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ACADEMIC BLOG#4

Analyzing the Narrative Structure in Subnautica

Experimental Narrative in Subnautica

Subnautica represents a significant departure from conventional video game storytelling, embracing an exploratory narrative format that immerses players through environmental storytelling rather than scripted plot points. On the alien ocean world of 4546B, the absence of structured plot progression creates a sense of mystery and discovery, heightening the player's curiosity about the planet’s secrets. This choice fosters a unique emotional connection, as players feel like true explorers rather than passive participants (PC Gamer, 2018; McNinch, 2021).

This approach reflects a broader trend in games toward experiential storytelling, where narrative emerges through interaction rather than passive consumption. The sparse information provided to players, combined with their survival-driven exploration, creates a powerful tension that builds as the player uncovers more about the planet's past. This layered design is intentional, as it requires players to piece together story fragments from scattered environmental clues, evoking a sense of wonder and accomplishment as they progress (IDCGames, 2022; Fandom, 2021).

I believe this narrative method, where players construct their story by collecting items and texts, integrates exceptionally well with Subnautica’s open-world design. It not only encourages players to explore their environment but also promotes autonomy, compelling them to actively seek out the plot and the underlying world-building. This autonomy enhances the immersive experience, as players become personally invested in the narrative, fostering a deeper connection to both the story and their character's journey.

The Fusion of Narrative Structure and Gameplay Mechanics

Subnautica innovatively combines its narrative structure with survival mechanics, aligning player agency with story progression. In order to advance, players must dive deeper into the ocean, craft advanced equipment, and explore dangerous biomes that reveal more narrative elements through their environments and artifacts. This integration makes the act of survival itself a narrative experience, as players uncover data logs, habitats, and alien ruins that illuminate the planet’s mysterious history (McNinch, 2021; OutsideYourHeaven, 2019).

This gameplay-driven storytelling is immersive but also demands a great deal of player attention, adding layers of narrative interpretation. For instance, crafting a rebreather to dive deeper is not only a survival task but also a gateway to accessing previously unreachable story elements. Such elements of discovery intertwine survival with plot in a way that feels natural, reinforcing the theme of isolation on an alien planet while emphasizing the player’s role as an investigator. This synergy of mechanics and story is increasingly seen in survival games and highlights a movement in the industry towards more sophisticated narrative integration (Void0Media, 2021).

Balancing Freedom and Structured Storytelling

Subnautica deliberately blurs the line between traditional and emergent storytelling, prioritizing exploration and discovery over linear plot development. This open structure grants players the freedom to dictate their own pace, which can either enhance their engagement or challenge their patience, depending on individual preferences. This narrative freedom is a notable divergence from traditional storytelling in gaming, where fixed plot lines often guide player progress (DIVA Portal, 2022; Core.ac.uk, 2015).

However, Subnautica’s approach raises questions about narrative coherence. Without clear guidance, players might overlook critical story elements, leaving them with a fragmented understanding of the game's lore. While this design promotes a more player-driven experience, it also sacrifices the clarity and emotional resonance that can come from a more structured storyline. The game’s design philosophy encourages the player to take on the dual role of both survivor and storyteller, constructing their unique narrative as they progress. In this way, Subnautica stands as both an invitation to curiosity and a subtle challenge to the player’s observational skills, embodying the tension between freedom and coherence in game narratives (New Prairie Press, 2019).

Conclusion

Subnautica offers a compelling case for the future of environmental and experiential storytelling in video games. By interweaving its survival mechanics with an open-ended narrative structure, the game allows players to actively engage in crafting their story, transforming exploration into a personalized journey. This approach challenges conventional storytelling, fostering a deeper emotional investment and sense of discovery as players navigate the alien waters of 4546B. Through its experimental design, Subnautica showcases the potential of games to move beyond traditional storytelling frameworks, embracing a narrative complexity that appeals to both curious and dedicated players.

References

IDCGames. (2022) ‘探索深海：《深海迷航》游戏的技术分析’. IDCGames. Available at: https://idcgames.com/zh/blog/%E6%8E%A2%E7%B4%A2%E6%B7%B1%E6%B5%B7%EF%BC%9A%E3%80%8A%E6%B7%B1%E6%B5%B7%E8%BF%B7%E8%88%AA%E3%80%8B%E6%B8%B8%E6%88%8F%E7%9A%84%E6%8A%80%E6%9C%AF%E5%88%86%E6%9E%90/

McNinch, S. (2021) ‘Subtle narrative in Subnautica’. LinkedIn. Available at: https://www.linkedin.com/pulse/subtle-narrative-subnautica-stefan-mcninch/

OutsideYourHeaven. (2019) ‘The brilliant narrative design of Subnautica’. OutsideYourHeaven. Available at: https://outsideyourheaven.blogspot.com/2019/01/the-brilliant-narrative-design-of.html

PC Gamer. (2018) ‘Subnautica preview impressions’. PC Gamer. Available at: https://www.pcgamer.com/subnautica-preview-impressions-early-access/

Void0Media. (2021) ‘How Subnautica immerses you with its compelling narrative and gorgeous world-building’. Void0Media. Available at: https://void0media.com/how-subnautica-immerses-you-with-its-compelling-narrative-and-gorgeous-world-building/

Fandom. (2021) ‘Storyline’. Subnautica Wiki. Available at: https://subnautica.fandom.com/wiki/Storyline

New Prairie Press. (2019) ‘Subnautica: Exploring the depth of survival’. New Prairie Press. Available at: https://newprairiepress.org/cgi/viewcontent.cgi?article=1927&context=sttcl

DIVA Portal. (2022) Subnautica: An analysis of narrative agency. DIVA Portal. Available at: https://www.diva-portal.org/smash/get/diva2:1766186/FULLTEXT01

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ACADEMIC BLOG#3

Semiotics in It Takes Two: Symbols, Meanings, and Game Mechanics

It Takes Two, developed by Hazelight Studios and directed by Josef Fares, is a co-op adventure that beautifully combines storytelling and gameplay to explore the complexities of relationships. With symbolism at its core, the game incorporates semiotic elements that reinforce its narrative, compelling players to reflect on relationships, conflict resolution, and mutual understanding. This blog examines how semiotics is woven into It Takes Two to deliver both meaningful gameplay and an emotionally resonant narrative.

Symbols in It Takes Two

In It Takes Two, every level, object, and character is steeped in symbolic meaning. The story centers on Cody and May, a couple navigating a potential divorce who are transformed into miniature, doll-like versions of themselves. The game's visual symbols are essential in portraying their internal struggles, providing visual metaphors for emotions like resentment, disappointment, and nostalgia. The couple’s adventures bring them through levels that represent different aspects of their shared life, from a clock tower that reflects the passage of time in their relationship to a dusty attic full of forgotten memories.

As the couple journeys through these symbolic worlds, they encounter various characters, such as talking tools, animals, and household objects that serve as metaphors. These elements subtly highlight Cody and May’s relational challenges, inviting players to explore their own interpretations. By engaging with symbolic representations of issues like time management, self-care, and communication, players are encouraged to recognize the impact of these dynamics on their own relationships.

Meaning and Story Behind the Symbols

In semiotics, symbols are not merely objects but carriers of deeper meanings. It Takes Two uses these symbols to personify Cody and May’s relationship issues, allowing players to experience their struggles firsthand (Hans Pub, 2021). In one notable sequence, a vacuum cleaner stands as a metaphor for unresolved anger and discarded responsibilities, while the garden sequence symbolizes growth and nurturing, both critical aspects for a healthy partnership. The level design and character encounters force the couple to acknowledge and address these issues together, serving as a metaphor for the real-life conflicts that require mutual understanding and cooperation to resolve.

According to theories in game semiotics, these symbols act as “semiotic resources,” inviting players to extract meanings that contribute to a deeper narrative experience (Baidu Baike, n.d.). Each symbol within the game offers players a narrative “tool” for interpreting the couple’s story. Players, therefore, become both participants and observers, engaging in a narrative structure that invites them to consider the emotional and psychological landscapes behind everyday items. This approach aligns well with the semiotic emphasis on the ways symbols can convey complex, often hidden meanings.

Integrating Symbols into Gameplay Mechanics

One of It Takes Two’s most innovative achievements lies in its seamless integration of symbolism into gameplay mechanics. The game is built around cooperative mechanics that require Cody and May to collaborate to progress. This cooperative element is symbolic of the communication and teamwork necessary for successful relationships (Sohu, 2020). Each character is given unique abilities tailored to the level's themes, reflecting how relationships require individuals to bring their unique strengths and perspectives to overcome shared challenges.

Josef Fares, the game’s creator, has described his goal to “redefine” game mechanics by intertwining them with thematic depth, aiming for a truly interactive experience that compels players to think critically about relationships (GameSpot, 2021). For example, in the clock tower level, Cody and May must synchronize their actions, with Cody controlling time and May altering objects within that temporal framework. This mechanic represents their need to synchronize their schedules and priorities, encapsulating the symbolic power of timing and compromise in relationships. This fusion of mechanics and symbolism enhances player immersion, transforming abstract concepts into concrete, interactive experiences.

Immediacy and Believability in Symbolism

The symbolic elements of It Takes Two are not arbitrary but are deeply integrated into the fabric of the game world, providing an authentic experience that reinforces the immediacy and believability of Cody and May’s journey. Each setting feels grounded in their past, as though the challenges they face in these dreamlike worlds stem directly from the realities they have overlooked or dismissed in their daily lives. This grounding in relatable symbolism adds to the game’s emotional weight, prompting players to draw connections between the fictional journey of Cody and May and their own relational challenges (Tencent News, 2022).

Conclusion

It Takes Two stands as a profound example of how video games can employ semiotics to offer immersive, meaningful storytelling. Through its use of symbols, narrative depth, and cooperative mechanics, the game encourages players to reflect on the challenges of maintaining relationships and the necessity of teamwork and empathy. By embedding symbols within its mechanics and narrative structure, It Takes Two becomes more than a game—it is an exploration of partnership, self-reflection, and the power of collaboration. This layered, semiotic approach demonstrates the potential for games to transcend entertainment, offering players a space to explore and reflect on the intricacies of human connection.

References

Hans Pub. (2021) ‘An exploration of semiotics in video games’. Hans Pub. Available at: https://www.hanspub.org/journal/paperinformation?paperid=89651

Baidu Baike. (n.d.) ‘Game semiotics’. Baidu Baike. Available at: https://baike.baidu.com/item/%E6%B8%B8%E6%88%8F%E7%AC%A6%E5%8F%B7%E5%AD%A6/18816069

Tencent News. (2022) ‘Symbolic representations in games: Analyzing the meaning within It Takes Two’. Tencent News, 20 April. Available at: https://news.qq.com/rain/a/20220420A0AO6U00

Sohu. (2020) ‘Exploring the semiotics of games: Narrative and meaning in interactive media’. Sohu, 27 November. Available at: https://www.sohu.com/a/433880360_258583

GameSpot. (2021) ‘It takes two and the relentless positivity of Josef Fares’. GameSpot, 9 December. Available at: https://www.gamespot.com/articles/it-takes-two-and-the-relentless-positivity-of-josef-fares/1100-6485340/

IGN. (2021) ‘It takes two could take 15 hours to complete and should win a world record for mechanics, says Josef Fares’. IGN, 29 March. Available at: https://www.ign.com/articles/it-takes-two-could-take-15-hours-to-complete-and-should-win-a-world-record-for-mechanics-says-josef-fares

[moyra-moyu]

Concept Art- Light and Shadow#2

One of the unexpected joys of this project came from the feedback I received in class. Several people admired my initial sketch for its atmosphere, which I loved too. But, as the project theme was “light and shadow,” I knew I had to move beyond the simplicity of the first draft. Neal, my tutor, provided a crucial observation: although my scene had plenty of light, it lacked depth in the shadows. He suggested balancing the light-to-shadow ratio to 1:1, which I tried, but even then, I felt the shadow wasn’t substantial enough.

Revisiting the composition, I realized part of the problem lay in the structure of the buildings themselves. Originally, I saw the buildings as simple rectangular forms. But studying references and sketching further taught me that real architecture has countless layers, shapes, and textures, all of which affect how shadows form. If I could start again, I’d focus on diversifying the buildings’ shapes from the sketch phase, creating a more complex base that would naturally incorporate shadows and depth.

This feedback-driven adjustment taught me the importance of structure and foundational choices in concept art. By layering detail, both in light and in shadow, I’ve learned to see cityscapes not as static backdrops but as dynamic, living environments where light and shadow are in constant play. This project pushed me to explore my limitations and opened my eyes to the intricate possibilities in architectural detail. It has been a valuable experience, and I look forward to applying more environmental artworks.

References:

[moyra-moyu]

Concept Art- Light and Shadow#1

The theme of “light and shadow” sounded straightforward at first, but starting this project proved more challenging than I anticipated. Without a clear idea, I began with simple sketches and black-and-white compositions, hoping that something would click. Midway, however, I realized my early drafts missed a critical element: shadows. Without shadows, the pieces felt flat and lifeless, which made me reconsider my approach.

So, I turned to references, diving deep into how a single light source could dramatically transform a scene. Inspired by this, I created a new composition—a cityscape scene featuring tall, modern high-rises illuminated by a glowing ring. In my vision, this ring is a portal to another world, radiating a serene, mysterious energy that contrasts beautifully with the darkness around it. My goal was to create a calm yet enigmatic atmosphere, where light and shadow would blend to pull viewers into a quiet, o

Working on the architecture itself was a challenge, as it was my first time depicting modern city buildings in this level of detail. Initially, I hoped textured brushes would simplify things, but I quickly realized they couldn’t add the logical, precise structure that buildings require. In the end, I hand-drew most of the architectural details, learning through trial and error how light interacts with different elements

This project has taught me so much about contrast and atmosphere in concept art. While I faced obstacles, it was rewarding to see how the single light source could reshape an entire scene, giving depth and mood to the quiet, mysterious cityscape I had envisioned.

References:

[moyra-moyu]

ACADEMIC BLOG#2

The Outlast Series: A Synthesis of Experiential Realism and Game Mechanics in Horror

The Outlast series stands as a groundbreaking work within the horror gaming genre, combining experiential realism, immersive mechanics, and transmedia elements to offer players a profound psychological experience. Developed by Red Barrels, the Outlast games not only challenge players’ reflexes and resilience but also delve into deeper themes of helplessness and dread through innovative design. This article examines how the Outlast series achieves a uniquely immersive horror experience by blending gameplay mechanics with transmedia storytelling and experiential realism, creating an unforgettable impact on players.

Game Overview

The Outlast series, with its unique premise of "survival without defense," immerses players in environments where they lack weapons and must rely on evasion and strategy to survive. The primary tool—a night-vision camera—adds a distinct layer of vulnerability, enhancing the psychological horror by forcing players to confront their fears without the possibility of fighting back. According to Eurogamer (2013), this design fosters a sense of “constant psychological pressure,” as players are forced to become part of a nightmare they can neither control nor resist. This immersive setup intensifies the player’s connection to the environment, making them an active participant in the narrative rather than a passive observer.

Game Mechanics

The Outlast games’ minimalist approach to mechanics—where combat is entirely absent—encourages players to prioritize stealth, speed, and careful planning. The "fight-or-flight" response becomes central to the experience, with players’ decisions impacting their survival at every step. This reliance on non-violent survival strategies aligns with the theory of "extreme helplessness," in which the removal of offensive capabilities heightens psychological tension and increases immersion (Debategraph, n.d.). As players attempt to navigate deadly scenarios with no tools beyond agility and awareness, they become increasingly aware of their own vulnerability, resulting in a state of “experiential fear” that transcends typical horror gameplay.

Experiential Realism

The Outlast series is a benchmark for experiential realism within horror gaming, thanks to its meticulous attention to environmental detail and atmospheric sound design. From the grim, dimly lit corridors of an asylum to the isolated religious communes, every detail is crafted to amplify feelings of anxiety and foreboding. Intellect Discover (2012) describes experiential realism as the design philosophy that “evokes real psychological responses in players, intensifying their emotional engagement.” In Outlast, details such as lighting, spatial layout, and sound manipulation create an oppressive, immersive experience. The night-vision function of the camera, for example, limits visibility and forces players to perceive danger within confined views, making each scene a potent source of terror.

Transmedia Elements

The Outlast series also employs transmedia storytelling to deepen its immersive experience. Using multiple media forms—video recordings, notes, and other textual artifacts—the games layer complex narratives that require players to actively piece together the storyline. This use of transmedia encourages exploration and engagement as players gather documents, listen to recordings, and record moments of horror through the camera lens. As Eurogamer (2013) notes, the integration of various media adds a “multidimensional narrative that enriches the horror experience,” making Outlast more than just a visual and auditory journey but a profound storytelling experience as well.

Immediacy and Believability

The Outlast series situates itself within plausible settings and themes, ranging from the moral ambiguities of medical experimentation to religious extremism. This rootedness in real-world horrors and psychological fears strengthens the games' “immediacy and believability,” as players can identify disturbing parallels between the fictional world of Outlast and actual societal issues (Intellect Discover, 2012). In Outlast 2, the exploration of themes such as fanatical religious beliefs amplifies the horror by connecting players to fears embedded within cultural narratives, thereby creating a “psychological resonance” that lingers long after the game has ended (Bloody Disgusting, 2021).

Conclusion

The Outlast series stands as a remarkable integration of experiential realism, psychological tension, and innovative gameplay mechanics. By synthesizing transmedia storytelling with immersive environments and challenging game mechanics, the series not only provides a terrifying gameplay experience but also fosters deep emotional engagement with its players. Through these layers of design and storytelling, Outlast has redefined the potential of horror games to provoke psychological responses that extend beyond the virtual world.

References

Bloody Disgusting. (2021) ‘Exclusive: Red Barrels confirms Outlast 2’. Bloody Disgusting, 26 January. Available at: https://bloody-disgusting.com/news/3318564/exclusive-red-barrels-confirms-outlast-2/

Debategraph. (n.d.) ‘Outlast and the theory of extreme helplessness’. Debategraph. Available at: https://debategraph.org/Details.aspx?nid=3934

Eurogamer. (2013) ‘Outlast review’. Eurogamer, 5 September. Available at: https://web.archive.org/web/20130908102709/http://www.eurogamer.net/articles/2013-09-05-outlast-review

Game Informer. (2013) ‘Red Barrels delivers an endurance test in terror’. Game Informer, 6 September. Available at: https://web.archive.org/web/20130909222509/http://www.gameinformer.com/games/outlast/b/pc/archive/2013/09/06/red-barrels-delivers-an-endurance-test-in-terror.aspx

GameSpot. (2013) ‘Outlast review’. GameSpot, 9 September. Available at: https://web.archive.org/web/20130909063325/http://www.gamespot.com/outlast/reviews/outlast-review-6413987/

IGN. (2013) ‘Outlast review’. IGN, 4 September. Available at: https://web.archive.org/web/20130910051125/http://www.ign.com/articles/2013/09/04/outlast-review

Intellect Discover. (2012) Media, visual culture and representation, vol. 5, no. 1. Intellect.

[moyra-moyu]

Concept Art - Nostalgia and Memory#2

In the second stage of creation, I thought that it was not enough to just create a scene, I needed to explain the meaning of the concept to people, so I created another more complete image, I spent a lot of time perfecting it, I wanted to make it as atmospheric as possible, for me, I wanted more readers to understand the Chinese Lantern Festival and culture.

I drew a lot of people in this picture, they all walked in this corridor, the corridor leads to the mountain, there are many pavilions in the style of ancient Chinese architecture on the mountain for people to rest, people spend quality time with their families here, here trying to reach the lanterns flying from the sky. Similarly, the lantern is also a symbol of people's yearning for a better life in traditional Chinese culture, and the lantern is an important part of Chinese New Year culture. Therefore, my work hopes to convey not only the traditional Chinese folk art, but also the fireworks in my memory.

I also drew a concept map, the little girl in the picture received a lantern falling from the sky, which can be regarded as a compensation for my regret that I couldn't get a kite when I was a child, which also corresponds to the beautiful picture of family reunion and Lantern Festival together in the second picture.

Reference:

[moyra-moyu]

Concept Art - Nostalgia and Memory#1

The theme of this work is nostalgia and memory, I remember a lot of things when I was a child, but unfortunately, most of the things in my memory are sad and sad, I wanted to change the theme, at first, I thought that when I was in elementary school, I once created a fantasy creature with my friends, just like Bing Bong, a fantasy creature in Inside Out.

But I didn't go deeper, I recalled that when I was a child, every time I had the Lantern Festival, part of my annual income would be used to create a gorgeous fireworks show in my community. It was the most beautiful fireworks I can remember, and the brilliant sparks stretched across the sky, enduring and colorful. The whole fireworks show will last for thirty or forty minutes, and I remember that the finale fireworks will explode, and then the folded lanterns inside the fireworks will open and fall from the sky, and they will flutter and fall in the air like stars in the sky. When I was younger, I really wanted a lantern like that, and I thought it would bring me good luck for the year.

So I created this concept based on this memory, and I wanted it to be as beautiful and memorable as the last way the protagonist in CoCo to meet his loved ones, shining in the night. I have referred to a lot of pictures and styles of Chinese lanterns, and in my mind, the crowd walking on a covered bridge full of lanterns is like walking on a bridge back to the past, it should be colorful, beautiful, and pleasant, and I want to bring good feelings to my audience.

These are the references I was looking for.

Club Penguin Wiki contributors. (n.d.). Bing Bong.https://clu.fandom.com/wiki/Bing_Bong

Wikipedia contributors. (n.d.). Coco (2017 film). Wikipedia. Retrieved October 17, 2024, from https://en.wikipedia.org/wiki/Coco_(2017_film)

Wikipedia contributors. (n.d.). Inside Out (2015 film). Wikipedia. Retrieved October 17, 2024, from https://en.wikipedia.org/wiki/Inside_Out_(2015_film)

[moyra-moyu]

ACADAMIC BLOG#1

The perfect combination of art and culture - Isaac's Combination 

 As we all know, a roguelike (or rogue-like) is a role-playing game that has traditionally featured dungeon exploration through procedurally generated levels, turn-based gameplay, grid-based movement, and the permanent death of the player character. 

The Binding of Isaac is a roguelike game with great depth, not only praised for its complex gameplay and randomly generated mechanics, but also for providing players with an immersive experience through a unique art style, narrative techniques, and cultural metaphors. This game is not only ingenious in game design, but also achieves a high degree of integration in cultural and artistic connotations. Here are a few important ways to explore how The Combination of Isaac has become a classic of art and culture. 

Excellent level setting

The ingenuity of Isaac's Binding level design lies in its high degree of randomness combined with challenging, and every time you enter the basement, the player is faced with a new map, enemy configuration, and resource distribution. This design is derived from the core elements of roguelike games, making every game an unknown adventure. The layout of the level is not just a combination of obstacles and rewards, but also a test of the player's perception and strategy. The complex map design, tense rhythm, and increasing difficulty provide players with a high level of engagement and a sense of accomplishment. 

From an artistic point of view, this level design is part of the game's narrative. The setting of maps, enemies, and traps visually and psychologically enhances the player's sense of urgency and anxiety, which echoes Isaac's storyline and emotional journey. The player is not only engaged in a game challenge, but also a symbolic struggle in the spiritual world of Isaac, escaping the oppression of reality. 

Anti-religious Cultural Background

The Binding of Isaac stands out for its bold religious metaphors and satirical cultural background. The game's central storyline revolves around a religious extremist mother's attempt to "sacrifice" Isaac, reflecting the violence and oppression that extreme religious beliefs can bring. The game is filled with biblical symbols, religious rituals, and mythological elements, giving it a deeply reflective nature. In the plot, Isaac, a four-year-old child living in a traditional Christian Puritan family, is convicted of his parents' divorce, so he hides in his toy box and enters a fantasy world, imagining himself as a biblical character: Cain, Eve, Samson, etc., fighting the demons in his heart. In the main story, Isaac's mother, like Abraham in the Old Testament, tries to sacrifice Isaac to prove her faithfulness, and in this context, the player is not only controlling the character to fight monsters, but also participating in a metaphorical discussion of religious fanaticism, sin, and redemption. 

This anti-religious cultural background adds ideological depth to the game. It reveals the complex human psychology of authority, faith, and salvation, combined with the critical thinking of religion in modern society. After Isaac defeats his mother's heart more than ten times, the player discovers that a mother's heart has become a child, and this is Isaac himself, who has been battling his own spirit. Through its unique visual presentation and storytelling, the game creates a rebellious atmosphere that invites players to reflect on the role of religion in individuals and societies during the game. 

Rich gameplay and props

The Binding of Isaac" is known for its extremely diverse gameplay and prop system. Every item, ability, and enemy in the game has been carefully designed to allow players to tackle the challenges in the game through different combinations and strategies. Isaac's monsters include slimy pieces of flesh, strangely human-like spiders, giant dung, demons, angels, and more, all of which have more or less meanings and metaphors behind them. More than 700 items and cosmetic items make every experience unique, and these items and abilities are not only functional, but also often metaphorical and symbolic. For example, the "Sacred Heart" item in the game increases Isaac's attack power while giving the bullet a sacred shape, a metaphor for the combination of religious salvation and power. Props such as "drying racks" and "belts" increase Isaac's movement speed and tear rate, which is a metaphor for Isaac's experience of domestic violence. 

The diversity of this gameplay is not only a technical innovation, but also makes the game have a high replayability. It encourages players to constantly explore new possibilities and create their own unique gaming experience through different combinations of items. Behind each prop and gameplay is an artistic design philosophy, which not only strengthens the player's sense of participation, but also gradually splices the fragmented plot between the props and levels to create a complete story, which also gives the game a profound cultural and ideological connotation. 

Summary

The Binding of Isaac has become a roguelike game that perfectly integrates art and culture through its exquisite level design, profound anti-religious cultural background, and rich gameplay and prop system. In the game, the boundaries between art and culture are blurred, and players are not only playing a game, but also experiencing a cultural reflection and psychological exploration. "The Binding of Isaac" is not just an entertainment work, it is also an artistic cultural work that inspires players to think deeply about game design, cultural background, and the human spiritual world. 

In the academic discussion, we can see that it is a work that goes beyond the traditional game framework, which is worthy of in-depth study and analysis. Through a combination of game design, cultural critique, and narrative techniques, The Binding of Isaac offers a unique narrative and artistic experience that proves that games are not just entertainment mediums, but part of modern cultural expression. 

References

Game Informer. (2011) ‘Equal parts gross, disturbing, and fun: The Binding of Isaac’. Web Archive, 3 October. Available at: https://web.archive.org/web/20111005094818/http://www.gameinfo.com/games/the_binding_of_isaac/b/pc/archive/2011/10/03/equal-parts-gros-disturbing-and-fun.aspx

IGN. (2011) ‘The Binding of Isaac review’. Web Archive, 7 October. Retrieved 13 October 2011. Available at: https://web.archive.org/web/20111013174314/http://pc.ign.com/articles/119/1199423p1.html

Wikipedia contributors. (n.d.) ‘Roguelike’. Wikipedia. Retrieved 17 October 2024. Available at: https://en.wikipedia.org/wiki/Roguelike

Wikipedia contributors. (n.d.) ‘The Binding of Isaac (video game)’. Wikipedia. Retrieved 17 October 2024. Available at: https://en.wikipedia.org/wiki/The_Binding_of_Isaac_(video_game)

Next Gen. (2011) ‘The Binding of Isaac review’. Web Archive, 5 October. Retrieved 8 October 2011. Available at: https://web.archive.org/web/20111008084139/http://www.next-gen.biz/reviews/binding-isaac-review

Donovan, I. & Hill, C. (2023) ‘Best roguelike and roguelite games to test your endurance’. GamesRadar, 16 August. Available at: https://www.gamesradar.com/best-roguelikes-roguelites/

[moyra-moyu]

HUMAN AND INHUMAN CONCEPT ART DESIGN#2

I created a total of 13 silhouettes, most of which were mechanical, and I was too concerned with the details of the shape and construction at the beginning, and the creative process was a bit restrictive. When I started creating monsters, I also felt that my modeling ability was lacking.

I didn't feel relaxed and happy until the last three characters, which seemed more reasonable and pleasing to the eye than the previous works.

Then I picked three of them for color division and further in-depth, I tried not to think about the deeper meaning, just let myself think about how to make their shapes more interesting and unique.

For the first role, I tried to replace the dreadlocks with wires, and at the same time echoed the hair with the wire elements of the left arm. The clumsy shape of the right arm is also a contrast, and the lower body is exactly the same as that of a human.

I really like the one in the middle of these three characters, it is combined with the shape of a hammerhead shark and the human body, it has a slender body and fin-like arms, and at the same time the ribs are turned out, and the sharp edges can give it some sense of danger, I think it is very unique and creative.

For the third character, I referenced some wide-hat dress shapes, I tried to make this character both elegant and dangerous, so I added a lot of sharp corners to it, and at the same time, the barrel of the right arm was designed to resemble an umbrella, and some wires were added to the brim to add a sense of technology.

[moyra-moyu]

HUMAN AND INHUMAN CONCEPT ART DESIGN#1

The theme of this concept art assignment is human and non-human, and when it comes to humans and non-humans, the first thing that comes to my mind is machines and humans, and I once did a board game called "War of Faith" in my previous portfolio, which was about the war between mutants and robots, which was a very valuable creative experience for me, so I decided to start with the theme of machines and people, creatures and people.

I refer to some Gundam models for reference, This became one of the inspirations for me to design silhouettes in the first place.

There are many different directions in the combination of machines and humans, some of them are combative, some are functional, some look dangerous and weird, and some look sacred and tall.Through different shape languages, they can reflect different impressions and shapes.

Later I decided to design some creatures that combine humans with other species, such as snakes, plants, insects, etc.

I also referred to some of the designs of the Alien, and I found that the bizarre body proportions were the key to designing inhuman characters.

When creatures and people are the same but do not conform to common sense, it will cause people to have an uncanny valley effect, so I consciously keep the "human" part of the character, which I think can allow the character to establish some kind of connection with the viewer.

In addition, I find it a bit difficult for me to design monsters from the silhouette type alone, probably because I am not relaxed enough to enter the state of design, and it may also be because it is difficult for me to imagine and create things outside of my own cognition, I think I should find more references and practice.

[moyra-moyu]

An emotional concept art design#3

I received feedback from my classmates and mentors in both my major courses and tutoring sessions. I combined the features of three design drafts and made improvements on the basis of the final version. I aimed to make its silhouette closer to the shape of a deer, resulting in this final design. I deformed the fingers to make the hand shape more slender and bizarre, hoping to increase the sense of fear this creature evokes.

I also created a conceptual atmosphere drawing to depict the fearful and oppressive atmosphere when this creature appears.During this period, I referred to these websites.

I referenced the work of conceptual artist Dawid Planeta and tried to create a similar atmosphere for my creatures.

The shape of this monster deer also inspired me, but my work and the concept it conveys are not quite the same.

I have also created a rough 3D model of this creature, but due to time constraints, many details and textures have not yet been sculpted. However, I will continue to work on this piece to the best of my ability in the future.

[moyra-moyu]

An emotional concept art design#2

This is the second stage of my creation, and it is also a stage of relative confusion. In the first stage, I showed some friends and asked them how they felt, and I was lost. I felt that the work at this time was not perfect and reasonable, especially the huge eyeballs and slender hands that made this monster look fragile, and this was not the feeling I wanted to present. I wanted to feel desperate and powerful, and this monster shouldn't seem like it's easy to break. So I started the second edition of the design.

I am still fascinated by the elements of the hands, the thin skin, the protruding bones, the perverted shapes, like a dried corpse between death and living things. I've been thinking about how I can express my emotions and feelings, especially anxiety. One day, after finishing painting, I gradually fell asleep, and in a daze, I kept thinking about the form of the work, and I saw a flower, the petals were arms and open palms, and the stamen was a bloodshot eyeball. I struggled to wake up and jotted down the key words: flowers, arms, eyeballs.

So the next day I designed a second version of the monster, I tried to reproduce the image in my mind, first of all, my modeling ability was greatly challenged, and secondly, it did not achieve the desired effect.

I'm back to square one, how to combine the elements of the hand and the eyeball tightly and harmoniously? I decided to keep it simple and put my hands across in a prayer pattern, with a cavity just enough to serve as an eye socket, so I designed this plant-like monster. Beneath the soil is the corpse it feeds on, and at the same time its roots.

[moyra-moyu]

An emotional concept art design#1

Concept Keywords: Anxiety, Fear, Monster, Grotesque.

The inspiration for this concept originated from my personal emotions. This work is a manifestation of my inner feelings. As a student who has just arrived in the UK, I am filled with tension and anxiety about this unfamiliar country. The overwhelming amount of information from various channels only added to my stress, and being a highly sensitive and delicate person, my personality undoubtedly magnified all of this. However, after meeting with my professor Leo, these feelings eased. He encouraged us to relax and express what we wanted to convey. I realized that this exercise was merely a way for the professor to better understand us. Eventually, I decided to create this concept to express myself.

The original concept was a skeletal, towering monster holding an eyeball. It constantly stares at you, evoking suffocation and fear, representing self-examination. The many hands symbolize the pressure I place on myself. The deformed design is intended to resonate with emotions and memories.

Here are some of the references I’ve gathered:

I chose this concept design work as a reference because my original vision is the hand and the eyes, the hands represent squeezing, pushing, and pressure, and the eyes represent gaze, anxiety, and fear, so I searched a series of hand-related labels and chose the works that I thought were worthy of reference and close to the atmosphere.

This work made me feel the same pressure and tearing force, it was contagious and emotional, and I clearly felt the pain, which is also what I want to refer to in my work.

I also referred to some alien concept design shapes, and I think its skinny and weird image is also an important reference for designing monster characters.

I’ve also been inspired by the image of monks who reach enlightenment through self-mortification:

Again, this is to create a sense of fear and discomfort, and I try to incorporate this image and element into my work to establish a connection between humans and monsters.