stevin-josy

[stevin-josy]

Critical Analysis

Lukas Kutschera’s Sculpting in ZBrush Made Simple (2023) offers a comprehensive and structured guide to digital sculpting, emphasizing character modelling and 3D printing. My analysis focuses on pages 128–140, which delve into creating humanoid figures tailored for 3D printing.

Lukas Kutschera’s course, “Sculpting in ZBrush Made Simple,” provides a step-by-step tutorial on the possibilities of sculpting with ZBrush concerning character modeling and 3D printing. Kutschera, who has had years of experience in teaching digital art, brings the author’s knowledge into the book to explain to the readers how to navigate through the program and master basic, and even advanced, steps for sculpting. It focuses on the second part of the book starting from page 128 up to 140 inclusive which provides insights on building a humanoid figure that is tailored for 3D printing. In this section, Kutschera provides a link from artistic anatomy to the technical aspects relevant to 3D outcomes. As a digital art lover, the ideas and visions of the author about anatomy interested me even at their most basic level of meaning. This is where the author extends the work of Loomis (2021), who based concepts of proportion and structure in visual representation. Of the two methods, Kutschera emulates Loomis but even goes further to adapt it for digital sculpting, showing how the tools within ZBrush allow for accurate rendering of the human body structure while at the same time being flexible enough in their use to allow the artist freedom to experiment. Recently the segmented roof DynaMesh, described in elaborate detail proves the author to be a very practical person linking aesthetic vision to contemporary technology. Kutschera’s primary argument in this section hinges on the dual nature of digital sculpting: and as both an artistic and an engineering venture. The author begins with the idea of ‘cycling’ an iterative process in which sculptors modify forms according to the analysis of anatomy and technological specifications. Thus, Kutscher gives readers a detailed picture of how surface models can adapt dynamically when using various sculpting tools — from DynaMesh to ZRemesher. The second section derives the theoretical knowledge into practical application by using a project-based strategy. Starting from Kutschera’s tutorial on how to carve a humanoid figure, ZBrush tools are incorporated in a manner that encourages students to participate. However, the author going digital with anatomy shortcuts including using of base meshes may serve to also prevent a reader from grasping specific modeling fundamentals as intended. They start from tutorial by Spencer (2010), who devotes a large portion of the work on ZBrush anatomy to practicing with manual sculpting tools before using the digital ones as they are useless without the proper foundations. Kutschera also outlines some technical issues which are specific to 3D prints such as mesh optimization and watertight geometry not only from the standpoint of being print-ready. These processes run through this discussion as the author provides a detailed overview of how and why these processes occur in an aesthetic framework that is then connected to practical arenas of interdisciplinary application with an emphasis being placed on how artistic conception is realized in practice. However, despite being very detailed, some of the points that Kutschera made will be quite useless to beginners as the tutor presupposes a minimum level of knowledge of ZBrush. Nevertheless, the author offers a brief list of terms that should be explained but the reader may find more helpful illustrations or links to previous relevant articles and papers. Perhaps another kind of resource besides the selected reads could be used in a more linear way that is more conducive to learning: For instance, Spencer’s “ZBrush Digital Sculpting Human Anatomy” (2010) could be a complementary volume that addresses these gaps. Practicality is focused on the final section which presents an assignment where Kutschera invites the readers to present their humanoid models in a professional setting: building a portfolio. This inclusion shows that the author understands the business aspect of 3D art hence the author’s professional tips are well informed, and timely.

The second major strength of the work of Kutschera is that in the study of ideas from different fields, the author demonstrates an ability to apply them to digital sculpture and show how they come together when creating artwork in the present. Kutschera, therefore, influences the reader’s mind to critically consider structure, function, and making by highlighting that the study of human anatomy though more of a craft of art or engineering. A good example is when the author talks about getting models ready for 3D printing clearly the author understands some of the challenges artists have in transitioning from screen to sculpture. For instance, when explaining watertight geometry, apart from basic commands to create one, the author goes deeper into providing information on why some problems may occur in the printed models such as non-manifold edges or poorly optimized meshes. Furthermore, Kutschera’s concept of gradual refinement is highly compatible with current design paradigms that are discussed in the contexts of, for example, agile development. By providing timesharing between sculpting adjustments and integrity testing of the model, the readers are initially exposed to the concept of the evolution mindset, which is paramount and is pressing with the rapidly changing environment within the modern creative economy. This makes it possible to have a higher level of tolerance besides making great preparations for flexibility something that artists working in environments are required to have. One more critical aspect is that, unlike many other guides, this one is filled with portfolio-building tasks, which take the book to an entirely new level of useful, as it readies readers for the real world wherein, they will have to present their works and services. These findings are in line with the industry expectations which require the production of pristine models (print-ready) for clients and partners. All in all, the second section of the article titled “Sculpting in ZBrush Made Simple” will be as useful for the readers providing them with both technical and creative means for 3D character creation. With the combination of the presentation of the human anatomy principles, the usage of iteration, and special recommendations for print media, Kutschera successfully provides diverse pedagogical approaches. However, incorporating additional references in the text could complement the existing explanations and broaden the opportunities in terms of orientation toward beginners. Altogether, there is something highly representative about Kutschera’s work for the development of art and technology, which finds its reflections within the current needs of digital sculpting.

[stevin-josy]

READER

Balla, G., 2023. Adapting visual references in concept art for films and video games in design uncanny monsters. Journal of Adaptation in Film & Performance, 16(1-2), pp.133-145.

This text is useful for its perspective on how the use of visual references is accomplished in the designing of the monster, from concept art to 3D modeling, through live-action references. In Balla’s case, this look critically encompasses the artistic concept of the uncanny valley because the antagonist designs are close mimics of real-life people, especially regarding realism and texture. Besides, detailed methodology established as Photoshop manipulation and 3D blueprints is going to be useful for other professional artists and researchers in the sphere of entertainment. This creates a very strong correlation to the current trends in industry standards offering a base from which to examine the execution of such cues regarding character believability and audience perception.

Hao, Y., 2021. Computer Games as Social Sculptures: Rethinking the Discourse of Participation and Its Implications for Digital Game Design. Proceedings of the ACM on Human-Computer Interaction, 5(CHI PLAY), pp.1-15.

This paper explores gaming using Joseph Beuys’s idea of ‘social sculpture,’ to recast the games in the context of politics and debate. As a result of combining art participation and game design, positions games as the imaginative tools for altering and creating the community’s stories. In the paper, politically relevant participatory design approaches are initially presented, and the possibilities of gameplay are discussed as a cultural communication and action platform. This integration of participatory frameworks into digital play provides benefits to scholars and developers interested in studying art, design, and social critique. It is this work that is most useful when trying to understand change as a concept about games and the notion of gameplay as a medium for positive social interaction that extends from the virtual world to the real. Positions games as transformative tools for shaping social narratives. The paper introduces participatory design methods that are politically responsible, highlighting how gameplay can serve as a medium for cultural discourse and action. Its integration of participatory frameworks into digital play offers valuable insights for academics and developers exploring the intersection of art, design, and societal commentary. This work is especially relevant for understanding how games can act as agents of change, fostering meaningful interactions that resonate beyond the virtual world and into real-world social dynamics.

Saini, J. and Chew, E., 2021. The Role of 3D-Technologies in Humanoid Robotics: A Systematic Review for 3D-Printing in Modern Social Robots. Recent Trends in Mechatronics Towards Industry 4.0: Selected Articles from iM3F 2020, Malaysia, pp.275-287.

Saini and Chew (2021), present a systematic review of 3D printing technologies which provides a critical appraisal of social robotics. This is an aspect of humanoid robots and hybrid projects that seeks to explain the design and functional approach as well as low-cost prototype projects. It offers an extensive literature review of current research advances, discussing the role of additive manufacturing in advancing social robotics. Thus, this work provides examples of using 3D technologies in robotics, and design principles to follow, and is useful for researchers and practitioners charged with incorporating advanced 3D technologies into robotics that are also economically feasible and technically sound.

Jiang, H., 2023. A Study on Real-time Graphic Workflow for Achieving The Photorealistic Virtual Influencer. International journal of advanced smart convergence, 12(1), pp.130-139.

This research deals with the employment of an online 3D graphics pipeline toward fashioning realistic digital icons for social media platforms with increasing adoption of personalities better referred to as ‘virtual influencers.’ The information explores the principal stages of our processes facial modeling, shaders creation, and look definition revealing that real-time solutions outperform standard CGI pipelines in terms of productivity and interactivity. This work raises important questions on how to achieve realistic graphics with reasonable expenses and dynamic functionality. Jiang’s proposed insights will prove useful for digital artists and content developers who seek improved efficiency and interactive avatars. The study contributes to the gap between technology and art and provides hands-on advice in terms of improving the quality and usability of digital character design.

Guo, Z., Xiang, J., Ma, K., Zhou, W., Li, H. and Zhang, R., 2024. Make-It-Animatable: An Efficient Framework for Authoring Animation-Ready 3D Characters. arXiv preprint arXiv:2411.18197.

This research introduces a novel approach, Make-It-Animatable, to deal with rigging and animation issues for a large of 3D characters.s. This approach builds upon the combination of methods such as particle-based shape autoencoders, for the goal to automate tasks like blend weight creation as well as pose transformations. The presence of the framework guarantees flexibility and efficiency when designing different characters with nonconventional bone structures and other designs. Guo et al. describe the proposed approach and provide proof-of-concept in experiments that show the added quality and efficiency when compared to conventional methods. This work is essential for animation and game designers looking for new ideas on automating the process of character rigging, thus, saving a lot of work on preparing characters for rigging.

Wang, C.Y., Zhou, Q., Fitzmaurice, G. and Anderson, F., 2022. VideoPoseVR: Authoring virtual reality character animations with online videos. Proceedings of the ACM on Human-Computer Interaction, 6(ISS), pp.448-467.

This work presents VideoPoseVR a novel system that extracts character poses from videos and uses deep learning to generate animations of avatars in VR. Through this system, creators can upload videos, deconstruct the 3D motions from the videos, and edit animations. Intended for fun, educational, and purposes of demonstration and experimentation, VideoPoseVR is sui for amateurs and offers seamless performance. Combining AI and VR improves the workflow of animators and developers. This work is crucial for the investigation of interactive and experiential tools, as it offers a futuristic view of character animation grounded on experience within the traditional domain, but incorporating the principles of contemporary technology virtual production.

Gulhan, D., Durant, S. and Zanker, J.M., 2023. Aesthetic judgments of 3D arts in virtual reality and online settings. Virtual Reality, 27(2), pp.573-589.

This research explores the response to 3D artwork in virtual reality (VR) and online environments using quantitative and qualitative measures. Such interactivity in VR-based 3D artworks shows that participants’ image perception includes certain allegiances between aesthetic characteristics such as novelty, model intricacy, and image-effective interest. Hence, the structures of the study approach the understanding of how the audiences can perceive digital art by incorporating both immersive VR experiences and easily feasible online forms. This work advances knowledge of VR as a technological tool by bridging the concept with empirical aesthetics: how technology makes culture more accessible and a medium for creative experience. They regard it as a useful source of information for the development of interactive and accessible art in digital media.

Zufri, T., Hilman, D. and Frans, O., 2022. Research on the Application of Pixel Art in Game Character Design. Journal of Games, Game Art, and Gamification, 7(1), pp.27-31.

This paper seeks to analyze exactly how pixel art manages to persist in game art despite the triumph of exceptional 3D graphics.s. Their work focuses on the resistive properties of pixel images, as well as their cultural and artistic meaning in contemporary gaming. The authors discuss specific cases of the integration of pixel art into modern games, underline its relevance, and emphasize its individualistic and artistic functions. This work makes a valuable contribution to the literature for game designers and historians as it provides a valuable and considered opinion on the progression of art styles in a rapidly evolving gaming platform environment as it relates to pixel art.

Cohen, L., 2023. A comparison study between 3D virtual reality art-making and 2D art-making with traditional art materials among adolescents. The Arts in Psychotherapy, 86, p.102089.

This qualitative pilot study explores the possibility of using virtual reality (VR) as a tool in art therapy for teenagers with trauma histories. It was possible to make new types of performances in a virtual space, which Participants used the equipment for that end: VR lets people create safe areas for behaviors that would be considered unusual in the real world. Some of the study’s themes include power, haptic, and newness and the study show VR as a tool for participation and healing emotions. Describing interactive applications of virtual reality, this work is informative for therapists and artists interested in the potential of creative approaches in addressing mental health issues. It offers a new approach to integrating VR into several conventional art therapy techniques.

Pradantyo, R., Birk, M.V. and Bateman, S., 2021. How the visual design of video game antagonists affects perception of morality. Frontiers in Computer Science, 3, p.531713.

This research examines how the graphical aspects of character creation relate to one’s ethical evaluation of game villains. As highlighted by their studies, players judge the personality and intentions of the character based on the archetypal and visual aspects including expressions and costumes. I believe that enthusiasts of video game development and design would find this study helpful in their endeavors of designing multi-dimensional and influential antagonists, as well as learn key findings on how appearance influences emotional investment and message narration. As a result, the paper applies and connects what was presented as theoretical concepts in this text, intertwining design theories, and player psychology to assist the artists in developing appealing, meaningful characters that will enrich the story being told.

[stevin-josy]

BLOG 10- DIGITAL MEDIA : SOURCE AND SIGNIFICANCE

The Artistic Value of Virtual Reality: Walking Dead Saints & Sinners

VR has transformed storytelling and gaming as we know it. It allows players to experience the sensation of being within the game. The Walking Dead: Saints & Sinners is a great example of how VR can combine immersion and interaction to create a fun, layered experience.

Immersion in The Walking Dead: Saints & Sinners Immersion is defined as “the sensation of being there, that you are actually inside the game’s universe” (Ryan, 2001). In The Walking Dead: Saints & Sinners, a zombie-infested New Orleans is at player’s disposal. The world appears and sounds real. You can hear the screeching of zombies or the quiet of empty streets. It makes you feel like you’re there, really.

Feeling the Stakes

https://www.unrealengine.com/en-US/tech-blog/skydance-interactive-shows-how-it-injected-vr-physicality-and-melee-combat-in-the-walking-dead-saints-sinners

In this game, what you do matters. When a zombie grabs you, it is not just on the screen you respond to it physically. This makes every fight and choice feel primal and genuine. In VR survival is personal in a way that other games cannot offer he says because you become a part of the world. Interaction: Making Choices That Matter

Full Gameplay Walkthrough (YouTube, https://www.youtube.com/watch?v=3yDlew4zzjo)

The interaction in this game isn't just about fighting zombies. Players also face hard choices. For instance, you may need to decide between aiding a person in need of help or saving resources for yourself. These choices affect how the story unfolds and how you’re realized by other characters.

Crafting and Strategy

Players also can create their own tools and weapons in the game. You search for items that can create stuff like health kits or weapons. Every decision count as resources is insufficient. This encourages players to consider their choices.

Balancing Immersion and Interaction

The balancing act between immersion and interaction is handled very well in the game. This explanation is provided by Marie Laure Ryan (2001) when she states: "interaction makes players feel they have control whereas immersion makes them feel as though they belong to the world". In Saints & Sinners, you simultaneously make choices and experience the world’s emotions.

Example of Emotional Impact

One emotional moment in the game is when you encounter a survivor who is mourning. As Ryan (2001) writes "immersive VR settings can create strong emotions and connections” and this scene explores how VR makes all these interactions feel real. Why Saints & Sinners Demonstrates the Artistic Value of VR.

Realism and the Atmosphere: The detailed world makes you feel like players are really in a zombie apocalypse.

Personal Choices: Your decisions in the game matter and can change the story.

Stirring: The game evokes fear, empathy and excitement that linger with players.

Conclusion

The Walking Dead: Saints & Sinners demonstrates how VR can blend interactivity and immersion to create an experience like no other. The game’s gut world and emotional stakes remind us that VR is not just about fun it can be a vehicle for art. Games like this are a glimpse of how storytelling and gaming will forever change thanks to the incredibly immersive medium of VR as it grows.

References:

Ryan, Marie Laure. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. The Johns Hopkins University Press.

The Walking Dead: Saints & Sinners. Skydance Interactive.

Screenshot taken from gameplay video: The Walking Dead: Saints & Sinners Full Gameplay Walkthrough (YouTube, https://www.youtube.com/watch?v=3yDlew4zzjo).

[stevin-josy]

BLOG 9- DIGITAL MEDIA-SOURCE AND SIGNIFICANCE

Naruto and the Affective Economy of Fear and Acceptance

https://www.reddit.com/r/Naruto/comments/15k70kb/if_you_were_naruto_would_you_still_be_a_good_guy/

Naruto was the first anime I ever watched, and I was instantly attracted to his energetic and never-giving-up attitude. But beneath the loud and cheerful exterior, there was a deeply emotional and painful story: a boy who not only carried the stigma of being a jinchuriki but also the anguish of growing up alone without a family. Examining his journey with respect to affect theory through the lens of Sara Ahmed’s concept of "affective economies" (Ahmed, 2004, p. 117) helps reveal how emotions his own and those of the people around him constitute both who he is and how he relates to others.

The Affective Economy of Fear

In her work on affect, Sara Ahmed discusses how emotions are socially ordered and invested within specific bodies, giving rise to “affective nations” (Ahmed, 2004, p. 119). In Naruto’s case the fear and hatred directed toward the Nine Tails the creature locked inside him was something that became so attached to his existence. To the villagers of the Hidden Leaf Naruto was not just a child he was the host to the beast that destroyed their home. He was ostracized after this humiliation and scenes like him sitting alone on a swing or overhearing villagers whispers are very poignant to illustrate this rejection. These were moments that resonated personally for me. Who hasn’t at some point felt badly judged or neglected for something they can’t have controlled? Societal fear and rejection manifested in Naruto into much of his early life.

https://www.reddit.com/r/Naruto/comments/1b8pskp/why_was_naruto_frowned_upon_as_a_kid_how_did_no/

Ahmed’s theory also emphasizes the way affect is ongoing and relational is not constant but always shifting (Ahmed, 2004, p. 120). Nowhere is this more evident than in how the strength and actions of Naruto gradually rearrange the emotional ground of the village. First to cross that divide is Naruto’s teacher Iruka who sees Naruto for who he really is not the Nine Tails living within him. Iruka’s acceptance sets off a chain reaction that leads other characters to reconsider their feelings. Eventually Naruto’s unending interest and absolute trust in bonds transform fear and dislike into respect and affection. This transformation continues as we see his relationships with Tsunade, Gaara, and Kurama (the Nine Tails), each of these relationships builds up layers of Naruto’s emotional growth and redefines himself.

Ichiraku Ramen Stand through the generations : r/Naruto

Jinchuriki and Orphan: Naruto’s Dual Identity

Naruto’s orphanhood is an outstanding theme in the series, and it makes his story even more emotional when considered in the context of his identity as a jinchuriki. Solitude intensified his yearning for attention and recognition. But rather than giving in to bitterness, he decided to redirect that pain into drive. This uncanny combination of a boy wanting love and a jinchuriki society hates creates a gut right hook that pulls the viewer straight to him. Naruto’s feelings aren’t told but experienced. Moments like his emotional breakdown after Sasuke’s defection or his promise to protect the village inspire not just sympathy but a solid bond with the audience. These moments go beyond mere representation and engage with what affect theorists call the force of emotions that “move” us. This aligns with Ash’s (2013) exploration of how emotional captivation can organize affective engagement in media.

Steam Workshop::Seventh Hokage Uzumaki Naruto

Transforming the Village’s Affective Economy

What is particularly remarkable about Naruto’s arc is the way he changes the affective economy of the Hidden Leaf Village. At first characterized by fear and hatred, the village’s collective emotions gradually change. Through repeated acts of saving the village as well as forming genuine bonds with them, Naruto gains their respect and love. This change resonates with Ahmed’s concept that emotions mediate between the individual and the collective (Ahmed 2004, p. 122). But Naruto’s feats did not just change how he was viewed as a person but redefined the village’s emotional alignment as the society’s collective. This can also be understood in terms of Hall’s encoding and decoding, where Naruto’s actions ‘encoded’ new meanings of his identity that the other villagers ‘decoded’ as admiration and respect (Hall, 1980). The fear and hatred associated with the Nine-Tails faded away and were replaced with respect for the boy that had become Hokage.

5 times the Leaf villagers abused Naruto (& 5 times they were kind to him)

Conclusion

Though colorful and fantastic, Naruto’s tale is testament to how the fundamental, relational power of emotion creates different selves and makes different worlds. He not only improved his life but also uplifted the morale of the Village through his determination and firm belief of bonds. For me and probably many others Naruto’s journey is a strong reminder that it’s possible to change the world, one emotional connection at a time even when faced with many rejections. References

Ahmed, S. (2004). Affective Economies. Social Text, 22(2), 117-139.

Hall, S. (1980). Decosy/encocy in the television discourse. In S. Hall et al. (Eds.), Culture, Media, Language. London: Routledge.

Ash, J. (2013). Technologies of Captivation:���Videogames and the Attunement of Affect. Body and Society, 19(1), 27–51.

[stevin-josy]

BLOG 8: DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

One Piece and the Real World: The Power of 'The Other'

Introduction

The Straw Hat Pirates, a diverse crew united by friendship and shared goals. Courtesy of Dexerto (link).

I’ve always appreciated how One Piece connects intense social themes with its epic pirate journey. The series is more than just treasure hunts and brawls it is a mirror of the world we inhabit. One of the things that have struck me with this book is the way "The Other" is portrayed. Through characters and groups like the Fish-Men, Shandians, and even the Straw Hats themselves, we see the struggles of those who are marginalized and excluded. According to Edward Said (1977), The Other is depicted as passive, inferior and non-sovereign a term used to render exclusion and oppression natural. Because when I watched One Piece, I started to think about how these actual effects happen in real life.

Fish-Men: An Image for Racial Inequality

Fisher Tiger stands as a symbol of rebellion and resistance in One Piece. Courtesy of Zerochan (link).

Pasting the first page from the Fish-Man Island arc into a blank document is oddly familiar. The prejudice that the Fish-Men endure their enslavement and their struggle for equality all hit me right in the real-world racial struggle zone. On one side, we have Fisher Tiger with his defiance and tragic end, and on the other side, we have Queen Otohime with her peaceful activism, who are two sides of the fight against oppression. It called to mind people like Malcolm X and Martin Luther King Jr., who also fought for equality on far different fronts. One cannot help but think of Eric Williams (1967) contention that “racism was the consequence of slavery” not its cause. Similarly, Fish-men are feared and hated by humans in One Piece, not only due to long held prejudices but because their hatred is amplified by a history of exploitation. Fisher Tiger’s denial of a blood transfusion from a human felt heartbreaking powerful, even as if it was meant to convey that racism can run so deep that even saving one’s own life is a ss too far. Shandians: Land, Colonialism and Indigenous Dispossession The story of the Shandians resonated with me personally because it caused me to reflect on how colonialism has shaped so much of our world. It is shown in Skypiea that the Shandians are driven off their land by the Skypieans who deem them savages. As I watched them terrorize Upper Yard for what they could salvage I was reminded of the difficulty of Native peoples across the world, their land ripped from them, their humanity robbed of them, their culture worn-out. Bauman (1991) described "Otherness" is a means for one group to establish its superiority while nullifying others. That’s exactly what the Skypieans did to the Shandians. It is a narrative that’s very much in line with the storytelling of colonization and the worst part is that it’s a narrative that continues today.

Celestial Dragons and Their Dehumanization

The Celestial Dragons, the oppressive elite of the One Piece world. Courtesy of CBR (link).

In One Piece, you just simply are not allowed to hate any custom like you do for Celestial Dragons. And every time they show up their pure arrogance and cruelty make my blood boil. But as much as I dislike them, I can’t deny that they’re a genius metaphor for real-world elites who dehumanize other people to hang onto their power. Individuals like the above treat all others like trash, directly or indirectly, they use their so-called superiority to rationalize their actions. This dynamic looks strangely like that which Edward Said (1977) described when he wrote about "The Other" being reduced to "an object stamped with an otherness”. They don’t view others as equals, only as tools or entertainment. This type of dehumanization is not limited to fiction however, it is something we encounter in economic and social ladders across the world. The Straw Hats: An Inclusivity Role Model If there’s one thing I love the most about One Piece, it is the crew of the Straw Hat. They are a family forged in acceptance, where differences are celebrated, not rejected. Be it Chopper’s reindeer past, Brook’s undead state or Jimbe’s Fish-Man status, Luffy unites them all and judges none. I think the Straw Hats embody what Bauman (1991) dubbed expenditure or “bridging the gap between the self and the Other”. When I watch their journeys, it filled me with hope that we all can create a world like theirs that we too can form a dynamic society where people from all backgrounds thrive and come together. If Luffy can see worth in everyone, why can’t we?

Conclusion One Piece is not just a story of pirates it’s a story about us. It casts focus on the fight of the means to achieve the end of “The Other,” be it in the racist struggle of the Fish-Men, the impoverished Shandians battle against colonization or the Straw Hats beautiful inclusiveness. As Edward Said (1977) said, "The Other" is a construct used to impose hierarchies, but One Piece shows us that these barriers can be broken. One Piece is a way more than just an entertainment for me. It reminds me of what kind of world I want to live in one that unites us in our shared humanity and makes us resist the systems that divide us. Just like the Straw Hats, we need to come together to make that happen.

References • Bauman, Z. (1991). A Sociological Theory of Postmodernity. Thesis Eleven, 29(1):33–46. • Said, E. (1977). Orientalism. London: Penguin. • Williams, E. (1967). Capitalism and Slavery. London: Andre Deutsch Ltd.

[stevin-josy]

Blog 07: Postmodern Culture in Shutter Island: Seeing = Knowing?

Postmodern Culture: Can We Trust What We See?

"Image generated using AI platform Lexica.ai to represent postmodern visual culture."

Postmodernism asks whether seeing something really equals knowing the truth. In the old days, if you could see something, people believed it to be real. But now, in a postmodern culture things are not so simple. As Mirzoeff (1998) notes, “seeing is no longer believing.” This means images can deceive or obfuscate rather than reveal the reality. This idea is well represented in the film Shutter Island (2010), directed by Martin Scorsese. The film depicts how watching isn’t necessarily knowing, playing visuals and narrative tricks on both its protagonist and its audience alike.

What You can Trust in Shutter Island?

Image sourced from Tumblr user HeyKMART.

Used under fair use for educational and analytical purposes. Postmodernism also describes hyperreality a state in which fake worlds become more real than real, and the concept really is starting to sound familiar. In Shutter Island, Teddy (Andrew Laeddis), creates a fake world on behalf of the hospital. They hire actors, props, and enact fake events to convince him of their narrative. Teddy believes this world is real because it appears true, and it feels true. As Mirzoeff (1998) observed, "visual experience can be fully constructed." The film demonstrates this by showing how artificial visuals can manipulate perception, making outright falsehoods appear believable and blurring the boundary between reality and illusion.

The Truth is Never Clear

Image sourced from Screen Rant: Shutter Island Ending Explained.

Postmodernism also teaches us that there’s no truth at all. Rather, there are multiple potential truths. And the best example in this ever, is Shutter Island in which at glimpse end we do not know that whether Teddy accepts the true face of his past or whether he prefers not to care about it. The film ends on an ambiguous note, and we are left wondering what the truth truly is. Mirzoeff (1998) said postmodern culture is about "uncertainty." Shutter Island shows this by giving us no clear answers, which makes the movie even more powerful.

Conclusion Shutter Island too is a postmodern cultural product. It’s a top-down lie: The movie reminds us that seeing isn’t necessarily believing. Its account of fake realities and confusing visuals makes us question everything As Mirzoeff put it, postmodern culture reminds us that what we see can deceive us, and the truth is not always easy to ascertain.

References Hidden Meaning (2023) Shutter Island - Hidden Meanings. Available at: https://www.youtube.com/watch?v=VUW1LjBO_4A. Mirzoeff, N. (1998) An Introduction to Visual Culture. London: Routledge. Scorsese, M. (2010) Shutter Island [Film]. Paramount Pictures.

[stevin-josy]

BLOG 6: DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

Exploring The Witcher 3 Through the Lens of the Male Gaze

The Witcher 3: Romance Guide: Triss or Yennefer by SpazioGames, SpazioGames

As a gamer and 3D artist, I am fascinated by the net of the worlds and graphics built in games. The Witcher 3: Wild Hunt (CD Projekt Red, 2015) is one such world. This masterpiece offers an immersive experience, but also in its deeply engaging story lines this work of genius invites the viewer to experience beauty throughout the world. But during my play-through of the game, I could not shake the insidious (and at times, more overt) effect of what feminist film theorist Laura Mulvey called the “male gaze” (Mulvey, 1975). This idea originated with cinema, but when applied to gaming and to The Witcher 3 specifically it takes on a powerful resonance. Join me as I navigate through the ways which the male gaze appears in this storied RPG.

The Male Gaze: What Is It?

Defining and Removing the Female Gaze by Felicity Beaumont, Felicity Beaumont

The male gaze refers to the way that women are viewed in cinema and the male desire objectified (Mulvey, 1975). In media, it arises through visual and narrative techniques that present female characters to procure to heterosexual male gaze. This theory is not limited to the realm of cinema it has leached into games, books and other visual media (hooks, 1992). This concept stood out to me as I played more and more of The Witcher 3 and I could see how this idea shaped its stories and its characters.

The Witcher’s Realm: Mirror to Reality?

Reddit Discussion: I Love The Witcher 3, But Why Women Even Warriors? on Reddit, Reddit Discussion

What was most interesting to me about the representation of women in The Witcher 3 was how it seemed to reflect societal attitudes. The male gaze as described by bell hooks (1992) perpetuates patriarchal link through the nosy gaze which fetishizes the female for male pleasure. You can see a spectrum of this in The Witcher 3 when a sizeable number of its female NPCs are either poorly clothed or in roles that establish traditional gender norms. While this might be in keeping with the game’s barbaric inspired setting it does lead one to wonder about the choices game developers make in building these worlds.

Everything is role-play and they are playing the part As a fan of the series, I’m not out here to demean the accomplishments of "The Witcher 3". It is a title that has given me hours upon hours of joy and inspiration. But I feel like it is something we need to be serious about when consuming media. Understanding the core existence of the male gaze doesn’t mean dismissing the game, it is about taking your enjoyment of the positives whilst communicating the flaws. This analytical journey has also impacted my work as a 3D artist. I work very hard to create characters that have depth and try to avoid the more common pitfalls of objectification. Looking back on games like The Witcher 3, I'm reminded of the strength of visual media to mould perception and the burdens that we owe to those observations as creators to disrupt toxic templates.

Final Thoughts It has been a revealing experience to view The Witcher 3 through the lens of the male gaze. It is interesting that a principle emerged in cinema can find its way into recent gaming. As players and creators, we can challenge these patterns and advocate for more diverse representations in media. Overall, I still love The Witcher 3, but with critical eyes. Games like this remind me why I wanted to work in this area to help make stories that both entertain and challenge and inspire rather than further push the tired tropes. At the very least they provoke us to have important conversations about how we view and represent the world around us.

References Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18. hooks, b. (1992). Black Looks: Race and Representation. South End Press. CD Projekt Red. (2015). The Witcher 3: Wild Hunt [Video game].

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BLOG 4: DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

Minecraft vs. The Last of Us: Ludology and Narratology in Action Introduction

The Last of Us (2013), via DJ Write Happy (https://djwritehappy.com),Image from Minecraft (2011), courtesy of Dice (https://www.dice.com).

In game studies, two opposing philosophies frame how we think about video games: ludology and narratology. Ludology highlights interaction and mechanics, concentrating on the player, their character, actions, and agency. Narratology by contrast is foremost concerned with storytelling, character development and narrative immersion.

Minecraft and The Last of Us are two exemplary games of these approaches. On the opposite end of the scale, you see Minecraft which makes its philosophies all about ludology, an open-ended' game of creativity and player-driven experiences an assertion of game story being told through players experience, while Last of Us summarizes the very heart of narratology a more constrained, emotional, and almost cinematic approach to the experience. In this blog post, we will look at how these games reflect these theories and what it means for game design.

Minecraft: An Open-Ended World

mage from Minecraft (2011), courtesy of Mojang, via the official Minecraft website (https://www.minecraft.net).

Mojang –Minecraft (2011), You may have heard of Minecraft. Its main draws are its simplicity and versatility. They are given no clear goals and are dropped into a procedurally generated world. The game rewards exploration, resource-gathering and creativity so players have the tools to create their own stories.

Key Ludological Elements

Player Agency: The players can do whatever they desire in Minecraft, either constructing elaborate buildings, as in real life, or fighting off threatening mobs. Emergent Narratives: Stories grow naturally out of the actions in the game. A player might share when they narrowly avoided a Creeper’s explosion or found a hidden underwater temple. Replay ability: There are infinite worlds and endless options no two plays are alike. Juul (2001) explains ludology as addressing the “now of interaction”: the player’s decisions and actions form the experience. Minecraft is a distillation of the idea; gameplay is the story.

The Last of Us (Part 1): A Masterclass in Narrative

The Last of Us image: Courtesy of Screen Rant (https://screenrant.com/the-last-of-us-key-scenes-tv-series-cant-ignore/).

In contrast, Naughty Dog’s The Last of Us (2013) has an exquisitely calibrated story. Set against a story of survival and loss and redemption in a post-apocalyptic world, the game puts players in control of Joel and Ellie. There is not a part of the game, from puzzles to art, that doesn’t strengthen the story.

Key Narratological Elements

Cinematic Storytelling: Script and Cutscenes that rival the best in Hollywood give players a truly emotional journey to hook them onto this one Leaving players feel like an Oscar.

Character Development: Players experience Joel and Ellie’s journey, establishing a deep emotional bond with their challenges and victories.

Contextual Progression: There is also a core reason why many choose your Own Adventure games are generally linear.

The narratology framework of Jesper Juul highlights the importance of structure in storytelling a necessity for emotional depth. In The Last of Us the story is not merely an aspect of the gameplay, it is what drives the whole experience.

Ludology versus Narratology: Differences and Similarities

Key Differences

Freedom vs. Structure: While Minecraft is all about the player freedom, The Last of Us is almost entirely reliant upon a tightly woven narrative.

Emergent vs. Embedded Narratives: Minecraft has players create stories through their actions, The Last of Us presents a prewritten linear story.

Replay ability vs. Emotional Impact: Minecraft’s open-ended design reminds you that, no matter how many times you have played it, there is always something new to discover, which is countered by feeling of sadness when you play a great story game like The Last of Us which stays on your mind even as the program closes.

Can They Coexist? Could games like these, The Witcher 3: Wild Hunt or Red Dead Redemption 2, combine the two setups. They offer expansive worlds to explore ludology yet offer a gripping narrative through narratology. That said balancing is tough and dependent on the game’s goals and the target audience.

Conclusion

The ludology vs narratology argument shows just how large the video game medium can really be. Minecraft and The Last of Us are prime examples of what both philosophies can achieve. One provides players the tools to write their own stories, and one is accompanied by a narrative so dynamic you feel you are living a movie.

Depending on context, both approaches may find a home in game mechanics. Thus, we must remind ourselves looked outside the creative conquest of Minecraft as well put in the human element, natural tragedy and emotional connections found in games such The Last of Us, and both convey the impact of video games on their players to inspire, create and captivate.

References

Juul, J. (2001). ‘Games Telling Stories: A Short Note on Game and Narrative’. Game Studies, 1(1). Available from Game Studies Journal.

Juul, J. (2005). Half-Real: Video Games between Real Rules and Fictional Worlds. London: The MIT Press.

Aarseth, E. (1997). Cybertext: Perspectives on Ergodic Literature. Baltimore: The Johns Hopkins University Press.

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BLOG 5: DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

Decoding the Matrix: Paradigm and Syntagm in Film Language

Introduction Every choice in a film — about dialogue, hue, wardrobe — transmits meaning. In The Matrix (1999) the Wachowskis adeptly exploit paradigm and syntagm to maximise the scope of a visual and narrative spectacle. The available choices in each context are called paradigms and the way those choices are arranged to create a cohesive narrative is called syntagm. Now, let’s see how The Matrix exemplifies these semiotic concepts. This is the trailer which showcased the infamous setting of The Matrix while digging farther inside the concepts of paradigm and syntagm.

Paradigm: Decisions Behind The Matrix The Wachowskis use a wide range of paradigmatic possibilities to build the Matrix’s own style. Here are few instances:

Costume Design:

Paradigm: The characters could have been costumed in futuristic armor, military garb or casual wear.

Choice: Neo, Trinity and Morpheus, the protagonists were dressed in shiny black leather and wore shades as per the instructions of the filmmakers. This is everything cyberpunk aesthetic, futurism, and rebellion.

Why? Besides separating the “real world” warriors from the enslaved humans the leather and sunglasses symbolize the “cool” element of rejecting social rules within the Matrix.

Color Palette

Image credit: Screen Rant, accessed from screenrant.com

Paradigm: Filmed in light or pastel colors.

Choice: The real world utilizes a cold, blue color scheme, but the filmmakers chose to add a hint of green to the shots that are set in the Matrix.

Why? On one hand the pale blue colors of the actual world highlight the cold and lifeless nature of the Matrix while the green tint of the Matrix indicates its digital roots conjuring ideas of computer code.

Set Design:

Image credit: "Matrix Free Humanity: Zion Urban Planning" by Sciof, accessed from sciof.fi

Paradigm: The Matrix may be would-be apocalyptic or chaotic. Choice: In the Matrix, the direction by the Wachowskis played out in a bloodless, almost hyper-dream suburb. Why? This kind of aesthetic stands in stark contrast with the rough, deconstructed look of the “real world,” whereby the Matrix is built up in the image of totality.

Syntax: The Arrangement of Significance The converse of this, paradigms, are about the choices to be made, while syntagm deals with how choices combine to generate meaning. The syntagmatic arrangement is clearly shown in the way these components are combined in The Matrix.

The Red Pill vs. Blue Pill Scene:

https://uk.pinterest.com/memn0822/

Paradigm Choices : Although Neo could have been given other options, the producers use the red and blue tablets to represent control and choice.

Syntagm: The speech segment, closeups shots that of the tablets, and Neo's hesitancy adds more tension to the scene. These two potent scenarios

Bullet-Time Sequences:

Image: Courtesy of SlashFilm (https://www.slashfilm.com/917171/the-matrixs-original-bullet-time-method-was-a-little-too-risky-to-work/).

Paradigm: Perhaps, the action sequences were filmed using traditional choreographic as they were in the past. Syntagm: The "bullet-dodging" scene is made iconic to film by the use of slow motion, 360 camera angles, and computer-generated imagery. This superimposing of the fights defies the typical mode of action-scene beats and reflects Neo’s full command of the Matrix.

Fight Sequences:

Image: Courtesy of CBR (https://www.cbr.com/matrix-4-theory-neo-actually-agent-smith/).

Paradigm: The characters could have just used martial arts, guns, or swords. Syntagm: The Wachowskis mix wire-fu (from Chinese film), gunplay (modern action), and kung fu (martial arts) in their fight sequences. Synthesis of these is combined for instance in Neo's dojo battle against Morpheus which symbolizes training and evolution in understanding the Matrix.

Paradigm vs. Syntagm in The Matrix The interaction of paradigm and syntagm offers cinematic pleasures that give The Matrix its iconic storyline and aesthetic power. Forged through the syntagmatic combination which yields a meaningful pondering narrative that thrills the spectator, combined with the paradigmatic choices made by the director/producers, a cyberpunk universe is constructed. The iconic image of Neo stopping bullets in mid-air, for instance, didn’t happen just because it looked good. The moment works because of the syntagmatic juxtaposition of both the sounds and visuals as well as Neo’s realization of his potential.

Conclusion The Matrix meticulously chooses (paradigm) and formats (syntagm) choreography, costumes and every other element that builds a complex, meaningful cinematic resonance. This is the kind of thing that allows one to see the work of directors like the Wachowskis as building an entire race Universe and not just a few interconnected plot points.

References: • Chandler, D. (2002). Semiotics: The Basics. London: Routledge. • Wachowski, L., & Wachowski, L. (1999). The Matrix. Warner Bros. • Warner Bros. Pictures (2019). The Matrix - Official Trailer [HD]. Available at: https://www.youtube.com/watch?v=vKQi3bBA1y8.

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BLOG 3: DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

Animation as Realism in Limbo

Animation in Limbo is not just a move Instead it shows deeper emotion meaning and ideas. Animation in Limbo shows emotions like fear, loneliness, and sadness in ways real life cannot. Animation in Limbo let us see things like memories and thoughts clearly, Wells (2002)said that animation can travel where real life cannot . Animation can make us feel emotions stronger than real life.

Limbo: A Perfect Example of Animation as Realism

Limbo: A Perfect Example of Animation as Realism

The harsh black & white graphics and minimalistic 2D world of the 2010 game Limbo serve as an excellent example of this idea. The main character a little child looking for his missing sister in a dangerous and dark world is not at all like reality. Limbo use animation to portray the emotional realities of his journey, including feelings of terror, isolation, and resolve. The absence of color and the eerie soundscape heighten the psychological effect of the encounter drawing the player into the feelings of the main character.

The Boy in the game carefully moves which indicate that how weak that boy is but also how brave he is. From scaling ladders to dodging lethal traps, every move he makes the game feel more real and careful. Instead of just viewing an actual physical world, the boy can relate to the character's emotions.

The word Limbo has strange think like huge creepy spiders, Dangerous machinery and twisted place, it is simply this disconnection from the outside world that gives the journey of struggle and fear. The game’s dark looking world makes the feelings more real and easier for the players to connect with than a real looking story.

I find that Limbo uses masking in a manner comparable to N. Erlich's (2011) research on animated documentaries. Limbo displays its reality rather than hiding it, in contrast to Erlich's discussion on how animation can conceal the facts of actual occurrences (such as the human experiences in animated documentaries). Through a simple yet incredibly engaging animation style, the game's emotional undercurrents loneliness, dread and determination are highlighted.

This game seems to cut through all the extraneous layers of conventional computer game simulation and get right to the core of what it's like to fight, to live, and to look for something deeper than oneself.

In a way, Limbo is like an animated documentary of the soul there is no physical world to document, only the emotional journey of the boy. It’s this purity, this focus on internal reality, that makes it one of the most powerful examples of animation as realism in the gaming world.

Conclusion

Limbo is an example of animation as realism, which frees gamers from the constraints of physical realism for experiencing psychological realities and depth of emotions of a story. The game's strange world becomes a symbol of feeling and makes the emotion stronger, Limbo also teaches us the most real experience are not about how things look like how they make player feels like.

References:

Ehrlich, N. (2011). "Animated Documentaries as Masking." Animation Studies, 6. Available at: https://journal.animationstudies.org/nea-ehrlich-animated-documentaries-as-masking

Wells, P. (2002). Animation: Genre and Authorship. Wallflower Press

Playdead. (2010). Limbo – Official Trailer. [YouTube]. Available at: https://www.youtube.com/c/Playdead

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BLOG 2 : DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

Intertextuality in Ready player one: A journey through nostalgia and culture

Introduction Intertextuality might sounds like huge place, but its about how stories, movies, and games collect and unite ideas to create something. Intertextuality as defined by Kristeva (1980) is a study of how one text affects the meaning of another. In brief, it is a way of looking at different works of literature, film, and television and examining how and why they are significant together creating multiple layers of meaning that viewers can explore. Intertextuality, nostalgia and gaming culture are in the spotlight in Cline's (2011) novel, upon which Spielberg's (2018) film Ready Player One is based. With a rendering of the 1980s that is as rich in detail as it is lovingly nostalgic the movie could be labeled requirement- The Ransom of an 80s Culture. The film is a treasure trove of references to the pop culture of that decade from games and films to musicals and books. This post will examine intertextuality in the movie as one of its principal elements in crafting the very familiar, yet distinct narrative presented.

Watch the official trailer of Ready Player One by Warner Bros. Pictures.

Intertextuality comes in two varieties:

Unconscious Intertextuality This refers to the components that gradually become embedded in our everyday lives and we are unaware of how frequently they appear in new works.

Conscious Intertextuality When artists purposefully make references to different work such as a wink to a film or a tribute to an artist this is known as conscious intertextuality.

Intertextuality in Ready Player One

Connections to Pop culture The oasis is a virtual reality world in Ready Player One where players can live their biggest dreams (Spielberg 2018). It is full of references to old movies, games and other parts of pop culture.

The Shining Scene A great example is when the characters visit digital version of the motel from the movie The Shining. This not just a small reference it is one of the major parts in the movie. It feels like the characters are really inside the movie (Spielberg 2018). This showcase hoe Ready Player One connects to other stories to create something new and exciting.

Back to the future: The DeLorean is a famous car from Back to Future. If you have seen the movie you will recognize it right away. In Ready Player One, Wade (Parzival) drives the car making it look amazing. The car is not just cool it also reminds people of exciting adventures, happy memories from the past and the excitement of new ideas (Spielberg 2018), The DeLorean connects Ready Player One to an earlier time in pop culture and art.

Gaming Culture and Nostalgia

Gaming Culture and Nostalgia In Ready Player One, gaming plays a major role, as the movie honours the heyday industry gaming. You will see connections to beloved games like Atari, Street Fighter, and Pac-Man (Spielberg, 2018).

· The Atari 2600, is essential part of a story and not merely a nostalgia. It recalls that how the first video games set the foundation for todays VR world.

· The movie additionally includes lot of verity of references to video game . For people who love grown up playing such games, is like a love letter, which instantly connects with everyone who enjoys vintage, arcade gaming vibe.

Shared Cultural Memory: The movie connects people by making references to thinks that many loved. Such references unite individuals, even if they are 80s popular culture or childhood playing computer games from the 1990s.

Character Identification: 80s culture helps him solve the game in Oasis. The way these references describe Wade show love for pop culture which make him unique and help him to achieve his goal in a game.

The movie also makes us think about who controls the meaning of a story.

Audience vs. Author: Although Spielberg directed the movie, that means depends on how well the audience know about the references and Understand their meaning.

Death of the Author: Roland Barthes (1977) said audience understanding is more important than the author's intention. In Ready player one, shows different things to different viewers, based on what they know.

Impact of Intertextuality in Ready Player One

More Fun for the Audience Ready player turned the movie into a puzzle. Audience feels interested and exited when they see something they love.

Character Engagement and Radical Intertextuality

Character don't see the reference they interact with it, For example, Wade and his friends use pop culture to solve problems and grow as people.

Conclusion

Ready Player One can show the movie can make fun, meaningful, and unforgettable. By combining pop culture, gaming, and famous stories, This movie is not just about futuristic nostalgic it its all about how movies and games shows who we are and unite audience together, It reminds why pop culture does matters in our lives.

References

Barthes, R. (1977). Image, Music, Text. London: Fontana Press. Cline, E. (2011). Ready Player One. New York: Random House. Spielberg, S. (2018). Ready Player One [Film]. USA: Warner Bros. Pictures. Kristeva, J. (1980). Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia University Press. Warner Bros. Pictures (2018). Ready Player One – Official Trailer 1 [YouTube video]. Available at: https://www.youtube.com/watch?v=cSp1dM2Vj48

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BLOG 1: DIGITAL MEDIA: SOURCES AND SIGNIFICANC

Gesamtkunstwerk: total work of art

It describes an art or creative ideas where different art forms are combined to create a single complete piece. The concept was invented in the 19th century by Richard Wagner, He want to combine various creative art.

Red dead redemption 2 is a perfect examples where the game gives amazing experience by blending natural elements, music and visuals in a way that feels so realistic. The game’s changing weather and day night switch makes it more real. Its visuals echo the grandeur of 19th century landscapes, breathtaking and calmness. the adaptive music and ambient sounds like rustling leaves to distant bird songs smoothly blends with the player’s journey. this combination links the players to game and make them deeply connected (Rockstar Games, n.d.).

Application of Gesamtkunstwerk in Red Dead Redemption 2

Visual Art and Design

One of the bests things about Red Dead Redemption 2 is how gorgeous the setting is the visuals of the game’s scenes drawn inspiration from the 19th-century Hudson River art movement, known for its depictions of the glory of American wilderness (Polygon, 2024). The game’s vast, colorful worlds call to mind the natural beauty of our world, in the manner of artists such as Albert Bierstadt. Game builds an artistic style that a world you want to feel as real and inviting as possible and one that you want to interact with and so makes the game very fun to play and immersive.

For a stronger sense of how Red Dead Redemption 2 ties the principles of Hudson River School painting into its larger story, watch this video by Polygon.

Music and Sound Design

Red Dead Redemption 2, Rockstar search found the musicians with talent in traditional instruments to give a western musical experience. These sounds make you feel like you’re really in the Wild West. The use of instruments like harmonicas, banjos, fiddles, and acoustic guitars, all these instrument helps the platers to become immersed into the American Frontiers past. (Rockstar Games Australia & New Zealand, 2024).

Narrative and Storytelling Its a Story of Arthur Morgan in the game Red Dead Redemption 2, who trying to survive in the Wild West in the year 1899. Players can change the story by choosing dialogue and you can decide how treat people. The game also does have a have an Honor system, its a game changer what happens based on whether you are a kind or cruel, The player’s decisions also impact some elements of the story, like whether to help or harm specific characters changing Arthur’s future, and how the game ends.

Interactivity and Gameplay Red Dead Redemption 2 take the overall interaction up above and beyond what is generally found in a gaming mechanic. For instance, pulling a character with a rope provides a great interaction in the game, bullets produce rapid visual effects. A realistic element that Characters have interactive dimensions on the player depending on their past actions or activities that can be judged either through Honor. Clothing receives upgrades, and ambient elements like rail travel help draw the player further into the game. These elements of interactivity helps give the setting a lived in quality and a sense of total responsiveness to the choices players make.

Conclusion It’s a great example of Gesamtkunstwerk red dead 2 brings the art, the music, the story and gameplay together in a complete and amazing experience. Who This game also shows how powerful the art of game can be to leave a strong impression on players and game world (Rockstar Games, n.d.).

References

Polygon (2024). How Red Dead Redemption 2's landscapes are connected to 19th-century art. [YouTube]. Available at: https://www.youtube.com/watch?v=A0XbWUEv0Ho. Rockstar Games Australia & New Zealand (2024). Red Dead Redemption 2 Official Soundtrack. [YouTube]. Available at: https://www.youtube.com/@RockstarGamesAus. Rockstar Games (n.d.). Red Dead Redemption 2 official trailer. Available at: https://www.rockstargames.com/reddeadredemption2. Wikipedia (n.d.). Red Dead Redemption 2. Available at: https://en.wikipedia.org/wiki/Red_Dead_Redemption_2. Art in Context (2023). Gesamtkunstwerk – An overview of the “total work of art”. Available at: https://artincontext.org/gesamtkunstwerk/.