BUILDING BLOCKS OF THE IMAGINATION.
This article examines Disney Infinity, a toys-to-life game launched in 2013. Billed as "a celebration of infinite creativity" ahead of its release, Infinity is the only toys-to-life platform that incorporates open-ended world building into play. It is designed to emulate kids' physical play by allow...
| Publicado en: | Velvet Light Trap: A Critical Journal of Film & Television no. 78; pp. 53 - 65 |
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| Formato: | Essay |
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University of Texas Press
Fall2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=118199501&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 118199501 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01491830 8I3 jtl: Velvet Light Trap: A Critical Journal of Film & Television issn: 01491830 maglogo: N pubinfo: dt: Fall2016 iid: 78 pid: 519 pub: University of Texas Press artinfo: ui: 118199501 10.7560/VLT7805 ppf: 53 ppct: 12 formats: fmt: @attributes: type: P size: 8.1MB tig: atl: BUILDING BLOCKS OF THE IMAGINATION. aug: au: BAK, MEREDITH A. affil: Assistant professor of childhood studies at Rutgers University-Camden su: Mass media & children Creative ability Disney characters Educational toys User-generated content Computer programming sug: subj: Mass media & children Creative ability Disney characters Educational toys User-generated content Computer programming ab: This article examines Disney Infinity, a toys-to-life game launched in 2013. Billed as "a celebration of infinite creativity" ahead of its release, Infinity is the only toys-to-life platform that incorporates open-ended world building into play. It is designed to emulate kids' physical play by allowing them to mix and match characters and elements from disparate story worlds in a virtual environment. The essay considers Disney's use of children's creativity as an economic strategy, arguing that the company's deployment of creativity is exemplary of the term's rhetorical appropriation by industry stakeholders across contemporary children's media culture. Exploring the game's promotional materials, in-game features, attributes of gameplay, and aesthetics, the article situates Infinity within the broader toys-to-life market, demonstrating Disney's interest in creativity, particularly in the wake of heightened interest in STEM and STEAM initiatives, it suggests that Disney's creativity is complex and, at times, contradictory and that it relies upon a romanticized notion of children as "unruly" players. Making Disney characters and iconography available for user-generated appropriation, Infinity attempts to reframe creativity within the parameters of its own intellectual property. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Velvet Light Trap is the property of and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. item: Velvet Light Trap: A Critical Journal of Film & Television dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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