The first collected works of Hannah Nicklin: a writer, game designer and performance maker experimenting with socially engaged practices and storytelling in contemporary performance. This collection brings together three pieces made in collaboration with a series of other artists, musicians and people in the street, from 2012 to 2015. There is an introduction and commentary on each performance text, plus additional materials provided by collaborators, expanding and reflecting on the work, and how each piece was made. A Conversation with my Father “[...] as topical in these days of police 'kettling' and undercover provocateurs as it might be timeless in its questioning of the basis of a functioning civic society.” – Wayne Burrows Songs for Breaking Britain “[...] defies the media's lucrative monopoly on our narratives [...] funny, compassionate, heart-breaking and very, very loud.” – Catherine Love Equations for a Moving Body “So interesting, engaging and relatable. Beautifully human.” – Audience feedback in Newcastle
The first collected works of Hannah Nicklin: a writer, game designer and performance maker experimenting with socially engaged practices and storytelling in contemporary performance. This collection brings together three pieces made in collaboration with a series of other artists, musicians and people in the street, from 2012 to 2015. There is an introduction and commentary on each performance text, plus additional materials provided by collaborators, expanding and reflecting on the work, and how each piece was made. A Conversation with my Father “[...] as topical in these days of police 'kettling' and undercover provocateurs as it might be timeless in its questioning of the basis of a functioning civic society.” – Wayne Burrows Songs for Breaking Britain “[...] defies the media's lucrative monopoly on our narratives [...] funny, compassionate, heart-breaking and very, very loud.” – Catherine Love Equations for a Moving Body “So interesting, engaging and relatable. Beautifully human.” – Audience feedback in Newcastle
Focussing on the independent videogames sector, this book provides readers with a vocabulary to articulate and build their games writing practice; whether studying games or coming to games from another storytelling discipline. Writing for Games offers resources for communication, collaboration, reflection, and advocacy, inviting the reader to situate their practice in a centuries-long heritage of storytelling, as well as considering the material affordances of videogames, and the practical realities of working in game development processes. Structured into three parts, Theory considers the craft of both games and writing from a theoretical perspective, covering vocabulary for both game and story practices. Case Studies uses three case studies to explore the theory explored in Part 1. The Practical Workbook offers a series of provocations, tools and exercises that give the reader the means to refine and develop their writing, not just for now, but as a part of a life-long practice. Writing for Games: Theory and Practice is an approachable and entry-level text for anyone interested in the craft of writing for videogames. Hannah Nicklin is an award-winning narrative and game designer, writer, and academic who has been practising for nearly 15 years. She works hard to create playful experiences that see people and make people feel seen, and also argues for making games a more radical space through mentoring, advocacy, and redefining process. Trained as a playwright, Nicklin moved into interactive practices early on in her career and is now the CEO and studio lead at Danish indie studio Die Gute Fabrik, which most recently launched Mutazione in 2019.
Focussing on the independent videogames sector, this book provides readers with a vocabulary to articulate and build their games writing practice; whether studying games or coming to games from another storytelling discipline. Writing for Games offers resources for communication, collaboration, reflection, and advocacy, inviting the reader to situate their practice in a centuries-long heritage of storytelling, as well as considering the material affordances of videogames, and the practical realities of working in game development processes. Structured into three parts, Theory considers the craft of both games and writing from a theoretical perspective, covering vocabulary for both game and story practices. Case Studies uses three case studies to explore the theory explored in Part 1. The Practical Workbook offers a series of provocations, tools and exercises that give the reader the means to refine and develop their writing, not just for now, but as a part of a life-long practice. Writing for Games: Theory and Practice is an approachable and entry-level text for anyone interested in the craft of writing for videogames. Hannah Nicklin is an award-winning narrative and game designer, writer, and academic who has been practising for nearly 15 years. She works hard to create playful experiences that see people and make people feel seen, and also argues for making games a more radical space through mentoring, advocacy, and redefining process. Trained as a playwright, Nicklin moved into interactive practices early on in her career and is now the CEO and studio lead at Danish indie studio Die Gute Fabrik, which most recently launched Mutazione in 2019.
Within the Education Revolution lies another, quieter revolution that attempts to raise the profile and status and learning outcomes of Australia's Aboriginal and Torres Strait Islander peoples. Two Way Teaching and Learning addresses the interface where two cultures meet.
Unassuming but formidable, American maritime insurers used their position at the pinnacle of global trade to shape the new nation. The international information they gathered and the capital they generated enabled them to play central roles in state building and economic development. During the Revolution, they helped the U.S. negotiate foreign loans, sell state debts, and establish a single national bank. Afterward, they increased their influence by lending money to the federal government and to its citizens. Even as federal and state governments began to encroach on their domain, maritime insurers adapted, preserving their autonomy and authority through extensive involvement in the formation of commercial law. Leveraging their claims to unmatched expertise, they operated free from government interference while simultaneously embedding themselves into the nation's institutional fabric. By the early nineteenth century, insurers were no longer just risk assessors. They were nation builders and market makers. Deeply and imaginatively researched, Underwriters of the United States uses marine insurers to reveal a startlingly original story of risk, money, and power in the founding era.
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