However, there are important differences between textual and "gamic" historical models.
To announce "gamic" history as "an inevitable stage of present-day culture" and an irresistible "break with the past," as did postmodernism decades ago, will not only attract needless antagonism from established historians, but create an expectation no historiographical mode will be able to fulfill.
At the same time, through their "gamic" reconstructions of national history, the developers of Nusantara Online attempt to present an alternative form of everyday nationalism, distinct from the official narrative.
The Majapahit, Pajajaran, and Sriwijaya kingdoms work together as the units of an ideal realm in the configuration of Nusantara Online as both a gamic environment and an ideological space.
It also serves as a call to "reconstruct" the nation (at least in its gamic form) so that it can achieve its ideal form.
This gamic inconsistency highlights the role of "playable" nationalism as a contemporary practice of national identity formation.
O autor chama de gamic cinema essas inovacoes formais dos games que migraram para o cinema.
Com essa colocacao, o autor parte para o seu ultimo principio, o unico dentro do pilar de Acao Radical (Radical Action): Gamic Action versus Radical Action, ou seja, a poetica do videogame convencional, contra os modos alternativos de jogar.
He covers four moments of gamic
action, origins of the first-person shooter, social realism, allegories of control, and counter-gaming.
elements of behavioral engagement tools, such as surge pricing, the conflation of real-time and predictive demand, and blind passenger acceptance, illustrate the multifaceted ways that Uber influences the relationship between supply and demand.