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    <loc>https://www.camillebaumannjaeger.com/projects</loc>
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    <lastmod>2021-01-28</lastmod>
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      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer, Instructions (part 2)</image:caption>
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      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer: First Draft Game Board</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1495581421133-RAP5HFZGEQSEDZ2RIQG1/image-asset.jpeg</image:loc>
      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer: Rules First Draft  </image:caption>
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      <image:title>Projects</image:title>
      <image:caption>Second Playtest In-Game Image Two</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1495581252006-O5ZLLATYIRV7T3XFYNYE/hopscotch_final_design6.jpg</image:loc>
      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer: First Draft Card Design</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522086882272-3A44JH0C2CJBPUH1JE91/hopscotch.png</image:loc>
      <image:title>Projects - Game Design: Hopscotch Explorer</image:title>
      <image:caption>Redefining a Classic</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1495602035882-4SSV925G9R7EE03HF4OK/image-asset.jpeg</image:loc>
      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer, Instructions (part 1)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1495582564470-876I3L7EQ2839L16O6QF/IMG_20170124_011206.jpg</image:loc>
      <image:title>Projects</image:title>
      <image:caption>Second Playtest In-Game Image One</image:caption>
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      <image:caption>Second Playtest In-Game Image Three</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1495579693223-2DYGD2V6P6V4GPZXCD0M/hopscotch_final_design2.jpg</image:loc>
      <image:title>Projects</image:title>
      <image:caption>"Hopscotch Explorer" Final Design</image:caption>
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      <image:title>Projects</image:title>
      <image:caption>Hopscotch Explorer, Final Rule Set</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522038121893-GZ0JXKNPG88FB1KEBBXD/Artboard+2%404x.png</image:loc>
      <image:title>Projects - A Mystic Arena</image:title>
      <image:caption>In a unique and ritualistic layout, the game pits players against one another through guardian cards. The goal is to “capture” your opponent’s guardian card through a combination of rituals and battlefield control to create a winning strategy. Players are pushed to create decks that reflect who they are as players, accentuating their preferred strategies.</image:caption>
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      <image:title>Projects - A new take on card combat dynamics.</image:title>
      <image:caption>Instead of attack or defense cards, Guardian Captor has offense and ritual cards that must be combined with one another, creating a sense of mysticism and alchemy. Another new element here is the concept of world cards. The world cards shape the game’s environment. With each new draw of a world card, the game shifts, and players are pushed to react and modify their strategy. Finally, progression is found through mode shifts that push the players in dramatic ways. The guardian cards have two states: bound and unbound, which change available actions. One isn’t always strictly better than another, and it’s up to the player whether they will risk being bound to gain the benefits of that mode.</image:caption>
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      <image:title>Projects - Duration of Play:</image:title>
      <image:caption>The game itself takes approximately 15-25 minutes to complete. A match between well balanced, experienced players could take up to 35 minutes. This game connects players aesthetically and strategically. It allows for a long-term feeling of attachment as players build a stronger, better deck with each new publication of cards.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522038851922-JVOR4KTJQPELUZOVCBLB/Artboard+4.png</image:loc>
      <image:title>Projects - Guardian Captor</image:title>
      <image:caption>A card-based battle game</image:caption>
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      <image:title>Projects</image:title>
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      <image:title>Projects - Fenn's Treasure</image:title>
      <image:caption>A collaborative game design project.</image:caption>
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      <image:title>Projects - Team:</image:title>
      <image:caption>Fenn’s Treasure was developed by six experienced game developers from Carnegie Mellon University. Currently, it exists as a demo level for a full 6-hour, 2D isometric, real-time puzzle game for console and PC. The game was created by myself (level and narrative design), Matthew Bofenkamp (writer), Breeanna Ebert (lead programmer, music, and sound), Justin Fanzo (market research), Tom Garncarz (programming, UI, UX), and Rachel Moelle (art, and programming).</image:caption>
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      <image:title>Projects - Iteration:</image:title>
      <image:caption>Our process was a cycle of iteration, presentation, and play testing. We were given feedback that our original pitch lacked a strong core mechanic to carry the narrative focus. We moved to celebrate crafting as a creative effort. We used Jason Vandenberghe’s player classification system and aligned our players as skilled, impulse players who prefer solo play at a serene level. We also identified that our core target audience would be players who enjoy learning about  a world. As such, we focused on delving deeper and expanding on the Yellowstone setting. We drew our level design on specific references by Forrest Fenn himself, as well as research into the setting and locations within Yellowstone.</image:caption>
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      <image:title>Projects</image:title>
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      <image:title>Projects - Takeaways:</image:title>
      <image:caption>Our final product was a genre-merging game with the potential for greater expansion. We received constructive criticism on the risks of merging different game genres, and trying to appeal to too wide an audience. As such, in future iterations we concluded we would delve further into our wayfinding mechanic, which would place more long-term, large-scale decision making into the hands of the player.  Ultimately, our demo was a proof-of-concept for a game in which foregrounds a calm, serene environment based on American folklore. It invites players to explore and contemplate, offering an experience that is both grounded and mystical.</image:caption>
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      <image:title>Projects - The Great Library</image:title>
      <image:caption>An Ancient Egyptian RPG</image:caption>
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      <image:title>Projects - Progression of Play</image:title>
      <image:caption>Players’ characters are woken up by their old, blind professor Anen. He urges them to follow him and his assistant, Aelius, to the Great Library of Alexandria. Once in the library courtyard, they see that the city has been overrun by Roman soldiers. The soldiers surge into the courtyard, and group flees into the library. Once inside, they see that the library has been ransacked. Through the debris, they notice a mosaic on the floor. The players analyze the mosaic and see that it is a map with an ankh symbol in the middle. The professor moves towards the ankh on the floor and places his amulet at its center. He tells the players that past headmasters have hidden other pieces throughout the scrolls in the space. This was intended to motivate the players to explore the stacks. Instead, the players remain within the center chamber and continued to analyze the mosaic pattern on the floor. Beyond the ankh symbol, they learn that the mosaic depicts a map representive the four coners of the Mediterranean Sea. Once they are certain to learn nothing more from the mosaic itself, they began to search the stacks. The players learn to use their skills to progress, witnessing the second and third levels hidden beneath the library, emerging with the blessing of a long-lost Egyptian goddess.</image:caption>
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      <image:title>Projects - Discussion and Takeaway</image:title>
      <image:caption>The main obstacle was motivating players internally, giving them something they would want to work towards, without allowing them to languish and get bored due to a lack of pressure. Upon reflection, this web of dynamics feels to me like a kind of “Push-Pull” system. The “push” component refers to the forces the game master marshals to lay pressure on players, forcing them to make certain decision and begin certain paths. The converse component in this system is the “pull” component, a force or influence that draws a player towards a certain goal or result. These work in tandem but have key distinctions. While the two forces might be considered similar, the difference lays in the emotions these forces key into. While curiosity or passion may pull players, a push component will more often be associated with fear or pressure from an exterior force, pressing the player to make decisions they might not have otherwise. As such, I found that creating this RPG was, in fact, primarily about systems of emotional play, rather than for strategic or chance value. A role-playing game deals with the essential elements of game design itself. This exercise showed me that an RPG strips out the non-essentials and forces both designers and players to contemplate the fundamental elements necessary for an immersive and enjoyable experience. Based on this project, it seems that two critical elements for an immersive RPG are a balanced push-pull system and a firm world foundation. With a strong basis for a world, the game master and players are better prepared to improvise and extend the world themselves. At the same time, the push-pull system becomes a mapping device for the game master, offering an emotional structure that helps guide players through the world in an internally motivated, compelling manner.</image:caption>
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      <image:title>Projects - Precedents</image:title>
      <image:caption>Sid Meier’s Civilization V by Firaxis Games is a good example of a game that uses core architectural concepts of spatial design and organization to affect players through the course of a game. From the outset, the game is organized across a grid system. The player remains focused on the cellular structure of the game throughout the beginning as it is the vehicle by which the player progresses. The grid is the central, granular metric of the game, and so sits at the heart of resource management and governs how the player’s abilities evolve as they build cities. The dynamic and relationship to architecture within Civilization V shifts when the player encounters the first foreign empire. While the grid structure remains a focal point for the player, the encounter unlocks a new dimension for the player to consider when regarding the game’s world. With the introduction of foreign empires, the game extends the player’s perspective beyond a consideration of cells (physical game space) to a nation-map system of organization space and societies.</image:caption>
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      <image:title>Projects - Architecture in Strategy Game Design</image:title>
      <image:caption>Published March 30, 2017</image:caption>
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      <image:title>Projects - Further...</image:title>
      <image:caption>As the player progresses into the game, the cellular structure of the game’s resources has diminishing dominance over the player’s considerations. The player begins to think in cities instead of individual farms, and regions instead of cell clusters. The player also develops the technology to travel larger distances, introducing a global perspective to the game. This broader spatial scope is accompanied by new considerations regarding diplomacy, religion, trade, and conquest. As the player matures within the game, the game’s scope extends both outward, across a larger spatial distance, and inward, as new systems are introduced. Structure becomes both more grand and more granular in its goals and perspectives. Sid Meier’s Civilization V illustrates how spatial organization and theory are best in order for a game to challenge and grow with a player. A small set of decisions in the beginning is facilitated by a drawn-in spatial scope. As the player matures, and as they reveal more of the map, the game likewise expands in scope. Although the game does have smaller goals that do revolve around the construction and completion of certain buildings, that is not the focus of the game nor the most poignant element at play. It is the use of architecture, and the spatial shift in perspective with the game’s evolution, that make it so successful.</image:caption>
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      <image:title>Projects - Precedents</image:title>
      <image:caption>Endless Legend begins with a combination of characters and world building. When one first begins the game, the player is offered the opportunity to choose a faction. Each faction has a leader, specialty traits, and, most important, a history. Personally, it is the history with the specialty traits as a close second that help me determine with which faction I want to play. However, as shown in the figure below, the text depicting the history and traits are not the primary focus of the start screen. It is the leader, the character. From a “character first” or “character representation first” viewpoint, it seems as if the understanding from the creator’s end is that the player will respond most strongly to the visual representation of each faction. This tool of a using a central, visual figure to which the player can cling as a source of empathy is carried through to the actual game. Each faction has a “hero” character with which the player first explores the world. The factions are visually distinct, allowing the player to feel unique in their connection to the hero even in a world rife with detail. The hero unit-as-character is ultimately a case study in how the game uses an empathetic character to give an anchor to, and flesh out, an interesting and deeply developed world.</image:caption>
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      <image:title>Projects - Further...</image:title>
      <image:caption>The art in the game is detailed, with a combination of realism and abstraction. While the lighting, textures, and human character proportions do offer a more realistic representation, the game uses an abstract approach to model the way the world works, from territory to societal change. Maneuvering through the world is mechanical, as players achieve growth but are also limited by tiles.  An example of such a relationship between growth and limitations is the component of per-tile growth in a city. The mechanism is an abstraction of real decisions and consequences national and municipal leaders must deal with. However, in the game, it is represented as a rate at which your territory will expand to a new tile. Playing the game is an exercise in absorbing vibrant, detailed art that represents abstracted ideas and systems. Based on Scott McCloud’s analysis of human representation in entertainment, in particular comics, Endless Legend’s art, which trends more towards realism, would serve to alienate players as the characters become more objectified. While there are realistic components in the game that pose a risk of alienating players, I believe that two abstractions balance the realism of the game: the first being a certain level of abstraction in the art itself (monsters, creatures, fantastical terrain) and the second being the abstraction in how the game presents the world. The world mechanics are an abstraction of our own world order. Just as an illustration can provide a symbolic representation of a human figure, so does Endless Legend provide symbolism that reflects our own global and national economic systems.</image:caption>
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      <image:title>Projects - Conclusion...</image:title>
      <image:caption>Despite that the game has monsters and new creatures, the world does reflect our own well. There are both natural and societal obstacles to overcome. The representation of the game reflects and uses a more realistic representation. Most of the faction characters are humans (or humanoid) and the modelling of the game does not have a high level of abstraction to it. As such, Endless Legend shows the power of game mechanics and how the relationship between players and games through them shatters the boundaries that other genres experience. In Endless Legend, the game mechanics create a sense of ownership and empathy within the players. More precisely, the game mechanics built as abstractions of world systems players are already familiar with provide a deeper connection between players and the world of Endless Legend. However, Endless Legend takes a step further than other society building games in that it has strong characters and backstory for each faction. As you progress through the game, you are given quests that are intended to create an understanding of the history and conditions of the player’s faction. Endless Legend demonstrates that the rules laid out by Scott McCloud cannot be fully transferred to a medium in a purely visual sense, as you might expect to see in comics or animation. However, the game also posits that world building cannot exist apart from character development, as argued by Henry Jenkins. While the game is still relatively new and niche and so has yet to see a transmedia awakening, I predict that both the characters and the world will have equal footing in transmedia manifestations as they are intimately linked to one another.</image:caption>
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      <image:title>Projects - Connecting With Players Through Narrative and World Building</image:title>
      <image:caption>February 23, 2017</image:caption>
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      <image:title>Projects - Storytelling Structures In MegaMan X</image:title>
      <image:caption>April 27, 2017</image:caption>
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      <image:title>Projects - Trials...</image:title>
      <image:caption>As MegaMan combats mini bosses , the game designers have used a smaller, focused interaction with multiple game bosses in order to help the player realize and utilize the different mechanics available to them. A key feature of this instance is that the game designers are able to convey the solution to the interaction without the use of text or explicit means of communication.  The pacing of the monsters’s movements allow the player the opportunity to experiment and find the solutions themselves within a limited palette of available actions. Zero’s interaction with Mega Man breaks from this dominant design model by communicating through text instead of action. Egoraptor argues that this dialogue breaks the mode of conveyance, but is warranted because Zero is used to express the theme of the game. This is close, but makes an exception for this scene in a way that may be unnecessary. I would argue that the reason Zero’s introduction is not disjunctive to the rest of the game’s experience is in fact because it solidifies a theme conveyed, but not explicitly stated, in the very first interactions the player has with Mega Man X.</image:caption>
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      <image:title>Projects - Meeting of the Mentor...</image:title>
      <image:caption>This moment is reinforced by the entire progression of the level and culminates at that point. It follows the conventions for "theme stated," in that a supporting character (and sometimes rival) introduces the theme to the player. What’s interesting, however, is how the rules of storytelling manifest themselves within a game overall. Egoraptor lauds Mega Man X for its ability to convey game intent and goals to the player through the use of ingrained game design components versus explicit rules or goals. Egoraptor relates its success to the game designer’s mastery of “conveyance,” or the ability to guide a player through a world through cues and indicators within the world itself. Egoraptor outlines how Mega Man crafts an excellent level of conveyance throughout his video as he plays through the first level of the game. Beginning with the title screen, the game's designers use every possible instance in order to convey goals and mechanisms to the player.</image:caption>
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      <image:title>Projects - Opening Image...</image:title>
      <image:caption>In the title screen, Mega Man fires a special bolt when the player selects "game start," but this observed power is not given to them at the beginning of the game. Already, this conveys the arc of growth and empowerment that shapes Mega Man X. By the time Zero is introduced within the game, the player has already realized their limitations and incorporated the game’s goal within their understanding of the world. Zero’s presence serves to verbally express the theme the player has already pieced together.  Zero serves to reflect the player’s understanding of the game, manifesting internalized information rather than presenting anything disjunctive. In other words, Zero does not break the player’s immersion because Zero represents an internalized understanding of the game on the part of the player.  </image:caption>
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      <image:title>Projects - Viva Piñata Analysis and Game Design for Children</image:title>
      <image:caption>February 9, 2017</image:caption>
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      <image:title>Projects - Conclusion...</image:title>
      <image:caption>Despite that the game has monsters and new creatures, the world does reflect our own well. There are both natural and societal obstacles to overcome. The representation of the game reflects and uses a more realistic representation. Most of the faction characters are humans (or humanoid) and the modelling of the game does not have a high level of abstraction to it. As such, Endless Legend shows the power of game mechanics and how the relationship between players and games through them shatters the boundaries that other genres experience. In Endless Legend, the game mechanics create a sense of ownership and empathy within the players. More precisely, the game mechanics built as abstractions of world systems players are already familiar with provide a deeper connection between players and the world of Endless Legend. However, Endless Legend takes a step further than other society building games in that it has strong characters and backstory for each faction. As you progress through the game, you are given quests that are intended to create an understanding of the history and conditions of the player’s faction. Endless Legend demonstrates that the rules laid out by Scott McCloud cannot be fully transferred to a medium in a purely visual sense, as you might expect to see in comics or animation. However, the game also posits that world building cannot exist apart from character development, as argued by Henry Jenkins. While the game is still relatively new and niche and so has yet to see a transmedia awakening, I predict that both the characters and the world will have equal footing in transmedia manifestations as they are intimately linked to one another.</image:caption>
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      <image:title>Projects - Costikyan and Viva Piñata...</image:title>
      <image:caption>Costikyan offers a reflection on a game similar to Viva Piñata, the game SimCity designed by Will Wright. Much like SimCity, Viva Piñata is a life simulator game, although its approach to simulation is somewhat abstracted and smaller-scale. In the game, you are a farmer who has to tend to a garden and draw piñatas to your lot. In this, Viva Piñata and SimCity differ at a crucial juncture. While SimCity “supports a wide choice in goals”[2], Viva Piñata offers and supports only one overarching goal: to make a better garden. With this reality, Viva Piñata fails a portion of Costikyan’s rubric as it is limited in its flexibility and ability for players to make the game their own. The customization of the game is limited by the structure of the game. The player cannot explore past their garden, and the choices are limited. However, because there is a player goal, the game can still essentially be considered a game. While more successful in certain categories, the game has a little bit of each element Costikyan proposes as foundational elements in a successful game. To begin, while it seems counter-intuitive to associate adorable, brightly colored animals with a sense of struggle, there is such an element in the game.  Costikyan reflects on the notion of “struggle” by closely associating it with “competition”.[3] Games often create struggle by offering a “you vs. them” gameplay mechanic. More nuanced variations, however, can be found in games such as Don’t Starve Together. In this game, struggle is taken to a more visceral, primal, yet cooperative realm as you must band together with your friends in order to survive in a hostile environment. Costikyan barely addresses this nuanced approach to the concept of struggle that computer games offer. Computer games have been able to offer a new approach to the enemy or competitive force in a game. While before the enemy was always physical (by either being yourself or your play partner), computer games offer an abstract enemy: the machine. In Viva Piñata, the enemy as the machine is found as the game turns nightmarish, and evil piñatas spread chaos in your haven.</image:caption>
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      <image:title>Projects - Further...</image:title>
      <image:caption>The art in the game is detailed, with a combination of realism and abstraction. While the lighting, textures, and human character proportions do offer a more realistic representation, the game uses an abstract approach to model the way the world works, from territory to societal change. Maneuvering through the world is mechanical, as players achieve growth but are also limited by tiles.  An example of such a relationship between growth and limitations is the component of per-tile growth in a city. The mechanism is an abstraction of real decisions and consequences national and municipal leaders must deal with. However, in the game, it is represented as a rate at which your territory will expand to a new tile. Playing the game is an exercise in absorbing vibrant, detailed art that represents abstracted ideas and systems. Based on Scott McCloud’s analysis of human representation in entertainment, in particular comics, Endless Legend’s art, which trends more towards realism, would serve to alienate players as the characters become more objectified. While there are realistic components in the game that pose a risk of alienating players, I believe that two abstractions balance the realism of the game: the first being a certain level of abstraction in the art itself (monsters, creatures, fantastical terrain) and the second being the abstraction in how the game presents the world. The world mechanics are an abstraction of our own world order. Just as an illustration can provide a symbolic representation of a human figure, so does Endless Legend provide symbolism that reflects our own global and national economic systems.</image:caption>
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      <image:title>Projects - To Filter, To Fold</image:title>
      <image:caption>A study of relationships between spatial strategies and actions</image:caption>
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      <image:title>Projects - An Edible Schoolyard in Harlem</image:title>
      <image:caption>A sustainable education center proposal</image:caption>
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      <image:title>Projects - Larger Scale of the Archive</image:title>
      <image:caption>A campus library proposal</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1487629455872-JFRGA24MRH2Y3CXYQOPB/17+0220+Library+title+page+1.jpg</image:loc>
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      <image:title>Projects - SciZenna: Beauty Products for Keto Dieters</image:title>
      <image:caption>Heuristic Evaluation and SEO Analysis</image:caption>
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      <image:title>Projects - MicroForce: NPS Survey App</image:title>
      <image:caption>Product UX Evaluation</image:caption>
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  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/writing</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-05-18</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522179428682-EWTBUERDE0AIPGX4P70K/Journal+bgs.png</image:loc>
      <image:title>Writing - Two Short Screenplays</image:title>
      <image:caption>One about love and freedom in a bizarre world, the other an exploration on dialogue</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522178866136-LCPTFCF3IXDE528YSRH9/Journal+bgs_3.png</image:loc>
      <image:title>Writing - Solace In A Near Edge World</image:title>
      <image:caption>Feature Length Screenplay</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1544552533379-RBXWTC3TRBJHM1UIWQMX/20181211_124954_HDR.jpg</image:loc>
      <image:title>Writing - Whispers of the Universe</image:title>
      <image:caption>A Short Story</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575522129440-ANLFAIKSPWF37FFI8ODZ/01-12-19back.jpg</image:loc>
      <image:title>Writing - Logline:</image:title>
      <image:caption>A young girl with no knowledge of her magical link is catapulted deep into the Western Pennsylvanian wilderness along with her non-magical neighbors to try and get home and evade a creature spawned from pollution.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575522178492-FYBZAT222B1FJ3S8AMWK/01-11-19backB.jpg</image:loc>
      <image:title>Writing - Premise:</image:title>
      <image:caption>The Pittsburgh rivers are clean, the air is no longer congested from the factories, and the magical stewards of nature, wielders of the four elements, can return. Elara Smith, a young, imaginative girl who never feels like she says the right thing, moves into her first home after her uncle is tasked to care for the animals, winds, and plants of Western Pennsylvania. While a struggle forms between man-made pollution and a fragile magical ecosystem, Elara has one goal: to redeem herself in her neighbors’ eyes and invite them to a slumber party. Although she has not developed magical powers, Elara accompanies her uncle on his rounds. She learns how to collect samples of plants unwilling to give up their petals and offer favors to beavers. An opportunity to right Elara’s destruction of her neighbor’s hockey stick presents itself when Elara is invited to a birthday party. Her efforts to fit in despite her out of ordinary responsibilities collide in a fireworks display when the gift she made for her neighbor ignites dormant magical abilities. The event inspires worry in her uncle, a confession from the birthday girl’s family of their magical lineage, and a call from a mysterious voice in Elara’s kitchen sink warning her of a creature once defeated: a guardian of a mountain turned into a monster when their home became a coal mine. Distraught, Elara’s uncle no longer takes her on his rounds. Instead, he leaves her to mundane deskwork. She receives a message from the voice in the faucet that they are being attacked. As she hurries to summon a wind that will carry her to the troubled creature, she is startled by her neighbors demanding answers about her identity. She fumbles, sending all three children flying off-course to the Appalachian wilderness. The trio uncovers the world of the Elementals as they find their way home. They follow a traveling carnival run by animals displaced by deforestation, abandonment, and oil spills. They meet a young bird watcher searching for a reason why her feathered friends no longer sing. They accidentally send a snowstorm barreling through the summer landscape. And find that even Elementals can contribute to pollution when they don’t consider just where their trash ends up. Along their way, they narrowly evade a creature made of pollution thanks to the voice first tracked by a creature that takes on many forms. To protect themselves, the children are taught by the mysterious voice about the four elements, and even try their hands at a few incantations. Elara, however, struggles to create any magic. The creature made of pollution toys with Elara and convinces her that the reason she cannot manifest any of the four elements is that she does not truly love nature. When she has an opportunity to lead them home, she lies and directs them further towards the creature. They are saved by her uncle, who is injured along with her neighbor. A few days after their discovery of the factory, Elara is back to deskwork and her neighbors no longer speak with her. An acquaintance from her journey visits her home and with a request. His request ends up being a ploy, and he uses her to find the entrance of the powerful creature which has been guiding them. Elara escapes because her neighbors snuck out to follow. Just as the monster formed of pollution comes towards them, Elara makes a pact to forever help the good creature and, along with her friends, defeats the pollution monster. They then go home and Elara has her slumber party.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Writing - THERE’S MAGIC WHERE THE THREE RIVERS MEET</image:title>
      <image:caption>A middle grade climate fiction novel</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575523260704-0VOGKWGA378E12HDDN5Q/01-11-19backB.jpg</image:loc>
      <image:title>Writing</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575523664174-ATJ1VNYYNKGA75TMURKI/01-10-19back.jpg</image:loc>
      <image:title>Writing</image:title>
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    <image:image>
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      <image:title>Writing</image:title>
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    <image:image>
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      <image:title>Writing</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/home-camille</loc>
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      <image:title>Welcome - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1635124759295-CC03UZ8798X64TGCBWMS/cecedufau_final_02.jpg</image:loc>
      <image:title>Welcome - The Divine Submission of Cece Dufau</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1635125077457-LP32A2G1WW3OK6GPQ7WN/cecedufau_final_02.jpg</image:loc>
      <image:title>Welcome</image:title>
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    <loc>https://www.camillebaumannjaeger.com/bio-ethan</loc>
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    <lastmod>2023-10-17</lastmod>
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      <image:title>Home</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/apprentice-branding</loc>
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    <lastmod>2023-10-18</lastmod>
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      <image:title>Apprentice Branding</image:title>
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    <image:image>
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      <image:title>Apprentice Branding</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1457571330452-ZJ2K87L6OPNA8B9K2AUZ/portrait-white.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
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    <image:image>
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      <image:title>Apprentice Branding - I carved a wolf woodblock and used the print in the final logo treatment, which included hand-drawn lettering.</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1457575493075-U3CC0V6PUQG4I9THLXWB/square-split-black.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1457575493103-BTOZ92NOXRSLWCVCQC2G/square-split-white.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452551626556-8HKUG4OG1B1E0U43VXJE/logo-white.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452551626487-2N6RPVQ4Z52U3230XMXW/logo-black.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452554710466-2HF0KO4XUF6JUYIWAG8B/shirt-landscape.jpg</image:loc>
      <image:title>Apprentice Branding</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/the-finance-pulse</loc>
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    <lastmod>2023-10-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452896039354-F8P5FPCM3V9HMWHWZ0FE/main.jpg</image:loc>
      <image:title>The Finance Pulse</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452896039354-F8P5FPCM3V9HMWHWZ0FE/main.jpg</image:loc>
      <image:title>The Finance Pulse</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452895911180-L6DBH16UX5HSJKKQVZQI/close-portrait-4.jpg</image:loc>
      <image:title>The Finance Pulse - Futurists and climate change researchers agreed that after oil, the next great precious resource would be potable H2O.</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1452895911018-5UG8G3WWA6Y9TIC2E0AG/close-portrait-3.jpg</image:loc>
      <image:title>The Finance Pulse</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1453239494610-7UD2HPU09F11AQSZQL37/cima-photo-2.jpg</image:loc>
      <image:title>The Finance Pulse</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/563bdd38e4b0283238934c89/1453239494985-ZBDN9ZAEGKVHFK2PRUUE/cima-photo-4.jpg</image:loc>
      <image:title>The Finance Pulse</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/news-bedford</loc>
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    <lastmod>2025-05-09</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/52a74d9ae4b0253945d2aee9/1400275370693-L0ZTMZY7L6SCYQG6GO85/xzuvhgdQGul0amA3Qc7a_373A9681.jpg</image:loc>
      <image:title>News</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/news-bedford/2014/1/23/get-out-there-3kaa5</loc>
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    <lastmod>2014-04-13</lastmod>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/news-bedford/2014/1/23/why-deserts-matter-too-y5bwr</loc>
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    <lastmod>2014-04-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/52a74d9ae4b0253945d2aee9/1390513173585-DWV4B9Z0B3GY1421D88O/tumblr_mjdttrQLOJ1rkz363o1_1280.jpg</image:loc>
      <image:title>News - Why Deserts Matter Too</image:title>
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  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/news-bedford/2014/1/23/appalachia-t3sww</loc>
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    <lastmod>2014-09-30</lastmod>
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      <image:title>News - Success Story – New Hope in Old Appalachia</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/52a74d9ae4b0253945d2aee9/1390512900611-EF33OSHTK3F9FL7P3XQO/tumblr_mjs7w6zIHV1rkz363o5_1280.jpg</image:loc>
      <image:title>News - Success Story – New Hope in Old Appalachia</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/home2</loc>
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  <url>
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    <lastmod>2021-08-28</lastmod>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/novel</loc>
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    <lastmod>2021-10-19</lastmod>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/about</loc>
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    <lastmod>2021-10-24</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1537497131793-26H430T9LITFR1VASJG2/161220--camilleerik-3.jpg</image:loc>
      <image:title>About - A little about me...</image:title>
      <image:caption>As a novelist: I am a French-American author with a B.A. in Architecture from Barnard College of Columbia University, and an M.S. in Computational Design from Carnegie Mellon University. In Spring 2020, I was accepted into the AWP’s mentorship program. My mentor was Diana López. I recently completed Stanford University’s Novel Writing Certificate Program. I am a member of SCBWI, AWP, and am the Barnard NorCal Writing Group co-founder. I am based in Oakland, CA. My past research interests: At Carnegie Mellon University, applied data work in a cross-functional context is a cornerstone of my work. For my thesis, I’ve used design, computation, and ethnography to test how interaction parameters affect multi-user behavior. I aim to see how data can be collected from users and processed for future design decisions. If you would like to learn more about my skills and experience, I invite you to contact me, and I am happy to answer any questions. Thank you for visiting my website, Camille</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/gender-identification</loc>
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    <lastmod>2023-10-19</lastmod>
    <image:image>
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      <image:title>Research: Understanding Author Gender Identification - Understanding Author Gender Identification Through Biased Data Sets</image:title>
      <image:caption>Research Paper in Applied Machine Learning</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575524131033-NEYY5KM8QP3U5PFKTMEQ/20180825_155624_HDR.jpg</image:loc>
      <image:title>Research: Understanding Author Gender Identification</image:title>
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  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/research-thesis</loc>
    <changefreq>daily</changefreq>
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    <lastmod>2023-10-19</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1522188359947-B4U1KVJDOKMHSL2KJ9P4/research_1.png</image:loc>
      <image:title>Research: Designing for the Hybrid Body - Designing for the Hybrid Body: Presence, Representation, and Self in Virtual Reality</image:title>
      <image:caption>Master's Thesis</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1575524271551-C0KORMECSK4RM0FFYSEI/20181009_132137_HDR.jpg</image:loc>
      <image:title>Research: Designing for the Hybrid Body</image:title>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/portfolio</loc>
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    <lastmod>2021-08-28</lastmod>
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  <url>
    <loc>https://www.camillebaumannjaeger.com/img-camille</loc>
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    <lastmod>2021-10-25</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1613771573494-NX0PKXMQP5WYMZU2B7JC/161220-5739-camilleerik.jpg</image:loc>
      <image:title>Image - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/bio-pursuit</loc>
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    <priority>0.75</priority>
    <lastmod>2023-10-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/59d4ea096f4ca3f65e57d75d/1511897676747-BNGP0G8HOXGA3Y8RAWIE/pursuit-headshot.png</image:loc>
      <image:title>Jodie Romero</image:title>
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  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/about-camille</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2023-10-20</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1537497131793-26H430T9LITFR1VASJG2/161220--camilleerik-3.jpg</image:loc>
      <image:title>About</image:title>
      <image:caption>Live from the stage/my workspace</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1697606508201-LRYUV2L6TPMBBBEP5KWQ/161220-5739-camilleerik.jpg</image:loc>
      <image:title>About</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/new-page</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2023-10-18</lastmod>
  </url>
  <url>
    <loc>https://www.camillebaumannjaeger.com/hello</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2024-03-06</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/d5a5af15-421f-469a-89ab-19bee135eddb/XWMBV7.jpg</image:loc>
      <image:title>Home - Beneath Sintra</image:title>
      <image:caption>Amalia is somewhere deep beneath the ground: a hidden stage made of stone and lit by moonlight. The light filters through unseen clouds, silver rays disappearing in an empty orchestra pit. From the shadows, a beast awaits Amalia.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/24be719e-4852-4bd0-9a43-1057db8f26a0/steam_cover_image_textbanner_GK.png</image:loc>
      <image:title>Home - Inkbound</image:title>
      <image:caption>A turn-based tactical action roguelike from the creators of Monster Train. Play solo or co-op, level up, create broken builds, and save the Atheneum.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/4aff3034-d5bc-4f69-ab6e-d9dcbbeb1705/Nln_cK.png</image:loc>
      <image:title>Home - Frontier Justice</image:title>
      <image:caption>You and your cow, Meuh, live a life of hard-won peace and quiet on the galaxy's postal bureau asteroid.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/58963a3459cc680c3ca409bc/1635126119259-L660BROGTZJB8GO66CNG/161220-5739-camilleerik.jpg</image:loc>
      <image:title>Home - About</image:title>
      <image:caption>Learn more about how I entered the game industry, my work, and my past research.</image:caption>
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    <image:image>
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      <image:title>Home - Moonsilver fates</image:title>
      <image:caption>You've been summoned to entertain the nobles with your craft, but on these nights, something is afoot. It's the New Moon, and you can feel something in the night is coming for you.</image:caption>
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      <image:title>What We Do</image:title>
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      <image:title>Partners</image:title>
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      <image:title>Partners</image:title>
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      <image:title>Partners</image:title>
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      <image:title>Partners</image:title>
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      <image:title>Home Alt</image:title>
      <image:caption>A better world Starts with a choice Contact Us</image:caption>
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      <image:title>Home Alt</image:title>
      <image:caption>Sustainability Starts with you Join Us</image:caption>
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      <image:title>Home Alt</image:title>
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      <image:caption>Preserve Nature Join Us</image:caption>
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      <image:title>Read Me</image:title>
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      <image:title>Projects</image:title>
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