My creative Manifesto would consist of ten points
1. An idea alone is not valuable
2. Nothing is completely original, ideas aren't formed without outside influence
3. Ideas come more often from living life than brainstorming sessions
4. Team brainstorming yields more varied results
5. Work with things you know
6. Always learn new things
7. Be open-minded
8. Inspiration can come from anywhere, be on the lookout
9. EVERYONE is a creative person
10. Art is an extension of yourself, no matter the context
These ten points embody a creative persons relationship between creative work and living life. Throughout my growth as a creative individual, even over just the course of this class, is largely influenced by changes in my life and new experiences.
Creativity and Life are closely intertwined, you can't Live without Creativity and Creativity cannot exsist without Life.
Friday, March 11, 2011
Freak Factor
The article Freak Factor: Discovering Uniqueness by Flaunting Weakness, by David Rendall, talks about how weaknesses can be exploited and defeated using different techniques. I'm going to take some of his techniques and critique them on how useful and true they are.
The first suggestion I will look at is number 5: "Foundation: Build on Your Strengths." I found this part to be a bit insightful although it at first seems rather common sense. The article says that there are three basic reasons to work on your strengths. The first reason is that working on strengths feels good, its doing something you excel at to further your own capabilities. The second is that your strengths have far greater potential than your weaknesses because your are naturally adept at them and get enjoyment out of them. The final reason is that well developed strengths can make up for weaknesses, making one more well rounded as a whole. I thought this was a particularly important bit of advice because many people take their strengths for granted as if they are static abilities, when in reality we can always work to improve upon them.
The second is number 6: "Focus: You Can't Do Both." The main point of this suggestion is that you can either work toward improving your strengths or weaknesses but trying to both at the same time will likely not have good results. When Rendall asks his students if they would work on their strengths, weaknesses or both, the usual response is both. It seems like not a bad idea, improving on what you're good at, while working on your weaknesses. But the fact of the matter is that working on your strengths and weaknesses is not easy, most people hardly have the time or energy to successfully improve on one, let alone both. Not only are personal resources too low to work on strengths and shortcomings simultaneously, but doing so also inhibits the advancement of either. When focusing on some skills, others being worked on recieve less time and dedication. Ideally one would want to work on a single strength or a single weakness at once, thereby giving appropriate time and attention to their work.
The final suggesting I am critiquing is number 8: "Freak: The Power of Uniqueness." This part uses the leaning tower of Pisa as an example of how freakish characteristics, what makes each person unique, is often their greatest asset. The original architects of the tower tried fruitlessly to fix its lean. But the "leaning" quality of the leaning tower of Pisa is its main draw, ultimately what was once seen as a flaw has now become the cornerstone of the Pisa tourism industry. Rendall says we can learn five things from the leaning tower of Pisa that can applied to utilizing our own "Freak" qualities. People come to see the tower because of its flaw, like the tower our flaws can be our greatest resource. People tried to fix its tilt even tho that it has become a positive characteristic now, sometimes the "weaknesses" we try to fix could one day become our most useful trait. Efforts to fix major flaws often fail. It is often worth it to preserve the flaw just as it can be to develop ours. And people will say that your own personal "tilt" should be fixed, when in reality it can be a good thing to maintain.
I have found that my personal strengths are my ability to gauge how long work takes me, my dedication to my work and my ability to look at many sides of the same problem. I have used these skills in my creative work in order to work on projects effectively and take many unique perspectives of my work. My weaknesses would have to be collaboration and communication. I don't mind working with other creative individuals, but when our styles aren't compatible I often have trouble conveying my ideas on the project and working together in harmony.
The first suggestion I will look at is number 5: "Foundation: Build on Your Strengths." I found this part to be a bit insightful although it at first seems rather common sense. The article says that there are three basic reasons to work on your strengths. The first reason is that working on strengths feels good, its doing something you excel at to further your own capabilities. The second is that your strengths have far greater potential than your weaknesses because your are naturally adept at them and get enjoyment out of them. The final reason is that well developed strengths can make up for weaknesses, making one more well rounded as a whole. I thought this was a particularly important bit of advice because many people take their strengths for granted as if they are static abilities, when in reality we can always work to improve upon them.
The second is number 6: "Focus: You Can't Do Both." The main point of this suggestion is that you can either work toward improving your strengths or weaknesses but trying to both at the same time will likely not have good results. When Rendall asks his students if they would work on their strengths, weaknesses or both, the usual response is both. It seems like not a bad idea, improving on what you're good at, while working on your weaknesses. But the fact of the matter is that working on your strengths and weaknesses is not easy, most people hardly have the time or energy to successfully improve on one, let alone both. Not only are personal resources too low to work on strengths and shortcomings simultaneously, but doing so also inhibits the advancement of either. When focusing on some skills, others being worked on recieve less time and dedication. Ideally one would want to work on a single strength or a single weakness at once, thereby giving appropriate time and attention to their work.
The final suggesting I am critiquing is number 8: "Freak: The Power of Uniqueness." This part uses the leaning tower of Pisa as an example of how freakish characteristics, what makes each person unique, is often their greatest asset. The original architects of the tower tried fruitlessly to fix its lean. But the "leaning" quality of the leaning tower of Pisa is its main draw, ultimately what was once seen as a flaw has now become the cornerstone of the Pisa tourism industry. Rendall says we can learn five things from the leaning tower of Pisa that can applied to utilizing our own "Freak" qualities. People come to see the tower because of its flaw, like the tower our flaws can be our greatest resource. People tried to fix its tilt even tho that it has become a positive characteristic now, sometimes the "weaknesses" we try to fix could one day become our most useful trait. Efforts to fix major flaws often fail. It is often worth it to preserve the flaw just as it can be to develop ours. And people will say that your own personal "tilt" should be fixed, when in reality it can be a good thing to maintain.
I have found that my personal strengths are my ability to gauge how long work takes me, my dedication to my work and my ability to look at many sides of the same problem. I have used these skills in my creative work in order to work on projects effectively and take many unique perspectives of my work. My weaknesses would have to be collaboration and communication. I don't mind working with other creative individuals, but when our styles aren't compatible I often have trouble conveying my ideas on the project and working together in harmony.
Monday, March 7, 2011
Collapsus
Collapsus is a transmedia experiment that combines written media, videos, and a game to convey a single narrative. It has a single story followed in the game, but is accompanied by videos and articles that give depth to the world. The narrative uses a fictional story based on real world facts and issues. The whole experience is unique in that it is both a fictional game and a factual statement. I personally wasn't too into it, but I see how the transmedia ideas used in the project could be further developed into something better.
Transmedia has potential but I feel that Collapsus falls short of that potential. It changes too much of a standard media format at once, too much was going on at once making it a clustered experience. I think if the different forms of media were combined in a different way it could be a more structured, sound experience. But as an experimental work, Collapsus does provide a stepping stone for future developement of a transmedia experience.
My own transmedia experience in this class has definitely effected the way I see the creative process. Although there are differences between different media platforms, there are certain properties that are valid through any, and many skills in each that can be applied to other mediums in one way or another.
Transmedia has potential but I feel that Collapsus falls short of that potential. It changes too much of a standard media format at once, too much was going on at once making it a clustered experience. I think if the different forms of media were combined in a different way it could be a more structured, sound experience. But as an experimental work, Collapsus does provide a stepping stone for future developement of a transmedia experience.
My own transmedia experience in this class has definitely effected the way I see the creative process. Although there are differences between different media platforms, there are certain properties that are valid through any, and many skills in each that can be applied to other mediums in one way or another.
Friday, March 4, 2011
Reflections on Gaming Project
In our game presentation, the thing that wasn't conveyed properly was the objectives and the goals. Essentially, our problem was that our game had a bit of complexity in those areas. The objectives, or explicitly stated directives, heavily rely on the narrative of the game, which we didn't cover well. The premise of the game takes place in 3 acts, the first act is when he is a cop in training and his is wholly dedicated to the force. The objectives here are always for the police. In the second act, the player is an undercover officer. In this act he must make decisions to work with the mafia for the money or stick with his mission. These objectives offer the player the choice between two ends. In the final act, the players choices lead them to either becoming a better police officer or becoming a mob lord. One path is basically the heroes journey while the other is a dynamic shift to antihero. The objectives of the third act are based on your status and the choices made in the past.
The goals also reflect the choices of the player. After the narrative is over, the game becomes either about building a mob family or advancing in police rank. Both of these goals are totally up to the player at this point, they can extort businesses, bust crime lords who weren't in the initial family, upgrade weapons and do much more to further their own personal experience. What happens in the final act is largely up to the player, and which goals they wish to pursue.
The goals also reflect the choices of the player. After the narrative is over, the game becomes either about building a mob family or advancing in police rank. Both of these goals are totally up to the player at this point, they can extort businesses, bust crime lords who weren't in the initial family, upgrade weapons and do much more to further their own personal experience. What happens in the final act is largely up to the player, and which goals they wish to pursue.
Tuesday, March 1, 2011
Super Hero Reflections
Juliette and John's hero project
My first critique is of Juliette and John's project. Individually, I thought the characters were good and original. Eros is a very original and interested "villain", and Captain Stickman is rather lame character but has a very original back story featuring a "doodling accident. My main concern is the disparity between the characters. They don't even seem remotely related, there's no chemistry, nothing to connect the two in any way.
My favorite aspect of these characters is their color schemes. Both had analog hues, Captain Stickman had Blue and yellow, while Eros had yellow, orange and red. Both featuring analog hues and primary colors give the characters some affinity despite their contrasting motives. This affinity indicates that they aren't such bad enemies or that their is hope for friendship in the future; either that or that they were made for one another. The primary colors and analog schemes make the target audience of the characters quite obviously children. Understanding that their design is geared towards young kids makes their characteristics seem fun rather than ridiculous. They also had affinity in the lighting, both characters are brightly lit, giving a sense of happiness or energy to the characters. The characters also had similar saturation, being that they are both rather vibrant in color to emphasis the light-heart and fun mood of the hero. The combination of similarity between lighting, hue, and saturation all point toward the overall art style of the concept, which embodies ideals of content designed for children
Tanner and Cam's
This is a critique of Tanner and Cams hero/villain project which features the villain Caligula and the hero who is a gladiator but his name isn't listed in their blog. They also used the properties of color, using hue, brightness and saturation. The characters had similar hues, featuring a color scheme of browns and yellows. Their affinity in hue was to show that they come from the same era, the same setting. These colors are reminiscent of ancient Rome or at least what we like to assume ancient Rome looks like. The brightness of the characters contrasts their status. The gladiator features darker colors, showing his role as a lowly slave, whereas Caligula has bright robes, showing that he is royalty. The saturation of the two would indicate the style is intended for youth, but the violence of the action would insist a middle to high school age audience.
I personally liked this project. While most groups used rather generic character designs of cliche heroes and villains who where tights and capes, Tanner and Cam had an original idea. They used a Gladiator or Spartacus type setting, but with a younger target audience. And in this world we still find a classic example of hero vs. villain and good vs. evil. Their project is original but still plays off the character components we learned about in class; I really like where they took the whole "hero/villain" assignment.
My first critique is of Juliette and John's project. Individually, I thought the characters were good and original. Eros is a very original and interested "villain", and Captain Stickman is rather lame character but has a very original back story featuring a "doodling accident. My main concern is the disparity between the characters. They don't even seem remotely related, there's no chemistry, nothing to connect the two in any way.
My favorite aspect of these characters is their color schemes. Both had analog hues, Captain Stickman had Blue and yellow, while Eros had yellow, orange and red. Both featuring analog hues and primary colors give the characters some affinity despite their contrasting motives. This affinity indicates that they aren't such bad enemies or that their is hope for friendship in the future; either that or that they were made for one another. The primary colors and analog schemes make the target audience of the characters quite obviously children. Understanding that their design is geared towards young kids makes their characteristics seem fun rather than ridiculous. They also had affinity in the lighting, both characters are brightly lit, giving a sense of happiness or energy to the characters. The characters also had similar saturation, being that they are both rather vibrant in color to emphasis the light-heart and fun mood of the hero. The combination of similarity between lighting, hue, and saturation all point toward the overall art style of the concept, which embodies ideals of content designed for children
Tanner and Cam's
This is a critique of Tanner and Cams hero/villain project which features the villain Caligula and the hero who is a gladiator but his name isn't listed in their blog. They also used the properties of color, using hue, brightness and saturation. The characters had similar hues, featuring a color scheme of browns and yellows. Their affinity in hue was to show that they come from the same era, the same setting. These colors are reminiscent of ancient Rome or at least what we like to assume ancient Rome looks like. The brightness of the characters contrasts their status. The gladiator features darker colors, showing his role as a lowly slave, whereas Caligula has bright robes, showing that he is royalty. The saturation of the two would indicate the style is intended for youth, but the violence of the action would insist a middle to high school age audience.
I personally liked this project. While most groups used rather generic character designs of cliche heroes and villains who where tights and capes, Tanner and Cam had an original idea. They used a Gladiator or Spartacus type setting, but with a younger target audience. And in this world we still find a classic example of hero vs. villain and good vs. evil. Their project is original but still plays off the character components we learned about in class; I really like where they took the whole "hero/villain" assignment.
Friday, February 25, 2011
Reflection on Hero/Villain assignment
Our group had two villains and one hero, because we were a group of 3
Here's Minuteman, our hero: Hi-Hat, our villain:
And our second villain, Silver Spoon:
Friday, February 18, 2011
Joke videos reflection
In the first joke video, we used lines in order to create tension. The lines of the table, and the walls were all situated at slanted angles. The result was a frame with diagonal lines running across the scree. Using diagonal lines rather than perfectly horizontal lines creates disorder and uneasiness, resulting in a feeling of tension and anxiety. When coupled with the music, the diagonal lines keep the visual tension high, until the end when the music changes and we finish with less diagonal lines for a little release. The level of visual chaos in the first video contrasted the very orderly lines used in video two. In joke video two, we used horizontal lines that reflect the organization of a standard office or school. The organized lines set a feeling of monotony and dreariness. The organization is reminiscent of times at work or school, the familiar line setup reminds us of monotony that we encounter in our daily lives. The tension is significantly lower in the second video.
We also used movement in both videos. In joke video one, we used movement in order to quickly define each character. The boss moved very little for most of the video, showing his stoic attitude. He only moved when he was angry so his actions were faster and more aggressive. The Economist also showed his character through his movement. He moved confidently and swiftly indicating his character was cocky and sure of himself. These large movements contrasted that of the first two applicants, as they moved slowly and in small motions to show timidness or shyness. The two featured affinity in their meeker movements. In the second video we used movement in a similar fashion. In the video, we capture how each applicant enters the room, this is when their character is displayed. Once again the first two applicants have movement that is associated with weakness and the economist remains confident with every motion. The boss moves like a robot with very precise and repetitive actions.
We also used movement in both videos. In joke video one, we used movement in order to quickly define each character. The boss moved very little for most of the video, showing his stoic attitude. He only moved when he was angry so his actions were faster and more aggressive. The Economist also showed his character through his movement. He moved confidently and swiftly indicating his character was cocky and sure of himself. These large movements contrasted that of the first two applicants, as they moved slowly and in small motions to show timidness or shyness. The two featured affinity in their meeker movements. In the second video we used movement in a similar fashion. In the video, we capture how each applicant enters the room, this is when their character is displayed. Once again the first two applicants have movement that is associated with weakness and the economist remains confident with every motion. The boss moves like a robot with very precise and repetitive actions.
Tuesday, February 15, 2011
Monday, February 14, 2011
Audio Commentary on Lighting in Amnesia: The Dark Decent
Another audio critique, this time on a videogame. I analyze the lighting used in Amnesia: The Dark Decent and how the creators used the lighting to give the game a very specific feel. As with last time, please ignore the ads and play the video (muted) once the narration has started for best results.
Thursday, February 10, 2011
Audio Commentary on Watchmen
Hey, today I have recorded an audio critique of one of my favorite movie scenes. I explain some of the techniques used in the opening to Watchmen and how they are used together. Once again please ignore the ad the plays before my audio upload. Enjoy.
(for best results, wait for narration to start, then play the video in sync)
(Edit: I just caught something at the end of the video, note how in the new hero portrait the action is sped up to show that it is indeed in the present.)
(for best results, wait for narration to start, then play the video in sync)
Watchmen Intro from Hanz Meier on Vimeo.
(Edit: I just caught something at the end of the video, note how in the new hero portrait the action is sped up to show that it is indeed in the present.)
Wednesday, February 9, 2011
Re-imagining Visual Framing
This work of art, titled VIP, is by Ben Goossens. I have re-framed the image in a way that changes the visual structure of it quite a bit. The re-frame is more objective, because it is simply a hat. The original was subjective, featuring what appears to be emotive or contemplative characters.
One visual component which I have altered is the shot type. In Goossens' original,the picture is an over the shoulder wide shot. The over the shoulder shot with the car facing forward creates a sort of tension between the two figures. In the re-framing, the picture is a close up on just the bowler hat, no emotion, no tension. The objectivity of the bowler hat creates release when placed next to the emotion of the car.
The images feature different visual rhythm. The original work has several parallel horizontal lines, the light plane, the dark woods, the light sky, the dark sky. The visual rhythm of the reframe is much more simple, a horizontal line of light sky layered with dark sky on top. The dark light layering of the original rhythm makes the scene more expressive and dark, in comparison the simple skyline gradient of the re-frame seems upbeat or hopeful.
The depth of the image has also changed. In the original, the smaller figure to the left contrasts the size of the larger and creates depth between them so a large plane is perceived. The two figures also have some affinity because they both are vertically standing up and have similar hats. In the new image lacks depth, it is a flat image of a hat against the sky, with no background figure to compare it to, the image no longer has depth.
Although it is just a simple re-frame, the result is an entirely new image with a very different message.
Friday, January 21, 2011
Soundscape Experiment
This is my soundscape, ignore if an ad plays before it
The emotion we tried to convey was disappointment
The emotion we tried to convey was disappointment
Monday, January 17, 2011
Jonathon Flaum, "Finding Your Howl"
link to discussed article
This is an Audio Log recorded in two parts, first is a retelling of part of "Finding your Howl," and the second is about How the Howl of a creative person relates to a favorite quote of mine. Enjoy.
Finding your Howl as a creative person
(PS: please ignore the comical sniffing in between sentences, I think I may be coming down with a cold)
This is an Audio Log recorded in two parts, first is a retelling of part of "Finding your Howl," and the second is about How the Howl of a creative person relates to a favorite quote of mine. Enjoy.
Finding your Howl as a creative person
(PS: please ignore the comical sniffing in between sentences, I think I may be coming down with a cold)
Sunday, January 16, 2011
Mitch Ditkoff's "14 Ways to Get Breakthrough Ideas"
Link to said article
Mitch Ditkoff's article, "14 Ways to Get Breakthrough Ideas," is a short article which discusses ways in which creative individuals (or those who wish to be creative) can form ideas. As advertise, the article features 14 methods to form great ideas. Some points of the article seem to say "just do random things and ideas will come when you don't expect it." There is truth to this, but it seems to me to be rather common knowledge. Other ways of the 14 are about embracing daydreaming, and out of line thinking, these methods are far more inspiring because daydreaming is often negatively looked upon. Some of his best methods are the ones which would seem most obvious, ideas like brainstorming or group thinking. Of the 14 ideas for getting ideas, I found 3 to be ideas which seemed ideal.
Way 5, Fantasize, is a method which I think is one of the best. Its so simple yet so unorthodox. People forget about fantasizing when they get rolled up in their daily lives. It seems to be a perfect agent to allow the flow of creativity and promote good ideas.
Way 12, "Look for happy accidents" was good for two reasons. First, I love the idea of happy accidents, because accidents usually result in a negative outcome, but we are all familiar with some that end up well. Second, the reference to penicillin is just too perfect. Its such an appropriate example of a good idea that happened on accident.
My favorite idea was number 14, "Suspend Logic." I found this one particularly intuitive because it stands alone. Many of the ideas are themselves methodical, a sort of step-by-step guide to getting good ideas. The suggestion of suspending logic circumvents most ways of being creative in an adult life which is largely uncreative. Instead of trying to force creativity out with a sort of remedy, step 14 suggests that you simply let the creativity already within you out.
So I tried one of his ideas (as prompted at the end of each section). I picked what I thought would be applicable and suited to my personality. I followed the prompt of number 5.
Think of a current challenge of yours. What would a fantasy solution to this challenge look like?
My challenge is getting motivated to write a paper for one of my classes.
So I thought of the most fantasy-esque solutions to my problem, I would summon a paper-writing zombie to write the paper for me. When I thought of this I felt this solution would be inconsequential, but proceeded anyway.
What Clues does This Fantasy Solution give you?
Thinking about the clues of my previous response, a viable solution hit me. In order to get motivated to write my paper, all I had to do was adopt the mindset of my theoretical zombie. His objective is to write the paper so he would stoically carry it out. Following his supposed frame of mind I was actually more motivated to write it myself.
This way of getting ideas actually worked much better than I predicted.
Mitch Ditkoff's article, "14 Ways to Get Breakthrough Ideas," is a short article which discusses ways in which creative individuals (or those who wish to be creative) can form ideas. As advertise, the article features 14 methods to form great ideas. Some points of the article seem to say "just do random things and ideas will come when you don't expect it." There is truth to this, but it seems to me to be rather common knowledge. Other ways of the 14 are about embracing daydreaming, and out of line thinking, these methods are far more inspiring because daydreaming is often negatively looked upon. Some of his best methods are the ones which would seem most obvious, ideas like brainstorming or group thinking. Of the 14 ideas for getting ideas, I found 3 to be ideas which seemed ideal.
Way 5, Fantasize, is a method which I think is one of the best. Its so simple yet so unorthodox. People forget about fantasizing when they get rolled up in their daily lives. It seems to be a perfect agent to allow the flow of creativity and promote good ideas.
Way 12, "Look for happy accidents" was good for two reasons. First, I love the idea of happy accidents, because accidents usually result in a negative outcome, but we are all familiar with some that end up well. Second, the reference to penicillin is just too perfect. Its such an appropriate example of a good idea that happened on accident.
My favorite idea was number 14, "Suspend Logic." I found this one particularly intuitive because it stands alone. Many of the ideas are themselves methodical, a sort of step-by-step guide to getting good ideas. The suggestion of suspending logic circumvents most ways of being creative in an adult life which is largely uncreative. Instead of trying to force creativity out with a sort of remedy, step 14 suggests that you simply let the creativity already within you out.
So I tried one of his ideas (as prompted at the end of each section). I picked what I thought would be applicable and suited to my personality. I followed the prompt of number 5.
Think of a current challenge of yours. What would a fantasy solution to this challenge look like?
My challenge is getting motivated to write a paper for one of my classes.
So I thought of the most fantasy-esque solutions to my problem, I would summon a paper-writing zombie to write the paper for me. When I thought of this I felt this solution would be inconsequential, but proceeded anyway.
What Clues does This Fantasy Solution give you?
Thinking about the clues of my previous response, a viable solution hit me. In order to get motivated to write my paper, all I had to do was adopt the mindset of my theoretical zombie. His objective is to write the paper so he would stoically carry it out. Following his supposed frame of mind I was actually more motivated to write it myself.
This way of getting ideas actually worked much better than I predicted.
On Creative People
Personally, my favorite attribute of a creative person, or work, is originality. There are many other elements that make up a creative work, but originality adds a great degree of personality to a project.
One person who inspires me to a great extent, is the director Quentin Tarintino. In his recent movie, Inglorious Basterds, Tarintino portrays the horrors of World War II in his own unique style. One of many elements used in his work is a masterful control of tension and release.
This scene is a good example of his use of tension. In this critically acclaimed scene, we see "The Bear Jew" brutally beat a Nazi general to death. The tension in this scene is astounding. It slowly escalates as time goes on. The tension gets extreme, then is released as the bat cracks the mans skull, only to be brought back for a brief moment for the second and third blows.
When I try to create tension for an audience, I think back to scenes such as this and think how it felt the first time I saw it. I then try to recreate these feelings in a way that works for my project.
Another scene of Tarantino I found particularly original is the scene from Kill Bill, with the character Gogo.
Scenes like these really stick with me, and when I try to be original or experimental in my own work I think back to scenes where creators used conventional elements in unique ways as inspiration.
One person who inspires me to a great extent, is the director Quentin Tarintino. In his recent movie, Inglorious Basterds, Tarintino portrays the horrors of World War II in his own unique style. One of many elements used in his work is a masterful control of tension and release.
This scene is a good example of his use of tension. In this critically acclaimed scene, we see "The Bear Jew" brutally beat a Nazi general to death. The tension in this scene is astounding. It slowly escalates as time goes on. The tension gets extreme, then is released as the bat cracks the mans skull, only to be brought back for a brief moment for the second and third blows.
When I try to create tension for an audience, I think back to scenes such as this and think how it felt the first time I saw it. I then try to recreate these feelings in a way that works for my project.
Another scene of Tarantino I found particularly original is the scene from Kill Bill, with the character Gogo.
This character is one of my favorite uses of irony because it is so absurd. This small, Asian girl, almost a cliche of being weak, is actually a skilled fighter. This small girl commands a large flail, a weapon which would normally take a large man to operate. Its very ironic.
Another creator who I really look up to is the creator of the God of War video game, David Jaffe.
In this final scene of God of War 3, Players go into Kratos' past to fight his regrets. Jaffe decided to take a risk and explore this scene in an artistic interactive mind scape. In Kratos' mind, Jaffe uses contrast between red and blue to contrast the blood soaked mistakes of Kratos' past with the hope that he has hidden away in his subconscious.Scenes like these really stick with me, and when I try to be original or experimental in my own work I think back to scenes where creators used conventional elements in unique ways as inspiration.
Friday, January 7, 2011
This Blog is featuring this video on this page
This short film really speaks to me as a creative person
(surprisingly, it actually does)
This is the first post of This is a Blog
This is a Blog is a blog about blogging. This blog, This is a Blog, is a blog about this blog and this stuff that is in This Blog.
Subscribe to:
Posts (Atom)