Hey Ram Remake

[Latanya Hariri]

With the exception of shot-for-shot remakes, most remakes make significant changes in character, plot, genre, and theme.[7] For example, the 1968 film The Thomas Crown Affair is centered on a bank robbery, while its 1999 remake involves the theft of a valuable painting. The 1999 remake of The Mummy was viewed primarily as a "reimagining" in a different genre (adventure).

Similarly, when the 1969 film The Italian Job was remade in 2003, few aspects were carried over. Another example is the 1932 film Scarface which was remade in 1983 starring Al Pacino; the 1932 version is about the illegal alcohol trade, while the characters in the 1983 version are cocaine smugglers.[8]

Remakes are rarely sequels to the original film. In this situation, essentially the remake repeats the same basic story of the original film and may even use the same title, but also contains notable plot and storyline elements indicating the two films are set in "the same universe". An example of this type of remake is the 2000 film version of Shaft, which was the second film adaptation of the original novel but was also a canon storyline sequel to the original 1971 film adaptation. The 2013 remake of Evil Dead was also a storyline sequel, featuring a post-credits cameo from Ash Williams.

Another example is the long-running US sitcom The Office (2005-2013), which was a remake of the 2001 BBC sitcom of the same name. The American version's pilot episode followed its British counterpart "nearly verbatim", though later episodes had their own unique plot.[13] The American television show The Killing is an investigative crime drama based on the Danish series Forbrydelsen.[14]

In some cases, only models and environments are remade, while retaining the game's original code. Remakes are produced for the purpose of modernizing a game for newer hardware and new audiences. Typically, a remake of such game software shares its title, fundamental gameplay concepts, and core story elements with the original. With the advent of such notable video game remakes such as Resident Evil 2 in 2019 (followed by Resident Evil 3 in 2020) and Final Fantasy VII Remake in 2020, these strict notions are being called into question and brought into a broader perspective. This can even be seen as early as 2004 with the release of Metal Gear Solid: The Twin Snakes as that title features newer gameplay additions and voice acting.

Remakes are often made by the original developer or copyright holder, although some are made by the fan community. If created by the community, video game remakes are sometimes also called fan games and can be seen as part of the retrogaming phenomenon.

A remake of Riven: The Sequel to Myst launched this week, made by the original game's developers. It strikes a fascinating balance between re-creation and reinvention, and based on a couple of hours of playing it, it's a resounding success.

Myst was the classic most people remembered fondly from the early CD-ROM era, but for me, its sequel, Riven, was the highlight. After that, the sequels declined in quality. The sophomore effort was the apex.

It was certainly more ambitious than Myst. Instead of a handful of tightly packed theme park worlds, it offered a singular, cohesive one that felt lived in and steeped in history in a way that Myst couldn't quite match.

For the most part, the remake nails both of those things. While the original game resembled the first Myst in that you had to click to scroll between static images to explore the game's world, the new one follows the 2020 Myst remake (and 2000's oft-forgotten realMyst) in giving the player full movement, akin to contemporary first-person puzzle games like Portal, The Witness, or The Talos Principle. Since it's easy to re-create a lot of the original camera angles this way, it might have been cool if there had been an option to control the game as you did originally, but I can see why that wasn't a priority.

There are only two downsides on the presentation front. First, I've heard that folks running on older machines may struggle to achieve satisfactory fidelity and performance. I played it on both an M1 Max MacBook Pro and a Windows 11 desktop with an AMD Ryzen 9 5900X and an Nvidia GeForce RTX 3080. The MacBook Pro ran the game at maxed-out settings at the laptop's native resolution at around 30 frames per second. The desktop did the same at 4K at 120 fps. But those are both high-end, recent-ish machines, so your mileage may vary.

Second, the full-motion video performances in the original game have been replaced with full 3D, video game-looking characters. It's a necessary concession, but I feel some of the character was lost. They did a pretty good job matching the motions of the original videos, though.

The Playbook captures the spirit and substance of the Remake Learning Network in action. It covers the theory and practice of building learning innovation networks, the resources and strategies required to put networks into action, and the impact of the network in schools, museums, libraries, communities, and more.

Through innovation, collaboration, and unyielding hope, Pittsburghers reinvented their economy and revitalized their region. Today, Pittsburgh stands at the forefront of research, technology, medicine, and learning. It endures as a center for arts and culture. It is one of the most livable cities in America.

What began with just a handful of people and organizations has grown into a diverse network of more than 200 organizations, including more than 2,000 educators and professionals in schools, museums, libraries, afterschool programs, community centers, university research centers, educational technology companies, local philanthropies, and youth civic groups.

First, we want to tell the stories of the remarkable people, projects, and organizations that are remaking learning in the Pittsburgh region. They are helping children and youth develop their interests and pursue their passions while inspiring a generation of lifelong learners in our community.

Second, we want to document the techniques and strategies that have been integral to the growth and development of the Remake Learning Network so that we might achieve even greater scale and impact in the future.

Large cultural institutions like museums and libraries, as well as established national organizations like YMCAs and Boys & Girls Clubs are already deeply trusted in many communities. As learning environments, these institutions often employ instructors, mentors, and coaches who develop their own educational programing. Neighborhood-based afterschool sites, community centers, enrichment providers, and faith-based programs are free, safe, and accessible places for children and youth to connect with one another, seek the academic help they need, and pursue their own learning interests without traveling too far from home.

Intermediary organizations are important conduits for distributing information, resources, and support to front-line education partners. For example, in the Pittsburgh region, the Allegheny Intermediate Unit provides professional development and other support services to teachers in 42 regional school districts, while Allegheny Partners for Out-of-School Time provides ongoing support and coordination for hundreds of afterschool learning sites large and small. As members of the Remake Learning Network, these and other intermediaries advance the spread and adoption of innovative approaches to teaching and learning among the organizations they serve.

Universities are hubs of intellectual capital at the forefront of human investigation and discovery. They house precocious students and erudite faculty importing and exporting ideas as part of a global academic community. By bringing the latest knowledge and most advanced expertise to bear, university labs and research centers act as generators of new ideas and pilot programs that can be put into practice through effective partnerships with other members of the network.

Outside of academia, independent tech developers and designers, as well as public-private innovation hubs and tech-transfer offices, help bring innovation from the lab to the market. By building bridges between developers and the audiences for which they are designing, the network turns the community into a collaborative test-bed for innovation.

Working closely with educators both in- and out-of-school, researchers and designers put their latest innovations into practice in a variety of learning environments. That enables instant feedback from students and teachers and informs the design of early-stage products. Coupling this iterative process with ongoing professional development for educators, innovators ensure that their creations are relevant and approachable.

Learning scientists and design researchers actively evaluate new approaches to teaching and learning being implemented throughout the network. Their work informs the design and implementation of new products and pedagogies, and evaluates the effectiveness of new practices or policies, and the network itself.

In Pittsburgh, initiatives like the University of Pittsburgh Center for Learning in Out-of-School Environments (UPCLOSE) embeds research and design fellows within education organizations to develop deep understandings of existing programs and provides expert consultation on the design of new programs.

Advocacy organizations, particularly those focusing on specific areas of importance like early childhood education or afterschool enrichment, use research findings to advance the spread and adoption of innovative learning practices within their field. These organizations also raise greater awareness among elected officials and other policymakers.

For example, the Pittsburgh Association for the Education of Young Children (PAEYC) campaigns for greater emphasis on early childhood education on the local and state level, while also offering professional development opportunities to help early childhood educators learn how they might integrate new digital tools and technologies into their classrooms.

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