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Critical Analysis

Drakett, J., Rickett, B., Day, K., & Milnes, K. (2018). Old jokes, new media – Online sexism and constructions of gender in Internet memes. Feminism & Psychology, 28(1), 109-127. https://doi.org/10.1177/0959353517727560

Written by Jessica Drakett, Bridgette Rickett, Katy Day, and Kate Milnes, this article explores gender discrimination and portrayals in internet memes. This is a journal published in 2018 in Feminism & Psychology which investigates how a popular online entertainment medium, memes, reinforce outdated social norms. I focus on specific sections of the article to illustrate my analysis, particularly the discussion of gender portrayals in memes (pages 116-117). The reason why I chose this article is because memes not only are one of the dominant forms of online humor but also have a great influence on the daily lives of young generations, and even wider audiences, including mine. Despite their light-hearted nature on the surface, memes often reinforce discriminatory ideas. I have experienced social bias and harassment. Moreover, I have noticed an uprising focus on gender and LGBTQ+ issues in digital media. In my opinion, this article provides insights into how humor is used to cover up gender discrimination in digital media.

From my perspective, the article succeeds in guiding readers step by step, from understanding the basics and humor theories to narrowing down to analyzing memes and their depiction of gender roles. Not only that, but the authors suggest solutions and emphasize the psychological and societal implications of this phenomenon at the end of the article.

In the beginning, the authors introduce humor theory. Fundamentally, memes are a form of entertainment that makes people laugh. They discuss traditional humor research methods and highlight their limitations. For instance, old studies often emphasize the positive sides of humor but neglect its potential to humiliate specific groups, especially women. Scholars like Billig (2005) tried different methods to explore the darker side of it. These studies show that humor can reinforce stereotypes or justify rude behavior by saying that the speaker is rebellious or unconventional. The authors start with a broad discussion of humor and gradually shift the focus to memes. Therefore, they effectively keep clarity and focus on their research.

Next, the authors draw attention to other research to explain that humor serves multiple functions beyond entertainment, such as dividing people into groups or reinforcing stereotypes. Then, they introduce the concept of postfeminism. However, they acknowledge its ambiguous definition. In this context, gender discrimination, especially that against women, is often disguised as humor. Some scholars worry that discriminatory humor being seen as a norm could make it harder for people to criticize such behavior out loud. What’s more, the article cites Shifman and Lemish (2010), who found that many jokes emphasize stereotypes about women. For example, women are often presented as nagging mothers or overly dependent people. The authors convincingly point out the need to tackle these issues in digital media by supporting their arguments with data from multiple scholars.

The authors start digging into the origins and impact of memes. They explain that memes should be studied as collective phenomena rather than isolated cultural artifacts. Shifman (2013) notes that memes bridge the gap between the internet and everyday life, which promote specific ideologies and encourage participation in various activities. However, easy accessibility also lets gender discrimination and harassment spread wider as they are often disguised as humor. By repeating the importance of acknowledging these influences, the authors remind readers of the subtle but common effects of digital media.

The authors introduce their methods of studying internet memes. They focus on popular ones from frequently visited websites with transparent ranking systems. They deliberately exclude non-English memes to avoid linguistic and cultural biases. The study examines both text and images within memes to understand how these elements work together to influence viewers. This strengthens the research by capturing the full impact of memes. Additionally, the authors’ ethical approach to data collection and their systematic selection of platforms demonstrate their commitment to rigorous research practices. By citing recent research and collecting huge amounts of data, the authors successfully make the article well-founded and relatable.

The article categorizes examples of memes that objectify women and praise commanding masculinity. For instance, men are often portrayed as active agents. In contrast, women are often passive objects. Memes frequently present men as knowledgeable and logical, whereas women are shown as emotional and indecisive. Humor like this reflects social ideologies that emphasize gender differences and reinforce traditional roles. For instance, women are often considered suitable only for domestic jobs, but men are seen as dominant leaders. Even when women are in powerful positions, memes often make fun of them. Data shows that some memes are so obviously sexist that they are dismissed as “just jokes.” Sometimes, disclaimers like “LOL” or “don’t take it seriously” are used to avoid criticism. This led to discriminatory behavior to be normalized. The combination of digital humor and traditional gender biases certainly promotes harmful stereotypes.

This article’s structure is clear and logical. It begins with a wider discussion of humor and narrows its focus to internet memes. This allows readers to absorb information gradually. The use of evidence like studies by multiple scholars backs up their arguments and strengthens the significance of dealing with these issues. Not only that, in conclusion, the authors advocate against hate comments or responses to this phenomenon. Instead, they argue that the internet has the potential to challenge mainstream gender norms. Individuals can promote positive change by creating memes. This peaceful way to face discrimination is more effective and constructive than being aggressive.

One limitation of the article is its lack of examples of memes that promote gender equality or LGBTQ+ acceptance. It would be better to provide readers with positive examples, references, and inspiration for creating impactful memes. Despite this slight weakness, the article’s thorough analysis and strong structure make it an important contribution to understanding how digital media shapes how people perceive gender and sexuality.

This article is comprehensive and insightful as readers can understand how memes reinforce gender stereotypes and discrimination. It blends theoretical discussions, research methods, and practical examples effectively to emphasize the social impact of digital humor. The authors provide a hopeful perspective on dealing with gender issues in digital media with peaceful fightbacks and highlight the internet’s potential for positive change.

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The Reader

Denison, R. (2011) ‘Transcultural creativity in anime: Hybrid identities in the production, distribution, texts and fandom of Japanese anime’, Creative Industries Journal, 3(3), pp. 221–235. doi: 10.1386/cij.3.3.221_1.

This article analyzes the transcultural activities within Japanese anime. From production and narrative content to distribution and fan adaptations, anime demonstrates continuous cultural exchange. It retains Japanese characteristics while incorporating non-Japanese elements, such as diverse storylines, character designs, and localized dubbing for international audiences. This fusion enables anime to appeal globally while remaining culturally distinct. The article encourages me to view the digital media industry with a broader perspective. For creators and multimedia professionals in a globalized society, crafting creative content should account not only for domestic markets but also for international audiences and their cultures. Respecting both production values and fan contributions can create successful transcultural works. Today’s diverse anime industry serves as an excellent example of a well-rounded system that embraces global collaboration and cultural exchange.

Gill, Rosalind. (2006). Gender and the Media. Cambridge, UK: Polity Press.

This book explores the link between gender studies and media and focuses on how modern media represents gender and reinforces stereotypes. Moreover, it discusses how women are often objectified and expected to show qualities like gentleness, while men are portrayed as strong and masculine. The media's focus on body image is highlighted. Success and attractiveness are linked with the perfect female figure as well as connecting men’s appearances to power and muscles. The book also notes the growing representation of diverse groups, such as non-heterosexual communities. I have learned the responsibility as a creator to promote equality and diversity. Not only that, as audiences, we are also encouraged to critically analyze and challenge sexism in the media. The writing is accessible, and its analysis of gender and media is insightful, which offer valuable perspectives for both content makers and receivers.

Hanson, Matt. (2004). The End of Celluloid: Film Futures in the Digital Age. Rotovision.

This book analyzes the shift from traditional film to digital cinema. The author focuses on how technological changes impact the film industry and its cultural effects. Digital technology has changed traditional filmmaking. How movies are made, seen, and told is different. It makes modern cinema more flexible and diverse. The author also explains how the boundaries between digital media forms like virtual reality, interactive films, games, and animation are blurred. Audiences are no longer passive viewers but active participants, which makes more creators from different backgrounds can now join the industry. This book shows how the digital age and diverse media bring innovation to cinema. As a digital media creator, I found it very informative. After reading, I can see different art forms more broadly and use what I learned to explore unfamiliar fields, stepping out of my comfort zone.

Lamarre, T. (2009). The Anime Machine: a Media Theory of Animation. Minneapolis, Minn. Univ. of Minnesota Press [20]10.

This book explores animation as a medium and focuses on technical and cultural aspects. Technically, animation uses multi-layer image simulation, which requires creators to consider details like angles, depth, and tone. Culturally, animation encourages non-linear storytelling, letting audiences interpret plots and characters in diverse ways. In addition, exaggerated expressions and movements enhance emotional impact. The book also discusses Japanese animation’s global influence, including the rise of otaku and cute culture, and its social effects. This book comprehensively analyzes the impact of animation as a media on technology and society. It deepens my love for animation and clarifies the differences between animation and film. As someone who creates characters for animation, this book helped me understand how to tailor my work for audiences with different perspectives.

Lupton, D. (2016) ‘Digital media and body weight, shape, and size: An introduction and review’, Fat Studies, 6(2), pp. 119–134. doi: 10.1080/21604851.2017.1243392.

By researching, the author identifies the emergence of digital media criticisms of not only obese people, but also people of all sizes. Even though many researchers and obese people try to challenge traditional aesthetics and establish their own communities, criticism of obesity and body-shaming is still the majority. The mainstream media emphasizes that obesity is related to self-control, and rarely explores congenital obesity or other causes. Moreover, they consider thin bodies sexually attractive and use algorithms to promote this ideology, forming a collective consciousness. In the game industry, most character designs are slim women or tall, strong men, which makes the public think they must have similar figures in order to gain more benefits. This article helped me think about issues I neglected. In the past, I tended to design slim characters who I thought were attractive. When producing digital media content, creators must consider whether the design reflects emotional projection of a specific body type, which strengthens the audience's single aesthetic and harms specific groups.

Machado Oliveira, A. (2022) ‘Future Imaginings in Art and Artificial Intelligence’, Journal of Aesthetics and Phenomenology, 9(2), pp. 209–225. doi: 10.1080/20539320.2022.2150467.

This article explores the relationship between art and artificial intelligence (AI) and uses the proposals of various scholars to emphasize that humans and technology are not antagonistic and hierarchical. They influence each other because human nature is already included when advancing technology, which also affects human emotions and behavioral patterns now and in the future. That is, modern humans can be considered to be technology’s product. Moreover, by researching art practice and different creative projects, people are gradually redefining art and AI, and how AI allows humans to reshape new aesthetics. I am given a new perspective on AI through this article: art has been a form of technical expression, so it is reasonable to see it as a kind of AI. Artists do not need to worry that these technologies will replace themselves, but think about how to use it to explain social and cultural phenomena, examine standards of beauty, enhance the sensory experience, create new works, and integrate themselves into the possibilities brought by technology.

Marles, J. E. (2015) ‘Simulating memory: a technique of memory and narrative in interactive digital media’, Continuum, 29(4), pp. 534–548. doi: 10.1080/10304312.2015.1051803.

This article is based on an interactive digital media project The Shoebox and explores how digital media platforms can simulate the reconstruction of autobiographical and traumatic memories. The author mentions “memoradic narrative,” which combines linear and non-linear narrative techniques. This allows users to experience fragments of memories from various angles in an immersive simulation form. As a digital media creator, the method discussed in this article encourages me to avoid using traditional linear narratives when creating plot lines. This technique also allows the audience to maintain a sense of mystery while completing the story, which I want to achieve while delivering my work. Last but not least, with the limitless frame of digital media platforms, I can also put additional scenes or clues in different versions as the article suggests.

PERFETTI-OATES, N., 2015. Chick Flicks and the Straight Female Gaze: Sexual Objectification and Sex Negativity in New Moon, Forgetting Sarah Marshall, Magic Mike, and Fool's Gold. Gender Forum, (51), pp. 1.

This article is based on the research of chick flicks, explaining that in these films, male characters are objectified the same way as female characters in the media previously, which is referred to as the "female gaze". The author pointed out several media content emphasizes men as objects of visual enjoyment, usually showing off the male body parts. However, the author also suggested that such visual presentation would lead to "sex negativity" and would make male characters fall into the cliché of being sexually attractive objects. Just like past works of male gaze, these works do not achieve true gender equality, but instead reiterate the solidification of gender discrimination. This article helped me realize that both men and women can be victims of the gaze. When creating, we need to be careful because media content is a reflection of the creator’s values. For gender equality, more diverse media presentations are needed, so that all characters can tell stories with respect.

Tao, F. (2022) ‘A New Harmonisation of Art and Technology: Philosophic Interpretations of Artificial Intelligence Art’, Critical Arts, 36(1–2), pp. 110–125. doi: 10.1080/02560046.2022.2112725.

The article defines differences between AI-generated and human-created art through two perspectives: technological application and human-machine relationships. AI art has purpose (human instructions) but lacks intentionality (consciousness or motivation). The author explains that AI generates art either by simulating human actions or reorganizing and producing new content from databases. Unlike humans, AI doesn't interact with society, culture, or environment—it executes programmed tasks. However, AI art has a level of independence, and increasing reliance on AI could reverse human control, reshaping human-machine dynamics. As a content creator, I initially saw AI art as a threat to artists, but this article gave me insight into its workings and differences from human art. It also emphasizes that harmony between AI and art, rather than separation or control, can enrich culture and society while preserving unique artistic contributions.

Toh, W. (2022) ‘The Player Experience and Design Implications of Narrative Games’, International Journal of Human–Computer Interaction, 39(13), pp. 2742–2769. doi: 10.1080/10447318.2022.2085404.

This article explores the elements that affect player experiences in narrative games. It analyzes player interactions using different research methods and theories. These interactions impact not only how much players enjoy and connect with the game but also the depth of the story. The author suggests ways to improve narrative game design, such as creating emotional bonds between players and characters, to make the experience more immersive and meaningful. As a concept artist, many of my projects are designed for games, and one important goal in art creation is to tell a story. This article helped me understand the history, production, and gameplay of narrative games. It also gave me better tools to approach concept art for these games in a more prepared and thoughtful way.

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Blog Post 10: Denotation, Connotation, and Myth in My Artwork

In this post,  I will explain the ideas of denotation, connotation, and myth. Then, I will explore how I apply them in my artwork.

In a previous post, I briefly mentioned the concepts of these terms. They are deeply connected to semiotics, which is a study of symbols and meaning. A famous scholar named Roland Barthes approached semiotics by emphasizing the interaction between culture and symbols. According to his theory, denotation refers to the literal meaning of something, often the most direct and surface-level interpretation. Connotation is the second layer. It often carries emotions or values of the interpreters as they are affected by the cultural and social environment. Myth is a further extension based on connotation to reflect shared societal phenomena.

Before creating character, prop, or environment designs, I always build a full world concept to guide my visuals.

Denotation

The literal layer of my story is about a young girl tricked into living with a magician. She grows up to become a warrior, learns to connect with others and animals, and ultimately defeats the magician to find her identity. The setting is inspired by polar tribes, with snowy landscapes and traditional elements influencing the clothing designs. For example, the protagonist’s darker skin tone and rabbit-inspired eyes distinguish her. Her flexible outfit is designed for running through forests. As for the sister, the rune reader, her posture, hairstyle, and stylish clothing reflect her sassy personality and supportive role. Lastly, the magician's sharp facial features and tall cloak emphasize his authority and evil nature.

I also designed spirit animals: a deer and a snow monster. The deer is the village’s sacred guardian with magical powers, which is shown by its ability to summon snow and snow monsters from its antlers. The snow monsters are its sidekick, and they change shape based on emotions. They become water when emotional and ice when angry. The house also mirrors the deer, with balconies, windows, and door frames shaped like antlers. Even the magician’s robe and the warrior’s cloak feature deer characteristics.

Connotation

At a deeper level, this story reflects my personal growth. The protagonist’s loneliness and struggles to fit into a new group mirror my own challenges of growing up and feeling out of place. For instance, although the magician’s house can be called a “home,” it symbolizes control and manipulation, which reflects selfish authority. In addition, the sister Lana represents warmth and sibling love as she balances the harshness of the magician’s influence. Moreover, the protagonist’s moments of bonding with her sister and monsters represent self-acceptance and growth. She learns that she does not have to meet others’ expectations and finds her own path.

At the climax of the story, the protagonist exposes the magician’s plan to harm and replace the deer (the guardian) and saves the community. This act symbolizes her rebellion against patriarchal control and her fight to protect the environment. 

Myth

First of all, the protagonist’s journey mirrors the universal struggle for self-discovery, consciousness, and acceptance, especially among the younger generation. Her escape from the magician’s control and search for her place reflects the challenges many people face when finding their identity. This is just like when immigrants adapt to new cultures or youths break away from traditional values. Secondly, the magician symbolizes patriarchal power. His selfishness harms both the protagonists and his daughter. Their rebellion reflects modern society advocating for gender equality and challenges to traditional authority. Last but not least, the protagonist’s bond with animals highlights the importance of reconnecting with nature. As the world increasingly recognizes the harm caused by greed and overdevelopment, this story promotes values of sustainability.

Conclusion

After understanding more deeply about denotation, connotation, and myth, I can create stories that are more than just entertainment. By adding layers of meaning, I believe my work can connect with my audience’s experiences and cultural backgrounds. My art and storytelling can deliver deeper meaning thanks to this knowledge. I aim to create more art and stories that inspire people.

Sources:

Barthes, Roland. (1972) Mythologies. New York: Hill and Wang.

Barthes, Roland. (1964) Elements of Semiology. New York: Hill and Wang.

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Blog Post 9: Realism and Fantasy in Anime: Representation, Simulation, and Narrative

In this blog,  I will explore realism and fantasy in animation storytelling through the example of Haikyu!! (2012-2020). I will focus on the use of representation and simulation, and discuss how narratives are affected by animation as a medium. In the end, I will summarize the strengths and weaknesses of this approach.

In previous posts, I mentioned how important representation and simulation are in digital media. Many forms of media reinterpret reality or recreate settings or props to increase immersion. Stuart Hall (1997) explains that ideologies, race, and other elements are fluid concepts, and they are presented in the media as subjective creations, not objective facts. Jean Baudrillard (1994) writes that simulation focuses on presenting reality or imagined elements without the intention to reinterpret. It aims to help the audience feel more connected to the plot.

Animation, as a medium, is more flexible than films or games. Thomas Lamarre (2009) argues that animation involves more than showing realistic movements. It also considers how visual elements interact or exaggerate for impact. Although simulation is essential in animation, representation also builds up storytelling by enhancing the viewer’s experience.

Case Study: Haikyu!! (2012-2020)

I consider Haikyu!! a great example of mixing simulation and representation. This animation series is adapted from Furudate Haruichi’s manga regarding volleyball and high school clubs. Unlike many sports anime, such as The Prince of Tennis or Kuroko’s Basketball, which have fantasy elements as the main theme, Haikyu!! stays realistic by following real-life volleyball rules and games.

20 Haikyuu Moments in Real Life Volleyball

Simulation in Haikyu!! 

As I mentioned, Haikyu!! focuses on realism. Although the characters and schools are fictional, the locations, like gyms and courts, are modeled after real places in Japan, such as Miyagi Prefecture and Tokyo. The author and producers visited these sites in person to create realistic settings. The tournaments in the story, like the All-Japan Junior High Championship and Spring High Tournament, are all real. Moreover, volleyball rules, techniques, and strategies, like rotation and blocking, are also true to real matches.

In addition, the extended animated movie Haikyu!!: The Dumpster Battle uses first-person perspectives. For example, Kozume Kenma’s final set is presented from his perspective. The director asked real volleyball players to use GoPro cameras to capture and simulate the scene. This simulation allows viewers to feel like participants and to experience the players’ emotions and struggles.

Representation in Haikyu!! 

Besides simulation, Haikyu!! uses representation as well in character design and action sequences. For instance, almost every character in Haikyu!! is linked to an animal to emphasize his personality. Take Kenma, he is compared to a calico cat – shy but clever, with hair color matching the cat’s fur. Other characters are based on people the author has met or even admired, like Tanaka Ryuunosuke. This character is inspired by a kind and helpful senior from the author’s high school. As the audience, we do not know this person or his personality, but we can still feel the vibe through the character.

Kozume Kenma

Tanaka Ryuunosuke

The anime also adds creative moves to realistic volleyball techniques. The protagonists, Hinata and Kageyama’s “minus tempo quick attack” or Hinata’s running block are examples. These moves are imaginative but believable since the smooth animation and well-paced scenes have made them seem realistic and essential for the story.

All Hinata And Kageyama's Fast Attack | Haikyuu season 1 to 4

Conclusion 

In summary, I believe Haikyu!! creates strong emotional connections with the audience because it reflects real-life experiences. Henry Jenkins (2006) said that fans engage with the media and then recreate it. Haikyu!!’s realism, amazing character designs, and compelling plot inspired a volleyball boom in Japan and led to extended projects like stage plays and mobile games. However, its realism limits the creative freedom that is commonly seen in fantasy anime, which can deliver more visual surprises.Even with its limitations, Haikyu!! still excels at using representation and simulation to tell a unique story. It takes advantage of animation as a medium to create an outstanding narrative.

In my own artistic journey, I like adding realism to make stories relatable and evoke emotions. Nevertheless, I still want freedom in building various worlds. Balancing both requires contemplation and experimentation. 

Sources:

Baudrillard, Jean. (1994) Simulacra and Simulation. An Arbor: University of Michigan Press.

Hall, Stuart. (1997) Representation: Cultural Representations and Signifying Practices. 2nd ed. London: SAGE Publications.

Hatim Argoub (2020). All Hinata And Kageyama’s Fast Attack | Haikyuu season 1 to 4. [online] YouTube. Available at: https://www.youtube.com/watch?v=y34KelzpEfg [Accessed 12 Dec. 2024].

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

Lamarre, T. (2009). The Anime Machine: a Media Theory of Animation. Minneapolis, Minn. Univ. of Minnesota Press [20]10.

Power Volleyball (2024). 20 Haikyuu Moments in Real Life Volleyball. [online] YouTube. Available at: https://www.youtube.com/watch?v=DdcHE7wldGs [Accessed 12 Dec. 2024].

X (formerly Twitter). (2024). x.com. [online] Available at: https://x.com/CalicoDaily/status/1499814432670507012 [Accessed 12 Dec. 2024].

仙台體育館聖地巡禮 見學攻略&心得（文長圖多慎入） (2024) Available at: https://www.dcard.tw/f/haikyu/p/256033865 (Accessed: Accessed 10 Dec. 2024).

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Blog Post 8: Breaking the Tradition: Challenging Gender Stereotypes in Cinema and Anime

In this post,  I will analyze the concept of gender stereotypes in digital media, as well as how some movies and anime are challenging this perspective that create diverse characters and storylines. In addition, I will discuss various theories on gender roles presented in digital media and examples from cinema and anime.

In today’s world where people are exposed to media content everywhere, audiences are inevitably influenced by portrayals of gender roles, which shape their expectations of how others and themselves should behave. Therefore, it is important to realize how crucial it is to depict gender in the media. 

Traditionally, the media often follows social expectations, as men are portrayed as strong, dominant, and masculine, whereas women are shown as nurturing, obedient, submissive, sometimes even seductive or foxy. Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) introduced the concept of “male gaze.” This is about the fact that the Hollywood industry is dominated by male reinforces gender stereotypes through plotline and camerawork. For instance, how Marilyn Monroe was objectified in The River of No Return. Fortunately, modern media is increasingly trying to challenge these stereotypes, which helps audiences to embrace gender equality and richer narratives.

Marilyn Monroe In "River Of No Return" - Song "River Of No Return"

Traditional Gender Stereotypes in Media

Judith Butler (1990) proposed that gender is a socially constructed system, rather than a biologically determined one. This theory criticizes the binary understanding of gender roles and emphasizes the fluidity of gender. However, many media still support rigid stereotypes. For example, male characters are often depicted as strong, decisive, and heroic, such as the character Thor in Marvel’s Thor series. His warrior-like persona defines his identity. Another example is the protagonist Kirito in anime Sword Art Online, who is depicted as a savior and is surrounded by lots of female characters that adore him. On the contrary, female characters are viewed as delicate, beautiful, and supportive. A great example is Asuna from Sword Art Online. She was a strong warrior in the early story but then transformed into a caring wife role later in the series. These depictions perpetuate the traditional “men in charge, women at home” narrative in anime and films.

Successful Examples of Breaking Gender Stereotypes

Everything Everywhere All At Once (2022) is a brilliant instance of challenging gender stereotypes. The protagonist, Evelyn Wang, shows a multifaceted and well-rounded personality and character arc. She is compassionate and understanding when it comes to reconciling with her daughter. Moreover, she is courageous and decisive while saving the multiverse, which is the characteristics used to put on a male character. Meanwhile, Waymond, the lead male character and the husband of Evelyn, is a wonderful character who reshapes the audience’s perception of what might be “weak.” He resolves conflicts and saves his family business through his kindness and empathy. Waymond’s qualities are often viewed as “feminine” or “unmanly,” nevertheless, these become his greatest strength. Empathy and love are not weaknesses but powerful tools to survive in this turbulent world.

Frozen (2013) is a groundbreaking Disney animated feature that redefines traditional gender roles. Elsa is a strong and independent queen who does not rely on romance to motivate her behavior and storyline. She learns to face her fears and live for herself, which makes her the role model for countless viewers. As for Anna, although she is involved in a romantic storyline, her bravery and willingness to find Elsa, repair their relationship, and resolve the problem all break the classic “ the damsel in distress” situation for female characters.

In My Hero Academia (2014-2024), the main male character Midoriya Izuku challenges the notion that only tough and aggressive men can be heroes. Like Waymond, his empathy and emotional intelligence allow him to understand villains’ background stories, mourn for them, and look for solutions and precautions that go beyond mere punishment. Midoriya Izuku’s gentleness and sensitive nature make him a trusted friend and hero. He proves that even without any superpower and traditional masculinity, one can still be a hero.

Conclusion

Rosalind Gill (2007) suggests in Gender and the Media that there is a trend of modernizing and diversifying gender portrayals in media. As we can see in works like Everything Everywhere All At Once, Frozen, and My Hero Academia, breaking societal restrictions of gender roles can bring more respect within the audience's mind. As a digital media content creator, I try my best to avoid traditional gender portrayals unless it is necessary for storytelling. I aim to create works that promote gender equality and inspire future generations to challenge stereotypes. 

Sources:

@charactour. (2016). I’m a match to Midoriya Izuku from My Hero Academia. [online] Available at: https://www.charactour.com/hub/characters/view/Midoriya-Izuku.My-Hero-Academia [Accessed 10 Dec. 2024].

Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.

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

Marilyn Monroe Video Archives (2018) - Marilyn Monroe In ‘River Of No Return’ - Song ‘River Of No Return’. [online] Available at: https://www.youtube.com/watch?v=dLzeHkEQe9g. [Accessed 10 Dec. 2024]

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. London Afterall Books, pp.803–816.

Scott, A.O. (2022). ‘Everything Everywhere All at Once’ Review: It’s Messy, and Glorious. The New York Times. [online] 24 Mar. Available at: https://www.nytimes.com/2022/03/24/movies/everything-everywhere-all-at-once-review.html.

‌Sophia, G. (2022). Relationship Deep Dive: Anna and Elsa of Arendelle. [online] Marvelous Geeks Media. Available at: https://marvelousgeeksmedia.com/2022/06/22/relationship-deep-dive-anna-and-elsa-of-arendelle/.

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Blog Post 7: Blurring Boundaries: Film and TV Adopting Game-like Narratives, Games Embracing Cinematic Narratives?

In this article,  I will introduce the concept of game-like narratives in films and TV shows and cinematic narratives in games. I will also discuss my views on these two increasingly popular trends through specific examples.

Game-Like Narratives in Films/TV Drama

Henry Jenkins (2006) said that different media forms, both new and old, influence and merge with each other. This process isn’t just about one medium giving another new features but represents a cultural shift. Consumers (the audience) are encouraged to find connections between media content and interact with it, making them part of the experience.

Many films and TV shows now challenge traditional storytelling by adding interactive elements, similar to games. These allow audiences to make choices that affect the plot. One notable example is Netflix’s Black Mirror: Bandersnatch. In this interactive movie, viewers choose what the protagonist does, which changes both the plotline and the ending. This adds more possibilities to the protagonist’s background and development. It also increases audience immersion by letting them think about how to get the best outcome for the protagonist.

Interestingly, Black Mirror: Bandersnatch creates a sense of irony: while the protagonist seems to control his life, it’s actually the audience making decisions. And while the audience feels in control, the endings are in fact determined by Netflix beforehand. After the release of this piece, many people believed that interactive storytelling could be the future of the film and TV industry.

BLACK MIRROR: Bandersnatch Trailer (2018) Netflix

Cinematic Narratives in Games

The concept of cinematic games isn’t entirely new. In earlier gaming eras, many games already had a strong cinematic vibe. They featured lots of cutscenes with movie-like quality and storytelling structures inspired by films. However, it is hard to define what makes a game “cinematic.” For example, to what degree a game uses visual techniques from films or how much interactivity it retains for players. With better technology, games now showcase more creative freedom. High-quality graphics and grand narratives have become something that players greatly enjoy.

Janet Murray (1997) was optimistic about new forms of media inspiring people, similar to how Shakespeare’s plays impacted society in their time (and even now). She emphasized that interactivity in storytelling is crucial and that games are excellent platforms for telling stories. Player interaction increases emotional engagement and curiosity about the plot.

However, not everyone agrees. Some, including me, believe films and games are fundamentally different (as they should be), with limits on how much they can merge with each other. For example, in Bandersnatch, no matter how many choices are given, the number of endings is fixed. A well-crafted ending often defines a film’s depth or levitates the entire storyline, but in interactive movies, maintaining the quality of all endings is difficult. This limitation just makes viewers replay the movie repeatedly, which disrupts the flow of the story.

In addition, interactive films still need to stick to the format of “a movie,” typically lasting around 90 minutes. Unless viewers start over and make new choices, they can’t explore different outcomes. This method interrupts the audience’s ability to enjoy a complete story. A good film should let viewers analyze the story and visuals continuously without interruption.

Conclusion

As a movie lover, I prefer cohesive, well-developed stories and strong character arcs rather than having the format dictate the narrative. Similarly, for games, it’s not just about impressive visuals or vast worlds. Player experience and choices remain vital. Overusing cinematic techniques in games can feel superficial if it doesn’t enhance gameplay.

In conclusion, blending media formats is a creative challenge worth exploring. However, creators should also respect audience expectations for each medium’s storytelling style. From my perspective, balancing these elements is crucial for the future of storytelling.

Sources:

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. JSTOR. NYU Press.

‌Murray, J.H. (1997). Hamlet on the Holodeck: The future of narrative in Cyberspace. Cambridge Mit-Pr.

‌KinoCheck International (2018). BLACK MIRROR: Bandersnatch Trailer (2018) Netflix. YouTube. Available at: https://www.youtube.com/watch?v=7wnRi3Sclm8.  [Accessed 25 Nov. 2024].

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Blog Post 6: Artificial Intelligence and Copyright: Challenges and Opportunities

In this article, I will try to define the relationship between artificial intelligence (AI) and authorship. In addition, I will explain their importance in digital media and creative industries, where AI needs to be regulated. Lastly, I want to explore the challenges AI brings to the industry as well as the new opportunities AI provides for human creativity.

Challenges

With the rapid advancement of technology in recent decades, discussions around artificial intelligence have increased. First, people need to understand how AI works before discussing copyright and authorship. According to Caiming Zhang and Yang Lu (2021), to put it in a simple way, AI’s basic learning process includes collecting and processing large data, feeding these data into programs for learning, developing models that can reflect the learning results (covering various areas like knowledge processing, pattern recognition, language processing, and auto-programming), and finally generating outcomes. The most copyright-relevant stage is the data collection phase before learning, since the quality of the fed data directly impacts the generated results. The authorship of the outcome is therefore controversial. The complex legal questions concerning protecting these data and whether the results derived from them should also be protected.

The major controversy lies in whether AI-made works should be given copyright. On the one hand, because of AI’s high productivity, giving copyright could result in an explosive increase of copyrighted works, which may allow developers to monopolize these rights. This may lead to marginalizing individual creators or data owners. On the other hand, if AI-generated works are not protected, the results could be easily accessed or misused even with large investment in AI training, which may discourage further AI research and application. 

Many creators are concerned about how AI works are different from human-made creations and whether AI blurs the definition of creativity. In my opinion, these concerns are valid. Numerous creators and artists have stated publicly that they do not want their works used as training data for AI. For instance, just recently, several Japanese voice actors held a press conference to state their strong position against the use of their voices for AI training, considering this a violation of their right to work and intellectual property. These concerns should not be neglected. I believe it is crucial to respect creators’ rights while tackling unauthorized use of their work for AI training, and reserving legal rights whenever necessary.

Opportunities

However, at the same time, I am convinced that AI should not be seen only as a problem for the creative industry, but as an opportunity to put new vitality into it. Creators can utilize AI to increase efficiency while retaining their creative input. It is undeniable that AI has revolutionized human’s working progress. For example, in digital media, AI has brought innovative advancements to special effects in movies.  Thanks to AI technology, the talented actor Paul Walker appeared in Fast and Furious 7 (2015) after his death, which allowed audiences to see this beloved actor on screen one last time.

Furious 7 VFX | Paul Walker | Wētā FX

Moreover, Catherine Flick and Kyle Worrall (2022) argue that public acceptance of artificial intelligence needs to integrate user input. Not only that, raising awareness into AI learning processes or incorporating AI into human workflows is also important. Additionally, they suggest that giving AI legal status such as entities represented by developers can address ownership issues more effectively.

Currently, most international discussions come to the conclusion that works created with human involvement in AI’s learning processes are eligible for copyright protection. Nevertheless, I believe this remains debatable. Once AI develops self-awareness (or is programmed to learn emotional output), questions around “authorship” and “copyright” will only become more complex. Should AI be considered the author of its creations? Could our understanding of humanity or human itself be redefined?

Conclusion

Andreia Manchado Oliveira (2022) states that humans and technology are not independent but influence and integrate with each other. Modern humans are products of technological influence, and technology is developed with human traits. Like how infants learn, AI also undergoes a human-like process of acquiring knowledge and emotions. From my perspective, the process of human learning and creative output can mirror AI to some extent: we seek references, absorb knowledge, form our own patterns, and produce our creations. It is also interesting to see that many reference images I use for my work are AI-generated. We learn from each other.

In my view, AI should inspire, not limit human creativity. Technology will never stop evolving, just like earlier generations never imagined computers could assist in drawing and modeling that widely expands artistic boundaries. AI accelerates and enhances this process. Creators must focus on using technology to elevate aesthetics, preserve the essence of creativity, and allow their works to embody the weight of life.

Sources:

Andréia Machado Oliveira (2022). Future Imaginings in Art and Artificial Intelligence. Journal of Aesthetics and Phenomenology, 9(2), pp.209–225. doi:https://doi.org/10.1080/20539320.2022.2150467.

‌Flick, C. and Worrall, K. (2022). The Ethics of Creative AI. The Language of Creative AI, pp.73–91. doi:https://doi.org/10.1007/978-3-031-10960-7_5.

Walker, P. (2023). Furious 7 VFX | Paul Walker | Wētā FX. [online] YouTube. Available at: https://youtu.be/sdvh37PjHhA [Accessed 23 Nov. 2024].

https://www.facebook.com/technewsinside (2024). 近 30 名日本聲優發起行動，抗議聲音未經授權以 AI 技術複製. [online] TechNews 科技新報. Available at: https://technews.tw/2024/10/20/japan-voice-actors-ai/ [Accessed 19 Nov. 2024].

Zhang, C. and Lu, Y. (2021). Study on Artificial Intelligence: The State of the Art and Future Prospects. Journal of Industrial Information Integration, [online] 23(23), p.100224. doi:https://doi.org/10.1016/j.jii.2021.100224.

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Blog Post 5: Exploring Uses of the Uncanny Valley In Digital Media

In this post, I will try to explain the theory of the Uncanny Valley and illustrate its applications in digital media using real-world film examples. In addition, I will discuss successful and unsuccessful uses of the Uncanny Valley and analyze its societal impact.

In 1970, the Uncanny Valley was first introduced by a Japanese roboticist named Masahiro Mori. According to his theory, as robots become increasingly human-like, furthur affection from humans would be evoked. Nevertheless, when they become too realistic to a certain level that makes them almost indistinguishable from humans, they can make people feel uncomfortable or terrified. This drop of affection is known as the “valley” in the Uncanny Valley.

The discomfort arises because these beings and humans are supposed to be opposite and different. Humans are good at identifying details such as facial expressions and features, and when these details slightly deviate from reality, they create a sense of cognitive dissonance, an unsettling effect on people.

Paul Ekman (1993) emphasized in Facial Expression and Emotion that humans are highly sensitive to facial movements and their nuances. These universal features significantly influence emotional reactions. Therefore, creators must be careful while balancing realism and stylization. They also need to consider their target audience to avoid triggering the Uncanny Valley unintentionally.

Applications in Digital Media

Successful Uses: Avatar (2009) and The Lord of the Rings (2001-2003)

The 2009 film Avatar reached success in visual storytelling. The Na’vi characters were created with advanced facial simulation and motion capture technology that can display human-like microexpressions and movements. The clear narrative distinction between the Na’vi and humans helped audiences accept them as a different species without evoking the Uncanny Valley reaction.

Likewise, the Lord of the Rings trilogy (2001-2003) showed an amazing application of the Uncanny Valley theory in the character Gollum. He is designed as a repulsively distorted figure consumed by his obsession for the Ring. The exaggerated features of this character such as oversized eyes, sparse hair, and hunched posture all created an uncomfortable feeling as the audience knows that he is human, but not exactly human-like. The intentional discomfort aligned with his cunning personality, which also built up his role in the plot.

Unsuccessful Uses: Cats (2019)

The 2019 film adaptation of Cats gives a textbook example of a failed application of the Uncanny Valley. The film’s special effects attempted to merge human and cat elements, but they created hybrid creatures so detailed that even strands of fur on the characters could be seen. These characters had human-like facial features and bodies but possessed distinct cat traits like cat ears and tails, which created a jarring sense of visual conflict for viewers.

The characters’ behaviors worsened this unsettling feeling. While they walked, sang, and danced like humans, they also acted like cats as they crawled, licked themselves, and scratched at objects. This made audiences feel uncertain about whether these beings were meant to be perceived as humans, cats, or something in between. The lack of clear boundary between the human and animal characteristics weakened the believability of the characters and story.

Conclusion

From my perspective, the Uncanny Valley reflects more than just visual discomfort. This theory reflects deeper anxieties about technological advancement, particularly Artificial Intelligence and robotics. The potential replacement of human roles by artificial counterparts also showcases an uncertainty deeply rooted in the Uncanny Valley effect. 

I believe the Uncanny Valley is a double-edged sword in digital media. On the one hand, it can immerse audiences deeper in the content; on the other hand, it can make viewers feel detached or uncomfortable. Advancements in special effects show how talented creators can use this phenomenon effectively. By striking a balance between realism and stylization, and by clearly defining the difference between human and human-like characters.

However, as seen in unsuccessful examples, technological progress is not necessarily equal to increasing audience acceptance of those characters. The failure to make use of this psychological discomfort can undermine visually advanced productions.

In summary, the Uncanny Valley shapes how audiences interact with digital media content. Also, it provides creators with a tool to reflect on how their work impacts viewers. It offers an area to not only think about technological trends on human society but also the relationship between humanity and digital media uses.

To be honest, I have not explored the potential of the Uncanny Valley due to my preference for saturated, bright and colorful designs. Nonetheless, I would love to incorporate this concept into future projects, so that I can step out of my comfort zone and experiment with various styles to get different emotional responses.

Sources:

20th Century Studios (2009) - Avatar | Official Trailer (HD) | 20th Century FOX. Available at: https://www.youtube.com/watch?v=5PSNL1qE6VY (Accessed: 18 Nov. 2024).

Ekman, Paul. (1993). Facial expression and emotion. American Psychologist, 48(4), 384–392. DOI: 10.1037/0003-066X.48.4.384

Mori, M., & Macdorman, K. F. (2017). The uncanny valley: The original essay by Masahiro Mori. IEEE Spectrum.

Movieclips (2022) - Lord of the Rings: The Two Towers (2002) - Sneaky Little Hobbitses Scene | Movieclips. Available at: https://www.youtube.com/watch?v=k1U1c5hdKGU (Accessed: 18 Nov. 2024).

Universal Pictures (2019) - CATS - Official Trailer [HD]. Available at:https://www.youtube.com/watch?v=FtSd844cI7U (Accessed: 18 Nov. 2024).

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Blog Post 4: Denotation, Connotation, and Myth in Animation

In this blog post, I will explore the broader area of semiotics and the definitions of denotation, connotation, and myth, as well as how they apply in media using an animation example.

It is essential to introduce the study of signs, which is semiotics itself. Semiotics is a field with many branches, and each of them explores how meaning is created in different contexts. For instance, some scholars analyze how signs interact with social phenomena. Roland Barthes is the prominent figure of this branch. Others study how people’s cultural perceptions are shaped, like Charles Sanders Peirce and Umberto Eco. 

According to Charles Sanders Peirce (1867), symbols appear from shared cultural principles, with shared signs allowing society to communicate and create mutual understanding. However, interpretation can vary widely based on personal background, which makes the experience of a sign extremely individual. In addition, Umberto Eco (1979) emphasizes the influence of society on recognition of symbols. As both a semiotician and novelist, he suggested that reading involves the interaction between author, reader, and text, moving beyond traditional text-centered perspectives.

Roland Barthes (1964) developed the most recognized framework for denotation, connotation, and myth. He viewed signs as culturally shared systems,which provide layered meaning to readers. Denotation is the first layer, referring to the literal meaning of a sign. For example, seeing red-orange leaves might signify autumn. Connotation adds a second layer that encompasses emotional or value-based associations with culture or personal experience. Roland Barthes proposed that connotations can function like fragments of ideology tied to personal knowledge or history. Myth, the third and final layer, is connotation’s extension, which connects meanings to reflect a society’s shared beliefs or phenomena.

Case Study: Analyzing Denotation, Connotation and Myth in Spirited Away (2001)

Spirited Away is a 2001 Japanese animated movie by Studio Ghibli, directed by Hayao Miyazaki. Regarding denotative level, it is a clear adventure story: the protagonist, a 10-year-old girl named Chihiro, accidentally walks into a mysterious town and is forced to embark on a journey to return to her world after her parents are transformed into pigs. Along the way, she meets a king boy called Haku who helps her explore this new world.

Chihiro and Haku

To survive, she gets a job at a bathhouse run by a tricky witch named Yubaba. Yubaba takes Chihiro’s name away and renames her “Sen,” which symbolizes the loss of her identity. At the end, Chihiro learns to adapt, grow, become braver, and most importantly, rescue her friends and family. Visually, the fantasy world of the bathhouse, the town, or even the use of monsters and spirits all make this film culturally special. This movie’s gentle colors combined with intense action scenes like Chihiro’s encounters with No-Face or Yubaba all add contrast and excitement to the viewing experience.

Yubaba

Chihiro and No-Face

On a connotative level, Chihiro’s journey reflects the importance of keeping one’s identity and purpose. The story arc of taking her true name back symbolizes not losing oneself in a chaotic world. Yubaba’s name-depriving magic signifies how social forces may try to reshape our identities and make us feel lost and confused. Rescuing her parents and finding herself (the name) mirror a personal journey of growth, particularly without parental guidance as a universal theme of maturation. From my perspective, director Miyazaki seems to be encouraging viewers to hold onto their core values in a world that may seem intimidating or overwhelming. The audience is Chihiro, as most of us step into society without being fully-prepared; however, as long as we stay true and loyal to ourselves and our purposes, try not to be challenged and afraid to grow up, we can become ones that bring positive influence to the world, as Chihiro helps No-Face and Haku find their identities and the reason of living.

Last but not least, as the third level, myth connects these symbols to wider Japanese society at the time. Chihiro is set to be a character born in 1991, which is the same period of the 1990s economic bubble era in Japan. This is an era of hopelessness and uncertainty, especially for younger generations. Characters like Haku, who forgets his origins, and No-Face, who is deeply self-conscious, lonely, and consumes everything around him, all show the Japanese spirit of that period: struggling to maintain purpose in economic and social uncertainty. The bathhouse run by Yubaba also shows how people react to this depressed situation: a place where people can lash out all their desires and anger. Miyazaki’s message resonates again as it is important to embrace one’s true self, and keeping purposes will always provide a guiding light, even in dark times.

In summary, denotation, connotation, and myth enrich media narrative by helping audiences emotionally connect, delve into cultural values, and reflect on social issues. They are powerful storytelling tools. In a recent class project, I created an illustration on the theme of Nostalgia and Memory. In denotation, the illustration shows three people warmly interacting with each other in a small shop. The warm tones create a comfortable feeling. The connotation emphasizes the nostalgia and warmth of childhood memories, where the shop is more than a place to buy goods—it's a space for connection, generosity and kindness. Culturally, this scene reflects traditional Taiwanese community spaces, where small neighborhood shops foster relationships and serve as community anchors, representing local warmth and social ties.

Sources:

Barthes, Roland. (1972) Mythologies. New York: Hill and Wang.

Barthes, Roland. (1964) Elements of Semiology. New York: Hill and Wang.

Debsies deb (2021) - Spirited Away BathHouse. Available at: https://www.youtube.com/watch?v=wXA4m1BD_-c (Accessed: 7 Nov. 2024).

Eco, Umberto. (1979) A Theory of Semiotics. Bloomington: Indiana University Press.

GKIDS Films (2023) - SPIRITED AWAY | Official English Trailer. Available at: https://www.youtube.com/watch?v=fDUFP7EeXLE (Accessed: 7 Nov. 2024).

Netflix Anime (2021) - Spirited Away | Multi-Audio Clip: Don't Breathe, Chihiro! | Netflix. Available at: https://www.youtube.com/watch?v=70NhEBzLKU8 (Accessed: 7 Nov. 2024).

Peirce, Charles Sanders. (1931-1958) Collected Papers of Charles Sanders Peirce. Edited by C. Hartshorne and P. Weiss. 8 vols. Cambridge, MA: Harvard University Press.

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Blog Post 3: Representation and Simulation in Games

In this article, I will try to explore the roles of representation and simulation in digital media and use a Taiwanese game called Detention (2017) as a case study. Detention showcases how representation and simulation can create historical events and authentic depictions of the atmosphere of Taiwan’s White Terror Period in a virtual environment.

With digital media everywhere, concepts like representation and simulation are all around us. Whether interpreting existing ideas or through recreating realistic situations, these tools increase immersion in media and engage users deeper in the content. 

As Stuart Hall explains in Representation: Cultural Representations and Signifying Practices (1997), representation refers to the way cultural groups use language and other media, including images or recordings, to create meaning. Stuart Hall argues that ideas like race or ideology are reinterpreted through media to reflect the creator’s background or mindset. Therefore, representations may not always objectively present accurate history or places. In other words, even though representation can help audiences emotionally connect with media content, this technique can not necessarily portray well-rounded or objective details.

On the other hand, simulation follows a different path. According to Jean Baudrillard’s Simulacra and Simulation (1981), reality has been overtaken by symbols and signs, which makes our experiences simulations of reality. In this framework, media, which acts as the intermediary, converts reality into hyperreality with the symbols it provides. In a broader sense, we live in a world shaped by simulated experiences. In the narrower perspective, within games and movies, simulation enhances immersion by creating experiences inspired by real or imagined objects, elements, events, or processes without reinterpreting by the creators.

Case Study: Representation in Detention (2017)

The purpose of representation is to interpret and depict reality or ideology through language, imagery, and other media. In Detention, representation is primarily showcased through character design and environmental setting as it captures the repressive vibe of the White Terror era in Taiwan. The game’s background is set in a 1960s school under martial law, and game visuals and props incorporate Taiwanese culture and beliefs. Players control Fang Ray Shin as she uncovers the haunting secrets of herself and the school she is trapped in. The game combines a school setting with elements of Taiwanese beliefs, showing religious props like spirits, talismans, and government figures that symbolized the repression of thought during Taiwan’s White Terror Period. In addition, props such as the portrait of Sun Yat Sen in the school auditorium, and special character designs (such as traditional uniforms, military clothing, and shoulder-length-restricted hairstyles) reflect the social atmosphere of the time. Based on Stuart Hall’s theories, these representations don’t aim for objectivity, which also aligns with the creators’ intention. Even though there are lots of period-specific items or religious props, the game does not point out any specific period or place of the event (also, none of the characters truly exist in reality, nor did the story itself happen) to make the theme of political repression transcends time and place, suggesting such oppression arise in any society.

Case Study: Simulation in Detention (2017)

Detention also uses simulation to evoke an emotional experience for players mostly through music and atmospheric design. The game’s music selection includes Taiwanese songs that were banned during the White Terror Era, like compositions by Deng Yu-Hsian such as Red in the Four Seasons, Sorrow in the Rainy Night, and Yearning in the Spring Breeze. The use of common instruments in Taiwanese old songs like suona also evokes the feeling of solemnity and oppression. Furthermore, as players explore the school’s hallways, unsettling sounds such as the creaking of rusted doors and the use of light and shadow create a sense of isolation. The game design team recreates the unique vibe of the martial law era as authentically as possible to immerse the players in the same fear and repression experienced by people living through that time.

In summary, both representation and simulation play critical roles in digital media and contribute to shaping society. Through the study of Detention, we see how these techniques allow players to experience a realistic/hyper-realistic environment. Even as a 2D game, Detention uses historical simulations to immerse players in the fear and oppression of that era,  and it achieves an emotional resonance that is both impactful and horrifying.

For me, representation is an effective way to merge my creativity with my interests, unique perspectives, and cultural background. I use this technique in concept art to interpret reality or craft fantasy worlds. Unfortunately, I have yet to explore simulation, but I hope to one day use it to recreate my hometown, sharing Taiwanese culture with a broader audience.

Sources:

Baudrillard, Jean. (1994) Simulacra and Simulation. An Arbor: University of Michigan Press.

FreddyDude (2022) - Detention - A Real Horror (Game Analysis). Available at: https://www.youtube.com/watch?v=GGH6wem8sYA (Accessed: 7 Nov. 2024).

Hall, Stuart. Representation: Cultural Representations and Signifying Practices. 2nd ed. London: SAGE Publications.

咲月 (2018) - 雨夜花 Piano Solo 《返校detention》原声完整版. Available at: https://www.youtube.com/watch?v=u1qb-T5Mmk0 (Accessed: 7 Nov. 2024).

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Blog Post 2: Same Story/Context in Different Media: Case Studies of Novel and Game Adaptations

In this blog post, I will try to explore how different media formats affect storytelling and summarize what I believe are the key factors for a successful adaptation.

“Story” or “Context” refers to the core ideas, plots, and even characters of a narrative. When a story is adapted from one medium to another, the storytelling style naturally changes according to the unique features of the new medium. Different types of media, such as books, movies, and games, use various methods to tell stories. For instance, books rely heavily on monologues and descriptions of the worldview to convey emotions and thoughts. On the other hand, films use visual storytelling, which means the viewers gain information mostly through the actors’ performances, cinematography, and sometimes even music. As for video games, it adds interactivity, allowing the player to control or influence the plotline. 

Marshall McLuhan’s  (1964, Understanding Media) concept of “the medium is the message” suggests that the form of storytelling influences how the audience perceives the context. In other words, the way a message is delivered can deeply affect how it is interpreted. The theory also indicates that people should focus on the influence of the medium rather than the context because the medium is already connected to the story, and it is the extension of ourselves. Based on this theory, we can tell that the medium undeniably shapes how audiences value the story, not just the content alone.

Example of Adaptation: The Hunger Games (Novel to Movie)

In The Hunger Games novels, the author Suzanne Collins uses large amounts of dialogue and inner monologue, letting readers catch the feelings of the protagonist, Katniss. This method allows people to understand and empathize with her. Both the main and supporting characters receive enough attention in the books, which enables readers to feel the excitement or sorrow as the characters grow. Compared to the film series, the conflicts between characters and their environment are more intense and brutal in the novels. From my perspective, the reason is that written words are more powerful when it comes to “describing concepts” as readers can freely imagine and interpret abstract or invisible ideas conveyed in the books and gradually form a deeper understanding of the narrative.

However, in the film adaptation, the producers shift the focus to action and visual effects such as the design of the battlefield, costume design, acting performances, cinematography, and so on. Dialogue and inner monologue are replaced by visual impact and strong acting skills delivered by Jennifer Lawrence, Josh Hutcherson, and Woody Harrelson. The director’s control over pacing ensures that even without complex explanatory dialogue, the audience can still follow the story clearly and feel the emotional weight through character interactions and environment design.

I believe that cinematic pieces, as a medium, are a great art form in utilizing time because the storyline continues moving forward without stopping, whereas readers can take as much time as they want to absorb the information in books. Therefore, it is crucial for filmmakers to convey the plot within a limited timeframe. In the case of The Hunger Games, I think the film series succeeded by offering information precisely. Even though the emotional depth may not be as profound as in the novels, the movies take advantage of the visual medium without sacrificing character arcs.

Example of Adaptation: Inazuma Eleven (Game to Anime)

Inazuma Eleven is a Role-Playing Game (RPG) published by the Japanese company Level-5. The main character is a soccer team captain who plays matches with other players to reach the goal of winning the national championship. Although the core storyline of finding teammates and playing soccer is in both the game and the anime, the storytelling methods are different between these two media.

In the game, the player drives the story forward by making interactions with Non-Player Characters and making decisions such as accepting challenges of soccer games. Along the adventure, the player can learn combo moves or techniques. This game is popular not only for its amazing character designs but also for its creative soccer moves – the desire for solving puzzles and gaining new techniques attracts many players. Players move through the game as the main character Endou Mamoru, giving them a sense of immersion and control over the gaming experiment.

Nonetheless, in the anime adaptation, the focus becomes character development and plotline. The characters’ personalities and background stories are expanded, which makes the story more engaging. Although the plot and the dialogue are fixed in the anime, the director successfully keeps the creative soccer moves from the game while also adding emotional experience and richness for the viewers as they see the motivations and growth of various characters.

These examples show that different media can alter the audience’s experience of the same context. In my opinion, successful adaptations understand the strengths of each medium and can adjust storytelling and pacing effectively. No matter the medium used, adaptations need thoughtful adjustments to maintain the integrity of the narrative.

Currently, my work is primarily in 2D illustration, and I haven’t fully experimented with media adaptation within a formal project. My closest experience was reimagining characters from the classic Eastern novel Journey to the West in visual form, which was challenging to capture each character's personality vividly. I hope to gain more experience in media adaptation, especially if I can enter the film industry.

Sources:

Cinema Cut (2015) - The Hunger Games (2012) The Games Begin. Available at: https://www.youtube.com/watch?v=jT7iKN5lEao (Accessed: 7 Nov. 2024).

Everything Animated (2020) - Inazuma Eleven | Top 10 Shooting moves | Inazuma Eleven Original series | All season's. Available at: https://www.youtube.com/watch?v=T_p2LTVVN5Q (Accessed: 7 Nov. 2024).

Lionsgate Movies (2011) - The Hunger Games (2012 Movie) - Official Theatrical Trailer - Jennifer Lawrence & Liam Hemsworth.  Available at: https://www.youtube.com/watch?v=mfmrPu43DF8 (Accessed: 7 Nov. 2024).

McLuhan, Marshall. (1964) Understanding Media: The Extensions of Man. 1st ed. New York: McGraw-Hill.

Kouteshi (2023) - Evolution Of INAZUMA ELEVEN Games (2008-2025). Available at: https://www.youtube.com/watch?v=wXqMhpB9Nj8 (Accessed: 7 Nov. 2024).

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Blog Post 1: Binary Oppositions In Films

In this blog post, I will try to explore how binary opposition works by using a concrete example of films. First, I will explain the definition of binary opposition and structuralism. Then, I will discuss their deeper meanings in the world of digital media.

Before diving into binary opposition, I want to introduce structuralism. Structuralism is a 20th-century social science theory, which focuses mainly on relationships and interactions (structures) rather than the essence of things. This theory also seeks to find universal structures or standards behind various phenomena. During the latter half of the 20th century, this approach was influential in analyzing language, culture, psychology, and societal issues.

Structuralists believe that binary opposition can effectively explain human thoughts and culture. The simple rule of “either this or that” clarifies complex concepts by dividing things into contrasts and opposites, such as beautiful vs. ugly and light vs. dark. According to Levi Strauss (1958, Structural Anthropology), all symbolic elements can be understood in binary relations, and it is important to note that any element outside this relation is meaningless. On top of this, these oppositions are unequal since the first term is often valued more than the second. For example, in good/evil  and beautiful/ugly, the former is always seen as “better” or “preferred.” Levi Strauss applied this idea to human civilization and identified various opposites: rationality vs. sensibility or science vs. myth. For him, binary structures shape the frameworks of civilization.

When it comes to cinematic work, binary opposites in narrative structures can highlight tension, create external or internal conflict, and push the plot to a higher level. A classic example is good vs. evil or order vs. chaos in superhero movies when the conflict between hero and villain serves as a binary opposition, which creates a space for viewers to contemplate the story’s moral complexities.

Application of Binary Opposition in How to Train Your Dragon

How to Train Your Dragon (2010), presented by Dreamworks, is a fantasy film directed and written by Dean Deblois and Chris Sanders. From the very start, it shows the world of binary opposition, as the protagonist, Hiccup, lives in an environment where humans and dragons are nemesis. Humans are perceived as “good,” while dragons are seen as “evil.” As the story goes, this opposition shifts, and the narrative shifts from conflicts to reconciliation between humans and dragons.

In addition, the relationship between Hiccup and the rest of the Vikings, especially his father Stoick, exemplifies binary opposition as well. Hiccup’s gentle and passive personality is strongly different from that of the aggressive and dominant Viking people, which reflects the opposition of “cowardice” and “bravery.” This is also the reason why Hiccup is desperately trying to prove his worth by killing a dragon, whereas he is also depressed to find out that he is not “brave” enough to do so. However, this exact contrast is what pushes the story deeper. Hiccup’s kindness leads him to bond with the dragon Toothless, creating mutual understanding and trust, eventually becoming sacrificing for each other.

The application of binary opposition is later elevated to a new level by the interaction between Hiccup and his environment, which challenges the hierarchy between the two parties. For instance, Hiccup throws off the Viking helmet his father gives him and tries to prove that there can be peace between different species. As the audience, we can see that he is trying to heal the wounds torn by generations of different parties. As the audience, we start to root for Hiccup, praising his bravery in challenging the traditional value of not only killing the dragons but also other people who are seen as “stronger” and “better.”

From my perspective, human’s fear and hatred toward the unknown (dragons) is not a mark of justice, but of fear. This mirrors conflicts between different communities, where neither side is truly “right,” but rather lack of trust turns to conflict. Furthermore, Hiccup’s “cowardice” becomes the very trait that drives him to bridge the gap and lead to peace. This unpopular trait turns him into the hero, highlighting that opposites can shift, and flaws can have advantages.

As the film explores these dynamics, it questions the old binary definition of good and bad, which implies that conflict resolution lies in understanding. This can be perfectly explained by Astrid’s (the female main character) words: “You’re the first Viking who wouldn’t kill a dragon, but you’re also the first to ride one.”

In conclusion, binary opposition allows filmmakers to delve deeper into societal issues, bringing attention to conflicts of class or ideology while offering solutions or a space for reflection. As a concept artist, my role involves not just designing appearances but incorporating these designs into a coherent world narrative. A story is essential for creating a worldview. In an assignment, I used binary opposition to craft a world where food waste monsters avenge humans. The contrast between humans and monsters is a binary opposition, as is the reversal where discarded food waste now attacks humans, highlighting environmental themes like reducing overconsumption. I aim to explore binary opposition more deeply in future stories to enhance narrative tension.

Sources:

Levi-Strauss, Claude. (1963) Structural Anthropology. New York: Basic Books.

Rotten Tomatoes Classic Trailers (2018) - How to Train Your Dragon (2010) Trailer #1 | Movieclips Classic Trailers. Available at: https://www.youtube.com/watch?v=2AKsAxrhqgM (Accessed: 7 Nov. 2024).

Terry Tamal (2015) - HTTYD 1 ''conversation with Stoick''.  Available at: https://www.youtube.com/watch?v=jQs9dwXFwl0 (Accessed: 7 Nov. 2024).

Mega Moments (2024) - Hiccup's Viking Test ⚔️ | How To Train Your Dragon | Movie Moments | Mega Moments. Available at: https://www.youtube.com/watch?v=n0s2Wu7atEA (Accessed: 7 Nov. 2024).