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DIGITAL MEDIA SOURCES AND SIGNIFICANCE - CRITICAL ANALYSIS

Weaver, T. (2013). Comics for Film, Games, and Animation: Using Comics to Construct your Transmedia Storyworld. [online] CRC Press LLC, Oxford, pp.15–16. Available at: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=1092832 [Accessed 3 Jan. 2023].

Tyler Weaver, the author of "Comics for film, games and animation : Using Comics to Construct your Transmedia Storyworld" pitched a very interesting take specifically in the chapter "Elements of story: character," which immediately caught my eye and made me want to pick this for my critical analysis. He challenges the readers by posing a general question regarding why viewers enjoy movies and television programmes. After stating the obvious response, "Entertainment," he goes further by posing the question, "What makes it entertaining?" He responds to this question by stating that we watch these movies and television series more for the characters than for the storytelling, plot twists, etc. because seeing these characters gives us the same feeling as having friends or family over. He then expands on this comparison with some logic that I find both interesting and very valid, namely the idea that watching these characters on a weekly basis fosters our natural propensity for empathy and causes us to care about and relate to them. As a result, we support and cheer for these characters when they face challenges in the series, just like we would do for any of our friends and loved ones.

He then continues by discussing one of his current personal favourites, the American science fiction drama television show "Lost." He admitted that it took him more than two months to finish the entire show, which I would say is fairly outstanding and dedicated for a show with more than a hundred episodes, each of which is close to an hour long. He also acknowledged that he didn't realise he was going to write this book at the time, but the notion that characters are the heart and soul of a show propelled him to spend a year conducting extensive research and analysing well-known television programmes that extol the value of characters. Just to name a few, these shows included Leverage, Human Target, Fringe, and House.

Returning to the topic of the "Lost" series, he said that it exhibited plot density with branching narratives, perceived interactivity, and plot twists that couldn't be captured by a single medium. He called it a unique product of 21st century media consumption. But the author said that none of these factors were important to him because the characters were the only thing that kept him reading and were important to him.

His argument is that the characters, not the mysteries and plot twists, were what made "Lost" so enduring and brilliant. He also discusses how series like the event, flash forward, and V tried so hard to emulate and mimic the "Lost" formula but failed because they did so in the wrong way. He noted that the loss of specific show characters, such as Jin and Sun, left a void in his life that he is still trying to recover from, and he asks if any readers share his sentiments.

The author admitted that because he believed in and cared about his characters, he created them first and built the story around them. The end aim or the ending of the story would be for the character to fulfil an inciting incident caused by their defects, which initially sparked the story. He also asserts that "fully developed and engaging" does not always equate to "likeable," and he used Greggory House from the television drama "House" and Louie de Palma from the comedy "Taxi" as two of the few instances he provided to support this argument. He refers to these tales as "Midwest stories" because they include passive, one-dimensional people who agree on everything. The chapter is then concluded with a humorous note before moving on to the next.

In this specific chapter, I found myself being astonished by the author’s views on several instances, which gives me more confidence and makes me happy that I chose this one for critical analysis. I also find his viewpoint reasonable though it could be controversial to a big group of people that think otherwise. I also strongly believe that a well contructed character/ characters are one of the most vital elements in media and will keep the audience engaged even if the plot isn’t the best and there are so many examples I can give to back that point. I have seen movies with little or no plot, yet very enjoyable mainly because of the characters and the characters alone. Some great examples would be Iron Man 2, Spiderman 3 etc. these movies were hated by the critics so much yet holds such a special place in fans hearts. I would argue that the biggest reason behind that would be the well developed and lovable characters such as tony stark, peter parker etc, the emotions they express and the solidification of their legacies. To me that does justice to an enjoyable film rather than a film with a great plot but boring characters.

I would like to summarise and conclude this analysis by saying that the author has dedicated a chapter to how characters play the biggest role when it comes to movies and tv shows. He first tells us that we watch films and tv shows to entertain ourselves. He then follows up by saying that the characters are what makes the media object entertaining. He asks us to contrast between the characters in the tv shows, to the characters in real life ,and tells us how we get more attached to these characters the more we see them and their behaviours and start rooting for them and caring about them, just like we would for our loved ones in our lives. To back his points up, he gives out a few examples of some of his favorite tv shows and explains to us why his points are actually reasonable and after which he also explains how the other shows failed despite trying to replicate the same formula and pointed out that they replicated the wrong “formula”, referring to the characters and making his whole argument reasonable and almost flawless.

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DIGITAL MEDIA SOURCES AND SIGNIFICANCE - READERS

Animation Arena. (2019). Game Design Artist. [online] Available at: http://www.animationarena.com/game-design-artist.html [Accessed 2 Jan. 2023].

The various employment categories in the gaming industry are covered in this article, along with the difficulties they encounter. Three crucial positions in the video game design sector were listed by the publisher. The person who will construct the worlds and the characters is the concept artist. It will begin as rough sketches, and once the concept has been approved, it will move through additional development stages when the detailing comes into play until it is finally sent to the animator or model builder.The author advises us to study art extensively to understand about the various styles and to sketch frequently because practise makes perfect. The 2D/3D animator is requested to give the character the appropriate animations based on the demands of the game. The developed characters will eventually be given additional texture features, which the 2D texture artist is asked to paint or furnish.

Baena, C. (2019). Top Five Things NOT to Do On Your Demo Reel. [online] Animation Arena. Available at: http://www.animationarena.com/demo-reel.html [Accessed 31 Dec. 2022].

The five things an animator SHOULD NEVER DO in their demo reel are covered in this article. The first thing to remember is to keep our resumes tailored to the studio for which we are applying, and if the departments are specialised, we should choose one specialty and only include works that highlight that. The second tip is to avoid adding too much because it will become chaotic for those seeing your demoreel and they will quickly lose interest. The third recommendation is to make our reel's interior as unique and inventive as its exterior or cover. The fourth tip is to leave out anything that is overly distracting, especially the audio, as harsh sound design can quickly throw viewers off and undermine the reel's intended message. This article's last rule is to never include content that has been animated by others and credit any references taken.

Giesen, R. and Khan, A. (2017). Acting and Character Animation. [online] CRC Press, pp.99–101. Available at: https://www.taylorfrancis.com/chapters/mono/10.4324/9781315155036-20/heroes-antiheroes-villains-men-rolf-giesen-anna-khan?context=ubx [Accessed 25 Dec. 2022].

The portrayal of heroes, villains, antiheroes, and men in animation is covered in this chapter. It makes the case that heroes from before World War 2 had significantly different attitudes from those from after. The old age antiheroes in the Greek tragedy are claimed to have had their fates decided by the pleasure of the olympian gods, whereas the new age antiheroes are said to have acquired their distinctive qualities by chance (like a God-given fate). We live in a world where people only focus on the negative, and this society has been labelled as excessively pessimistic by the media and press, therefore it is believed that people no longer believe in heroes after World War 2. Joseph Campbell, a well-known mythologist, had the view that heroes were those who sacrificed their lives for a greater good and that "Star Wars" represented the final stand of heroes.

Hernandez, E.A. (2012). Set the action! : creating backgrounds for compelling storytelling in animation, comics, and games. [online] New York: Focal Press, pp.5–15. Available at: https://www.goodreads.com/en/book/show/14848218-set-the-action-creating-backgrounds-for-compelling-storytelling-in-anim [Accessed 27 Dec. 2022].

This chapter covered the value of perspective and the additional cinematography it may provide to a scene. The author tells us right away that we must learn how to set up a scene in order to plan the events that take place there. For this, perspective and layouts are the first few things we need to concentrate on because they will help design strong backgrounds, after which we will be able to achieve dramatic and energetic visuals. He gives us an illustration by displaying a scene that is drawn from a side view with absolutely no depth or perspective. He continues by displaying a second drawing of the same scenario from a different angle, demonstrating to us how it gives the scene a dramatic push and significantly increases the tension. He then discusses the One Point, Two Point, Three Point, and Four Point/Zero Point perspectives before wrapping up the chapter.

Katatikarn, J. and Tanzillo, M. (2016). Lighting for Animation. [online] CRC Press, pp.72–75. Available at: https://academyofanimatedart.com/lightingforanimationbook/ [Accessed 28 Dec. 2022].

The roles of several types of lights in animation are covered in this chapter. According to the author, it's crucial to comprehend the tools at the lighter's disposal and how they will be used and positioned in a specific scenario to suit the artist's aesthetic.The key light is the main source of illumination for the scene. According to him, The key light's colour is crucial, and even the smallest mistake or misalignment will make the scene appear unappealing. He describes fill light as the type of light that just modifies the existing parameters of the existing lighting arrangement. The gentle light that emanates from below is referred to as bounce light. Rim/kick light refers to a light that virtually acts as an outline and distinguishes an object from its surroundings. He concludes by describing the The utility light, thats an additional light in a scene like cell phone screen, Sirens.

Landgraf, H. (2019). The Increasing Role of Character Animation in Games. [online] Animation Arena. Available at: http://www.animationarena.com/character-animation.html [Accessed 30 Dec. 2022].

The high standards and significance of a character animator are discussed in this article along with what makes a good game. The publisher describes how, in the past, players would get extremely pumped up and excited to play two-dimensional games that were merely sports simulations. However, as technology has advanced, players today prefer to play games with much higher graphics that provide a more immersive experience, and the game and animation industries are constantly working to meet these demands. A group of graduates of the Animation Mentor programme who had received character animation training responded that gamers become more invested in the game and get into the character by developing empathy for them and making them as believable and relatable as possible. She ends the post by stating that the game industry moves very quickly and that there is a growing need for character animators.

Meir, D. (2019). Acting and Animation. [online] Animation Arena. Available at: http://www.animationarena.com/acting-and-animation.html [Accessed 29 Dec. 2022].

The author of this article contrasts actors and animators and explains how acting is crucial to animation. In order to demonstrate that an animator is an actor as we're attempting to tell a tale with a character, he begins by quoting one of the oldest proverbs: "An Animator is an Actor with a Pencil ". He continues by pointing out that, despite his respect for the technological advancements in animation, he believes that the new characters in animated films are a step backward and inferior to the previous ones since they lack individuality. He proposes that instead of using a formula to elevate themselves, the characters should just be themselves. After that, he examines and breaks down what makes a good actor. He believes that characters should exhibit their thought processes, respond to circumstances in a reasonable manner, and have a consistent attitude that sets them apart from other characters.

Natcoll Design Technology (2019). Motion Capture Animation. [online] Animation Arena. Available at: http://www.animationarena.com/motion-capture-animation.html [Accessed 1 Jan. 2023].

The use of motion capture for 3D characters is debated in this article as to whether it falls under acting or animation. This idea was inspired by one of the most watched movies of all time, James Cameron's Avatar. Performance capture technology, which was similar to motion capture but for facial expressions, was employed in this movie. Every expression and reaction the actor makes is recorded and accurately replicated in the 3D character they are portraying. The actors will be able to complete each act entirely on their own because nothing will be added during preproduction. The distinctions between animation and conventional filmmaking have become more hazy as a result of this technological advancement.Cameron defended the technology and asserted that this performance was acting, and anyone who disagreed needed to be properly informed.

Thomas, F. and Johnston, O. (1995). The illusion of life : Disney animation. [online] New York: Hyperion, pp.393–395. Available at: https://books.disney.com/book/the-illusion-of-life/ [Accessed 26 Dec. 2022].

The technique by which Walt Disney creates characters is covered in this chapter. In contrast to writing the plot first and then adding the characters, it is believed that Walt prepares his characters before writing the story. Additionally, he recommended that before really creating these people, his character designers learn as much as possible about them. Since he believed that a character's charisma and personality were the most important aspects of good material, he would pay more attention to these aspects than to the character's goals or motivations or how they affected the plot. At times, he would become so engrossed in the characters that he would even play them out, losing all awareness of his surroundings. His coworkers would have the time of their lives watching it because of his contagious enthusiasm and confidence in these people, which spread wonderful energy throughout the office.

Weaver, T. (2013). Comics for Film, Games, and Animation: Using Comics to Construct your Transmedia Storyworld. [online] CRC Press LLC, Oxford, pp.99-100. Available at: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=1092832 [Accessed 3 Jan. 2023].‌

This book's intermission talks about the five mantras for creating a comic strip. The first credo is to always keep in mind that comics and movies are two very different genres, each with their own advantages and disadvantages. The second credo is to always keep in mind that comics are nothing more than very private experiences. The third point is that we need to comprehend the specific guidelines and components of comic book storytelling. The fourth recommendation is to make use of the infinite storytelling potential while crafting a comic book story. Choose "the moment" that grabs everyone's attention and tells a lot of stories as the fifth and final catchphrase. a number of the chapters in this book drew my attention, therefore I think I might use it for my critical analysis.

Wheless, J. (2019). Become a Better Animator. [online] Animation Arena. Available at: http://www.animationarena.com/become-a-better-animator.html [Accessed 30 Dec. 2022].

The publisher of this article asserts that becoming a good animator requires far more than simply having the necessary technical skills; it also requires having a positive attitude and controlling our ego. This article highlights the attributes an animator should possess.According to the publisher, he has encountered numerous animators who lacked these characteristics and who ultimately ended up ending their own careers as a result. He believes that an animator needs to be able to work well with others and be receptive to ideas. Additionally, if he wants to finish it on time and realises that he won't be able to accomplish it on his own, he should be able to accept constructive criticism and request technical assistance from other animators without fear. He ends the post by stating his personal convictions, which are that having an 80% positive attitude and 20% talent will help us succeed in life.