Film: Birdman
Aside from a few shots near the beginning and end, Birdman appears to be filmed in a single shot, an idea the director had since the film's conception. This required an atypical production approach, with many elements of post-production needing to be considered before principal photography. As a result the script took two years to write, the cast went through several weeks of meticulous rehearsals, and during shooting takes were cut for the slightest mishaps. (wikipedia)
Recent song: Sophie-Hard
EDM meets Trap meets K-Pop.
Advert: Crunchy Nut Cornflakes
The Kellogs Crunchy Nut Cornflakes advert is set in a supermarket car park where the trolley full of food and a child gets loose and start to make their way down a set of steps. Great homage to either Battleship Potemkin or The Untouchables.
TV Programme: House of Cards
Kevin Spacey's character Frank Underwood constantly breaks the fourth wall with knowing glances and monologues to the audience. Above is one of the best examples.
Game: Bioshock Infinite
Games like Bioshock Infinite are incapable of creating player agency because the designer authors all possible choices and outcomes. Players are constrained to only the narrative and strategic paths that designers create. While interactivity allows for a rich range of narrative permutations, all is mooted by authorial intent and a fixed story arc. Nonetheless, story-driven games constantly seek to combine authored narrative and player-agency despite the fact that the two inherently contradict each other. How can Mass Effect or The Walking Dead provide a truly emergent, player-driven narrative when a writer pens all dialogue choices, determines where the story will go, and how it will all end?
Bioshock Infinite self-reflexively critiques this trend mechanically and narratively. Many story-driven attempt to provide the illusion of agency by allowing the player to make binary or semi-binary choices at key moments to influence the direction of the plot. Bioshock Infinite subverts this mechanical trope by adopting similar “decision-moments” at certain points of the game, such as the decision to choose between two different brooches for Elizabeth. Bioshock Infinite subverts player expectations by making these binary “decision-moments” wholly irrelevant to the narrative, most often leading to minor cosmetic differences on a few side characters. The game knowingly acknowledges that players have been conditioned by similar games to believe that these “decision-moments” are critical its narrative outcome. By making these decisions comparatively irrelavant, Bioshock Infinite raises the question of whether or not autonomy can exist when an omniscient game designer authors the outcomes of all these binary decision points, arguing that the pursuit of “narrative player agency” is futile. Kevin Wong-The Artifice
Aside from a few shots near the beginning and end, Birdman appears to be filmed in a single shot, an idea the director had since the film's conception. This required an atypical production approach, with many elements of post-production needing to be considered before principal photography. As a result the script took two years to write, the cast went through several weeks of meticulous rehearsals, and during shooting takes were cut for the slightest mishaps. (wikipedia)
Recent song: Sophie-Hard
EDM meets Trap meets K-Pop.
Advert: Crunchy Nut Cornflakes
The Kellogs Crunchy Nut Cornflakes advert is set in a supermarket car park where the trolley full of food and a child gets loose and start to make their way down a set of steps. Great homage to either Battleship Potemkin or The Untouchables.
TV Programme: House of Cards
Kevin Spacey's character Frank Underwood constantly breaks the fourth wall with knowing glances and monologues to the audience. Above is one of the best examples.
Game: Bioshock Infinite
Games like Bioshock Infinite are incapable of creating player agency because the designer authors all possible choices and outcomes. Players are constrained to only the narrative and strategic paths that designers create. While interactivity allows for a rich range of narrative permutations, all is mooted by authorial intent and a fixed story arc. Nonetheless, story-driven games constantly seek to combine authored narrative and player-agency despite the fact that the two inherently contradict each other. How can Mass Effect or The Walking Dead provide a truly emergent, player-driven narrative when a writer pens all dialogue choices, determines where the story will go, and how it will all end?
Bioshock Infinite self-reflexively critiques this trend mechanically and narratively. Many story-driven attempt to provide the illusion of agency by allowing the player to make binary or semi-binary choices at key moments to influence the direction of the plot. Bioshock Infinite subverts this mechanical trope by adopting similar “decision-moments” at certain points of the game, such as the decision to choose between two different brooches for Elizabeth. Bioshock Infinite subverts player expectations by making these binary “decision-moments” wholly irrelevant to the narrative, most often leading to minor cosmetic differences on a few side characters. The game knowingly acknowledges that players have been conditioned by similar games to believe that these “decision-moments” are critical its narrative outcome. By making these decisions comparatively irrelavant, Bioshock Infinite raises the question of whether or not autonomy can exist when an omniscient game designer authors the outcomes of all these binary decision points, arguing that the pursuit of “narrative player agency” is futile. Kevin Wong-The Artifice
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