![]() TRPGs are a form of narrative-driven, collaborative play, usually thematically related to the literary genres of science fiction and/or fantasy. TRPGS: A BRIEF HISTORY AND STRUCTURAL OUTLINE I will begin with a brief outline of the history and mechanics of TRPGs, and their proposed relationship to utopian thinking, moving into a discussion of the intersections between queer theory, dys/utopian theory and the ‘Magic Circle’ in play theory, exploring a case study that implements some of the theoretical models discussed (namely Avery Alder’s 2019 TRPG Dream Askew), before closing with an overview of iterations of performance practice within TRPGs. TRPGs offer a way of establishing a generative, performative space that is anti-hierarchical, experimental and process-based, privileging agency and emergent collaboration over a predetermined product or outcome. ![]() These interactive fictional worlds, co-created via collaborative world-building and storytelling, have the potential to support uniquely utopian, queer, performance strategies, and their instrumentalization within performance training practices could provide additional means of collapsing traditional theatrical divisions between the conception, preparation and public presentation of performance. It will outline a conception of training that does not prioritize an increase in technical skill or proficiency, but instead orientates itself towards the kinds of performative social languages and worlds facilitated by the structure of the TRPG – something akin to what Boal refers to as a ‘rehearsal for revolution’ (2008 : 135). This paper will explore the ways that these three elements are linked in the form of the tabletop role-playing game, and how this connection opens a larger vision of training for, in and towards, utopias. Both Cross and Muñoz are speaking specifically here about the links between queerness, play and utopia, and how these concepts bolster and complicate one another when held in concert. With their well-established genre relationships to utopia, dystopia and performance, Cross states that these TRPGs ‘render social construction richly visible through their heavy emphasis on character, imagination, and story, which all work together as part of a process of constant enactment and engagement a perpetual process of “becoming”’ (2012: 72). He asks, how is it possible to stage small moments of utopia that meaningfully engage with its potentially radical politics? Furthering Muñoz’s suggestion, Katherine Cross posits that one such way to ‘stage’ these performative glimpses of utopia is via the mode of science-fiction and fantasy (SF&F) tabletop role-playing games (TRPGs) (such as, popularly, Dungeons & Dragons ). In Cruising Utopia (2009), José Esteban Muñoz treats the utopian impulse as a force driven by experiences of marginalization – a methodology contingent on being responsive, adaptable, perhaps even chaotic. This type of storytelling is noted as being politically significant in the ways it consolidates the roles of performer and spectator, engaging with Augusto Boal’s critiques of passive spectatorship, and framing of performance as possible “rehearsal for revolution”. The paper goes on to look at how the conception of Utopia as a world apart (as in Thomas Moore’s ‘No Place’), the establishing of a ‘Magic Circle’ (coined by Johan Huizinga) as a zone of shifted possibility in both game and performance contexts, and the genres of science fiction and speculative fiction, can be used together to facilitate a form of collaborative storytelling. To illustrate this usage, Avery Alder’s queer, post-apocalyptic TRPG Dream Askew (2019) is later explored as a particularly appropriate case study to illustrate this usage. Particularly, drawing on the varied modes of reality offered by each of the above, and they ways they can support experimentation with alternative societies, relationships, and political ideologies.īeginning with a contextual analysis of Dungeons & Dragons, it outlines the structure, history, and current iterations of tabletop roleplaying games, towards an understanding of how the form can be used in the construction of playful, microcosmic utopias sensitive to queer experiences of solidarity within marginalisation. ![]() This paper explores the connections between utopian approaches in performance studies, queer strategies for community building, and the world-creation tools made available by tabletop “pen and paper” role-playing games (TRPGs).
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![]() The first GMT Master II took the market by storm in 1982 as the “Fat Lady” (or “Sophia Loren”) ref. The GMT-Master enjoyed an impressive production run that continued until 1999, overlapping with its successor, the Rolex GMT-Master II. Featuring a bi-directional 24-hour bezel and a dedicated arrow-tipped 24-hour hand on the dial, the Rolex GMT-Master allowed wearers to quickly read both home time and local time simultaneously. It was developed in collaboration with the Pan American Airway company (Pan Am Airlines) to help pilots and other avid travelers during long flights. Edwards Jewelry stay ahead of the curve.The Rolex GMT Master II is an evolution of the original GMT-Master, which began production in 1955 in the form of the reference 6542. Her enthusiasm for clothing and jewelry trends helps J.M. She is the Fashion Adviser for purchasing and also manages the business office. ![]() Michael holds the highest appraiser title of Certified Gemologist Appraiser.Ĭaroline Nickel is also a member of the second generation at J.M. Edwards Jewelry. She attended the University of North Carolina in Chapel Hill for undergraduate studies and graduated from Pepperdine University receiving a Juris Doctorate. Caroline takes time from her busy schedule as an attorney to work at J.M. Along with appraisal work, he also assists with loose diamond and colored stone buying. He also holds a Bachelor of Science in Geology from the University of Southern California at North Ridge. Michael began his career as a jewelry professional in 1969 when he graduated from the Gemological Institute of America. His classic designs represent his ever present desire for perfection. Kui Juin’s jewelry is a reflection of his character. He has been hand fabricating and designing jewelry for twelve years. Kui Juin was born in Seoul, Korea and came to the United States in 1997. Edwards Jewelry, Christian is the Sales Manager specializing in customer relations. A former bench jeweler, Christian began his professional jewelry career in 1996. Edwards a wealth of creativity and energy having grown up involved in the jewelry industry.Ĭhristian joined the team at J.M. State University, Carl has returned as Artistic Director for jewelry designs, photography, and advertising. After completing a Bachelor of Science degree at N.C. He studied jewelry design at the Gemological Institute of America and at the Fashion Institute of Technology in New York. Rose has enjoyed a career that has given her the opportunity for artistic expression by sharing special occasions with others.Ĭarl Edwards is the second generation to take the helm at J.M. 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I tried to load videos on Safari and they run fine. ‘I am unable to play Netflix videos in Chrome browser on Mac. Methods to Fix Embedded Videos Not Playing in Google Chrome.How to Fix Embedded Videos Not Playing in Google Chrome. ![]() When Joris runs to Kerub's side, Julith uses the Ebony Dofus to absorb Grougalorasalar out of his body. Sensing Grougalorasalar's presence, Julith blasts deadly shadow energy at Joris and Lilotte's hiding place, only for Kerub to shield them with his body, mortally wounding himself in the process. Julith absorbs the Ebony Dofus into her cape and engages Kerub. Kerub then dons an ancient suit of gold armour and wields giant nunchucks (which he reveals to have used against Julith at some time in the past). After exchanging a few cruel words withīakara, Julith slams her sister-in-law against the wall, knocking her unconscious. Bakara immediately takes action and attacks Julith only to be restrained by the evil sorceress. Not knowing Joris is hidden inside the shop, she reveals the Ebony Dofus to Kerub and Bakara. Julith finds her way to Kerub's magic weapon shop and forces her way in by ripping the door open with her cape. Julith then hovers high above the city and attempts to unleash her Dofus' power. Flying up to the king's throne, she kicks him down to the ground below and steals the damaged Ebony Dofus atop the statue. The King of Bonta ordered his guards to seize Julith, who calmly smiles and unleashes her dark magic to attack the guards. Ten years later, at a ceremony honouring the anniversary of Jahash's noble sacrifice being held at the Palace of Bonta, Julith reveals herself to the crowd by congratulating the artist responsible for the statue of her husband. Knowing how terrible a price the city would be forced to pay for his wife's actions, Jahash entrusted their baby son Joris to retired adventurer Kerub Crepin and saved Bonta at the cost of his own life, the Ivory Dofus being lost and the dragon's soul within the Ebony Dofus escaping into Joris' infant body. Because of that very desire, she broke the sacred bonds of marriage by unleashing the dark power of her Ebony Dofus. But the aforementioned peace was not to last, for Julith secretly still burned with the desire to see Bonta fall. The two were wed and peace was made between Bonta and Brakmar. After 69 days of battle with no clear outcome, Julith and Jahash fell in love and kissed, an action that struck the soldiers of both cities in awe. However, Jahash Jürgen, guardian of the Ivory Dofus and leader of Bonta's army, fought back against her. ![]() Thousands of years ago, Julith led her army in a war against the city of Bonta in hopes of destroying it. 1.3 Battle with and death of Kerub Crepin. ![]() All it does is let SAM offer Tina hints, but they're not especially specific. Some items blend in well with the scenery too, so they can be easily missed.įor those more interested in the story, an easy mode is available, but it doesn’t change much. Considering there’s over 100 individual locations to explore across Encodya, this can be time consuming. A lot of trial and error is involved, meaning I spent ages looking around Neo-Berlin trying to figure out how to proceed or hoping for a successful item combination. Encodya lists your objectives plainly but what needs doing to execute them is rarely clear. Unfortunately, this is where things start falling flat. You can swap between Tina and SAM as you explore, and people will respond differently to each of them. Like many point-and-click games of old, I had to tediously comb through these environments to find the required items and present them to the relevant person. It begins with simple tasks like finding Tina a new pair of socks, before looking into her father’s disappearance. You’ll be exploring Neo-Berlin’s numerous districts, which vary from a business sector filled with empty shops, residential apartments, record archives and more. It's a bleak setting, but a lovely visual aesthetic gives life to this depressing city and its citizens, created in 3D but stylised to look hand drawn. Streets are filled with re-election posters, ugly advertisements, tiny living spaces and tech junkies, many of whom have succumbed to "cyberspace addiction". Neo-Berlin is an oppressive city, bleak in character and atmosphere. ![]() One character you meet tells you his mundane electrician job is leading him to Marxism, whilst another says robots are “taking all the working class jobs”.Įncodya instead claims to offer commentary on how public and private institutions control our lives via the media. Being punched in the face would’ve been less subtle. Like an overused Futurama GIF, it opts for neutrality but, considering Neo-Berlin is led by an authoritarian blond-haired politician called “Mayor Rumpf”, that’s hard to believe. Having learned that he disappeared 8 years ago, Tina and SAM begin investigating.ĭespite that cyberpunk-ish backdrop, Encodya attempts to outright declares it isn’t supporting or criticising any political positions. Accidentally locating a message within SAM’s memory, one meant for her 10th birthday, Tina discovers it’s from the father she never knew. ![]() Our focus is with Tina, a homeless 9-year-old orphan living on a rooftop, and SAM-53, the robot assigned to protect her since birth. That city is Neo-Berlin, and the game takes place on its rough streets in 2062. Listing Blade Runner’s environments and Studio Ghibli’s poignant storytelling among its inspirations, there’s quite a heart-warming story within its futuristic city. A point-and-click adventure set in a cyberpunk Neo-Berlin in which you control an orphan investigating the disappearance of her father with the help of her trusty robot sidekick.Įncodya’s had quite a journey, starting out as a crowdfunded short filmed called Robot Will Protect You in 2018, before turning into a 2.5D point-and-click adventure. 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Discovered as a solo singer, Kendall has no interest in leaving his Midwest life behind, so he agrees to take part in 'pop group' training in exchange for the record company allowing his three buddies - James, Logan and Carlos - a chance to make it with him as a group. Read Common Sense Medias Big Time Rush review, age rating, and parents guide. With the series’s last episode released in 2013, this reunion came as a surprise and a comfort to many fans. Kendall Schmidt Kendall Knight 74 Episodes 2013 Steve Glickman Gustavo Rocque 74 Episodes 2013 James Maslow James Diamond 74 Episodes 2013 Logan Henderson Logan Mitchell 74 Episodes 2013 Carlos. Download this stock image: James Maslow The cast of Big Time Rush arrive at their hotel New York City, USA - 13.08.10 - D0JGX9 from Alamys library of. and Logan Henderson starred in the long-running television series Big Time Rush on. 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Big Time Rush Genre Musical Comedy Pembuat Scott Fellows Pemeran Kendall Schmidt James Maslow Carlos Pena, Jr. In the series, the boys form the band, Big Time Rush, where they move from Minnesota to Los Angeles with hopes to make their music ambitions big. The series revolved around hockey players Kendall Knight played by Kendall Schmidt (Phil of the Future), James Diamond played by James Maslow ( Sequestered), Carlos Garcia played by Carlos PenaVeg ( Webheads), and Logan Mitchell played by Logan Henderson (Friday Night Lights). ![]() So why isn't this weapon in the top spot? Two reasons: As far as bullet-hose Archguns go, the Imperator Vandal is easily one of the best. This gun features more base damage, better critical and status stats, and it gains a fire rate boost after firing for a short time. Tied to the Balor Fomorian Invasion event, the Imperator Vandal is a substantially better version of the standard Imperator players receive after making an Archwing. For everyone else, this Mausolon is a better alternative. ![]() Those that can find a way to constantly use the Morgha's alt-fire are rewarded with one of the most powerful Arch-Guns in Warframe. It's not uncommon to run out of ammo completely after a minute of use. You'll need to land five kills with this mode to use the alt-fire, a somewhat big ask when in the Steel Path or high-level endurance missions.Ītmosphere missions also showcase just how ammo-hungry the Morgha is. ![]() The grenade-spewing primary fire consumes two ammo with each trigger pull and deals less damage than you'd expect from an Arch-Gun. Unfortunately, the same can't be said for this weapon's primary fire mode. Related: Warframe: A Complete Guide To The Helminth System Nothing will survive the Morgha's alt-fire, not even Steel Path enemies. When we say devastating, we aren't exaggerating: the Morgha's alt-fire deals 3,600 base damage with a 40% crit chance and 3x multiplier. The Morgha is a grenade-spewing Arch-Gun that builds charges towards a devastating motor blast with each kill. ![]() ![]() More modern styles are also worn in casual settings, however: playgrounds, shopping centres, sports (Mary Jane sneakers), etc. Today, Mary Janes for children, particularly the more classic styles, are often considered semi-formal or formal shoes, appropriate for school (many schools worldwide require that girls wear them with their uniform), religious ceremonies, weddings, visits, and birthday parties for example. They were also popular with women in the 1920s. Originally worn by both sexes, they began to be perceived as being mostly for girls during the 1930s in North America and the 1940s in Europe. Among boys (less common), Mary Janes are traditionally worn with socks (or without them as well), short trousers and a shirt.Ĭhildren's shoes secured by a strap over the instep and fastened with a buckle or button appeared in the early 20th century. 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