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How far would I go for love? This profound question drives the visceral storytelling of The Last of Us. Love is the central theme for people like us. We find it in literature, cinema, TV series, the most extravagant reality shows and, in this case, video games. After disrupting the adventure game formula with the acclaimed Uncharted series, Naughty Dog changed its recipe in 2013 with The Last of Us, embracing the post-apocalyptic genre. Seven years later, The Last of Us Part II offered a more radical and divisive experience, but still focused on people, their motivations and their flaws. With the book "Decoding The Last of Us: The Remnants of Humanity", author Nicolas Deneschau invites us to grasp all the complexity behind the design of these titles, as well as the meticulousness of their authors and development teams. He analyses the many ways The Last of Us can be read and considers the important role the diptych played in the transformation of the blockbuster video game.
"How far would I go for love? This profound question drives the visceral storytelling of The Last of Us. Love is the central theme for people like us. We find it in literature, cinema, TV series, the most extravagant reality shows and, in this case, video games. After disrupting the adventure game formula with the acclaimed Uncharted series, Naughty Dog changed its recipe in 2013 with The Last of Us, embracing the post-apocalyptic genre. Seven years later, The Last of Us Part II offered a more radical and divisive experience, but still focused on people, their motivations and their flaws. With the book Decoding The Last of Us. The Remnants of Humanity, author Nicolas Deneschau invites us to grasp all the complexity behind the design of these titles, as well as the meticulousness of their authors and development teams. He analyses the many ways The Last of Us can be read and considers the important role the diptych played in the transformation of the blockbuster video game.
In Decoding the Mind of God author O. M Kelly delves into the unconscious mind and discovers the secrets of the collective consciousness, showing how we can realize the potential of the human mind through belief in ourselves. The Laws of the universe are identical to the collective consciousness, they reveal an answer to every question we are capable of asking. We constantly receive these answers through the vibrations of the energy fields through our being, all without us knowing how to realign our intelligence with our unconscious mind. The truth remains hidden to us. Surprising as it may seem, the key to understanding ourselves lies in a mathematical language, which is the make-up of the unconscious mind. Kelly explores this language through the texts and myths of myriad cultures and belief systems, notwithstanding the truth of the science behind the Egyptian Hieroglyphs and the stories collected in the Bible. As we read this volume we realize that all of these stories are connected to our own story within. Kellys perceptions of the order of higher consciousness are framed by stories from her experiences of personal discovery and over twenty years of researching, lecturing and teaching all around the world. Once these codes are unveiled, we earn our freedom where we can release the fear in which humanity habitually traps itself, creating our accidents, diseases, why we die, right up to explaining extra terrestrial intelligence. This book exposes the secret codes of the universal language that will help us achieve the divine unity with the universe and ourselves.
Widely regarded by critics and fans as one of the best games ever produced for the Sony Playstation, The Last of Us is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes. The Last of Us is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in The Last of Us: Left Behind (DLC, 2014) and The Last of Us II (2020). Yet The Last of Us also centers Joel, Ellie’s fatherly protector. How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame The Last of Us (2013). On the one hand, the book is a close, extended study of The Last of Us and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.
With a catastrophic fungal pandemic, the post-apocalypse, a moral quest despite societal breakdowns, humans hunting humans or morphed into grotesque infected, The Last of Us video games and HBO series have exhilarated, frightened, and broken the hearts of millions of gamers and viewers. The Last of Us and Theology: Violence, Ethics, Redemption? is a richly diverse and probing edited volume featuring essays from academics across the world to examine theological and ethical themes from The Last of Us universe. Divided into three groupings—Violence, Ethics, and Redemption?—these chapters will especially appeal to The Last of Us fans and those interested in Theology and Pop Culture more broadly. Chapters not only grapple with theologians, ethicists, and novelists like Cormac McCarthy, Fyodor Dostoevsky, Martin Buber, and Paul Tillich; and theological issues from forgiveness and theodicy to soteriology and eschatology; but will help readers become experts on all things fireflies, clickers, Cordyceps, and Seraphites. “Save who you can save” and “Look for the Light.”
The Guardian's Best Science Book of 2017: the fascinating science and history of the air we breathe. It's invisible. It's ever-present. Without it, you would die in minutes. And it has an epic story to tell. In Caesar's Last Breath, New York Times bestselling author Sam Kean takes us on a journey through the periodic table, around the globe, and across time to tell the story of the air we breathe, which, it turns out, is also the story of earth and our existence on it. With every breath, you literally inhale the history of the world. On the ides of March, 44 BC, Julius Caesar died of stab wounds on the Senate floor, but the story of his last breath is still unfolding; in fact, you're probably inhaling some of it now. Of the sextillions of molecules entering or leaving your lungs at this moment, some might well bear traces of Cleopatra's perfumes, German mustard gas, particles exhaled by dinosaurs or emitted by atomic bombs, even remnants of stardust from the universe's creation. Tracing the origins and ingredients of our atmosphere, Kean reveals how the alchemy of air reshaped our continents, steered human progress, powered revolutions, and continues to influence everything we do. Along the way, we'll swim with radioactive pigs, witness the most important chemical reactions humans have discovered, and join the crowd at the Moulin Rouge for some of the crudest performance art of all time. Lively, witty, and filled with the astounding science of ordinary life, Caesar's Last Breath illuminates the science stories swirling around us every second.
Negative stereotypes of African Americans have long been disseminated through the visual arts. This original and incisive study examines how black writers use visual tropes as literary devices to challenge readers' conceptions of black identity. Lena Hill charts two hundred years of African American literary history, from Phillis Wheatley to Ralph Ellison, and engages with a variety of canonical and lesser-known writers. Chapters interweave literary history, museum culture, and visual analysis of numerous illustrations with close readings of Booker T. Washington, Gwendolyn Bennett, Zora Neale Hurston, Melvin Tolson, and others. Together, these sections register the degree to which African American writers rely on vision - its modes, consequences, and insights - to demonstrate black intellectual and cultural sophistication. Hill's provocative study will interest scholars and students of African American literature and American literature more broadly.
The enormously puzzling TV series The Prisoner has developed a rapt cult following, and has often been described as "surreal" or "Kafkaesque." In I Am (Not) a Number, Cox takes an opposing view. While the series has surreal elements, he believes it provides the answers to all the questions which have confounded viewers: who is Number 6? Who runs The Village? Who—or what—is Number 1? According to Cox, the key is to view the series in the order in which the episodes were made, not in the order of the UK or US television screenings. In this book he does exactly that, and provides an entirely original and controversial "explanation" for what is perhaps the best, and certainly the most perplexing, TV series of all time.
The Last of Us is an upcoming TV series adaptation of the popular video game, developed by Naughty Dog and published by Sony Computer Entertainment. The game was released in 2013 and quickly gained a strong following for its narrative, characters, and gameplay. It takes place in a post-apocalyptic world where humanity has been decimated by a fungal outbreak that turns people into zombie-like creatures. The story follows Joel, a smuggler, and Ellie, a teenage girl, as they journey across the United States in search of safety. The TV series will be produced by HBO, with Neil Druckmann, who was the writer and creative director of the game, serving as one of the executive producers. Craig Mazin, who wrote and produced the critically acclaimed Chernobyl, will be the showrunner. The series is highly anticipated by fans of the game, who are eager to see how the story and characters will be adapted for television. So far, there is no release date for the series, but it is expected to premiere sometime in 2022.
2017 Esoteric Book of the Year As voted by the membership of the Occult of Personality’s Chamber of Reflection Dr. Joscelyn Godwin, Colgate University, emeritus “Besides gratifying the bibliophile, the contents follow scholarly principles, and the notes and documentation are as thorough as one could wish .... Even if only partially provable, The Game of Saturn opens a new and darker vista on the pagan Renaissance. No student of that current should ignore it” Renaissance Quarterly Volume LXXI, No. 2 Niketas Siniossoglou. National Hellenic Research Foundation, Athens “The Game of Saturn by Peter Mark Adams is a fascinating read. The author calls it “a literary detective story”, but this may well be an understatement ... Adams decodes astral, alchemical, and sexual associations that are plausible, and shows how they may have been redeployed into visual format ... The Game of Saturn is a stimulating read, and it is difficult to put it down. It will appeal to all scholars of Renaissance intellectual history, esotericism, and Plethon. Published by Scarlet Imprint, the book is a rare example of fine printmaking, featuring beautiful reproductions of the Sola-Busca deck.” Aries - Journal for the Study of Western Esotericism 18 (2018) 287–304. The Game of Saturn is the first full length, scholarly study of the enigmatic Renaissance masterwork known as the Sola-Busca tarot. It reveals the existence of a pagan liturgical and ritual tradition active amongst members of the Renaissance elite and encoded within the deck. Beneath its beautifully decorated surface, its imagery ranges from the obscure to the grotesque; we encounter scenes of homoeroticism, wounding, immolation and decapitation redolent of hidden meanings, violent transformations and obscure rites. For the first time in over five hundred years, the clues embedded within the cards reveal a dark Gnostic grimoire replete with pagan theurgical and astral magical rites. Careful analysis demonstrates that the presiding deity of this ‘cult object’ is none other than the Gnostic demiurge in its most archaic and violent form: the Afro-Levantine serpent-dragon, Ba’al Hammon, also known as Kronos and Saturn, though more notoriously as the biblical Moloch, the devourer of children. Conveyed from Constantinople to Italy in the dying years of the Byzantine Empire, the pagan Platonist George Gemistos Plethon sought to ensure the survival of the living essence of Neoplatonic theurgy by transplanting it to the elite families of the Italian Renaissance. Within that violent and sorcerous milieu, Plethon’s vision of a theurgically enlightened elite mutated into its dark shadow – a Saturnian brotherhood, operating within a cosmology of predation, which sought to channel the draconian current to preserve elite wealth, power and control. This development marks the birth of an ‘illumined elite’ over three centuries before Adam Weishaupt’s ‘Illuminati.’ The deck captures the essence of this magical tradition and constitutes a Western terma whose talismanic properties may serve to establish an initiatory link with the current. This work fully explores the historical context for the deck’s creation against the background of tense Ferrarese-Venetian diplomatic intrigue and espionage. The recovery of the deck’s encoded narratives constitutes a significant contribution to Renaissance scholarship, art history, tarot studies and the history of Western esotericism.