The story 1.1 1.2 1.3 1.4 1.5 1.6 1.7
Italian folktales Original text Summary plot Text analysis Character analysis Scenery Themes
3 5 9 10 11 13 15
Crossmedia & transmedia translation 2.1 2.2 2.3 2.4 2.5 2.6 2.7
TV serie Movie Cartoon The videotape Workshop The pub Dools
18 19 20 21 21 22 22
Ethnographic research 3.1 The audience 3.2 Results
24 28
Case studies 4.1 4.2 4.3 4.4 4.5 4.6 4.7
Lupus in tabula Dubito 10’ to kill Bang Complots Secret hitler The resistence
31 33 35 38 40 43 45
Project choices 5.0 Project choices
47
Project development 6.1 6.2 6.3 6.4
The game Game elements Graphic assets Final outcome
50 52 58 63
he story 1.1
Italian folktales
In 1954, the Italian novelist Italo Calvino start working on a project, inspired by Vladimir Prop Morphology of the Folktale and Giambattista Ba work: he wanted to create a comprehensive col the best and most popular Italian fairy tales, to next to all the great books of popular and foreign an Italian collection as well�1. It was supposed t addressed not only to children and young peop to everyone, because of the cultural significance stories in a matter of Italian folklore. However did not collect tales from oral transmission: he m thorough research of all the written versions of stories and fables, and for each one he published made sure to indicate which particular version h to clarify all his personal alterations.
1
Italo Calvino, Introduction, in Italian Folks, p. VII.
ted pp’s asile’s llection of “publish, ner fables, to be ple, but e of these r, he made several d, he he used or
The project was published in Italy in 1956, by Einaudi for the collection “The Millenials”, for which they also printed works from international authors, such as the Grimm’s brothers, Hans Christian Andersen, Charles Perrault and many more. His work was very well received and critics such Giuseppe Gatto appreciated the incredible literary value this collection, due to the linguistic and philological work of the author. He in fact took a lot of often piecemeal stories, and turned it in a complete repertoire of two hundred fairytales from all the regions in Italy. Calvino in fact really treasured fables and the role they play as a representation of people’s lives, as he stated in the Introduction of the collection.
The story
4
Italian folktales
ÂŤItalian folktakes must be taken in consideration together, with their ripetitive cases of human stor are a general explanation of life, they are someth born a long time ago and kept safe by the farmin culture so near to us; they are a catalog of destinie which every man or woman may encounter on th paths, especially in youth, that time of our life in our future is most decided[...]. Looking at the gre picture, in these fairytales we can see everything: f the persecution of the innocent, to his or her redem from the faithfulness to a commitment to purene heart and all those virtues that lead to salvation triumph; they are an infinite metamorphosis of w exists in the worldÂť2.
The book was firstly translated into English in 1962; a further translation by Sylvia Mulcah was later published in 1975 Dent and constitut the first complete collection of Italian folktales in a foreign language.
2
Italo Calvino, Introduction, in Italian Folks.
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cover of Italian Folktales, Italo Calvino Mariner Books; First edition (November 15, 1992) https://picclick.it/Italian-Folk-Tales
The story
1.2
Original text Fanta-Ghirò the Beautiful
5
In olden times there was a king who had no son but only three beautiful daughters. The oldest w Carolina, the next Assuntina, and the youngest called Fanta-Ghirò the Beautiful, since she was loveliest of the three. The king, who was always sick and irritable, sta shut up in his room the whole day long. He had three chairs—a sky-blue one, a black one, and a one. Every morning upon going in to greet him daughters were quick to note in which chair he If it was skyblue, that meant high spirits. But th one spelled death, and the red one war. One day girls found their father in the red chair. “Father!” exclaimed the eldest. “What’s happened?” The king replied, “I’ve just received a declaratio of war from the king next door to our land. Wh I do? I’m ailing, as usual, and there’s no one to command of the army for me. Where can I get a general at a moment’s notice?” “If you’ll allow me,” said the oldest girl, “I’ll be general myself. Do you think I couldn’t comma the soldiers?” “Don’t be silly! That’s no task for a woman!” sa king. “Do let me try,” begged the girl. “Try. Very well, we shall try it,” said the king,
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“but understand that if, along the way, you get to talking about women’s work, you march straight back home.” She agreed to that condition, and the king ordered his trusted squire, Tonino, to mount his horse and ride with the princess to war, but to bring her straight home to the palace the first time she mentioned women’s work. So the princess and squire rode off to war, with the whole army behind them. They had already gone a good way when they came to a cane field and started through it. The princess exclaimed, “What magnificent canes! If we had them at home, we could make any number of distaffs for our spinning!” “Whoa, princess!” cried Tonino. “I’m under orders to take you back to the palace. You’ve brought up women’s work.” They wheeled their horses around, and the whole army aboutfaced and followed them home. Then the second girl went to the king. “Majesty, I will take command of the army myself.” “Under the same conditions as your sister?” “The very same.” They set out on horseback, she and the squire side by side, with the army right behind them. On and on they galloped. They went through the cane field, and the princess said nothing. They passed by a
The story
6
Original text
pile of vine stakes, and the princess said, “Look fine stakes, Tonino. So straight and thin! If we h them at home, there’s no telling how many spin we could make.” “Whoa, princess!” cried Tonino the squire, stop her horse. “Back home you go! You brought up women’s work.” So the whole army, bag and baggage, took the ro back to town. The king no longer knew which way to turn, w Fanta-Ghirò came to him. “No, a thousand times NO!” he replied. “You’r young. How could you command an army if ne of your sisters could?” “Is there any harm in letting me try, Papa? I pro I won’t let you down or disgrace you. Let me tr So it was agreed that Fanta-Ghirò would go to w She dressed as a warrior, with helmet, armor, sw and two pistols, and galloped off with Tonino a side. They passed the cane field without comme they passed the pile of vine stakes, also without comment. Thus they reached the border. “Before going into battle,” said Fanta-Ghirò, “I’d like a word with the enemy king.” The enemy king was a handsome young man. The minute he laid eyes on Fanta-Ghirò he susp she was a maiden rather than a general, and invi to his palace to agree on the reasons for the war going into battle.
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They arrived at the palace, and the king ran to his mother. “Mamma, Mamma,” he said, “listen! I’ve brought home with me the general in command of the enemy forces, but just wait until you see him! Beautiful Fanta-Ghirò With eyes so black and speech so low: She’s a maiden, I know, I know! His mother replied, “Take him into the armory. If the general is really a girl, arms won’t interest her at all, and she won’t even look at them.” The king led Fanta-Ghirò into the armory. Fanta-Ghirò took down the swords hanging on the walls carefully noting how you gripped them and how heavy they were. Then she moved on to the guns and pistols, breaking them to see how they were loaded. The king ran back to his mother. “Mamma, the general handles weapons like a man. But the more I look at him, the more I’m convinced of what I say. Beautiful Fanta-Ghirò With eyes so black and speech so low: She’s a maiden, I know, I know! His mother said, “Take him into the garden. If the general is a girl, she will pick a rose or a violet and pin it on her bosom. If he is a man, he will choose the Catalonian jasmine, sniff it, and then stick it
The story
Original text
behind his ear.” So the king and Fanta-Ghirò went for a stroll in the garden. She reached for the Catalonian jasm plucked a blossom, sniffed it, then stuck it behi ear. In great distress, the king returned to his m “The general did what a man would do, but I st to what I’ve said all along. Beautiful Fanta-Ghirò With eyes so black and speech so low: She’s a maiden, I know, I know! 7
Realizing that her son was head over heels in lov the queen said, “Invite him to dinner. If the gen holds the bread against his chest when he cuts i the general is a girl. But if he holds it in the air a it, he is a man for sure, and you have fallen in lo nothing.” But the results of this test were no better. Fanta cut her bread like a man. The king, however, co to say to his mother: Beautiful Fanta-Ghirò With eyes so black and speech so low: She’s a maiden, I know, I know!
“Well, put him to the final test,” proposed the q “Invite him to swim with you in the fishpond in garden. If the general is a girl, she will certainly
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He extended the invitation, and Fanta-Ghirò replied, “Of course! I would love to go swimming; not now, though, but tomorrow morning.” She took Tonino the squire aside and said, “Leave the palace and return tomorrow morning with a letter bearing my father’s seal. The letter should say: ‘Dear Son, Fanta-Ghirò, I am deathly ill and wish to see you before I die.’ ” The next day they went to the fishpond. The king undressed and dived in first, then invited Fanta-Ghirò to do the same. “Please wait a little longer, for I’m wet with perspiration,” she said, listening for approaching hoofbeats of the squire’s horse. The king insisted that she get undressed. Fanta-Ghirò replied, “I don’t know what it is, but I suddenly feel quite uneasy, as though something terrible were about to happen somewhere.” “Nonsense! Nothing is going to happen,” answered the king. “Get undressed and jump in! The water is fine. What could go wrong?” At that moment hoofbeats were heard, and up rode the squire and handed Fanta-Ghirò a letter with the royal seal. Fanta-Ghirò turned pale. “I’m terribly sorry, Majesty, but this is bad news. My father lies on his deathbed and is asking for me. I must depart at once. All you and I can do is make peace, and if any matters remain to be settled, you will find me at home in my kingdom. Farewell. I will go swimming with you some other time.”
The story
Original text
The king stayed in the fishpond, alone and nake The water was cold, and he gave way to despair: Fanta-Ghirò was surely a girl, but she had left b he could prove it. Before leaving, Fanta-Ghirò stopped by her roo to get her things. On the bed, she placed this no Woman came and woman went, But of her presence gave the king no hint.
8
After the king found and read the note, he cont to stand there like a fool, half angry and half jub He ran to his mother. “Mamma, Mamma, I gue the general was a girl after all!” And without giv his mother time to reply, he jumped into his car and sped off in the tracks of Fanta-Ghirò. When Fanta-Ghirò got home, she embraced he and told him how she had won the war and ma enemy king abandon his plans for an invasion o kingdom. At that moment the clatter of wheels heard in the courtyard. It was the enemy king ar head over heels in love. As soon as he saw Fanta he asked, “General, will you marry me?” The nuptials were celebrated, the two kings ma peace, and when Fanta-Ghirò’s father died, he l everything to his son-in-law, and Fanta-Ghirò the Beautiful became queen of two kingdoms. Montale Pistoiese
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The story
1.3
9
Summary plot
Once upon a time, there was a King, who had n sons, but only three beautiful daughters. Car Assuntina and the youngest, Fantaghirò. The King received a declaration of war from the king of the neighboring land. Because of illness, the King was not able to go to combat: h needed someone to take command of the army Carolina and Assuntina, who quickly volunteer to take his place, were forced to return home, b as women, were not considered strong enough to lead an army. On the other hand, Fantaghirò chose a different approach: she dressed as a wa and went to the enemies’ castle with the Squire The opposing general was a handsome young p The minute he laid eyes on Fantaghirò, he susp she was a maiden rather than a male, but he inv her to his palace anyway, to agree on the reasons for the war before going into battle. The Prince tried to unmask Fantaghirò, undergoing her to questions and test, but even if she failed the last she managed to convince the Prince to give i
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The story
1.4
Text analysis
Fantaghirò’s tale, which Italo Calvino has rewri taking into consideration the folkloristic oral v and the story that Gherardo Nerucci published in Sessanta novelle popolari montalesi in 1880, h a very classical structure, and shares several com elements with many other stories of the collecti
⋅ Three sisters, princesses, with an ill father th need to help ⋅ Idea that women are not suitable to reign 10
⋅ War / Conflict with another reign ⋅ Several trials to prove the hero’s worth ⋅ Witty and intelligent main character
However, this fairytale, contrariarly to many ot also addresses more adult themes and issues, s as the relationship between genders, gender hie misogyny and a more open-minded type of love (see section Themes). The structure is fairly sim follow, with repetitive patterns and phrases, ty stories passed down for generations only orally.
itten versions d has mmon ion:
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thers, such erarchy, e mple to ypical of .
Additionally, these fairytales were addressed mostly to children (even if Calvino wanted to praise their social and literary importance): this is also why the plot is supposed to be linear and easy to follow. For example, a nursery rhyme scan all the trials Fantaghirò has to face, helping the reader (or the listener) to understand the story. The language used is simple, characterized by direct speech, short sentences and limited vocabulary. A certain recurrence of number three also appears: three sisters, three trones, three trials, etc. This number is often been related to Christianity, but there is no particular reference to religion in Fantaghirò’s story.
The story
1.5
Character analysis The King
11
He is sick, but unfortunately doctors cannot fin a cure for his disease. For this reason, he is force to spend every day alone in his room. When he the declaration of war from the neighbouring, h realizes there is no one to take command of the for him: he in fact has a sort of misogynistic ou and he thinks his daughters cannot take over th However, when they volunteer, he decides to gi them a chance saying “if, along the way, you get talking about women’s work, you march straight home”. Therefore, each daughter is accompanie the military field by a squire, whose job is to con if they are behaving as women or as generals. W the oldest daughters fail the mission, the King s loose faith. However, when Fantaghirò proves t warrior, he recognizes the girl’s worth, decidi make her the rightful heir to the throne. The K the perfect example of male leadership in a scen where men and women have always had differen women should only take care of children’s educ and the household order, keeping their distance power and war, which instead are matters reserv men. Even though at the beginning of the story King share these values, in the end he seems to c his mind.
nd ed receives he e army utlook, he job. ive to t back ed to ntrol When starts to to be a ing to King is nario nt roles; cation e from ved to y the change
Fantaghirò
She is defined as “The Beautiful”, an attribute placed on her from a society that only praised her e physical appearance, hiding under it who Fantaghirò really is. She is a young, intelligent and self-confident girl, eager to prove her worth: she wants to succeed, to make her father proud. For this reason, she dresses as a warrior, trying to deceive those prejudices that for centuries have been placed upon her: she wants to be a commander, a general, and not to be defined by her gender. She is very intelligent and as a “real man” she stops the army before it could enter in her kingdom, using her astuteness to hide her identity from the Prince and the Queen, who are trying to unmask and defeat her. Fantaghirò is an incredible positive role model, especially for young girls: someone who are not afraid to fight for what she thinks is right, an independent person, courageous, clever and, most of all, a woman.
The story
Character analysis
The Prince
12
At the beginning of the story, for a reason not explained in the tale, he declares war against Fantaghirò’s father. When the young heroin c to his palace, he immediately suspects that the w in front of him is in fact a female, despite her ar and her masculine behaviour. With his mother’ he tests Fantaghirò with a series of trials: he is fact convinced that Fantaghirò could be unmas bringing up female works. According to the Qu in fact, if she is a woman, she will not be interes army, she will not choose the Catalonian Jasmin flower in the garden, she will not swim with him However, the more the Prince gets to know Fan the more he falls in love with her. This is a ver turning point in the story: it is a love born beca the girl’s wit and astuteness, not because of her The Prince is confused both by his feelings and Fantaghirò’s behaviour, but since it is a folklori story, the status quo in the end is restored, with happy marriage and a resolution of the conflict; the fairy tale does not explore more complicated and more modern issues.
comes warrior rmour ’s help, s in sked by ueen, st in ne m. ntaghirò, ry ause of beauty. d istic ha ; d
Carolina & Assuntina
They are Fantaghirò’s older sisters. Like her, they want to please their dad, protect their kingdom and, at the same time, show their worth. However, as opposed to Fantaghirò, they are not very astute, and they do not hide their feminine nature well enough. Even if this should not be an argument against their courage and value, the Squire takes them back to their father, who defines them as unworthy generals.
Tonino
He is the trusted Squire of the King. He is the one who escorts the three princesses from their reign to the enemy’s one, judging their behaviour.
The Queen
She is the Prince’s mother, and she plays the role of the counsellor for her son. As opposed to the situation in Fantaghirò’s kingdom, where women has little to say in politic matters, here the Queen has a big influence: she is in fact the one who pushes the Prince to dig more, and try to reveal the heroin’s true identity. She is clever and shrewd, with a resolute yet understanding behaviour.
The story
1.6
Scenary analysis
The story is set in a medieval pagan world, a classic scenario for fairy tales, a faraway land w neighbouring rival realms, castles, kings and pri The society is described only in the “higher ran lower classes are not depicted at all. Calvino do spend a lot of time painting the scenery, mostly because in a fable what really counts is the intrig the plot, the sequence of actions. However, som settings have a key role in the story. 13
Royal palace – three chairs room
Every morning the King choose one of the thre thrones he has in his room. Each one has a diff color and a different meaning. According to h mood, the King sits on one of these thrones: red – means war black – means death sky-blue – means high spirits
with incesses. nks”: o not y gue, me
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Cane field
While travelling to the enemies’ kingdom, the oldest princess, Carolina, decides to stop in a magnificent cane field, admiring the plants: she thinks they could be perfect to make distaffs for her spinning and she would like to take some. Hearing her intentions, Tonino recognize what he and King define a “female behaviour”, and he forces her to return to the palace. This is the first setting in which the three sisters are tested.
Field with piles of vine stakes
This is where Assuntina, the middle sister makes her so-called mistake. In fact, while looking at the straight and thin stakes, the girl points out that they could be used to create beautiful spindles. Again, like her sister, she is heard by the Squire, who sees in this comment her female instincts: for this reason he decides to take her back home.
The story
Scenary analysis
Enemy’s royal palace
armory – as a first trial, the Prince takes Fan to the armory, to see if she would show interest weapons displayed there. The Armory is in fac usually considered strictly for men, for knigh soldier preparing for battle. It is not a place for w and damsel in distress.
14
flower garden – secondly, the Prince takes Fantaghirò to the beautiful gardens that surrou the Castle. According to the Queen, in fact, if h woman, she would pick a rose or a violet, pinni it on her bosom, while if he is a man, he would the Catalonian jasmine, sticking it behind his ea This is a very stereotypical idea of female and male behaviours.
dinner room – later, the Prince invites Fant to have supper with him. The Queen in fact sta that if the general holds the bread against his ch when he cuts it, then he is a girl, but if he holds in the air and cuts it, then he is a man for sure. A it is another stereotypical outlook on male and lifestyles and attitudes: according to this, men s
ntaghirò t in the ct a place hts and women
und he is a ing choose ar.
taghirò ated hest s it Again, d female should
always flaunt their power and woman should only behave lovingly. fishpond in the garden – this is where the final trial takes place, somewhere in which Fantaghirò cannot lie anymore. The Prince invites Fantaghirò to swim with him in the fishpond next to the gardens. With an escamotage Fantaghirò manages to escape from the trap, refusing to take off her clothes, action that would inevitably lead to the failure of her plan.
The story
1.7
Themes analysis Hierarchy of gender
15
In this fairytale, the male figure always tries to overcome the female figures: in Carolina and Assuntina’s case, the King succeeds, while when it comes to Fantaghirò, he is forced to admit his wrongness, even if it is not explicitly reported in the story. Hierarchy of gender is the first theme emerges from Calvino’s tale, right from the beg The King overpowers his daughters, keeps them his side without giving them any power, becaus believes they are not capable to command the a or reign over his territories. He thinks his daugh female interests, like spinning wool, would only undermine of the rational and intelligent mind general and a King should have. In his mind, th cannot be warriors because they are not men. On the other hand the Prince partially reverse idea of hierarchy of gender, because he comp trust his mother with his decisions: he consider wise and intelligent woman, whose judgmente always be listened. She is in fact the one that de all the tricks and trial to test Fantaghirò’s identi Another character that is of course fighting this hierarchy is Fantaghirò. However, after her plan of succeeds, the status quo is restored: even tho she becomes a Queen, she still has a man next to reign over the territories.
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Misogyny
The tale is all about misogyny, something that Fantaghirò manages to escape only when she dresses as a man. The three sisters are in fact are considered worthy only when they look and behave like a male. At the end of the story, Fantaghirò wins not only the war (preventing it from happen) but also the Prince’s heart, not with her strength or her power as a warrior, but thanks to intelligence, empathy and astuteness.
Female warrior
This is one of the strongest themes in the story. This fairytale’s success is mostly due to Fantaghirò, and the powerful model she represents. All three princesses try to be fierceful woman, but only Fantaghirò succeeds: she is a strong female warrior, who can go to war and win it without using any mortal weapo, only her intelligence. Opposed to the idea of “mademoiselle in distress”, the concept of woman warrior is here linked to a female character who succeeds in being a hero without flaunting typically male characteristics.
The story
Themes analysis
Bisexuality
16
Even if this theme is more subtle than the other already discussed, the concept of bisexuality app in connection with the Prince, who starts devel interest and emotions for Fantaghirò when s dressed as a man and he is still unsure whether a woman or not. This is something that trouble and even though in the story the situation is qu resolved, it depicts what bisexual people go thro when they start to realize that their sexual orien is not heterosexual, as the rest of the world said when they were young. This aspect is more exp in the Tv serie (see the related section), in which the Prince actively declares to be in love, and th he does not care if Fantaghirò is a man or a wom
Camouflage
This is the key point around which the entire st revolves: Fantaghirò, in order to escape from th prejudices related to her gender, dresses like a kn to deceive the Prince. However, what really mat the fact that she only changes her external aspe looks, her clothes, but not her behaviour. She remains the same Fantaghirò: she is a hero from beginning, she only needed other people to see
rs pears loping she is still r she is es him, uickly ough ntation since plored h hat man.
tory he night, tters is ect, her always m the it too.
rossmedia & trans
32
Among all the fairytales Calvino has collected, Fantaghirò is probably one of the most famou However, the popularity of this story is due not its literary relevance or to the themes it addresse because of all the translations of the story that been created in the past fifty years. The followin contains the most important adaptations, as we some less expected or conventional ones.
smedia translation
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Crossmedia and transmedia translation
2.1
18
Tv serie
This is probably the most famous adaptation of the fairytale, it is what Fantaghirò famous t children and their families. Directed by Lamb Lava and produced by ReteItalia, the TV serie released between 1991 and 1996, usually arou the Christmas time. Each year, it aired as a two(a movie divided in two parts). Amedeo Mingh Italian singer-songwriter, composer and produc composed the music, who was released in 2011 a CD called Il Fantastico mondo di Fantaghirò, produced by RTI SpA and Edel Music.
The first movie is directly inspired by the fairyta the happy ending Calvino also described: the w between Fantaghirò and the Prince, who in the movies is called Romualdo. However, there are a few differences from the tale:
Some extra characters are introduced, like W Witch (also disguised as the White Knight), wh has magic and foresight, and guides Fantaghirò and her father along the story; The three sisters disguise themselves as men and travel together in Romualdo’s reign. Only they choose that Fantaghirò should be the one fight the Prince;
The King is more supportive, and the gende discrimination is less present;
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The Queen (Romualdo’s mother) does not appear However, the four sequels explored a “what come next?” scenario, with the introduction of some characters that do not appear in the original tale, such as the Black Witch, who, in Fantaghirò 2 (1992), steals the Romualdo and plots to eliminate the princess, or the evil wizard Tarabas, who kidnaps Fantaghirò’s sisters’ children. The more the story was developed, the more complicated the plot became, departing from the original tale. However, the screenwriters Francesca Melandri and Gianni Romoli managed to maintain Fantaghirò as the independent and courageous hero she is. This is the main reason this TV show has become so popular: Fantaghirò was into a role model for young girls. Even today, over twenty years later, people feel the nostalgic need to rewatch this serie (now on Netflix) or to show it to their children: it is all due to the powerful impact this movies had on their original audience. Even if the producers had planned a further continuation of the series with two more chapters (after the fifth movie), they eventually abandoned the project. In these two movies, Fantaghirò was going to travel in parallel worlds, including the future or an alternative reality inhabited an evil version of herself.
Crossmedia and transmedia translation
2.2
19
Movie
The movie was called La meravigliosa storia di Fantaghirò (The Marvellous Story of Fantaghir It is a movie, that have been divided in two part the original Tv serie. This feature film contains constructed montage of scenes taken from th three seasons of the serie, even if the ending it i different from what appeared in the original epi Fabrizio Bava e Mauro Bonanni were the editor movie. It aired on December 27th and Decemb in 1995. As opposed to the Tv serie, which has aired on Italian television multiple times over the past twenty years, the La meravigliosa storia di Fantaghirò has been fully shown again only a few times in TV. In 2015 Mediaset Extra aire it on New Year’s Eve to celebrate the 20th anniversary of its first broadcast.
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Fantaghirò as a princess and the White Witch in the movie La meravigliosa storia di Fantaghirò
https://finestream.site/
Crossmedia and transmedia translation
2.3
Cartoon Serie
20
Fantaghirò is an animated serie produced in 19 BRB Internacional, in collaboration with Medi Telecinco, Planeta 2010, ed EF&C. It is importa point out that this cartoon is an adaptation of t serie created by Lamberto Bava, not of the origi fable. The animated serie, in fact, presents all th characters from the movies, with a few exceptio additions: for example, while in the TV serie M Goose is just one of the White Witch’s disguise is a character of her own, and the characters Lig and Bol have become an imp-boy named Flash a cat named Bolt. The animated serie aired in Italy on September 2000, until the end of October on Italia 1. It co 26 episodes, which have been later broadcasted in 2005 on the kids channel Boing.
Movie
From the serie, B.R.B. Internacional also produ a animated movie called Fantaghirò: Quest for th Kuorum, created by editing together the footag the series. The cartoon was released in 2001.
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Fantaghirò as a warrior in the cartoon Fantaghirò
https://www.dailymotion.com/video/x6upsli
Crossmedia and transmedia translation
2.4
The videotape
In 2000 the toys companies Giochi Preziosi e GiG distributed a free VHS to their clients for the pro Videogiocando; in the video cassette they registere some ads for their products and an edited episod of the cartoon.
2.5 21
Workshop
In 2007 Silvia Gherardi and Barbara Poggio has organized a 5-days workshop focused on female role model and leadership positions for wome The second day’s activities were inspired by Fant fairytale, written by Italo Calvino. The story, in f was considered especially relevant for some key t and led to heated discussions within the group o who participated to the event. The activities espe concerned gender hierarchy and how it influence participants’ professional life.
G oject ed de
e en. taghirò’s fact, themes, of people ecially ed
Starting from the ambivalence of the story (praising a strong and independent woman compared to the final restoration of the status quo), the participants shared their opinions and experiences. What really emerged from the workshop is the close relationship between power and the idea a person has of it, and how this notion often changes between men and women: on one side, men see leadership as a way to prevail on others, while women look at it as a way to help others in the long run.
Crossmedia and transmedia translation
2.6
The pub Rome
In Rome, there is a pub called Fantaghirò, insp Calvino’s tale. In the kitchen, the meals are prep a wood oven, and the general ambient originally to resemble an old tavern. Today, the medieval has almost disappeared (it has turned mostly in bar), but the original idea is still present in the w layout: the navigation is based mostly on illustr linked to the image of a classic tavern, even if so modern elements (such as a footballs and TV) h been added. 22
2.7
Dolls
Giochi Preziosi, an Italian toy company, after the broadcast of the animated serie, produced a colle of Fantaghirò inspired dolls. Fantaghirò’s dolls w manufactured in several versions, with different o and hairstyles, while Romualdo’s had no variatio only had one suit). In 2019, Elvira Carangi, an Italian artist, created Fantaghirò dolls in polymer clay, that could be fo collection or something to include in gadgets. Sh displayed the dolls on her Instagram page and on online shop.
pired by pared in y tried l look n a sport website rations ome have
e ection was outfit on (he
or he n her
The first page of the site of the Fantaghirò pub www.fantaghiro.it/fantaghiro.html
thnographic rese
44
In order to start the project, after the thorough of fairytale and all its translations, the group ha worked on an ethnographic research, whose a to have a better understanding of the cultura social context in which the project will be plac This also was a very important project in order to better define the target of the translation.
Firstly, the group has conducted an online rese gathering the comments and opinions (not o in Italy, but in other countries as well) regardin fairytale. The investigation showed that the maj the users are interested more in the Tv serie than
earch
h analysis as aim was al and ced.
original story: while it is easily possible to spot fan groups, communities and online discussions and articles dedicated to Fantaghirò’s cinematographic adaptation, there is a significant lack of interest towards the story. Even in the academic community, the studies and analysis concerning Fantaghirò’s story specifically are only a few.
earch, only ng the jority of n in the
Taking in consideration this general leaning of the audience, the group has developed a survey to better test the knowledge of those who may or may not be the future public of the translation.
Ethnographic research
3.1
The audience
The survey proved that what the online research shown: the Tv serie and the movie are what tru Fantaghirò popular (only 2 people out of 79 pa in fact had read the story and just 34% knew that cinematographic adaptations were inspired by fo Most of the people who responded the survey a this story is important because it concerns topi relevant today, but the opinions on which is th important one are quite different, even though th voted for “gender hierarchy” and “female warrio 24
h had also uly made articipants t the olklore). agreed that ics still he most he majority or�.
Ethnographic research The audience
36,7% 5,1%
24,1% 15,2%
25 2,5%
2,5%
1,3%
11,4%
Partecipants: 79
female: 56 male: 23
Regions:
Lombardia 36,7% Emilia Romagna 24,1% Toscana 15,2% Sicilia 11,4% Piemonte 5,1% Abruzzo 2,5% Lazio 2,5% Campania 1,3% Umbria 1,3%
Ethnographic research The audience
Have you ever heard of Fantaghirò?
48% no 26
If so, why do you know it?
I have heard about it 58% I have seen the film 24,1% I have seen the tv serie 15,2% I have seen the cartoon 11,4%
I have heard about it
52% yes
I have seen the tv serie I have seen the cartoon
Ethnographic research The audience
In your opinion, what topics are relevan in today’s society?
hierarchy of gender misogyny influence of the family environment female warrior bisexuality 27
camouflage
05
Thinking about the story, what theme do consider most important?
hierarchy of gender misogyny influence of the family environment female warrior bisexuality camouflage
05
nt
10
15
20
25
15
20
25
o you
10
Ethnographic research
3.2
Results
However, what really caught the group’s attentio is the following question: “Would you recommen this fairytale to someone? If yes, to whom?” The result was both surprising and predictable. Over 50% of the participants indicated that they would suggest the story to their children.
16% no
28
21% everybody
11% famil
on nd
In particular, several of them specified because Fantaghirò represents a good role model to follow. This led the group to reflect on the possibility to create something that could be targeted for both parents and children, something adults would want to buy for their children, but also secretly for themselves too.
o
ly
52% childrens
ase studies
56
As the ethnographic research has shown, Fanta concerns several delicate topics, which may or may not be completely understood by the publ in the current social situation, the risk of not being inclusive, of not representing in a truth and not stereotypical way all the minorities that cohabiting together, would mean a complete fa of a communication design project. The decisio set aside the social aspects of the fable, namely g hierarchy, misogyny and bisexuality, has been d after several project proposals, each one focused in particular on stereotypes, the group has decid to take another direction.
aghirò r lic:
hful t are ailure on to genderdifficult: d ded
However, one of the media chosen in one of said propositions was a board game, a f unctional and attractive mean of communication, able to convey different types of themes. If initially the group has focused on what Ed Finn wrote about the power of play and the gamification of our reality, later the centre of attention shifted on the appeal a game can have to the public. Fantaghirò is first of all a fairytale, something directed in particular to children: as also shown by the etnographic research, almost 50% of the people would recommend this story to their kids, or in general to young people.
Case studies
30
A fun, engaging game can stimulate interest in and young people, who may be driven in readin story after they played the game, as well as entic folks, such parents, aunts, uncles and grandpare read the fable or watched the Tv Show when th younger and would then be happy to purchase could remind them of something from their ch Therefore, pivoting on the final target, the grou decided to create a board game focused on creat something interesting for both children and ad playing with the main dynamic of the story: blu to hide a identity to deceive the enemies. Therefore, the first step for the development of project has been a thorough research about bo whose key points are role playing, bluffing and negotiation and collaboration. These are the m most interesting examples the research has led t The game analysed:
Lupus in Tabula Dubito 10’ to kill Bang Complots Secret Hitler The Resistence
children ng the ce older ents, who hey were a game that hildhood. up has ting dults, uffing
f this oard games, betting, main and to.
Bang’s game cards
https://cf.geekdo-images.com/
Case studies
4.1
Lupus in tabula / Werewo Overview
This game is one of the several variations of Ma a social deduction game, based on mechanics su bluffing and betting, deduction and negotiation was firstly created by Dmitry Davidoff in 1986, developed in different variations, which could b both with cards or only by writing the names o roles on pieces of paper that players would have
31
Davidoff started working on the game combini psychology research with his work as a high sc teacher; hoverer, in only a few years Mafia bec very popular all around Russia, and later in Eur and in the U.S. In 1997, the werewolf variation created by Andrew Plotkin: this other version b widespread not only between teenagers, but als at major tech events, including the Game Devel Conference, ETech and Foo Camps, later inspirin other expansions and variations.
Lupus in Tabula’s physical version was created o in 2001, but it had became popular way before spreading from one circle of friends from anoth Being such a famous game, while the rules alwa the same, the setting and most of all the charact change, especially when the game is played with the physical cards. Often regional influences be part of the game, adding parts of local folklore t the game and its roles.
olf
afia, uch as n. Mafia , and later be played of the e to draw.
ing his chool came rope n was became so lopers ng
only then, her. ays remain ters often hout ecome to
type: party game game mechanics: player Elimination role Playing team-Based Game variable Player Powers voting number of players 8-24 artist: Gianpaolo Derossi designer: Domenico Di Giorgio year: 2001 production: dV Giochi Albi Edge Entertainment Hobby Japan IELLO Korea Boardgames co., Ltd. Mayfair Games Swan Panasia Co., Ltd.
Case studies
Lupus in tabula
Rules
32
The game is based on the rivalry between two g an informed minority (the enemies or the speci characters), and an uninformed majority (the v During the setup, each player draws a character the pack of cards: the player has to behave acco to the role, but said identity has to remain secre the entire duration of the game. The game has t alternating phases, directed by a Narrator: first night role, during which the werewolves may ki players, and second, a day role, in which the Na announces who died (without revealing the role it is a Wolf) and the surviving players debate and to eliminate a suspect. The game goes on until o of the two factions eliminates the other; for vill and the special characters means eliminating all werewolves, while for evils means reaching num parity with the village. Here are some of the mo common roles:
The Wolf: each night, the Wolf has to kill on villager (who can or cannot be a special charact as well). According to the number of players, there could be several Wolves.
The Villager: this role has no special power. The Villager sleeps at Night and during the Day tries to figure out who the Wolf is.
The Seer / the Owl: a villager who may lear the role of one player every night.
groups: ial villagers). r from ording et for two t, a ill other arrator e unless d vote one lagers l the merical ost
ne ter
. y
rn
The Prostitute / the Protector: a villager protects a player from being killed every night; however, if the Wolf decides to kill the Protector, the Villager with him dies too. If the Protector chooses to protect a Wolf, he or she dies. The Wolf’s son: a villager who, if bitten, becomes a Wolf. The Guardian Angel: at the beginning of the game, The Angel chooses a protegee. If the protegee is about to get killed, the Angel dies instead.
Key aspects
∙ bluff and betting ∙ hidden role playing ∙ collaboration and negotiation ∙ fantasy setting ∙ team-based game ∙ multiple variable player powers
Case studies
4.2
Dubito Overview
33
Dubito’s origins are not particularly clear: besid mention in the movie How to Lose a Guy in 10 d it has been a very popular party game for a long Since it can be played with a standard 52 card p is pretty versatile, easy to play in any kind of situ Dubito works on very simple mechanics: trying unmask the enemies’ bluffs. Known in English Doubt It or Bullshit, it is a fun, fast-moving gam can be played by both children and adults, and more participants know each other, more engag challenge becomes.
In 2019 Giochi Uniti has released a homonymo physical board game, illustrated by Mario Barba this version is based on dices instead of cards, bu is shares similar general dynamics with the origi more folkloristic one.
de a days, g time. pack, it uation. g to as I me which the ging the
ous ati: ut inal,
type: card game game mechanics: bluffing deduction challenges with penalties number of players 4-8 artist: none designer: none year: unknown production: none
Case studies
Dubito
Rules
34
The dealer gives all the cards to the players; acco the number of participants, some cards can be l The player holding the ace of hearts shows it to yelling “One” and placing the card in the middl table. The player to his or her right will gave to “Two” (and so on, in ascending order), this tim one of his or her cards on top of the ace, this tim down. This card may or may not be a two. The players, who are questioning the honesty of a p can yell “I doubt it”, forcing the last player to sh the card he or she was about to play. If the card same number the player yelled, the person who has to take all the cards previously tossed. On th hand, if the number on the card differs from wh player shouted, he or she has to take all the play and start again with a random card (not necessa
The game ends when someone plays all the card Said player is the winner.
There is also a stricter variation of the game, in player is only allowed to play cards with the sam
ording to left out. o the rest, le of the shout me placing me face e other player, how has the o doubted he other hat the yed cards, arily an ace).
ds.
which the me suit.
Key aspects
∙ bluffing ∙ reading other players ∙ card game, versatile ∙ rewards and penalties
Case studies
4.3
10’ to kill Overview
35
Created through a crowdfunding campaign on KickStarter that raised over 60.000 euros over t asking price, 10’ to Kill is a fast, easy game for tw four players, with simple mechanics and beau illustration. Created by the user called laboited 10’ to Kill revolves around the idea of imperson a role and the attempt to keep it hidden while t to discover the identity of the other players. Each player (who is secretly impersonating on of the 16 characters on the board) is a hitman who has been asked to kill three secret targets, he has to do so without being discovered from t other participants. And of course, he or she has do so in less than 10 minutes.
The players need tactics, shrewdness, discretio and an innate ability to bluff and deceive othe in order to silently and efficiently eliminate thei running against the ticking clock.
10’ to Kill stimulates strategic outlook and enga friends and family, who can try to see how well can know and reach each others. The game is p through stunning warm illustrations, and all th characters come from the animal kingdom, mak it also a pretty friendly game, suitable also for a audience (+12).
n the wo to utiful dejeu, nating trying
ne n, and the s to
on er players, ir targets,
age they presented he king young
type: party game game mechanics: action Queue memory modular Board player Elimination number of players 2-4 artist: Pauline Detraz designer: Benoit Bannier year: 2001 production: Arclight Dude Games funbot La BoĂŽte de Jeu Rebel Zacatrus
Case studies
10’ to kill
Rules
To set up, players lay out the 16 location tiles a randomly place one character on each location, three police cards to the side of the “board”. Each player has to fish a hitman token and a cha tile, which will need to remain secret, after this, participant gets three more tiles with characters on them: these are their targets.
36
and then , with
aracter , every s
10’ to kill box and some elements of the game https://cf.geekdo-images.com/
When the game starts, each player can have a turn, in which they are allowed two actions between these: Move: Move any character or police to any other location. Investigate: If a police is in the same tile as another character, the player may investigate said character: this means indicating another participant, and ask him or her if they are emboding that characters. If it is, the second player is arrested and reveals the hitman tile; the first takes both the standee and the tile (later for scoring). If it is not, nothing happens. An arrested player however can still move investigate actions until the end of the match. Kill: This is possible only if the hitman is alone on the tile. To kill, a character needs one of his or her weapons: revolver, rifle or knife. The revolver can only eliminate a target on an adjacent tile; the rifle hits anyone in a straight line from the hitman (but only if said character is positioned on blue-bordered tile); lastly, the knife only kills someone on the same tile. However, if the police is on the same time as the target or a place orthogonally adjacent to the hitman, this cannot kill the target. If someone dies, the police will be placed where the character died.
Case studies
10’ to kill
When someone hits one of their targets, the figu will be placed on the tile the player received at t beginning of the game. If the victim is not one player’s targets, the participant can ask the othe was one of their characters. If so, they give to th their hitman tile (for scoring). If not, the charac takes the standee.
The game finishes when someone has killed all targets, or when all hitman have been either kill arrested. Then, the player proceeds with counti points, and the higher score wins. 37
∙ 2 points if your character has not been arrested ∙ 1 point for every target killed (by the players, not b ∙ 1 point for each arrested hitman ∙ 3 points per killed hitman ∙ 1 point per non-target killed
urine the of the ers if it he player cter just
the led or ing the
d or killed by others)
Key aspects
∙ hidden role playing ∙ deduction ∙ family game ∙ beautiful illustrations ∙ fast turns and quick matches
Case studies
4.4
Bang! Overview
38
Created in 2002, the Old-Wild-West themed ga BANG! has quickly conquered a wide audience being published by DV Giochi, in the following has won multiple awards, such as the Origins A Best Traditional Card Game (2003) and Best G Design of a Card Game or Expansion. With bea themed illustration, the game recreates the sce of a classic spaghetti western shoot-out, with contendants shooting at each other for a morta At the beginning of each game, every player dra role to embody and a character to impersonate: the role will influence their game tactics, the ch assigned only provides an extra special power. The rules, even if they seem complicated at the beginning, are actually easy to understand; the also provides extra reference cards for each playe reminding them rules during the game and help them understand the power of the actions card It is very useful, in order not to keep looking at instruction manual. Bang! is a well constructed even if, the more people play, the slower the gam becomes. It is suitable for kids, family and frien engaging, creative and very well themed. It stim strategic thinking, even though luck has still a b in the outcome of the game. There are several expansions, that add extra characters and cards.
ame e: after g years Award for Graphic autiful enery
al duel. aws a : while haracter
game yer, ping d. the d game, me nds, it is mulates big role
.
type: party game game mechanics: player Elimination role Playing team-Based Game variable Player Powers number of players 4-7 artist: Emiliano Sciarra designer: Alex Pierangelini year: 2002 production: dV Giochi Albi Asmodee Bard Centrum Gier CrĂłmola Edge Entertainment GĂŠm Klub Kft. Grow Jogos e Brinquedos Hobby World Kaissa Chess & Games Korea Boardgames co., Ltd. Ludicus Mayfair Games PS-Games
Case studies
Bang!
Rules
Each player will have to embody one out of fou each with a different victory condition: Sheriff - kill all Outlaws and the Renegade
Deputy - protect the Sheriff and kill any Out Outlaw - kill the Sheriff Renegade - be the last person standing
39
At the beginning of the game, each player draw which should remain secret during the entire ga except for the Sheriff, who has to reveal himself from the start. After, a character is assigned to e player: this will track strength (hand limit and n of lives) and add a special ability.
The game is played with cards (22 different type the BANG! cards, for example, let a player shoo opponent, given that the target is within “range weapon the player dispose of. The target player a “MISSED!� card to avoid the shot, without lo life points (which he or she can regain playing a card). These two cards convey the main mechan game (killing other players and avoiding to be h the remaining ones provide temporary special p such as guns which improve the firing range, or or permanent effects, like Barrels, which allows to hide during a shootout. All the powers are di on each card through language-independent sy (summarized in the reference cards).
ur roles,
tlaws
ws a role, ame, f right every number
es): ot an e” of the r can play osing any a “BEER” nics of the hit), while power, r one-time s players isplayed ymbols
Bang! box
http://www.dvgiochi.com/giochi/bang/box.jpg
The game ends when one of the players reach his or hers victory conditions.
Key aspects
∙ card game, versatile and easy to play under any conditions ∙ hidden role playing ∙ very well themed ∙ player elimination ∙ strategic thinking ∙ multiple variable player powers
Case studies
4.5
Complots Overview
40
Also known as Coupt, Complots is a fast-paced b game, set in an Italian corrupt city, governed by characters. The game has very simple mechanic each match only takes about fifteen minutes. T elements of the games are only a few (character and special coins), making Complots a very ver and easily played game, suitable for young play as well. Every player in fact embodies two chara starting the game with two coins; every particip order to win, has to eliminate all the opponents
The rapidity of the game allows players to enga enough to enjoy the game and want to play ano round, to get back at those friends or family me who managed to deceive them. Even if the illust could be improved, the mechanics are quite dir intuitive, making Complots high replaylable an of addictive for the most competitive players.
board y evil cs, and The r cards rsatile yers acters, pant, in s.
age other embers trations rect and nd sort
type: card game game mechanics: bluffing memory variable player powers number of players 2-8 artist: Xavier Gueniffey Durin designer: Rikki Tahta year: 2013 production: Ferti
Case studies
Complots
Rules
The character deck is made up of four copies of characters; with each role, the player gains speci
41
Duke:
gain three coins, prevent another playero to get fo
Assassin:
loose three coins, assassinate another player’s char
Contessa:
prevent an attack against hersel
Captain:
steas two coins from another pl block other players to steal coins
f six ial powers.
oreign aid;
racter;
lf;
layer, s from him;
Complots character cards
http://www.espritjeu.com/upload/image/complots-2-p-image-59017-grande.jpg
Ambassador: draw two character cards, choosing which (if any) to exchange with his charactersBlock other players to steal coins from him. Inquisitor:
draw one character card, choosing whether or not to exchange it with one of his characters, oblige an opponent to choose one of his or her characters and show him the card, or draw a new card from the deck in exchange for one of he or she already has.
Case studies
Complots
During each turn, a player can choose to do on her character actions or one out of three other a Income: take one coin from the treasury.
Foreign aid: take two coins from the treasur
Coup: pay seven coins and launch a coup aga an opponent, forcing that player to lose an char (If a player have ten coins or more, he or she is f to take this action.) 42
ne of his or actions:
ry.
ainst racter. forced
Complots box and some character cards
http://www.jeudubazar.com/6346-thickbox_default/complots-2.jpg
When a player chooses one of their character actions, that action automatically succeeds unless an opponent challenges the first participant. In this case, if the player can’t reveal the appropriate character to defy the action, he has to reveal one his or her characters: this card cannot be used anymore. On the other hand, if the player has the character in question, he or she can reveal it, drawing a new one. The last player with at least one hidden card wins. When a player reveals both cards, he or she loses. key aspects
∙ card game, versatile and easy to play under any conditions ∙ hidden role playing ∙ multiple variable player powers ∙ quick games ∙ medieval themed
Case studies
4.6
Secret Hitler Overview
43
Designed by Max Temkin (co-creator of Cards Humanity), Mike Boxleiter (co-founder of Mik and Tommy Maranges, Secret Hitler is a social deduction game for 5-10 people about finding stopping the Secret Hitler. In this game, partici have to assume the roles of liberals and fascists Weimar Republic, while only one embodies Hi To win the game, the two teams have to enact p or complete a secondary objective directly invol Hitler. However, each role should remain hidd
The standard edition, which is available for free Creative Commons license, is the same one publ after a Kickstarter campaign in 2016 (which rai times the official asking price in the first 24 hou printed version has foil inlays on the boards and placards for the Chancellor and President, but o official website there is also a printable version. also available an official app, narrated by Wil W In 2017 a Trump version has additionally been
Secret Hitler is a intriguing game, accessible, g themed and – most of all – capable to creating level of tension, analysis and outright joy.
Against kengreg)
g and ipants s in the itler. policies, lving den.
e under lished ised two urs): the d wooden on the Here it is Wheaton. released.
greatly the right
type: board game game mechanics: bluffing voting hidden roles player elimination number of players 5-10 artist: Pauline Detraz designer: Mike Boxleiter Tommy Maranges Max Temkin year: 2016 production: Ferti
Case studies
Secret Hitler
Rules
During the set up of the game, the roles (which on the number of players) are distributed. The of Hitler is revealed to all other fascists, while is about who his allies are.
44
Each turn, the President’s identity changes, mo clockwise among the players (the first President randomly chosen). At the beginning of the turn the President in charge nominates a candidate t wants to become the Chancellor, and every play either “Ja!” (for approval) or “Nein!” (for disap If more than half of the players give their appro the chosen player becomes Chancellor.
If the election is successful, the President draws policy cards (that could be either liberal or fasci and gives two of them to the Chancellor, who c which one to of these enact.
If the election fails, the President adds one poin the Election Tracker and the round ends.
If three election in a row do not succeed, the po top of the card pack draw pile is enacted autom and the Election Tracker is reset. The Election T is also reset when a Chancellor obtain office.
Enacting policies enables the President to do so particular actions: passing a fascist law grants hi power to investigate a player’s role, check the th cards of the deck, kill another player, or decide w
h depends identity s clueless
oving t is n, that he yer votes pproval). oval,
s three ist), chooses
nt to
olicy on matically, Tracker
ome im the hree top who the
The resistence box and some elements of the game
https://images-na.ssl-images-amazon.com/images/I/61-sgBQti5L._SL1000_.jpg
next President is going to be. There are a few ways in which the game can end: ∙ when five liberal policies are enacted, the victory goes to the liberals; ∙ when six fascist policies pass, the victory goes to the fascists; ∙ after three fascist policies have been passed, the liberals can win the game if Hitler is assassinated; if Hitler is elected Chancellor, victory goes to the fascists.
key aspects
∙ graphically coherent, well connected to the theme ∙ card game, versatile ∙ bluffing and Betting ∙ hidden role playing ∙ team based
Case studies
4.7
The Resistence Overview
45
The Resistance is a party game of social deduc based on cards and role playing. The game is se the middle of a conflict between government an resistance groups: players are assigned to either of the teams (Resistance Operatives or Imperial and during the match they have to discover who allies are. The Resistance was inspired by Mafia Werewolf, but has different main mechanics: th player elimination, no narrator, but a failed m provides the certainty that at least one of the pla went on the mission is an Imperial Spy. It also h common mechanics with Secret Hitler.
The game is set in a not-too-distant future, in w society is run by multinational CEOs, who led of the people to live in poverty. In this scenario, Resistance has risen and it is trying to destroy th government. However, spies have infiltrated the attempting to prevent the coup. Meanwhile, po crime bosses are building their criminal empire, recruiting new specialized agents. These are also to take down the government, but with less her purposes than the Resistance.
This game, like Lupus in Tabula, was initially p with a standard 52-card deck, but later it was pr official version, with a board to track points, rol tokens, voting and mission cards and special ext
ction, et in nd one Spies), o their a/ here is not mission ayers who has some
which most ,a he unjust e group, owerful , o trying roic
playable rinted an ole cards, tra cards.
type: board game game mechanics: hidden Roles memory simultaneous action selection team-Based Game voting number of players 5-10 designer: Don Eskridge year: 2009 production: Ferti artist: Luis Francisco Luis Franco Piotr Haraszczak Jihoon Jang Maryam Khatoon Jordy Knoop Vinh Mac Alex Murur Jarek Nocoń George Patsouras Michael Rasmussen Jordan Saia Luis Thomas
Case studies
The Resistence
There are also several unofficial online versions game, published by various websites and agenci some expansions, such as Hidden Agenda, The Thickens and Hostile Intent.
The Resistance is regarded as more complex than party games, giving the players more informatio opportunity to deceive. Thematically, the game shares the same dystopi setting as Complots and Grifters, two other gam published by Indie Board & Cards. 46
Rules
The game is designed to last 30 minutes, with t five rounds.
Before starting the game, one third of players ra becomes government spies inside the Resistanc of the group); they know each other’s identity. of the players (who could be either a spy or Res member) is chosen as Mission Leader.
Each round, the Leader changes (moving clock among the players). The Leader chooses a certa number of players to send out on a mission (sta Mission 1): each mission requires a different nu players. All of the players then discuss vote whe accept the team or not.
of the ies, and Plot
If the proposal does not pass, the turn succeeds and leadership passes on. After five rejected mission proposals in a row, the Spies automatically win that mission.
n similar on and
If the mission passes, the team “go” on the mission, which that each participant gets two Mission cards (a Fail or a Success) and they will have to play one of them. Almost always, Resistance players will turn in Mission success card, but Spies may not. The cards are positioned face down, shuffled and then revealed. If all cards show Success, the Resistance earns one point. If even one card shows Fail, the Spies earn one point.
ian mes
three to
andomly ce (the rest Then, one sistance
kwise ain arting with umber of ether to
The game ends when one of the teams accumulates three points. Key aspects
∙ quick turns ∙ hidden role playing ∙ need of strategic thinking choosing the allies ∙ bluffing ∙ team based
roject choices
After taking in considerations the analysis of th its adaptations and all the case studies, the grou reflected on which aspects to maintain in the ne translation. Since the game wants to attract pe who already know the story and would be inter in purchasing a board game for them and possib children, it is necessary to keep all the charac and the general atmosphere of the story. The gr instead of focusing on the themes that Fantagh story conveys, has preferred to focus on those a that could be easily transformed in a leisure acti which, with its “power of play� could interest t public in reading more into the story.
he fable, up has ew eople rested bly their cters roup, hirò’s aspects ivity, the
From the original fairytale, the game keeps all the main characters (Fantaghirò and her sisters, the Prince, the Queen and the Squire), turning them into roles for the players to embody. From the analysis of the plot, it appears that Fantaghirò has to face many trials in order to deceive the Prince, and this is what the game focuses on: a serie of turns in which Fantaghirò has to try to maintain her identity secret, winning over her enemy. The game will also try to convey the fable-like atmosphere, through friendly and colorful graphics.
Project choices
Studying the mechanics of the case studies, the has decided to maintain some key elements:
∙ Hidden role playing: this perfectly connects what Fantaghirò does, pretending to be somebo in order to win. The player who will embody th in the game will have to use her powers (that de said participant as Fantaghirò) but also hid her siding with the enemies, just to divert the suspe her or his actions. Shrewdness in designing gam will be vital to win. 48
∙ Quick turns: like the fairytale, the game will short too. The players will probably be adults an children, which are the perfect public for a quic engaging game. Also, the fast nature of the gam easily lead participants to want to play more.
∙ Variable player powers: this aspect, besides m the game more interesting, also helps distinguis different characters and the role they play in the
∙ Betting and bluffing: the uncertainty of wh allies are is a typical aspect of palace intrigues. During the game, the players will talk to each o trying to understand which players are actually their team and who is bluffing. These assumpti will be the key elements according to which the will play their turns.
group
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After defining these key elements, the group started working on the design and the actual mechanics of the game. The game, before being approved, has been tested with multiple people, in order to observe all the dynamics, correct the potential mistakes and evaluate the level of engagement and entertainment of the game. The next section will explain how the project has been developed.
49
roject developm 6.1
The game Rules
98
The first step, of course, was defining the gam mechanics. Drawing inspirations from the ca studies, especially from Complots, Secret Hitler The Resistance, the group has developed a gam includes all the key elements previously descri
Firstly, the group has decided to split the playe in two teams, Fantaghirò’s group and the Prin group: they reflects the two opposing reigns in the story. Fantaghirò and her sisters on one the Prince, his mother and the Squire in th The group has decided to place the Squire on Prince’s group because, even though he works Fantaghirò’s father, he roots against the three fomenting the inferiority of women. Next, the has decided to distinguish each role with differen
ment
me ase r and me that ibed.
ers nce’s n e side, he other. the s for sisters, e group nt powers.
∙ The Prince will only have a neutral power, something necessary for him to gain points during the game, but also a power that all the other characters will have too. This will allow players to maintain their identity secret more easily. ∙ Fantaghirò and her sister have all the same power: they can defeat the Prince’s power. ∙ The Squire in the story neutralizes the sisters’ spirits to protect the King and his misogynistic views, going against the realm’s interests without even knowing. For this reason in the game, if Fantaghirò or one of the sisters play their power, showing their identity, the Prince’s group will gain one point; on the other hand, if the heroins will disguise themselves (or if in that turn they do not play at all), and the Squire uses its power, they will gain a point.
Project development
The game
∙ The Queen has an incredibly influential rol story: she guides all the Prince’s actions, giving advice and taking decisions for him. For this rea in the game she has the highest power, somethin that can defeat Fantaghirò’s power in any occas However, in order for the game to be more inte she will be allowed to play her special powers th times in a game.
51
After having defined the roles, the group has stu how to manage these powers, turning them int playable elements. The powers will be represent by tokens, with a sign on them that indicates on said capabilities. The combinations of these to during a turn will determine which team will the point. Of course, the players will have to pl accordingly to the character they are embodyin what the other players think of them (they will try to maintain their identity secret as long as po
After having defined these rules, the group kept working to perfect the mechanics of the game.
le in the him ason, ng sion. eresting, hree
udied to ted ne of okens l get lay ng and have to ossible).
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In each turn, a player will have to choose two allies to play with. Each player will place one of their tokens face down in the middle, choosing carefully what to play. Next, a player will mix the tokens and flip them. Then, after trying with several players, the group has decided to increase the number of points necessary to win according to the number of players: if originally the idea was to just have five turns maximum, with the updated rules the points to earn change according to the number of players. Additionally, after some mock trials of the game, the group has also added an extra rule: at least one player must change from one turn to the next (meaning that the same three participants cannot play two consecutive turns together).
Project development
6.2
Game elements Character cards
The character cards are distributed to the playe beginning of the game. According to which c they draw, the players must consequently desig game strategy. Since the roles must remain sec during the game, so do the cards. For this reason should only need to look at it once and then pu
52
These cards need to clearly show the characters a written text and a distinctive illustration (eas understand especially for younger children).
yers at the characters gn their cret n, players ut it away.
s, with sy to
At the beginning of the design project, the group thought to put on the cards the types of tokens related to this characters; however, it later decided to create a little sack to distribute at the beginning of the game, with a character card and the related tokens all placed inside. In this way, the card can easily remain hidden during the entire duration of the game, and it is only taken out from the sack once, before the beginning. For this reason, the cards has fairly small dimensions: 6,5cm x 8cm.
8 cm
6,5 cm
Project development
Game elements
Tokens
53
The second important step was determining th tokens. The group has reflected on which picto would match better with each power: starting f character’s main features and the role they play story, the group has assigned one element to eac of them. Prince: his neutral power is identified with a sw most classic symbol for a knight; this weapon is traditionally linked to the ideas of courage, just heroism. Fantaghirò: her token is a dagger, a smaller weap capable of injuring an enemy from a short dista This symbol is connected to the idea that in ord to defeat the Prince, she had to get close to him dagger is one of the most dangerous weapon to close-up combat. Queen: Since her influence is mainly due to the that she is the mother of the Prince, the Queen reign, her power is represented by a crown. The Squire: his job is to protect the realm and f the King’s orders, no matter what they are. For reason, the group has decided that his power sh represented by a shield, symbol of his role in the
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follow this hould be e story.
Counting the maximum number of players and the turns they could play, the group has calculated that each character should have 22 tokens (11 of each kind). Initially, the group tried to play only with two tokens, but when players had to take the token back, they would reveal their identity. This is also one of the reasons why the group has decided to create small bags to contain all the necessary tokens: in this way, once the tokens have been played, they can be toss aside.
Project development
Game elements
Sacks
54
As previously mentioned, the sacks will be nece to contain one character card and all the relat However, the process to design this sack has bee long. At the beginning, the group designed a th character card, which during the game could st in front of the player, hiding all the tokens. This solution unfortunately turned out to be u because adjacent players could see each other’s c cards just by looking down at them. Later, the g to create small carton boxes, whose top wold op blocking in vertical position, with a tiny window the character card would be placed. However, e the closable, window, it still seemed too compli and players could still easily look at each other’s In the end, the group has decided to go for a sim velvet sack, which not only reminds the atmosp of the fable, but also allows to keep the card and tokens together and hidden.
essary ted tokens. en quite hree fold tay open
unsuccessful, character group tried pen up, ow in which even with icated, s roles. mple phere d the
Notepad
Even if this game is not between the case study, Clue inspired the group to create a notepad to allow players to write down their assumptions or the results of the turns. In Clue, players have a tiny piece of paper on which they can write down the outcomes of each of their hypothesis. Since the turns in this games are more unpredictable, the notepad will be empty (no tables to fill), so that players can write whatever seems important to them in order to unmask their enemies.
Project development
Game elements
Instructions
55
As the sacks, this is another element that took s time to be created. The instructions are probab most important part of a game: they must be cl synthetic and possibly linked with the mood o game. Initially, the group thought to create a sim booklet bound with metal point, to explain the and briefly report the story that inspired the gam However, this seemed a too simplistic and flat id so the group tried another way to display them. firstly designed a roll board which explained the through a serie of infographics, but this solutio eventually discarded because it could not effecti explain the preparation stage. Then, the group opted for a A4 paper with a 8-pages parallel fo one side conveys the written rules, while the oth displays the infographics previously created for roll board. This second part can be used as a rem of the rules for all the players during the game.
some bly the lear, of the mple e rules me. dea, . They e rules on was ively has old: her r the minder
Placeholders
The group’s mock trials of the game showed that when the number of players increases (and consequently so does the number of turns), it becomes difficult to keep track of who played in the previous turns. For this reason, it seemed necessary to provide a way for the players to remember the previous turn, in order not to break rules: in fact, as previously stated, at least one player must change from one turn to the next.
Project development
Game elements
Scoreboard
Of course, since the objective of the game is ear a certain number of point in order to win, it is v important to write down the score. Since this is for groups (even if these factions are hidden), th has decided to divide the scoreboard in two sect one for Fantaghirò’s team and one for the Princ Additionally, given that the maximum amount points to earn is 6, each row in the scoreboard ( will represent one game) will only have 6 boxes 56
Roll desk
Even though the group did not manage to displ rules on the rollboard, it still seemed a good ide create something to play on. The group design dodecagonal roll board, to the center of which will have to place their tokens in each turn. Also fact that it is not rectangular shaped conveys a m inclusive message, making the players more draw the game. The group has thought also about a c roll desk, but it would have been more complica fix in the box.
rning very s a game he group tions, ce’s. t of (which to fill.
play the ea to ned a h players o, the more wn to circular cated to
Project development
Game elements
The box
This is a board game, so of course it needs a box All the elements of the game (tokens, cards, sa instruction, roll desk, scoreboard and notepad) be contained in one box. For this reason, this is last element the group has designed: it was nece to know the exact measures of all the elements, in order to create a box in which they could fit and perfectly organized.
57
x. acks, ) must s the essary
Project development
6.3
Graphic assets
As previously stated, the visual image is very imp to recreate the favolistic atmosphere of the sto It needed to be colorful, friendly, and quite easily comprehensible. The general image had to reflec concept of disguise, but also evoke a world of kn and princesses, in which women have to be sharp smart in order to be respected. To create a fluid a recognizable visual identity, the group has take main values the game should convey and translat into a illustrations and graphic choices. 58
portant ory. y ct the night p and and en the ted it
Logo
Since the original story (no matter if in the cinematographic, literary or animated version) is one of the main attractions of the game for the possible buyers, the group has decided to keep part the heroin’s name as the title. It is quite a memorable name, easy for people, both children and parents, to remember. The group only added a subtitle line, “the game�, something that could indicate the type of translation this is. In order to communicate the favolistic background of the story, the name has been placed on a parchment: this object reminds of medieval times (in which the story is supposed to be set), but also conveys a meaning of importance, since what was written on these kind of paper was usually something relevant.
Project development
Graphic assets
Font
59
Another element that helped better characteriz the visual identity was the character. The group chose a serif calligraphic font, to be used in the logo, and for all the big titles that appear in the different elements and objects of the game (instructions, box, cards, etc.). Said font was Antique Cherry. For smaller titles and the texts (which of course previous font would make completely unreadab the group selected another serif character: Not It is used in bold for titles and in regular for tex
aantique b c dcherry efghilm 123456789
zed p
e the ble), to. xts.
mnopqrstuvz 0àèìòù&.,:;
Project development
Graphic assets
Illustrations
Deciding the style for the graphics has been qui a complicated process. The main purpose was t create a fluid and unified graphic style for all illustrations in the game, something both recog and friendly. The real issue was to create somet both for children and adult, that could convey t favolistic atmosphere of the fable and the conc of a female warrior, fighting for her rights. The wanted to show her sharpness, her wit, but also idea of camouflage. 60
For this reason, the group has decided to create geometric sharp-edged design, that character entire game, from the tokens to the final box. A elements in fact have a strongly geometric shape cards are rectangular, the tokens are hexagons a roll board is a dodecahedron. Juxtaposing mult layers of shapes in different shades of the same c the group created a sense of three dimensionalit without losing idea of flat design illustration ty of children games.
Then, in order to counterbalance the rigidity of illustrations, the group has decided to create som more soft patterns, to fill some of the shapes th compose every character. These pattern emulat typical shapes used in medieval flags and tapes leading the players back to that atmosphere usu associated with fairy tales.
ite to the gnizable thing the cept e group o the
e a very rises the All the e: the and the tiple colors, ty, ypical
f these me hat tes some stries, ually
Project development
Graphic assets
One very important point related to the illustra is how the characters have been represented: eac of them are identified by clothes, hairstyles, colo their special powers and specific elements or pa but none of them has a face. The characters can straightforwardly identified as woman or man, the only facial feature visible is the mouth, desig not to have any gender-related features. This fea is very important since it is linked both to the co of camouflage (basic mechanic of the game) and question concerning gender hierarchy. 61
Color palette
The chosen colors are saturated, but still subtl a way. The group decided to use colors to chara the different roles and their characters: for this it was necessary to have a wide variation of the s main tints. Fantaghirò and her sisters are identified by a ra bluish colors, which are usually connected to t of masculinity. The group decided to go against stereotypes, portraying these heroins in the opp way the King or the Prince in the story would h done. However, in order to maintain the link w the cinematographic and animated adaptations of the story (which are of course the most famo translations of the fairytale), the heroin’s image
ations ch one ors, atterns, nnot because gned ature oncept d the
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ange of the idea t this posite have with s ous e still
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Project development
62
Graphic assets
presents the iconic short, red hairstyle. Her siste the same haircut but in different colors. The Prince, instead, is characterized by a serie o warm colors, with a prevalence of red. This tin usually connected with energy, courage, love an blood. It is the perfect color for the stereotypica of Prince, which is exactly what the story wants t There is a reason why the Prince in the game ha one power: it is to show that, even if he is consid the strongest and most important character, he actually not: every other person in the story, in shows to be better, wiser or more influencing th the Prince himself. The Queen is defined by purple, a royal, sophi color often connected with the idea of motherh Her main influence comes in fact from this (her parental state), so it seemed appropriate to desc her with these tints. Lastly the Squire’s illustrations are characterise by very cold shades of grey, green and light bl colors usually connected with an armor and an symbol of the protector. The general colors used in each character card h been used as background in the tokens related character: yellow for the Swords, pink for the C blue for the Dagger and light blue for the Shield Additionally, yellow and blue have also been th to distinguish the two teams in the scoreboard.
ers have
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Project development
6.4
Final outcome
This the final result of the project. Even though the group at the beginning wanted on more controversial theme, the turn the projec and the final outcome of the entire design proces quite satisfying. This fairytales has been translate lot of different media throughout the past 70 yea never into a board game. This media has the incr power to bring together broader audiences, peop different ages and backgrounds, united by an eng activity and, in this case, a common interest for a 63
d to focus ct took ss is ed in a ars, but redible ple of gaging a story.
Fantaghirò the game should be a first step for a further investigation of the story, a hint, a nudge for families to read and discuss this story together. As Ed Finn said, we can use cause and effect mechanisms inspiredby game-play to encourage particular behaviors: in this case, the game wants to lead young children and their families towards a more responsible and open outlook of gender equality, all through a great, still modern and relevant fairytale.
Sources
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Luspus in fabula
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The Resistence
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