This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this analysis, I will focus on Undertale (Toby Fox, 2015) as an example of a game that plays with the boundaries between the fictional world being presented and the elements of digital materiality that are usually hidden from the player’s sight.
{"title":"The material world of digital fictions","authors":"Justyna Janik","doi":"10.14746/i.2021.38.04","DOIUrl":"https://doi.org/10.14746/i.2021.38.04","url":null,"abstract":"This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this analysis, I will focus on Undertale (Toby Fox, 2015) as an example of a game that plays with the boundaries between the fictional world being presented and the elements of digital materiality that are usually hidden from the player’s sight.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84958532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper the author analyzes the phenomenon of prototype worlds – synthetic environments of simulators, video games and other types of software – used to conduct experiments at the level of user sensorium, environmental physics and social design. The author presents the evolution of the concept, beginning with Buckminister Fuller’s World Game project, moving through media experiments in the field of game design, and finally presenting contemporary applications (such as a drone pilot training project for the U.S. Air Force) and their implications.
{"title":"Prototype worlds of video games","authors":"Jakub Alejski","doi":"10.14746/i.2021.38.02","DOIUrl":"https://doi.org/10.14746/i.2021.38.02","url":null,"abstract":"In this paper the author analyzes the phenomenon of prototype worlds – synthetic environments of simulators, video games and other types of software – used to conduct experiments at the level of user sensorium, environmental physics and social design. The author presents the evolution of the concept, beginning with Buckminister Fuller’s World Game project, moving through media experiments in the field of game design, and finally presenting contemporary applications (such as a drone pilot training project for the U.S. Air Force) and their implications.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83730582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative structures borrowed from Hollywood. The text analyzes a precise deconstruction of the plot patterns characteristic for the classic American SF films from the 1950s, which Avidan adjusted to the Israeli sociopolitical landscape at the turn of the seventies and eighties.
{"title":"David Avidan’s Message from the Future. Nuclear fantasies of the galactic poet","authors":"Maciej Pietrzak","doi":"10.14746/I.2020.37.07","DOIUrl":"https://doi.org/10.14746/I.2020.37.07","url":null,"abstract":"\u0000 \u0000 \u0000David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative structures borrowed from Hollywood. The text analyzes a precise deconstruction of the plot patterns characteristic for the classic American SF films from the 1950s, which Avidan adjusted to the Israeli sociopolitical landscape at the turn of the seventies and eighties. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"20 1","pages":"127-139"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74198281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article focuses on pointing out the functions of using animation technique and elements of the science fiction genre in Ari Folman’s The Congress from 2013. The film, which is loosely based on the short story The Futurological Congress by Stanisław Lem, balances on the edge of various genres, using the techniques of both live action film and computer animation. Folman proposes a glamorous, colorful vision of an (anti)utopian future, in which pharmacologically-modified cyborg-people participate in a collective hallucination, which is an alternative reality to the post-apocalyptic real world. The director makes several significant changes to the original, thanks to which he introduces a universal message and asks questions which seem far more relevant in the context of both contemporary culture and the environmental crisis that can no longer be ignored (although the issue of an impending natural disaster was also important in Lem’s works).
{"title":"W świecie kolorowej (anty)utopii. O animowanych cyborgach w Kongresie Ariego Folmana","authors":"Adrianna Woroch","doi":"10.14746/I.2020.37.08","DOIUrl":"https://doi.org/10.14746/I.2020.37.08","url":null,"abstract":"\u0000 \u0000 \u0000The article focuses on pointing out the functions of using animation technique and elements of the science fiction genre in Ari Folman’s The Congress from 2013. The film, which is loosely based on the short story The Futurological Congress by Stanisław Lem, balances on the edge of various genres, using the techniques of both live action film and computer animation. Folman proposes a glamorous, colorful vision of an (anti)utopian future, in which pharmacologically-modified cyborg-people participate in a collective hallucination, which is an alternative reality to the post-apocalyptic real world. The director makes several significant changes to the original, thanks to which he introduces a universal message and asks questions which seem far more relevant in the context of both contemporary culture and the environmental crisis that can no longer be ignored (although the issue of an impending natural disaster was also important in Lem’s works). \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"19 1","pages":"141-150"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79192048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gajewska Grażyna, Myśleć fantastyką. Przez science fiction do posthumanizmu [Thinking fantastic. From science fiction to posthumanism]. “Images” vol. XXVIII, no. 37. Poznań 2020. Adam Mickiewicz University Press. Pp. 7–19. ISSN 1731-450X. DOI 10.14746/i.2020.37.01. Abstract. The author presents the thesis that fantastic literature and film, especially in the science The author presents the thesis that fantastic literature and film, especially in the science fiction variant, is a privileged form of expression in posthumanist discourse. The themes, motifs and protagonists of science fiction are invoked in various contexts by Donna J. Haraway, Rosi Braidotti, Luciana Parisi, and Pramod K. Nayar. The author analyzes various areas of the involvement and usage of science fiction in posthumanist discourse: on the ontological, axiological and epistemological levels.
Gajewska Grażyna, Myśleć fantastic。诺贝尔科幻小说做posthumanizmu(幻想)。从科幻小说到后人文主义]。《图象》第二十八卷，第7号。37. Poznań2020。亚当·米奇维奇大学出版社。7-19页。ISSN 1731 - 450 x。DOI 10.14746 / i.2020.37.01。摘要。作者认为，奇幻文学和奇幻电影，尤其是科幻电影，在后人类主义话语中是一种特殊的表达形式。Donna J. Haraway, Rosi Braidotti, Luciana Parisi和Pramod K. Nayar在不同的语境中引用了科幻小说的主题、母题和主角。作者从本体论、价值论和认识论三个层面分析了科幻小说在后人文主义话语中的介入和运用。
{"title":"Myśleć fantastyką. Przez science fiction do posthumanizmu","authors":"G. Gajewska","doi":"10.14746/I.2020.37.01","DOIUrl":"https://doi.org/10.14746/I.2020.37.01","url":null,"abstract":"Gajewska Grażyna, Myśleć fantastyką. Przez science fiction do posthumanizmu [Thinking fantastic. From science fiction to posthumanism]. “Images” vol. XXVIII, no. 37. Poznań 2020. Adam Mickiewicz University Press. Pp. 7–19. ISSN 1731-450X. DOI 10.14746/i.2020.37.01. Abstract. The author presents the thesis that fantastic literature and film, especially in the science The author presents the thesis that fantastic literature and film, especially in the science fiction variant, is a privileged form of expression in posthumanist discourse. The themes, motifs and protagonists of science fiction are invoked in various contexts by Donna J. Haraway, Rosi Braidotti, Luciana Parisi, and Pramod K. Nayar. The author analyzes various areas of the involvement and usage of science fiction in posthumanist discourse: on the ontological, axiological and epistemological levels.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"1 1","pages":"5-19"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83859410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.
{"title":"Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo","authors":"Joanna Pigulak","doi":"10.14746/I.2020.37.18","DOIUrl":"https://doi.org/10.14746/I.2020.37.18","url":null,"abstract":"\u0000 \u0000 \u0000The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"310 1","pages":"317-327"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77777206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Czyżak Krzysztof, Rozwój filmowych adaptacji komiksów – „kino superbohaterskie” jako gatunek [The evolution of comic book adaptations – ‘superhero movie’ as a genre]. „Images” vol. XXVIII, no. 37. Poznań 2020. Adam Mickiewicz University Press. Pp. 338–348. ISSN 1731-450X. DOI 10.14746/i.2020.37.20. This article is an attempt to consider superhero movies as a developing genre of popular cinema. The theory is based on Rick Altman’s “Semantic/Syntactic/Pragmatic” approach to genre. It tries to capture features of superhero blockbusters and their main themes – the most distinctive trait of this genre, according to the author of the text, is supposed to be the relationship between an individual, their “power” and society. The text is both an extension of and a counter-proposal to conclusions made by Tomasz Żaglewski in Kinowe uniwersum superbohaterów.
{"title":"Rozwój filmowych adaptacji komiksów – „kino superbohaterskie” jako gatunek","authors":"Krzysztof Czyżak","doi":"10.14746/I.2020.37.20","DOIUrl":"https://doi.org/10.14746/I.2020.37.20","url":null,"abstract":"Czyżak Krzysztof, Rozwój filmowych adaptacji komiksów – „kino superbohaterskie” jako gatunek [The evolution of comic book adaptations – ‘superhero movie’ as a genre]. „Images” vol. XXVIII, no. 37. Poznań 2020. Adam Mickiewicz University Press. Pp. 338–348. ISSN 1731-450X. DOI 10.14746/i.2020.37.20. This article is an attempt to consider superhero movies as a developing genre of popular cinema. The theory is based on Rick Altman’s “Semantic/Syntactic/Pragmatic” approach to genre. It tries to capture features of superhero blockbusters and their main themes – the most distinctive trait of this genre, according to the author of the text, is supposed to be the relationship between an individual, their “power” and society. The text is both an extension of and a counter-proposal to conclusions made by Tomasz Żaglewski in Kinowe uniwersum superbohaterów.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"45 1","pages":"338-348"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83348698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it.
{"title":"Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda","authors":"Maciej Peplinski","doi":"10.14746/I.2020.37.05","DOIUrl":"https://doi.org/10.14746/I.2020.37.05","url":null,"abstract":"\u0000 \u0000 \u0000The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78725595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article aims to analyse the phenomenon of a Norwegian Internet-TV show for teenage audiences, Skam (2015–2017). The transmedia storytelling used in this production resulted in unforeseen international acclaim, subsequently leading to the creation of local remakes of the series. The article will outline the main issues that the show has dealt with, as well as the immersion-building narrative solutions used by the creators. Moreover, it will discuss Skam’s reception by Norwegian and international audiences, and suggest potential directions for the future development of this format.
{"title":"Płacząc po norwesku. Serial Skam jako opowieść transmedialna dla międzynarodowej publiczności","authors":"M. Mączko","doi":"10.14746/I.2020.37.19","DOIUrl":"https://doi.org/10.14746/I.2020.37.19","url":null,"abstract":"\u0000 \u0000 \u0000The article aims to analyse the phenomenon of a Norwegian Internet-TV show for teenage audiences, Skam (2015–2017). The transmedia storytelling used in this production resulted in unforeseen international acclaim, subsequently leading to the creation of local remakes of the series. The article will outline the main issues that the show has dealt with, as well as the immersion-building narrative solutions used by the creators. Moreover, it will discuss Skam’s reception by Norwegian and international audiences, and suggest potential directions for the future development of this format. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"PP 1","pages":"328-337"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84277956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with the narrative structure of Denis Villeneuve’s Arrival. Using the concept of a skeptical viewer as a starting point, the author follows the processes of unveiling meanings, both when it comes to the understanding of the plot of the story, as well as the senses and morals stemming out of it. The viewer’s activity appears to be engaged with the activity of a character who is determined to discover the generic science fiction mystery, i.e. to learn the secret of the aliens’ language. The language, in turn, leads to revealing the time reliances in the film, as well as to formulating the thesis on a specific kind of storytelling: not as a “narrative about time,” but rather a “narrative by time.”
{"title":"Narracja czasem. Analiza struktury narracyjnej filmu Arrival (2016) Denisa Villeneuve’a","authors":"Artur Majer","doi":"10.14746/I.2020.37.13","DOIUrl":"https://doi.org/10.14746/I.2020.37.13","url":null,"abstract":"\u0000 \u0000 \u0000The article deals with the narrative structure of Denis Villeneuve’s Arrival. Using the concept of a skeptical viewer as a starting point, the author follows the processes of unveiling meanings, both when it comes to the understanding of the plot of the story, as well as the senses and morals stemming out of it. The viewer’s activity appears to be engaged with the activity of a character who is determined to discover the generic science fiction mystery, i.e. to learn the secret of the aliens’ language. The language, in turn, leads to revealing the time reliances in the film, as well as to formulating the thesis on a specific kind of storytelling: not as a “narrative about time,” but rather a “narrative by time.” \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"83 1","pages":"221-232"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82598771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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