Equestrianism is currently facing a range of pressing challenges. These challenges, which are largely based on evolving attitudes to ethics and equine wellbeing, have consequences for the sport’s social licence to operate. The factors that may have contributed to the current situation include overarching societal trends, specific aspects of the equestrian sector, and factors rooted in human nature. If equestrianism is to flourish, it is evident that much needs to change, not the least,human behaviour. To this end, using established behaviour change frameworks that have been scientifically validated and are rooted in practice — most notably, Michie et al.’s COM-B model and Behaviour Change Wheel — could be of practical value for developing and implementing equine welfare strategies. This review summarises the theoretical underpinnings of some behaviour change frameworks and provides a practical, step-by-step approach to designing an effective behaviour change intervention. A real-world example is provided through the retrospective analysis of an intervention strategy that aimed to increase the use of learning theory in (educational) veterinary practice. We contend that the incorporation of effective behaviour change interventions into any equine welfare improvement strategy may help to safeguard the future of equestrianism.
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The Assassin’s Creed franchise mainly consists of video games but has over the years created a narrative universe spanning different media. Seeing how the traversal from the individual installment Assassin’s Creed IV: Black Flag into the narrative universe of Assassin’s Creed changes player engagement with the franchise allows one to understand audience interaction with different mediaproducts in a transmedia and convergent culture. Seen as a performed possible world, the individual installment is shown, through a three part gameplay analysis, to function as an unfinished commodity. This implies striking a balance between an individually satisfying experience and a plot-hole ridden incentive for further activity. When the individual installment incites traversal into a narrative universe, the player can construct the universe from installments through a hyperdiegetic, intermedia, or crossmedia engagement, depending on the reliance on medium specificity. Ultimately, this article provides a model for audience interaction in the transmedia age.
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