Ranging from film examples such as Matrix Reloaded and Avatar to game examples such as Doom 3, one aim is to explore how similar themes of technological advancement in the hands of corporations and governments are conveyed across the different media technologies - the cinema and computer games. This book is concerned especially with exploring a diverse range of experiences that science fiction can offer its audience. The central concern is with technology: special effects technology used to create the special effects in media such as films and computer games and the way the media examples themselves image and thematize the role of new technology within their narratives. This book focuses on developments that have taken place in science fiction media over the last two decades. This collection of essays explores how science fiction films and computer games attempt to come to grips with the changing conceptions of the world around us, and our identity within it. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself these forms have emerged as a result of recent technological and economic transformations. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games, comic books, and theme-park attractions within an aesthetic-historical context and uses the baroque as a framework to enrich our understanding of contemporary entertainment media. There are other societies that cater purely to duelists and wandslingers, including Fairhaven’s League of ir’Lain and the Darkwood Wands of Passage.The artists of the seventeenth-century baroque period used spectacle to delight and astonish contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular.
With that said, it’s still an arcane order. While it began as a wizard’s circle, today the Order of the Ethereal Blade welcomes Eldritch Knights, Arcane Tricksters and others who blend martial and mystical techniques. Many of Aundair’s finest warmages are members of the Order, along with officers of the Knights Arcane and Knight Phantoms. Today, the Ethereal Blade focuses on the study and development of war magic, but it remains a dueling society whose members are always ready to prove their mettle in battle.
What began as a mystical fight club became the core of the original Knights Arcane, and also pioneered Aundair’s Bladesinger tradition (the Tairnadal, Greensingers, and others have their own forms of this path). The Order of the Ethereal Blade was founded in the fifth century (YK) as a duelist’s society, where members of other circles could test their skills and spells in battle with fellow mages.
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