Kaitlin's Bibliography
From English 194 Wiki
Hasbro.[http://www.hasbro.com/candyland/ ] [Boardgame/DVD}. Hasbro. Candyland has earned generations of fans young and old with its relatively simple game play, memorable characters, and visually appealing board layout. The beauty of the game itself is that the children who have the opportunity to partake in playing become the adults creating even more memories with their respective family members. From Wikipedia accessed 15 May, 2007: Game play "The race is straightforward, woven around a simple story line about finding the lost king of Candyland. The board consists of a winding, linear track made of 134 spaces, most of which are one of the rainbow colors (aside from indigo). The remaining few spaces are named locations such as Candy Cane Forest and Gum Drop Mountain, or characters like Queen Frostine and Lord Licorice. Players take turns removing the top card from a randomized stack, most of which show one of six colors, and then moving their marker ahead to the next space of that color. Some cards have two marks of a color, in which case the player moves his or her marker ahead to the second-next space of that color. The deck also contains one card for each named location, and drawing such a card moves a player directly to that location's space on the board. This move can be either forward or backward in the classic game; backward moves are ignored in the current game. Finally, there are three colored squares marked with a dot. A player that lands on such a square is stuck (all cards are ignored) until a card is drawn of the same color as the square. The game is won by landing on or passing the final square - the official rules explicitly specify that any card that would cause the player to advance past the last square wins the game, but many people play you must land exactly on the last square to win. The classic game takes longer to complete than one might expect, because the location cards can send players backwards".
We as a group came to the consensus that this popular board game would be used as inspiration for the formation of our Escape From Goblin Market boardgame prototype. The game is visually lush, with a board that is relatively simple to navigate. Additionally, our idea of situation cards can be attributed to Candyland's use of character cards that reinforce recognition of the game's components. Obviously Escape From Goblin Market will take place in a more sinister atmosphere, which would be reflected in a less vibrant color scheme, characters, etc. However, the descriptions of fruit in Rosetti's use of word painting could be easily connected to the images evoked as a result of taking a journey through Candyland.
Salen and Zimmerman, Rules of Play: Game Design Fundamentals "Iterative design is a play-based design process. Emphasizing playtesting and prototyping, iterative design is a method in which design decisions are made based on the experience of playing a game while it is in development"(11). I feel that this section is particularly relevant in that Escape From Goblin Market is effectively in the conceptual stage of development. Factors such as the target age group, appeal to gamers, storyboarding, etc. will all be factoring into the ever-changing prototype of Escape From Goblin Market. I find it particularly fascinating that SissyFight 2000 initially began on "Post-It notes around a conference table", much like our group's ideas which resulted from a similar exchange at a table outside of the UCen. The concept of iterative design reinforces that the process for developing conceptual design of up-and-coming games is essentially an intimate one. Additionally, connections can be drawn between Sibling Rivalry and Escape From Goblin Market in that the object of both games is to escape some sort of wrath, whether it be in the form of parental punishment or falling into the cluthces of the goblins. The necessity of escaping an imaginary pursuer offers an effective diversion from the woes of everyday life.
Landow, George P. "Christina Rossetti and the Visual Arts". The Victorian Web. http://www.victorianweb.org/authors/crossetti/artov.html.16 May 2007. This article effectively reinforces Rossetti's love of visual imagery. I found it fascinating that the author actually modeled for her brother Dante Gabriel Rossetti. The bond between sister and brother would take on a new meaning in the situation of being painted by your sibling. This relationship quite possibly could be connected to the sisterly bond held between Laura and Lizzie. There is a sort of intimacy involved between artist and subject which could be paralleled with the inherent sexuality that flows through "Goblin Market". Finally, the article draws a sharp contrast between the rather prudish facade that encompassed the Victorian period and the rampant underbelly of pornographic material and sexual expression that functioned conveniently under the radar.
Tucker, Herbert F. "Rossetti's Goblin Marketing: Sweet To Tongue and Sound to Eye" Representations 82(2003):177-133. JSTOR. 16 May 2007 http://links.jstor.org/sici?sici=0734-6018%28200321%290%3A82%3C117%3ARGMSTT%3E2.0.CO%3B2-J Herbert Tucker's article suggests that while Rossetti claimed that her poem should be taken at face value, there are in fact countless interpretations to be drawn from her work. In addition to the possibility of taking it as religious allegory, critics have also shaped it as a social commentary on the benefits and social ills of masturbation. Moreover, Tucker links the beckoning call of the goblins tempting Laura with their fruit to the temptation of Adam and Eve in the garden of Eden. Not unlike Eve's departure from innocence, Laura becomes absolutely obsessed with the consumption of fruit after her first taste. In a sense, the childlike fantasy world that Rossetti creates gives way to the dark realities of carnal knowledge. This could be equated with the potential downward spiral associated with any addiction. The poem is also an effective response to the hypocritical social mores of the Victorian period as sexual relations were not condoned, while opium infiltrated countless households.
Grass, Sean C. "Nature's Perilous Variety in Rossetti's "Goblin Market"" Nineteenth-Century Literature 51 (1996): 356-376. JSTOR.15 May 2007 <http://links.jstor.org/sici?sici=0891-9356%28199612%2951%3A3%3C356%3ANPVIR%22%3E2.0.CO%3B2-0 The article offers a window into the life of the author herself. While suffering bouts of depression, Rossetti looked to nature as a sort of escapism. I feel that this same desire to be free of what troubles us can easily be linked to a need to evade the mundane, supposedly chaste existence that was supposed to be led by individuals during the Victorian period. Grass also speaks of her love of animals and vegetation, portrays the listing of the various fruits not as allegory but as a desire to "delight the senses" and thus the reader. Grass finds that Rossetti's poem is not just a self-edifying journey through the capabilities printed word, but instead a hand extended to the reader to share in the delight of stumbling upon these various mythical creatures, as well as lush vegetation.
