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Playing Beowulf was a project funded by the Arts and Humanities Research Council in the UK. It developed a game-authoring tool based on the Anglo-Saxon epic poem Beowulf, for use by literature students in schools and universities, curators and library visitors. The games were shown at a final conference at the British Library on December 7, 2015, Ludic Literature: Literary Games. The keynote speaker was Professor Andrew Prescott: ‘Reinventing Beowulf 1787-2015’.CONTENTS OF THIS PAGERECENT NEWSNOVEMBER: LUDIC LITERATURE CONFERENCE AT BRITISH LIBRARY – DECEMBER 7Our exciting conference took place on Monday 7 December at the British Library.The transformation of popular literature and children’s literature into giant franchises of book, film and game is a commonplace event in contemporary culture. It is less common to find similar transformations of canonical literary texts.

This day showed how literary treasures such as unique manuscripts in the British Library archive might be re-imagined through drama, film and videogame by students and young people. OCTOBER: Game City workshopWe ran our workshop at the National Videogame Arcade as planned. The participants enjoyed making Beowulf games – the first with the dragon!

See the for more details.OCTOBER: Runic ControllerAlison Gazzard has been experimenting with a Makey-makey controller for the Beowulf games. It offers a way to extend the imagery and symbols of the poem to the physical world of the player, linked to the virtual world of the game.

More experimentation to come!SEPTEMBER: Sydney WorkshopsThe drama and game workshops organised by the University of Sydney in partnership with the Australian Theatre for Young People began on the 28th September. The week of workshops adapted the story of Beowulf through giant puppet-making and digital game design. The work explored how narrative, combat, heroic quest and monster figures can be realised in the cognate forms of drama and game.Day 5The final day featured a grand performance for parents and researchers, mixing projections of game sequences with live drama and puppetry.The Warriors rehearsingGrendel in the courtyardDay 4A monster stalks the mead-hall!Beowulf with Grendel’s armBeowulf’s fight with GrendelDay 3Mixing puppet theatre and game by using green screen.Game design sessionThe Beowulf puppetDay 2Russell talks us through his Beowulf game design.

And a giant puppet hand (Grendel?) working on the Missionmaker game tool!Pictures from Day 1:Student drawing of Beowulf and the DragonGiant Dragon puppetStudents making games with the new software – programming Beowulf!SEPTEMBER: First version of the Beowulf Game-MakerThe tech team have been working hard over the summer to get the alpha version ready for the autumn workshops. Abel Drew, Andrew Kennedy and George Voicke have met the deadline with hours to spare! The video below is a capture of a demo level. While the combat system isn’t quite complete (the player’s fight animations are missing) it gives an impression of where we’ve got to so far. Electronic BeowulfThe project team have been invited by Andrew Prescott, Theme Fellow for Digital Transformations, to join the testing group for the online Electronic Beowulf 4.0 resource, edited by Kevin Kiernan, which offers unparalleled access to the facsimile images of the Cotton Vitellius A. Xv manuscript digitised by the British Library along with transcription, literal translation, analyses of grammar and metre, and other riches.

We look forward to connecting this with our work.ITV’s Beowulf series:We’ve made contact with one of the directors, and have visited the interior sets in Tyneside, which feature an ornate reimagining of Heorot, with decorative motifs inspired by illuminated manuscripts and wolf’s-head pillar capitals. The exterior sets containing a full size mead-hall are in the disused Eastgate quarry, west of Durham.

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The directors and several of the actors regularly tweet to the #Beowulf community, along with assorted fans, scholars and passersby.Here’s the trailer for the series, screening in Spring 2016. Here is a visualisation of Grendel’s Mother by one of the students, produced during the drama workshops.Below is a screen-capture of a play sequence of one of the students’ games, made by Andrew Smith, a futuristic re-imagining of Beowulf’s encounter with Grendel’s Mother, with the player adopting the (first-person) role of Beowulf. Andrew has constructed the figure of Grendel’s Mother to demonstrate her ambiguous nature, combining a beautiful face with monstrous legs. We’ve added a music track of Northumbrian small pipe music, which we used during the drama workshops that led up to the game-design. The game was subsequently analysed by a member of the team, Daniel Ferreira, whose research is exploring the procedural poetics of digital artworks.

You can download his preliminary analysis below.His full analysis explores how these games can be conceived of in terms of both the procedural nature of digital games, and the multimodal nature of the media they incorporate. The analysis is presented in this working paper:And here are more examples of the games: a compilation of extracts from other games made by the teachers in training, showing the variety of interpretations they produced.