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olderthannetfic · 10 months

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Escapade Dance Party 2023 Writeup 2/3

Here is the playlist I ended up with this year, plus my commentary:

First Half

Good Omens | Running in the 90's by Maria Morningstar

Good Omens is so tricky. On the one hand, there are a billion fantastic vids, many with editing that's better than this one. On the other, a lot of the preferred music is syrupy and slow, and GO fans are actively seeking out vids and have already seen many of the ones intended for cons in the English-speaking world.

I wanted something high-energy to open the dance with, and this ridiculous song fit the bill. It woke people up and got them noticing the music had started.

I don't know Maria, but her channel has a bunch of things with cyrillic titles, so I'm guessing she's Russian. That meant a higher chance of this vid being new to people at Escapade.

Tubthumping by Aaronantium

To be perfectly honest, I do not care about this anime, but I was chilling with Aaron at Vidders Chat and discussing my plans, and he offered to make me a vid for his vampire fandom.

I don't generally accept premieres because it means wrangling more people and dealing with uncertainty, but Aaron suggested this song, and it's always a crowd pleaser as is the vid everyone makes to it. This fandom is also unusually perfect for said joke, featuring as it does a repeatedly dying vampire who… well… gets back up again.

Actually, despite it not being most people's fandom, I think this vid got one of the biggest laughs and reactions of anything during the party.

Kirk/Spock | I Knew You Were Trouble by mogo nit

K/S is a perennial favorite with con attendees—more TOS but AOS too. I don't recall why I was specifically looking for it this year. Probably, it ranked best out of things people mentioned on their site profiles.

This is an old-ass vid from 10 years ago, so if people have seen it, they probably haven't seen it lately. It's also a song I love, cliched though it might be for vids.

Word of Honor - Wenzhou - Hit and Run by CelestialMoonDragon

I knew I wanted to include WoH, both for its many fans and for people still dragging their feet about checking out Asian live action m/m stuff. The fandom has a wealth to choose from from vidders all over the globe. The big issue was simply finding vids that weren't too plastered with show audio.

When I heard this song choice, however, I knew it was the one. WoH has some unusual genre elements for wuxia, specifically all the central government focus where wuxia characters usually stay away from politics. The song really highlights that aspect. Those lyric matches! Genius!

【夜访吸血鬼】【莱斯特】【Young and Beautiful】献给我最心中最美艳的吸血鬼——莱斯特 by 欧阳夏右

Obviously, if I was going to celebrate the new IWTV, I couldn't leave out the old movie!

This is a brilliant song choice given what happens to Lestat. It's interesting to me how many Chinese vidders use music I know well. It's always fun to see what they do with a Western source and Western music, and I think bilibili is largely uncharted territory for most Escapade attendees.

【The Sentinel】【Jim/Blair】It's consuming me（Lash视角）美剧-哨兵同人mv by ozakikaoru

The Sentinel still has monofannish fans, but covering it for a dance party is a pain in the butt. I generally end up scraping the depths of Bilibili, and this year was no exception…

So how excited was I to find this refreshing and freaky take! This audio is apparently from some short film and has become something of a meme amongst vidders, but I hadn't heard it before and I don't think anyone at the con had either.

It's always extra surprising and wonderful to find a more serious and darker vid for fandoms everyone associates with camp and retro cheese. The Sentinel fans I included it for were blown away too. It's apparently a pretty good representation of the episode in question.

Forever Knight Vampires | Darkness, Darkness | Gothic 90s by knightvision1228

Because I had the vampires theme, I made a huge list of vampire fandoms to try to include. Forever Knight was one of my fandoms of the 90s and very popular with het shippers and slashers alike. Finding a vid that didn't look like bad VHS transfer, however, was easier said than done.

This one won out for featuring a rare song from the FK soundtrack that was never released. The vid also showcases the main trio instead of just being Nick/Jeanette het.

Megatron x Optimus (Song: Wrecking Ball) by Mellew

We have a lot of Transformers fans, and it's always so hard to find something I can play in the dance party… well… something that's not a 10-minute compilation of explicit fan art to horny reggaeton. Personally, I'm all about that reggaeton, but I've been looking for actual shipper vids that are a little more representative and a little less likely to make the fans combust in embarrassment.

When I heard the song choice… well… no other vid could compete.

But don't let the literalism and hilarious if one-note joke fool you: this is a fantastically edited vid that makes excellent use of the song's varying tempo.

And yes, I made sure to loudly say "WHY ARE YOU ALL LAUGHING? THIS IS A VERY SERIOUS VID" as the vid started.

BakuDeku AMV - Lucky Strike by caliowl 333

Do I watch BNHA? No. Do people at the con watch BNHA? No. Do antis hate this ship? Absofuckinglutely YES!

I love stupid shonen nonsense, and this fandom provides it in spades. It took a while to find an AMV that wasn't littered with not only show audio but dubbed show audio. (What am I, an animal?!)

I also just really love this song for dance parties.

Dancing on My Own - Robyn (Izzy Hands Edit) by auxiliarywardrobe

OFMD is another tough one. It's not due to a lack of vids: if anything, there are too many. But so many aren't suitable for a dance party and many are already familiar to people.

While I did find this on AO3 (honestly nearly a requirement for finding non-show audio vids in this fandom), it hadn't gotten any attention from people I recognized as an Escapade type crowd.

I loved the indignity of pairing Izzy with this ridiculous song. OFMD was a little anodyne for me in some ways, so the sleazy obnoxiousness of Izzy is a welcome antidote to all of the fluff and angst vids about the main ship.

At the same time, I don't particularly ship Izzy with anybody. I enjoy watching him be miserable, and the song is actually quite a good lyrical match for his impotent frustration.

Do You Wanna Touch Me? [Fanvid] by resurrecho

Okay, this one is cheating on my own rules. I'm sure people had every opportunity to see it… But it's also a femslash vid that is very, very horny.

This one's for you ladies tired of ~dewy flower~ soft bullshit!

Cult of Dionysus - Leverage OT3 - Eliot/Parker/Hardison by leverage brain worms

Leverage remains a perennial favorite and the new show had attendees talking, but people often request the same tired old vid choice. I went looking for something that hadn't been played at every con over and over.

I liked that this vid was relatively recent. The song with poly lyrics was a fun touch.

HeiHua FMV~|| Hei Ye falling for the Thorny Flower by Black Flower

When I saw this vid, I said to myself: I don't know who they are, but I ship them!

AND GUESS WHAT? SEEING THE SHOW DID NOT CHANGE THAT OPINION!

Yes, this vid is directly responsible for me watching all these DMBJ adaptations.

I knew a lot of Escapade attendees were vaguely familiar with Reunion because of Zhu Yilong, but I didn't think most had checked out the rest of DMBJ, and this vid was so diametrically opposite of both that adaptation and the vibe of the big ship that I knew I just had to include it.

But seriously, this vidder actually has an excellent grasp of narrative. Now that I've seen the show, some of this stuff is repurposed and out of context, but you wouldn't know it from the eyelines.

Cover Me - A Fanvid by TinTurtle

Ah, Pros. The Professionals has the most dedicated fans at Escapade, hands down. They keep the con afloat and keep their fandom vibrant even after decades. Finding a dance vid to include for them, however, is a bit of a trial.

Realistically, I'm never going to find a vid they haven't all seen unless I make it myself, so I look for songs with a better beat than the typical old fandom vids tend to have.

The Fanged Four - Play with Fire (BTVS/ATS) by SlayerVid

People were talking about the Buffyverse again this year. Was it an anniversary of some kind? I can't recall, but it's a big nostalgia fandom for a lot of attendees, and it's one of the bigger vampire fandoms, so I wanted to include it.

While there used to be a billion vids for Buffy and Angel, only a fraction of them are findable online now. I went hunting for something not by a con regular and with visual quality that would play okay on a projector.

This is a great song for its grinding beat, and the vid is both recent and features a variety of vampire characters.

BL | Mobu ✘ Kikuchi S2 || So What by rosenana708

I suspect I found it by looking for Kei x Yaku vids, but as soon as I spotted it, I knew it was a must-have.

Yes, this is full of stupid show audio, but too bad: Nobody at a slash or BL con should be allowed to escape without knowing that A Man Who Defies the World of BL exists.

The Locked Tomb | Fences (SPOILERS!) by peachy 💕

This fandom was the latest hot flavor for many and f/f to boot. I was skeptical about finding a vid, but what do you know!

die for you / beyond evil by butillmissyou

After being pimped in by last year's vid find, I knew I wanted to include it again.

This music grabbed me by the throat. I'd never even heard of LÉON, but the soulful sound is perfect for this fandom.

Personal Jesus by killabeez

I desperately wanted a vid to this song. The cover isn't my fave, but I couldn't turn down the combo of a vampire fandom and this classic.

True, Killa isn't exactly obscure to anyone at Escapade, but this is a relatively less seen older vid and excellently edited.

BTS Vampire FMV | Bad Things (True Blood OP) by GoldenArmy7

I'm so clever.

Yes, this is mostly here so I can follow the True Blood vid with one to the True Blood theme song. Also to inflict BTS on people.

● Ichiro + Shiro | 'dope' (KeixYaku: Dangerous Partners FMV) by xXScarshadowXx

And now some BTS music, LOL

Sadly no longer online from what I can tell

WEDNESDAY | “Sweet But Psycho” Netflix Serie [HD] by SHIK

There are like thirty vids to this fandom using this song. This one blew the others out of the water.

I'll be honest, everyone was trying to push Wednesday/Enid around the time of the con, and that ship is the most boring thing you could possibly take away from this show. I wanted a vid that showcased what's actually fun here, which is not sucking all the creepy out of an Addams Family adaptation, for fuck sake.

ALIEN SUPERSTAR | Wanda & Scarlet Witch by LittleLaceBoots

MCU is still big with attendees, but it's so sprawling that knowing what to choose is hard. I found this music choice quite interesting for how it showcases the weird schtick of this particular show.

A Cowboy's Love by lilly_the_kid

If there's one AO3 vidder I will always play, it's lilly_the_kid! I wanted something for Star Wars, and I wanted it to be slash. This classic and ridiculous vid fit the bill.

Is it appropriate for a dance party? It is IF I SAY IT IS!

Boss Bitch | Lan Wangji (陈情令 The Untamed FMV) by slowparade

Everyone vids this song, but this example is particularly great!

I like aspects of The Untamed a lot. Sadly, those aspects do not include the central ship. I'm always on the hunt for vids that actually work for me. This take on Lan Wangji is hilarious.

Geraskier - Fine By Me by CainnetreIt delights me to find vids to other versions of popular canons. This is such a classic slash vid. It's not particularly danceable, but it's so fun that I wanted to include it, so it needed to go at the end of a section. It's the kind of song you wave your beer around to.

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destinyc1020 · 5 months

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https://www.tumblr.com/destinyc1020/739166642904481792/yes-i-did-post-that-long-ass-message-to-other?source=share same anon here ;) i am back again, i wasn't saying that tom isnt successful. He is. In the blockbuster, fun, popcorn movies. which is awesome because he can afford to take a year break when he needs it which other actors dont have the luxury of, that being said, anytime he tries to be serious with his acting, yes he's got the talent ofc, he knocks it out of the park with TDATT, cherry, TCR, wonderful but none of those are critically acclaimed, nor did they make enough noise. they werent successful nor liked (idk about TDATT but talking about cherry and TCR). I Love spiderman but i feel like marvel and uncharted r not the movies he should be doing right. hes got FA biopic awesome, i hope it does well and i cant wait but u know what i mean it feels like he need critical acclaimed projects to climb that award contender ladder. and maybe CCA is the first step, i hope but i do feel like some people r more likely to be nominated than others is these type of prestigious awards, they tend to go for the actors who already have critical acclaim under their belt do u know what i mean.

tbh i dont want him to be like chris hemsworth or ryan reynolds who r only known for certain typed of characters.

same anon here ;) i am back again, i wasn't saying that tom isnt successful.

Hi there again...

You were the one who said: "I just want Tom to be successful".... Which, to me, implies that you think he's not. 🤷🏾‍♀️

He is. In the blockbuster, fun, popcorn movies. which is awesome because he can afford to take a year break when he needs it which other actors dont have the luxury of

So, Tom is successful, but just not in the way that YOU want him to be.... Got it...

that being said, anytime he tries to be serious with his acting, yes he's got the talent ofc, he knocks it out of the park with TDATT, cherry, TCR, wonderful but none of those are critically acclaimed, nor did they make enough noise. they werent successful nor liked (idk about TDATT but talking about cherry and TCR).

Actually, TDATT received some pretty good reviews, and was generally well-liked by people who saw it. The subject matter though was a bit "heavy", so it just might not be everyone's cup of tea. Same way "Saltburn" isn't everyone's cup of tea either.

Also, keep in mind that TDATT came out around the time of a massive pandemic as well, so there may have been other things on people's minds during that time.

Cherry was in conversation for FYC, and even for Oscars around the awards season. You remember all of the Zoom interviews Tom was doing for "Cherry" during his filming in Atlanta for NWH??

And TCR was actually VERY well-liked by audiences! Just look at what audience members said about it on RT.

TCR even has a 7.7 score rating on IMDB.com, which, for IMDB, that's actually pretty GOOD.

it feels like he need critical acclaimed projects to climb that award contender ladder. and maybe CCA is the first step, i hope but i do feel like some people r more likely to be nominated than others is these type of prestigious awards, they tend to go for the actors who already have critical acclaim under their belt do u know what i mean.

I think fans just need to be PATIENT. Do you know that some actors out here don't get any award recognition for MANY years? Everyone has their season and time to shine. Just because Tom hasn't received a bunch of award nominations or wins NOW in his career, it doesn't mean that he NEVER will. Fans need to stick with Tom (or any of your faves) through the ups AND downs, through the good times AND the bad, and through the lulls in their career, or whatever.

Personally? I think Tom is doing just fine, and it seems like he's doing exactly what he wants to do? He's also very well liked and respected in Hollywood, so there's no way he hasn't had any offers. He might just not like what he's being offered? He might be staying VERY selective in what he chooses also. Even he said himself that he's going to be more selective going forward about his film choices.

tbh i dont want him to be like chris hemsworth or ryan reynolds who r only known for certain typed of characters.

Believe me, I don't think ANYONE puts Tom in the same category as Ryan Reynolds or Chris Hemsworth.

And even if Tom had a career like Chris or Ryan, so what?? Who cares?? Those two are still very successful, and everyone knows their names. Why do people want to push Tom into some type of box and into being only a certain type of actor? 🤔 I don't get it... Not every actor wants to do super heavy, deep, and serious roles. Some like some light-hearted roles. And after what Tom has said about how TCR affected his mental and emotional health, who knows?....maybe Tom himself might choose to do more lighter roles in the future. We never know. 🤷🏾‍♀️

All I care about is whether or not TOM is happy. And as long as TOM is happy and fulfilled in his work, then I don't need anything else honestly.

Now, if he starts saying that HE would like to do more serious roles, or more roles with critical acclaim, THEN I'll start to feel for him, or hope that he gets the fulfilling roles that he always wants. But Tom hasn't been saying that lol. He doesn't seem unhappy with what he's being offered.

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the-butterfly-blues · 2 years

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Spider-Man. Deadpool. I love them both so much, especially their dynamic, but I have some problem with this.

Tom Holland is a good Peter Parker, no doubt, but if a Spider-Man is going to be in a Deadpool film, it should be either Andrew Garfield or Tobey Maguire or hell maybe even a new one, though preferably (out of complete bias) Andrew. Having Tom’s Peter in it, who’s established to be 18/19, will completely change the dynamic between SM and DP because he’s younger. I don’t mean to be rude, but I don’t want ‘fan service’ for those who have DP ‘adopt’ SM. Yes, the art and little blurbs I’ve seen are kind of cute, but it’s not the main DP/SM dynamic. Marvel’s already strayed from the source material so much with all of its new shows, I just don’t want this to affect DP and SM too.

Yes. Tom is famous and he’s ‘riding a high’ with all these amazing roles, but I view this as the same mistake they did with Uncharted. I can’t say much about the movie since I refuse to watch it beyond the few clips I did see, but he looked too young to play Nathan Drake. I believe he’s a pretty good actor, but that’s not all when it comes to a movie based off of something like a game or a book, etc. And don’t get me started on what I’ve seen of Mark Wahlberg’s ‘acting’ in that movie, if you can even call it that.

Anyways, whether this is true or not, it’s not going to stop me from watching the film and appreciating the work that went into all of it, including Tom’s acting if he is in it. Though hopefully they’re using Tom’s Peter to deter us from thinking one of the other two will actually be in it or it’s just a rumor and the most we’ll get is a name drop. If it is true, well, so be it. I’ll still root for Tom because he’s just doing his job and playing a role he appears to enjoy. I have no ill will against anyone.

#spideypool #Deadpool #spider-man #tom holland #andrew garfield #tobey maguire #deadpool 3 #rumor

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stanleyl · 4 months

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When it's a bad thing it's all Tom's fault but when it's a good thing it's everyone else in the world's doing but NOT Tom, that's the logic okay got it (💀)

Uncharted (video game) fans can talk all the shit they want, they will not convince me that it made that B.O solely because it's a popular video game franchise. Do they think the average teenager or middle aged parents or kids all played the game ? Because that's also the audience that went and bought tickets. I'm convinced most people would answer "oh I went because Tom is in a new treasure movie and it looks fun". It's a typical fun movie that will attract people especially if it's lead by a familiar and popular face.

I'm not asking them to like the movie because yeah maybe Tom doesn't feel like Nathan Drake if you're an hardcore fan of the source material (I can't speak on that I don't know anything about the game) BUT can they at least make sense and stop acting like all video games adaptation are by definition popular at the B.O because that's historically not true

I'm extra petty so I cannot wait to see another non Marvel non franchise film, I know it's gonna do well

👆🏽👆🏽👆🏽

When it's a bad thing it's all Tom's fault but when it's a good thing it's everyone else in the world's doing but NOT Tom, that's the logic okay got it (💀)

This is so true cuz I remember people started saying "TCR might be good" cuz Amanda Seyfried is in it and when the bad reviews dropped, everyone collectively forgot she's in the show too (mind you, her face is literally on the poster 💀) & all of sudden is just "another tom holland bad project".

And ironically Uncharted fans were boycotting the movie, but there were many of them saying "yeah we're not watching it, but Tom Holland is in it so it's going to be a success anyway", lol.

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themosleyreview · 1 year

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The Mosley Review: The Last of Us (Season 1)

For as long as I can remember, the film adaptation of a video game has always been the bane of my existence. Every time Hollywood tries to bring to life an interactive and sometimes 40 - 80 hour experience that gaming gives to us the players, they have either lightly adapted what they thought was cool or completely ignored the source material. We end up with films like Double Dragon, 1993’s Super Mario Bros., all the Resident Evil films including the Netflix monstracity and then the most recent Mortal Kombat film. I have been waiting for someone to get it right and do the games we all love justice. I have started many reviews like this when it comes to video game adaptations, but this time its actually different. The gaming studio Naughty Dog has made 2 of the most compelling and cinematic franchises in gaming history that are both celebrated by critics and loved by fans. Uncharted started it all with its amazing storytelling that harkened back to the old school adventure serial films and Indiana Jones franchise. Its live action adaptation ignored the order the 4 games canonically came in and just adapted the 3rd and possibly the 4th game instead of the starting from the beginning! Don't get me started on the casting. The same was slated to happen with the next universally acclaimed, beloved and in my opinion, perfect survival story ever to created in gaming. The Last of Us was a massive milestone for the gaming industry in its groundbreaking mechanics, voice acting, performance capture and thematic morality tale that made you question the main character’s actions while living in such a harsh apocalyptic world. Once it was announced that it was to become a series, I breathed a sigh of relief because there was no way it could've been crushed into a 2 and half hour epic without missing the entire character growth and the relationship dynamic of the main characters. My hope was that if they can nail the first heartbreaking 15 minutes of the game, then you have my attention. I was over joyed that they nailed it, but also recoiled in fear of what they were going to change in the long run.

With any adaptation there’s going to be some changes from the source material that may work in the book or the video game that won't translate on to the big or small screen. Such is the case with this adaptation and for the most part this show recreated shot for shot and used dialogue straight from the game and I loved that. There were alot of scenes that were removed, added and reworked to fit the live action version and they all range from great to abysmally incorrect. I won't spend the rest of the review comparing all the scenes that don't match the game, but I WILL point out what was changed that irked me to the highest degree. So I will end up soiling an episode or 2 and many scenes from the show that miss represented the game. So this is your warning for light to mid spoilers for a game that is over 10 years old, but I will be fair to those that are just now discovering the story for the first time. From the minute the show starts the rules of the infection were rewritten and it fit and made for a more realistic approach if you will. I will say that the casting in this show was spot on in so many ways and the care that the cast took to bring these beloved characters to life was admirable, but don't be deceived. They have nailed aspects of the characters, but they are different from their digital counterparts. As an African American man, I'm all about diverse casting in entertainment, but what I hate is race swapping in stories just to check that box. We have enough representation in this story already with Marlene, Riley, Henry and Sam. The choice to change the race of Joel, Tommy, Maria and Sarah was unnecessary in my opinion and I wished they stayed true to the character designs. They may have the accents, the clothes and sometimes the same hair color, but they don't look like the characters I know and I love. That being said, this was a very talented cast and they all were brilliant in their performances as they carried us through this intense story.

Pedro Pascal has always been an amazing actor that can get into the soul of a character and carry such weight in his eyes. As the iconic character Joel, he nails the heart of the character in so many subtle ways. He captures his darker nature while delivering the emotional undertones in his words and eyes. The growth the character goes through I felt was a little too quick and their wasn't enough emotional resistance. Gabriel Luna was fun as his brother Tommy and I liked the moments they were together. What I didn't like is that the rift between them was almost completely removed from the source material and what we're given is a different reason for him to not help Joel that was relevant for this version, but irrelevant as whole. Nico Parker was excellent as Joel's daughter Sarah and she nailed the innocence of the character and represented that last sliver of humanity Joel had. I really enjoyed Anna Torv as Tess. She nailed the character's tough exterior and steadfast loyalty to Joel. Her and Joel clearly had a history together that made them not great people and loved seeing that fully realized, but I do wish they had kept her red hair. There is a particular part of her arc that ends dramatically differently from the game that was partly an improvement, but as a whole, they did her dirty in the end. It was awesome that they brought back the original actress that voiced Marlene in the game to the screen. Merle Dandridge delivered the same amount of excellence and complexity that she introduced in voice and now in live action. My only gripe is that toward the end, she was colder emotionally and than she was in the game. She has a hard decision to make, but it felt so factual instead of having remorse. Bella Ramsey did an excellent job bringing to life Ellie. She nailed the character's curiosities, childlike charm, toughness and above all, she showed the emotional toll that the world has on a youth. Through her interactions with real violence, she understood the depths of how savage and horrific humanity can be. Her chemistry with Joel was the saving grace of the show and I loved it as they grew closer together. Sometimes it felt forced, but it leveled out along the way. The iconic "Is this what people really cared about before?" scene from the game is word for word recreated and wonderfully acted by the both of them and it hit just as hard as it did back in 2013. Storm Reid was perfect as Ellie's bestfriend Riley and their episode together was one of the best and the most accurate adaptation of the “Left Behind“ DLC story from the game. Lamar Johnson and Keivonn Woodard were fantastic as Henry and his younger brother Sam. Their scenes really were heartwarming, but their story for the show was a bit convoluted in execution. Simplicity would've been key here.

Now comes the part where it could be split you the reader from me the reviewer and I respect your opinion if you disagree with me. I have no problem with the LGBTQ community and I don't care if a character is gay and you want to tell their story. What I do have a problem with is completely disregarding their incredible arc from the source material to shove a different story in your face. All adaptations have to make changes to fit the screen version, but this was radically different. Nick Offerman is a great comedic actor, but he is an outstanding dramatic actor. As Bill, he did exactly that and I loved him in the role, but I wish they had stuck with the original version of his story. He is gay and a survivalist in the game, but they made him kind of dumb in this adaptation. If people are at your fence shooting at you, you don’t stand still in the street and shoot back. You behind cover and pick them off! Murray Bartlett was excellent as his partner Frank and their chemistry was fantastic as their love story grew beautifully. My problem with this entire arc is that it doesn't serve the characters or the original story justice. Yes, you want to show that there is still hope for love and kindness in this depressing world, but that wasn't the point for Bill and Frank in the game. I’ve always believed that Bill and Joel are different sides of the same coin. Bill cutting himself off from caring for anyone by being a mean loner that caused Frank to hate and leave him and then get himself killed. Joel could've become that with Tess or even Ellie, but Ellie slowly brings back the caring nature of Joel. That incredible storytelling element was completely erased for an arc that didn't belong to those 2 characters. Another character that didn't belong or was horribly miss cast was Melanie Lynskey as Kathleen Coghlan. Melanie is an amazingly charismatic actress, but as a leader of a rebellious group of people that over took a government quarantine zone? Nah. I didn't by it one bit. Scott Shepherd was good as David, but I wish they didn't fluff out his story so much. There is a glaring error in logic when it comes to his arc and it made for a mixed bag of an episode for him. He nailed the charm and soothing nature of the character, but the blatant intentions of this version of the character rubbed me the wrong way. I’m pretty much tired of the “preacher” archetype in every apocalyptic series. Its always there, but sometimes you can just not have it. For us the fans of the games, we get to have the original cast of the video game return as easter eggs and they’re spread out within the show. Merle Dandridge I already revealed, but for you to find the original Joel (Troy Baker), Tommy (Jeffrey Pierce) and Ellie (Ashley Johnson) and 1 more hidden TLOU 2 actor, I won't spoil the fun in finding them. Just know that they all have an integral part, but 1 of them has the most heartbreaking.

The score of the show could not be done without the maestro of the game. It would've been a true disservice to the show without the haunting theme and music. Gustavo Santaolalla returns and delivers the beautiful score we love from the game and is accompanied by fellow composer David Fleming. The two of them made an excellent pair and delivered a variety of different and refreshing takes on the emotional core of scenes and the different compositions of the themes. The season finale featured a track titled "Vengeance" and it was truly the darkest and saddest track in the show. The creature and makeup effects were disgustingly spot on! From the infected to the full on clickers, they were even more terrifying in live action and harder to look at. The sound design of them was amplified in the best way. Visually the show nailed the look and feel of the game. It was a shot for shot recreation of the game and that was the chef's kiss. Aside from all the comparisons to the game, the drastic alterations to characters and switching of locations, I felt this series needed a 10th episode. There was a serious amount of rushing toward the latter half of the show and especially in the finale. Early on there is a plot point that is introduced with Ellie and water that is a massive detail in the game and its in the show, but doesn't get paid off. They completely ignore this massive moment that was the catalyst that led to the intense final 20 minutes of the finale. If there was a 10th episode, I feel this show would've almost been a 1:1 creation through and through. In the end, was this a great adaptation of one of the greatest stories in gaming? No. I would say it was good. Even with the creator Neil Druckmann being completely hands on from the beginning, I feel that the show captured 80 percent of the game which is more than any other adaptation I've ever seen do. Its not the greatest adaptation of all time like most exclaimed from watching the premiere, but it is a perfect example of what needs to happen to video game adaptations from now on. Make them a series, but respect and stick to the source material like white on rice and don't deviate so much. Let me know what you thought of the series or my review/essay in the comments below. Thanks for reading!

#the last of us #pedro pascal #bella ramsey #merle dandridge #Nico Parker #gabriel luna #anna torv #nick offerman #melanie lynskey #scott shepherd #troy baker #ashley johnson #murray bartlett #naugthy dog #neil druckmann

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neelgamesartanddesign · 5 months

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Digital Media Sources and Sognificance

Blogs

Blog 1:-

Unravelling the Yarn: My Adventures in Narrative Theory and the Tangled Threads of Video Games

I've long wrestled with the captivating conflict between customary account hypothesis and the intuitive stories brought into the world in the pixelated universes of computer games. Will Aristotle's "dramatic unities" of time, spot, and activity, created hundreds of years prior for a static stage, really envelop the rambling, non-direct stories turned by my button squashing and joystick punches? Bordwell and Thompson's (1993) "three core components of narrative" - exposition, complication, and resolution - appear to be unfit to deal with the fanning ways and rising stories encouraged by the player organization. This blog is our encouragement to wander past the recognizable, to investigate the complex accounts of computer games and the exceptional focal points we want to see the value in them.

Customary narratologists frequently end up stumbling over the regulator lines of player organization. They long for the straight directions of books and movies, the solace of a solitary writer moulding the story's curve. However, games love the chaos of interaction. Games like "Dishonored 2" (Arkane Studios, 2016) offer a confounding exhibit of decisions, each impacting the result, however the actual surface of the actual story. Do you kill your objective with merciless proficiency or coordinate a non-deadly takedown, gaining their resenting appreciation? Every way not only uncovers an alternate feature of the story but additionally challenges how we might interpret bravery and ethical quality.

Regardless, to disregard the symphony they play by treating these natural records as inferior cousins is to miss it. Janet Murray (1997), in her stand-out work "Hamlet on the Holodeck," argues that games offer a "participatory literature" where players become co-makers, outlining the story through their decisions and activities. This tendency is reverberated by Espen Aarseth (2003), who centres around the "procedurality" of game accounts, in which the genuine principles of the game make particular stories stand apart from every player's excursion. We're not lethargic eyewitnesses, but rather influential people, squeezing our strings into the record wound around show-stopper.

Take, for instance, the agonizing unfairness in "Firewatch" (Campo Santo, 2016). As well as affecting the result, your decisions in discourse and investigation convey Henry's dejection and frantic state. Alternately, consider the widely circulated "The Witcher 3: Wild Hunt" (CD Projekt Red, 2015), where an innocuous side excursion can enlarge outwards, impacting the fates of domains and, shockingly, forming Geralt's destiny. These games dark the lines between player and record, making us onlookers, yet the very experts driving the story forward.

This isn't to say conventional story devices have no bearing in this maze. Games like "Uncharted 4: A Thief's End" (Naughty Dog, 2016) stunningly mix true-to-life cutscenes with vivid ongoing interaction, creating a convincing person bend for Nathan Drake that matches any blockbuster film. The profound punch of his gathering with Sam, interspersed by stunningly planned interactivity groupings, wouldn't be imaginable without the bedrock of exemplary narrating methods.

Eventually, the magnificence of computer game stories lies in their rebellion of classification. They're a combination of pre-modified universes and player-manufactured encounters, an embroidery woven with strings of written purpose and rising mayhem. To see the value in them completely, we want to embrace this complicated exchange, recognizing the exceptional apparatuses and challenges games present. As Ryan (2004) suitably puts it, "Narratives in games are less about telling and more about doing."

Thus, the following time you boot up your control centre, recall - you're not simply playing a game, you're taking part in a story dance. A dance where each button press, each choice, adds to a story remarkably yours, a story brought into the world from the impact of modified universes and your imaginative flash. In that zapping combination lies the genuine wizardry of computer game accounts.

References:

Aarseth, E. (2003). Computer game worlds: Story, play, and actors. Taylor & Francis.

Bordwell, D., & Thompson, K. (1993). The art of cinematic narration. University of California Press.

Murray, J. H. (2004). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.

Ryan, J. (2014). Avatars of Story: Narrative Theory for Transmedia Narratives. University of Minnesota Press.

Dishonored 2 (2016). Developed by Arkane Studios. Bethesda Softworks.

Firewatch (2016). Developed by Campo Santo. Panic.

The Witcher 3: Wild Hunt (2015). Developed by CD Projekt Red. CD Projekt S.A.

Uncharted 4: A Thief's End (2016). Developed by Naughty Dog. Sony Interactive Entertainment.

Blog 2:-

Beyond Balance: How Red Dead Redemption 2 Challenges Todorov's Narrative Horse

Red Dead Redemption 2 (Rockstar Games, 2018) spellbound me not simply with its rambling vistas and coarse gunfights, yet in addition with its nuanced story that unobtrusively undermines assumptions. It made me think: how does this advanced magnum opus hit the dance floor with the phantom of Tzvetan Todorov's (1939-2017) account hypothesis, especially his idea of "equilibrium"? Lock in, accomplices, since we're going to unload the story saddlebags of Arthur Morgan and perceive how RDR2 modifies the rulebook.

In Todorov's system, stories follow a natural circular segment: an equilibrium, disrupted by a force, leading to a struggle to restore balance, culminating in a new (though not necessarily positive) equilibrium. While RDR2 begins with Arthur settled in the ideal mayhem of the Van der Linde gang, a similarity to balance, it rapidly dives into the sloppy confusion of a world disintegrating separated. The Pinkertons fix their hold, the law shut in, and the group's inside crevices emit like fountains, breaking any deception of solidness.

Anyway, the strength of RDR2 is its hesitance to permit Arthur to reestablish the past requests comprehensively. This isn't a shoot-em-up where lawbreakers escape towards the skyline and reasonableness wins. Considering everything, the game permits us to see the vexatious breakdown of Arthur's existence, a microcosm of the looming breakdown of the American edges. As Arthur fights his own mortality and the power's downfall into moral haziness, the story's consideration changes into deceitfulness. Its force of scorn and fantasizing is glorious and massively profound.

Consider it like the Dutch's extraordinary plans - elaborate plans considering fickle foundations, bound to fall under the meaning of their own longing. In like manner, the possibility of an unsullied story debilitates as those gaudy dreams disintegrate. Arthur's fight isn't related to restoring plan, yet with finding importance in this continuous reality where the lines between perfect and horrible are on a very basic level generally speaking around as faint as the dusty ways they ride.

This is consistent with Ryan's (2014) discoveries that games give "participatory stories," in which clients assume the job of co-makers and shape the record with their choices. Our moral compass guides Arthur's actions in RDR2, influencing the people he eventually meets, the people he helps, and Arthur himself over time. Due to the weight of these choices, which range from supporting a ruthless land baron to assisting a stranger who is in danger, the narrative arc is further separated from Todorov's straightforward equilibrium-disruption-restoration model.

RDR2 doesn't offer a cheerful closure, a restored equilibrium, or an obvious triumph. All things being equal, it waits in the clashing uncertainty of Arthur's last minutes, passing on us to consider the expense of steadfastness, the heaviness of recovery, and the transitory idea of equilibrium in a world tearing towards disarray. This open-endedness repeats Aarseth's (2003) idea of "procedurality" in-game accounts, where the actual guidelines of the game - for this situation, the ethical decisions and eccentric world - produce emanant stories special to every player.

At last, Red Dead Redemption 2 stands as a demonstration of the developing scenes of narrating. It embraces the intelligent idea of games, the muddled intricacy of human decisions, and the ambivalent real factors of a steadily influencing world. An account work of art doesn't simply follow Todorov's pony, it rides close by it, wandering off in an unexpected direction and investigating the wild outskirts of a story where equilibrium is a momentary dream and the genuine excursion lies in exploring the greyest of moral scenes.

In this way, accomplices, the following time you saddle up in RDR2, recall - that you're not simply playing a game, you're partaking in story unrest. a revolution that breaks the old rules and embraces the new, leaving you to ponder the gunshot echoes and fading whispers of a world that has changed forever.

References:

Aarseth, E. (2003). Computer game worlds: Story, play, and actors. Taylor & Francis.

Ryan, J. (2014). Avatars of Story: Narrative Theory for Transmedia Narratives. University of Minnesota Press.

Todorov, T. (1969). Poetics of prose. Cornell University Press.

Rockstar Games. (2018). Red Dead Redemption 2. [Video game]. Rockstar Games.

Blog 3:-

Beyond Bullets and Booms: Navigating the Murky Waters of Realism in Video Games

With war games, realism is the big issue that I've always struggled with. Titles like Battlefield V (EA DICE, 2018) and Call of Duty: World War II (Sledgehammer Games, 2017) guarantee vivid encounters, moving players to the sloppy channels and slug-zooming combat zones of history's most obscure contentions. In any case, how "real" could these advanced universes at any point really be? And is it even desirable to achieve perfect realism? Soldiers, buckle up because we are about to enter the murky world of video game realism and find out if what we discover is real history or just pixelated dust.

We ought to start by perceiving the undeniable: war is horrible, savage, and jumbled. In games like Battlefield V, the visceral depictions of close-quarters combat and the gut-wrenching cries of the wounded do not shy away from this darkness. In any case, validness isn't just about reproducing blood and grime. It's about depiction, getting what is going on, the climate, and the human cost of the dispute. This is where games like Call of Duty: WW2, which told the stories of traditional soldiers caught in the whirlwind of war, taught us that bravery and misfortune coexist in the brutal reality of war.

In any case, here's the rub: " reality" is abstract. Games always have their historical accuracy filtered through the developers' eyes. This, as per Ryan (2001), is the realm of simulation, where the game world mimics reality but isn't a perfect carbon copy. This isn't an imperfection, yet a component. Games can feature explicit parts of contention, zeroing in on brotherhood, the mental cost of war, or the moral quandaries looked at by troopers - angles frequently minimized in customary verifiable accounts.

In any case, this carries us to the concept of immediacy: the illusion of being "there" on the battlefield. Games influence general media innovation to create a substantial feeling of presence, the roaring blasts, the sting of shrapnel, and the terrified yells of individual troopers. This is where the lines between portrayal and reality obscure, making a strong hypermediacy (Murray, 1997), where the experience rises above the actual game and leaves an emotional imprint.

Be that as it may, could this hypermediacy at any point wander into hyperreality, where the pixelated world obscurations the authentic truth of war? Some contend that zeroing in on the instinctive rushes of battle chances extolling war or limiting its intricacies. This is where game engineers face a basic obligation: to offset vivid ongoing interaction with verifiable precision and moral mindfulness.

Eventually, the quest for ideal authenticity in computer games is a waste of time. All things considered, we ought to zero in on experiential realism: catching the substance of war, its personal weight, and its human expense. Games like This War of Mine (11 bit studios, 2014) or Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) accomplish this perfectly, driving players to face the ethical ambiguities and regular citizen difficulties frequently missing in conventional conflict stories.

In this way, the following time you tie on your virtual boots and protective cap, recollect - computer games offer a significant focal point through which to investigate the war, however, that focal point is intrinsically bent. Embrace the force of hypermediacy to feel the heaviness of history, however, remain basic, mindful of the designer's decisions and the moral ramifications of playing battle in a pixelated world.

References:

Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.

Ryan, J. (2001). Narrative as virtual reality: Immersion and interactivity in literature and electronic media. Johns Hopkins University Press.

Battlefield V. Electronic Arts Dice. (2018). Battlefield V. [Video game].

Call of Duty: World War II. Sledgehammer Games. (2017). Call of Duty: World War II. [Video game].

Blog 4:-

Beyond Buttons and Booms: Demystifying Meaning in Video Games with Semiotics

As a both player pixel-based undertakings and philosophical reasoning, I have forever been entranced by computer games' strange language. What certified importance can be found in these complex universes stacked up with unconventional creatures and pixelated scenes? Research the entrancing investigation of pictures and signs in the field of semiotics. We're going to set out determined to utilize semiotics to figure out the code of computer game stories, leaving no pixel unturned, so lock in, individual travellers!

Our aide on this excursion is the incredible Charles Sanders Peirce (1839-1914), who laid the foundation for grasping signs. He sets three key types: symbolic, where a sign's importance is inconsistent still up in the air(think the heart symbol for love); iconic, in which the sign resembles its symbol(a traffic cone pointing to roadwork); furthermore, indexical, where the sign has a direct actual association with its referent (smoke indicating fire).

Could we take, for example, the humble mushroom in The Legend of Zelda: Breath of the Wild (Nintendo, 2017). Depending on its size and variety, this seemingly harmless item can be a tasty bite, a potent mixture fixing, or even a lethal toxin. By separating these mushrooms according to Peirce's point of view, we see how their representative worth (well-being support, crafting material, risk) is gone through their famous appearance (size, variety) and indexical properties (sparkling for embellishments). Each mushroom transforms into a little language structure, mumbling its inspiration to the discerning player.

Regardless, significance isn't just about individual signs; it's also about how they partner and team up. This is where made by Claude Levi-Strauss, with his syntagmatic and paradigmatic analysis, turns out to be useful. The syntagmatic analysis sees how signs join to shape plans and developments, like the deals for things in a making recipe or the improvement of events in an excursion. The paradigmatic analysis, then again, sees how signs associate with each other through substitution and separation. For example, picking either a sword and a bow for the fight to come or contrasting serene towns with jails tormented by monsters are instances of paradigmatic models.

Consider the famous Mario platformer (Nintendo, various years). The succession of mushrooms, coins, and Goombas in each level structures a syntagmatic design, a mini-narrative with a test and prize. Yet, the player can pick various ways, subbing one enhancer for another, and making a paradigmatic encounter. Utilizing a similar arrangement of building blocks, this exchange of syntagms and paradigms makes a powerful embroidery of implying that makes each playthrough one of a kind.

Naturally, semiotics is not without its difficulties. Computer games are perplexing embroidered works of art of visuals, sounds, mechanics, and player organization, making it hard to nail down a solitary, conclusive understanding. In any case, the semiotic focal point gives an important device for unloading the layered messages and unobtrusive implications implanted inside these computerized universes.

In this way, the following time you fire up your favourite game, recollect that you are participating in a dynamic discourse about images and pictures as well as basically playing. Focus on the little subtleties, for example, the ambient sound or an individual's clothing colour. The jigsaw is made up of pieces that can be seen and understood by anyone.

References:

Barthes, R. (1977). Image-music-text. Fontana.

Fiske, J. (1990). Television culture. Routledge.

Ryan, J. (2014). Avatars of Story: Narrative Theory for Transmedia Narratives. University of Minnesota Press.

Nintendo EPD (2017) Legend of Zelda: Breath of the Wild [Video Game]. Nintendo.

Nintendo. (1985). Super Mario Bros. [Video game]. Nintendo.

Blog 5:-

Beyond Pixels and Polygon Counts: Deconstructing Visual Identity in Games

As a gamer who has an intense feeling of touch and a craving to grasp how we see ourselves, I've forever been excited by the force of visuals and in-game frivolity characters. We make images that mirror our personalities and goals by emulating these modernized universes, as opposed to just existing in them. Be that as it may, how do the pixels and polygons on our screens come to shape our healthy identity? Now is the right time to get our amplifying glasses and dive into the domain of visual culture and character in games, leaving no pixel unturned!

We should begin with the unrefined substances: representation. The characters, scenes, and items we experience in games are painstakingly developed visual accounts, loaded down with social implications and suspicions. From the hyper-masculine warriors of God of War (Sony Interactive Entertainment, 2018) to the splendidly hued fashionistas of Animal Crossing: New Horizons (Nintendo, 2020), each visual component says a lot about what our identity is supposed to be, who holds power, and what standards are thought of "normal."

In any case, these portrayals aren't vacant shells; they really help to frame our refined character. We select their garments, hairdos, and, surprisingly, actual changes as we investigate these unrivalled universes, making an exhibition of photographs that develop into expansions of our identity is. Crawford (2009) contends that this presentation of decision turns into a kind of "self-fashioning," permitting us to try different things with numerous forms of ourselves and challenge or support customary assumptions.

This, in any case, goes with its requirements. Games frequently work inside thin scopic systems (Crary, 1992), privileging explicit approaches to seeing and collaborating with the world. The "oculocentric" centre around vision in many games (Murray, 2004) can underestimate different faculties and support existing power structures. For instance, the hyper-sexualized portrayals of female characters in many games can propagate unsafe generalizations and cut off player organization in creating different personalities.

Be that as it may, there's in like manner space for oppositional aesthetics (hooks, 1990) - a way to deal with recuperating and controlling visual metaphors to subvert winning stories. Games like Gone Home (The Fullbright Company, 2013) or Night in the Woods (Infinite Fall, 2017) offer choice scopic frameworks, allowing players to explore character complexities past spread out principles, whether through LGBTQ+ depiction or nuanced portrayals of profound prosperity.

At long last, the visual scene of games isn't simply a stunning setting; We build, dismantle, and rethink our sound character in this exceptional wilderness rec center. As we continue, we should challenge prohibitive scopic systems, commend the rebellious capability of games to expand visual character prospects, and basically inspect the gave portrayals.

References:

Crawford, M. (2009). How videogames are changing the way we live, think, and relate. Norton.

Crary, J. (1992). Techniques of the observer: On vision and modernity in the nineteenth century. MIT Press.

hooks, b. (1990). Yearning: Race, gender, and cultural politics. Routledge.

Murray, J. H. (2004). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.

In Harvard referencing, video game titles are formatted differently depending on whether you're referencing the whole game or a specific element within it. Here's how to convert the two game titles you provided:

God of War (Santa Monica Studio, 2018). [Videogame] Sony Interactive Entertainment.

Animal Crossing: New Horizons (Nintendo EPD & 1-Up, 2020). [Videogame] Nintendo.

Gone Home: The Fullbright Company. (2013). Gone Home [Video Game]. PC.

Night in the Woods: Infinite Fall. (2017). Night in the Woods [Video Game]. PC, PlayStation 4, Xbox One.

Blog 6:-

Beyond Pixels and Power-Ups: Unpacking Politics, Diversity, and Identity in Games

I've long felt the thunder of legislative issues underneath the outer layer of even the most dreamer virtual universes. Games, similar to any social item, are not unbiased jungle gyms; they're woven with belief systems, predispositions, and portrayals that address genuine power elements and characters. Today, we're airing out this computerized Pandora's crate to investigate how games draw in with politics, diversity, inclusion, and the complex landscapes of race and gender. Lock in, individual explorers, in light of the fact that the journey for a more impartial and enhancing gaming scene begins here!

How about we start by recognizing the glaring issue at hand: representation matters. From the hyper-manly champions of Call of Duty (Activision, various years) to the hyper-sexualized female characters in numerous RPGs, games frequently sustain destructive generalizations and cut player organization in making assorted personalities. This absence of portrayal, as Nakamura (2008) contends, can build up true imbalances and bar minimized bunches from completely partaking in the gaming circle.

In any case, in the midst of this haziness, there are traces of trust. A few games, like Gone Home (The Fullbright Company, 2013) and Night in the Woods (Infinite Fall, 2017), give complex portrayals of LGBTQ+ communications, while What Remains of Edith Finch (Giant Sparrow, 2017) digs profoundly and mindfully into the subject of close to home wellbeing. As Alexander (2015) brings up, these games undermine the tried and true way of thinking and prepare for additional careful and convincing portrayals.

However, diversity is more than just ticking boxes; it's about inclusion. How are these diverse characters integrated into the narrative? Is it true that they are consigned to token companions or do they drive the story forward? Do their encounters widen how we might interpret the game's reality, or would they say they are basically window-dressing? Games like Disco Elysium (ZA/UM, 2019), with its different cast and player organization over character decisions, offer a brief look into a comprehensive future where player personality crosses definitively with the game's reality.

Notwithstanding, we can't overlook the insidious power of power structures. Games frequently reflect and support genuine disparities, portraying imperialism, double-dealing, and fundamental persecution in manners that can be coldhearted or even manipulative. This, as de Castilho (2019) cautions, can minimize complex policy-centered issues and propagate unsafe accounts. Assassin's Creed: Unity (Ubisoft, 2014), with its generally wrong depiction of the French Upheaval, act as a wake-up call, helping us to remember the requirement for basic commitment to the political belief systems implanted inside game universes.

At last, we should go up against the prickly issue of race and orientation. How do these developed social classifications shape our encounters in games? How really do game mechanics and stories build-up or challenge existing predispositions? Critical Race Theory, as applied by Hooks (2015) and others, offers an important focal point for looking at how games sustain racial generalizations and could work as stages for perceived hostilities against players of variety. Also, women's activist scrutinizes, as expressed by Consalvo (2010), feature the gendered suppositions and mechanics that can estrange or typify female players.

The excursion towards a more fair and enhancing gaming scene is a complicated and progressing one. By basically inspecting the governmental issues, variety, and character legislative issues installed inside games, we can turn out to be more dependable players, designers, and pundits.

References:

Alexander, L. (2015). Gamergate and the crisis of video game criticism. MIT Press.

Consalvo, M. (2010). Challenging gender norms in video games: From Mario to Lara Croft. Routledge.

de Castilho, R. (2019). Gaming politics: How video games play news and power. Oxford University Press.

hooks, b. (2015). Black skin, white masks. Routledge.

Nakamura, L. (2008). Don't just stand there... Dance!: Racializing space and identity in videogames. Johns Hopkins University Press.

Gone Home: The Fullbright Company. (2013). Gone Home [Video Game]. PC.

Activision. (2019). Call of Duty: Modern Warfare [Video Game]. PlayStation 4.

Night in the Woods: Infinite Fall. (2017). Night in the Woods [Video Game]. PC, PlayStation 4, Xbox One.

What Remains of Edith Finch: Giant Sparrow. (2017). What Remains of Edith Finch [Video Game]. PC, PlayStation 4, Xbox One.

Disco Elysium: ZA/UM. (2019). Disco Elysium [Video Game]. PC.

Assassin's Creed: Unity: Ubisoft. (2014). Assassin's Creed: Unity [Video Game]. PlayStation 4, Xbox One.

Blog 7:-

A Gunshot to the Gut: Immersing in the Gritty Emotionality of Mafia 2

I'm drawn to stories that have a big emotional impact on me as a player., My emotions were hit like a Molotov cocktail by Mafia 2 (2K Games, 2010). From the messy roads of Empire Bay to the melancholic piano harmonies reverberating through smoky speakeasies, the game wasn't simply a digital playground; It was a visceral experience that changed the way I thought about how emotionally invested people are in video games. In this way, individual wiseguys, get your tommy guns and your handkerchiefs, since we're going to plunge into the close to home maze of Mafia 2.

Let's start with Massumi (2008) idea of the raw power of affect, which says that emotions are not just internal states but embodied intensities that run through our being. Vito Scaletta, a young Italian-American caught in the web of organized crime, is the protagonist of the game. The clunking of glasses in private cabin bargains, the adrenaline surge of avoiding disasters in a Submachine gun fight, the bone-squashing effect of treachery - these aren't just visual or hear-able boosts; They are real experiences that make your heart race and make your palms sweaty. Mafia 2 doesn't simply recount to you a story; You get a gut feeling of it.

Yet, influence alone isn't sufficient. To really charm, a game requirements another viewpoint, as Ryan (2010) contends. Mafia 2 doesn't offer the romanticized perspective on the hoodlum life so frequently glamorized in mainstream society. All things being equal, it dives you into the ethical entanglement, constraining you to observe the mercilessness, the disloyalties, and the empty shells of men consumed by covetousness and neurosis. This change in context, this awkward closeness with the clouded side of the Pursuit of happiness, makes a remarkable profound mixed drink - a mix of elation, repugnance, and a biting feeling of disquiet that waits long after the credits roll.

The music, on the other hand, is the lifeblood of Mafia 2's emotional landscape. The score, a masterful fusion of jazz and blues, is more than just noise in the background; it's a person in itself. The despairing kinds of "Lonely Woman" saturate the smoky climate of a bar, reflecting Vito's segregation and longing for a daily existence past the horde. The sporty piano riffs during vehicle pursues uplift the elation of the departure, while the forlorn trumpet performances going with burial services highlight the expense of a day to day existence interweaved with brutality. Mafia 2, as Perron (2013) calls attention to, utilizes music to lay everything out, except to control our feelings, directing us through the emotional rollercoaster of Vito's excursion.

At last, Mafia 2's emotional commitment lies in its tasteful delight (Carroll, 2001). The game doesn't just engage; it makes a lovely, though disastrous, world that attracts you and makes you care profoundly about its characters and their destinies. The painstakingly created climate, the nuanced exhibitions, the music that grips to your spirit - they all work together to make an encounter that rises above pixels and polygons, leaving you with a waiting feeling of despairing, reflection, and maybe even a bit of wonderment for the force of a very much recounted story to move us so profoundly.

Thus, the following time you boot up Mafia 2, recollect - it's not only a game; it's a personal odyssey. Focus on the subtleties, from the gleaming gaslights to the fatigued looks on the characters' countenances. Allow the music to wash over you, feel the mood of the city beat in your veins. Mafia 2 is an update that computer games, at their best, can offer something other than rushes and spills; they can cause us to feel the full range of human experience, leaving us changed and perpetually set apart by the reverberations of gunfire and the mixed notes of a blues melody.

References:

Carroll, N. (2001). Art, beauty, and the future of aesthetics. Cornell University Press.

Massumi, B. (2008). What affects can do: Philosophical essays. Duke University Press.

Perron, B. (2013). Playing to feel: A theory of ludic affect. MIT Press.

Ryan, J. L. (2010). Narrative as virtual reality: Immersion and interactivity in literature and electronic media.

2K Games. (2010). Mafia II. 2K.

Blog 8:-

A Dance with the Void: Embracing the Uncomfortable Depths of Dishonored's Emotionality

Dishonored (Arkane Studios, 2012) wasn't simply a game; it was a drop into an ethically uncertain void that left me wrestling with awkward feelings long after the credits rolled. It wasn't the raw power of supernatural abilities or the visceral terror of stealth missions that truly resonated; it was an inconspicuous, disrupting cacophony, a steady murmur of scrutinizing that bothered my heart. Thus, individual voidwalkers, get ready for an exciting mixture of effect, stylish disquiet, and new points of view, since we're going to unwind the profound maze that is Dishonored.

The game tosses you into the shoes of Corvo Attano, a shamed protector push into a universe of political deaths and extraordinary powers. From the plague-ridden roads of Dunwall to the extravagant, choking out bounds of the Brilliant City, the actual environment throbs with influence, as Massumi (2008) portrays it. The squeaking woods of deserted houses, the throaty moans of plague casualties, the eerie murmurs of the Void - these aren't just hear-able signs; They are sensations that are embodied and seep into your skin, causing a constant feeling of tension and unease. Dishonored doesn't besiege you with obvious profound triggers; it develops an inescapable climate of moral vagueness, compelling you to stand up to the inconvenience of exploring a world without clear legends and miscreants.

In any case, this disquiet isn't simply a dormant experience; Ryan (2010) asserts that it is a deliberate shift in context. You are not a typical legend wielding a weapon and maneuvering through hordes of enemies. The viability of Corvo's powers is captivating, however they accompany a cost. Each squint through time, each responsibility for body, chips away at your humankind, leaving you faltering close the actual edge of the beast. Dishonored does not shield you from the consequences of your actions; It compels you to observe the profound cost of employing such power, the weakening of sympathy, and the plummet into distrustfulness that accompanies controlling life itself.

What's more, subsequently, there's the music, a melancholic three-step dance among greatness and decay. Daniel Licht's score doesn't offer triumphant songs or blood-siphoning calls to war; Reflecting the decay of the city and Corvo's internal turmoil, it is an embroidery of melancholy strings and piercing murmurs. A substantial sign of the human expense of upset and the scars left by viciousness, the despairing hold back of "Streets of Dunwall" keeps on playing long after the credits roll. According to Perron (2013), Shamed uses music to set the mood, but it also increases moral and emotional ambiguity, leaving you with a waiting sense of unease and reflection on the cost of reclamation.

Eventually, Dishonored's commitment lies in its tasteful joy (Carroll, 2001), however, it's a wound, awkward joy. The game doesn't offer idealism or therapy; it drives you to defy the offensiveness inside yourself and your general surroundings. It's a hit the dance floor with the void, a three-step dance through moral ill-defined situations, an orchestra of discord that waits long after the last reverberates of Dishonored's chilling decision.

Thus, the following time you dig into the profundities of Dunwall, recall - this isn't a power dream; it's a mirror held up to your soul. Focus on the unobtrusive subtleties, how shadows dance on disintegrating walls, and the flash of vulnerability in Corvo's eyes. Feel the weight of the decisions you've made and the challenges you've faced as the music penetrates your soul. Shamed is an update that computer games, at their thinking for even a second to best, can cause us to feel the full range of human experience, even the awkward pieces, leaving us everlastingly different by the shadows we find inside ourselves.

References:

Carroll, N. (2001). Art, beauty, and the future of aesthetics. Cornell University Press.

Massumi, B. (2008). What affects can do: Philosophical essays. Duke University Press.

Perron, B. (2013). Playing to feel: A theory of ludic affect. MIT Press.

Ryan, J. L. (2010). **Narrative as virtual reality: Immersion and interaction

Arkane Studios. (2012). Dishonored. Bethesda Softworks.

Blog 9:-

Beyond Buttons and Bosses: Exploring Intertextuality and Transmedia in the Video Game Universe

I've forever been captivated by how computer games play with intertextuality and transmedia narrating as a gamer who appreciates stories that weave mind-boggling networks across different media. From subtle motions to imaginative beasts in The Witcher 3: Wild Hunt (CD Projekt Red, 2015) to the meandering aimlessly transmedia space of Overwatch (Blizzard Entertainment, 2016), games are not commonly restricted islands; their enthusiastic focus focuses interconnected with weaving of references and stories. Utilizing the hypothetical systems of structuralism, poststructuralism, extremist intertextuality, and multimodality, we are diving into this entrancing field today to find the associations between games and the more extensive social scene.

We should start with the central idea: intertextuality. As Kristeva (1967) contends, no text exists in a vacuum. Each story draws upon, rethinks, and undermines previous works, making a trap of interconnections that improve the understanding experience. Games are no exemption. The Witcher 3, for example, is filled with implications to Arthurian legend, from Geralt's chivalric code to the Woman of the Lake's puzzling presence. These references, as Jenkins (2006) notes, flash an exchange among games and different media, welcoming players to become dynamic members in translating and reevaluating meaning.

Regardless, intertextuality gets impressively more empowering when it embraces multimodality. To recount their accounts, games use visuals, sound, ongoing interaction mechanics, and even player offices. Contemplate Bioshock Infinite (Irrational Games, 2013). The floating city of Columbia doesn't just reference Yankee fables and optimistic norms; It exemplifies them with its transcendent engineering, taking-off aircraft, and enthusiastic residents. Investigation and battle that oppose gravity further submerge you in Columbia's particular world, obscuring the line between text and experience.

Transmedia describing takes this blending of texts to an unfathomable level. Foundations like Overwatch, as Henry Jenkins (2007) raises, expand their records past the genuine game, twisting around stories through comics, spiced-up shorts, and, shockingly, in-universe news reports. Subsequently, the line between shopper and maker is obscured in a transmedia world where players effectively add to the creation and development of the legend. The Overwatch social class' energetic fan craftsmanship, cosplay, and, shockingly, vicious esports scene exemplify this agreeable story improvement.

In any case, a central centre is expected to investigate these intertextual and transmedia labyrinths. Garrety (2007) proposes progressive intertextuality, which prompts us to ask about who controls the significance-making process in these amazing stories. How do players participate in transmedia storytelling and interpret references? Do players have agency? Or on the other hand, would they say they are restricted by the pre-decided stories set by designers and partnerships?

Intertextuality and transmedia in games are eventually engaging because they can undermine ordinary thoughts regarding creation and portrayal. They empower us to become dynamic members in a more extensive talk by laying out joins, changing around references, and in any event, describing mutually delivered stories. Hence, the accompanying time you boot up your main game, centre around the mumbles of various stories inside its world, explore the transmedia climate including it, and recall - you're not just playing a game; you're adding to an enthusiastic, reliable creating weaving of shared experiences.

References:

Garrety, K. (2007). Radical intertextuality: The transformative potential of citation. Palgrave Macmillan.

Jenkins, H. (2006). Convergence culture: Where old and new media collide. NYU Press.

Jenkins, H. (2007). Transmedia storytelling: Imagining and building transmedia worlds. The Journal of Media Education, 41(4), 133-142.

Kristeva, J. (1967). Word, dialogue, and novel. Fordham University Press.

CD Projekt Red. (2015) The Witcher Wild Hunt [Video Game]. CD Projekt Red.

Blizzard Entertainment. (2016) Overwatch [Video Game]. Blizzard Entertainment.

Irrational Games. (2013) Bioshock Infinite [Video Game]. 2K Games.

Blog 10:-

Shifting Gears: Gran Turismo 7 and the Evolving Landscape of VR, AR, and MR

Having completed my share of virtual miles as an experienced racer, Gran Turismo 7 (Polyphony Digital, 2022) conveyed something beyond a new layer of paint on exemplary circuits. It filled in as a brief look into the eventual fate of hustling games, one where the lines between the real world and reenactment obscure further because of rising innovations like Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR). Today, we're locking in and taking a hypothetical refuelling break to investigate how Gran Turismo 7 and its possible hug of these advances can rethink how we might interpret interactivity, immersion, and the actual idea of the dashing experience.

Interactivity, long the foundation of computer games, takes on another aspect in VR. Envision venturing into the driver's seat, feeling the sun warm your advanced hands as you grasp the virtual guiding wheel. Gran Turismo 7, with its fastidious vehicle models and laser-examined tracks, as of now lays the foundation for an instinctive VR experience. In any case, as Ryan (2010) contends, genuine intuitiveness goes past imitating actual activities; it's tied in with fashioning a profound association with the virtual world. VR, whenever executed mindfully, could cause us really to feel like we're essential for the race, the thunder of the motor a heartbeat in our ears, the g-powers an actual sensation.

In any case, drenching isn't just about tangible loyalty. According to Baudrillard (1994), it is about extension, which blurs the lines between reality and representation. Envision checking tire tension in a virtual pit path or changing mirrors with a flick of your wrist. AR overlays could improve track mindfulness, showing hustling lines or contender positions progressively, obscuring the limit between driver and machine. This consistent mix of physical and virtual components, as Azuma (1997) places, could rethink the actual idea of a dashing game, changing it into a cross-breed preparing ground and virtual circuit.

Naturally, with advancement comes the possibility of becoming obsolete. Customary regulators and level screens, when the main entries to dashing universes, could feel artifact-like notwithstanding vivid VR encounters. Be that as it may, rather than grieving the past, we should consider it to be a development. As Crawford (2009) reminds us, games are not static mediums; they adjust and change close by innovation. Gran Turismo 7, with its potential VR and AR executions, offers a brief look into this development, preparing for a future where the experience of hustling rises above pixels and polygons, turning out to be nearer and nearer to the genuine article.

Be that as it may, this advancement isn't without its difficulties. VR, for example, raises issues of openness and inclusivity. Many people are physically uncomfortable in virtual reality environments or unable to afford expensive VR headsets. According to Bardini (2012), retrieval is just as important as innovation as we race toward an immersive racing future. Developers must ensure that no one is left behind on the starting grid in the future of racing by utilizing traditional controllers and flat screens, which still provide valuable access points for a wider audience.

Last but not least, there is always the possibility of reversal. VR, while vivid, can disengage players from the actual world. We are brought back to the social aspect of racing by Gran Turismo 7, with its extensive car culture and online communities. MR, with its capacity to mix the virtual and genuine, could offer the smartest possible scenario - thrilling VR races accentuated by imparted festivities to companions in the front room. This exchange among disconnection and association, as boyd (2014) contends, will be urgent in molding the fate of hustling games, guaranteeing they give individual rushes as well as encourage a feeling of shared local area.

Along these lines, lock in, individual petrolheads! Gran Turismo 7 is something beyond a dashing game; it's a harbinger of a future where VR, AR, and MR change how we experience the excitement of the circuit.

References:

Azuma, R. T. (1997). Re-engineering Reality: Towards a More Powerful Tool for Human-Computer Interaction (Doctoral dissertation, Massachusetts Institute of Technology).

Bardini, E. (2012). Game culture: A new approach to cultural studies. Springer.

Baudrillard, J. (1994). Simulacra and simulation. University of Michigan Press.

boyd, d. (2014). **It's complicated: The social lives of networked teens

Polyphony Digital. (2022). Gran Turismo 7. Sony Interactive Entertainment.

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