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‘Games of Change’ Festival at New York Gives Gamers a Reality Check by Introducing Video Games based on Social and Civic Issues
New York, August 8, 2017: You’re in Nepal. A 7.8 magnitude earthquake has just struck your village and you must rescue the survivors. This is “After Days,” a video game based on the real-life Nepal earthquake that killed almost 9,000 people in 2015.
Minseok Do was showing the game at the recent Games for Change festival in New York City. The games on display were a far cry from “Mario Brothers” and “Call of Duty.” These developers featured titles that tackled civic and social issues.
Public consciousness about civic and social issues has long been raised by the news and entertainment industries in the United States and other parts of the world, and now video game creators are making their own statements and hoping to reach the younger digital generation in the process.
In “After Days,” players take on the role of Ahsha, a young Nepalese woman who attempts to rescue her neighbors in the aftermath of the massive earthquake.
“Other media, such as novels and movies, require consumers to use their imagination to understand characters’ emotions,” said Do, CEO of GamBridzy. “Games have players be in characters’ shoes by letting them command and control. It is, in my opinion, the most powerful platform.”
In the game, players carry out various missions like transporting injured victims in stretchers and coordinating with rescue teams to restore critical infrastructure.
The first episode is set in Sindhupalchok, one of the hardest-hit districts of the earthquake in Nepal.
“Some say it will take about 10 years to complete all the restoration, but international attention is not focused on this, and it is important that we show our interest and support,” said Do. Twenty percent of proceeds from game sales will go toward rebuilding efforts.
Elin Festøy, a producer from Norway, also was in New York to promote her game.
“We really wanted to create attention and awareness around children born of war … children being born of the most hated soldiers in the world,” said Festøy.
She and her team created “My Child Lebensborn,” a mobile game in which players are the caretakers of World War Two-era children from the Lebensborn project, an attempt by the Nazi regime to create an Aryan “master race.”
Lebensborn involved child kidnappings as well as anonymous births by unwed mothers in and outside of Germany, with their offspring adopted by German families. After the war, many Lebensborn children faced prejudice and discrimination, even from their own mothers.
“It’s about being able to see children as children and not as symbols of [the] enemy,” said Festøy.
“My Child Lebensborn” is targeted at players aged 13 and up. Recognizing that 13-year-olds might not exactly run to play the game, one of the team’s goals includes creating a bundle for schools that includes both the game and an accompanying film on the Lebensborn project.
Video games at the Games for Change festival didn’t shy away from difficult or touchy topics. Indeed, they were a vehicle for discussion and dialogue.
“The problem in a lot of developing countries is that people do not talk about issues. People do not want to share their problems out of embarrassment,” said Dr. Ilmana Fasih, a director at ZMQ.
The New Delhi-based consulting company developed “YourStoryTeller,” a mobile app that is less video game than a digital narrative.
User-contributed stories are transformed into comic strips. Each week, a new story addresses women’s issues in India, a country where patriarchal attitudes are common.
In one example, a young woman’s studies are disrupted for an arranged marriage that takes her from India to Canada, where she is physically abused by her new husband.
Fasih acknowledged the stories are definitely not of the Disney fairytale variety, and they definitely have a point of view.
“Kids grow up watching those stories. We want kids to grow up watching these stories where there are struggles,” said Fasih. “A young boy is able to understand what are the struggles that his mom, his sisters go through. That is probably one of the best ways to defeat patriarchy.” (VOA)
Cinema and movie making is constantly changing, and the result is in front of us we've come a long way from silent black and white short movies to high definition, colour, 5-D movies. It has evolved for the last 108 years and continues to grow. India's first auteur-filmmaker Dhundiraj Govind Phalke popularly known as Dadasahen Phalke directed and produced India's first feature film Raja Harishchandra which was a hundred per cent made by the Indian crew. The movie was released in Bombay's (Mumbai) Coronation Theatre on the 3rd of May 1913 under the label of being India's first home production, full-length film.
Raja Harishchandra was the first to be 'acted, directed and produced by an all-Indian team. Phalke's inspiration to make a "Swadeshi" movie comes from when he viewed the silent movie, "The Life of Christ" in 1911. He wrote in Navayug, November 1917 that While the Life of Christ was rolling fast before my physical eyes, I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra, their Gokul and Ayodhya… He wanted to feel the connection with the movies but that connection failed to form as the context of the movie was foreign.
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Phalke went to London the very next year to learn about filmmaking techniques. He even imported the hardware required for filmmaking to India from England, France, Germany, and the United States of America. Upon his return to India, he founded Phalke Films Company. Phalke published classified in various newspapers for the cast and crew to apply, what's unique about the film was that even the female roles were played by male actors this happened as no women were available for the role.
Phalke was a one-man crew for the production, he was in charge of writing script, direction, production design, make-up, film editing along with film processing. The filming of the whole movie took six months and 27 days.
The female roles were played by male actors in the movieWikimedia Commons
As the name itself suggests the film closely follows the story of Satyavadi Raja Harishchandra from the Vedas who is known to be the epitome of truth as maharishi Vishvamitra makes him go through numerous torturous tests to prove himself.
The story goes as Raja (King) Harishchandra was teaching his son, Rohitashva how to shoot with a bow and arrow as Queen Taramati watches over her son and husband. Later the people of the Kingdom request the king to go on a hunting expedition as the animals have been creating havoc. While on the hunt, Harishchandra hears the cries of some women. Upon following the voice Harishchnadra discovers the sage Vishwamitra was performing a yajna to get help from Triguna Shakti (three powers) against their will. After witnessing the sight Harishchandra revolts and interrupts the sage, which infuriates the egoistic sage. To calm his wrath Harishchandra offers to sacrifice his kingdom to the sage. He informs his queen of the events and the family is exiled from the kingdom by Vishvamitra. The sage asks the poor king for Dakshina within the time period of 48 days. While in exile Rohitashva meets his demise, the king asks his wife to visit Dom king in the hope of free cremation only to face more difficulties on the path Vishvamitra frames her for the murder of the prince of Kashi. Taramati faces trial, pleads guilty and is ordered to be beheaded by Harishchandra. With a torn heart but as he could not turn away from his duty, the king raises his sword to behead his wife, Lord Shiva appears, and it is revealed that all the difficulties they have been going throw were the tests laid down by Vishvamitra to test the integrity of the king, Harishchandra gets back his kingdom, his son is brought back to life and the movie ends.
A legacy of the century
Only a handful of "firsts/indigenous" movies made in India have survived the century. Raja Harishchandra being one of them still holds the same meaning and inspiration for its audience as it did a century ago. Film historian Firoze Rangoonwalla describes the film's impact on the public as "a wide impression and appealed to a large audience in different places" and its box office success provided "the seal of acceptance and laid the foundation of the film industry" in the country.
The debate over whether Raja Harishchandra is truly the first full-length Indian feature film has been argued over for decades. Some film historians claim that Shree Pundalik by Dadasaheb Torne was released in the same theatre a year before Raja Harishchandra was the maiden Indian Film. However, other historians differ they argue that Shree Pundalik is a simple cinematographic recording filmed by a British cameraman on a single fixed camera, and later processed in London. On the other hand, Raja Harishchandra was completely made in India, from cameraman to final editing of the movie. Thus, it has recognition from the government of India as the first Indian feature film.
Keywords: Filmmaking, India's first feature film, Raja Harishchandra, Dadasaheb Phalke, filmmakers in India
As fall nesting is upon us, opt for tasteful wallpapers if you're looking to dramatically overhaul your interiors. Besides being more durable and cost-effective in the long run, wallpapers can add texture and dimension to a space, transforming an ordinary room into something special. Take your pick from muted backdrops to geometric prints from a splash of vibrant hues to intricate patterns.
Artisan Furnishings curates a few trends to dress your walls up for the season:
If yours is a minimalistic home with clean simple designs and home accessories, covering your wall with a muted color and simple floral motifs will work like a charm. An interplay of the yesteryear's cottage core vibe with a contemporary design aesthetic, your walls will play muse to the season of new beginnings.
An interplay of the yesteryear's cottage core vibe with a contemporary design aesthetic, your walls will play muse to the season of new beginnings. | Photo by Unsplash
Cover Me in Sunshine
Vibrant hues of sunshine orange and yellow with intricately lined patterns in white bring out a certain allure and warmth to your home along with adding a statement to your wall. Paint your home in this subdued backdrop to give it a fresh makeover.
Vibrant hues of sunshine orange and yellow with intricately lined patterns in white bring out a certain allure and warmth to your home. | IANSlife
Go Rustic with Earthy Tones
Invoking the aura of the charming English countryside, the rustic trend blends the neutral backdrops and an earthy colour palette of beige, brown, and blue. Infusing a sense of tradition and craftsmanship, these wallpapers are designed with ingenuity and love for our diverse roots.
The rustic trend blends the neutral backdrops and an earthy color palette of beige, brown, and blue. I Photo by Unsplash
Bold Hues on Muted Backdrops
Give your home a festive spirit and feel with wallpapers created on a simple color palette of cream with gold accents. Reminiscent of palaces and their vintage and regal vibe, this wall-covering trend goes perfectly for every kind of space.
Floral motifs and structural designs create a bespoke line of wall arts to bring out the essence of fall in your home. | IANSlife
A melange of Pattern and Prints
Uniquely designed patterns on a plethora of backdrops colored white, cream, beige, and bold hues of violet, this trend is perfect for all seasons. Floral motifs and structural designs create a bespoke line of wall arts to bring out the essence of fall in your home. (IANS/ MBI)
Keywords: Wall trends, Minimalistic Decor, Floral motifs, and structural designs, home accessories, Contemporary design aesthetic.