1,720,980 research outputs found
Digital permanence: video games and the future of text
No full textVideo igre postaju sve popularnije, te se prihvaćaju kao kompleksni tekstovi. Istražujemo što to znači za medij kada se shvaća kao napisano djelo koje se igra umjesto čita uz pomoć karakteristika digitalnih okruženja koje je odredila Janet Murray. Nadovezujemo se na te karakteristike i stvaramo novi pojam: digitalna stalnost. Digitalna stalnost omogućava posve nove načine stvaranja, korištenja i dijeljenja teksta, jednako unutar i van virtualnog okruženja. Otkrivamo odnose između Murrayinih karakteristika kroz nekoliko primjera video igara za jednog igrača, te istražujemo digitalnu stalnost u igrama za više igrača preko mreže. Tekst je glavni alat za stvaranje digitalne stalnosti i jedan od najvažnijih dijelova medija video igara, koji otvara nove načine promatranja video igara kao kibertekst.Video games are becoming increasingly popular and accepted as complex texts. To explore the medium further as a piece of writing that can be played instead of read, we take a look into the properties of digital environments outlined by Janet Murray, and expand upon them by coining the term digital permanence. Digital permanence allows for new ways of text creation, use and distribution both in the digital space and out of it. We explore several examples of single player video games to illustrate the relations between Murray’s properties, and explore digital permanence in online multiplayer games. The use of text to achieve digital permanence is considered as a vital part of the video game medium, opening up new ways of studying video games as cybertext
CHARLES BURNS' BLACK HOLE AND THE AMERICAN GROTESQUE
No full textThis thesis is about Charles Burns' graphic novel Black Hole and its themes and how it deals with the two types of the literary term grotesque, the two being European and American Grotesque, and the third, original one being Black Hole grotesque. The graphic novel makes a specific blend of genres and types of grotesque and makes its own.Ovaj završni rad je o grafičkom romanu Charlesa Burnsa Crna Rupa autora i njegovoj tematici te o dva tipa književnog pojma groteske: Američkom i Europskom i o trećem, originalnom tipu svojstvenom Crnoj Rupi. Grafički roman ima specifičnu mješavinu žanrova i tipova groteske, čim pravi svoju, novu vrstu tog pojma
CHARLES BURNS' BLACK HOLE AND THE AMERICAN GROTESQUE
No full textThis thesis is about Charles Burns' graphic novel Black Hole and its themes and how it deals with the two types of the literary term grotesque, the two being European and American Grotesque, and the third, original one being Black Hole grotesque. The graphic novel makes a specific blend of genres and types of grotesque and makes its own.Ovaj završni rad je o grafičkom romanu Charlesa Burnsa Crna Rupa autora i njegovoj tematici te o dva tipa književnog pojma groteske: Američkom i Europskom i o trećem, originalnom tipu svojstvenom Crnoj Rupi. Grafički roman ima specifičnu mješavinu žanrova i tipova groteske, čim pravi svoju, novu vrstu tog pojma
ORALITY IN VIDEO GAMES
No full textVideo games have evolved tremendously since the days when Pong, Tetris and Pac-Man ruled the store shelves. Since then, a lot of things have changed in the digital world. Video games have become a medium with the potential for creating complex narratives, dialogue and believable characters. This paper will deal with the notion of orality, what we considered orality to be, how and in what ways it is conveyed in the world of video games. Since we are talking about a hybrid medium, one that combines oral and written cultures, we cannot be talking about 'primary orality' as Walter Ong puts it, but secondary orality. However, video games do employ elements from primary orality, such as a sense of community, an agonistic tone or a pure sonic experience. Except for using more traditional means of oral expression, video games also integrate one unique form of communication, and that is procedural dialogue. This term will be used to describe an action that involves input from the user and feedback from the computer system. It is a unique kind of dialogue that underlines video-game orality and it will be demonstrated and examined in detail.Video igre su znatno evoluirale otkada su policama trgovina vladale igre poput Ponga, Tetrisa i Pac-Man. Od tada, mnogo se stvari promijenilo u digitalnom svijetu. Video igre su postale medij s potencijalom za stvaranje kompleksnih priča, dijaloga i složenih likova. Ovaj diplomski rad će se izričito baviti pojmom oralnosti, što sve možemo svrstati pod oralnost, kako i na koje načine se ostvaruje u video igrama. Kako govorimo o hibridnom mediju, onaj koji kombinira print i kulturu oralnosti, ne možemo baš govoriti o ' primarnoj oralnosti,' kako bi Walter Ong to rekao , nego sekundarnoj oralnosti. Međutim, video igre upotrebljavaju elemente iz primarne oralnosti kao što je osjećaj zajedništva, agonistički ton ili čisto sonično iskustvo. Osim korištenja tradicionalnijih načina oralnog izražavanja, video igre integriraju jedan veoma jedinstven način komuniciranja, a to je proceduralni dijalog. Ovaj pojam se koristiti za akciju koja uključuje unos od strane korisnika i povratnu informaciju od strane kompjuterskog sistema. Ovo je jedinstvena vrsta dijaloga koja daje podlogu oralnosti i te koja će biti demonstrirana i istražena detaljnije
COGNITIVE ESTRANGEMENT IN KAZUO ISHIGURO'S NEVER LET ME GO AND BLACK MIRROR
No full textThis BA thesis paper analyses and compares the utilization of science-fictional concepts of cognitive estrangement and novum in Kazuo Ishiguro‘s novel Never Let Me Go and an episode of the Black Mirror television series titled ―Men Against Fire‖, according to different theoretical and critical approaches to the science fiction genre and said concepts, and argues that the novel and the episode‘s narrative produce new interpretations of the concepts of estrangement and novum.Ovaj završni rad donosi analizu i usporedbu načina korištenja znanstveno-fantastičnih koncepata kognitivnog otuđenja i novuma u romanu Kazua Ishigura Never Let Me Go i epizodi televizijske serije Black Mirror naziva ―Men Against Fire‖, na temelju različitih teorijsko-kritičkih pristupa znanstvenoj fantastici kao žanru i navedenim konceptima istog te postavlja tezu da spomenuti roman i radnja spomenute epizode stvaraju nove reinterpretacije koncepata kognitivnog otuđenja i novuma
VIRTUAL AND ACTUAL WORLD-BUILDING IN AGE OF EMPIRES II
No full textThe classic strategy game Age of Empires II is a creative representation of the historical past
revolving around the building of empires. It offers a world of ideas taken form the actual
world and represented in the virtual world of the game. The virtual and the actual in the game
are intertwined in such a way that the game reflects many facts from the actual, yet it is
shaped by the creativity of the game developers as it continues to offer a new world apt for
world building in the virtual. Together with the repetition and the dromena that are present in
the game, the intensive and extensive forces that influence the player who is playing the game
help the player encounter and be introduced to new experiences tied to new ideas through the
act of world building.Klasična strateška igra Age of Empires II kreativni je prikaz povijesne prošlosti koja se vrti
oko izgradnje carstava. Nudi svijet ideja preuzetih iz stvarnog svijeta i prikazanih u
virtualnom svijetu igre. Virtualno i stvarno u igri su isprepleteni na takav način da igra
odražava mnoge činjenice koje su stvarne, a opet oblikovane kreativnošću stvaratelja igre dok
nude novi svijet pogodan za gradnju svjetova u virtualnom. Zajedno s ponavljanjem i
dromenima koji su prisutni u igri, intenzivne sile i ekstenzivne sile koje utječu na igrača koji
igra igru pomažu igraču da se susretne i upozna s novim iskustvima povezanima s novim
idejama kroz čin gradnje svjetova
CROSSING THE BRIDGE: LITERARY REPRESENTATIONS OF BEING IN THE PRESENCE OF DEATH
No full textHumans have always been defined by mortality. If there were no living beings, conceptual death
would not exist since the living give it value and purpose. However, this paper argues that the
character of Death exists outside the borders of being an incarnation, as an independent being
which has no need for the living. This is shown through the analysis of Piers Anthony’s On a
Pale Horse and Markus Zusak’s The Book Thief. The character of Death is analyzed in terms of
their mortality, physical and psychological aspects, relation to humans, and connection to their
occupation.Ljudi su uvijek bili definirani smrtnošću. Da nema živih bića, koncept smrti ne bi postojao jer
mu živi daju vrijednost i svrhu. Međutim, ovaj rad tvrdi da lik Smrti postoji izvan granica
inkarnacije kao nezavisno biće koje nema potrebe za živim bićima. Ovo je prikazano analizom
djela Na blijedom konju Piersa Anthonyja i Kradljivca knjiga Markusa Zusaka. Lik Smrti
analiziran je glede njihove smrtnosti, fizičkih i psiholoških aspekata, njihovog odnosa s ljudima i
povezanosti sa zanimanjem
THE RELATIONSHIP BETWEEN LITERATURE AND MUSIC IN THE BTS DISCOGRAPHY
No full textThis paper deals with influence of literature on BTS discography. The importance of literature has
never been lost to the world – going on from ancient times to the modern centuries. With the
influence it has on people, it is not strange for the currently most popular band BTS to use literature
and methods of storytelling to convey their message. Continuing the on-brand creation of concept
album, BTS additionally venture into creating a whole alternative universe. BTS, being primarily
musicians, focus on music. However, reading their work through lenses of literary theories
showcases additional layer of interpretation to their music that ties directly to a continuous storylineOvaj rad se bavi utjecajem književnosti na BTS diskografiju. Važnost književnosti svijetu nikada
nije bila izgubljena – polazeći od antike do modernog vremena. S obzirom na utjecaj koji ima na
ljude, nije čudno što trenutno najpoznatiji bend BTS koristi književnost i metode pripovijedanja
kako bi prenijeli svoju poruku. Nastavljajući sa izdavanjem konceptualnih albuma, BTS se dodatno
upušta u stvaranje alternativnog svijeta. S obzirom da su BTS glazbenici, primarno se bave
glazbom. Ipak, čitanje njihovih pjesama kroz književne teorije prikazuje dodatnu interpretaciju
glazbe koja je izravno povezana s kontinuiranom pričom
MASKING LINEARITY THE ILLUSION OF CHOICE IN FINAL FANTASY VII
No full textMy thesis is that illusion of choice can be used to mask linearity in interactive experiences and I demonstrate how this is done in Final Fantasy VII. I address the role of the player where it is demonstrated that all of Final Fantasy VII’s textuality is transmitted through the same process, called the magic cycle, which technically makes all aspects of the text equal. However, I argue that the structure of Final Fantasy VII has a dual nature with non-linear aspects (i.e. the player is presented with choices) as well as linear aspects (i.e. the player has no possibility to fork the script). The linear aspects are bound to the story-progression and due to top-down knowledge the player can know which these are. The player ‘enters’ the magic circle (i.e. cognitive frame) of the game and accepts its rules and limitations, yet, even though she might know better does not feel constrained and chooses to perform empty gestures which ultimately are just a confirmation of her volition to move the story forwards. She does so because of emotions elicited by the storyline that make her feel as though her actions mattered. The linear aspects of Final Fantasy VII are masked by the illusion of choice where the player chooses from only one presented option which in itself is not really a choice yet does not feel constrained due to the fact that this one choice is the choice she wants to pursue. The text, Final Fantasy VII, is important to my thesis as it does not present variation regarding the plot yet is inherently interactive since it is a video game, i.e. an interactive experience. The player has to constantly make choices which, on a certain level, have consequences but the game’s design allows it to still follow the plot in a sequential predetermined and predictable way.
A player unaware of the game’s inherent structure and unaware of the points presented in this thesis might not be able to fathom the constraints of the game. However, as I point out in this thesis, even knowledge of my theory and the game’s structure might not alter the player’s perception of the game, i.e. she might not feel constrained even if she knows she is. My reading of the text relates to how choices (i.e. non-linearity) and aspects where the player has no choice (i.e. linearity) work together as well as how they relate to the player
CONCEPTS OF BELIEF AND THE NEW GODS
No full textTerry Pratchett’s Small Gods is a satire on organised religion, depicting it as a means of control over ordinary people, corresponding to Jung’s own views on religion, who, in turn, sees it as a deviation from a personal, immediate experience of God. The depiction of gods and beliefs in the novel also relates to Jung’s philosophical system, namely his concepts of the collective unconscious and archetypes. Gods in the novel are embodiments of Jungian archetypes, who obtain their physical reality through collective belief.Finally, Pratchett’s views on the creation of the universe are explored by comparing them to those of Ratzsch and Gould, who are, respectively, a creationist and a Darwinist. Pratchett accepts both creationism and evolution. For him, disorder of the universe is the by-product of disinterest, or the simple nature of it.Small Gods Terryja Pratchetta je satira na organiziranu religiju koja ju prikazuje kao sredstvo kontrole nad običnim ljudima, što odgovara Jungovim stavovima o religiji, a on ju je, s druge strane, smatrao odstupanjem od osobnog, neposrednog iskustva Boga. Prikaz bogova i vjerovanja u romanu također se povezuje s Jungovim filozofskim sustavom, specifično s njegovim konceptima kolektivnog nesvjesnog i arhetipova. Bogovi u romanu su utjelovljenja jungijskih arhetipova, koji postižu svoju fizičku stvarnost kroz kolektivno vjerovanje. Konačno, Pratchettovi stavovi o stvaranju univerzuma istražuju se uspoređujući ih s Ratzschovim i Gouldovim, koji su, poimenice, kreacionist i darvinist. Pratchett prihvaća i kreacionizam i evoluciju. Za njega je neuređenost svemira nusproizvod nezainteresiranosti ili, jednostavno, njegove prirode
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