Bibliografias temáticas / Puzzles – Fiction

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Literatura científica selecionada sobre o tema "Puzzles – Fiction"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Puzzles – Fiction"

1

Engisch, Patrik. "Patchwork Puzzles and the Nature of Fiction". Estetika: The European Journal of Aesthetics 56, n.º 1 (1 de março de 2019): 28. http://dx.doi.org/10.33134/eeja.182.

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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff e Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment". Archiving Conference 2021, n.º 1 (18 de junho de 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.

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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.
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3

Stowe, Simon. "Who Betrays Elizabeth Bennet?: Further Puzzles in Classic Fiction (review)". Philosophy and Literature 24, n.º 2 (2000): 480–82. http://dx.doi.org/10.1353/phl.2000.0047.

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4

Leitch, Thomas. "The Many Pasts of Detective Fiction". Crime Fiction Studies 1, n.º 2 (setembro de 2020): 157–72. http://dx.doi.org/10.3366/cfs.2020.0018.

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Building on Tzvetan Todorov's observation that the detective novel ‘contains not one but two stories: the story of the crime and the story of the investigation’, this essay argues that detective novels display a remarkably wide range of attitudes toward the several pasts they represent: the pasts of the crime, the community, the criminal, the detective, and public history. It traces a series of defining shifts in these attitudes through the evolution of five distinct subgenres of detective fiction: exploits of a Great Detective like Sherlock Holmes, Golden Age whodunits that pose as intellectual puzzles to be solved, hardboiled stories that invoke a distant past that the present both breaks with and echoes, police procedurals that unfold in an indefinitely extended present, and historical mysteries that nostalgically fetishize the past. It concludes with a brief consideration of genre readers’ own ambivalent phenomenological investment in the past, present, and future each detective story projects.
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5

Solanich Sanglas, Irene. "Interactive and transmedia narratives in crime fiction for teaching literature". Obra digital, n.º 25 (28 de junho de 2024): 41–53. http://dx.doi.org/10.25029/od.2024.406.25.

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The plots of soft-boiled novels usually offer a game of riddles and puzzles that challenge the reader. That is why it has been easier for structures to be adapted to new dimensions. Through interactive literature and transmedia narrative, the aim is to explore how this genre has been transferred to other works in different formats. The study will address some concrete examples to finally show the design of an interactive and transmedia product with the purpose of teaching literature to high school students. The research does not aim to show a learning process but the design and development of a game to learn.
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6

Foakes, R. A. "Can Jane Eyre Be Happy? More Puzzles in Classic Fiction John Sutherland". Nineteenth-Century Literature 53, n.º 2 (setembro de 1998): 245–48. http://dx.doi.org/10.2307/2902985.

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Foakes, R. A. ": Can Jane Eyre Be Happy? More Puzzles in Classic Fiction . John Sutherland." Nineteenth-Century Literature 53, n.º 2 (setembro de 1998): 245–48. http://dx.doi.org/10.1525/ncl.1998.53.2.01p0020e.

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Kim, Hee-sun. "Reinterpretations of James Hogg: His Bloody Project and The Testament of Gideon Mack". Convergence English Language & Literature Association 7, n.º 3 (31 de dezembro de 2022): 119–39. http://dx.doi.org/10.55986/cell.2022.7.3.119.

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James Hogg's The Private Memoirs and Confessions of a Justified Sinner(1824) is often mentioned as an ambiguous work that deals with religious mania and split personality. Also, his story becomes more like open puzzles in crime fiction through gothic and metafictional techniques. Beneath his complicated contents and forms, however, we need to find Hogg's political and cultural intentions. From a long time ago, Scottish mysticism has been suppressed by the government and authentic religion. His intentional use of antinomianism is a pretext to address the independent and undaunted spirit of Scottish people whose faith is close to fatalism. The reinterpretations of his work by contemporary novelists reveal the author's original intentions well.
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Konstantakos, Ioannis M. "Board Games in Ancient Fiction: Egypt, Iran, Greece". Board Game Studies Journal 16, n.º 1 (1 de abril de 2022): 449–90. http://dx.doi.org/10.2478/bgs-2022-0016.

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Abstract Board games are often used as a plot motif in modern genre fiction, especially in detective and adventure stories. In these types of narrative, a well-known pattern of storytelling or literary structure (e.g., the treasure hunt, the detection of serial crimes, the iniatory course, or the medieval tale collection) is reworked and adapted to the rules and phases of a board game such as chess, jeu de l’oie, or the tarot card pack. This literary practice is very ancient and may be traced back to a number of novelistic compositions of the ancient Near East, dating from the 1st millennium BC to late antiquity. In the Demotic Egyptian Tale of Setne Khaemwaset, from the Saite period, the protagonist Setne plays a board game (probably senet) with the mummy of a long dead and buried magician, in order to gain a powerful book of spells. The widespread Near-Eastern story-pattern of the magical competition is here superimposed on the procedure of a celebrated Egyptian game. In a late Hellenistic Greek novella inspired by the Odyssey (Apion of Alexandria, FGrH 616 F36) Penelope’s suitors play an elaborate game of marbles (petteia) in order to determine which one of them will marry the queen. This is a playful rewriting of the famous bow contest of the Homeric epic. A Sasanian novelistic work, the Wizārišn ī čatrang, adapts the age-old legend of the riddle contest of kings; the riddles are replaced with board games (chess and backgammon), which the opponents invent and propose to each other as difficult puzzles for solution. In all these texts the board game becomes a central symbol of the transformative and innovative power of literary narrative.
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Konstantakos, Ioannis M. "Board Games in Ancient Fiction: Egypt, Iran, Greece". Board Game Studies Journal 16, n.º 1 (1 de abril de 2022): 449–90. http://dx.doi.org/10.2478/bgs-2022-0016.

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Abstract Board games are often used as a plot motif in modern genre fiction, especially in detective and adventure stories. In these types of narrative, a well-known pattern of storytelling or literary structure (e.g., the treasure hunt, the detection of serial crimes, the iniatory course, or the medieval tale collection) is reworked and adapted to the rules and phases of a board game such as chess, jeu de l’oie, or the tarot card pack. This literary practice is very ancient and may be traced back to a number of novelistic compositions of the ancient Near East, dating from the 1st millennium BC to late antiquity. In the Demotic Egyptian Tale of Setne Khaemwaset, from the Saite period, the protagonist Setne plays a board game (probably senet) with the mummy of a long dead and buried magician, in order to gain a powerful book of spells. The widespread Near-Eastern story-pattern of the magical competition is here superimposed on the procedure of a celebrated Egyptian game. In a late Hellenistic Greek novella inspired by the Odyssey (Apion of Alexandria, FGrH 616 F36) Penelope’s suitors play an elaborate game of marbles (petteia) in order to determine which one of them will marry the queen. This is a playful rewriting of the famous bow contest of the Homeric epic. A Sasanian novelistic work, the Wizārišn ī čatrang, adapts the age-old legend of the riddle contest of kings; the riddles are replaced with board games (chess and backgammon), which the opponents invent and propose to each other as difficult puzzles for solution. In all these texts the board game becomes a central symbol of the transformative and innovative power of literary narrative.
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Teses / dissertações sobre o assunto "Puzzles – Fiction"

1

Malatji, Permission Agosi. "Examining a comparative depiction of crime in Smith and Nesbo's selected novels : an afro-western perspective". Thesis, University of Limpopo, 2019. http://hdl.handle.net/10386/3192.

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Thesis (M. A.(English Studies)) --University of Limpopo, 2019
This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting
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2

Murillo, Chávez Javier André. "The incomplete puzzle. The missing rule and ruling about the protection by copyright of characters and objects of the work". Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115696.

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This article analyzes the missing rule and ruling about the protection of characters and fictional objects which are part of works covered by copyright. The author systematizes the criteria used in the administrative jurisprudence for conflicts between the intellectual property and the industrial property to extract specific rules in cases that involve fictional objects and characters, establishing and proposing criteria to find out the originality of these elements.
El presente artículo analiza la omisión normativa y jurisprudencial sobre la protección de los personajes y objetos de ficción que son parte de las obras protegidas por el régimen de derecho de autor. El autor sistematiza los criterios utilizados en los casos de jurisprudencia administrativa en conflictos existentes entre la propiedad intelectual y la propiedad industrial para extraer las reglas específicas existentes en casos que involucran objetos de ficción y personajes, estableciendo y proponiendo criterios para encontrar la originalidad de estos elementos.
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Merino, Serrat Imma. "Subjectivitat i autorepresentació en el cinema d'Agnès Varda". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.

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Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.
Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
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Ribeiro, Cristina Paião. "Sobre metáfora: da relação entre figura de linguagem e imagem de arquitectura: um estudo das cidades imaginárias Hav e Beszel - Ul Qoma". Master's thesis, 2021. http://hdl.handle.net/1822/76594.

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Dissertação de mestrado integrado em Arquitectura (área de especialização em Cultura Arquitectónica)
Os mundos ficcionais são, simultaneamente, complexos, contraditórios, agradáveis e enganosos. Por um lado, assemelham-se com a nossa realidade; por outro, confrontam-na com as nossas fantasias. De facto, o prazer da leitura está relacionado com a possibilidade infinita de explorar espaços. As cidades imaginárias tornam-se então figuras sugestivas, ilusórias e intangíveis, devindo sequências de imagens. Este trabalho analisa o papel da literatura sempre que esta permite analogias entre a realidade e a ficção. Reconhecendo no texto literário a importância da interpretação, pela sua capacidade em transformar palavras em espaços, este estudo procura compreender e interpretar cidades imaginárias a partir de ferramentas próprias da análise da linguagem – as figuras de estilo. Para tal, decidimos fazê-lo através dos livros Hav (1985, 2006) de Jan Morris e The City & The City (2009) de China Miéville, cujas narrativas se localizam em Hav e Beszel/Ul Qoma, respectivamente. Assim, assumindo a relação entre figura de linguagem e imagem de arquitectura, recorremos à metáfora pois o seu carácter de pluralidade semântica atribui um efeito transfigurador ao significado original da palavra. Após um pequeno desvio (apóstrofe), a palavra carece do seu equivalente em imagens. A partir daqui, a interpretação passa a sugerir redundâncias, repetindo imagens já existentes na memória do leitor (pleonasmo). Por conseguinte, aceitamos que os lugares apresentados sejam reais atribuindo-lhes estatuto de entidades viventes ou não, animadas ou inanimadas, mas com significado (animismo). Antes do fim, recuperamos/elencamos ainda as figuras complementares (enumeração). No fim, tudo estará interligado, tempo e espaço, desejo e medo, fantasia e memória, palavras e espaços – numa transcendência temporal e espacial. Aceitamos lugares mesmo sabendo, à partida, que as palavras são providas de significado e causam representações impermanentes. O leitor escolhe. Na verdade, todos nós vivemos em cidades imaginárias.
Fictional worlds can be seen simultaneously intricate, contradictory, pleasant and deceptive. On one hand, they might resemble our own reality, but on the other hand they bring about our own fantasy. In fact, the delights of reading are related to explore infinite possibilities of spaces. Imaginary cities are evocative, delusional and untouchable; they barely are a sequence of images. This essay reflects on the role of literary genres, whenever it promotes analogies between reality and fiction. By recognising the importance of the interpretation of a narrative, we believe in places which transform words into spaces. Hence, our study aims at understanding imaginary cities using literary terms – figurative language. For that, we select two fictional novels: Hav (1985, 2006) by Jan Morris and The City & The City (2009) by China Miéville, whose narratives take place in Hav and Beszel/Ul Qoma, respectively. In order to find the spaces of the narratives, we analyse the relation between figure of speech and image of architecture. First and foremost, we use metaphors to imagine architectural allusions considering its condition to transfer the original meaning of a word into another context. After an interruption (apostrophe), words are converted into images. In correlation, an interpretation of a narrative conveys subjectivity and repetition or (re)placement of memories (pleonasm). It’s liable to experience the illusion and the magic of words if we immerse ourselves, mind and body, incorporating the truth and the fantasy, the quick and the dead (animism). As a peroration, we conclude by repeating and adding the figures of speech (enumeration). In conclusion, everything is mixed up, time and space, dreams and memories, words and spaces – a paradox of being. We sense places where you either pass through or else disappear. You choose. In reality, we all live in imaginary cities.
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Livros sobre o assunto "Puzzles – Fiction"

1

John, Sutherland. The literary detective: 100 puzzles in classic fiction. New York: Oxford University Press, 2000.

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2

Kim, Blundell, ed. Puzzles to cuddle. London: Hippo, 1993.

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3

1968-, Everett Anthony J., e Hofweber Thomas 1969-, eds. Empty names, fiction, and the puzzles of non-existence. Stanford, Calif: CSLI Publications, 2000.

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4

John, Sutherland. Who betrays Elizabeth Bennet?: Further puzzles in classic fiction. Oxford: Oxford University Press, 1999.

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5

Hall, Parnell. $10,000 in small, unmarked puzzles: A puzzle lady mystery. Waterville, Me: Thorndike Press, 2012.

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6

Gardner, Martin. Puzzles from other worlds: Fantastical brainteasers from Isaac Asimov's science fiction magazine. Oxford: Oxford University Press, 1986.

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7

Tallarico, Tony. Find Freddie & Lisa in the haunted house. Chicago, Ill: Kidsbooks, Inc., 1991.

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8

Berlin, Eric. The potato chip puzzles. New York: G.P. Putnam's Sons, 2009.

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9

Donaldson, Julia. One piece missing. Crystal Lake, Il.]: [Rigby], 2000.

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10

ill, Tallarico Tony 1933, ed. The silly schoolhouse. [U.S.A.]: Kidsbooks, 1991.

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Capítulos de livros sobre o assunto "Puzzles – Fiction"

1

Nodelman, Perry. "Alternating Narratives as Puzzles". In Alternating Narratives in Fiction for Young Readers, 21–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50817-7_2.

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MacDonald, Ronald. "Three Exchange Rate Puzzles: Fact or Fiction?" In Exchange Rates and Macroeconomic Dynamics, 9–60. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582699_2.

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3

Knight, Stephen. "Forming the Clue-puzzle". In Crime Fiction since 1800, 80–108. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-02021-5_4.

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4

Haraldsson, Haraldur Thor Hammer. "Fictive Osteobiographical Narrative – The Missing Puzzle Pieces". In Understanding Disability Throughout History, 163–80. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003180180-10.

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Prideaux, Desirée. "Establishing Means". In Sleuthing Miss Marple, 33–54. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854642.003.0003.

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Chapter Two reviews the development of the clue-puzzle and the Detection Club’s playful ‘rules’ for the genre. The crime-writing women of the interwar period and the feminisation of crime fiction that accompanied their dominance in the genre are considered. Discussion then turns to the centrality of death in clue-puzzles. It is argued that irreverent murder mysteries filled a postwar need to consider death on a small, explicable scale, and that they licensed moving beyond sorrow and into laughter at the absurdity of death. Christie’s knowledgeable use of poisons, and audacious flouting of genre rules in texts such as The Murder of Roger Ackroyd and The Mysterious Affair at Styles are explored. These preliminary investigations not only confirm Christie’s technical brilliance in handling the clue-puzzle plot, but also establish the sustained tone of irony that characterises her experiments in pressing the bounds of the genre. Importantly, they establish Christie’s modus operandi.
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Walton, Kendall L. "On The (So-Called) Puzzle of Imaginative Resistance". In Marvelous Images, 47–60. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195177947.003.0004.

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Abstract In Mimesis as Make-Believe, I happened upon a surprising peculiarity in interpretive practice, a curious reluctance to allow fictional worlds to differ in fundamental moral respects from the real world as we understand it.1 It seemed to me that this might have been what David Hume was getting at in the final five paragraphs of “On the Standard of Taste,” although this attribution now strikes me as highly questionable. Revisiting the topic in a later essay, “Morals in Fiction and Fictional Morality,” I emphasized that there is actually a tangled nest of importantly distinct but easily confused puzzles in the vicinity, several of which can be traced uncertainly to Hume ‘s observations. My strategy in addressing them was disentangle-and-conquer. I do not claim to have successfully completed the conquest in my previous forays, nor will I do so now. But I did do
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Earman, John. "Time Travel". In Bangs, Crunches, Whimpers, And Shrieks, 160–202. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195095913.003.0006.

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Abstract Over the last few years leading physics journals, such as Physical Review, Physical Review Letters, Journal of Mathematical Physics, and Classical and Quantum Gravity, have been publishing articles dealing with time travel and time machines. Why? Have physicists decided to set up in competition with science fiction writers and Hollywood producers? More seriously, does this research cast any light on the sorts of problems and puzzles that have featured in the philosophical literature on time travel?
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Mitchell, Lee Clark. "Less Time in Can’t and Won’t". In More Time, 153–87. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198839224.003.0004.

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Lydia Davis’s “flash fictions” shift our attention from narrative to verbal craft, evident in her resolute choice of words, syntax, and sentence rhythms. An abbreviated style compels readers to focus on fully stopped moments, an effect that defies narrative progression much as do Joy Williams’s and Alice Munro’s discontinuous stories. Like them as well, the development of a later style is a matter of branching into new directions—in her case, continuing a microscopic fascination with individual words and their resonances, but now shifting toward found objects (Flaubert’s letters), or letters of complaint, or grammatical puzzles: all as “witness” narratives revealing the ways in which the mundane minutiae of life is transformed into art. The borders between fiction and nonfiction become less clear, as Davis presses on the boundaries of what a short story can be.
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Emmott, Catherine, e Marc Alexander. "Manipulation in Agatha Christie’s detective stories: Rhetorical control and cognitive misdirection in creating and solving crime puzzles". In Stylistic Manipulation of the Reader in Contemporary Fiction. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350062993.0016.

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Howard, June. "Regionalisms Now". In The Center of the World, 161–217. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821397.003.0005.

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The fifth chapter of The Center of the World: Regional Writing and the Puzzles of Place-Time is titled “Regionalisms Now.” It mobilizes the analytic categories developed in previous chapters in an examination of place-focused cultural production in several media. Examples are drawn from television, popular romance and mystery novels, and literary fiction. These works are not treated as embodiments of an ideal genre or lineal descendants of local color; the argument is that the concept of region remains relevant for contemporary culture and that narrations of place continue to project temporality. The chapter offers extended readings of the authors Ernest Hebert and Wendell Berry, and posits the parable of the global village as an emerging genre.
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Trabalhos de conferências sobre o assunto "Puzzles – Fiction"

1

ZHANG, YA-KUN. "AN ANALYSIS OF THE THEME IN THE KILLERS FROM PERSPECTIVE OF ICEBERG THEORY". In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35682.

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The Killers was published in 1927 and became one of the classic works of Ernest Hemingway. The whole novel is composed of dialogues and contains profound themes in concise language but contains rich storyline and profound themes. In 1932, Hemingway proposed the famous Iceberg Theory in his documentary work as a metaphor. Then the iceberg theory soon becomes a typical theory with simple art in terms of style which is deleting the dispensable things in the novel. Therefore, the author hopes to use the classic Iceberg Theory, combining with the text, to analyze the two themes in the paper: the violent and chaotic society at the time and the sense of helplessness and despair of people. Many people were confused and puzzled about the society at that time and felt at a loss. In a chaotic society full of violence, no direction in life can be found, so people's life is helpless and desperate. So, people could appreciate the unique literature values of The Killers and further understand the dark side of the society behind it. Using the analytical perspective of Iceberg Theory can provide readers a more accurate understanding of Hemingway's creative methods which is helpful for understanding the connotation of Hemingway's fictions.
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Relatórios de organizações sobre o assunto "Puzzles – Fiction"

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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), abril de 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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