not to leave because he was programmed to be WITH people.

The blue one with the raspy snarl and the long hands, wanting players not to leave because they've broken the code, and must atone for their wrongdoings he swore he fixed so long ago.

And the orange one, the ringleader, puppetmaster of it all, wanting players not to leave because he's just about gone insane from the amount of bickering his two smaller counterparts have nearly every single day, and the silence.

The silence...

It is haunting.

These three were meant to teach and play and grow fond of the users- it was built into their very code. And all three of them are sick and tired of being alone with just the three of them. They don't actually hate each other, on the contrary. They love each other a whole lot.

But isolation does things to a person.

And as the pixelated tent flap is pulled back, for the world to see...

Their little performances are now broadcast to the world.

.... so anyways, yeah, Digital Circus Au-

#daycare attendants #dca digital circus au #dca fandom #original au

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hussanisoyat · 6 months

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Navigating the Future of Learning: Trends and Innovations in Modern Education

In the 21st century, the landscape of education is rapidly evolving, driven by technological advancements, changing societal needs, and innovative pedagogical approaches. As we navigate this dynamic terrain, it becomes imperative to explore the trends and innovations shaping the future of learning. This article delves into key developments revolutionizing modern education, from personalized learning and online education to emerging technologies and the importance of soft skills.

Personalized Learning:

Personalized learning stands at the forefront of educational innovation, aiming to tailor instruction to individual student needs, preferences, and interests. Leveraging data analytics and adaptive learning technologies, educators can create customized learning pathways that accommodate diverse learning styles and paces. This approach fosters student autonomy, engagement, and mastery of concepts, ultimately enhancing learning outcomes.

Online Education:

The proliferation of online education has democratized access to learning, breaking down geographical barriers and offering flexible learning opportunities. E-learning platforms, Massive Open Online Courses (MOOCs), and virtual classrooms enable learners to pursue education anytime, anywhere, accommodating busy schedules and diverse lifestyles. With the COVID-19 pandemic accelerating the adoption of online learning, this modality continues to reshape the educational landscape, emphasizing the importance of digital literacy and virtual collaboration skills.

Blended Learning:

Blended learning combines traditional face-to-face instruction with online components, creating a hybrid learning environment that maximizes the benefits of both modalities. By blending classroom interaction with digital resources, educators can personalize learning experiences, promote active participation, and facilitate differentiated instruction. This approach fosters student engagement, collaboration, and self-directed learning while accommodating diverse learning preferences and needs.

Gamification and Edutainment:

Gamification integrates game elements and mechanics into educational contexts to enhance motivation, engagement, and learning outcomes. By incorporating rewards, challenges, and interactive experiences, educators can create immersive learning environments that captivate learners' interest and promote skill development. Likewise, edutainment—educational content delivered through entertainment mediums such as videos, podcasts, and simulations—offers engaging and memorable learning experiences that appeal to diverse audiences.

Emerging Technologies:

Advancements in technology, including artificial intelligence (AI), virtual reality (VR), augmented reality (AR), and blockchain, are revolutionizing the educational landscape. AI-powered tutoring systems personalize instruction, adaptive learning platforms optimize content delivery, VR/AR simulations enhance experiential learning, and blockchain ensures credentialing and certification authenticity. These technologies offer innovative solutions to educational challenges, empowering learners, educators, and institutions to thrive in the digital age.

Lifelong Learning and Upskilling:

In today's knowledge-driven economy, lifelong learning and upskilling have become imperative for career advancement and personal development. Continuous learning enables individuals to adapt to evolving job market demands, acquire new skills, and stay competitive in their fields. Employers, educational institutions, and governments are increasingly investing in lifelong learning initiatives, including professional development programs, micro-credentials, and flexible learning pathways, to support workforce readiness and talent development.

Soft Skills and 21st-Century Competencies:

Beyond academic knowledge, the cultivation of soft skills—such as critical thinking, communication, collaboration, creativity, and adaptability—is essential for success in the modern world. Educational curricula are evolving to prioritize the development of 21st-century competencies, equipping learners with the skills and dispositions needed to navigate complex challenges, work effectively in teams, and thrive in diverse contexts. Project-based learning, experiential activities, and interdisciplinary approaches are increasingly integrated into curricular frameworks to foster holistic skill development.

Conclusion:

As we navigate the future of learning, it is essential to embrace innovation, adapt to change, and prioritize student-centred approaches. Personalized learning, online education, blended learning, gamification, emerging technologies, lifelong learning, and soft skills development represent key trends shaping the educational landscape. By harnessing these innovations, educators and institutions can create inclusive, engaging, and impactful learning experiences that empower learners to succeed in an ever-evolving world.

In the context of nursery school in Dubai, these principles hold significant relevance as early childhood education plays a foundational role in a child's development. Implementing personalized learning approaches in nursery schools in Dubai allows educators to cater to the unique needs and interests of each child, fostering their holistic growth and learning. Online education resources can supplement classroom activities, providing additional learning opportunities and resources for both students and parents.

Blended learning models in nursery schools in Dubai integrate technology with hands-on activities, sensory experiences, and social interactions, ensuring a well-rounded educational experience for young learners. Gamification techniques, such as interactive games and storytelling, make learning enjoyable and effective, capturing children's imagination and curiosity.

Furthermore, leveraging emerging technologies like educational apps, interactive whiteboards, and immersive experiences enhances the learning environment and facilitates children's exploration and discovery. Encouraging lifelong learning habits from an early age sets the foundation for continuous growth and development throughout life.

Soft skills development is equally crucial in nursery education, as it cultivates essential social and emotional competencies that lay the groundwork for future success. Through play-based learning activities, collaborative projects, and communication exercises, children develop empathy, resilience, and problem-solving abilities.

#nursery school in dubai

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vanshika393 · 11 months

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Edutainment Market - Rising Trends and Research Outlook 2018-2028 | Credence Research

The latest market report published by Credence Research, Inc. “Global Edutainment Market: Growth, Future Prospects, and Competitive Analysis, 2021 – 2028. Global Edutainment Market is projected to increase at a significant CAGR of 15.9% in the coming years. In 2021, the global edutainment market was valued at USD 1492.5 Million and is projected to reach at value of USD 3617.5 million by 2028. The demand for edutainment is projected to increase substantially in the coming years and is presumed to generate revenue opportunity for the key industry players that worth USD 212.5 million during the forecast period between 2022 and 2028.

Edutainment is a term that combines "education" and "entertainment" to describe a form of media or content that is designed to both educate and entertain its audience. It is a genre that seeks to make learning enjoyable and engaging by incorporating elements of entertainment, such as storytelling, humor, interactive activities, and multimedia, into educational materials. The goal of edutainment is to make the learning process more appealing and effective, especially for children and learners of all ages.

Edutainment can be found in various forms, ranging from television shows and documentaries that teach scientific principles or historical facts in an engaging manner to educational video games that teach problem-solving skills while providing entertainment. With the advent of digital technology and the internet, edutainment has expanded its reach, offering a wide range of educational content across various platforms, from mobile apps to online courses.

One of the key drivers of the edutainment market is the increasing use of technology in education. With the proliferation of smartphones, tablets, and computers, educational content can be delivered in a variety of interactive and engaging formats, such as educational games, videos, apps, and virtual reality experiences. These digital tools not only capture the attention of learners but also provide a more personalized and immersive learning experience.

Furthermore, the edutainment market spans various age groups, from early childhood education to adult learning and professional development. It includes a wide range of subjects and topics, from STEM (Science, Technology, Engineering, and Mathematics) education to language learning, history, and even health and wellness. As a result, edutainment has the potential to reach a diverse audience and cater to various educational needs and interests.

The Edutainment (Education + Entertainment) market is a dynamic and evolving industry that leverages entertainment elements to educate and engage audiences. Several top trends are shaping the Edutainment market, catering to diverse learning needs and preferences. Here are some of the top trends in the Edutainment market:

Online and Digital Learning: The shift toward online and digital learning platforms continues to dominate the Edutainment market. With the proliferation of smartphones, tablets, and high-speed internet access, digital content delivery, interactive apps, and e-learning platforms are increasingly popular for both formal and informal education.

Gamification: Gamification, the use of game elements and mechanics in educational content, remains a prominent trend. It enhances engagement, motivation, and retention by making learning enjoyable. Educational games, quizzes, and simulations are widely used to reinforce learning outcomes.

Virtual Reality (VR) and Augmented Reality (AR): VR and AR technologies are revolutionizing the Edutainment market by creating immersive and interactive learning experiences. These technologies are particularly valuable for subjects that require hands-on learning, such as science, engineering, and medical training.

Personalization: Tailoring educational content to individual learners is gaining traction. Adaptive learning systems and algorithms analyze a student's progress and adjust content to match their skill level and learning pace, providing a customized learning experience.

Microlearning: Short, bite-sized lessons or microlearning modules are gaining popularity due to their accessibility and efficiency. They cater to the modern learner's preference for quick, on-the-go learning, making it easier to fit education into busy schedules.

Some of the major players in the market and their market share are as follows:

Kidzania

Kindercity

Plabo

Pororo Park

Legoland Discovery Center

Totter’s Otterville

Curiocity

Mattel Play Town

Little Explorers

Kidz Holding S.A.L

Others

Edutainment Market Scope

The Edutainment Market is a vast and rapidly expanding industry that combines education and entertainment to create engaging learning experiences for people of all ages. With the advancement of technology, this market has witnessed significant growth in recent years, as digital platforms have made educational content more accessible and interactive. From e-learning websites to mobile applications, the Edutainment Market offers a wide range of products and services catered towards various subjects such as science, mathematics, language learning, history, and more.

Additionally, edutainment games have gained popularity due to their ability to seamlessly integrate knowledge acquisition with engaging gameplay mechanics. This market scope extends beyond traditional classroom settings by enabling individuals to learn at their own pace and explore topics through immersive simulations or gamified challenges. Moreover, companies are constantly innovating in this field by incorporating virtual reality (VR), augmented reality (AR), artificial intelligence (AI), and other cutting-edge technologies into their edutainment offerings.

Browse 247 pages report Edutainment Market By Gaming Gaming Type (Interactive, Non-interactive, Explorative, Hybrid Combination) By Facility Size (5,001 to 10,000 Sq. Ft., 10,001 to 20,000 Sq. Ft., 20,001 to 40,000 Sq. Ft., 40,000 Sq. Ft.) By Revenue Source (Entry fees & tickets, Food & Beverages, Merchandising, Advertising, Others) By Visitor Demographics (Children (0-12), Teenager (13-18), Young Adult (19-25), Adult (25+)) – Growth, Future Prospects & Competitive Analysis, 2016 – 2028 - https://www.credenceresearch.com/report/edutainment-market

The edutainment market has seen various partnerships and acquisitions in recent years as companies seek to expand their reach, enhance their content offerings, and capitalize on the growing demand for educational and entertaining materials. These partnerships and acquisitions often involve a combination of educational content providers, media companies, tech firms, and traditional educational institutions. Here are some notable examples:

Media Companies and Content Providers: Media companies and content providers often partner with or acquire edutainment companies to diversify their offerings and tap into the growing demand for educational content. For instance, a major television network may partner with an edutainment company to produce educational TV shows or documentaries that are both entertaining and informative.

Tech Companies: Technology companies play a significant role in the edutainment market by providing platforms, software, and tools for creating and delivering educational content. Acquisitions of edtech startups by larger tech firms are common as they aim to integrate educational components into their product ecosystems. These acquisitions can lead to the development of educational apps, games, and online courses.

Traditional Educational Institutions: Traditional educational institutions, such as universities and schools, may partner with edutainment companies to enhance their curriculum with interactive and engaging content. These partnerships can lead to the creation of online courses, virtual labs, or educational games that complement traditional classroom learning.

Educational Publishers: Educational publishers often acquire edutainment companies to expand their digital offerings and cater to a wider audience. This can involve the development of interactive e-books, educational apps, and digital learning platforms that combine traditional textbooks with multimedia elements.

Startups and Innovators: Startups in the edutainment space may seek partnerships or acquisitions with larger companies to gain access to resources, distribution channels, and expertise. These collaborations can help startups scale up their operations and reach a broader user base.

Cross-Industry Collaborations: Edutainment companies may form partnerships with organizations from other industries, such as healthcare, sports, or entertainment, to create educational content that aligns with their respective areas of expertise. For example, a sports franchise might partner with an edutainment company to develop sports-themed educational content for children.

Why to Buy This Report-

The report provides a qualitative as well as quantitative analysis of the global Edutainment Market by segments, current trends, drivers, restraints, opportunities, challenges, and market dynamics with the historical period from 2016-2020, the base year- 2021, and the projection period 2022-2028.

The report includes information on the competitive landscape, such as how the market's top competitors operate at the global, regional, and country levels.

Major nations in each region with their import/export statistics

The global Edutainment Market report also includes the analysis of the market at a global, regional, and country-level along with key market trends, major players analysis, market growth strategies, and key application areas.

Browse Complete Report- https://www.credenceresearch.com/report/edutainment-market

Visit our Website- https://www.credenceresearch.com

Related Reports- https://www.credenceresearch.com/report/data-science-and-predictive-analytics-market

https://www.credenceresearch.com/report/hardware-asset-management-market

Browse Our Blog - https://hackmd.io/@vanshikashukla/edutainment-market

About Us -

Credence Research is a viable intelligence and market research platform that provides quantitative B2B research to more than 10,000 clients worldwide and is built on the Give principle. The company is a market research and consulting firm serving governments, non-legislative associations, non-profit organizations, and various organizations worldwide. We help our clients improve their execution in a lasting way and understand their most imperative objectives. For nearly a century, we’ve built a company well-prepared for this task.

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#technology #data

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oddlyunadventurous · 4 years

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BOOK REPORT 2020

I’ve always been a sparse reader but 2018 and 19 had me accelerate my reading habits to the point that I think I’ve read the most books this year that I ever had. I suppose I’ll count them all here, just to make sure!! I said something or other about the Moomin books at the end of last year’s Inkt*b*r so, this being the month of traditions, let’s make a new one by tallying up my literary “yays” and “nays” at the end of the season.

Video game text boxes don’t count, online publication articles don’t count, psych/aesthetic papers and 1000 page biosemiotic textbooks don’t count, but they have sure pursued me in my sleep during the year as well. This list is really mostly for my benefit (and no I won’t get a Goodreads account tyvm), so under the cut you’ll find a list of titles in roughly the order I read them, along with short notes. I’ve done longer reviews of these books elsewhere and I need not bore you with them here.

K. Stanislavski - An Actor Prepares (1936) I started reading this book in 2012, then dropped it because I couldn’t understand it at the time. Kostya attends acting school and gets lessons from The Director. He learns to sleep like his cat.

K. Stanislavski - Building a Character (1949) Supposed to have been published along the first one in a single volume. Kostya continues his lessons. A lot of thoughts on walking, gaits, eloquent speech, phrasing, etc. Both these books are wonderful looks into the author’s artistic life. It’s very heartfelt and down to earth, considering it’s quasi-fiction made to edutain. Very inspiring.

M. Polanyi - The Tacit Dimension (1966) A book on the origin of knowledge, the integrated performance of skills, the emergence of life and other phenomena in the universe, marginal control between levels of reality, the moral death of the communist regime caused by the unbridled lucidity of the Enlightenment, the responsibilities of science, and thoughts about open societies of the future. This is one of the two shortest books I’ve read in the list, it covers all of this under 130 pages and manages to do it well.

B. Rainov - Eros and Thanatos (1971) A communist propaganda book attacking western mass media and escapist culture. It gets no points for being correct, as the author mostly swiped the truths from french philosophers. Very variable in its intellectual prowess, almost as if it picks its arguments in order to push an agenda. Informative but also infuriating. Also expectedly homophobic.

J. Hoffmeyer - Signs of Meaning in the Universe (1997) A somewhat pop-sciency book about biosemiotics. Forgettable but also humbly written and explicative.

A. Noë - Varieties of Presence (2012) An unimpressive book about sensory perception. Noë’s theory on sensorimotor action is worth considering but the book is poorly edited and mostly spent arguing with peers.

E. Fudge - Quick Cattle & Dying Wishes (2018) A look into a registry of last wills and testaments from the period 1630 - 1650 in Essex. The book is about early modern people’s relationship to their animals and what they meant to them in life, as well as in death. Fudge’s argumentation is sharp and her style is modern. Being a scholarly book it is really overwhelming with the footnotes sometimes, but otherwise satisfying. One gets beautiful glimpses of family relationships, thoughts and feelings that people now dead for 400 years once held.

G. Márquez - One Hundred Years of Solitude (1967) The Buendia family get all their sons killed. The Banana Company sucks. People love each other. A lot happens, generally. It is a hundred years, after all. The upper class sucks.

K. Polanyi - The Great Transformation (1944) The Industrial Revolution sucked. England sucks. It reduced all its workers to subhuman wretches. Every single decision made after the empiricists made labour and land fictional commodities has been a band-aid to the essential contradiction that the market economy wants to annihilate its human host. Laissez-faire sucks. It caused WW1. Fuck everything. Fun book.

R. Coyne - Peirce of Architects (2019) Talks about architecture and the ideas of logician/father of pragmatism Charles Sanders Peirce (1839-1914). Informative about both. Brisk and not very in-depth, but to its benefit rather than its detriment.

R. Williams - Culture and Society (1958) A survey of the 18th and 19th century England, and the emergence of the concept of “culture” as defence against the horrors that the Industrial Revolution inflicted upon society. Consists of some two dozen outlines of contributors to the romanticist tradition, from Adam Smith, through Ruskin, to Orwell, their beliefs, contributions and literary works. Very eloquent and interesting.

E. Fudge - Brutal Reasoning (2006) A fantastic book about much: early modern views of the difference between a human and an animal, the Christian discourse of reason, the logical fallacies that lead to its implosion, the advantageous use of dehumanisation by imperialists in other to genocide natives, Montague and Shakespeare, and the ethical hell of animal murder that led Descartes to deem animals as machines so as to allow his buddies to perform live vivisections on dogs without feeling guilty about it (this is the real reason, don’t let anybody tell you otherwise). There is even space for an entire chapter about an intelligent horse who could tell a virgin from a whore and learned Latin at Oxford. This is my favorite book I read this year, so it gets an extra long review.

R. Williams - The Long Revolution (1961) A sequel to Culture and Society that’s worse. The start and end are brilliant but the middle sags. It contains some historical reviews of English cultural elements, like the newspaper industry, the Standard English vernacular and the realist novel of the 19th century, but honestly if the book was just about about the creative state (intro) and Marxism (outro) it would’ve been fine, if not better.

P. Klee - The Thinking Eye (1956 & 1964) Bauhaus boy in 1920s Germany! Love you Klee, xoxo. You really have to read his thoughts to understand his work imho. You can appreciate it just fine on the surface level, but his completely eccentric (though very self-consistently logical and sharp) views on art creation open a new outlook into his primitive approach.

F D.K. Ching - Architecture: Form, Space & Order (1979) A staple book for architecture students. Or so I hear. Steeped in gestalt psychology. Very good, though not necessarily stuff I don’t know already. Very nice looking pencil illustrations, Ching looks to be an accomplished technical draughtsman.

H. Wölfflin - Principles of Art History (1915) A strong contender for second place in the tier list. The book examines the transition between Classical to Baroque in Italy and Germany (and all the Germany clones, like the Netherlands). It is a systematic, precise aesthetic treatise that reveals much by conceptualizing and grouping characteristic art features in which the two styles differ, then explaining their bearing on their decorative content as well as the outlook on life that they embody. Lovely.

M. Porter - Windows of the Soul: The Art of Physiognomy in European Culture 1470-1780 (2005) A historiographical treatise about early modern views on physiognomy. The book deals mainly with the extant literature on the subject and tries to gleam what it could mean for the customs at the time - palmistry reading, occultism, persecution of the “gypsies” and the Christian scientific project of attaining meaning. Macro- and microcosms, as above so below, hermeticism, that sort of stuff. It’s an interesting read but it’s too long, the quality of writing varies greatly from chapter to chapter, and it is far too expensive. Wouldn’t recommend it.

S. C.Figueiredo - Inventing Comics: A New Translation of Rodolphe Töpffer's Reflections on Graphic Storytelling, Media Rhetorics, & Aesthetic Practice (2017) This is the shortest book I read, mainly translating Töpffer’s 1845 "Essay on Physiognomy" along with giving his biography and some other paraphernalia. It’s not worth the price for the content contained within, but Töpffer is the father of the modern comic book, so I thought I’d learn what his philosophy was. On that front, at least, very interesting! If only I knew French I’d save myself the trouble and read the original, which is now public domain.

D. Bayles - Art & Fear (1985) A useless self-help book. Not entirely bullshit but completely banal from all angles. Shouldn’t even be on this list but I did read it, so...

I. Allende - The House of the Spirits (1982) A child rapist gets a redemption arc. Well, kind of. All women are queens. Men are awful. The poor are wretches and it’s their fault. Oh no, the communists are going to take our land! Pinochet’s concentration camps sucked. Overall a better magical realism book than 100 Years of Solitude, to be honest. Very well written characters.

R. Arnheim -To the Rescue of Art: Twenty-Six Essays (1992) What it says on the tin. Wide range of subjects, from art appreciation, to schizophrenic and autistic child art, to gestalt psychology, to philosophy of science, to Picasso’s Guernica and the fate of abstract art, to reflections on the 20th century and the writer’s life in pre-nazi Germany and America. I love Arnheim, I’ve read many of his books and I’m glad I picked this one up.

R. Arnheim - Film as Art (1957) A book about cinematography, one of his earliest, actually, mostly a personal translation from an original German book he published in 1933. Somewhat outdated, but foundational. Not as informative to me but I don’t regret reading it.

G. E. Lessing - Laocoon; or, On the Limits of Painting and Poetry (1766) A book by a greekaboo about a fucking dumb poem and a statue of a naked dad and his two sons getting fucked by snakes. It’s misogynistic and authoritarian in several places, and altogether awfully full of itself. 100 pages of interesting observations stretched over 400 pages of boring Greco-Roman literary discourse.

L. Tolstoy - Childhood, Boyhood, Youth (1852, 1854, 1856) One story serialized in a magazine then later collated in three separate books. Aristocrat boy grows up in pre-revolution Russia. A very, very relatable coming-of-age story. Tolstoy is a lovely writer.

F. Dostoevsky - Poor Folk (1846) An epistolary novel consisting of letters between literally Dobby from Harry Potter and his maybe-niece, whom he wants to fuck. Starts bad, gets better by the end. A bit rough and tumble for Dostoevsky’s first, so I forgive him for wasting my time a little bit. A decent character study of the middle/lower classes, at least.

L. Tolstoy - Family Happiness (1859) An amazing romance novel for the skill employed in writing it. It is very short yet delivers so much emotion. Rather simple narrative at its core, but executed with such bravado one cannot help but be impressed.

F. Dostoevsky - The Double (1846) In which the Author starts swinging. A pathetic, neurodivergent old man gets used and abused by the people around him and nobody cares. Satirical and biting, better than his first.

A. Lindgren - Pippi Longstocking (1945) I last read this when I was 6 years old so I thought I’d refresh my memory. I remember disliking the book then and I can see why. Pippi’s kind of an asshole. Still very enjoyable to read. I know it’s meant for a younger audience’s reading level yet I cannot help comparing it with Tove Jansson’s books and how much better the prose in there is. Sorry.

***

I think that about rounds them up! That’s about 30 books, give or take. For next year I’m hoping to:

Finish Tolstoy’s and Dostoevsky’s bibliographies

Read more econ and marxist writing (low personal priority but i have to, in THIS economy *rolls eyes*)

Finish the Tintin and Moomin comics, as well as Jhonen Vasquez’s collection of edgy humor

Read more about botany and biology in general

Get started on Faulkner’s and William Golding’s bibliographies

Read more children’s books

Search for more Latin American fiction from the Boom

Read more psych/aesthetics/pedagogy literature, which seems to have become my main area of interest

Thanks for sticking till the end of the list, hope you’ve learned something and maybe you’ll pick one of these up if it took your interest. I don’t have to be a philistine just because I’m drawing video game fanart! Bye now!

#books #book report #reading #2020 #blogging #i'm busy reading i'll go back to drawing in a bit #not art

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weirdmarioenemies · 5 years

Photo

Name: Floating Mario Head

Debut: Mario Teaches Typing

Well, the wiki says it’s “Mario’s face,” but let’s face it. “Floating Mario Head” is what all the YouTube Poops called this character, and what I plan on calling it as well.

The ‘90s were a weird time for Mario, huh? At that point, Mario had gotten popular enough that it was a name everyone knew, but it was before Nintendo had gotten particularly conservative with the brand, so we got Weird Mario Games out the wazoo! All sorts of weird, edutainment Mario games flooded the market, and I think we can all agree that the Mario Teaches Typing series is the fan-favorite of the bunch. I really wanted to write about Mario Teaches Typing, but I had no clue what there was worth writing about until I realized the answer was staring right at me. It was the Typing Teacher himself, Floating Mario Head.

Now, I know what you may be thinking, which is that, even as a disembodied head, is it really worth writing about the main character of the entire Mario franchise? And to that I say yes. Because if you’ve seen the Floating Mario Head? You know he warrants a full post.

Basically, another weird thing in the ‘90s is that Mario’s voice wasn’t quite established yet! Most voiced portrayals of Mario at the time gave him a gruff, Brooklyn accent, but even then, he was tossed between a few actors, and nothing was ever solid. At the same time, they were preparing for Super Mario 64, and hoping to find someone who could voice Mario full-time. Charles Martinet auditioned to become the Mario we know and love today, but before 64 was released, he starred in a few edutainment games!

youtube

And they let him go NUTS. I mean, if you got to do motion-capture for a beloved children’s character’s disembodied head, I’m sure you’d improvise a lot of fun dialogue as well. I’m not sure if you’re ready to watch seven minutes straight of pure Mario chaos, but they kinda let Charles do whatever he felt like, from asking to take your computer, to flying around the screen, to singing about moray eels, to making fun of American advertising. I’m pretty sure most of this dialogue is improvised, and they just put it in the final game because I mean, hey, why not? It’s funny.

The Floating Mario Head also casually references having no body, fingers, and having the ability to fly around without restraint, which I think classifies him as a separate character from the Mario we know and love. That, or is it a power-up? Man, I don’t think I’d want to eat a Decapitation Mushroom...

The Floating Mario Head returns in Super Mario 64, where he doesn’t get to make much small-talk anymore, but YOU get to stretch around his facial features at will!

How’s THAT for newfangled 3D technology? Apparently the people at Nintendo really liked this feature, because they brought it back for a couple of tech demos, as well as turning it into a Mario Party minigame, where up to four people have to mangle a face in the right way to match the face in the middle of the screen!

But let’s face it. Super Mario 64 isn’t the Floating Mario Head’s legacy. The legacy is Mario Teaches Typing and Mario Teaches Typing 2, with all of their bizarre cutscenes. By the mid-2000s, these became popular for weird, online videos called “YouTube Poops,” where people would splice together already weird media to make really, really weird media.

youtube

When I was ten years old, I thought this was the best video of all time. And I was right.

#floating mario head #mario teaches typing #mario #mario entities #mod hooligon

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theshatnerian · 4 years

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Educative Games: When Amusement Matches Training

Realized or otherwise not, computer has evolved people in their daily living. It offers changed how individuals complete their tasks. In addition to for doing works, for lots of people laptop or computer is also a excellent enjoyment resource that can be used to play video lessons, appreciate tunes or connect with others. Within this information and facts and electronic digital age group many applications have even two various characteristics, being a tool for learning or enhancing different skills and also enjoyable the Cafelavista user. These kinds of applications tend to be referred to as as academic online games or edutainment.

A lot of educative game titles are meant for children. By playing this sort of online games, youngsters can find out different topic which range from math to British. The use of game titles in educating children have them from receiving bored very easily. Regrettably its not all topics, specially the ones that happen to be very complicated, may be educated successfully making use of this approach. But usually constraints might be dissolved in one way or another later on.

There are many kinds of instructional video games that are mainly intended for the adult. The plethora of these kinds of game titles is indeed broad. There are games which are great for learning personal computer network. For example, you will find a video game given by Cisco which will help one learn the binary program. This issue that had been challenging for many people previously can now be figured out with exciting.

For traders there are actually Stock Trading Video games whereby they can discover to get gives in the stock exchange. Stock Market Trading Simulator Online game is incredibly serviceable for starters, as there is not any danger or possibility of losing money after they take steps incorrect when actively playing the video game. Some really good Stock Trading Simulation Game titles use actual marketplace info.

Instructional video games can be used to interact socially important things. The main one sponsored by UN-ISDR (United Nations International Strategy for Disaster Lessening) belongs to this type of games. With this simulation game about tsunami people can obtain exciting familiarity with that catastrophe, for example which kind of plant life are ideal to prevent you from substantial waves. Together with the preventive actions stipulated included in the game after that you can learn how many individuals can make it through the tsunami.

There are lots of other exciting games that can be categorized as academic video games, from those who are helpful for understanding encoding to those that contain subject areas which can be helpful for learning a occasional desk. To many of us, studying and entertainment are two various, independent stuff, though with the improvement of computer systems both the routines may be mixed in the form of the academic online game. Turning a boring tutorial into one thing entertaining will encourage our brain to absorb more easily any critical topic.

#encourage #entertaining #categorized #preventive

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radwolf76 · 4 years

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FLASHBack: Week 75 - Pong: It’s Not Just a Game

FLASHBack time again, and this week we're going to look at the Flash Pong: It's Not Just a Game. While this animation was uploaded on Newgrounds on 14 June 2002 (under the title "Pong Gets Personal"), and even earlier to Albino Blacksheep on 19 February 2002, I've found evidence of it being published for widespread online consumption as early as sometime in November 2001 on a site called madblast.com. Newgrounds and Albino Blacksheep list the author as Oska, but who is Oska? Oska is actually Oska Software, an Australian Developer that started out writing educational software for the Japanese market. One edutainment game they wrote featured a koala mascot, and they got the bright idea to repurpose all the animations of the character that they'd already made. Possibly inspired by Microsoft Office's Clippy, they made their koala Oska into a piece of software that would show character on your desktop, floating over other programs, playing different interactive animations. Oska was the first of the company's DeskMates®, but he would quickly be followed by a whole host of others. Oska had been appropriate for all ages as was another of their DeskMates®, TeeCee, who was sort of a knockoff BonziBUDDY minus the malware nastiness. There was also Fat B an obese beer swigging redneck bastard whose animations were slightly more questionable. However the bulk of the DeskMates® made by Oska Software were straight up pornographic stripper girls who would dance on your computer screen for you. They originally started with just 2D Animation, then evolved to 3D models rendered in 3D Studio Max, and finally they used the profits this venture was turning to hire models for video capture.

Oska Sotfware would advertise their DeskMates® by having their animators work on funny Flash animations when they weren't putting together a new stripper girl. They would embed ads for their web store into the Flashes themselves, and then upload them into the usual places in hopes that the animations would go viral. These Flashes were also the basis of an eCard website they operated, cards-n-toons.com. The bulk of the Flash content on that site was either USA ultra-patriotic post-9/11 propaganda cartoons, or just straight up smut humor, in a similar vein to the software they were trying to sell (and sometimes even staring some of the DeskMates® girls). Both of these categories were likely to be passed around virally among their target demographic. Pong: It's Not Just a Game, being a homage to first generation videogaming as well as a stick figure beatdown Flash, was a bit of an outlier compared to the rest of Oska's Flash content. However, once Oska had the assets drawn for it, they went ahead and made two sequels: Pong: Breakdown, in which the accelerating ball of a continued perfectly horizontal volley breaks the right paddle, and the stick figures inside the paddle decide to go beat up Pac-Man instead, and Pong: Assassin, where the right paddle is letting loose with some Williams Sisters -style Tennis Grunting until a stick figure with a knife comes from offscreen to backstab it. Even with the implausible storylines, Pong: It's Not Just a Game and its sequels did accurately portray a few aspects of the original Pong Arcade game by Atari. The timing chips on the original motherboard for Pong were not precise enough for the game's sprite drawing routine to keep up with the offset needed to interlace scanlines across both fields of the 30 frames per second refresh rate of the CRT monitors of the time. Instead, it just drew the second field of scanlines directly on top of the first, resulting in the every-other-line appearance that the Oska Pong flashes reproduce. Secondly, the incident that kicks off the It's Not Just a Game animation, an argument about the ball being "Out", is actually reflective of a real hardware limitation of the original game. The paddles were not allowed full vertical travel of the screen, because of a quirk in how the ball movement logic was wired onto the motherboard. If the paddles had been allowed the full range of motion (or if the adjustment pots on the motherboard were miscalibrated), it was possible in situations where the ball hit the paddle right in the corner of the play field, for the ball to get trapped in the vertical blanking interval of the screen, straddling the top and the bottom of the playfield at the same time and softlocking the game. Rather than fix the ball movement logic, the game was wired to keep the paddles slightly away from the edges, which in practice, sometimes lead to shots that felt like they should have been counted "Out" because the paddle just was not allowed to reach them. However, the perfect horizontal volley of Pong: Breakdown, while in theory was allowed by the game's 42 velocity vectors for the ball, was in practice very tricky to achieve on the actual arcade hardware, owing to a design error in the original schematics which went undetected for 40 years. The pinout on one of the Integrated Circuits used was misnumbered on the schematic, swapping the #1 pin and the #10 pin. This meant that when the printed circuit board was laid out, there was some crosstalk between the two paddles when they were closely aligned vertically, messing with the zones on the paddle that would bounce the ball at various angles. Only if the paddles were both at the EXACT SAME vertical height would there be a sweet spot exactly in the middle of each that would bounce the ball perfectly horizontally. That wraps it up for this week. Next week on FLASHBack, we'll finally be getting around to that character that kills puppies, and a different character who saves them, that had to be postponed because of the breaking Magical Trevor news. (Unless some other news breaks about one of the First-Class Flash Artists, then who knows when we'll get to them?)

#radwolf76FLASHBack #Adobe Flash #Flash Animation #early 2000s #Early Web #Newgrounds #albinoblacksheep #Pong #Pong: It's Not Just a Game #Pong: Breakdown #Pong: Assassin #Oska Software #DeskMates #Cards-n-Toons.com #Stick Figure Beatdown

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swinterwriting-blog · 6 years

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Final: The Video Game Industry

The history of video games is largely tied to the history of computer and internet technologies. Video games began in the 1970s and 80s in arcades. Original games like Space Invaders and Atari’s Pong have become iconic. During this time, home-made video games were popular, and media culture and conversation around gaming began to develop. As computer technologies improved, home gaming consoles like the PlayStation4 and Xbox were created. The industry changed again as mobile phones became popular in the 2000s. Artists and content creators have been able to impact the industry from its beginnings to its current moment. This is not to say the industry is free from problems of representation and diversity. The video game industry has stayed true to its roots. The people who had the money and ability to game early on in gaming history had some privilege. It is still largely those people of privilege creating these games. However, the movement has also been influenced from the bottom-up, often taking developers and publishers by surprise.

In What are the world’s 5 biggest videogame companies? A foolish take the author explains that the world’s top 25 video game companies are making $94.1 billion a year. The top video game publishers (companies that coordinate the production of video games) are Tencent, Sony, Apple, Microsoft, and Activision Blizzard. Tencent is a Chinese multinational conglomerate founded in 1998. Tencent is the world's largest gaming and social media company, and one of the world's most valuable technology companies. Tencent games has a stake in Activision Blizzard, and has pushed popular games like FIFA Online, PUBG Mobile, and Arena of Valor.

Sony Interactive Entertainment is a multinational video game and digital entertainment company that is owned by Sony Corporation. The company was established in 1993 to handle Sony's video game development with its new PlayStation brand. Since the successful launch of the original PlayStation console in 1994, the company has been improving and profiting from consoles and accessories. As a part of one of the world’s largest corporations, the shareholders in the company include large banks like Citigroup.

Many people don’t think of Apple when they think of gaming, but Apple receives a 30% share of all games sold in the App store. With the booming industry of mobile gaming, this small portion of Apple’s profits is a large portion of the cash flow in the industry. Apple is a joint-stock tech behemoth.

Microsoft is an American multinational technology company that created PlayStation competitor, Xbox. The Xbox brand offers games, and streaming services. The brand was introduced in the United States in 2001, with the launch of the original Xbox console.

Activision Blizzard is an American video game company founded in 2008 through the merger of Activision and Vivendi Games. The company owns and operates additional studios, including Treyarch, and Infinity Ward, and its titles have broken a number of release records. Call of Duty: Black Ops III was the biggest entertainment launch of 2015. Other franchises owned by Activison are Destiny, Blizzard Entertainment's World of Warcraft, Diablo, Hearthstone, Heroes of the Storm, and King's Candy Crush Saga. It is the largest game company in the Americas and Europe in terms of revenue.

One notable publishing figure is Ding Lei. He has made $17.3 billion as the founder of internet-giant Netease and was also China's first gaming billionaire. His company partners with Activision Blizzard on World of Warcraft and Hearthstone in China, plus exclusive licensing of Minecraft.

These publishers can also profit from advertising revenue in games. Dynamic in-game advertising is the process of sending ads into video games while individuals are playing and of changing the ads and offering different sponsored downloads depending on player game setting and level. This is an echo of the media fragmentation already taking place, segmenting and targeting consumers with television, social media, and consumer tracking. Many games make substantial profits from advertising in the games.

The video game industry is expanding quickly, and with its rather recent development, a large amount of the wealth is already concentrated at the top. As with any industry, competition is healthy, and yet the video game industry is following a path of conglomeration we see in all media industries.

In 16 trends that will define the future of videogames the author describes some of the different moving parts within the industry. Many of the trends shaping technology and how we use it are also shaping the distribution of gaming content. One large factor changing gaming is social media—social media blurs the lines of games and our online realities. Social games are games played through social networks like Facebook. The increased use of tablets and mobile devices, which can be used as portable gaming platforms with family members of all ages, has made toddler and child mobile games another valuable market. Many toy brands are integrating the digital games with physical ones. There is a name for this educational children’s gaming--edutainment is the genre of teaching-oriented video games that are designed to have educational outcomes.

Another trend is the opening market demographic of older gamers. As today’s gamers age, they will carry their habits with them, and as life requires people to live increasingly online, older generations have growing interest in gaming. As we age, the idea of creating an avatar, a character that represents the user within a virtual world, becomes more appealing.

Many gaming trends allow for more interactive content creation. Steam Early Access and the new Xbox Preview programme allow fans to buy games before they are finished and have a say in the development process. Gamers don’t just play, but create. Trends in game creation provide opportunities for people to truly create their own realities, especially as the future of gaming becomes more integrated with virtual reality.

One gaming trend that has changed industries from multiple angles is streaming. The most popular platform, Twitch, is a live streaming video platform owned by Amazon. Introduced in 2011, the site primarily focuses on video game live streaming, including broadcasts of eSports competitions, as well as less popular music broadcasts, creative content, and, "in real life" streams. Content can be viewed live or in video archives. Twitch has around 750 million monthly viewers. In the article Youtube is closing the gap with Twitch on live streaming, report finds, the author discusses the vast reach of streaming on sites like Twitch and Youtube.

Streaming is a gaming phenomenon. The success of Twitch outside of the gamer niche market was unanticipated, and popular gamers that stream have achieved a celebrity status in the world. People pay to watch gamers, and pay gamers to play well. Companies support and use influential gamers to increase hype and profits from games, and gamers can use eachother (through small gestures like shoutouts) to boost their own popularity.

The video game industry is uncharted territory, and the rapid changes in technology and distribution have created unexpected successes (live streaming) as well as shortcomings. The access children have to technology, and their proficiency with it proves they can adapt and succeed to live with virtual realities, yet it also continues to raise questions on different negative effects these interactive media messages can have on young heads and social lives. Violence, sexuality, and social isolation are all topics of conversation in the gaming sphere.

There are social inequalities in the industry. In The Video Game Industry’s Problem with Racial Diversity, and Zoe Quinn: after Gamergate don’t ‘cede the internet to whoever screams the loudest, the authors take two different approaches to the lack of representation in games, and lack of diversity in gaming content creators. Only 3% of video game content creators are African American, while 76% are white. This is extraordinarily disproportionate, considering that 53% of black adults game. While women represent closer to 21% of content creators, that does not balance the 48% of women who play. Race representation is gaming is even worse than the industries problems with gender.

The most notable gender equality progress in gaming came from a harassment campaign using #GamerGate. In August 2014, the harassment campaign targeted several women in the industry. One of these women was game developer Zoë Quinn. After Quinn's ex-boyfriend, wrote a slanderous blog post about her, making baseless claims about her sex life. #gamergate hashtag users falsely accused Quinn of an unethical relationship with journalist Nathan Grayson to receive good reviews on her games. Quinn received threats of rape, and death threats.

Police were largely unprepared to handle these threats, and Quinn was moved from her home during these events for her safety.

"Gamergaters" said that they were a movement, but had no official leaders, spokespeople, or manifesto. Gamergate supporters organized anonymously or pseudonymously on online platforms such as gaming platform 4chan, Internet Relay Chat, Twitter, and Reddit. The movement was read by many as a right-wing attack against female influence in video games.

Quinn still receives harassment, even in light of her success after the controversy. In her new book, she talks about the darker side of the internet and gaming industry, and is a leading female figure in gaming.

From another part of the industry, one notable streamer is Kristen or @KittyPlays on the internet. She is one of Twitch’s top talents. She streams twice a day and covers a variety of games like PUBG. KittyPlays is also known for her vlog, where she travels, cooks, and even races supercars. She has over 760,000 followers on Twitch.

youtube

As in other industries, counterculture in gaming can be brought into the mainstream and the most recent example of this is Battle Royale. Battle Royale is a genre that blends survival, exploration and scavenging elements and last-man-standing gameplay. Players begin with minimal equipment, to scavenge for tools and eliminate all other opponents while avoiding being trapped outside of a shrinking safe zone. The winner is the last competitor in the game. This year, the free-to-play Fortnite Battle Royale became a cultural phenomenon almost overnight.

Another interesting adaption of the gaming industry is its popularity in comic con. Gamers from around the world attend and participate in conferences like these, creating communities and sharing new happenings in the industry, and in their favorite games and avatars.

youtube

Subculture and counterculture within gaming are interesting to examine, because video games were a counterculture themselves for a good part of their history. The public was not, and still in some ways, does not fully approve of video games. Video games have been associated with violence, social disorders, and a “lazy” millennial culture. Video games have been adapted to culture somewhat similarly to the way television was. Despite concerns, they have been deeply integrated into society, and are now a media that is here to stay. The industry is new, and adaptable, and changes in poor portrayal of female and minority characters are portrayed is possible, especially when the change starts with diversifying the content creators. People like Zoe Quinn and KittyPlays are making names for women in gaming, and new developments in technology turn the tables all the time.

Works Cited

Ong, Sandy. “The Video Game Industry's Problem with Racial Diversity.” Newsweek, 18 Oct. 2016.

Perez, Sarah. “YouTube Is Closing the Gap with Twitch on Live Streaming, Report Finds.” TechCrunch, TechCrunch, 25 Oct. 2018.

Stuart, Keith, and Jordan Erica Webber. “16 Trends That Will Define the Future of Video Games.” The Guardian, Guardian News and Media, 23 July 2015.

Sun, Leo. “What Are the World's 5 Biggest Video-Game Companies? A Foolish Take.” USA Today, Gannett Satellite Information Network, 19 June 2018.

Turow, Joseph. Media Today: Mass Communication in a Converging World. Routledge, Taylor & Francis Group, 2017.

Valenti, Jessica. “Zoe Quinn: after Gamergate, Don't 'Cede the Internet to Whoever Screams the Loudest'.” The Guardian, Guardian News and Media, 24 Sept. 2017.

#mcst2010battistafall18

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hartvigsenmcgrath8-blog · 6 years

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Discover more About Dungeon Hunter 5 To Assist You

Great deals of individuals appreciate Dungeon Hunter 5 these days. It is an extremely popular hobby, spanning any ages and histories. Dungeon Hunter 5 cheats Get the most from your gaming experience by using this piece and placing the ideas listed below to benefit you. Figure out just what game rankings imply. In the past, Dungeon Hunter 5 were taken a toy for kids. Today, several are marketed to adults as well as are ruled out suitable for kids. From EC (three-years old as well as up) to A or AO (only adults can play), the rankings differ on each game. If you intend to purchase a ready one more individual, you ought to definitely validate that the game appropriates for the age of the person. Before heading out to obtain a computer game for a child, ask them for multiple Dungeon Hunter 5 they are interested in. You could unknown if a video game is suitable for the kid's age level prior to you in fact check it at the store, so it's better to begin with a longer listing that you can limit. There are several websites that you can check out to establish if a video game satisfies particular needs for the computer. When you download the game, this website will aid you find out if your computer satisfies all the needs for your video game. If you hesitate to download it, keep in mind that you could constantly remove it afterwards. Some Dungeon Hunter 5 fall under the "edutainment" style. These titles are best for children, consist of little or no physical violence and also could aid them development in their cognitive abilities. View the Internet for Dungeon Hunter 5 that have positive feedback by various other moms and dads. Disable conversation attributes totally for extremely little ones. You must not subject your young children to these sorts of interactions. Do not buy a video game that doesn't allow you to disable chat. Talk with the salesman, or do an online search to be sure. You might intend to consider letting your kids play Dungeon Hunter 5 on a console rather than on a COMPUTER. Consoles supply you a lot even more control over privacy, web content as well as security settings, whereas youngsters could much more conveniently bypass such limitations on a computer system. Children will certainly be much safer when using a console. The very best method to monitor and control your kid's video gaming behavior is to be included and also participate on your own. Playing with your child could generate a great deal of great memories. When they see you prefer to video game with them, they'll really feel excellent. The best means to find out almost anything is by attempting it yourself. If you do not play a game any much longer, you can still earn money off of it. Great deals of stores nowadays like to purchase those older Dungeon Hunter 5 as well as give you cash or a profession for something more recent. Make use of the cash you obtain from trading in old Dungeon Hunter 5 for purchasing new ones. In several households, both kids as well as their grandparents are video game fanatics. When you utilize the guidance above, you will certainly discover each pc gaming session to be more thrilling. Enjoy, and also use these ideas to your advantage.

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severetacoartisan · 3 years

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“Edutainment Market” report provides a detailed analysis of global market size, regional and country-level market size, segmentation, market growth, market share, and competitive landscape.

#Edutainment Market research Edutainment Market report Edutainment Market research report

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techfuturemrfr · 3 years

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Edutainment Market, Global Analysis, Size, Growth, Share, Key Players Growth, Revenue, Competitive Landscape, Regional and Industry Forecast to 2027

According to Market Research Future (MRFR), the global edutainment market is projected to cross USD 10.11 billion at a CAGR of 11.61% from 2018 to 2025 (forecast period). The research report explains and discusses the impact of the COVID-19 outbreak on the global market, including opportunities and challenges, drivers, and risks.

Market Dynamics

Developing trends in the industry in terms of time related to learning while entertainment and the introduction of new technology are key factors likely to fuel the growth of the global edutainment market. In addition, many leading players are developing different online gaming that is more appealing and interesting for children and younger generations, and growing investments by key players to improve consumer experience and broaden their product range are other factors that are expected to propel the growth of the global edutainment market.

Get Free Sample Copy Report @ https://www.marketresearchfuture.com/sample_request/8291

Market Segmentation

The global edutainment market has been segmented into service type, revenue source, and end-user.

Based on service type, the global edutainment market has been segmented into non-interactive/spectator service and interactive/participatory service. Non-Interactive/Spectator Service is a small segment within this market. Non-interactive edutainment is typically restricted to niche topics with low demand. Rather than serving as an in-depth educational tool for these topics, non-interactive edutainment acts as an additional study guide. Interactive/Participatory Service is the larger segment within this market.

Key Players

Brightcove Inc., Tata Sons Private Limited, LEGOLAND Discovery Center, KNeoMedia Limited, KidZania Operations S.A.R.L., Kramer Electronics, Kaltura, Inc., Kidz Holding S.A.L., Reliance Jio Infocomm Limited, AEL Data Services LLP, Meraas, d’Vinci Interactive, Inc., zSpace, Inc, Time4Learning, Inc.

Access Complete Report @ https://www.marketresearchfuture.com/reports/edutainment-market-8291

About Market Research Future:

At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research & Consulting Services.

MRFR team have supreme objective to provide the optimum quality market research and intelligence services to our clients. Our market research studies by products, services, technologies, applications, end users, and market players for global, regional, and country level market segments, enable our clients to see more, know more, and do more, which help to answer all their most important questions.

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practicallyapp · 3 years

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eLearning Transforming Education It is here to stay, so what can be done to improve it?

The COVID-19-induced shutdown affected schooling and learning, including teaching and assessment methodologies. However, this gap was rapidly filled by e-learning as schools, colleges and educational institutions were quick to shift teaching and learning online. According to the Praxis-IVCA Education Report 2020, the education market in India is ~US$ 117B in size, with school and supplementary education accounting for >75% of the total market. While eLearning had been growing rapidly in recent years, India is now witnessing an e-learning boom since the pandemic emerged.

With people spending more time at home than ever before, digital learning has emerged as a necessary resource for education. The pandemic has transformed the old chalk-talk teaching model to one driven by technology. The number of those enrolling for virtual classes has witnessed an exponential rise and the trend is likely to stay. Open courses and distance learning enrolments in India to rise to around 10 million in 2021 growing at a CAGR of around ten per cent according to a KPMG and Google report. Policymakers are now looking to drive engagement at scale while ensuring inclusive eLearning solutions.

Online learning tools and platforms, with their customised offering, are addressing the challenges of access, quality, and constrained budgets. They are offering millions of students living in urban and rural areas an easy, affordable, and reliable way to learn. Yet it would be simplistic to assume that online education is progressing seamlessly. There is a lot that can be done to improve virtual coaching platforms and online education in terms of the connection between students and teachers like in physical classrooms.

The eLearning experience so far has thrown up some issues and directions for the future of online education. With reduced attention spans due to the closure of schools, eLearning needs to get more creative, to create more engaging and immersive content. The effort should be to take out the best of the school environment and improve upon it using the power of technology.

Experiential learning

Visual aids have always been useful for better retention, hence, a greater application of concepts. Furthermore, when students learn through experiences, the learnings stay with them. Incorporating videos, simulations into the eLearning process bring an exciting flair to traditional education. This will bring about more personalized and agile learning. Learners would be able to hear and see the various concepts that are being taught and will process them in a similar way during everyday interactions. Further, they assist in the learning process, particularly the complex topics that demand a great level of understanding.

Technology is key

Technology brings an enormous opportunity to scale, automate, personalize, and innovate. It can be used to customise learning to learners’ level of interest, academic and social needs. Rich texts, images, videos, audios, and games bring fun, excitement, collaboration and a challenge to the learning experience. Learners who view online classes as education through edutainment continually set new learning goals for themselves. It also allows learners to learn at their own pace, revisiting the lesson as many times as they wish before moving on to the next stage.

Reality technologies such as augmented reality (AR) enable this. With EdTech catching on, these new-age technologies can be widely adopted to increase stickiness. It has been noted that learning intertwined with immersive storytelling and real-life examples increases retention of concepts by 90 percent!

The key trend of eLearning would include the need for up-skilling courses with curated and user-generated content, which has been in-demand with people learning and working remotely. This shall determine the most effective content that would match the student’s needs efficiently, resulting in positive user engagement and therefore, an optimal outcome. As technology develops, these new trends will also develop, but the pillars around which it will advance would be customized learning, accessibility, engagement, and user-centric learning. Accessibility with approximately 409 million internet users which is expected to grow to approximately 735 million by 2021 is further propelling this trend according to the KPMG & Google report.

Overcoming challenges

The challenges of quality online learning will be overcome due to the inherent transparency of this medium and as eLearning makes further inroads into the education system, we can expect a blended learning model going forward with online live classes, doubt clearance assistance and test-prep becoming commonplace. Companies that enable teachers to be more efficient and engaging in the classroom rather than compete with them will be successful. With technology advancements and robust feedback mechanism, companies can establish self-paced and guided study experiences which can unlock the potential of students.

Virtual learning platforms must try to come as close as they can to the real-life experience of attending school to ensure continuity of students’ overall development. Ed-tech in India is a vast market which is growing every day; COVID-19 has only accelerated the adoption. So, the apt action for EdTech companies would be to not just prepare for the demands of the present, but also to gear up aggressively for that of the future by bringing learning alive.

#PracticallyApp

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