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Hollow knight map pdf1/6/2023 ![]() ![]() Moreover, I discuss the various approaches to the notions of avatar (Linderoth, 2005 Klevjer, 2007 Bayliss, 2007), player character (Westecott, 2009 Lankoski, 2011), and playable figure (Vella, 2015) to outline how various terminologies are used to make sense of the subject matter, and to critically engage in a discussion of what I refer to as the trinity between player, avatar, and character. Various theories from game studies (Lankoski et al, 2003 Vella, 2015), literary studies (Margolin, 1986 Forster, 1985), and transmedia studies (Bertetti, 2014) are used to explore the notion of character in video games and discuss how the model of character complexity can function with the inherent connection between avatar and character. These six types are discussed in relation to the concepts of avatar and character to uncover how the two are often interrelated and thus difficult to assess as separate. Using the two models, I define various types of character autonomy cutscenes, forced dialogue, quick-time events, idle animations, unwillingness, and (other) unmotivated actions. I argue that both concepts can be measured on a four-point scale, ranging from high/full character complexity/avatar control to no character complexity/avatar control. Avatar control describes the levels of the player’s control of the avatar in a specific instance under study, while character complexity refers to how characterisation is communicated in that instance. This thesis explores the phenomenon of character autonomy, which I define as situations where character complexity is prominent in one or more categories while avatar control is limited or non-existent. Given these observations, I suggest that whereas the spatial notions appear problematic for the purpose of first-person description of the experience of playing single-player computer games, the notion of ‘game world’ seems more accurate a description of that with which the players are engaged with. Furthermore, I argue that the differences between single-player and multi-player games – namely that single-player games can be described, using Ihde’s framework of intentionality relations, as situating in ‘alterity relations’ and multi-player games in ‘relations of mediation’ – further complicate the issue of spatiality in computer games. ![]() Drawing on the (post-)phenomenological tradition, I argue that while this terminology is useful for analytic projects seeking to shed light on the structure and form of the game artifact and the processes it facilitates, spatial notions do not necessarily resonate with the first-person experience of computer game play, especially in cases of playing games of genres which do not rely on simulated locomotion and proprioception in three-dimensionally modeled space. In this paper I will critically examine the phenomenological underpinnings of what we might call the ‘spatiality paradigm’ in computer game studies – the project of using spatial metaphors and terminology to understand computer game play. In addition, this paper suggests that Hollow Knight can be considered as a playable world with gameplay's constraints and opportunities that need to be respected in order for the player to get forward in the game. Given these observations, the analysis finds that in Hollow Knight the playable character is a prosthetic extension of the player's body and that in term of spatiality, the game fits perfectly the characteristics of the genre Metroidvania and presents transformations of topographic space into topologic space. Finally, it will consider the shift from game spaces to playable worlds. Later, this paper also tackles the specificity of two-dimensional games and games played as single-player. The paper is divided in three parts (Avatar, Playability and Spatiality) that encompass first the concept of bodily-intentionality (body as object and subject), then bodily space (proprioceptive frame, egocentric frame, alleocentric frame) and finally, bodily extensions (the place of technology). This paper critically analyzes the game Hollow Knight from a phenomenological approach, the "what is it like to be.". ![]()
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Little space age1/6/2023 ![]() ![]() ![]() It just depends on the intensity of the regression. Only people with problems need to regress. It’s a completely safe, normal, and healthy way to cope. Regression itself shouldn’t be seen as a negative process as it is a coping and defense mechanism. So, in a way, some may be mentally unstable and are regressing to deal with the instability. Those who turn to regression are people who have gone through trauma, mental illness, stress or are just regressing to relax and heal. Something’s mentally wrong with people who regress. One doesn’t have to go to regression therapy for their regression to be validated. Regression is a very real coping and defense mechanism. Littles are fake and only do it for attention. Confusing regression and kinks is harmful to both the regression and the kink community. There is nothing sexual about regression. Littles are into DDLG/DDLB/age-play kinks. The involvement of roleplaying or pretending is where you begin to cross the line over to kinks. When they revert, they are mentally the age they’ve regressed to and should be treated as such. There’s no acting or pretending involved during regression. Littles are just pretending to be younger. The following are a few common misconceptions people may have at first glance: Taken from Gracie’s Instagram story highlights ( and fetishization are 2 of the biggest struggles the regression community is trying to combat. ![]() The internet’s obsession with women who appear to look like little girls has been weirdly normalized, and young women like Gracie are frequently bombarded with questions and insults relating to the kink term DDLG (Daddy Dom Little Girl). The community is also very often trying to defend itself from kink accusations and fetishization. People who are not familiar with the coping mechanism are usually confused upon watching Little content on social media and try to challenge the validity of those who regress by dismissing regression as an authentic coping method. Oftentimes, the Little community is subjected to disbelief and scorn when they are open about their regression. Many age regressors like Gracie refer to their regressed selves as “Littles”, short for “Little me”, and their normal selves as “Big me”. Voluntary age regressors can choose when they want to regress, and they may do it in a happy setting or to cope with stress. This type of regression sometimes stems from trauma or mental illness, and can be triggered by both positive and negative environments. ![]() Involuntary regression occurs when someone cannot control when or where they regress. Regression can be voluntary and involuntary. Some may revert a couple of years younger and others may even revert to infants. A 20-year-old teen may regress to a toddler and will begin to think and behave like a toddler would, with toddler behaviors such as thumb-sucking, wearing diapers or wanting a pacifier. When someone regresses, they will feel, behave and think just like the age they have regressed to. Regression branches out into many different aspects depending on the victim’s situation, and can be split into 4 types: regression as a symptom, a clinical purpose, a coping mechanism for trauma, and a self-help defense mechanism. Regression is used in hypnotherapy and psychology by mental health professionals, and also as a self-help tool. In addition to regressing in response to trauma or mental illness, some people also regress as a hobby, for fun and to relieve stress. It is largely used as a coping mechanism for those who have faced trauma, and may or not be intentionally triggered. To put it simply, regression occurs when a person mentally reverts to an age younger than their current biological age. The response towards Gracie’s content has shed light on the disturbing over-sexualization of women who behave younger than their age, and the narrow-mindedness of people towards lesser-known coping mechanisms. ![]()
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Paranormal agency show1/6/2023 ![]() ![]() palm reading, tasseography etc.) and believers likely have profound experience with detecting illusory patterns, thus affecting their performance on perceptual detection tasks.Īs these examples illustrate, perceptual and attentional processing are strongly influenced by prior expectations and learning experiences. The ability to detect and interpret patterns in noisy data is central to many superstitious and paranormal beliefs (e.g. These biases have also been explained as reflecting culture-specific learning experiences. Paranormal beliefs are strongly related to perceptual biases for detecting illusory patterns for instance. making a decision about the presence or absence of a specific sensory stimulus). Other studies have shown that one’s prior beliefs can have a strong effect on perceptual detection tasks (i.e. the Protestant ethic of individual responsibility and ‘sphere sovereignty’ ). It has also been reported that being raised in a Protestant compared to a Catholic environment is associated with a stronger local compared to a global visual processing style, and this has also been associated with the effects of learning and socialization (e.g. This finding has been related to the effect of culturally learned experiences, as Eastern cultures place more emphasis on social interdependence and collective identity. paying more attention to global compared to local visual features) compared to people from North America or Europe. It has been found for instance that people in Asian cultures are characterized by a more holistic processing style (i.e. Several studies have shown that culture and religion can have a strong impact on basic perceptual processes. The present study shows that individual differences in paranormal and conspiracy beliefs are associated with perceptual and attentional biases, thereby extending the growing body of work in this field indicating effects of cultural learning on basic perceptual processes. In the second experiment, it was found that skeptics showed a classical ‘global-to-local’ interference effect, whereas believers in conspiracy theories were characterized by a stronger ‘local-to-global interference effect’. In the first experiment it was found that skeptics compared to believers more often incorrectly categorized ambiguous face stimuli as representing a house, indicating that disbelief rather than belief in the paranormal is driving the bias observed for the categorization of ambiguous stimuli. the global / local processing task Experiment 2). the face / house categorization task Experiment 1) or a visual attention task (i.e. Two field studies were conducted in which visitors of a paranormal conducted a perceptual decision making task (i.e. The present study extends these findings by investigating how individual differences in paranormal and conspiracy beliefs are related to perceptual and attentional biases. D.Previous studies have shown that one’s prior beliefs have a strong effect on perceptual decision-making and attentional processing. Phoenix Fire and Dragon's Ire ( 2017) by Jami Brumfieldīlazing Tales ( 2017) by Jami Brumfield In Dire Straits ( 2017) by MJ Nightingale His Cougar Dream ( 2019) by Moxie North.A Purrfect Trifecta ( 2018) by Moxie North.Her Cougar Sunrise ( 2018) by Moxie North. ![]() Her Cougar Cowboy ( 2018) by Moxie North.Wolf a Bye Baby ( 2018) by Moxie North.Wolf at the Door ( 2017) by Nicole Morgan.Someone Different ( 2017) by Gina Kincade.Something Different ( 2017) by Kiki Howell.Taming His Saber ( 2017) by Rebekah R.Dragon My Heart Around ( 2017) by Marianne Morea.Claiming Her Dragons ( 2017) by Lia Davis.Her Mane Attraction ( 2017) by Nicole Garcia.A Wolf in Bear's Clothing ( 2017) by Renee George.Paranormal Dating Agency (various authors).Paranormal Dating Agency: Volume Four ( 2017) by Milly Taiden.Paranormal Dating Agency: Volume Three ( 2016) by Milly Taiden. ![]() |