#SourcesandSignificance

[ellie-bygrave]

Cyberpunk 2077: Phantom Liberty – Tarot Cards as Signs

Cyberpunk 2077 and Cyberpunk 2077: Phantom Liberty spoilers ahead!

A Brief Understanding of Semiotics

Semiotics is the study of signs and how they relate to hidden meaning or a bigger picture (Britannica, 2023). A sign can be anything that is used to represent meaning; a sign can be a drawing, a word, even something physical, like a red light. Even though there is no tangible reason why a red traffic light means “stop”, culturally and contextually it is agreed upon internationally that red means “stop”. However, if a person was brought up having never been introduced to the concept of red meaning “stop”, there is nothing physical to link the sign (the red light) to the concept it is communicating (stop) and they would not be able to make that connection without being provided some context. The same can be said for words; the combination of letters – and even the shape of the letters themselves if we want to consider this more deeply – do not inherently link to the sentiment we are aiming to get across when we write. It is only though an arbitrary assignment of meaning to these words that we can coherently articulate our ideas.

The linguist Ferdinand de Saussure proposed a dyadic model of the sign (Chandler, D. 2019). He defined a signifier, which is the form the sign takes, and a signified, the concept represented by the sign. A traffic light would for the signifier and the need to stop would be the signified. He declared that there could not be a signifier that exists without a corresponding signified, and vice versa, and that the linguistic sign was a product of the association we make between the two (de Saussure, F. 1959). Saussure supported the notion that the connection between the signified and the signifier within a sign was arbitrary, but acknowledged that words with onomatopoeia were not randomly linked to their meaning, and that signs related to images of objects were not necessarily arbitrary (Nӧth, 1990).

Charles Sanders Peirce developed a system based on 3 categories for identifying the elements of a sign (Albert, A. 2023). The first element is the signifier. This refers to the representation of the sign – the red traffic light, in our previous example. Not all elements of a red light need to part of the signifier for a specific sign. For example, the size of the traffic light has nothing to do with the meaning of it, nor does the material from which the light is made. It is simply the red light that is the signifier in relation to this sign. The meaning we interpret upon seeing the signifier is dubbed by Peirce as the interpretant (Media Studies, 2021). In our traffic light example, the interpretant would be that there is danger ahead and we should stop. The object of a sign is the intended outcome that occurs upon someone perceiving the sign. In this case, it would be for the person to stop. The signifier should clearly trigger the interpretant, which should in turn lead to the object occurring.

Cyberpunk 2077

Cyberpunk 2077 is a first-person open world RPG released in 2020 by CD Projekt Red with mixed success. The launch was rocky, with lots of players unable to play due to poor optimisation on certain platforms. After lots of subsequent updates and fixes, the game rose in popularity, significantly so at the release of a massive update – which overhauled and improved upon many aspects of the game – and its first major DLC, Phantom Liberty, in September 2023.

Set in Night City, a megacity in the New United States of America (NUSA), the game sees V, the protagonist and player character, try to fight their way to becoming a Night City legend by taking on mercenary gigs to gain favour and a good reputation amongst the big names in the city. When a particularly high-stakes heist goes wrong, V ends up stuck with a biochip inside their brain that houses the construct of a long-dead rock star and anarchist, Johnny Silverhand. An unfortunate turn of events means that the construct becomes fused with V’s own consciousness and the construct of Johnny unintentionally begins to take over V’s mind and body. The inevitable death of V’s consciousness is an ever looming deadline that drives the majority of the plot, as V and Johnny struggle to find a cure and separate themselves from each other.

Cyberpunk 2077: Phantom Liberty – The Basic Plot

The Phantom Liberty DLC has a complex and twisting plot. It sees V become involved in a plot to save the President of the NUSA, Rosalind Myers, at the behest of Song So Mi (Songbird), an intelligence analyst for the FIA (Federal Intelligence Agency). They enlist the help of two FIA sleeper agents, Solomon Reed and Alex Xenakis, to unearth a secret cure that could be the key to solving V’s biochip problem. It is later revealed that Songbird is also in need of the same cure, as her work for President Myers has unleased a rogue AI into her mind.

Tensions run high between the three FIA agents, and V can later choose to side with Songbird and help her escape Myers’ grasp or to side with Reed and Alex, leaving Songbird to deteriorate in the clutches of the Rogue AI.

There are multiple endings to the Phantom Liberty DLC, none of which are particularly happy endings. If V sides with Songbird, we eventually learn the cure is only useable once, and Songbird intends for it to be used for herself. The player can then choose whether to allow Songbird to take the cure or to hand her over to Reed and gain the cure for themselves. If V sides with Reed and Alex, the player later has a choice of whether to end Songbird’s suffering after the rogue AI runs rampant in her mind or whether to hand her over to Myers and receive the cure for V.

Semiotics in Cyberpunk 2077

Throughout the base game, and now the DLC, players can take part in a side mission to hunt for tarot cards scattered throughout Night City in the form of strange, glitchy murals that only V and Johnny can see. Whilst collecting scans of these cards, the player can visit their friend, Misty Olszewski, for a tarot reading. The Phantom Liberty DLC expands upon this, adding 4 new cards to be found in Dogtown, the region of Night City where the DLC takes place. Misty can tell you about each of these 4 new cards and the meaning they hold. There are 4 different ways in which the Phantom Liberty DLC can end depending on the choices the player makes. Each of these endings is named for each of the 4 cards you find and relates in some ways to what is revealed by Misty. My further interpretation of these 4 cards is that each is also a sign relating to one of the major characters we meet in the DLC.

Based on Saussure’s dyadic model, the mural of the tarot card would be the signifier and the person it is referring to is the signified. Peirce’s system of 3 categories would also suggest that the mural of the tarot card is the signifier, but the truth that is revealed from the cards about each character would be the interpretant. The actions the player then takes towards the characters based on the interpretation of the cards could be seen as being the object.

So how do the tarot cards relate to these characters?

King of Pentacles – President Myers

The King of Pentacles card is most likely the first one that the player will see. It is found outside an apartment safe house where V and Myers go immediately after escaping the downed plane. The signifier of this sign is of a shrouded figure, covered in cyberware with a five-pointed star behind them. Misty’s explanation of the meaning behind this card, or the signified/interpretant states that it refers to the leader of a rich and powerful realm that is constantly under threat, making the leader a dangerous person to have dealings with.

This card appears to signify President Myers, who is, quite literally, the leader of a rich and powerful realm: the NUSA. She finds herself and her grip on power under threat at the beginning of the DLC at the hands of Kurt Hansen and, unbeknownst to her, Songbird. Although it seems as though Myers is working for the greater good, it is not long before V finds out about her treatment of Songbird and Myers’ manipulation of V to maintain her power becomes clear. She shows disregard for the lives of her agents as she orders them to retrieve Songbird for her, which can lead to the demise of Alex or Reed. The only regret she shows towards Songbird’s death (if you choose to kill her out of mercy) is that she can no longer exploit Songbird’s skills to further her own rule.

The object, or purpose, of this sign is to create a sense of distrust between V and Myers, indicating that all may not be as it seems and to take what Myers says with a grain of salt until the truth comes to light. The warning confirms suspicions that Johnny voices throughout V’s interactions with Myers: there is something off about the situation they find themselves in.

King of Wands – Solomon Reed

The King of Wands card is found near to where V meets Reed for the first time. The physical signifier of this sign is of a muscular figure whose face is obscured by cyberware, holding a large sceptre. This card represents a leader who sticks to their principles and may commit a sacrifice in order to fulfil a greater purpose.

Aside from the physical location of this card, the signified/interpretant points to Reed, an FIA sleeper agent who was declared dead as a cover story after being betrayed by his own people and, importantly, Songbird, on a previous mission. Despite being wronged by so many, Reed remained a man of his word and left behind anything resembling a life for himself to continue to do his duty for his country.

In terms of a sacrifice, there are multiple different ways we can interpret Reeds story as involving sacrifice, some more literally than others. If V decides to let Songbird escape with the cure, Reed pays the ultimate price: his life. V kills Reed as he tries to stop them escaping, although there is some debate amongst the audience as to whether he really tried, or if it was a half-hearted attempt from someone who had accepted that the life they’d have afterwards was not one they’d want to live through. If Reed does not die, regardless of the other elements to the ending, Reed becomes a shell of his former self, questioning every decision and action he and V took. Either way, the sacrifice Reed makes for Songbird is well represented by Misty’s interpretation of the King of Wands.

There is not a clear object to this sign, as no matter the choices the player makes, a sacrifice must still be made. Additionally, it is not obvious which choices will lead to Reed’s biggest sacrifice right up until the moment it occurs. However, the sign still foreshadows elements to the story in a way that will keep the player guessing.

King of Swords – Alex

The King of Swords card is found near Alex’s bar in Dogtown. The card shows a chromed figure holding two blades. Misty’s analysis tells us that the person this refers to is a voice of reason who tells sharp truths that may be painful to hear. This signifier most closely represents Alex, another FIA sleeper agent who dreams of being free from the FIA’s clutches.

Throughout V’s conversations with Alex, we can see that Alex is very sceptical of the FIA and Reed, telling V that they should not have got involved unless they were prepared to essentially give their life over to the FIA. She has become very disillusioned with her work as an agent and is ready for an out, making it clear that the only reason she will help with Reed and V’s mission to rescue Songbird is if she can retire the FIA for good once the mission is done. She is very much represented by this tarot card, being brutally honest with V about things most people would shy away from saying.

The King of Cups – Songbird

The King of Cups card shows a hooded cyber-figure hunched over a goblet. Upon telling Misty about the King of Cups card, she tells V that they must be particularly cautious around anyone they meet that this card may be pointing to. She says that the person may bring understanding and emotional balance, but that they might try to manipulate V and cause spiritual crisis. Based on my semiotic interpretation, this reading refers to Songbird.

Songbird situation easily allows V and the player to empathise with her – it’s not every day you meet another person with a rogue construct taking over their brain. V and Songbird have a strong understanding of one another and become close throughout the events of the DLC. This close link the two share makes it all the more painful when V learns that Songbird has been manipulating them the whole time.

The “spiritual crisis” that the card implies could be interpreted as applying to Songbird or to V. Songbird is on the brink of death when she confesses her betrayal to V and is wracked with guilt at using her friend for her own benefit and then hanging them out to dry. At this point, Songbird is unable to complete her mission herself, and is relying on V to do so for her. V now faces the decision of whether to help Songbird as promised or to leave her for the FIA and take the cure for themselves. This leads to a lot of self-reflection for V and doubt about which choice would have been right.

Ultimately, the object of this card is to make the player think twice about their decisions relating to Songbird. They are warned to be wary around her and Songbird undoubtedly lives up to that warning. She is a complex character with a deep backstory that goes a long way to explaining her actions, but, in the end, V is the one who seals her fate.

To Conclude

The analysis of these cards and the way they represent the characters of the DLC provides a deeper understanding of the motivations and backgrounds of these characters. It provides a greater depth to the characters beyond the level that can be gleaned from gameplay that contributes to the deep and complex backdrop of the game that can be found if one explores below the surface.

References

Albert, A. (2023). Peirce’s Theory of Signs. The Stanford Encyclopaedia of Philosophy (Spring 2023 Edition). Edward N. Zalta & Uri Nodelman (eds.). https://plato.stanford.edu/archives/spr2023/entries/peirce-semiotics/

Britannica, The Editor’s Encyclopaedia. (2023). Semiotics. Encyclopaedia Britannica. https://www.britannica.com/science/semiotics. (Accessed 23/11/2023)

Chandler, D. (2019). Semiotics for Beginners. Visual Memory. https://www.cs.princeton.edu/~chazelle/courses/BIB/semio2.htm (Accessed 06/11/2023)

De Saussure, F. (1959). Course in General Linguistics. New York: The Philosophical Library.

Media Studies. (2021). Charles Peirce’s Triadic Model of Communication. Media Studies. https://media-studies.com/triadic-model-semiotics/ (Accessed 06/11/2023)

Nӧth, Winfried. (1990). Handbook of Semiotics. Indiana University Press. (Accessed 23/11/2023)

[tyronemw]

10. Pushing Limits - How far can virtual reality really go?

We are constantly outperforming ourselves in the field of technologic advancement all the time, we as humans strive to make advancements in this sector all the time, ever so slightly improving everything we have created, since it’s been created. Every single newer model of the iPhone has a slightly better camera each time, but its not just Apple who strive for this, it’s all technology.

It begs the question, when does it end? Will it ever end? Is there an end goal? We will ever reach a point where we say to ourselves, “Okay, I don’t think we can improve this anymore”. In my opinion, no, I believe we as a human race will continue forever to make it just that little bit better, squeezing every last part of new technology out. We will continue to innovate, achieve beyond what we think is capable right now, and to this theory I want to use Virtual Reality as an example, from what it was to what it is now, and how far it could really go.

Virtual Reality, or VR as its also known, is a simulation, where the user can immersive themselves in a virtual world through the use of 3D near-eye displays and pose tracking, originally created in 1968 by computer scientist Ivan Sutherland and Bob Sproull's. This was the first instance of a head mounted display, connected to a computer that the world had ever seen called the Sword of Damocles. The head mounted contraction was anchor to the ceiling as it was too heavy to be supported by just the user themselves. As it was connected  to the computer, the computer generated very basic wireframe graphics that the user could see.

If we fast forward to now and look at the differences between todays VR headsets and the sword of Damocles, the technological advancement is breathtaking, the hardware continues to improve, users can now wear comfortable headsets, and more ergonomical. The resolution is still increasing, with some headsets boasts and impressive 3840x3840 QLED panels per eye. All of these features of VR are still evolving, we as consumers are able to put on a headset and jump into a virtual world seeing and hearing everything around us, the realism is and immersion can be intense, but does it have to stop there?

I mentioned earlier about how far virtual reality can go? Would we be able to fully immerse ourselves in a virtual world totally, there are still barriers yet to be broken, when we put the headset on, we can see and hear everything in virtual reality, is it only time when we can smell things too? Or touch things, maybe even taste? These senses in my opinion are what shapes the very fabric of what reality is, its things you can see, feel, taste and touch, its an object you can physically see or feel in the present. VR is virtual realism, it’s a simulation of the reality we understand it to be, so if we could fully immersive ourselves in a virtual space with all of the notions attached to, could it essentially replace our own version of reality?

I think, honestly, yes, I think the technologic advancements we have made and seen through the years, have come so far, and as humans always strive to do better, could break through our own vision of reality. There are no hard physical limits to VR, only from our own ability to interact with the brain, if we were to solve that, then VR could become indistinguishable from reality.

Bibliography

3Darchstuffs, 2023. Hardware Limitations of VR and Its Relevance in Commercial Projects. [Online] Available at: https://3darchstuffs.com/blogs/news/title-hardware-limitations-of-vr-and-its-relevance-in-commercial-projects?srsltid=AfmBOooafId9qbSo31q3nf87OldItkst5_PRnfNurlak-WYH2nqaIVng [Accessed April 2025].

Barnard, D., 2024. History of VR – Timeline of Events and Tech Development. [Online] Available at: https://virtualspeech.com/blog/history-of-vr [Accessed April 2025].

https://pimax.com/pages/pimax-crystal-super?srsltid=AfmBOorQeKSozOOOWjRI4jdTdQWC1wF1sMYZI-GweHOjcD7kiymE1k5Q

https://en.wikipedia.org/wiki/Virtual_reality

https://www.vrs.org.uk/virtual-reality/history.html#:~:text=In%201968%20Ivan%20Sutherland%20and,computer%20and%20not%20a%20camera

[giorgiadigitalmedia]

Reader

Gill, R. (2007). Gender and the Media. Cambridge: Polity Press.

Gender and Media addresses the various ways gender is being represented in media, with a closer focus on contemporary Western societies. The book aims at identifying and analyzing concepts such as femininity, masculinity, and gender relations, while also pinpointing contradictory occurrences including expressions of “girl power” and the rising rate of cases of body dysmorphia and anorexia. Since the idea of feminism and gender more generally is something that changes over time and is constantly fluctuating, I believe it is really important to keep an eye on the new developments to be more aware of the world that we live in. Gender is something that involves each one of us, or at least the majority, and keeping up to date on how the media decides to portray something so important for our own identity, is substantial.

Holliday, C. and Sergeant, A. (2018). Fantasy/animation : connections between media, mediums and genres. New York, Ny: Routledge, An Imprint Of The Taylor & Francis Group. doi:https://doi.org/10.4324/9781315166919.

This book mainly revolves around the relationship that distinguishes and combines the worlds of animation, fantasy, and more generally cinema. While the text provides the reader with lots of definitions and theoretical notes, it also puts a lot of emphasis on the use of case studies to analyze the historical, geographical, and cultural ramifications of animated films. What I particularly enjoyed in this book is the vastness of subjects that are talked about, going from techniques for enhancing social engagement to ways to evoke empathy in the audience, to alternation of realism and artificiality, and finally to the discovery of different cultural backgrounds and the use of national identity. As an animation student, I think this paper helped me delve deeper into the connection between the fantasy genre and animation, and it will serve me in the production of my future movies.

Jeffries, D. (2017). The Worlds Align: Media Convergence and Complementary Storyworlds in Marvel’s Thor: The Dark World. In M. Boni (Ed.), World building. Amsterdam: Amsterdam University Press. https://doi.org/10.2307/j.ctt1zkjz0m.19.

This edited collection of original essays explores the phenomenon created by the combination of worlds generated by different technological mediums, their recognition as brands, and the interpretations of meaning and values in modern society. The chapter that I analyzed more closely, explains multiple approaches to world-building specifically in TV series such as Harry Potter, Lord of the Rings, and the Marvel Universe, where narratives first started in comics. Something that I think the chapter was able to convey, was the logic of transfictionality, the interactive production between reader and creator, and the concept of convergence. As a person in the animation field, I believe it is very important to create a critical opinion concerning the process of collaboration between different media industries and the developing idea of entertainment made for audiences.

Lacey, N. (2018). Image and Representation. Bloomsbury Publishing.

Image and Representation gives us an insight into quite basic but essential key concepts for today’s society: theoretical image analysis and media representation. While at the beginning it delves into topics such as media agencies, categories, technologies, languages, and audiences, it later tries to give us an interpretation of the world depending on who we are and the experiences that brought us where we are. To give us a more global and updated view of the situation, a second edition has been created, including more recent case studies regarding new media technologies and all the issues that we experience nowadays, which I think was helpful. I believe that artists especially need to know exactly how to communicate with the masses and what the visual components that they use mean to the public. Images matter and they are never innocent.

Munch, A.V. (2021). The Gesamtkunstwerk in Design and Architecture. Aarhus Universitetsforlag.

This book gives us a definition of the concept of Gesamtkunstwerk, as a union of the arts to bring together people and transfer more art into buildings and houses. As the research explains, design and architecture were the two environments that produced the largest variety of products. While highlighting the connection between Richard Wagner’s beliefs and the Natzi movement, the paper aims to delve into the role of the total work of art in the history of ideas. Besides a personal passion for historical events and the artistic influences of the time, I also found an interest in the reasons behind the development of the concept of the total work of art. I believe that the innovation that came with the birth of the movement and the consequent ending can still reflect some more contemporary issues that are present in today’s society.

Negrão, J.G., Bazán, P.R., de Azevedo Neto, R.M., Lacerda, S.S., Ekman, E. and Kozasa, E.H. (2022). Baseline emotional state influences on the response to animated short films: A randomized online experiment. Frontiers in Psychology, 13. doi:https://doi.org/10.3389/fpsyg.2022.1009429.ù

The article delves into the topic of emotional states in relation to the media that we are exposed to and how they can change accordingly. The case study has been run by experts from both Brazilian and American backgrounds and includes random people who have decided to participate in a moment of time during the global pandemic. Through surveys, percentages, statistics, and graphs, the research puts into comparison the emotional responses registered with the sociodemographic information given by the applicants. Since the experiment is based on animated short films, it is directly related to my environment and can guide me through a more aware and conscious production of content for people to consume. Lastly, I really appreciated the visibility given to mental health and the impact that can derive from it.

Orgad, S. (2012). Media Representation and the Global Imagination. Cambridge Polity.

‌ In this book, the author reflects on the power of media and how its representations can shape the way we perceive the world and the people who surround us. She also particularly focuses on the advent of the Internet and social media and all the consequences generated by our constant use of technology. What positively affected me the most was her constant aim throughout the paper, which was to make us more conscious of the media information we consume every day, paying attention to what we are feeding our minds. As “viewers”, we have access to all kinds of information regarding different locations, therefore we should take the opportunity to open our eyes to situations and people that are far away from our imagination.

Shi, Y., Lu, Y., Liu, L. and Liu, E. (2024). Virtual reality painting: A structured review of a decade of innovation. Metaverse, [online] 5(1), p.2546. doi:https://doi.org/10.54517/m.v5i1.2546.

The article aims to demonstrate the advantages, challenges, and validity of VR especially with the creation of art. The writers linger in particular on the topic of interactivity with the audience, exploring the recent experimentations involving physical assets and more technologically dependent ones. Combining 2D and 3D techniques, the researchers are looking for ways to achieve device-free and multisensory interaction that eventually aims to become completely seamless. What I find really peculiar about this specific subject, is the way that it relates to each one of us no matter one’s job, income, or interest in the matter. Even though I believe that for some people these kinds of devices represent the highest level of technological progress and development, for creatives like us they can become something that we need to take into account. Therefore we need to know how to recognize and use them to be more aware.

Soukup, C. and Foust, C.R. (2023). Popular Culture in Everyday Life. Taylor & Francis.

This critical analysis of pop culture delves into the presence of media in our everyday lives and helps us ask ourselves the right questions regarding approaching technologies with a critical eye. The authors choose to explore multiple types of pop culture media made for mass production entertainment purposes and reflect on the representations of reality. Through the examination of a few contemporary case studies and key terms, the book goes from the capitalistic view of popular culture to the effects that it has on individuals, communities, and the general public. I found the attempt of the writers to encourage the development of critical awareness about such a contemporary phenomenon very helpful and insightful. Moreover, the text also offers a few very practical exercises that invite a reflection on the relationship between technology and consumption and how new media erases, changes, or integrates old mediums.

Uhrig, M. (2019). Emotion in Animated Films. Routledge.

Marion E. Uhrig's Emotions in Animated Films delves into how animated movies connect with audiences on an emotional level. The book examines the use of visuals, music, color palette, and storytelling to create feelings that resonate deeply. Uhrig discusses techniques like color schemes, character design, and soundtracks, explaining how they work together to bring out emotions. It’s an insightful look at the artistry behind animation and how it captivates viewers. I think that, as someone who will work with and especially for audiences, understanding the key communication aspects to take into consideration when dealing with the public can be very useful. In conclusion, taking a brief look at the psychological insights and emotional responses that lie behind animated films, can work towards an overall understanding of the human brain and can predict future behaviors.

Xu, J., Zhang, X., Li, H., Yoo, C. and Pan Younghwan (2023). Is Everyone an Artist? A Study on User Experience of AI-Based Painting System. Applied sciences, 13(11), pp.6496–6496. doi:https://doi.org/10.3390/app13116496.

The article explains how users interact with artificial intelligence concerning creations meant for an artistic environment and made with a particular medium, specifically painting. The impact of creativity and technology acceptance are evaluated basing the results of the study on feedback about the user’s interface and motivation. The paper suggests that these systems end up democratizing art and question the role of authorship and the impact of AI in artistic processes. Since as of 2024 the situation is still “under control”, it is interesting to learn about this kind of topic but certainly still not necessary. However, everything can change in a matter of a second with the technological development happening recently, therefore I think that creating an opinion on AI and on the amount of control that we decide to give it, is a step that we all need to take.

[sourcessignificance]

Sources and Significance (Academic Blogs)

The History of Mixed Reality

Introduction

Mixed Reality (MR), neither confined to the overlays of Augmented Reality (AR) nor the isolated spaces of Virtual Reality (VR), exists as an interactive fusion of the two. This convergence allows users to manipulate digital and tangible elements simultaneously, transforming industries like healthcare, education, and entertainment.

Figure 1 (Introduction to mixed reality, (Microsoft Learn, 2023))

The history of MR is deeply intertwined with advancements in AR and VR. Its roots lie in decades of scientific exploration into human-computer interaction, spatial computing and holography. From its conceptualization to its present form, MR has reached key milestones, faced several challenges, and has great potential in shaping the future of technology and human interaction.

Theoretical Foundations and Early Beginnings

The conceptual origins of Mixed Reality can be traced to Paul Milgram and Fumio Kishino’s seminal work, A Taxonomy of Mixed Reality Visual Displays (1994). Their “Reality-Virtuality Continuum” positioned MR as a bridge between purely physical environments and entirely virtual ones. This theoretical framework, inspired by earlier research into human-computer interaction, offered new opportunities for understanding how digital and physical worlds could coexist.

Figure 2 (History of Mixed Reality, (Rosenberg, 2021))

Long before MR became a practical reality, Ivan Sutherland’s vision of “The Ultimate Display” (1965) laid its philosophical foundation. Sutherland, often called the father of computer graphics, imagined a system where virtual objects behaved indistinguishably from real ones, predicting MR’s eventual impact. This vision was expanded upon in Howard Rheingold’s Virtual Reality (1991), which examined technologies’ potential to provide immersive perception and interaction. Although focused on VR, Rheingold’s analysis foreshadowed MR’s ability to blend the digital with the tangible.

Technological Milestones and Key Innovations

The journey from theory to implementation of Mixed Reality required significant technological advancements. Early developments in AR, such as the introduction of heads-up displays (HUDs) in the 1980s for military use, provided essential components like spatial tracking and data visualization. Meanwhile, advancements in VR, particularly Jaron Lanier’s pioneering work on virtual environments in the 1980s, contributed to MR’s foundational technologies.

Figure 3 (Apple Vision Pro: A new milestone for Mixed Reality, (Hardawar, 2023))

By the 2010s, MR began to materialize as a distinct field. Microsoft’s HoloLens, which allowed users to see holograms as well as interact with them in the real world, launched in 2016 and became a landmark device, as it integrated spatial computing, advanced sensors, and AI to create immersive environments. Technologies like global positioning and spatial mapping were instrumental in enabling MR systems to “anchor” virtual objects within physical spaces, making interactions more intuitive (Milner, 2016).

The 2018 release of Magic Leap One represented another milestone. Leveraging lightfield technology, it pushed MR closer to photorealism by producing dynamic holograms  that were beginning to become indistinguishable from the real world.

The Future of Mixed Reality

The integration of MR with artificial intelligence, 5G networks, and the Internet of Things (IoT) heralds a future where the boundaries between physical and digital dissolve further (Kelly, 2016).

Figure 4 (Future of MR, (Greener, 2022))

One of the most exciting prospects lies in MR’s role within the metaverse, a shared digital space where users can collaborate and create without geographical constraints. As MR devices become lighter, cheaper, and more powerful, their adoption will expand, reshaping how people work, learn, and connect.

CONCLUSION

Mixed Reality represents a culmination of decades of theoretical exploration and technological progress. From Milgram and Kishino’s Reality-Virtuality Continuum to the advanced headsets of today, MR’s journey underscores humanity’s drive to transcend the physical limits of experience. However, as this technology matures, it must navigate ethical and practical challenges to fulfill its potential responsibly.

Virtual worlds, akin to real worlds, are only shaped by those who inhabit them, and Mixed Reality offers a rare opportunity to shape not only new environments but also the way we perceive and interact with the world itself — a prospect as thrilling as it is transformative.

REFERENCES

Microsoft Learn, 2023. What is mixed reality?. [Online] Available at: https://learn.microsoft.com/en-us/windows/mixed-reality/discover/mixed-reality [Accessed 7 December 2024].

Milgram, P. & Kishino, F., 1994. A taxonomy of mixed reality visual displays. IEICE Transactions on Information and Systems, E77-D(12), pp. 1321-1329.

Rosenberg, L., 2021. Augmented Reality: Reflections at Thirty Years. In: Augmented Reality: The Magic of 3D, pp. 1-18. Springer. doi: 10.1007/978-3-030-89906-6_1.

Sutherland, I., 1965. The ultimate display. Proceedings of the International Federation of Information Processing Congress.

Rheingold, H., 1991. Virtual Reality. Summit Books.

Hardawar, D., 2023. engadget. [Online] Available at: https://www.engadget.com/apple-vision-pro-hands-on-a-new-milestone-for-mixed-reality-060943291.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuYmluZy5jb20v&guce_referrer_sig=AQAAANdmFJUz5CMozdhUKNQPLSzbpUnvOrpnbWZtLMxZlzuiIRxOfqrPQuN7WQKKoFFEOEWX-yLQAqk2i [Accessed 7 December 2024].

Milner, G., 2016. Pinpoint: How GPS is Changing Technology, Culture, and Our Minds. W. W. Norton & Company.

Kelly, K., 2016. The Inevitable: Understanding the 12 Technological Forces That Will Shape Our Future. Viking.

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Male Gaze in League of Legends

Introduction

Since its launch in 2009, League of Legends has become a cornerstone of modern gaming, celebrated for its complex gameplay mechanics, competitive scene, and dynamic community. Over the years, the game has introduced a vast array of champions, each meticulously designed with unique abilities and lore. However, beyond this celebrated diversity is an issue that continues to mirror a broader challenge within gaming culture: the influence of the male gaze in the portrayal of female characters.

Figure 1 (Jinx of League of Legends, (Suarez, n.d.))

Female champions in League of Legends are frequently designed with hypersexualized appearances and embody exaggerated beauty standards that seem tailored to cater to a predominantly male audience. This trend both reinforces gender stereotypes and but also perpetuates a culture where women are often objectified or reduced to decorative figures. Such representations are echoes of a longer pattern that can be seen in the gaming industry, where female characters are often valued more for their physical attributes than their depth, skill, or importance to the narrative. So, as gaming evolves into a more inclusive and diverse space, these outdated portrayals need to be increasingly scrutinized in an attempt to create more thoughtful and representative character designs that celebrate all players equally.

What is the Male Gaze?

Laura Mulvey’s concept of the male gaze describes the way women are often represented in visual media as objects of visual and erotic pleasure, constructed to cater to the perspective of a heterosexual male viewer (Mulvey, L., 1975). This framing diminishes women’s autonomy and positions them as passive participants rather than active agents within stories.

The male gaze operates on three interconnected levels. First, it is embedded in the perspective of the camera, which often lingers on or frames women’s bodies in ways that sexualise or objectify them. Second, it appears within the perspective of the characters, with male characters often gazing at and interacting with female characters in ways that reinforces their roles as objects rather than subjects. Finally, it assumes the perspective of the audience, treating the heterosexual male viewer as the default demographic and shaping female representations to appeal to this demographic.

Mulvey’s critique shows how these depictions reinforce patriarchal power structures, relegating women to roles that prioritize their appearance over their agency. This concept has been influential in feminist theory as it offers a framework to analyze the ways in which media reinforces gendered power imbalances. The male gaze remains a pervasive issue across various forms of media, from film to advertising to video games, where the framing of women often reflects these same dynamics.

Champion Design: A Double Standard

The disparity between male and female champion designs in League of Legends i s quite stark. Female champions like Ahri, Miss Fortune, and Evelynn exemplify hypersexualisation with their revealing outfits, suggestive animations, and flirtatious narratives.

Figure 2 (Ahri of League of Legends, (League of Legends Wiki, n.d.))

Ahri, a champion from League of Legends, exemplifies the male gaze through her design and gameplay mechanics, aligning with Laura Mulvey’s framework. Known for her charm and seductive persona, Ahri’s appearance is tailored to a hyper feminine aesthetic that appeals to the aforementioned heterosexual male viewers. Her slim figure, revealing attire, and flirtatious demeanor reinforce traditional beauty standards, making her a visual spectacle rather than a character defined by depth or complexity. Her personality is also centered on allure, with her lore and in-game interactions emphasizing her enchanting and manipulative qualities rather than any substantial internal development.

Ahri’s gameplay further reflects this dynamic, particularly in her ability “Charm.” This ability literally weaponizes seduction, as she sends out a kiss that damages and charms opponents, rendering them incapacitated and drawn toward her. The move’s animation emphasizes her sultry appeal, ensuring that even her battle mechanics echo the theme of using beauty and allure as a tool. Within Mulvey’s framework, Ahri caters primarily to the perspective of the audience, as her design assumes a male player who appreciates her sensuality. This reduces her identity to an object of desire, reinforcing the male gaze by prioritizing how she looks and performs over a balanced or multidimensional representation. While Ahri is a beloved character, her design and abilities perpetuate the broader trend in media where female characters are crafted to fulfill external expectations rather than reflect internal complexity.

Figure 3 (Miss Fortune of League of Legends, (League of Legends Wiki, n.d.))

Miss Fortune, another League of Legends champion, is a character that is established as a fierce and confident bounty hunter with leadership qualities — yet her visual representation prioritizes sexual appeal over practicality or authenticity. Her exaggerated curves, revealing outfits, and suggestive poses overshadow her identity as a strategic and powerful captain. Furthermore, her voice lines in the game are delivered in a tone that is unmistakably seductive. Her flirtatious inflection, paired with lines that emphasise her charm, reinforces her hypersexuality. For example, lines like “You've got dangerous eyes... I like that” are said with a sultry cadence, which draws more attention to her sensuality and her capabilities.

This portrayal aligns closely with Mulvey’s theory, particularly in how Miss Fortune caters to the perspective of the audience and male characters within the game’s world. Her confidence and flirtatiousness, rather than being empowering traits, are often presented as tools to reinforce her sexual objectification. By focusing on her lascivious nature, the game reduces her identity to her ability to attract and entice, rather than emphasizing her competence as a leader or her emotional depth. This duality in her character — her capability as a captain juxtaposed with her impractical, revealing design and flirtatious demeanor — is one of the many persistent challenges of representing women authentically in gaming media.

Figure 4 (Evelynn of League of Legends, (League of Legends Wiki, n.d.))

Lastly, Evelynn, a so-called demon born of lust and the consequences of unchecked desire, has an identity purely defined by her sensuality. Her existence reflects the darker side of human vulnerability, as she preys on those overcome by their own cravings, luring them in with beauty and charm only to leave them devastated or destroyed. Thus, her backstory positions her as a horrific reminder of the cost of wanton desire.

Despite this chilling and complex premise, however, Evelynn’s design often undermines her narrative potential. Her provocative outfits and sultry demeanor draw more attention to her appeal as a hypersexualized figure than to the depth of her role as a predator and tormentor. Instead of fully embracing her nature as a nightmarish embodiment of lust gone awry, her characterization leans heavily into the male gaze, turning her into a figure designed more for visual pleasure than storytelling. This disconnect between Evelynn’s lore and her presentation highlights how gaming media often reduces female characters, even those with rich and unsettling narratives, to simplified and objectified versions that cater to audience expectations rather than their intended themes. 

Cultural Consequences of the Male Gaze

These design choices reinforce harmful stereotypes about women, both within the gaming community and beyond. Female players are confronted with representations that reduce their gender to mere decoration, perpetuating a culture where women are objectified and undervalued. For male players, the normalization of these portrayals reinforces narrow perceptions of masculinity and femininity, creating an exclusionary and often hostile gaming environment.

Figure 5 (Arcane based on the lore of League of Legends, (King, 2021))

The male gaze also limits the creative potential of games like League of Legends. Instead of exploring rich, multidimensional characters, developers lean on tired tropes that prioritize aesthetics over substance. This diminishes the narrative depth of the game and alienates a significant portion of its player base.

Steps Toward Inclusive Representation

Recent efforts by Riot Games show a willingness to address these criticisms (Marks, 2018). Champions like Illaoi and Taliyah break away from traditional gender norms. Illaoi’s muscular physique and commanding presence challenge stereotypical notions of femininity, while Taliyah’s modest design centers her as a powerful and relatable mage.

However, such designs remain exceptions rather than the norm. Broader change requires consistent efforts to create champions whose appearances align with their stories and abilities, not preconceived notions of desirability. Inclusive representation isn’t just about diversifying aesthetics; it’s about fostering a culture where all players feel valued and respected.

Conclusion

Figure 6 (League of Legends, (Denzer, 2023))

The male gaze in League of Legends is a reflection of a larger issue within gaming: the struggle for authentic and equitable representation. By addressing these entrenched patterns, League of Legends has the potential to lead the industry toward a more inclusive future. Developers must recognize the power of representation, not only to challenge stereotypes but to enrich the gaming experience for everyone.

A world where gaming is free of the male gaze is one where creativity flourishes, players, especially female players, feel truly represented, and games reflect the diversity of the communities that play them. It’s time for League of Legends and its developers to fully embrace that vision.

REFERENCES

Suarez, L., n.d. GAMERS DECIDE. [Online] Available at: https://www.gamersdecide.com/articles/lol-best-female-champions [Accessed 8 December 2024].

Mulvey, L., 1975. Visual pleasure and narrative cinema. Screen, 16(3), pp. 6-18. Available at: https://doi.org/10.1093/screen/16.3.6 [Accessed 8 December 2024].

League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/The_Nine-Tailed_Fox [Accessed 8 December 2024].

League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/Miss_Fortune/LoL [Accessed 8 December 2024].

League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/Evelynn [Accessed 8 December 2024].

King, J., 2021. THE GAMER. [Online] Available at: https://www.thegamer.com/arcane-league-of-legends-male-gaze-vi-caitlyn/ [Accessed 8 December 2024].

Marks, T., 2018. IGN. [Online] Available at: https://www.ign.com/articles/2018/04/05/league-of-legends-dev-responds-to-complaints-of-oversexualizing-its-newest-character [Accessed 8 December 2024].

Denzer, T., 2023. SHACK NEWS. [Online] Available at: https://www.shacknews.com/article/136822/league-of-legends-ranked-splits-2024 [Accessed 8 December 2024].

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The Representation of Women in Video Games

Introduction

The representation of women in video games has been a contentious issue for a long time. In their early years, video games were primarily marketed to young male audiences, significantly shaping female characters’ portrayal — or rather, their lack thereof. Women were often relegated to passive or hypersexualized roles, which often reflected both the cultural norms of the time and the industry’s commercial focus on its male demographic (Mulvey, 1975).

Figure 1 (Video games with female protagonists, (Mitra, 2023))

However, the expansion of video games into mainstream culture and the diversification of its audience have challenged these outdated portrayals. As gaming has grown to reflect real-life social and political movements advocating for inclusivity, female characters have transformed from passive objects to active protagonists. Thus, it is essential to explore the evolution of women’s representation in video games, from its beginnings to the present day, to see the progress made in creating complex, multi-faceted female characters.

Historical Context

The early history of video games was shaped by technological limitations and cultural attitudes that often marginalized women. In the 1970s and 1980s, female characters were rare and underrepresented, and characters were largely created for the heterosexual male audience (Ivory, 2006). The “damsel in distress” trope that emphasised male heroism and female passivity — seen in arcade classics such as Donkey Kong (1981) — dominated most video game cultures at the time.

These early games reflected the gender norms of their era, in which women were often portrayed as dependent or secondary to men. Additionally, the male-dominated development teams and the industry’s primary focus on male players perpetuated a lack of diversity both behind the scenes and on-screen.

OLDER EXAMPLES OF WOMEN’S REPRESENTATION

1. Donkey Kong (1981)

In Donkey Kong, Pauline epitomizes the “damsel in distress,” a recurring archetype in early video games that reinforced traditional gender roles. Her character exists solely as an object of rescue for the male protagonist, Mario, rather than as an active participant in the story. She has no voice, no agency, and no impact on the game’s outcome beyond serving as a prize for Mario’s heroic efforts. This depiction reflects the broader marginalization of women during the early years of the gaming industry, where female characters were either absent or assigned to passive roles.

Figure 2 (Donkey Kong, (Laymon, 2022))

Pauline’s portrayal mirrors societal attitudes of the time, where the media often depicted women as dependent on male figures for protection and validation. By centering the narrative around Mario’s bravery and Pauline’s helplessness, the game perpetuated a one-dimensional view of gender dynamics that limited the role of women to ancillary characters. This lack of representation not only ignored the potential for more empowering portrayals but also reinforced the idea that video games were a male-dominated space, both in terms of audience and content. A foundational piece of gaming history, Donkey Kong exemplifies the challenges that early video games faced in breaking away from entrenched gender stereotypes.

2. Tomb Raider (1996)

When Tomb Raider debuted in the mid-1990s, it was heralded as a milestone for female representation in gaming due to its iconic protagonist, Lara Croft. As a skilled archaeologist and adventurer, Lara broke the mold of passive female characters by taking on a leading role typically reserved for male protagonists. She was portrayed as intelligent, resourceful, and capable, navigating dangerous tombs and solving complex puzzles. However, while her role marked progress for female agency in gaming, her hypersexualized design significantly undermined her potential as a feminist icon (Kennedy, 2002). Lara’s exaggerated physical features — such as an impossibly thin waist and large breasts — along with her revealing attire, catered to the male gaze and reinforced the perception of women as objects within the gaming space. This design choice reflected broader societal norms of the time, where women in media were often sexualized to appeal to male audiences, regardless of their narrative importance.

Figure 3 (Tomb Raider, (Rivera, 2022))

Critics have noted that Lara’s portrayal epitomized the industry’s conflicting attitudes toward female representation: while she represented a step forward as a competent and independent female lead, her design perpetuated the very stereotypes it sought to challenge. Despite these contradictions, Lara Croft’s popularity signaled a growing demand for female protagonists in gaming, suggesting that players were open to seeing women in more active and complex roles. Her success paved the way for more nuanced portrayals of women in future games, as developers began to explore female characters beyond superficial aesthetics. Over time, Lara’s evolution in subsequent installments saw more realistic and grounded representation of her character.

MODERN REPRESENTATION

In recent years, however, significant strides have been made to portray women in video games as multifaceted and independent characters. This shift reflects real-life cultural movements, such as #MeToo, and the increasing advocacy for inclusivity and diversity in media, which have influenced the gaming industry to rethink its portrayal of gender.

NEWER EXAMPLES OF WOMEN’S REPRESENTATION

1. Horizon Zero Dawn (2017)

A hunter and skilled warrior navigating a post-apocalyptic world overrun by robotic creatures, Aloy’s character is defined by her intelligence, resilience, and leadership rather than her physical appearance. Raised as an outcast, she demonstrates strength and determination by overcoming societal prejudice and discovering her identity. Her empathy and curiosity drive her journey, making her relatable and human rather than a one-dimensional action hero.

Figure 4 (Horizon Zero Dawn, (Meo, 2016))

Importantly, Aloy’s characterization challenges long-standing gender stereotypes in gaming by presenting a female lead who is neither hypersexualized nor reduced to a supporting role. Instead, she embodies qualities of leadership and problem-solving typically associated with male protagonists. This shift mirrors both real-life cultural movements advocating for diversity and inclusivity in media and the gaming industry’s response to its increasingly diverse audience. By moving beyond reductive stereotypes, Aloy becomes a blueprint for creating female characters who resonate with players on a deeper level.

2. The Last of Us Part II (2020)

The Last of Us Part II represents a significant evolution in intersectional representation within gaming, particularly through the character of Ellie Williams. As a lesbian protagonist, Ellie’s sexual orientation is intricately woven into her emotional and narrative arc, making it an essential part of her identity rather than a secondary trait. Her relationship with Dina and the challenges she faces in a post-apocalyptic world offers a portrayal of queer love that feels authentic and integral to her journey. Through Ellie, the game presents her as a multi-dimensional character whose sexuality intersects with her experiences of trauma, loss, and vengeance.

Figure 5 (The Last of Us Part II, (Howard, 2020))

Ellie’s story is crucial because it incorporates various layers of identity — gender, sexuality, and trauma — without reducing her to a singular narrative. The game pushes the boundaries of what has traditionally been seen in video games, where LGBTQ+ representation has often been sidelined or misrepresented, by offering a leading character whose sexual orientation is integral to the story. It places Ellie’s love for Dina and the fallout from their experiences at the heart of the emotional stakes, not only as a plot device but as a crucial element of her development as a person.

BROADER IMPLICATIONS AND THE FUTURE OF REPRESENTATION

The evolution of female representation in video games reflects a broader cultural shift towards inclusivity and equity. While early portrayals were constrained by gender stereotypes and commercial pressures, modern games demonstrate the industry’s growing commitment to diversity (Shaw, 2014). This progress is driven by several factors, including the increasing presence of women in game development, the growing diversity of gaming audiences, and the influence of social movements advocating for gender equity.

However, challenges remain. Issues such as online harassment of female gamers and developers, the underrepresentation of women in leadership roles within the gaming industry, and the persistence of hypersexualized character designs in certain genres underscore the need for continued progress. Achieving true gender equity in gaming requires a sustained effort to challenge entrenched stereotypes and support diverse voices both on-screen and behind the scenes.

CONCLUSION

The representation of women in video games has undergone a profound transformation, evolving from simplistic and stereotypical portrayals to more nuanced and inclusive depictions. Early examples, such as Pauline in Donkey Kong and Lara Croft in Tomb Raider, are clear-cut examples of the industry’s historical reliance on gendered tropes. In contrast, modern characters like Aloy in Horizon Zero Dawn and Ellie Williams in The Last of Us Part II reflect the growing demand for complex and diverse representations of women.

This evolution not only enhances the medium’s cultural relevance but also empowers players by providing a wider array of perspectives and experiences. As the industry continues to grow, the representation of women will remain a critical area of exploration and advocacy, shaping the future of gaming as a truly inclusive medium.

REFERENCES

Mulvey, L., 1975. Visual pleasure and narrative cinema. Screen, 16(3), pp. 6–18.

Mitra, R., 2023. GAMERANT. [Online] Available at: https://gamerant.com/best-action-games-with-female-protagonists/ [Accessed 13 December 2024].

Ivory, J. D., 2006. Still a man's game: Gender representation in online reviews of video games. Mass Communication and Society, 9(1), pp. 103–114.

Laymon, A., 2022. GAMERANT. [Online] Available at: https://gamerant.com/games-you-can-finish-in-an-hour/ [Accessed 13 December 2024].

Kennedy, H. W., 2002. Lara Croft: Feminist icon or cyberbimbo? On the limits of textual analysis. Games and Culture, 1(1), pp. 2–7.

Available at: https://neverendingrealm.com/opinion/the-10-best-games-of-1996-according-to-game-rankings/ [Accessed 13 December 2024].

Meo, F. D., 2016. WCCFTECH. [Online] Available at: https://wccftech.com/horizon-zero-dawn-gets-gorgeous-4k-trailer-screenshots/ [Accessed 13 December 2024].

Howard, K., 2020. Den of Geek. [Online] Available at: https://www.denofgeek.com/games/the-last-of-us-part-2-review-roundup/ [Accessed 13 December 2024].

Shaw, A., 2015. Gaming at the edge: Sexuality and gender at the margins of gamer culture. University of Minnesota Press, Minneapolis. Available from: ProQuest Ebook Central. [13 December 2024].

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CLEVER USE OF AFFECT AND EMOTIONS IN MAINSTREAM GAMES

INTRODUCTION

Video games have become an increasingly influential medium that bridges storytelling, interactivity, and player engagement altogether to bring a unique, fascinating experience to the human mind. Central to this immersive experience is the portrayal of both emotions and affect. Whilst often misunderstood and subsequently conflated, these concepts have distinct roles in shaping a player’s journey through a game.

Figure 1 (Mario Kart 8, (Hidalgo, n.d.))

Emotions refer to explicit, identifiable feelings that characters experience and express. In general, emotions share traits like rapid onset, brief duration, and synchronized responses, all shaped by evolution to distinguish them from other affective states (Ekman, 1992). In video games, these emotions — happiness, anger, sadness, or fear — are often rendered through facial expressions, dialogue, and physical actions, thus creating a direct emotional connection between the character and the player.

On the other hand, affect encompasses a broader, less tangible atmosphere. Defined by Gregg and Seigworth (2009) as “intensities that pass body to body (human, nonhuman, party-body, and otherwise),” affect shapes the resonances and moods circulating between the game’s world and the player. Unlike the directness of emotions, affect operates in the liminal spaces of experience and attempts to influence how a game “feels” without necessarily being articulated.

Thus, there exists a dual contribution of emotions and affect in video games to player engagement and immersion. By exploring examples that pertain to such, it becomes evident how video games operate on multiple sensory and emotional levels to create impactful experiences.

REPRESENTATION OF EMOTION IN VIDEO GAMES

1. Detroit: Become Human

In Detroit: Become Human, the interrogation scene, where Connor confronts a deviant android about stabbing his former master, embodies a powerful representation of emotions, particularly determination and defiance.

As the deviant android exclaims, “The day shall come when we will no longer be slaves... no more threats... no more humiliation,” his voice becomes adamant and resolute. This moment is further amplified by the intensifying music, which mirrors the growing tension, building toward a climactic point. The deviant’s shift from fear to determination is not just an emotional shift within him, but an emotional contagion that spreads to the player, invoking a sense of foreboding.

Figure 2 (Detroit: Become Human, (Hough, n.d.))

According to James Baldwin's theory of emotional contagion (1897), emotions can be transferred between individuals through expressions and reactions. Baldwin argued that emotional expressions are contagious, creating a shared emotional experience between the individual expressing the emotion and the observer. In the context of this scene, the deviant’s shift from what had once been fear and hesitation, to newfound determination, becomes a conduit for the player’s own emotions. As the deviant robot expresses his determination to break free from oppression, his emotional shift triggers a response in the player — a shift from initial discomfort or curiosity to a growing unease and anticipation of the potential consequences.

Whilst this occurs, the steady crescendo of the background music continues to mirror the deviant’s intensifying resolve, heightens the atmosphere, and drawing the player further into the emotional exchange. The player feels a deepening sense of foreboding as the situation escalates, knowing that this determination could signal a shift in the power dynamics between humans and androids. The deviant’s words and emotional state are not just confined to the narrative of the game — they actively engage the player, evoking emotions of unease, tension, and apprehension. Baldwin’s concept of emotional contagion is at play here, as the player’s own emotional state begins to mirror that of the deviant, thus amplifying the gravity of the moment.

In this way, Detroit: Become Human uses emotional contagion to create an immersive experience where the player feels not just the weight of the deviant’s words, but the tension and uncertainty of a looming conflict.

2. The Last of Us

In The Last of Us, emotions are portrayed with raw intensity, especially in the opening scene where Joel Miller, one of the protagonists of the game, is desperately holding his daughter Sarah as she dies in his arms.

The emotional climax occurs after Joel and Sara are shot at by a military soldier. In the chaos, the soldier is shot by Joel’s brother, Tommy, but Sara is gravely injured. As she lies dying in his arms, Joel’s voice trembles as he says, “I know, baby, I know,” a tender yet anguised line that reflects his overwhelming fear and helplessness in this situation. His desperate attempt to comfort his daughter, while futile, is punctuated by the soft, sorrowful guitar music that plays in the background as Sarah dies. This music, paired with a dimly lit environment, serves to further deepend the emotional weight of the scene.

Figure 3 (The Last of Us, (Boo, 2022))

The fear Joel feels is palpable — he is afraid for his daughter’s life, as she dies in his arms. He is afraid for his own survival, due to the sudden uprising of the infected zombies. And he is afraid for the world around him, which seems to be falling into chaos and collapse. This fear is transferred to the player, who, through the intimate scene between Joel and Sarah, can experience the rawness of the moment. The dark lighting and somber soundtrack amplify the sense of impending loss, creating an emotional atmosphere that intensifies the player’s own fear and sorrow. The soft guitar playing as Sarah dies adds to the feeling of finality, and Joel’s uncontrollable sobbing further emphasizes the depth of his grief.

Hence, this scene demonstrates the contribution of emotion where fear, loss, and grief are not just told through dialogue but are embodied in the characters’ physical and emotional responses. The player’s own emotional state is shaped by the character’s expressions and the environment, making the player feel Joel’s fear and loss on a visceral level. The combination of dialogue, visual cues, and music demonstrates how The Last of Us effectively uses emotion to connect players to the narrative in a deeply personal way.

REPRESENTATION OF AFFECT IN VIDEO GAMES

1. Stardew Valley

One of the most striking representations of affect in Stardew Valley is the Dance of the Moonlight Jellies festival. This event takes place on the 28th of Summer and is a moment of tranquil beauty that reflects the game’s broader thematic atmosphere of peace and connection to nature.

The scene is defined by its serene ambiance, where the player observes the moonlight jellies gliding across the water under the gentle light of the full moon. The music, soft and melodic, creates a sense of calm and quiet reflection which evokes feelings of nostalgia and serenity within the player. The slow, harmonious tunes blend perfectly with the lighting, which casts a cool, silver glow across the scene, amplifying the quiet beauty of the jellyfish’s journey. This combination of music and lighting doesn’t explicitly point to any emotions of the characters, but it stirs a more subtle, atmospheric feeling within the player, emphasizing the peaceful nature of the moment.

Figure 4 (Moonlight Jellies Festival in Stardew Valley, (Gaming, 2017))

The environment during the Moonlight Jellies festival — where the bright jellyfish softly illuminate the dark waters — enhances the sensation of stillness and introspection. The quiet murmur of the sea, paired with the occasional distant chirp of insects, suggests a world at rest. As players watch the jellyfish float, they are drawn into the shared moment of stillness, a feeling that invites personal reflection and connection to the tranquil world of Stardew Valley. The visual and auditory elements work in harmony to create an affective experience that, while not tied directly to the emotions of the characters, deeply resonates with the player’s emotional state, promoting a quiet, almost meditative mood.

This scene is a perfect example of how affect is used in Stardew Valley — not through overt emotional narratives, but through environmental design, music, and atmosphere, fostering a sense of peace and emotional release for the player.

2. Minecraft

In Minecraft, affect is primarily conveyed through the sensory and atmospheric experiences that shape the player’s emotional engagement with the game world. So, the player’s emotional experience is often driven not by explicit storylines or character emotions, but by how the world itself feels through the senses. This aligns with Brian Massumi’s theory that affect is not a fixed emotion but a dynamic experience that emerges through bodily interaction with the world (Massumi, 2002).

Figure 5 (Minecraft, (Kabra, 2022))

One clear example of affect in Minecraft is the transition from day to night. During the day, the bright sunlight, accompanied by the peaceful sounds of animals and birds, creates a sense of serenity and freedom. This calm, inviting atmosphere encourages exploration and creativity. As the sun sets, however, the environment undergoes a drastic shift: the sky darkens, the ambient sounds become eerier, and the world is bathed in cool, muted light. The music also changes, becoming more subtle and tense, causing growing unease within the player. The absence of animals and the presence of hostile mobs such as zombies or skeletons heightens the sense of vulnerability and foreboding.

This shift from day to night highlights how Minecraft uses affect to manipulate the player’s emotional state. The game does not rely on explicit narrative to generate these feelings but uses environmental cues like sound, light, and ambiance to create an emotional experience that the player internalizes. In this sense, Minecraft relies on affect to immerse the player in the world and evoke a visceral response without the need for overt emotional expression. This change in time also exemplifies Massumi’s concept of affect as something that is not always consciously perceived but still deeply felt through engagement with the environment.

CONCLUSION

Ultimately, the contribution of emotion and affect in video games offers players not only direct emotional experiences but also a deeper connection to the game’s atmosphere. Where emotion functions as a direct response that is shaped by the characters’ explicit feelings and actions, affect permeates the game world through subtle cues that influence the player’s mood and perception. Together, these elements create a unique and well-rounded experience that allows video games to engage players on both emotional and atmospheric levels.

Emotions, in their immediate and identifiable nature, offer players a tangible connection to the characters’ experiences. These moments of fear, joy, or grief resonate with the player, drawing them into the narrative and fostering empathy through the character’s journey. The emotional intensity often sparks a shared experience between the character and the player and enriches the narrative with a sense of immediacy.

Figure 6 (Video Games, (Matheson, n.d.))

In contrast, affect operates on a more nuanced level as it influences just how the game world “feels” without overtly defining the emotions of the characters. It shapes the mood of the game through environmental factors such as sound, lighting, and atmosphere, thus allowing for a more holistic experience that subtly impacts the player. This broader emotional resonance encourages reflection, tranquility, or unease, often without the player consciously recognizing the source.

This blend, then, creates a complex interplay that allures players both cognitively and sensorially. By utilizing these two concepts in tandem, games have the ability to evoke a wide range of responses — from emotional investment in the characters to a more in-depth connection with the game’s world. As games continue to evolve, their capacity to convey both emotion and affect will remain central to their ability to create immersive, impactful experiences that resonate long after the screen fades to black.

REFERENCES

Available at: https://eu.usatoday.com/story/tech/gaming/2014/12/22/best-video-games/20749491/ [Accessed 31 December 2024].

Ekman, P., 1992. An argument for basic emotions. Cognition and Emotion, 6(3-4), pp. 169–200.

Gregg, M. and Seigworth, G. J. (eds.), 2010. The affect theory reader. Durham: Duke University Press.

Hough, J., n.d. GAMER GUIDES. [Online] Available at: https://www.gamerguides.com/detroit-become-human/guide/walkthrough/chapter-1/chapter-8-the-interrogation [Accessed 31 December 2024].

Baldwin, J. M., 1897. Social and ethical interpretations in mental development: A study in social psychology. New York: MacMillan Co.

Boo, B., 2022. DEN OF GEEK. [Online] Available at: https://www.denofgeek.com/games/the-last-of-us-prologue-analysis-retrospective-breakdown-masterpiece/ [Accessed 31 December 2024].

Gaming, d. L., 2017. deKay's Lofi Gaming. [Online] Available at: https://lofi-gaming.org.uk/diary/2017/10/stardew-valley-switch/ [Accessed 31 December 2024].

Massumi, B., 2002. Parables for the Virtual: Movement, Affect, Sensation. Durham: Duke University Press.

Kabra, A., 2022. sportskeeda. [Online] Available at: https://www.sportskeeda.com/minecraft/how-day-night-cycle-work-minecraft [Accessed 31 December 2024].

Matheson, W., n.d. USA TODAY LIFE. [Online] Available at: https://eu.usatoday.com/story/popcandy/2014/07/15/video-games-documentary/12672221/ [Accessed 31 December 2024].

x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x-x

[ellie-bygrave]

Affect Theory and The Outer Wilds

**MILD SPOILERS FOR THE OUTER WILDS AHEAD**

What is Affect Theory?

Affect theory is a complex and detailed topic. It focuses on how emotions can physically affect us without our conscious knowledge, influencing our actions and relationships (Figlerowicz, 2012). It aims, in part, to explore the link between unconscious affect and the resulting emotions and actions. Tomkins (1962) categorised 9 primary affects by whether they cause positive, neutral, or negative physiological expression. For instance, the positive affect of joy/excitement creates a physiological reaction in which the person smiles. Conversely, a negative affect such as anger will cause frowning and a clenched jaw. These physiological reactions to the affect can inadvertently display how we are feeling to others and can then influence the situation we find ourselves in.

Tomkins goes on to discuss that the ideal way to live is to maximise the positive affect in our lives and minimise negative affect where possible. Kelly (1996) echos this sentiment, stating that intimate and successful relationships require working towards maximising positive affect and eliminating negative affect. Additionally, Kelly theorises that such relationships should involve the members to express affect to one another in order to see progress within the relationship.

Anable (2018) applies the concept of affect specifically to video games, demonstrating that, rather than allowing us to escape from reality, they in fact force us to confront our emotions. Anable discusses how video games make us feel differently towards failure and how that can influence our everyday life.

The Outer Wilds

The Outer Wilds (2019) is an Annapurna Interactive action-adventure game set in a fictional world where the Hearthians, inhabitants of a small planet, have mastered space travel. The unnamed player character sets off on their maiden voyage out into space, only to realise they're stuck in a 22 minute repeating time loop, in which they are they only person who remembers the previous loops. Each loops ends in a devastating but beautiful collapse of the solar system's Sun as it goes supernova.

The game is non-linear, with the playing having to travel to multiple different planets in order to piece together the mysteries of the solar system and put an end to the time loop. The gameplay is unique in that, if the player knows the correct sequence of actions required, they can complete the game within just one time loop. However, the game is one which undoubtedly rewards the player for exploration, with the true story unraveling through the exploration of the world. The end goal only really holds meaning once the journey has been completed to its fullest potential.

Affect in The Outer Wilds

As this game is played from the first-person perspective of a silent protagonist, there is no influence on the player from an emotional point of view of the player character. This by no means negatively influences the emotional impact this game has.

Firstly, this game has an incredible way of making the player feel lonely, despite the opportunity to interact with others on every planet. Aside from one other person, no one but you is aware of the time loop. Speaking with each character when you hold the weight of the terrible thing about to happen to the whole solar system is eye opening, and the charming and unique personalities of each character increase the sense of responsibility you have to the people of your planet. Usually a lonely feeling would come under Tomkins' negative classification of affect and cause negative physiological reactions, but instead it subconsciously increases the drive one has to solve the mystery and prevent the destruction of the solar system. There is one other character who is also aware of this time loop, but they seem to be ambivalent about the situation. This is slightly shocking - despite the calm and collected disposition being fairly common across the Hearthians, and, again furthers that internal drive to solve the mystery.

Throughout the whole game, failure is painted in a different light to in normal life, and even compared to the norm in video games, as Anable (2018) discussed. There is no real failure in this game, as everything the player does can further the plot in some way. Even dying simply restarts the cycle with no penalties and any information discovered during a cycle gets logged for you, so there is no real sense of failure. This lack of consequences unconsciously drives the player towards a more reckless style of play, with the voice in our head that would normally promote caution instead saying "why not try it and see?".

Whilst not heavy on horror elements, the game certainly plays on fear. One planet requires you to drift through misty caverns following lights and signals to your goal. This area is also home to giant angler fish, who will swallow your ship whole, causing the cycle to start over. Through exploration, the player eventually learns that they are completely blind and can only locate you if you attempt to speed through the area, creating lots of noise with the ship thrusters. The next time entering the planet is a whole new experience. The distant noises of the angler fish combined with the misty atmosphere and looming shadows of the fish creates tension, the need for silence especially so. This undoubtedly causes a physiological response, with the player mirroring the need for silence as they play.

To Conclude

Although video games can sometime create affect that we would usually associate with the negative, the lack of real-world consequences to this can be used to drive compelling and thrilling stories. Whilst the events in the game are not real, the emotions and responses created by games very much are.

References

Anable, A. (2018). Playing with Feelings: Video Games and Affect. Minneapolis, University of Minnesota Press.

Figlerowicz, M. (2012). Affect Theory Dossier: An Introduction. Qui Parle, 20(2), 3–18. https://doi.org/10.5250/quiparle.20.2.0003

Kelly, VC. (1996). Affect and the redefinition of intimacy, in Nathanson, DL (ed.), Knowing feeling: Affect, script, and psychotherapy, New York: W.W. Norton, pp. 55–104

[ellie-bygrave]

Gesamtkunstwerk

What is Gesamtkunstwerk?

Gesamtkunstwerk is a term coined by the German philosopher K. F. E. Trahndorff in 1827. The term was also used by the composer Richard Wagner in 1849 and became closely associated with him and his work (Seiferle, 2023). The phrase translates to "total artwork" and refers to art that strives to make use of many or all possible art forms.

The concept of Gesamtkunstwerk became popular when Wagner began to introduce the idea of it into his operas, rejecting the more traditional Italian and French styles. He attempted to create shows that combined music with dance, drama, and theatre, culminating in his own opera series called Der Ring des Nibelungen, which is thought of as being the closest he came to achieving his goals of creating Gesamtkunstwerk (Grey, 2008).

In 1859, William Morris - a prominent artist responsible for a large amount of work in the Arts & Crafts movement - and Phillip Webb - an architect also famous for his work within the Arts & Crafts movement - designed Red House. a building that is said to perfectly encapsulate Morris' belief that one should "Have nothing in your houses that you do not know to be useful, or believe to be beautiful" (Morris, 1880).

Although the definition of Gesamtkunstwerk is widely agreed upon, there are many different criteria by which an artwork can be judged to determine if it is "complete" (Oxford English Dictionary, 2023). To further explore this idea we can compare two different artworks that are both widely considered to have achieved Gesamtkunstwerk, such as Wagner's operas and video games.

Gesamtkunstwerk and Video Games

Many video games can be thought of as an example of Gesamtkunstwerk. Robin Sloan (Year Unknown) briefly discusses video games as Gesamtkunstwerk, describing the ways in which games use written story along with visual images and music to create an artwork. All of the individual elements of a game - from the character to the environments, the writing to the music, the visual effects to the gameplay - combine to create a whole experience that would be lesser without even a single element.

But a video game has many differences to one of Wagner's operas, so how can both be considered Gesamtkunstwerk?

I believe that Gesamtkunstwerk is highly subjective and, most importantly, bound by what the author or creator determines to be their complete work. For Wagner, using music to convey emotion and meaning combined with physical performance from dancers created what he thought of as a complete piece of work, with all components working harmoniously to create a meaningful experience for his audiences (Wolfman, 2013). In a video game the parameters for whether it constitutes Gesamtkunstwerk are different, although incorporate some of the same ideas as Wagner. The majority of games combine visuals with storytelling, sound design, music, gameplay, and many other components to create an (ideally) complete experience for the player. These components should all uniquely add to the game, adding to the context intended by the creators and improving the overall experience for the player.

Gesamtkunstwerk in my own work

In my own work I often like to set short videos to music or add in some form of sound design. I am greatly inspired by music and base a lot of my work around that inspiration, so it feels right that I should reflect that when presenting my work, allowing the audience to fully understand the context and circumstances under which I created my artwork.

By no means would I compare my own amateur work to that of Wagner or any video game, but based on the criteria I set myself when starting a piece I would say that I have achieved a level of Gesamtkunstwerk that I feel is appropriate for my current level and goals.

For example, I recently created a short video of a (vaguely) Victorian-looking bedroom with a windy storm occurring outside an open window. This was inspired by the book Wuthering Heights by Emily Brontë and the song of the same name by Kate Bush and aims to encapsulate the dark and stormy moors haunted by the ghost of Catherine. I added a short section of the song to my video along with the sound of a storm in the distance to further cement the vibe I was aiming for. To me, this is a complete piece of art. Each of the components uniquely contribute to the work and it would feel incomplete - at least to me- without one of these components. It doesn't include dancers like Wagner's operas or interactivity like most video games feature, but including those components would detract from the work as it is currently and would not make contextual sense unless I were to change the initial vision I had for the artwork.

Conversely, I previously created a render of a diner in a misty forest. Whilst I am happy with the render I created, I do not consider it to be a complete work of art. To an outside viewer this is just an average artwork depicting a diner. My intention was to add a level of interactivity to the work where the player would click areas of the screen to take them closer to sections of the area or reveal something hidden. It was a simple concept, but as I neared the end of designing and creating the "final" image I lost motivation and realised I lacked the skills needed to full realise my vision. To someone with no knowledge of the plan they might view it as a complete artwork, as often an artwork is simply just a painting or digital render with no further context or media added to it. But, as this was not the intention, the product is incomplete in my eyes.

Having said that, there is always more one can add to an artwork. However, that does not mean that the artwork would be improved by this. As I said previously, even just a single painting could be considered a complete piece of art if that is all the artist intended for it to comprise; no one argues that Leonardo da Vinci's Mona Lisa would be improved if it had strobe lights and dancers performing to Nat King Cole's Mona Lisa around it at the Louvre (although I may now have to make that pitch to the person in charge of their exhibits).

To summarise

Gesamtkunstwerk is a subjective and dependent concept which relies on the artist themselves to determine if they consider their own work to be complete. Adding more forms of art to a piece for the sake of it does not automatically make a piece "complete", just as an artwork consisting of only one form or media does not automatically disqualify it from being considered Gesamtkunstwerk. In reality, anyone can manipulate the definition of the word to declare their work complete or incomplete; it is the opinion of the artist that matters in the determination of whether an artwork is Gesamtkunstwerk or not.

References

Grey, T. S. (ed)(2008). The Cambridge Companion to Wagner. Cambridge, Cambridge University Press. doi: 10.1017/CCOL9780521642996

Morris, W. (1880). The Beauty of Life. Hopes and Fears for Art: Five Lectures Delivered in Birmingham, London, and Nottingham, 1878-1881 (1882).

Oxford English Dictionary. (2023). Gesamtkunstwerk. Oxford: Oxford University Press. https://doi.org/10.1093/OED/8000713856. Accessed 13/11/2023

Seiferle, R. (2023). Gesamtkunstwerk Definition Overview and Analysis. The Art Story. https://www.theartstory.org/definition/gesamtkunstwerk/. Accessed 13/11/2023

Sloan, R. (Year Unknown). The Total Work. POTO Diary: Overworld. https://www.robinsloan.com/overworld/week/1/. Accessed 13/11/2023

Wolfman, U. R. (2013). Richard Wagner's Concept of the "Gesamtkunstwerk". Interlude. https://interlude.hk/richard-wagners-concept-of-the-gesamtkunstwerk/. Accessed 13/11/2023

[tyronemw]

9. Emotions - Using Emotion as a game mechanic in Detroit: Become Human

Detroit: Become Human is a game released in 2018, developed by Quantic Dream and published by Sony Interactive Entertainment.  The game takes place in Detroit, Michigan in the year 2038, at this time period, humans are able to purchase advanced android to help them with everyday life things such as household chores, babysitting, and collecting groceries. There are different types of models of these advanced android, some more advanced than others as some of them can work for the police and help with crime scene analysis and detective work. It soon transpires that some of the android can become deviant, as the android starts to begin what reality is, and starts showing signs of self-consciousness, emotions and purpose.

The game play and narrative of the game is what really captivates the audience and what ties the game together. There are 3 main characters that the player plays as all with their own distant identities, you journey with them through the highs and lows, understanding their struggles and helping them choice the paths they take.

There is Kara, a  housemaid android, her story is about protection, love and hope, she has a strong bond with a young child called Alice whose father was abuse, Kara has to make sacrifices to care for and look after Alice and go through the struggles together to get away from the abusive father. There is Connor, a detective android who at first is a classic logic driven android used to hunt down felons and android who have become deviant, his journey is about self-consciousness,  experiencing reality isn’t all just 1’s and 0’s, understanding empathy and that sometimes doing the right thing based on logic alone isn’t always the right idea in humanity. Lastly there is Markus, a carer for an old painter who sadly passes away, he encourages Markus to go and live, lead, and be the best version of himself he can be, not to be constraint by his firewall and android default settings, he is more than that, and to go and find his purpose.

The player embarks on the journey with the characters, understanding who they are but not just from a spectator point of view, but the player can help establish these emotions and principles themselves with real time events and dialogue decisions. As each story unfolds, the player is presented with choices that can ultimately change the outcome of a particular storyline, with the player able to make decisions presented as if they were the character at that moment, bids for unique experience for each individual player. The choices can be based on different emotions, or logic-based decisions, the emotional decisions that the play choices can change relationships between different characters in the game and influence stories in the future.

What I find particularly interesting however is the emotional connection the player and the characters have with each other through the use of this emotional decision making, you can see in real time how the characters personality can change  and alter based on the decisions the player chooses, if the player is to take a more empathic approach to the game, will see the characters also reflect this emotion in their development and story, discovering what empathy means to the android and more likely to have a more humane ending. Whereas every decision based on what logically makes sense with no feeling, the character will not grow and develop this sense of emotion, ultimately leading to the ending being a tough, bleak, and cold ending (Holl, 2019).

The game has used emotion as a gameplay mechanic, with quick time events too making the player decide there and then in the moment with no time to think warrants genuine reactions and choices that can closer resemble the players own views, principles and morals, which can translate to the characters as the develop their own personalities and traits through the player. Its decisions to explore different outcomes through the use of emotions really can be captivating, and with its different endings can even help the player come away with newfound understandings of these different emotions and how they can be applied in the real world.

Bibliography

Holl, E., 2019. Rise of the machines - Moral decisions in Detroit: Become Human. [Online] Available at: https://www.researchgate.net/publication/334536328_Rise_of_the_machines_-_Moral_decisions_in_Detroit_Become_Human [Accessed March 2025].

Freeman, David (2004) ‘Creating Emotion in Games’

https://screenrant.com/detroit-become-human-irrational-choices-answers-paths-outcomes/

https://en.wikipedia.org/wiki/Detroit:_Become_Human

[tyronemw]

8. Politics - Analysis on Bayonetta and Devil May Cry series and how each game represent gender differently.

I have chosen to analysis the similarities and differences between two similar games that is the Bayonetta series, and the Devil May Cry series. I have chosen these two franchises in particular because they have the interesting view in the way gender can be represented, and as a video game have very similar properties from a design and gameplay perspective, with the added bonus that they are both created by the same person in Hideki Kamiya. Rather than talk about how the genders are represented in the game, I would like to home in and analysis just the video game covers and how the consumer culture can play a role in the characters gender identity.

Simone de Beauvoir was a French philosopher and female activist; she raised many interesting points about what it means to be a woman and begs the question of “what is a woman?”. In her own interpretation that a “One is not born, but rather becomes, woman”. (Beauvoir, 1949). She talks about how genders are a social construct, where a man and a woman are not scientifically accurate like male and female are, but rather seen as genders which are created terms from social aspects.

“To be feminine is to show oneself as weak, futile, passive, and docile. The girl is supposed not only to primp and dress herself up but also to repress her spontaneity and substitute for it the grace and charm she has been taught by her elder sisters. Any self-assertion will take away from her femininity and her seductiveness.” (Beauvoir, 1949). You see this as an example in games very often, Super Mario with Princess Peach in Super Mario games, Link with Zelda in The Legend of Zelda games and in some case Amy Rose with Sonic in the Sonic franchise. Beauvoir explains how the femininity can be gained or lost based on these theories, a female that is feminine means to be those that show weakness, and if not, they aren’t to be very feminine.

This is why I chose the Bayonetta cover art as I believe it shows a good mix of both, the cover art shows the character Bayonetta standing with her back to the camera in a full body shot, facing the moon in the distance. She is wielding a gun, standing rather heroic, with her hair and clothing blowing in the wind. Contrary to what Beauvoir said, she doesn’t have this damsel in distress aura about her, its quite the opposite, however, still does possess these feminine qualities through a visual standpoint. Bayonetta, I believe presents femininity as powerful, her pose is striking, and battle readiness looks poised, she has this sense of control about her, unfortunately this is also overshadowed by the male gaze, and at the same time, she is visually eroticized, tight fitted clothing, high heels and curves.

Compared to the Devil May Cry cover art, the main character Dantes, shows low signs of sexuality as possess the classic hero trope of a strong, brave character, ready for battle with whatever may come in his way, he stands with 2 weapons in his hand, a gun and a sword, with his hair covering half of his face in a seemingly cool but mysterious way, the difference between Bayonetta and Dantes is very apparent, despite the characters being near enough the same in terms of reason, and gameplay. Dantes comes across in the cover art as not just a male, but also masculine, where as Bayonetta you could argue that she does come across as female, but does she come across as feminine?

To summarize, gender as a consumer product has its place in the games industry, its true that the industry is a more male dominated field and the male gaze is a real issue in this line of work, over sexualising women in games. But does that change the fact of how femininity is represented in games, personally, I would say that it depends on how you view femininity, similar to how Beauvoir questioned what it means to be a woman, begs the next question, what does it mean to be feminine?

Bibliography

Beauvoir, S. d., 1949. The Second Sex. [Online] Available at: https://www.goodreads.com/book/show/457264.The_Second_Sex [Accessed March 2025].

Unknown, 2013. Media Creative Coursework: Video Game Box Art. [Online] Available at: https://apage-kusanagi.blogspot.com/2013/01/bayonetta-cover-analysis.html [Accessed March 2025].

https://en.wikipedia.org/wiki/Devil_May_Cry_(video_game)

https://en.wikipedia.org/wiki/Bayonetta

[tyronemw]

7. Representation - Analysing the male gaze and its influence on the gaming industry.

Representation, in the world of video games, is how the video games portray culture, race, people, ethnicity and more, and how they get to be seen and heard in the video games. These ways of representation can be good, bad, different, or even incorrect, but that depends on who you ask as its up to the viewer to make their own decisions based on what they see. This can cause issues however as people can often believe that seeing is believing, and that it is the most important factor for understanding the world for what it really is. Berger (1972). People can make come to their own conclusions based on the visual representations presented to them through video games, cultural and racial references can be portrayed in video games that may not be entirely accurate but because the viewer saw it in a video game, may assume the wrong idea of how it’s been represented.

Jenks (1995) explores the nature in which humans use the term “to see” in the same context as the word “to know”. In this context, a phrase such as “do you see what I mean?” is actually asking the question, “do you know what I mean?”. Though it is arguably arbitrary as there is no linguistic reason for this to make sense, Jenks highlights how vision and knowledge can be interpreted the same, as to see is to understand, and to understand is to know. With this concept in mind, can further enhance the possibility that what people see, that is represented in a video game, means that they think they may then know or understand, which can cause misconceptions.

The Male Gaze, coined by Laura Mulvey, is the idea about how women are objectified in media such as films, shows and games, in a more male dominated industry, they are the ones who make more of the decisions and directions, therefore they cater towards their own interests more than anyone else’s or other women’s (King, 2020). An example of this would be a character’s design choices and appearance, taking for example the characters from the Mortal Kombat games.

The female characters design choices are designed in a way to appeal to the heterosexual male audience, all the characters all possess thin waists, large breasts and long legs, all while wearing minimal more revealing outfits and showing a lot of, its interesting to point out as well that, despite the gameplay being a fighting game, most of them are wearing high heels, so from a gameplay design point of view, no one would want to fight in high heels, but it fits the narrative to appeal to the male gaze more with high heels, so this has clearly had an influence in design. (Fowlie, 2011)

In comparison to the female characters, the male characters host a wider variety of outfits, wearing more suitable and diverse clothing, some characters do show a lot of skin similar to how the female characters look, though show more signs of showing strength in the design choice rather than anything else. It isn’t just about what the characters wear, but how the camera looks at the characters too, the males stand with battle stances, ready for war and showing courage, whereas the females pose look more sexualised, showing off their curves and bodies for the attention of the male gaze.

It isn’t just in character design where the male gaze has influenced gaming, narrative tropes and the constant exposure of misrepresentation also has an influence. The classic “Damsel in Distress” such a Super Mario, where it is up to the male protagonist to be the hero and save the pretty female princess from danger has been around for decades, can lead to players assuming that other games or instances where there is a male and female character, this would be idea, based on Jenks (1995).

In conclusion, the way the male gaze has an influence on the gaming industry stems from the games outdated concept that games are mainly played by men, and mainly are for men, which leads to designer ideas catered to that demographic, in the hopes to ultimately generate more revenue and sales. However in modern times things are slowing changing, more females are entering the gaming industry and can provide better insight and perspective and the concept of the male gaze is being more brought forward to light, with people making a stand and voicing their opinions on the misrepresentation not just with women, but with race, culture and sexuality, and calling for a better use for representation in video games.

Bibliography

Berger, J., 1972. Ways of Seeing. [Online] Available at: https://www.penguin.co.uk/books/56465/ways-of-seeing-by-berger-john/9780141035796 [Accessed December 2024].

Jenks, C., 1995. Visual Culture. [Online] Available at: https://www.taylorfrancis.com/books/edit/10.4324/9781315084244/visual-culture-chris-jenks?refId=48bf5e73-7749-472d-a549-7b4f779ac78e&context=ubx [Accessed December 2024].

King, C. S., 2020. The Male Gaze in Visual Culture. [Online] Available at: https://www.taylorfrancis.com/chapters/edit/10.4324/9780429448317-10/male-gaze-visual-culture-claire-sisco-king [Accessed December 2024].

Fowlie, C., 2011. Building Character, an Exploration of Character Design. [Online]

Available at: https://callumhonoursproject.wordpress.com/2015/12/11/case-study-mortal-kombat-2011/

[Accessed December 2024].

https://media-studies.com/male-gaze/ [Accessed December 2024].

[tyronemw]

6. Intertextuality in 3D Environment Art

I wanted to talk about intertextuality in 3D environment art and how its presence in the gaming industry can affect artists and designers. Environment Art is my chosen field and is what I aspire to be, so I wanted to go into detail about this as the topic as I believe there is a lot of intertextualities  hidden in this medium and role of work.  

Intertextuality by definition is “the connections between different works of literature and art, and the meanings that are created by them” (Cambridge Dictionary, n.d.). Looking at this from a 3D environmental art point of view, there are many different aspects about how this could be represented. This could be the similarities between two environments of the same genre, one scene could be referencing similar visual tropes, a post-apocalyptic environment making use of tall derelict buildings, overgrown vegetation, rusty cars, and the overall vibe that contrasts the man made, and nature. These assets that from one game maybe the influence on another, The Last of Us or Days Gone are examples that reflect this very style of environment. So, intertextuality is present in the form of inspiration, the artist may have drawn inspiration from other environments to create one’s own art.

Another example is if we think outside the realm fiction, intertextuality could be present in the form of real-world settings and events. Artists can use things from the real world like buildings, structures, nature or even people to come up with new and interesting ways to entice the player, as the player may already know the context of which where it has come from who it maybe. An example of this would be the use of the famous historical building Notre-Dame and its inclusion in the game Assassins Creed Unity. Notre Dame is a very well know historical piece of architecture constructed between 1163 – 1345, in the game Assassins Creed Unity, you play as an assassin in an open world exploration map set in Paris during the French Revolution, the map itself is roughly a 1:1 scale, and you can view, interact and climb the Notre Dame in the game in an incredible amount of detail. This is another form of intertextuality with the inclusion of the Notre Dame in the game, the game itself incorporates fictional history, partnered together with real world events and structures, creates a brilliant balance and immersion of a universe that looks and feels so real. The use of using the buildings architecture, its history to relay information about the building in the game, the historical and cultural references it makes adds meaning and familiarity to the universe of Assassins Creed.

There will always be unconscious intertextuality within 3D environmental art even if we try to avoid it, with so much content and so much creation its hard to come up with ideas that are truly original, one that has no relation to something else at all. Unconscious intertextuality can be in the shape of moods, feelings or vibes, how an environment looks is obviously important from an artist’s perspective, but to really bring it to life and immerse the player is how the environment feels, the players experience can heighten based on emotions that they feel that is presented to them from just the look of the environment alone. The artist may want to capture the feeling of unease, a dark man cave basement scene where there is lots of clutter, dimly lit with no lights but the static from the TV, the ambience is minimal with no noise other than intermittent water droplets from a busted tap, unbeknown to the artist they have unconsciously used intertextuality from the film Poltergeist with the use of the TV.

Overall, intertextuality is happening everywhere in the realm of 3D environment art whether we as artist choose it or not, environmental art is vital to telling stories and showing meaning through visual and cultural references. It acts as a non-verbal language, through its visual beauty and art, the players can immerse into any world the creators wish the players to immerse themselves in. connecting in a way that’s new and unique in a fictional way, or through recognition in a non-fictional way. The connection between play and the 3D world is important as all artists understand, and intertextuality most likely will always play its part in creating bigger and better worlds.

Bibliography

https://assassinscreed.fandom.com/wiki/Notre-Dame

https://en.wikipedia.org/wiki/Notre-Dame_de_Paris

https://en.wikipedia.org/wiki/Assassin%27s_Creed_Unity

https://www.moviejawn.com/home/2019/1/14/poltergeist

[tyronemw]

5. Signs - Syntagmatic and Paradigmatic analysis in video game characters?

In this blog, I would like to talk about how Syntagmatic and Paradigmatic analysis can affect the decision making and design process that developers may have to consider when creating characters, and how these decisions can influence the viewers perspective on the characters and their games as a whole.

Semiotics is the study of signs, and how signs can relay information in different ways (Britannica, 2024). They can get across information through the means of an Iconic signifier, and example of that would be a picture of a cat, there is nothing else that could reference anything else, the picture of the cat represents the sign that it is a cat and that’s what it is, to something a little more complex. A symbolic signifier for example would be the use of a red light at a traffic light, there is nothing to indicate that red means stop, but through context and understanding of modern forms, people understand and its generally now known that red means to stop, even though there is no real reasoning behind it, as its arbitrary, but through the context, red means to stop. (Peirce, (1893-1913))

Whereas syntagmatic analysis studies the 'surface structure' of a text, paradigmatic analysis seeks to identify the various paradigms (or pre-existing sets of signifiers) which underlie the manifest content of texts. (Chandler, 2021). What is meant by this is that syntagmatic analysis is understanding that people can make conclusions, decisions and understand information based on what is right in front of them as a literal form, where it’s a piece of text or something visual, we can take information at a surface level. On the opposing side of this is paradigmatic analysis, latent content where the user has to think a little deeper, not about what they are reading or viewing, but what they aren’t, information can still be gathered by what isn’t been showing or said. Using this theory boasts and interesting direction for character development in the video game industry.

Lara Croft is a character in the Tomb Raider series and is a staple and face of the franchise, using syntagmatic and paradigmatic analysis we can draw information about Lara Croft without even knowing anything about the characters or the game, purely just on looks alone. Looking at the character, we can see she is wearing boots, which can indicate that she is active, maybe adventurous, we can see that she is also wearing some brown shorts and a turquoise vest, further enhancing our decisions that she is adventurous, maybe located somewhere hot too. She also wears a holster on her thigh and is armed with dual pistols, which tell us that she is an action character, possibly going to dangerous places where she would have to defeat enemies, all this information is retrieved through syntagmatic analysis, now let’s focus on the paradigmatic. Using the information that we know tells can give us information that the character is not a character that sits on the beach all day, they look like a go-getter action hero who isn’t afraid of danger, travelling and exploring in hot countries always looking for a new adventure. Not a character that is timid, lazy, and scared, who sits at home all day or a princess in a castle who needs saving.

There are other characters such as Tifa Lockhart from Final Fantasy and Jill Valetine from Resident Evil who also portray this kind of character, and you can see it in their design choices the similarities of the characters aesthetics which helps further prove this. The character developers meticulously choose every design detail as it can have a huge effect on how the game is portrayed and what to expect from the game through its choices of character design.

To conclude, with the use of Syntagmatic and Paradigmatic analysis, players and viewers can judge and make their own opinions on video game characters without evening knowing what the game maybe about or what it even is. This gives the developers even more to think about when designing characters and can use this to their advantage if they wanted to through them of the scent and entice them even more about who the character is and what secrets they may hold.

Bibliography

Britannica, 2024. Semiotics. [Online] Available at: https://www.britannica.com/science/semiotics [Accessed November 2024].

Chandler, D., 2021. Semiotics for Beginners. [Online] Available at: http://visual-memory.co.uk/daniel/Documents/S4B/sem05.html [Accessed November 2024].

Peirce, C. S., (1893-1913). The Essential Peirce, Volume 2. [Online] Available at: https://iupress.org/9780253211903/the-essential-peirce-volume-2/ [Accessed November 2024].

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4. Depiction - Analysing Baudrillard’s Three Orders of Simulacra in Gaming

“We live in a world where there is more and more information, and less and less meaning.” (Baudrillard, 1981). This is a quote from Jean Baudrillard, a French sociologist and philosopher in his book Simulacra and Simulation. In this book he talks about a concept that he created called the 3 orders of simulacra, these 3 stages represent how reality can evolve and change, and through each stage, can be complete lost altogether, from the start being the closest version of reality, to the end eventually detaching completely. I want to use this concept and link it to how video games use this theory.

Its important to understand the difference between reality and realism when transferring the concept of Baudrillard theory. To me, my own interpretation of reality is what exists in the real world, something I can touch or feel, smell or hear, something real that can be in front of me in a true form, personally that’s my idea of what reality is. With realism, its about how reality can be represented, its not something that is inherently real, but tries to imitate, or use methods to come across as something that is real. An example of this would be crime fiction books, it creates stories about people who have committed murders and how they try to get away with it, none of it actually happens, but it depicts life accurately and has a very close connection to reality itself as these actions do and can happen.

Using Baudrillard concept of the 3 orders, we see this happens with different games and genres with the first being The counterfeit, the counterfeit resembles something trying to represent the real world and reality as closely as possible, reality will be the purest form of itself, if something is trying to copy reality, for example a farming simulator game, that would be a counterfeit, this is because farming games use reality as the bases of its gameplay, real world physics, controls, imitation, it is essentially trying to mimic reality, which is the first order of Baudrillard concept.

The next stage is the Series, or production stage. This is where the realism starts to slip in games to emphasise or exaggerate parts within the game for entertainment value or visual stimulus, the game still has elements of the real world but make it dramatic. An example of this would be the Need for Speed racing series, the cars, the scenery can closely resemble the real world, however the driving, the speeds the cars go, the crash physics, are dramatized to make a more entertaining game to play, its reality but moulded.

The last stage is the simulation phase, the simulation phase, at this stage it doesn’t have a connection to reality, it doesn’t reference reality anymore because it is its own reality, its what Baudrillard called simulacrum, and what he describes as a hyperreality. The Sims for example could be subject to this, a fake life where the player can have jobs, relationships, hobbies, completely different lives to that of their own reality, it’s a whole new life of its own completely inside of a video game, a complete simulation. (Gitartia, 2013)

The Baudrillard quote I mentioned at the start, to me, means that with more and more content the world creates, not just in a video game setting but in all other aspects of life, proves that in some form we are becoming more and more out of touch with reality, the meaning gets lost in the sea of information, and there is so much information around us now that the search is more difficult than ever. Its not always a bad thing, but I think in regard to video games could be detrimental in some areas.

Bibliography

Baudrillard, J., 1981. Highbrow. [Online] Available at: https://gohighbrow.com/jean-baudrillard/ [Accessed November 2024].

Felluga, D., 2011. Modules on Baudrillard: On Simulation. Introductory Guide to Critical Theory.. [Online] Available at: https://www.cla.purdue.edu/academic/english/theory/postmodernism/modules/baudrillardsimulation.html [Accessed November 2024].

Gitartia, 2013. Simulacrum and Hyper-reality in Video Games; The Sims.. [Online] Available at: https://gitaartia.wordpress.com/2013/03/27/simulacrum-and-hyper-reality-in-video-games-the-sims/ [Accessed November 2024].

Kang, D. Y., 2014. Jean Baudrillard. The orders of Simulacra.. [Online] Available at: https://kangyy1.wordpress.com/2014/01/20/jean-baudrillard-the-orders-of-simulacra/ [Accessed November 2024].

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3. Sources - How League of Legends is the perfect example of Intertextuality and Transmedia

Media is everywhere and is consumed in so many forms, media can be consumed from a phone, a tablet, a laptop, a TV, through headphones, all through many different forms like books, films, songs, games, and more. With so many different media formats and in different ways means companies fill the need to find more ways to extend their brand and franchise and use the different formats to their advantage to reach a wider audience and provide more content than ever before. Companies and fans are pretty indifferent about this idea as one side of the spectrum fans would rather they stay in their lane and stick to what they know to prevent a decrease in quality in one area, other fans are happy to have more content in something they enjoy, but a company I think has done it perfectly is Riot Games with League of Legends.

League of Legends is a Multiplayer Online Battle Arena (MOBA) where 10 players play on 2 teams of 5, the goal is to defend your side of the map while simultaneously attaching the enemy’s side; to win, you must reach their base at the end of the enemy’s side of the map and destroy the nexus located there.  The players pick their characters called champions, who each have their own identity, skills and abilities respectively. The game launched in 2009 and had 40 playable characters to begin with, fast forward to 2025, and there is over 165 playable characters, all with their own stories, personalities, lore and uniqueness that they bring to the game, and this is where the Transmedia begins.

In 2011 Riot Games hosted its first World Championship event, teams compete at the highest level to win a cash prize and a trophy, solidifying themselves as the best league of legends team. This was live streamed and saw over 210 thousand viewers concurrent watch the final of this tournament, already, Riot Games now isn’t just a game but live streaming the game for viewers to watch and for players to play and make a living from. In today’s World Championship of 2024, saw the number of concurrent viewers at over 6.9 million viewers, these live streams host huge events, with live performance, very professional approach to the viewer experience, and even live augmented reality shows featuring the very characters that are in the game, which leads me to the next media source that Riot Games found themselves, Music.

KDA is a K-Pop style group featuring the playable characters you can find in the game, Ahri, Akali, Evelynn and Kai’Sa , voiced and performed by Cho Mi-yeon, Jeon So-yeon, Madison Beer and Jaira Burns respectively. The KDA K-pop band released full music tracks and music videos, this is a prime example of intertextuality as It’s moulded directly after real-world K-pop groups like BLACKPINK, the music, fashion, choreography, and music videos mirror real-life pop culture and is a direct reference to these objects. People who may not know about League of Legends but are fans of K-Pop may appreciate this, and the use of intertextuality may bring new eyes to the game. With the release of the new KDA K-Pop group, also meant that in the League of Legends game, you could purchase skins for the respective champions to appear as they do in KDA but also in the game. A clever marketing strategy as League of Legends is a free to play game and skins are a form of microtransactions, however the skins can play a vital role in the game’s lore and storytelling aspect.

With over 165 playable characters, each character has its own look, story, personality, and uniqueness behind them, with the core game only being able to tell you so much, Riot Games as spent a lot of time making cinematics, comics and short stories all providing further information and insight behind each champion that you would never find out anywhere else. The cinematics are immersive and really help the viewer get a better understanding from a visual standpoint of the characters physicality and overall person, it brings the character to life in a way that could never be portrayed in the game. The comics can help the reader grasp the personality and nature of a character, it can go into detail about who they actually are, how they got where they are, and what has made them the person they are today, on a personal level the comics can provide new and interesting lore about each character, again not found from any other medium.

Lastly, Riot Games wanted to touch on yet another form of media by creating an animated TV show called Arcane, released in 2021, Arcane saw huge success and not just with the players of the League of Legends, but new viewers who have never played the game before. The Series features playable characters from the game and dives into an emotional, cinematic story about some of the characters, the TV show provides depth and new stories, world building in the League of Legends universe expanded in a never seen before medium of the franchise, Arcane isn’t an adaption of anything said before, but an original story based on the characters in the game.

With League of Legends being inspired by a game called Dota (Defence of the Ancients) means that the game itself is a product of intertextuality. Through the years, Riot Games has established a huge success with branching out to different media forms, starting of with just a game with 40 empty characters, to now boasting over 165 characters all with their own unique lore, K-pop groups with their own music videos and songs, esports events that generate millions of viewers each year, and comics that provide new concepts and stories about the universe, League of Legends has become what I believe to be a perfect example of Intertextuality and Transmedia

Bibliography

Jenkins, H., 2010. Transmedia Storytelling and Entertainment: An annotated syllabus. [Online] Available at: https://www.tandfonline.com/doi/full/10.1080/10304312.2010.510599 [Accessed November 2024].

https://en.wikipedia.org/wiki/League_of_Legends

https://en.wikipedia.org/wiki/League_of_Legends_World_Championship

https://universe.leagueoflegends.com/en_GB/

https://www.leagueoflegends.com/en-gb/event/kda-official-fan-club/

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2. Tools - How Nier: Automata reflects gesamtkunstwerk

Gesamtkunstwerk was a word created by Karl Friendrich Trahndorff in 1827, the idea behind this word is “total artwork”. What this means is an expression that art can be embraced in many forms and all at the same time. This concept advocates such mediums such as theatre, , the use of music, poetry, dance and visual arts all into a singular performance makes use of multiple forms of art into one cohesive piece. Richard Wagner was the man who popularised this concept. (Wagner, 1993) In today’s age, there are many more ways that art can be expressed, not only that but also new ways that art can be expressed in the perfect and total form, video games.

Video games illustrate gesamtkunstwerk very well, there are so many forms of art that goes into creating a video game and how they can immersive the player, character design, environmental art, music, and narrative are all elements to the total artwork Wagner expresses. Id like to touch on the Neir: Automata for this topic as I believe can emphasise this idea well.

Neir: Automata is a game developed by PlatinumGames and published by Square Enix. It is an action role-playing game where the player controls a character in a proxy war between human made android, and alien made robots who are fighting for the inhabit of the planet. The player explores and open world setting finding new environments on a journey through a captivating narrative. Neir: Automata is a gesamtkunstwerk, from everything from the artwork, the narrative, the music and the gameplay, all plays a huge significance to the game and its representation of art forms.

Figure 1

As an inspiring environmental artist myself, I take a lot of inspiration from games such as Nier: Automata from a visual and artistic point of view, the post-apocalyptic aesthetic and dystopian vibes really can set the tone for certain areas in the game. One area in particular called the City Ruins (Figure 1), hosts a abandoned city scape interlaced with nature from where there hasn’t been any inhabitants for so long, the grey derelict assets of the buildings with the contrasting fresh green leaves of life, seeing nature reclaiming what humanity had left behind really captures what the environment is trying to show and tell the player. Another area of the map is the amusement part (Figure 2), this area showcases a  much livelier environment, with fireworks, moving parts and rides, and a huge castle. Two contrasting environments expertly put together to really immersive the player with carefully thought-out structures and artwork, from a visual perspective Nier Automata does very well.

Figure 2

Not only that but Nier Automata has won awards for its score and music, The Game Awards is a prestigious award show in the gaming industry where people can vote for games nominated for different categories, such as Best Score, Best Narrative, and Best Role-Playing game, Nier: Automata had been nominated for all of these, and won Best Score. The game even has its own tour called the Nier: Orchestra Concert which sees thousands of people attend the tour to hear the music live, played by a live orchestra. The music for the game plays an important role in its immersion, it can be haunting, or upbeat, suspenseful or calm, the soundtrack is dynamic and changes depending on the gameplay on screen and the emotions of the characters, which help towards the story telling element of the games narrative.

Lastly, the games narrative is a deep and emotional story, it’s about identity, purpose, and how choices can always affect an outcome not just for yourself but for everyone around you. The game makes you think and make decisions based on emotion and what you think is morally correct, it questions the players morality, and willingness to make sacrifices. The game touches on a lot of the principles just like Wagner wanted his operas to be transformative.

Overall, Nier: Automata reflects gesamtkunstwerk very well, hundreds and thousands of people come together with the work of character artist, environment artist, writers, scripter writers and more, to collaborate on a piece of work where the player can truly immersive themselves in the universe and appreciate all different forms of art whole heartedly in a single cohesive medium, that is gesamtkunstwerk in video games.

Bibliography

Wagner, R., 1993. The art-work of the future. [Online] Available at: https://archive.org/details/artworkoffutureo0000wagn/mode/2up [Accessed October 2024].

https://en.wikipedia.org/wiki/Nier:_Automata [Accessed October 2024].

https://thegameawards.com/rewind/year-2017 [Accessed October 2024].

Figure 1 - https://nier.fandom.com/wiki/Amusement_Park [Accessed October 2024].

Figure 2 - https://nier.fandom.com/wiki/City_Ruins [Accessed October 2024].

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1. Stories - Understanding how The Stanley Parable portrays Narrative

The Stanley Parable is a video game from 2013, written and designed by Davey Wreden and William Hugh. It is a first-person, narrative driven video game that’s whole concept is driven on the idea of the player free to make their own choices and in general the nature of storytelling in games, there is no real gameplay to this game, all you can do is walk, and interact with a door or button. You begin the game playing as a character called Stanley, office worker number 427, whose job it is to push buttons on a keyboard that he is instructed to press on his monitor, he is told which buttons to press, for how long, and in which order, and that is his job of which we are told he loves, until one day the instructions stops coming, in his worry and confusing, he gets up from his chair to investigate and find out what’s going on, and this is where the game begins.

I found this game in particular very fitting for this topic as I find the narrative and storytelling of this game very unique, a major part of this game is a character called the narrator, as the player controls Stanley, the narrator is a voice that you hear who is describing everything that the player is supposed to do. The player can choose to follow along with the narrator telling you to do, or the player can choice to ignore the narrator and do something else which can cause different outcomes and endings. With the player being able to make their own choices, means there are many branches that the player can choose to take, each finding a new and different ending at the end, with this idea, illustrates Aarseth’s “Ergodic literature” narrative (Aarseth, 1997) , it talks about explains about how the choices you make can effect the outcome of a situation or scenario.

There is one moment in the game that I would like to touch on a bit more, the moment in the game where the narrator tells the player that they went through the on the left (Figure 1). At this point the player has a choice, to obey and go through the door on the left, or disobey and go through the door on the right, this moment seemingly seems to give the player a choice, however there is one instance no matter what they decide to do, the outcome remains the same, giving the player that illusion of choice calls a manipulation in narrative, the narrative being that the player is thought to have the decision to change an outcome but the narrative has already been determined. The article by Al (Al, 2023) talks about the psychology behind what it means to have free will and the ability to make decisions is important to express ourselves as humans, and how the impacts of the illusion of choice can negatively affect some people or not have any impact at all on others. However, in relation to The Stanley Parable and its narrative, I like its inclusion of this sociological and psychological idea as it unfolds that, in some instances, not all of your choices matter, and I like the way it delivers this.

Figure 1 - Two Door Problem

Id also like to touch on the idea how some games of todays standard can be seen as quite linear and analyse how The Stanley Parable detaches from the classic narrative seen in a lot of games over the years with is approach on story telling. A lot of games have the classic story of a hero or player needing to achieve something to do something good, and the game structure can be very linear with the game play following suit. Games wants us to follow a particular path, go to a particular destination where there are then pre-made cutscenes, invisible walls and auto respawns to prevent us from diverting from the designated path that the game wants us to follow, which makes me think that possibly, The Stanley Parable is referencing this very idea with the player being Stanley, doing what he is told by the monitor, just like we do in linear narrative games, we go and do what we are told to do by the game?  What I do like about The Stanley Parable in terms of its narrative is how it does not follow this logic, and with the narrator being there telling you want to do but ultimately you can choose to do what you want to do, pays homage to those games that do that almost in the form of small jab.

Bibliography

Aarseth, E., 1997. Cybertext: Perspectives on Ergodic Literature. [Online] Available at: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://williamwolff.org/wp-content/uploads/2013/01/aarseth-ergodic-ch1-1997.pdf [Accessed October 2025].

Al, 2023. The Illusion of Choice. [Online] Available at: https://thepsychpractice.com/plog/illusionofchoice [Accessed October 2025].

Figure 1 -https://thestanleyparable.fandom.com/wiki/Two_Doors_Room [Accessed October 2025]

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Critical Analysis

Paolo Bertetti (2014) - Toward a Typology of Transmedia Characters - https://ijoc.org/index.php/ijoc/article/view/2597

Transmedia characters are everywhere in today’s world, with the resurgence of new media types and platforms, companies use this to their advantage and market their flagship characters across multiple platforms, games, tv, films, comics, and even augmented reality in some cases. These characters can have rich history and with so many avenues to represent the characters, bids new and exciting ways for the audience to connect with it, boasting new and exciting lore about the characters through the use of transmedia storytelling and new details through different media sources. The article written by Paolo Bertetti discusses what it takes, and the different way to construct a transmedia character, in particular, I will be focusing on section titled ‘Transmedia Characters and Transmedia Worlds’. This section highlights the relationship between the two and how it can be very important from not only a character artist side of things, but also from the perspective of the environment artist too.

Bertetti quotes a line from Jenkins book, “a good character can sustain multiple narratives and thus leads to a successful movie franchise. A good ‘world’ can sustain multiple characters (and their stories) and thus successfully launch a transmedia franchise” (Jenkins, 2003). With this, Bertetti then expresses his opinion in relation to what Jenkins says about the importance of not just transmedia characters, but also transmedia worlds and world building. He explains that transmedia characters aren’t just the only thing that makes what transmedia is, but rather they’re there to offer a new way to build and think about transmedia stories. Bertetti ties in his opinion with Jenkins ideas that world building is a key for concern, with Jenkins highlighting the importance that is transmedia worlds, and how its about creating big fictional universes with a strong and coherent foundation, and how transmedia characters can also achieve this as they help structure transmedia storytelling.

The reference Bertetti makes with the use of Jenkins ideologies makes for an interesting way and view and understand both perspectives, ultimately understand what both are trying to say from both point of views. The language is concise and the use of Jenkins narrative is well articulated when he said “For Jenkins, world building is a key concern of transmedia storytelling” which allows us as the reader to understand that at this point he has stopped talking about his own opinions of the concept of transmedia, and is now analysing it from Jenkins perspective, which keep the flow of the conversation healthy with no uncertainty about who is saying what, and their opinions on the matter.

Continuing further, Bertetti makes an argument where he disagrees with what Jenkins is saying, Bertetti’s case is that he doesn’t believe that transmedia is a phenomenon that has emerged in recent years because of the new technologic advancements that we have made, but rather “it can be traced back almost to the origins of the modern cultural industry between the end of the 1800s and the early 1900s.”.

At this moment in the text, he has expressed his counter argument to what Jenkins believes, we know that Bertetti talks more about the characters in transmedia and its importance, where as Jenkins talks about the world building aspect. It is then discussed about the originality of both transmedia characters and transmedia worlds, using silent movies as an example to back is claim that transmedia characters have been around for much longer than Jenkins seems to imply. What I like about this, is that he then used Jenkins own ideas to advocate his own, seemingly while Jenkins also acknowledges and accepts that this could be the case.

It’s a clever piece of writing as the layout of the article makes the reader think a bit more, rather than just having everything written down in a linear form, it engages the reader because it raises questions about what Jenkins is saying from his perspective, Bertetti raises good point and opinions, he says “At the base of older forms of transmedia franchises there may be a logic not focused on world sharing but on a character sharing”. This is effective because it puts what Jenkins is saying to the test, taking the reader along a journey almost like they are reading a conversation between two highly educated people. Beretti then includes Jenkins acknowledgement of the idea that character sharing could be the start of character transmedia, with Jenkins own notes on how it’s possible that a character doesn’t need to rely on a big, ongoing story and that the characters can be self-contained, no bigger narrative or timeline, just short stories that start and end at during the episode. This inclusion of Jenkins acknowledgment makes what Beretti says hold more value, he didn’t need to include this quote, as if he didn’t, would make him look like it was an original idea created and thought by all himself, almost looking down on Jenkins and questioning his views, by quoting Jenkins, it comes across as more of a discussion, using ideas to form his own views on the subject and maybe even help enhance each other further on the topic.

This section forms great arguments, the multiple viewpoints that it has been written in create a good and interesting read for the reader as it doesn’t come across as one man putting is thoughts down on paper but rather emphasises where he got them from and what influenced it. If you weren’t to understand anything about this topic, I believe its relatively easy to understand as the language used doesn’t really share anything too obtuse, there isn’t anything very industry specific included apart from the terminology used to describe certain aspects of transmedia. It clearly labels how Bertetti feels about how transmedia characters was formed and their originality, using and reflecting what Jenkins says about Transmedia worlds. Both sides play an important role to understand how the two sides can be brought together, but at the same time, don’t necessarily need to have a connection at all.

Bibliography

Jenkins, H., 2003. Transmedia Storytelling. [Online] Available at: https://www.technologyreview.com/2003/01/15/234540/transmedia-storytelling/ [Accessed April 2025].