digitalmediamelissa

[digitalmediamelissa]

Critical Analysis

The text I have chosen for a Critical Analysis is off the article named "Feminist Media Studies" which is written by Kesla Perry who studied sociology in the university of British Columbia earning both MA and PhD. The pages I'm focusing on is 1105-1106 which focuses on the discussion of the dynamics of gender representation and sexualization within the gaming industry. Mainly highlighting the persistent focus on masculine ideals and the underrepresentation of women in games. They also highlight the gaps in current research, concerning sexual empowerment and hypersexualized depictions of women in games. 

It begins by exploring the masculine ideals in gaming spaces and the industry's marketing strategies targeting male audiences. This focus has led to a lack of recognition and research on the shifting gender demographics in gaming. Despite the increasing number of female gamers, the industry's marketing and content creation continues to focus on young males. They explore many theoretical frameworks such as feminist theory and cultural studies to analyze the representation of gender and sexualization in video games. For example, they draw on concepts like the "sexualization of culture" and "pornification" to highlight the sexual attitudes and the proliferation of sexualized imagery in media, including video games. This phenomenon is seen often in exaggerated ideas of women in video games, such as bikini-clad warriors. They often refer to many feminist game studies scholars commending them for expanding their focus beyond white, adolescent male gamers to include a more diverse set of gamers. This shift is important for a better understanding of gaming culture and its impacts. 

In this text, they explore two sides of an argument. One of the arguments they explore is by Shaw who often works on queer theory and LGBTQ+ in games, which states both texts and audiences cannot be pinned down to singular meanings and would require calls for a subtle approach to studying representation, considering how gamers themselves understand identity. This perspective aligns with Consalvo's who Canada's Research Chair in Game Studies and Design is where she calls for documenting and building databases on how gamer networks and developers respond to calls for increased diversity and representation. This approach challenges the negative backlash received by forcing representation and investigates a passive approach to narratives for female participation. 

This is then followed up by highlighting the gaps in current research, most importantly the lack of discussion on sexual empowerment in video games. While there has been progress in understanding diverse gaming audiences the importance of representation and its impact on gamers remains underexplored. Addressing these gaps is essential for developing an understanding of gender representation in games and promoting a more inclusive gaming culture. 

However, on the other side of the debate, some scholars celebrate certain sexual depictions as liberating, emphasizing women's control over their sexuality. This viewpoint argues that sexual empowerment involves "negotiating wanted and unwanted sexual acts" and experiencing sexual desire and pleasure. However, the text questions whether genuine sexual choices can be achieved in a hypersexualized culture or if such a culture must be dismantled first. This debate is critical for understanding how gaming communities interpret hypersexualized game content and respond to gender stereotypes. 

This text was chosen for its multiple strengths as a recent academic paper that provides a female perspective on a subject challenging the dominance of masculine ideals and their marketing strategies within the games industry, often referred to as 'AAA' (Triple A). The authors employ an intersectional framework, focusing on gamers of colour, diverse ages, and queer and gender nonconforming identities, which enhances the overall text by highlighting how different social identities intersect with gaming. Throughout the text, there remains a critical stance and an openness to explore other opinions, despite clearly aligning with one perspective. This critical approach aids not only my understanding but also that of others in gaining clarity on these subjects. 

However, like anything else, there are some weaknesses to this text, often focusing on Western perspectives and scholars, which affects the inclusivity of global games. Addressing these points could help build a more comprehensive picture of these challenges. Additionally, I noticed while reading these pages that there is no representation of game developers and their response to calls for diversity and representation. Their insights could help us understand why representation is avoided or often overlooked. 

Nevertheless, this text effectively critiques prevailing masculine ideals and advocates for a more inclusive approach to game studies. I still believe it's a powerful paper to read to gain an in-depth understanding of these issues. 

In conclusion, the text provides a detailed overview of the current state of gender representation and sexualization in the gaming industry. It highlights the contributions of feminist game studies scholars while identifying areas that require further research. However, also look into the risks and hardships when attempting to apply representation to their video games. The debate on sexual empowerment and hypersexualized culture is particularly important, as it directly impacts how gamers perceive and interact with the game which translates to society as well. For the gaming industry to evolve, it must recognize and address these complex issues, promoting diverse representations to challenge harmful stereotypes and empower all players.     My analysis contributes to the push for representation of women in video games, which is often overlooked. By shedding light on such a topic, not only to improve the gaming industry but also society. As many children become dependent on games and other media, it becomes a core way they grow to understand the world. It is more important than ever that we take the time to ensure the games they play encourage a more positive outlook, not only on women but on many other individuals as well. Perry, K. (2021) ‘Damsels and darlings: decoding gender equality in video game communities’, Feminist Media Studies, 22(5), pp. 1105–1106. doi: 10.1080/14680777.2021.1883085.

[digitalmediamelissa]

Reader

Eves, B. and Hewitt, J. (2008). Semiotics, Design Character Language. In: A. Clarke, M. Evatt, P. Hogarth, J. Lloveras and L. Pons, eds., E&PDE. [online] The 10th International Conference on Engineering and Product Design Education. Bournemouth University, pp.573–578. Available at: https://www.designsociety.org/download-publication/28154/Semiotics%2C+Design+Character+Language [Accessed 12 Jan. 2024]. 

‌Eves and Hewitt both emphasize the significance of semiotics, particularly in the context of designing captivating characters. They highlight the integration of sensory elements such as colour, texture, and shape, stressing their collaborative role in creating diverse combinations. The coherence of these signs is crucial, ensuring that they work seamlessly for viewers to interpret the character accurately. These pages, specifically focused on character design, provide valuable insights that I can leverage effectively. As a character artist, my objective is to understand the concept artist's intentions and accurately translate them into 3D, fully preserving it. This understanding is essential in ensuring a faithful representation of the character's intended expression and message. 

-----

Butler, J. (1990). Gender trouble: feminism and the subversion of identity. New York: Routledge. 

In "Gender Trouble," Butler explores women's oppression in a male-dominated society but advocates for coalition-based feminism that questions the very foundations of gender, asserting it as a constructed concept. Despite the text's age, I chose Butler's work due to her influential impact on gender studies, openly challenging traditional notions of gender after earning a Ph.D. in philosophy from Yale University. Recognizing the complexities of gender is crucial in media, given its sensitivity. This understanding allows me, in future posts, whether in art or simple media communication, to maintain an open and empathetic mindset, drawing interest from a broader audience. 

-----

Espen Aarseth. (2012). A narrative theory of games. In Proceedings of the International Conference on the Foundations of Digital Games (FDG '12). Association for Computing Machinery, New York, NY, USA, 129–133. https://doi.org/10.1145/2282338.2282365

In the Narrative Theory of games, Espen Aarseth discusses the ongoing debate about whether games are classed are narratives. This text focuses on two main debates: One about the limitations of game-based narratives (normative) and the other about whether games are even qualified as a narrative (descriptive). This text is of high quality because it explores ongoing debates within game studies sharing their deep understanding of narrative theory. It provides multiple preserves that remain unbiased giving me the best insight to study. This will help me with my study when working with games to avoid just issues with forced linear stories that often can be boring or too mainstream.

----

Chierico, A., 2016. Medium specificity in post-media practice. V!RUS, [e-journal] 12.

This text explores the intention behind medium specificity within art, often referring to it from a new radical modern perspective. It examines the historical debate between modernism and post-modernism in art. The text argues that artists should not be restricted by traditional artistic mediums. It is high quality because it engages deeply with theoretical debates within art and provides a comprehensive overview of how this subject has developed over time. I selected this text because it connects to my own research interests in 3D art, which often combines 3D and 2D elements to create new artistic forms. While these mediums are often kept separate, I believe in their integration regardless of medium constraints.

----

Chandler, D. (2017). Semiotics: The Basics (3rd ed.). Routledge. https://doi-org.ezproxy.herts.ac.uk/10.4324/9781315311050

"Semiotics: The Basics" explains and explores the usage of semiotics in social and cultural standards and how they have evolved throughout the years. It highlights the crucial role of semiotics within our social lives and identities. What makes this text high quality is that it is supported by multiple theories and scholars. Studying and exploring semiotics helps me understand how developers use semiotics to communicate with their players nonverbally. It's important to understand the communication between the player and the developer so it avoids overwhelming the player with unnecessary information, allowing them to focus purely on the gameplay itself. 

-----

Tinwell, A. (2014;2015;) The Uncanny Valley in Games and Animation. 1st edn. United States: A. K. Peters.

Tinwell explores the challenges and controversies in creating realistic, human-like characters for games and animation. The text highlights the difficulty of accurately conveying facial expressions and emotions due to technological limitations, often resulting in characters with awkward and strange expressions that create the Uncanny Valley effect. Tinwell themselves have struggled with this problem in the fields of animation and game design, providing personal experience while backing it with theories and scholarly discussions to explore all the challenges involved. I chose this because it connects very closely to my 3D artwork, where I aim to achieve hyperrealism; however, it can sometimes look wrong. This is where the Uncanny Valley effect takes place. Studying this allows me to understand why it happens and how to avoid it in future personal projects and work.

----

Perry, K. (2021) ‘Damsels and darlings: decoding gender equality in video game communities’, Feminist Media Studies, 22(5), pp. 1102–1119. doi: 10.1080/14680777.2021.1883085.

Kesla Perry discusses the impact of gender stereotypes of women in video games, where female characters are often objectified or subjected to violence. They explore the trends and cultural impact of these stereotypes, such as the lewd and bikini clothing female characters are often put in compared to men. This text is high quality because it provides multiple perspectives, including critiques and well-researched academic resources. I chose this because it connects with my own frustration over the sexualization of women in games, while backing it with historical context and developments. This is useful to me to understand its impact on individuals and society, so I can be aware of how to avoid such effects while still creating a balance for all players.

----

Kasumovic, M. M., & Kuznekoff, J. H. (2015). Insights into Sexism: Male Status and Performance Moderates Female-Directed Hostile and Amicable Behaviour. PloS one, 10(7), e0131613. https://doi.org/10.1371/journal.pone.0131613

This article explores the narrative potential of VR and the types of immersion it achieves both as a technological effect and a mental state. The discussion revolves around whether VR's strength lies in traditional storytelling or in providing immersive experiences that simulate various environments and sensations. VR surpasses the constraints of books or TV by leveraging its technological advantages to enhance narrative delivery. However, in terms of immersion, VR shares similarities with traditional media like books, as both aim to convey stories.

What sets VR apart is its unique capability to offer experiences that are unmatched by other mediums. As noted, VR developers often prefer to label their projects as “experiences” rather than narratives (Laure, 2003), highlighting that while narrative is powerful in VR, its primary allure lies in the sensations and experiences it can evoke.

Overall, while VR can excel in narrative delivery, its true strength lies in creating immersive experiences that engage users on a sensory and experiential level. ----

Kidd, J. (2015) “Gaming for Affect: Museum Online Games and the Embrace of Empathy http://dx.doi.org/10.1386/jcs.4.3.414_1 

This article discusses existing theories in video games regarding how online games developed by museums aim to evoke emotional responses and empathy from their players. It analyses two case studies to explore the distinction between 'emotioneering' and genuine emotional engagement. The article stands out for its thorough engagement with frameworks from video game studies and its application of these theories to practical case studies. I selected this text not only for its high quality in addressing this subject but also due to my personal interest in video games, which is essential for my professional development in game design. Understanding how to design emotionally powerful characters will undoubtedly make the games I develop more memorable and successful. 

[digitalmediamelissa]

Blog - Emotion

Here's a revised version of your text with grammar and spelling corrections, as well as some critical refinements:

Final Fantasy VII (1997) is among the many games in the Final Fantasy series that achieved significant success in popularizing JRPGs in the Western market. Ommen frequently discussed the emotional impact of the game, speaking from personal experience about how it affected him. He emphasized that emotions are not merely momentary experiences but "formed over periods of time" (Ommen, 2018). This ongoing development of fans' emotions towards a game like Final Fantasy VII deepens and persists over time, becoming more effective as the story unfolds. Ommen also referred to the "growth of characters" (Ommen, 2018) shared alongside the player, which is crucial in creating lasting relationships and bonds. This character growth is exemplified in the main protagonist, Cloud, whose journey is driven not only by economic gains but also by personal growth. Players often experience Cloud's journey intimately as they play through the game, particularly in his bonds with female characters. Ommen argues that players often feel a "sense of affective identification" with Cloud, developing bonds with other characters through their shared experiences.

The impactful death scene within the game, described by some as "the most shocking moment in video games," demonstrates the narrative and visual prowess that creates immense emotion among players (Gamestop, cited in the text).

Shinkle (2008) discussed how "video games have somewhat limited" emotional expression, particularly evident in the first game of the series, FFVII, where emotions were challenging to portray due to low-polygon models. However, the remake of the game allowed for more expressive emotion. Despite this, the initial impact on players had already passed. Instead, the sentimental value embedded in the original game creates emotion for players revisiting moments like flashbacks of significant events. Techniques like employing blues and soft music subtly hint at sad moments, building emotional tension even before pivotal scenes unfold. Such tactics are examples of "emotioneering," aiming to make both the plot and characters "conceptually interesting and emotionally deep" (Shinkle, 2008), which often prove effective.

Critics argue that emotional narratives are typically suited to linear media like books and rely on clear "emotional cues" (Shinkle, 2008), such as facial expressions, to convey narrative intent. However, Final Fantasy VII demonstrates that a powerful story and well-developed characters can deeply move players emotionally, even without these cues or highly detailed character models. References

Shinkle, E. (2008). Video games, emotion and the six senses. Media, Culture & Society, 30(6), 907-915. https://doi-org.ezproxy.herts.ac.uk/10.1177/0163443708096810 

SQUARE ENIX. (1997) Final Fantasy VII. [DISC] Playstation1. Japan: Square Co., Ltd. 

Van Ommen, M. (2018) “Emergent affect in FinalFantasy VII and Japanese  role-playing games https://doi.org/10.1386/jgvw.10.1.21_1 

[digitalmediamelissa]

Blog - Racism

Today, this blog will explore racism within video games and the industry, specifically focusing on AAA top companies and games. The study aims to understand the different modes of interpretation of the game's racial content among gamers. The first article I studied was "Interpretations on the Racialized Experience of Video Games" by Venegas, Mario (2012). He explores how gamers often use colourblind racial lenses to rationalize racial content in games, while non-gamers with a systemic racial lens are more likely to be aware of racial content.

The author primarily refers to Rockstar, comparing two main releases: GTA, featuring "a black man who delves into gang criminal life,"(Venegas, 2012) and Bully, featuring "a troubled white youth." (Venegas, 2012) This stereotyping based on colour affects the mindset of individuals who play these games, with colourblindness often more prevalent among gamers. This makes it clear that games impact the mindset of individuals, which in turn affects society, often referring to America as a "colourblind, post-racial society." (Venegas, 2012)

Their method to study these issues was to use a sample of 23 participants covering gender, and gaming experience. However, this article solely focuses on Western society, which is the biggest perpetrator of such mindsets. However, more insight into the Eastern perspective would further support these theories. When exploring these effects, I came across Stephanie Ortiz's (2019) article which provides great insight in his article, which discusses the desensitization to these issues, often leading individuals to self-teach themselves to "navigate racial boundaries online." (Ortiz, 2019)

Similar to Venegas' (2012) method, they also interviewed individuals, this time with twelve men of colour of different ages and races. In conclusion, racism and colourblindness are effects of the constant neglect of dealing with racism in games. Those who suffer are often "disciplined and invalidated," (Ortiz, 2019) leading to a desensitized nature towards these issues and losing the voice to speak up.

This study gave me insight into how these issues affect individuals and their causes, allowing me to prepare myself as a developer to avoid and fight against such damaging mindsets.

References

Ortiz, Stephanie M. (2019). ���‘You Can Say I Got Desensitized to It’: How Men of Color Cope with Everyday Racism in Online Gaming.” Sociological Perspectives, vol. 62, no. 4, 2019, pp. 572–88. JSTOR, https://www.jstor.org/stable/26746202.

Venegas, Mario. (2012). "Interpretations on the Racialized Experience of Video Games," McNair Scholars Research Journal: Vol. 8: Iss. 1, Article 14. Available at: https://scholarworks.boisestate.edu/mcnair_journal/vol8/iss1/14

[digitalmediamelissa]

Blog - VR

In this blog, I aim to examine two theoretical approaches: Media Naturalness Theory (MNT) and Presence Theory, to analyze Virtual Reality (VR). To begin, I'll delve into MNT as discussed by Yumurtaci (2016) in his article "Theoretical framework for the evaluation of Virtual reality technologies prior to use: A Biological evolutionary approach based on a Modified media naturalness theory." Yumurtaci (2016) asserts that MNT stems from human evolution, focusing on our need for face-to-face communication, which VR often fails to fully replicate, affecting our sensory experience. VR commonly encounters technical issues such as lag and latency, disrupting the sense of reality for users. Moreover, inaccuracies in portraying expressions and body language can also detract from the immersive experience. MNT primarily addresses the psychological and physical aspects of VR users.

On the other hand, Presence Theory centers on the psychological sensation of "being there" within a virtual environment. This theory explores the immersive qualities of VR and its psychological impacts, aiming to assess its effectiveness. However, unlike MNT, Presence Theory is relatively new and still evolving. Researchers typically use questionnaires to gauge responses like fear and motion sickness, influenced by the perceived realism of the virtual setting, which enhances the feeling of "presence." Nonetheless, as Schuemie (2023) notes, the evidence supporting these reactions is often weak, complicating direct comparisons with MNT.

In conclusion, both theories recognize the importance of realism and user engagement in VR. MNT emphasizes naturalness and evolutionary aspects, while Presence Theory focuses on strategies to heighten user immersion. MNT, being more established, currently provides a robust framework for studying VR, but with further development, Presence Theory could offer more tailored insights into VR experiences. References Yumurtaci, Onur. (2016). A THEORETICAL FRAMEWORK FOR THE EVALUATION OF VIRTUAL REALITY TECHNOLOGIES PRIOR TO USE: A BIOLOGICAL EVOLUTIONARY APPROACH BASED ON A MODIFIED MEDIA NATURALNESS THEORY. THE TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION. 6. 181-192. 10.7456/10602100/012.    Schuemie MJ, van der Straaten P, Krijn M, van der Mast CA.(2023)Research on presence in virtual reality: a survey. Cyberpsychol Behav. 2001 Apr;4(2):183-201. doi: 10.1089/109493101300117884. PMID: 11710246. 

[digitalmediamelissa]

Blog - Representation

Today, this blog delves into the study of the representation of women within videos, specifically on the subject of "Does sex sell?" This is often a go-to method by many industries, where women are frequently dressed in skimpy clothing and marketed in ways intended to appeal to men under the assumption that it would improve sales over any other approach. For this blog, I'll be referring to multiple articles; however, my primary focus will be on the study titled "Does sex sell? Gender representation, sexualization, and violence on video game covers and their impact on sales" by Johann Valentowitsch (2024).

Firstly, the examination looks at how men and women are portrayed within the video game industry. Women are often subjected to "sexualized fantasies of violence against women" and objectification, which, sadly, "has changed little over the years" (Valentowitsch, 2024). On the other hand, male characters are significantly more prevalent, appearing in video games "four times more frequently" than women, a trend that has persisted since the early days of video games (Valentowitsch, 2024).

When the video game industry attempts to attract women gamers, it often resorts to stereotypical images. Women are frequently depicted in traditional roles like cooking or as princesses, underscoring the fact that 'a small proportion of employees in the industry are female designers, programmers, or producers,' resulting in minimal female input on game design choices. This lack of diverse representation leads to female characters often being 'portrayed as victims or sex objects' (Dietz, 1998), which can significantly impact children's development according to Dietz's theory of symbolic interactionism, where gender roles are established 'very early in socialization' (Dietz, 1998), influencing their future outlooks. Such portrayals perpetuate damaging stereotypes that affect both men and women, prompting questions about whether these portrayals are justified solely for profit.

Valentowitsch conducted a study utilizing sources like 'vgchartz.com,' which tracks sales data for over 26,000 video games. They analyzed the success of sales based on the front cover (not the back). Their findings revealed a ratio of 63% more male characters than female characters; however, 'this imbalance has decreased to only 1 to 3' (Valentowitsch, 2024). Meanwhile, while violent images on covers showed a slight increase in sales, 'sexualized depictions correlate negatively

In conclusion, this study demonstrates that sexualization does impact video game sales, albeit not to the extent initially assumed. The presence of both male and female characters on game covers does not significantly boost sales (Valentowitsch, 2024). Moreover, the inclusion of violence and sexualization of women actually diminishes sales. This begs the question: why does this practice persist? Without insight from game developers, it's challenging to justify, but it may persist due to the male-dominated industry norms, despite its detrimental effects.

However, as a woman myself, I aspire to enter the industry and create games that portray men and women equally. This approach not only aims to foster a healthier mindset within gaming culture but also contributes positively to shaping our future society. This version maintains the critical perspective while ensuring clarity and coherence in expressing your views on the impact of sexualization in video games and your personal goals within the industry.

References Dietz, T.L. An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior. Sex Roles 38, 425–442 (1998). https://doi.org/10.1023/A:1018709905920

Valentowitsch, J. (2024) 'Does sex sell? Gender representation, sexualization, and violence on video game covers and their impact on sales', Journal of Business Strategies, 41(1), pp. 27-42. Available at: http://dx.doi.org.ezproxy.herts.ac.uk/10.54155/jbs.41.1.27-42

[digitalmediamelissa]

Blog - Semiotics

Semiotics, the study of signs, originated with structuralism, founded by Ferdinand de Saussure. According to Fiske (1990, pp.115), "Structuralism's enterprise is to discover how people make sense of the world, not what the world is." This involves understanding how individuals utilize their culture and senses, such as sound, touch, or sight, to communicate effectively in the world. 

Semiotics permeate our daily lives and are particularly evident in the media. By studying this field, I can grasp how companies employ semiotics to communicate with their audience. This knowledge can then be applied to my own work, allowing me to convey deeper meaning and effectively communicate with my own audience. 

Ferdinand de Saussure laid the groundwork for semiotics by introducing Sign, Signifier, and Signified. The Signifier, representing the sound or word, and the Signified, representing the image or concept, combine to form the sign we understand. However, these words are arbitrary and gain meaning only in relation to language, where a different signified can be created by the same signifier. The system becomes intricate as cultures and social structures influence these signs deeply. 

Charles Sanders Peirce expanded on this system by identifying three key types of signs: Symbolic, Indexical, and Iconic. Roland Barthes then developed it more to uncover hidden meanings, introducing additional Signifiers and Signified called Denotation and Connotation. According to Fiske (1990), "denotation is what is photographed, connotation is how it is photographed." In simple terms, denotation represents the literal meaning, while connotation conveys the implicit meaning. 

‌For this blog, I will analyse Riot's Splash screen art featuring "Kindred," a champion from League Of Legends (2009). The image depicts a lamb wearing a wolf mask leaning over a body with a hand on its chest, accompanied by a wolf ghost creature in a dimly lit scene.  

In denotation, the lamb appears soft and sweet with its more rounded shape and slender body, while the wolf ghost looks more monstrous with is sharp fur and jagged lines. The light from the body suggests it may be dead, and the water's stillness reinforces this. Moving to connotation, I interpret the lamb's posture as indicating involvement in the man's death or expressing concern for him, due to a wound. The wolf wrapping around the lamb implies a protective role, suggesting they may collaborate. The illuminated hole in the body aligns with the idea of the man being deceased, supported by the still water indicating no movement. 

Reflecting on Charles Sanders' adaptation, I noticed a symbolic theme of White and Black, often linked to life and death. The opposing colours of black and white is portrayed throughout the character's design, suggesting the usage of colours create the symbol of life and death enforcing their role within the world. This aligns with the denotation, where the character looms over a dead body, reinforcing this interpretation. Additionally, there is an iconic connection to the well-known fable of the wolf and lamb, where the wolf seeks a reason to kill the lamb. This contradicts the idea of the characters working together but further aligns with the idea of being rivals in nature. 

In summary, these elements collectively depict the character as a representation of life and death working together, akin to grim reaper. Whilst they may share different point of views, they both seek the same outcome. 

Understanding how developers such as League Of Legends (2009) create their characters without providing context can allow me to convey emotion and messages to my audience without having to provide text to read. From this breakdown of their work “Kindred” I understand that the use of shapes, colours, lighting and even poses all help tell a story/message. This enables me to change my old concepts to provide better shape language for the viewer to understand its personality more. And the use of creating scenes can help build a better story around my models to help convey a certain emotion. 

References

FISKE, J. (1990). Introduction to communication studies. London: Routledge, pp.86 

FISKE, J. (1990). Introduction to communication studies. London: Routledge, pp.115 

RIOT GAMES. (2009) League Of Legends. [GAME] PC. Los Angeles: Riot Games 

[digitalmediamelissa]

Blog - Realism

In this study, I will explore different demonstrations of realism in art, focusing on the piece "Dragon Nest" by Jess O'neill. O'neill's work stands out for its anatomically accurate portrayal of dragons, rendering them both striking and believable. This specific artwork was selected due to its ability to captivate the viewer with its exquisite and credible design, enhancing the overall immersive experience. By analysing such pieces, I aim to draw inspiration for my own artistic endeavours, particularly in the realm of crafting lifelike creatures.    Realism, as discussed in philosophy, refers to the concept that something or someone exists independently, regardless of anyone's thoughts or perceptions (Hale, 2020). This idea extends to the realm of art, where artists strive to represent reality as faithfully as possible. However, realism's definition remains debated, with various interpretations, including considering it as an "over-arching scientific hypothesis" (Putnam, 1974). When art accurately mirrors traits of our reality, it can indeed be seen as a form of realism. Examining "Dragon Nest," its anatomical precision, detailed scales, and lighting make it a work of realism in art. 

"Dragon Nest" can be linked to the concept of "Orders of Simulacra," a theory by Jean Baudrillard, which suggests that the original changes as it's copied, therefore, altering changes our understanding of reality. While dragons are fantastical creatures, they have their roots in the discovery of dinosaur bones and whale remains, considered the original inspirations. This led to the creation of more dragon variations, resulting in the 3rd stage of "Orders of Simulacra," where they become exaggerated, gaining traits like breathing fire or multiple heads. The concept of what a dragon is becomes increasingly abstract as it evolves through various media, eventually resembling simple abstract art. When we look at "Dragon Nest," its design is less abstract than the original, likely placing it in the 2nd stage of this concept. While "Dragon Nest" portrays creatures larger and more fantastical than their smaller, snake-like origins, they still exhibit a resemblance to the original with a long winding body and a thin head. 

When striving for realism in art, various strategies are employed, such as Social or Animation. "Dragon's Nest" exemplifies this pursuit of believability, accomplished through deliberate technological intervention. The artwork utilizes techniques like 3D modelling and rendering to replicate reality. These applications leverage real-time lighting and baking to authentically simulate how light interacts with surfaces. Additionally, rendering in 4K resolution ensures a level of detail unattainable through traditional hand-painting methods. These innovations and advancements significantly contribute to enhancing the overall sense of believability. 

Upon close examination of the model, it features a head and tail reminiscent of a crocodile and a body structure akin to a tyrannosaurus. Large wings, proportionate to its body, further enhance the piece's believability and realism. Analysing these techniques has inspired me to apply similar principles to my own work, thereby enhancing both visual appeal and the overall model quality, boosting my employability. 

One common challenge in achieving believability is avoiding the suspension of disbelief. Viewers may question the creature's capabilities, pondering if its legs can support its weight or wondering about essential features like its breathing capabilities. To address this challenge, I can incorporate real-world knowledge and logic into my creations, aligning them with the laws of nature and reality to make my creatures more believable. 

While believability is crucial for creating good art that connects with people, the advancement of technology can sometimes take things to the extreme, making them uncomfortably real. This circumstance is known as the "uncanny valley," a concept developed by Masahiro Mori. In the uncanny valley, the realism can reach a point where it becomes unsettling for viewers, aligning with Wallace Stevens' perspective that realism is a "corruption of reality." Artworks like "Dragon's Nest" face a fine line between what is real and what is disturbing. 

Overall, defining realism is a challenge given the constant evolution of technologies and cultures. The psychological concept of reality remains elusive and ever-changing. Examining realistic art offers insights into how it is achieved and its impact on individuals. However, like art itself, realism and reality are subject to interpretation and vary from person to person. 

O'neill managed to strike a balance, avoiding the unsettling "uncanny valley," but determining this line is tricky. To ensure my own work maintains this balance, I will actively seek feedback from peers, to create pieces that are believable without becoming uncomfortably real. 

References

MULDER, D. (2004) Objective, Internet encyclopedia of philosophy. Available at: https://iep.utm.edu/objectiv/ [Accessed: 24 October 2023].  

PUTNAM, H. (1974) X—What Is “Realism”?, Proceedings of the Aristotelian Society, Volume 76, Issue 1, 1 June 1976. [online] The Aristotelian Society: Oxford University Press, p.178. Available at: https://doi.org/10.1093/aristotelian/76.1.177 [Accessed 24 Oct. 2023]. 

HALE, B. (2020) realism. Encyclopedia Britannica Available at: https://www.britannica.com/topic/realism-philosophy [Accessed: 25 October 2023].