Gamification of Violence in Analog (Tabletop) Thematic Games: Splices, Wrinkles, and Translation Gaps

Modern tabletop (analog) games are riding a wave of popularity being a part of "resisting the digital” trend. First of all, imaginary worlds of media franchises become represented in tabletop games with their specific ways of creating interactive narrative and gaming algorithms. Secondly, tabletop games address complicated issues and concepts of today’s world. The authors aim to examine specific ways of representing violence in tabletop games, with plots already employed by pieces of different types of media. The authors believe that the hybrid nature of modern tabletop (analog) games involves a hybrid methodology, including phenomenology, hermeneutics, procedural rhetoric, the ideas of R.Kayua, M.Wolf, L.Manovich. The concept of violence is analyzed with reference to V. Podoroga, А. Usmanova, S. Zizek, V. Benjamin. The result of the study is a comprehensive description of the representation of violence in board-themed games. The authors argue that violence is represented in tabletop games at several levels and in different forms: narrative violence, visual violence, symbolic violence, etc. The study indirectly confirms the non-autonomy of the game process, the dependence of the game narrative on the experience of acquaintance with the "imaginary world.” Keywords: media theory, game studiеs, boardgames, tabletop games, violence

Poder, violencia y resistencia de la imagen. Batallas audiovisuales en América Latina

Poder, violencia y resistencia de la imagen. Batallas audiovisuales en América LatinaMiguel Alfonso BouhabenResumenEl mundo contemporáneo se ha convertido en imagen. El poder controla, por medio de imágenes –cámaras de vigilancia, películas ideológicas, nuevas tecnologías, etc.– lo que se debe pensar y sentir. El presente artículo tiene como objetivo la definición y la evaluación crítica de las relaciones entre el poder, la violencia y las formas de resistencia de las imágenes. A través del análisis de algunas secuencias de La hora de los hornos (Gettino y Solanas, 1968), Sangre de cóndor (Jorge Sanjinés, 1969) y El coraje del pueblo (Jorge Sanjinés, 1971), se valorarán las alternativas a los dispositivos de dominio audiovisual con el fin de poner contra las cuerdas la lógica de violencia visual del poder hegemónico. Se trata, en definitiva, de explorar las posibilidades de emergencia de las contraimágenes en el contexto de América Latina.Palabras claves América Latina; contraimagen; poder; resistencia; violenciaPower, Violence and Resistance of the Image. Audiovisual Battles in Latin AmericaMiguel Alfonso BouhabenAbstractThe contemporary world has become an image. The power controls, through images – surveillance cameras, ideological films, new technologies, etc. – what should be thought and felt. This article aims at the definition and critical evaluation of the relations between power, violence and forms of resistance of images. Through the analysis of some sequences from The Hour of the Furnaces (Gettino and Solanas, 1968), Blood of the Condor (Jorge Sanjinés, 1969) and The Courage of the People (Jorge Sanjinés, 1971), the alternatives to the devices of audiovisual domain will be assessed in order to question the logic of visual violence of the hegemonic power. Finally, the purpose is to explore the possibilities of emergence of counter-images in the Latin American context.KeywordsLatin America; Counter-image; power; resistance; violencePoder pelio y uapiai imagenmanda, batallas audiovisuales América- latinapeMiguel Alfonso BouhabenMaillallachiska:Chi mundo contemporáneo convertirerka e imagen. Chi poderka controla chi imágenes- cámara de vigencia, películas ideológicas, musu tecnologías, etc.- deberenme iuiai y sentengapa. Kai presente articulok rukanme objetivo la definición y evaluacion crítica de las realciones entre poder, chi pilio y forma de resistencia de las imágenes. Atraves del análisis sug secuenciakuna la hora de los hornos ( Gettino y Solanas, 1968) iauar condorpa ( Jorge Sanjinés, 1969 ) y sug koraje pueblomanda ( Jorge Sanjinés 1971) se valoraran sug alternativakuna dispositivokuna de dominio audiovisual churrangapa contra las cuerdas sug lógica de pilio visual del poder hegemonico, tratarenme en definitiva, explorangapa sug posibilidadkuna de emergencia sug contraimagenkunamanda contextope América Latinape.Rimangapa Ministidukuna:América Latina; contraimagen; poder, uapiai; pilioPuissance, violence et résistance de l'image. Batailles audiovisuelles en Amérique latineMiguel Alfonso BouhabenRésuméLe monde contemporain est devenu une image. Le pouvoir contrôle, à travers des images –caméras de surveillance, films idéologiques, nouvelles technologies, etc. – ce qu'il faut penser et ressentir. Cet article vise la définition et l'évaluation critique des relations entre le pouvoir, la violence et les formes de résistance des images. Grâce à l'analyse de certaines séquences de L'Heure des brasiers (Gettino et Solanas, 1968), Sang du Condor (Jorge Sanjinés, 1969) et Le courage du peuple (Jorge Sanjinés, 1971), les alternatives à des dispositifs de domaine audiovisuel sont évaluées, afin de contester la logique de violence visuelle du pouvoir hégémonique. Enfin, il s'agit d'explorer les possibilités d'émergence de contre-images dans le contexte de l'Amérique latine.Mots clésAmérique latine; contre-image; pouvoir; résistance; violencePODER, VIOLÊNCIA E RESISTÊNCIA DA IMAGEM. BATALHAS AUDIOVISUAIS NA AMÉRICA LATINAMiguel Alfonso BouhabenResumoO mundo contemporâneo tem se transformado em imagem. O poder controla, por meio de imagens câmeras de vigilância, filmes ideológicos, novas tecnologias, etc –o que se deve pensar e sentir. O presente artigo tem como objetivo de resistência das avaliações crítica das relações entre o poder, a violência e as formas de resistência das imagens. Através da análise de algumas sequências La hora de los hornos (Gettino y Solanas, 1968), Sangre de cóndor (Jorge Sanjinés, 1969) e El coraje del pueblo (Jorge Sanjinés, 1971), se valorizarão as alternativas aos dispositivos de domínio audiovisual com o fim de pôr contra as cordas a lógica de violência visual do poder hegemônico. Definitivamente se trata de explorar as possibilidades de emergência das contra imagens no contexto da América Latina.Palavras-chave América Latina; contra imagem; poder; resistência, violência

Okiem kamery — semiologia obrazów przemocy

The article contains an attempt to analyse the phenomenon of visual violence (iconic) distributed by mass media, like photography, the cinema, television documentaries and news and the Internet. The authors attempt to demonstrate the characteristics of ths type of violence, referring to specific examples, which are interpreted according to the concepts of George Gerbner, Erich Fromm, Susan Sontag, Jean Baudrillard and others. The contemporary iconosphere encourages the practice of the mechanical approach to looking at violence, separating it from ethical reflections, which is why the question of screen violence, on the consequences of rapid but superficial information, seems still worth posing.