Research

Week 1

Semiotics

MONDAY 26th FEB MM XX IV

Today we learnt about various semiotic objects, and how we can use them while analysing any media texts. But firstly. . . what is Semiotics?

It is the study of signs, metaphors, symbolism, communication and iconography. Basically things we use to derive meaning in the world around us.

We then learnt 3 types of semiotics:

• Icon - Which is the literal resemblance of the object it is associated with. Boat is boat, water is water, fidget spinner is fidget spinner
• Index - is an implied logical association with the object. Connections that are basically common sense to any sane person. A growling stomach could mean the person is hungry, or has a stomach bug.
• Symbol - A sign that is not inherently connected to the object. But the connection between the two is a conventional one. As it could be particular to a culture or society that is self taught. Like a floppy Disk icon, implies saving a file. A bald eagle represents the glorious nation of AMERICA !!!!

It is important to understand the differences between an Icon, Index or a Symbol. As we will need to be able to research and understand the various Media Texts that we would be researching. But some images, objects, and various things in our lives can bleed into each other, overlapping and having various meanings. An Apple logo on a sign could mean that there is a food market selling fruit, to most will probably symbolise the iPhone and its various products, or simply, that is an apple.

Secondary Research

TUESDAY 27th FEB MM XX IV

For our secondary research, we were incentivised to research, find and write up our findings in our own time. Then afterwards the objective was to find correlation to mythology within the media texts that we researched.

I researched various different media texts, from comic books, games and movies to get a wide enough net to ensure I have the ample knowledge and understanding to be able to carry out my FMP. Starting with comic books in the golden age, then Zelda: Majora's Mask, Returnal, and then finally a film that shares concepts with the two previous mentioned games.

Secondary Research of Mythology

Back to Bibliography

As previously defined and noted on my Reflective Journal, Mythology is the collection of works and stories, belonging to a particular culture or subset of culture.

But I want to delve deeper into what mythology really truly means to people who did live in the times, that these legends and stories would have just started to be popular and inspiring.

I researched and searched deeper into various videos and resources, as to find out why myths were popular in the age of past, and to know why that these stories are still being reinterpreted and retold to this day.

What is Mythology?

Ye Olde Times of Human History

In this video that I researched, in summary: Throughout history, mythology has been used as the catalyst to be able to help explain the unexplainable. But with the steady improvements in scientific advancements, and social breakthroughs. Ancient myths are debunked. But due to the fascinating nature of these fictional narratives, they now serve as the foundation for many modern myths, shaping the very essence of human society. However, how did we come to this conclusion?

From the start of course! In ancient times, myths and stories played a significant role in various ancient cultures, shaping their day to day lives, and beliefs systems. Questions like 'how was the sun formed?', 'what happens when we die?' 'who controls the oceans?' can have very mundane or surprising answers depending on whom you ask. But back in these days, many of these phenomena(s) did lead to logical answers, compared to today's standards. However, stories and tales would emerge to answer these thought provoking questions.

So tons and tons of fictional narratives, would serve as a means to answer questions that cannot yet be scientifically answered accurately. Like if you died in combat, instead of just ceasing to exist, you would be transported to Valhalla. The mythical hall in Asgard from Norse mythology, where it is a place for slain warriors to continuously feast and fight until eternity.

As recently as 1896, the painting "Valhalla" depicted by Max Brückner, in a scenic backdrop for Richard Wagner's Der Ring des Nibelungen. Shows the majestic aura that Valhalla would give. Many more questions were answered through magical tales

Industrialisation of the early 18th Century

But moving onto the industrialisation of the 18th century. Science as a subject, practice and way of life would start sky rocketing through the common masses. As with the access in knowledge that relate to the sciences, technology, and "ye olde" questions given proper answers. And early stories were just regarded simply as "old mythos". However with the improvements in the science field, this whole era of writers become more invigorated with trying to answer new questions. Writers would start including the rising technology in their time into their writings and stories, which spin off a new genre of books and entertainment, known as "Science-fiction".

New science in the mid 18th to early 19th century would lead to many professors, philosophers, and just common folk, to ask questions on "what would happen if we brought someone back from the dead?", "Can we time travel?" And what would happen if we did?", "Is it possible to turn invisible?" Which many of these stories would lead to sad and horrific endings that were not wanted by the characters withing them.

One such influential science fiction book that has been timeless in its story, theming and characters. Is Mary Shelley's "Frankenstein". The story revolving around a scientist by the name of Victor Frankenstein, who creates a sapient creature in an unusual manner, he gave life to a human by stitching him from various body parts. Shocked by this miracle, he flees to leave Frankenstein's Monster by. And then Frankenstein's Monster is left to roam the nearby village, being treated horribly and subject to the terror by the villagers.

(The scientist's name is Frankenstein, the monster is not actually named Frankenstein).

Another book, H.G. Wells' 'The Time Machine', is a timeless classic about a Time Machine, and how a scientist/inventor, managed to come up with a machine that can traverse through time, but not space, cause that would be too much. However he got into an accident with the machine and gone to the year 802,701, in which what once was called London, is now a ravaged place. Where humanity devolved into two races, the innocent-like "Eloi", and the monstrous, ravenous  "Morlocks". It is quite a good commentary on the classism and dystopian nature of late Victorian England.

The Human Condition !

All of these stories, myths and tales, no matter the genre, how its structured, and what is actually told. All of these relate to the Human Condition !!! As again, on my Reflective Journal: . . .

. . . Which is basically what me and my group referred to as "Canon Events" from the 2023 film, "Spider-Man: Across the Spider-Verse", where it includes key events of human life, including birth, growing up, love, friendships, struggles, death, and so on. . .

The time period these stories and myths were told in, are about what humans were going through. In the 18th to 19th century, technology was advancing very quickly, so stories about unnerving scientific experiments, horrific tales only achievable with science, etc. etc. And the same can applied vice versa to the romans of the 6th century. The Greeks near 800 BCE. And even stories today in the 21st century, the wildly popular SCP foundation, about a fictional secretive organisation that contains and writes about the various anomalies it stores.

Overall, to many people, these stories and mythos were their beliefs, like today, most people either belief in a god, multiple gods, no god, or a cosmic entity of sorts. We could have lived in a parallel world, where majority could still be worshipping the Norse or Greek gods, and make stories and media based on Christian, Jewish, or Muslim stories and tales. Rather than what's the opposite happening in entertainment today.

What have I gained from this?

The video has made me realise the full potential of what Myths and Legends are and can be. They are more than just stories and characters, that are told through a creative medium. As these worlds can be enriched upon, most civilisations using them as the basis of their beliefs and day-to-day activities.

Furthermore, I think I am more than ready to start preparing for my FMP, as I can use the basis of information from the video, and apply it to the various secondary research (as well as some primary research I will be doing). Which I will be critically analysing the mythos in its association with its media, and how it relates to the story they are telling.

Like When I have to do my contextual analysis, I will know what to look out for in depth, rather than surface level analysis of the materials provided.

Side Research

Mythology and its history with the Comic Book Industry

Back to Bibliography

As on my Reflective Journal, I have researched and delved into comic books from the Golden Age, and how they link with mythology. Apparently, mythology was used as a way to side-step comic book censorship laws set at the time by the "Comics Code Authority". I won't go into much detail, as I currently think, my FMP will not need this.

Moving on, it is no secret that comics as a whole, has borrowed tons and tons of characters, lore, and locations to fit into their own respective ethos. Thor to most is either a powerful, prominent member of the Avengers, or is an Asgardian god, son of Odin, and the "All-Father and king of Asgard".

And on the DC-side, none more prominent than SHAZAM himself! As his name is an acronym for 6 ancient mythological figures. Standing for:

• S – for the wisdom of Solomon.
• H – for the strength of Hercules.
• A – for the stamina of Atlas.
• Z – for the power of Zeus.
• A – for the courage of Achilles.
• M – for the speed of Mercury.

Shazam, was created by Bill Parker and Charles Clarence Beck. As a response to comic books of the 30s and early 40s. In an interview by Tom Heintjes, he emphasised that the character, and story of Shazam was "drawn in comic-strip style and telling an imaginative story", rather than being "based not on the hackneyed formulas of the pulp magazine". As well as the need to "go-back to the old folk-tales and myths of classic times."

This is when comic book writers slowly started realising the potential of old tales and stories from mythologies of past. Other characters like Wonder woman, Thor, and Lucifer Morningstar were either made using inspiration from mythology. Or just directly borrowed and put into the comic's respective stories and universe in their own version.

Mythology was used as a way to avoid and go around the restrictions in place by the "Comics Code Authority", as depicting vampires, ghouls, and zombies were considered "satanic imagery", and against the spirit of "America and its institutions".

Overall, I didn't learn much that could help me proceed further with my FMP. But I did learn how mythology was used as a basis for story telling during the times of strict restrictions placed upon comics at the time of the golden age in my Reflective Journal.

Entities and Icons from the Greek Mythos

Back to Bibliography

Since playing God of War (2018), and being curious about Kratos' past, as the game took place in Norse Mythology, and Kratos is from the world of the Greek pantheons. I went ahead and research a couple of Greek figures and gods that I could take in as inspiration for my FMP. But instead of the popular and more represented figures, I wanted to know about certain folk who were in a Greek tragedy, undeniably cursed and or in constant agony in the stories that were told about them.

Sketches of the characters by me. I drew them based on the description of their personalities, as well as some of the images provided by the articles. I tried to mimic how they felt as characters, as well as improve my artistic skills using Microsoft Paint, and my mouse pointer.

Actaeon

In Greek Mythology, Actaeon was a skilled hunter, and his father, Aristaeus was credited as the discoverer of many "DIY" arts, which included bee-keeping. Widely known to symbolise "devotion" or "sacrifice" to a god or goddess, with the dogs symbolising the sacrificers and Actaeon symbolising the sacrifice. Which I don't really see, as I see him more as a cautionary tale for when being too much of a "vainglorious" person, can lead you to unwanted consequences.

The main "tragedy" that everyone remembers him for is his encounter with the goddess, "Artemis". While she was bathing, Actaeon stumbled upon her, and instead of being sensible and going the other way, he was "awe-struck" in her beauty. Disgusted, she forbade him from speaking his tongue, threatening that any attempt to do so would result in a transformation. Which he almost immediately broke, turning him into a deer, not bad, but the problem is that he has a couple packs of loyal hounds, that didn't recognise him and started lynching on him. He tried to reach out for salvation, a divine intervention towards Mount Olympus, the gods unresponsive, then got mauled to death.

In many interpretations elsewhere, he seemed to always get into trouble by being in the wrong place at the wrong time. Or he simply was too full of himself and then gets in trouble for that too. I think I might use him as inspiration for a side character in my FMP, a character that is just too unlucky, but the audience can't fully sympathise with him due to his personality and brash behaviour with other characters.

Cassandra

Cassandra, in Greek Mythology, was a daughter of Queen Hecuba and King Priam of Troy. In most common versions of the character, she was admired by the god Apollo, who wanted her love and affection by gifting her the ability to sense and "see" the future. She promised to give him what he wanted, but went back on her word after receiving said gift. The god angry, couldn't revoke a divine power, but added to it with a curse, that no one would believe her prophecies.

Usually in most Greek stories, the characters represent animals, objects, or a role in the day to day life of the average Greek person. But with Cassandra, she symbolised the challenge of trying to speak truth to higher power with honesty, and the usual result of being tormented by being disregarded. It stands as a warning of the repercussions stemming from excessive pride and scepticism.

I can't say what she did was right or wrong, as Apollo was trying to win her affection with gifting of divine powers. She could have easily ignored or declined his offer, but she led him to believe that he would be awarded with her "gratitude". And thus, led to her curse of knowledge she can't change.

How would I implement her? Well, my FMP right now consists of a tragic, earth shattering event, and she fits really well into being the catalyst that dooms the people around her into not believing of an impending doom.

Icarus

He was the son of Daedalus, His father was a master craftsman, and the architect of the labyrinth of Crete. Where Thesus was being held captive inside, but he soon escaped. King Minos angered and suspected that the father and son revealed the secrets of the labyrinth and how to escape. So he either confines them in the same labyrinth or in a large tower, which was overlooking the ocean. They escaped by having Daedalus crafting wings from feathers, clothes, threads, and most importantly, beeswax. Icarus was first warned of smugness, then of excessive self-confidence, as to not fly too low nor too high. If low, the sea's dampness could clog the wings, and if too high, the sun would melt his wings. But of course this wouldn't be a Greek story without a tragedy, Icarus ignoring his father's warnings, flew too high, the beeswax melted in his wings, and dropped into the ocean to then drown . . .

Quite possibly the most famous Greek Tragedy in almost all media, represented in games like God of War, and Kid Icarus. And gave birth to the phrase: "fly too close to the sun." With the fly too low part being neatly forgotten about.

Hubris and overconfidence is what Icarus simply represents. Through man, he represents the limitations of mankind's limitations and the dangers of reaching for the stars, trying to break the human barriers. (Or in Greek Mythology, reaching for the heavens). As well as not only being about caution, but about how it showcases the place of humanity on a more cosmic sense. The lack of interest and undisguisable apathy from the people that witnessed the event, which echoes the sentiment of how humanity is practically inconsequential to the grand scheme of things.

The message of being greater than your limits, is what I want to delve into in my FMP. The character, Icarus, embodying all of these concepts speaks volumes to how the Greeks were thinking, in terms of the philosophy of how the human condition was back in those days.

The whole.

Overall, I like that these characters were and are flawed, but still have some resemblance of redeeming traits. Relatable mortals when compared to gods who can only be related on either their lust or anger, which the characters I researched have some fault to an extent. It's how human the tragedies they have suffered is what I was looking for. These myths I will take into consideration, and shape the characters in my own FMP.

Primary Research - Exploring Japanese Myths

Week II

8th MAR MM XX IV

The activity we did, was a class field trip to a Exhibition centred around Japanese Myths and stories. Where we photographed or sketched the various pieces presented at the exhibition. Such various items, artwork and history that were displayed were about the following:

• The story of Amaterasu, the Sun Goddess . . .
• Bunbuku Chagama, the teapot that can shape-shift into an animal . . .
• Merchandise like rice-cookers, figurines, game systems that featured a pop icon from Japan or at least stemmed from Japanese culture . . .
• Various Monsters and creatures that come from franchises like Pokémon, and Yo-kai Watch . . .

We were given a worksheet, to help assist us in researching the various pieces that we would otherwise ignore. The goal of this trip was to supplement or strengthen the existing secondary research I have done for the past few weeks. However, I haven't done any research around Eastern, and more specifically, Japanese Mythology, as most of my secondary research was about Western and European Mythologies. But with that in mind, I would like to use this as an opportunity to strengthen my general knowledge about this topic.

The Bunbuku Chagama Tale

The tale of the "Wonderful Tea-Kettle" is a simple story about a poor priest buying an old tea-kettle. But after trying to use the item to make some tea, the kettle wakes up, sprouts its legs and turns into a Tanuki Raccoon. The priest shocked, tried to sell off the kettle to a street vendor, but the Raccoon begged to stay, requesting to not be put on hot coal, and in return help him earn money by performing circus tricks. Delighted, they would go on to make riches.

Like most tales of the supernatural, Japan always made them feel natural to its world, like they co-existed with us since dawn, and are required for the natural order to continue. The story is very simple in its nature, just being kind can lead to success and future rewards. I was very intrigued by this story alone, the uncomplicated and basic story it tells is quite effective. Which explains why Studio Ghibli films work so well, as most of the time they don't tell stories with the usual cliches. Just people and creatures happening to collide with one another, and going on about their days.

Origins

The fairy tale, obviously fiction, is considered to be connected to the legend about an inexhaustible tea kettle at the temple Morin-ji. In Tatebayashi district, the Gunma Prefecture, it was owned by a priest named Shukaku, who turned out to be an ancient raccoon dog or badger. Which brings a lot of questions as to how this legend was conceived, as the validity of the story could be a bit murky.

But that is the point of legends, exaggerated beyond belief. As in my opinion, some priest was really into said raccoon dogs, and made a whole myth about it. Or a passer-by or student in the temple saw a raccoon dog do something human-like, and that is how the tale came to be.

Human Conditions

Kindness

From what I have known so far, the "Bunbuku Chagama Tale" does link with certain aspects to the human condition. The main theme that is repeated constantly, is the virtue of kindness with the tea-kettle animal and the protagonist. Which, when the poor priest learns of the true nature of the kettle, starts treating it with kindess. The priest is rewarded (indirectly) with prosperity, as the creature performs tricks that gains attraction from everywhere. If he hadn't been kind, the priest would have stayed poor.

Changes

The second human condition that is loosely here, is the idea of change being good. As the tanuki, was being mistreated as a tea-kettle. And after revealing itself to be more than what it appeared to be. The raccoon-dog was treated better. This mirrors the human-experience of the ability to change for the better, and the hidden potential that is here.

I highlighted this tale first, as it is a lesser known story from Japanese Mythology. And that I liked the simplicity of the themes and conflicts that happened in the tale of "Bunbuku Chagama".

Amaterasu and the Sun

A more wildy known tale that comes from Japanese Mythology, is the tale of the Amaterasu. It is well known, that it appears in many pieces of media, across TV shows, movies, and games. Most notably that I know of, is that it appears in the game "Overwatch 2", where it was the main coesmetic featured for the Season 3 update of that live-service game.

Key Art from Blizzard Entertainment, Inc.

The short text written on the museum floor about it, was that, "Amaterasu no Okami" is an important figure, who was goddess of the sun, and her presence brought light into the world.

But chaos insues, when her brother behaves violently. Amaterasu fleds and hides in a cave, which she seals herself into. But this action brings darkness across the world to everyone. As this sparks 'eight hundred gods and goddesses' to gather at the cave, to then proceed to play some music, sing, hold mirrors, and drum. Which Amaterasu was curious about as to why there was sound outside. And as quickly she peaks out, the gods close the cave behind her, to bring light into the world.

I don't know if I am missing something, but I don't see much into this shortened tale. Other than, again, how simple the themes and concepts seems to be. This might be due to cultural differences, as a flim I enjoy dearly, like, "Spirited Away". Did not have much story, and only was just the main character running around and exploring a place full of mythological creatures. One part I do like is how, unapologetically, simple it is. Just like the previous tale of the "Bunbuku Chagama", the story and conflict resolves quite shortly.

Human Conditions

Radiance of the sun

The one point I picked upon is that, the sun is stated to be an exorbitantly important figure and object in the world. As the sun gives warmth and light for the Earth to prosper its crops, and as well as its all living things. Like how almost a thousand gods had to come and bring Amaterasu out from her hiding hole in the cave, and into the world.

Which brings me into my second point of . . .

Influence from and by others.

Being an important figure in the world, Amaterasu is relied upon by a lot of people. Which links to humans, needing other humans to sustain and rely on. As well as, something we can't just throw away or dismiss, without the sun, we don't know what time we would need to wake up at, our crops would diminish without the properties of the sun, and life would be dull.

Order

Another point made clear, when I researched more about the story, is that Amaterasu represents order and purity. The transition from day to night, is needed for humans to balance and have a coherent structure in life.

A vague coorelation I could find is the human struggle for seeking purpose and innate desire to be more. Everyday humans struggle with chaos in our lives, so seeking a more stable, and clear lifestye. Is not only fulfilling for our souls, but keeps our heads and peace.

Overall . . .

I quite enjoyed the trip to the museum, "Japanese Myths and stories". As it showcased some myths and stories from Japanese culture that I wouldn't have known or experienced otherwise.

The actual stories I read, I quite enjoyed, as not every story needs to be deep and rich of symbols to uncover for years. As a simple myth, can just be about being kind or not being a bad person for once.

I might not use these as inspiration for my Final Major Project, but it was good otherwise that I researched, looked and learned a bit about Japanese Culture and Mythology.

Hero's Journey Arc

MONDAY 15TH APR MM XX IV

Back to Bibliography

The hero's Journey, which is another form of a "monomyth", a way of story telling, and structuring a narrative where the hero goes forth onto an adventure, is challenged to his inner core, comes back changed or altered in some way.

12 Stages Of The Hero's Journey - Christopher Vogler

I researched the "Christopher Vogler" version, which is 12 steps, rather than the longer 17 step version by Campbell, which felt more drawn out.

The twelve steps are as follows:

I. Departure

• Ordinary World
• Call to Adventure
• Refusal of the Call
• Meeting with the mentor
• Crossing the first threshold
II. Initiation
• Tests, allies, and enemies
• Approach to the inmost cave.
• The ordeal
• Reward
III. Return
• The Road Back
• The Resurrection
• Return with the Elixir

The stages in the hero's journey can be split into three easily digestible parts, of which I made a illustrative image from the various sources that I researched from.

I. Departure

I drew some doodles to help illustrate the Hero's Journey arc more visually.

The character starts as he is, in his own little Ordinary world. Whether he has a community of people, a home, or barely any semblance of a place for themselves, it is a simple measurable line from which the audience can judge his journey.

Then The call to adventure begins his journey, they are introduced to problem or conflict that slowly pushes them away from what they've known as the "norm". This is also the part where they begin to face or find flaws within themselves, their ideologies are slowly being contested, and bit by bit, the main character has to slowly come to terms with what is "right" and what is "wrong", or if its just very grey.

Refusing the call is almost immediate, as in most stories, the hero will push away the problems that were thrown at them. Of which, then Meeting the mentor will happen, this can be a stranger who guides him, someone in spirit, or even themselves who takes a different angle at the situation they are in, whether it is inner or outer, it is to make them steer into a path that is slowly being set for them.

Crossing the threshold is next, and in a three act structure, this is to start their journey for real this time. Leaving whatever normality they had, and now they are actually set to face or conquer a problem or conflict they got to go ahead with.

II. Initiation, Enter: The unknown

This large portion of their journey is now all about them learning, coming to face about the truth of their outside world, their own home, and maybe even beliefs. They need to now change if they want to survive or they might go down a terrible faith. As they have now entered the unknown, they have to adapt.

In Tests, Allies, and Enemies, this is where connections are formed, the hero is challenged in a considerable manner, and common enemies or foes are made. They are still hoping to return to a state of normality, but things aren't always that simple. Their standing in the world will be challenged, about who they are, what do they want to achieve, and what problems still persist within them.

Now Approaching the Inmost Cave, this is where they now have to challenge their inner-journey, old-beliefs being destroyed, challenged, or changed for the better. A mental triumph is required over themselves, any old habits that is detrimental to the journey they are on, will need to be cut, if they want to grow as a person.

The Ordeal is usually the part where in big action flicks, the character goes blazing in with guns against the big bad guy. They have to prove everything they have learned thus far. Overcoming their mental challenge was already done, so now they have to prove with physical strength. And a choice can be made as well, healing the wounds they have either caused or the world has. Or just plainly leave their quest, and give up the mantle they had been slowly earning.

A reward is usually given out if they were heroic in the previous stage, the reward itself could be anything, but must relate to the plot or themes the story has been building up to. The narrative surrounding the reward is as important, as it was the reward to both the inner and outer conflicts the hero had went through. Answering whatever problem or conflict they had, or not! It should just be fulfilling to the plot.

III. Return, (of the Jedi)

Right before the return part of the journey, the hero might make any atonements for what they did, or take a different perspective of their situation. A self-reflection per se, as they have overcome the big struggle they just went through and now a moment for reflecting begins.

Now comes the final stage of the hero's Journey, they are no longer the person they once were. They have went through a substantial change in knowledge and skills, but their home, community or people are suffering. They aren't free from their responsibilities, and must now self-sacrifice for the greater good. Whether it be saving and healing their community, putting some things to rest, or plainly letting go and fully commit to change.

The Road back is now much more sentimental, mimicking the first 5 stages of the beginning of the journey. But now must learn to give up their new way of life, and if successful, they will recognise to return home. This where the character gets even more introspective than before, trying to realise if all of this was even worth it at the end.

The Resurrection, is now where they have changed, fully crossing the threshold, using all their skills and knowledge to make a proper impact on the world, community, or simply a place. Both the mind, and physical actions come to a close, as the climax of the story, where all threads come to their conclusion.

And alas, the "Return with the Elixir", is where the hero has returned to where they were, but fully changed, as they have put an end or at least improved the overarching narrative. Overcome the fight with their mind, soul and hopefully make a new, better path for themselves, but more importantly, the people they care about.

It is often sour but sweet that they have now come to an end, literally, and or metaphorically they changed. It was not that they have reached the destination, but it was about the journey, and how much it has impacted the hero. It is alright that a regular person who lived in a desert, managed to defeat and embarrass the apprentice of a dark empire, and crumble some parts of it at the same time. But it would more fulfilling if the character had actually went through some soul searching and some semblance of development, rather than just, "Guess I am a master laser-sword-master and can wield this magic spiritual power now". That's just lazy.

So all in all, that is basically how I will continue to structure out my game's narrative. As that is a big part of my game.

Colour Theory

TUESDAY 16TH APR MM XX IV

Colour theory is how using different types, shades, and combinations of colours can give off different emotions, themes, and even what we can interpret from the art. Colour theory is most easily explainable with a colour wheel.

Before we go on about the intricacies of how colour theory can be used, why is it important to understand colour theory? First of, colour is fundemental to us in everyday life, as it is one of the major factors that we use to communicate with eachother, like how the McDonald's logo uses a deep stark red with its golden arches. Or how we associate this great country we call England with the bountiful grey skies that stretches to the horizon.

Secondly, information travels at almost light speeds in this current day and age, and when most info is being absorbed visually. You have to set the right tone and COLOUR to showcase what your advertising or trying to spread. However, colour on its own can't just sell the product, it elevates what is already good on its own.

The Colour wheel theory was originally mapped by Sir Isaac Newton in 1666 (woah!), where it was a colour spectrum in a circle. But the colour wheel is now mostly mapped as 12 colours, 3 primary, 3 secondary, and 3 tertiary colours.

As to understand why some colour combinations work best than others, here is what they feel like or what they resonate with best:

Red - Danger, Warmth, Passion.

Blue - Tranquillity, Chill, Frigid.

Yellow - Happy, Content, Weakness.

Purple - Royalty, Dreamlike, Wisdom.

Orange - Young, Adventure, Timid Warmth.

Green - Prosperity, Greed, Snarky.

All colours can be good, bad, evil, neutral, empowering, it is how the artist or designer wields said colour. Moving on . . . Colours are not just singular emotions that can be mapped, they can be combined to give completely complementary or contradictory feelings or a spectrum of sentiments that the viewer can easily associate with said image, picture, or experience.

There's also, hue, saturation, lighting, colour harmonies, and so on, but that is more so for advanced use cases of colour. And are good to know, but this is all that is good for now. Overall, even a surface and intermediate look at how colours work was good for me. As it can improve how I can apply it in my FMP, and future creative ambitions.

Construct 3 Tutorial: Adding Dialogue to Your Construct 3 Projects

After failing to make an intuitive dialogue system, as noted on my reflective journaly. I sought out to find an already made example/tutorial on the topic. And after a couple minutes, I found an easy and straight to the point video that's been made.

The video showcases the use of "Functions" and recalling them by making a sprite for the player to be overlapping with, to then check with an "Instance Variable" to then showcase the right text.

Quite simple to replicate, and so from which, a foundation is needed to be made, to then have hundreds of different texts be made, by just referring to the string already made from the "Function". Then combine it with a button prompt, lets say "space bar", on which it checks whatever instance variable the player is overlapping with. And then proceeds to show and/or render those specific actions.

This video was quite useful in developing the dialogue system that I am using in my game. And on top of that, I have advanced it further than what was shown. Can be read in my reflective journal entry for that.