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Critical Analysis

Neiva, E., & Romano, C. (2007). The Semiotic Immersion of Video Games, Gaming Technology and Interactive Strategies. Public Journal of Semiotics, 1(2), 31–49. https://doi.org/10.37693/pjos.2007.1.8819

Semiotics Create immersive experiences and enhance engagement in the games. While Writing my 6th Blog post I found this paper very insightful for Game designers and those who want to be a Game designer or an environment artist. So I decided to do a Critical analysis of this paper and my findings on how impactful it is in games.

The paper reaches inside a receptacle and searches for something into the semiotic and immersive aspects of games, engaging Game theory to explore the interaction between player agency, game design, and the accompanying immersive experience.in short, this paper focuses on some pages that some elements can help game designers build more immersive, more interactive and engaging, and player-centered Gaming experiences for players.

The author applied concepts such as interactive decision-making and strategic pathing just to establish that video games associate complex decision trees in the same way as economic or biological scenarios. For example, the author mentioned theories by Nash’s and Von Neumann’s to illustrate the depth of strategic interaction between players and AI Systems on Page 32. This approach added depth to the analysis by anchoring the decision in a vast theoretical framework. The author described virtuality and player experiences have a strong connection. Some games like Muscle Car 03 allow players to test their skills in various modes from beginner to competitive scenarios. The author established players' growing competence has a compelling contribution to the games. The author established a statement that gameplay itself most of the time surpasses storytelling.

On page 36 author discusses the semiotic loop, and explains how game state and player input interact with each other and change player players experiences. The equation G=P/X= Y illustrates the path based on players choice and how it creates a dynamic environment. The author strongly established how to design a system that reacts organically to users' input in the game and creates instinctive Gameplay. Page 39 focused on procedural generation in world-building. The author described it should be designed inside rules so it aligns with the game's objects and story. Because a balance between freedom and structure is critical. And the best example of the design is the Red Dead Redemption 2 Game. where world generated procedurally yet well-established structured environment. In the paper author did 3 case studies on Muscle Car 3, GTA III, and Extreme Board and Blades. And explains that a game should offer multiple gameplay modes to create a challenge for different levels/skills of players. As everyone doesn't play the same way. Explains interactive world-building acceptable by the player's actions and some critics on the absence of narratives as well. The author established that deep mental involvement in Games sometimes comes from the active player involvement, not from the story or narrative. The Page 48 talks about deep mental involvement as a series of actions. It described that mental connection is operated by the player's ability to act inside the game world and experience results based on their own choices.

On Page 36, the Author described the semiotic loop through an equation I mentioned above. Where G is the Game State, P is the Player input, X is the Player choice and Y is The new Game state. This topic was discussed with some valuable information which involves the dynamic interaction of signs, user input in games, and games feedback. The core concept was to create a loop where signs in the game interact with the player and based on interaction player performs an action based on the action game system responds accordingly, and it updates the player's state and repeats the process.

Let's understand this with an example, for example, we are developing an open-world racing game that strictly follows all the rules on the road and has AI-driven vehicles that run through the road of the entire world. So here we can add road lights that show when to stop shows to slow down established as signs so players can interact with an encounter based on the sign also like the objects that are placed the way you can easily interact with how to access the object. These signs lead to their strategy to adapt to survive in the game. And the Process repeats with new signs. A few real-world examples are the Witched 3 game. A choice X such as attacking or killing impacts the Game state Y that leads you to the next step of the Game. also like in sandbox Games like Minecraft where P can be defined as changing the environment by mining or building structures, that change the game world which can be denoted by Y and create options for new actions.

For Game design, the equation is a valuable framework that covers all genres and between game mechanics and players' interaction with the game, it optimizes the interplay. The paper claims that signs are very crucial to the gameplay function as the tools for transmission between the player and games. The pape established poorly designed sign can break the flow of smooth gameplay and confuse players and a well-established sign can enhance the player's flow in the game and improve the player's interaction in the game. The concept of a semiotic loop explicitly established that.

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Reader

Wilhelmina Zoe Statham, João Jacob, Mikael Fridenfalk, Game environment art with modular architecture, Entertainment Computing, Volume 41, 2022, 100476, ISSN 1875-9521, https://doi.org/10.1016/j.entcom.2021.100476. (https://www.sciencedirect.com/science/article/pii/S1875952121000732)

In the paper Statham et al. Proposed a framework for building the world with modular assets so the work process can be smoother and faster than creating static assets and its benefits of using modular architecture instead of static architecture. The paper highlights the Utility of modular buildings and having the effect of making something bad less severe or painful art fatigue and less delays in making the game. The paper examines various games from different genres such as open-world, city-building, and casual games, and showcases the adaptability of modular buildings. this paper showcases how efficient it can be to use assets properly and how modular architecture can help Game design.

Livytska, Inna. (2019). The Art of Narration and Artificial Narrative Intelligence: Implications for Interdisciplinary Research. Nalans. 7. 309-318.

This book is focused on evaluating storytelling in the framework of AI. The writers bring up various editing and writing techniques that are predominant in literature and humanities, and the authors argue that these can be used in aggregation with storytelling procedures AI bots have. Sim joins Kunin in showing the tensions between human emotional storytelling and logic created by a computer by showing how AI can be involuntary to use rules such as Propp’s Morphology of the Folktale. The book also touches on IDNs – communicating digital narratives, the most common AI bot narrative formats introduced in video games in which the user participates in the storyline. In video papers can webinar videos that are charming and educational, the prominence is on the need for AI to be more than words, including images and moods in order to tell stories that are as human as possible in better features. However, whereas there are many comprehensive points made, it fails to detail practical executions of an AI or afford real-world examples.

Ganz, Adam & Khatib, Lina. (2006). Digital cinema: The transformation of film practice and aesthetics. New Cinemas: Journal of Contemporary Film. 4. 21-36. 10.1386/ncin.4.1.21_1.

This book rights that the technical improvement in cinema has made revolutions in filmmaking and aesthetics. The formation, distribution, and excision of digital cinema is possible complete the use of knowledge that is elastic, very cheap, and easy, thus providing an opportunity for testing on styles. It clarifies how technologies permit relationship changes between the leader, actors, and audiences, giving the actors a better range of reactions and narration throughout the story. Iranian films like Abbas Kiarostami’s Ten or Mania Akbari’s 20 Fingers have proved that simple surroundings joined with inexpert actresses give the movie a realistic edge. As the movie industry is not limited to only Western people, the suppression does not touch those who with excessive ideas and solid will is able to make virtuous movies. The assumption is that technology affords many several attainable.

Wolf, M.J.P. (2012). Building Imaginary Worlds: The Theory and History of Subcreation (1st ed.). Routledge. https://doi.org/10.4324/9780203096994

This book by Mark J.P. Wolf explores how people build and are involved with illusory worlds across different media from works to video games, from film to visual arts. It highlights that world-building is an activity that produces from a child's imagination into a work of art. Different storytelling, and world structure are mentioned to create environments, alluring visitors to motion within. Wolf's samples are transmedia stories like Star Trek and Star Wars. The book talks about how these creations establish human imagination-they are at once philosophical, mental, and cultural. Meant for Wolf, these worlds should be studied autonomously, in its mission to congeal world-building as a significant subfield in media and social studies.

Rod McCall; Infinite Reality: Avatars, Eternal Life, New Worlds, and the Dawn of the Virtual Revolution. Presence: Teleoperators and Virtual Environments 2011; 20 (5): 502. doi: https://doi.org/10.1162/PRES_r_00068 OR Blascovich, J., & Bailenson, J. (2011). Infinite Reality, Avatars, Eternal Life, New Worlds, and the Dawn of the Virtual Revolution. (first ed.). New York: William Morrow. 298 Pages. ISBN: 9780061809507

This book distorted the idea of a real experience, whether from the perceptions of virtual realism skills or from the changes in people's perceptive sympathies of the real. The opportunity is built on the stress under which humanity can explain its real animation and physical answers created by virtual reality. The public could be asked to 'walk' on a computer-generated tightrope to prove its belongings. People are starting to carry virtual reality with them into normal life- that of gaming, interactions over the Internet, or among workers of social media, such as Nintendo's Wii or Microsoft's motion-tracking Kinect. Such advances have been made in the arena deprived of overlooking the merits that variation brings the ease it transports to physically deprived individuals the weaknesses it brings, with emotional addiction and privacy. Avatars are also images to be discovered as identity.

Visual Culture: Ocularcentrism and Scopic Regimes Book : Visual Culture Studies by Marquard Smit Publisher ‏ : ‎ SAGE Publications Ltd; First Edition (June 2, 2008) Language ‏ : ‎ English Hardcover ‏ : ‎ 263 pages ISBN-10 ‏ : ‎ 1412923697 ISBN-13 ‏ : ‎ 978-1412923699 Item Weight ‏ : ‎ 1.2 pounds Available : https://www.amazon.com/Visual-Culture-Studies-Interviews-Thinkers/dp/1412923697

In this book by Marquard Smith's Visual Culture Studies explores the role of images and visual media in influencing society and observation. Elsewhere art, the book contracts with visual culture in all forms, reaching from ads to social media. It emphasizes how images function not only as pictures but also as active agents in the structure of hearers and reflection of contradictory power dynamics related to class, race, and politics. It also challenges the connection between art and popular culture, digital media effects, and the requirement for interdisciplinary methods in studying visual culture. Finally, Smith calls for a serious appointment with images in a media-drenched world.

Book: Structural Anthropology Author: Claude Lévi-Strauss Genre: Non-fiction, Anthropology, Social Science Publisher: Basic Books (original English translation) Publication Date: 1963 (English edition) Pages: 320 pages ISBN: 978-0465031381 (Paperback) Language: English (originally published in French) Format: Hardcover, Paperback, Kindle Available: https://www.amazon.com/Structural-Anthropology-Claude-Levi-strauss/dp/046509516X

In this book,Claude Lévi-Strauss presented the fundamental ideas adopted by structuralism in anthropology. The volume efforts to show how human cultures can be exposed through the deep constructions of myths, relationships, and social organizations. According to Lévi-Strauss, these structures are worldwide and hidden beneath cultural camouflages and can be revealed over the study of relationships as well as differences among different societies-elsewhere the limits of historic and functionalist anthropology. In dealing with the cultural fundamentals as schemes of relations, Lévi-Strauss has unlocked new ways of understanding societal instruments act that have had a deep impression on not just anthropology but also sociology and other human sciences.

Source: book name- The Metaphysics of Virtual Reality ( published in 1994 by Oxford University Press) Writer- Michael Heim Pg num: 1 – 208 The book's ISBN-10 is 0195092589 and its ISBN-13 is 978-0195092585. Available at: https://www.amazon.com/Metaphysics-Virtual-Reality-Michael-Heim/dp/0195092589

The Metaphysics of Virtual Reality by Michael Heim includes various salient aspects of the philosophy of virtual reality (VR). Amusingly, Heim investigates why virtual events should in any possible way be regarded as less real than actual events. He hurls light on self events in VR where one gets to be dissimilar self via avatars and communicates in a different new virtual reality in which the outer world and the self become modified and different. The book touches upon awareness, depiction, and ethics, and asks even questions with respect to how one’s personality and behavior might change in a fully absorbing VR world. A comparable vision is held by Heim while examining the development of VR: the risk of fully embracing humanity who is divided from the real, actual reality is possible and VR will have comprehensive outcomes for humans, for education, and including society.

Source: book name- Aesthetic Theory,1970 Writer- Theodor W. Adorno pp-1 –(416 pg num) volume 88 Available at - https://www.blinkist.com/en/content/topics/aesthetics-en

Theodor W. Adorno’s Aesthetic Theory search for to comprehend the nature of art, its freedom, and its purpose in society. Adorno describes that art in its authentic form is free and has no utilitarian use, however it is influenced by social and political factors. Art is a vehicle of truth and it illustrates and expresses arguments and realities that cannot be spoken about immediately. Adorno is vital to the capitalist society in which art becomes a product for entertainment, whereas he states that modernist art does not only serve the purpose of entertainment but also has the capability of evaluating. The book, which is based on negative logic, discusses the possibility of art changing the world through its aesthetic dimension, resisting simplification and supportive critical thinking. Aesthetic Theory is complex and insightful and contends for transformed forms of art as defiant and introspective in the present-day context.

10.

Book: Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media Author: Marie-Laure Ryan Genre: Non-fiction, Media Studies, Literature, Digital Media Publisher: Johns Hopkins University Press Publication Date: 2001 Pages: 416 pages ISBN: 978-0801866472 (Paperback) Language: English Format: Hardcover, Paperback, Kindle (if available) Available - https://www.amazon.com/Narrative-Virtual-Reality-Interactivity-Literature/dp/0801877539

In this book by Marie-Laure Ryan's Narrative as Virtual Reality expresses how new interactive media forms- including virtual reality, video games, and collaborating fiction- transform storytelling by forging a new ground of involvement and interactivity. Ryan studies how digital skills redefine old-style story forms so that the user can be involved with stories in an original, participating manner. The book investigates the idea of "virtuality" and queries how these new media make skills immersive and contribution. Ryan interrogates the conjunction of literature, digital media, and narrative theory in order to create a theoretical method for the effect of these technologies on storytelling and the understanding of audiences by user involvement.

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Blog 10

New Age of Hyperreality

Source: Google

Virtual Reality is Developing rapidly Nowadays due to the new generation of software and the development of hardware. In this Blog, I am going to discuss about AR, VR, XR and how Hyperreality taking over the world, and how it is going to influence the world.

Extended reality(XR), Virtual Reality(VR), and Augmented Reality(AR) are the fundamental technologies that alter the experience of a person. In Virtual reality person can enter into a world created virtually and interact with it, on the other hand, Augmented reality pops artificial elements into the real world and interacts with the world. In other scenarios extended reality combines all together and provides a mix of both to travel to reality and a virtual world.

A place where you can experience the virtual world and mix it with the real world to interact with is a Hyperreality ecosystem.

Let's understand it with an example gadget and how it works. apple’s Vision Pro is a Hyperreality decisive that lets users connect with virtual world and at the same time it shows virtual elements in real space so you can interact with it as it is in the physical world.

With the device, you can see through its display with all the augmented elements as well as it is intractable by your gesture. It also gives me the feel of realism and interactivity so you can dive into its technology. Just imagine its just version one and compare that to the iphones development from version one to 16. Maybe that's another topic to discuss.

The application of hyperreality is not yet perfect and it is growing, There are so many well-polished games and experiences that are almost near to feeling real. There is a debate it might change the world in a world way. And people might be consumed by it. Well, every argument has its strong explanations. but similarly, it definitely can help in some cases like flight simulation its easier to crash a plain by flying in with a real feel to in in a hyperreality ecosystem rather than in real life right? Other applications are in military training and sports training, doctors surgeries, etc. it has potential but yes there will be some downside to it. But it is all how we are going to use it.

This blog is all about my opinion on hyperreality based on some technologies and some scenarios where it is already helping the world, and how it is influencing the world.

References

Apple's Vision Pro: The Precarious New Age of Hyperreality https://www.psychologytoday.com/intl/blog/the-digital-self/202306/apples-vision-pro-the-precarious-new-age-of-hyperreality

Weiss, Martin. (2011). Reality, Simulation and Hyperreality: An Essay on Baudrillard. International Journal of Baudrillard Studies. 8.

Thiry-Cherques, Hermano. (2010). BAUDRILLARD: WORK AND HYPERREALITY. RAE Eletrônica (Brasil ) Num.1 Vol.9.

All Reality: Virtual, Augmented, Mixed (X), Mediated (X,Y), and Multimediated Reality https://doi.org/10.48550/arXiv.1804.08386

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Blog 09

Emotion in Games

Emotions are strong expressions of mental reactions and feelings. Over time Games become very rich. Expressing emotions became one more thing that improved a lot as well. In this Blog, I am going to analyze emotions in games how it developed over time, and how it increase engagement and draw peoples into the story.

Case Study:

youtube

To understand emotion better I analyzed Tomb Rider Franchise. Tomb Rider started its journey in 1996 and the last game it released called Shadow of the Tomb Raider in 2018 there are some reloaded version that came out after that.it started its journey with a blocky pixelated art style to the realistic art style over the year. The character development one one of the noticeable thing that attracted player to stay hooked to the game.

youtube

I have been watching this Video from GDC 2025. The video was recorded in GDC 2022, in person in San Francisco. Andrew Walsh is a Narrative Designer describes how emotion works in-game and how to it attract players. What enables players to feel the same way it is been designed? So based on his speech and the Tomb Rider franchise I found one connection that if we notice there is not a single emotional expression on the character's face so it is hard to connect the narrative with the player when they are going through levels and story. But over time if we see the last game from the franchise Laura have a deep facial expression and it has a connection with the story. That emotional expression reflects the player and triggers player's emotions and that way player finds a connection with the game. Players need to feel the story so they can connect with it. If the character you are controlling and completing task with doesn't show expression or show a struggle with the body language a player will not be able to feel the game deeply and connect with the emotion.

Emotion is a strong expression of feelings it is important to have when you need to connect with something. Implementing emotion in the game not only makes the game lively it connects the player deeply with the story as well.

References

Maximilian Croissant, Guy Schofield, and Cade McCall. 2023. Emotion Design for Video Games: A Framework for Affective Interactivity. ACM Games 1, 3, Article 19 (September 2023), 24 pages. https://doi.org/10.1145/3624537

Grizzard, Matthew & Francemone, C.. (2018). Research on the emotions caused by video games demands integration. 10.4324/9781351235266-4.

A Study on the Positive and Negative Emotional Response of Frequent and Non- Frequent Video Game Players https://doi.org/10.33015/dominican.edu/2021.PSY.ST.01

#Youtube

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Blog 08

Affect in games

Source: Google

Affect is a complex concept mostly used in fields like philosophy, cultural theory, and media studies. In this blog post, I am going to discuss about Affect in games and how it shape the player experience.

New eras video games are more than just entertainment, they provide immersive experiences that showcase emotions and deep connections. Affect is not like emotions, it is not visible such as happy sad, or angry. Affect refers to a deep connection to the game that gives a person a raw feeling. James Ash(2013) defines it as the “sensual and perceptual relation in the body.” Affect is about experiencing feelings, for example just like an adrenal rush when you are completing a level at the very last minute or like receiving a last-moment kill while playing a battle royal game. or suddenly mesmerized by the area you just unlocked after struggling for a long time, this sensation and feeling can be defined as affects.

I collected some insights on how games use Affect to Engage their players.

Character customization creates a strong bond with the player while driving through the story with the personalized character. There are a few games like Jump Force, and Final Fantasy VII has a unique stories and narratives, and when players create unique characters based on their preferences it makes every victory or loss personal.

Freeman(2004) introduced the concept of “first-person Deeping” which highlights the way it develops emotional growth by just making decisions in games. For example, games like The Walking Dead series push players deep into emotional dilemmas, like making a bold decision inside the game for the greater good to complete the levels and immerse affective intensities.

Where games like Call of Duty, and Battlefield extreme combats trigger feelings in the hyper mode where competitive aggregation leads them to master the game.

Affect is not like emotions it is an Intensity over meaning where it exists in the moments and sensations, not in the lore itself.

Affect is a core of gaming, it is what hooks players to the game the most. From an RPG to a Battle Royale or it can be a tactical FPS the affects hold the player by giving the Adranil rush by finishing the levels or responding again so they can win and Get the Winner Winner chicken dinner.

NB: In this Blog Some places I compare Emotions to the affects. In the next blog, I will discuss more deep in emotions and how it developed over the years and how it influences player.

references

Ash, J. (2013). Technologies of Captivation: Videogames and the Attunement of Affect. Body & Society, 19(1), 27-51. https://doi.org/10.1177/1357034X11411737

https://www.academia.edu/44931154/Emergent_Affect_in_Final_Fantasy_VII_and_Japanese_Role_Playing_Games

Sluijs, Jasper & Smelik, Anneke. (2009). Interactivity and Affect in Intermedial Art: Theorizing Introverted and Extraverted Intermediality. Intermédialités: Histoire et théorie des arts, des lettres et des techniques. 177. 10.7202/044046ar.

Freeman, David. (2004). Creating emotion in games: the craft and art of Emotioneering#8482. Computers in Entertainment - CIE. 2. 10.1145/1027154.1027179.

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Blog 07

Identity in Clothing

In this Blog, I am going to discuss how Clothing influences identity and how it creates connection and establishment with a person's personality. Based on Wikipedia we can define Identity as the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity may be shown in many ways but when it comes to social and cultural identity clothing performs a big role. From the cultural and historical perspective, people have different opinions on sexual identity. As biologically there can only be Men, Women, or third gender, this can be noted as their sexual identity or sex. However, people have many other identifications based on their personality, culture, and beliefs. Clothing plays a big role when it comes to the cultural and historical identity that comes from generation to generation, it is easier to define who is who based on the way they dress. For example, Asian people wear one kind of clothing on the other hand European people wear another kind. To establish identity it is easier to denote if the person follows traditional clothing.

Source: Google

I am going to do a case study on Disney Princesses how dress defined their identity and how it influenced the story and plot. So there are so many Disney princes. Some of the story starts with a poor girl some start with a royal life, and everyone has a unique characteristic that makes them unique. But based on the stories if their dresses did not match the plot it would never have been that appealing and unique as it is now. For example, Cinderella had a poor costume at first to showcase her identity as a poor servant figure. On the other hand, the story of Elsa is different, Shw was a princess from the beginning of her story so her dresses are defined based on her status and also the color matcher in the plot to establish the narration.

Even in Gender identity fashion plays a big role in the establishment of personality by offering them a unique way to identify themself. Where clothing allows for personal expression which always shows social trends and norms.

The relation between clothing and identity is two-faced. Maybe people like to go beyond imagination and like to do crazy but it always helps to define people by their appearances even it is not always correct to identify a person by their clothes but it is easy to establish an identity and show them.

references

Antony, Rinsey. (2018). Fashion and identity.

Feinberg, R. A., Mataro, L., & Burroughs, W. J. (1992). Clothing and Social Identity. Clothing and Textiles Research Journal, 11(1), 18-23. https://doi.org/10.1177/0887302X9201100103

Boomsma, Y.B. (2020) The Fabricated Self: the role of clothing in identity development.

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Blog 06

Semiotics and Open-world games

In this blog, I am going to discuss about semiotics and The implementations of semiotics in the Open world game. I will do a case study to check how semiotics work in games and how they create immersive experiences and enhance engagement.

In Games, every element can be considered a sign. One can be a signifier which is a physical characterization such as visual elements or sounds another can be signified such as an expression or meaning that comes from a sign. Based on Charlies Sanders Peirce there are 3 types of signs, iconic, Indexical, and symbolic.

Case study:

Source: Google

In this study, I am going to discuss a game called The Legend of Zelda: Breath of the Wild. it is an open-world game that shows a vast use of semiotics and gives an immersive experience to players. This Game is vasty big and has a lot of staff in the world. The world itself reflects some iconic signs from real real-world environments like the ecosystem with Terrains and the biome. Even though the art style is stylized the physics implementation even wind relations with other elements like grass, cloaths, or water are iconic to real-world applications that mark life and its movements. The game also reflects indexical signs as well like its smoke simulations different cases determine different tasks, like cooking, campfires, burning, etc. On the other hand footprints in terrain by NPCs or biomes creatures encourage curiosity. Also, this Game reflects symbolic signs such as the historical towers, and the swords represent heroism, history, etc are not visual signs but connect players to the game lore.

The Game is well Organised and well structured based on the lore from the villages, forests, and ruins that connect the player to a lost civilization and add deepness and enigma.

Semiotics Boosts engagement by adding immersion, intuition, and narrative depth to the game just by exploring the environment players can connect to the lore from the symbolic experiences.

So in conclusion I have come to the point that semiotics are very powerful in creating open-world games. It gives meaning to the stunning world and interactivity so players can connect to the game. Definitely by improving and further polishing semiotic principles upcoming games can be more richer and more interactive and engaging.

References

Bruchansky, Christophe. (2011). The Semiotics of Video Games.

Thibault, M. (2018). Semiotics of Computer Games. In: Lee, N. (eds) Encyclopedia of Computer Graphics and Games. Springer, Cham. https://doi.org/10.1007/978-3-319-08234-9_142-1

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Blog 05

Reality

In This Blog Post, I am going to discuss reality and I will Discuss 2 famous quotes from philosophers Nikolay Chernyshevsky (1828-89) and Wallace Stevens (1879-1955) and share my perspective on where I stand.

Source: Google

First Lets discuss Reality. Something that can be perceived through the 5 senses ( sight, hearing, smell, taste, and touch) Can defined as reality. Another Definition available is Something that exists in space and time can be defined as reality.

So From the Definition one thing is clear reality is not linear and it can be changed or altered. We live in a 3-dimensional world. The reality is changeable based on perspective inside the space as long as we have all the senses working and the plot is in 3D space, we can define that as our reality.

When we talk about reality Another thing pops up which is realism. So which is more realistic, how can we define realism, and how it's affecting the future? First, let's discuss the quotes from 2 philosophers.

Nikolay Chernyshevsky (1828-89): The first purpose of art is to reproduce reality

Nikolay is not the only philosopher who thinks this way, there are some more who think in a similar way such as Aristotle”s Mimesis, Gustave Courbet(1819-1877), and Leon Tolstoy. They all have similar thoughts and supporting their argument they have shared their perspectives on Acceibility and Universality, Historical Documentation, and skill and precision. Also a Study founded that people are more likely to be emotionally bonded with art that has a realistic feel of depth to it (Journal of Aesthetic Education).

Wallace Stevens (1879-1955): Realism is a corruption of reality

As Reality itself is subjective and multifaceted, it is limited. Art is to connect with people and it should be based on exploring subjective, emotions and if needed creating an abstract reality to connect with people. An artist Named Jackson Pollock eliminated realism just to put depth and create abstracting reality to connect with emotion. His quotes support a few arguments from a study conducted on art appreciation in 2020(Psychology of Aesthetics, Creativity, and The Art) such as the abstract offers infinite possibilities to explore perspectives and emotions. It challenges ordinary thinking and gives the freedom to create something beyond reality to establish a richer artistic narrative.

Conclusion: Everything is Going Virtual, and reality can be established and tweaked. Both Quotes have strong arguments. But The way the world Progressing, We have Virtual Reality now, it is still not near perfection in terms of the 5 senses but it can establish a 3d world for us. We have Augmented reality now there we are seeing or adding/mixing CGI to the real world. Even in games abstract and Twicked and modified from real work environments are more popular than real-world simulation games. And People like to experience new things. So I will stand on the Argument constructed by Wallace Stevens as I think the Abstract fictional world is the future and people will go more into the Abstract words and make that into a reality.

References

Psychology of Aesthetics, Creativity, and the Arts https://www.apa.org/pubs/journals/aca

The Journal of Aesthetic Education https://www.press.uillinois.edu/journals/?id=jae

Katja Rogers, Sukran Karaosmanoglu, Maximilian Altmeyer, Ally Suarez, and Lennart E. Nacke. 2022. Much Realistic, Such Wow! A Systematic Literature Review of Realism in Digital Games. In CHI Conference on Human Factors in Computing Systems (CHI '22), April 29-May 5, 2022, New Orleans, LA, USA. ACM, New York, NY, USA 21 Pages. https://doi.org/10.1145/3491102.3501875

Russian Philosophy Volume II: The Nihilists, The Populists, Critics of Religion and Culture, Quadrangle Books 1965

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Blog 04

Authorship in Transmedia Storytelling: Who Owns the Story?

In this blog, I will discuss transmedia and the authorship of transmedia storytelling. Transmedia Storytelling means persuading one story on multiple platforms or in multiple types of media. For example, movies, games, and comics pursue a single story by adding some new or unique integration into it rather than using the same story on all platforms or mediums. But when it comes to The authorship of its story it is a bit complex as watch story is unique and created by different people but comes from a single origin story.

Source: Google

For example, Let's Check the Norse Thor and the Thor from Marvel. You can find similarities even if the stories are different. Video games like God of War are focused on Thor from mythology, it shows transmedia storytelling by keeping the same origin story. On the other hand, if you see the Thor Movies from Marvel. It has all the attributes from its origin but the story is completely different. Fictional and adapted based on the consumers or audience.

From this example, we can guess why transmedia is important. Even if we discuss the Thor from Marvel we can see it had different adaptions for different mediums, such as comics, movies, and games have different plots and narratives but in the end core is the same for watch focused on the character with the characteristics and attributes but each part of the story complements the other to create a better world for the same plot. So I can conclude that for bigger stories, fan engagement and the creative freedom of the story to engage more audience as different mediums attract different types of audiences so, transmedia plays a big role and it is an important factor.

But when we conclude that transmedia is important then a big question comes up, as transmedia is a modification of an origin plot focusing on the audience's need or test. Then who is the author? Well based on my research I found one thing the author's identity is not singular it's a collaborative process in this case, As Thor from Norse mythology is a public domain and everyone can create their unique version from it and claim authorship. For example, first Stan Lee, Larry Lieber, and Jack Kirby created the fictional character Thor and published comics on the story. The plot and story are completely unique but have a mythological root. over facets, there were games that we played, and there were movies as well based on the comic but the story and plots are completely different so the authors from those adaptions are different as well. Each Adaption and medium is unique to the story, making authorship multilayer to multiple creators.

Conclusion:

Authorship is a collaborative process when it comes to transmedia. Every story has its uniqueness. And even the root is the same every story is unique and a new adaption. No one can claim copyright and based on the root new heroes can be made as well. Transmedia is all about audiences need and accepteces.

References

Joseph J. Avery, Patricia Sánchez Abril, and Alissa del Riego, Attributing AI Authorship: Towards a System of Icons for Legal and Ethical Disclosure, 22 Nw. J. Tech. & Intell. Prop. 1 (2024). https://scholarlycommons.law.northwestern.edu/njtip/vol22/iss1/1

Lähteenmäki, Ilkka. 2021. “Transmedia History.” Rethinking History 25 (3): 281–306. doi:10.1080/13642529.2021.1963597.

Norse Mythology in Popular Culture: A Study of the Thor Trilogy in the Marvel Cinematic Universe. Niveditha Syam1, T. Manjima Prakash2, Geetha R. Pai3 https://www.ijitee.org/portfolio-item/g10320587c19/

Gaine, Vincent M., 'Thor, God of Borders: Transnationalism and Celestial Connections in the Superhero Film', in Rayna Denison, and Rachel Mizsei-Ward (eds), Superheroes On World Screens (Jackson, MS, 2015; online edn, Mississippi Scholarship Online, 19 May 2016), https://doi.org/10.14325/mississippi/9781628462340.003.0003, accessed 4 Jan. 2025.

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shanto1000 · 8 months ago

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Blog 03

Medium Specificity

In this blog, I am going to discuss a topic called Mediam-Specificity and its advantages and disadvantages Whether it is a good practice or is the medium-specificity itself a thing of the past.

Well, no single medium is dominant any longer in this Era. Instead, all of the different media influence and determine each other. where before, all of the media Such as painting, and photography made a special effort to explore the media-specific idiosyncratic worlds of the respective medium. But Over time situation Has changed and people started mixing media to develop something new that doesn't follow the concept of Medium specificity.

In my opinion, medium specificity is not a completely lost practice, its foundation and application have changed or modified in a contemporary context. It is still influential in the core area of theory and practice. Even in the modern world where mixing media is trending, refining art and artistic integrity and priority is very essential. It is still relevant in Academic and theoretical practices as It is still a critical concept in art history. Even In the new generation, AI is Practicing and following The Theory to produce good-quality art.

In my finding, I found few answers to why it seems like a lost practice. Multimedia is taking over Due to technology boundaries between media become blurry. Postmodernism values cross-media exploration more than a strict practice of a medium-specific property. As the mixing media comes in it becomes tough to define or separate the medium as it has been used simultaneously. And people are more focused on pixels and quality or mixing. Also, consumer and market demand is one more key factor as people starting to valuing more in VR, AR, Games, and multimedia performance more than a single medium purity.

Conclusion: Medium specificity is not a lost Practice I would say it has developed and grown into a more bigger and contextualized practice. It has its own area where people need it as well as it can be implemented in multimedia to enhance the multimedia properties as well. It depends on the creator how he is going to implement and create the art.

References

Carroll, Noël. “The Specificity of Media in the Arts.” Journal of Aesthetic Education 19, no. 4 (1985): 5–20.

https://doi.org/10.2307/3332295.

Bartel, Christopher (2022). Computer Art, Technology, and the Medium. Being and Value in Technology.

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shanto1000 · 8 months ago

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Blog 02

The mixing of the media

In this Blog, I will discuss and analyze one of my own works Made while Exploring the CGI advertisement field and its future growth. Mixing the media is not just a new thing, it's been in the industry for a long time. But the recent days the use of it expanded rapidly due to the developments of hardware and software that are available to use by all people.

Let's discuss a few key points before analyzing the video. Whenever the mixing media comes in one question comes to mind. Is Greenberg’s medium specificity no longer relevant? Well, my response to the question is yes and no. The thing is Media specificity is rich itself but combining few together is the 2nd phase of its form which we can call the mixing of the media. Which can also be called Gesamtkunstwerk (Total Work of Art). For example, in the past, we used theater to perform a show that is combined with multiple mediums. Nowadays we use multiple arts like 2D, 3D, and realistic footage to create unique art that exceeds reality and stands out.

As we are using tools to make it a reality and using computers as a meta-medium where we keep developing new technology in the future who will be the artist? The technology itself, the operator, or the person who makes the tool? I think it's a separate topic to discuss but whoever that will be there will be a mix of media and it will have the Gesamtkunstwerk applied.

youtube

So About the CGI advertisement I made a mix of reality footage where I combine CGI elements with real-life video footage. Augmented reality is not too far from coming for day-to-day use. I think it's a Previous version of it. Where manipulating and altering real locations and adding commercial elements to advertise rather than using physical elements to create billboard ads or traditional posters which is becoming old. I can call it a Total work of art as it has a fulfilling story to show with different mediums as well and it contains the mixing of media to exceed reality and stand out in the core of traditional marketing.

Sources

Macpherson, B. (2012) ‘Embodying the virtual: ‘Digital opera’ as a new Gesamtkunstwerk?’, International Journal of Performance Arts and Digital Media, 8(1), pp. 49–60. doi: 10.1386/padm.8.1.49_1.

Koepnick, L. (2017) ‘Gesamtkunstwerk’, in V. Sherry (ed.) The Cambridge History of Modernism. Cambridge: Cambridge University Press, pp. 273–288.

Mitchell_WJT_2005_2007_There_Are_No_Visual_Media.pdf W.J.T. Mitchell, "There Are No Visual Media", in MediaArtHistories, ed. Oliver Grau, MIT Press, 2007, pp 395-408.

Krauss, R. (2000). A Voyage on the North Sea: Art in the Age of the Post-Medium Condition.

How CGI Ads Are Revolutionizing Viral Marketing: Benefits and Top Examples - https://yordstudio.com/cgi-ads-are-the-new-viral-marketing-benefits-and-top-examples/

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