Thursday, 30 December 2010
Tuesday, 21 December 2010
Saturday, 18 December 2010
Thursday, 16 December 2010
Wednesday, 15 December 2010
Thursday, 25 November 2010
Wednesday, 24 November 2010
more thoughts
for my honours project to make any sense
I need a story outline that breaks away from virtue v vice (any disney story, so that's not too hard to deviate from)
but I also need to create an antagonist with enough depth that it can actually stir the viewers emotion
think Hitler from Downfall, Lotso from toy story 3
there needs to be an essence of moral ambiguity
hannibal lectar, joker in The Killing Joke, etc
harvey dent
from Dark Knight
I need a story outline that breaks away from virtue v vice (any disney story, so that's not too hard to deviate from)
but I also need to create an antagonist with enough depth that it can actually stir the viewers emotion
think Hitler from Downfall, Lotso from toy story 3
there needs to be an essence of moral ambiguity
hannibal lectar, joker in The Killing Joke, etc
harvey dent
from Dark Knight
An archetypal thought process
Currently a dumping ground for ideas, sorry if this all appears incoherent.
Effect villain archetypes are as broad as the day is long. Finding a good villain ultimately depends on the context of the story and the nature of the hero.
For example, Professor Moriarty wouldn't exactly make a brilliant sith lord, but he WOULD make an amazing Imperial Commander.
Vader would cut Holmes up like butter.
A villain is just as, if not more, human and relateable than a protagonist. If a hero were without a villain, he would cease to exist. However if a Villain existed without a hero, the context of their existence would manifest a hero from the people. Ergo the sheer existence and distrubtion a villain brings is paramount to most stories.
The male messiah archetype accepts the call to adventure to face and defeat the ultimate challenge. This story arc is manifested in very many different forms. (STAR WARS, LION KING, PROMETHEUS, MYTHOLOGY, RELIGION)
(THE HERO'S JOURNEY.)
I really, ideally, want more than two characters here. I think having more than two, or at least stylistic variations or different interperitations, is very important in terms of my honours project. Therefore, I have started thinking about effective archetypes that would gel well with one another.
THE SHADOW
Embodiment of fears, repressed psyche. Immediate self projection between protagonist, and perhaps audience. If the audience can empathise with the hero AT ALL they should easily identify with The Shadow.
THE DRAGON
The beast that must be slain before it's master can be fought. Typically not a dragon, but a great physical hurdle must be crossed by the hero; gargantuant risk.
THE ANTI-HERO (ambiguous role)
generally considered to be a protagonist whose character is at least in some regards conspicuously contrary to that of the hero, and is in some instances its antithesis. Some consider the word's meaning to be sufficiently broad as to additionally encompass the antagonist, who (in contrast to the archetypal villain), elicits considerable sympathy or admiration.
MALE MESSIAH OR FEMALE MESSIAH?
The sex of the protagonist is important at least in identifying the nature of their journey. Typically the male messiah (Luke Skywalker) preaches and shows the way to enlightment, or better being, whereas the female IS it.
What does the antagonist represent? The greatest struggle, but yet have character and depth. The viewer should project the self.
Virtue vs Vice is something long overused.
The hero's self discovery should not overshadow any aspect of this project. Their call to adventure should be something as simple as being conscripted to a fighting force, decorated war hero, freedom fighter etc. (If it needs to be defined at all.)
Against the Messiah, the appropriate enemy archetypes should be exploring The Shadow, the physical embodiment of the fears and repressed psyche of the hero.
For Every Blinding Light There is an Impenetrable Shadow
Effect villain archetypes are as broad as the day is long. Finding a good villain ultimately depends on the context of the story and the nature of the hero.
For example, Professor Moriarty wouldn't exactly make a brilliant sith lord, but he WOULD make an amazing Imperial Commander.
Vader would cut Holmes up like butter.
A villain is just as, if not more, human and relateable than a protagonist. If a hero were without a villain, he would cease to exist. However if a Villain existed without a hero, the context of their existence would manifest a hero from the people. Ergo the sheer existence and distrubtion a villain brings is paramount to most stories.
The male messiah archetype accepts the call to adventure to face and defeat the ultimate challenge. This story arc is manifested in very many different forms. (STAR WARS, LION KING, PROMETHEUS, MYTHOLOGY, RELIGION)
(THE HERO'S JOURNEY.)
I really, ideally, want more than two characters here. I think having more than two, or at least stylistic variations or different interperitations, is very important in terms of my honours project. Therefore, I have started thinking about effective archetypes that would gel well with one another.
THE SHADOW
Embodiment of fears, repressed psyche. Immediate self projection between protagonist, and perhaps audience. If the audience can empathise with the hero AT ALL they should easily identify with The Shadow.
THE DRAGON
The beast that must be slain before it's master can be fought. Typically not a dragon, but a great physical hurdle must be crossed by the hero; gargantuant risk.
THE ANTI-HERO (ambiguous role)
generally considered to be a protagonist whose character is at least in some regards conspicuously contrary to that of the hero, and is in some instances its antithesis. Some consider the word's meaning to be sufficiently broad as to additionally encompass the antagonist, who (in contrast to the archetypal villain), elicits considerable sympathy or admiration.
MALE MESSIAH OR FEMALE MESSIAH?
The sex of the protagonist is important at least in identifying the nature of their journey. Typically the male messiah (Luke Skywalker) preaches and shows the way to enlightment, or better being, whereas the female IS it.
What does the antagonist represent? The greatest struggle, but yet have character and depth. The viewer should project the self.
Virtue vs Vice is something long overused.
The hero's self discovery should not overshadow any aspect of this project. Their call to adventure should be something as simple as being conscripted to a fighting force, decorated war hero, freedom fighter etc. (If it needs to be defined at all.)
Against the Messiah, the appropriate enemy archetypes should be exploring The Shadow, the physical embodiment of the fears and repressed psyche of the hero.
Tuesday, 16 November 2010
Honours Project - AIMS/OBJ
AIM
¡“What considerations in terms of context and design are required to create a successful antagonist for the contemporary audience?”
OBJECTIVES
¡
¡1 – Research/discuss the importance & use of successful/unsuccessful antagonist within media
¡2- Research/discuss storytelling & characterisation techniques that can be used to forge a strong antagonist
¡3-Research and highlight preliminary steps that should be considered before design development
¡4-Research and incorporate character design and development techniques into own practice
¡5-Create story outline & high quality array of character designs developed around complimentary archetypes and other discovered characterisation techniques. (Photoshop/Zbrush)
Monday, 15 November 2010
Saturday, 13 November 2010
Zbrush Joker
Wednesday, 3 November 2010
Aims/Objs
WIP
"Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph."(R. Ebert, 1982)
"When we're teaching children morality, we tell them tales of virtue and self-sacrifice where -- virtually always -- the person who was virtuous and self-sacrificing ends up better off materially in the end the person who is greedy and grasping. Whatever sacrifice the protagonist makes, whatever goal is not pursued due to moral qualms, is more than compensated in the end. The good guy refuses to cheat but wins the fight. Cinderella gets the prince. Virtue pays -- in golden coin!
"Now maybe it's true that virtue pays better than vice in the long run -- that there's something paradoxically self-defeating about greed and something paradoxically profitable in self-sacrifice"
"Why is it so rare (except in the most subtle adult literature and film) to portray a virtuous protagonist as losing out because of her virtue, while still conveying the message that it's a good thing to be virtuous? (Minor characters are allowed to suffer for their virtue.)"
Ever since the human race concieved the art of story telling, we forever immortalised the concept of an Antagonist; a villain, a hurdle, a plot device that the hero or central character of a story must confront. Their existance could represent something as simple as this, or something as symbolic as the personification of a human emotion, concept or fear, or the moral struggle between good and evil.
However, our storytelling techniques have no doubt developed and evolved since we told mythic tales and folklore, and in todays contemporary story telling mediums an antagonist can no longer be as two dimensional as a dragon simply guarding a spire, vanquish anyone who would try to save the princess.
Is a villain merely just a lesson of Morality, something to ward us against doing ill, or can we deviate from this path?
Antagonists can reveal themselves in many forms; personifications, contrasting and complementing character archetypes, and can easily be just as human and full of life and emotion as the central character, if not more so. There is SO much scope for an antagonist to be more than just an obstacle for a protagonist, and I hope to reveal the methodologies and factors behind creating a strong antagonist through this honours project.
Aim
"What factors must be considered to create a successful antagonist, and to what end is their design and performance paramount within contemporary story telling methods?"
Objectives
1-Research and discuss the importance and use of a strong antagonist within storytelling
1.1 - Discuss [Reflective mythology] (Archetypal origins)
1.2 Uninterrupted use throughout history; GOOD always defeats EVIL (A lesson in morality)
1.2.1 Fairytales, Myth, Religion, Fable, Folklore
1.2 examples of strong antagonists (Vader, Joker, Light, Moriarty)
2- Research and discuss fundamental story telling and characterisation techniques that can be used to forge a strong antagonist.
2.1 Archetypes and Jungian/Freudian psychoanalysis
2.2 Why do people like Bad Guys/Villains (PERSPECTIVE)
2.2 character relationship between protagonist
2.3 Self Projection/viewer relationship with antagonist
2.3 knowledge of market/audience(age, culture)
IMPORTANT TO UNDERSTAND UNDERLYING PSYCHOLOGY AND CHARACTER BEFORE DESIGN
3- Research and discuss character design and development techniques.
3.1 research character artists and their creative process
4 - Create a short animation/motion comic/high quality array of character illustrations, paying particularly close attention toward character design and story telling techniques in order to develop a successful antagonist.
"Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph."(R. Ebert, 1982)
"When we're teaching children morality, we tell them tales of virtue and self-sacrifice where -- virtually always -- the person who was virtuous and self-sacrificing ends up better off materially in the end the person who is greedy and grasping. Whatever sacrifice the protagonist makes, whatever goal is not pursued due to moral qualms, is more than compensated in the end. The good guy refuses to cheat but wins the fight. Cinderella gets the prince. Virtue pays -- in golden coin!
"Now maybe it's true that virtue pays better than vice in the long run -- that there's something paradoxically self-defeating about greed and something paradoxically profitable in self-sacrifice"
"Why is it so rare (except in the most subtle adult literature and film) to portray a virtuous protagonist as losing out because of her virtue, while still conveying the message that it's a good thing to be virtuous? (Minor characters are allowed to suffer for their virtue.)"
Ever since the human race concieved the art of story telling, we forever immortalised the concept of an Antagonist; a villain, a hurdle, a plot device that the hero or central character of a story must confront. Their existance could represent something as simple as this, or something as symbolic as the personification of a human emotion, concept or fear, or the moral struggle between good and evil.
However, our storytelling techniques have no doubt developed and evolved since we told mythic tales and folklore, and in todays contemporary story telling mediums an antagonist can no longer be as two dimensional as a dragon simply guarding a spire, vanquish anyone who would try to save the princess.
Is a villain merely just a lesson of Morality, something to ward us against doing ill, or can we deviate from this path?
Antagonists can reveal themselves in many forms; personifications, contrasting and complementing character archetypes, and can easily be just as human and full of life and emotion as the central character, if not more so. There is SO much scope for an antagonist to be more than just an obstacle for a protagonist, and I hope to reveal the methodologies and factors behind creating a strong antagonist through this honours project.
Aim
"What factors must be considered to create a successful antagonist, and to what end is their design and performance paramount within contemporary story telling methods?"
Objectives
1-Research and discuss the importance and use of a strong antagonist within storytelling
1.1 - Discuss [Reflective mythology] (Archetypal origins)
1.2 Uninterrupted use throughout history; GOOD always defeats EVIL (A lesson in morality)
1.2.1 Fairytales, Myth, Religion, Fable, Folklore
1.2 examples of strong antagonists (Vader, Joker, Light, Moriarty)
2- Research and discuss fundamental story telling and characterisation techniques that can be used to forge a strong antagonist.
2.1 Archetypes and Jungian/Freudian psychoanalysis
2.2 Why do people like Bad Guys/Villains (PERSPECTIVE)
2.2 character relationship between protagonist
2.3 Self Projection/viewer relationship with antagonist
2.3 knowledge of market/audience(age, culture)
IMPORTANT TO UNDERSTAND UNDERLYING PSYCHOLOGY AND CHARACTER BEFORE DESIGN
3- Research and discuss character design and development techniques.
3.1 research character artists and their creative process
4 - Create a short animation/motion comic/high quality array of character illustrations, paying particularly close attention toward character design and story telling techniques in order to develop a successful antagonist.
Monday, 1 November 2010
Friday, 29 October 2010
"What factors must be carefully considered to create a successful antagonist, and how important are they in the context of modern media and storytelling?"
How important is the inclusion of a strong antagonist in contemporary media and storytelling methods, and what factors must be carefully considered during their conceptualisation and creation?
How important is the inclusion of a strong antagonist in contemporary media and storytelling methods, and what factors must be carefully considered during their conceptualisation and creation?
Saturday, 23 October 2010
Inspiration - Sonata Arctica
My character studies are heavily depended upon the research of archetypes, and one of the pieces of information I first unearthed is the use of a villain in narrative; a villain emphasises the traits of a hero through contrast.
My story idea for the character archetypes of Hunter and Prey originated from this song, which was my inspiration for the story based on the Salem witchhunts.
I feel that this would be a very appropriate story to tackle, as it deals with elements such as rallying, mob and mass hysteria, the desire of self preservation and the use of fear as a weapon. I also feel it's very important for the viewer to not only relate to the protagonist, but also the antagonist. Such a story would allow me to do so; the viewer can easily relate to both characters, understanding the antagonists motives.
I am not sure, however, if making the antagonist more complex, broken character who the viewer can relate to (Think Lotso from Toy Story 3). rather than a very steriotypical evil (Think malicifent, witch in disguise)would be more effective. Personally I believe the more complex characters more rewarding, but time and research will tell.
Without further adu, Sonata Arctica - Deathaura
My story idea for the character archetypes of Hunter and Prey originated from this song, which was my inspiration for the story based on the Salem witchhunts.
I feel that this would be a very appropriate story to tackle, as it deals with elements such as rallying, mob and mass hysteria, the desire of self preservation and the use of fear as a weapon. I also feel it's very important for the viewer to not only relate to the protagonist, but also the antagonist. Such a story would allow me to do so; the viewer can easily relate to both characters, understanding the antagonists motives.
I am not sure, however, if making the antagonist more complex, broken character who the viewer can relate to (Think Lotso from Toy Story 3). rather than a very steriotypical evil (Think malicifent, witch in disguise)would be more effective. Personally I believe the more complex characters more rewarding, but time and research will tell.
Without further adu, Sonata Arctica - Deathaura
Robot - Logic
Development of a thumbnail. Playing with the expression of a cold calculating personality through a robot for one of my story ideas.
Possible Villain Archetype Template
Just doodling on photoshop; One of my possible stories revolved around a hunter/prey character conflict, heavily influenced by Arthur Millers Crucible. Whilst sketching, I though perhaps I could take a futuristic twist on the old witch hunt.
Some doodles
Just a few doodles I did over the weekend, inspired by re-exploring my favourite cartoonists, and my discovery of Donald Soffritti. I had fun exploring these styles.
I watched Toy Story 3 again; it just reiterated how absolutely perfect it was - a truly rare flawless sequel of a sequel.
Could this be a possible ending? Dun dun dun.
Brian Morrice found a dead pigeon in his fireplace. I feel this picture portrays this joyous moment perfectly.
Also, we had bugs in the flat. Andy Rennie was round when it happened. Oh the peril!
I watched Toy Story 3 again; it just reiterated how absolutely perfect it was - a truly rare flawless sequel of a sequel.Could this be a possible ending? Dun dun dun.
Brian Morrice found a dead pigeon in his fireplace. I feel this picture portrays this joyous moment perfectly.
Also, we had bugs in the flat. Andy Rennie was round when it happened. Oh the peril!
Question
"What factors and elements must be carefully considered to create a successful antagonist, and how important are they in the context of modern media and storytelling?"
Inspiration - Fallout 3
The design of the Fallout universe has always fascinated me, and has been a great influence. It's unique design and take on post apocolyptic America, heavily influenced by the 50's, has got to be the greatest take on a concept that's been done to death; this is definately one of the major aspects that breaths a flame of life into the game.
Here's a bunch of fascinating concepts from Fallout 3
Here's a bunch of fascinating concepts from Fallout 3
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