Friday, 22 May 2015
Thursday, 19 February 2015
Charles Clifford BA2 1400556
Charles Clifford BA2 1400556
KEY-
-Highlighted stuff is important parts of the information that has helped me in the development of my work.
-Words in this font are written by me.
-Words in this font are copied.(links have been provided)
-For my reflective journal, i have put subheading above.
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This project focuses on the creative skills of three dimension form. I have been given a brief to create a gargoyle asset, which will be game ready for current generation platforms (ps3, xbox one.) I will have to demonstrate efficient topology within the final Zbrush asset.
I hope to gain a better understanding of the software throughout this project (Zbrush), and use different forms of media to research the history and aesthetics of the gargoyle. I also hope to get a better understanding of the human form, and how to add dimension into the work.
I am looking forward to researching the different roles in the gaming industry, as it will give me an insight into what i may want to pursue after university, and how the roles have evolved over the years, with different practices and work environments. I am hoping to contact a few gaming companies to ask about their work environments and schedules, and if anything has changed in the industry since they first started.
Research-
Gargoyles-
'Gargoyles and grotesques can take a variety of forms. Dragons, devils, demons, half-human and half-animal are the most common but there are a large number as well that are caricatures of real people or classes of people. The styles and possible meaning and functions will be discussed here. While there is growing interest in these carvings, which originated during the time of ancient Egypt, there is not a large amount of meaningful written material concerning them. In fact, even though the Victorian age was responsible for a huge number of gargoyles during the Gothic Revival period the architects and scholars who were responsible for the revival did not seem to care about the gargoyle’s interpretation. There hasn’t been much of an improvement in the 20th and 21st centuries either.'
http://garyrvarner.webs.com/gargoylesgrotesques.htm
Etymology
'"Gargoyle", the dictionary definition: a spout usually in the form of a grotesquely carved face or figure, projecting from a roof gutter. From the Old French "gargouille" and the Late Latin "gurgulio", both meaning throat."Gargoyles (in the strict sense) are carvings on the outside of buildings designed to direct water from the roof away from the base of the walls... ...Some gargoyles are undecorated but many are zoomorphic or anthropomorphic - often very imaginative and/or grotesque. This has led to the term 'gargoyle' being applied more widely to any grotesque carving in medieval buildings.
Over the last few years, gargoyles have become cartoon characters, a cult "animal" in Neo-Gothic circles, particularly popular in internet fantasy literature where they appear more naughty than truly evil. None of these have much to do with plumbing, but the meaning of words do change over the years, and "gargoyle" now seems to mean to many people to be any ugly or grotesque creature particularly if it lives on buildings or rocks.
Reflective-
I will have to try and incorporate some sort of spout for the water in my final piece, to try and make it realistic and fit its purpose.
Possible Origins and Reasons for gargoyles
When asking "why are there gargoyles and what are they for", in my experience most people seem to mean the Medieval ones. So, this is what a distinguished Frenchman Emile Male and most critics after him said:No symbolism can explain the monstrous fauna of the cathedrals...Reflective-
If ever works are exempt of meaning surely these are...
All attempts at explanation must be foredoomed to failure.
E. Male, _L'art religieux du XIIIe siecle en France_ 8e edition p. 121, 124
Taking from this extract, I feel that I will not truly understand the meanings for these monstrous creatures, but it adds to the mystery, enabling me to shape a piece from different time periods, such as the Greeks and Egyptians, to look and try and figure out how they were formed, as the gargoyles one is misty.
So, studiously ignoring those words of wisdom, here are some possible explanations I've come across:
- rainwater plumbing (this is certain but does not explain why so many are carved creatures, nor the various forms)
- warding off evil - a "kiss my ass" keep away deterrent to demons
- warding off evil - a "don't bother, we're here already doing demonic stuff" deterrent to demons
- a reminder to parishioners of the perils of evil - bad guys are marginalised to the outside of the church (but why so high up and hard to see?)
- as pagan symbols to encourage believers in pre-Christian ways to come to church (make them feel welcomed or at home, as it were)
- decoration (but why so ugly? why so hard to see)
- a juxtaposition or balance of ugliness against the beauty inside the building (a very medieval concept which we find hard to understand these days)
- insurance policy against building collapse, related to warding off evil (this one's obscure and I think it says more out modern interpretation of the medieval mind than architectural principles)
- symbolic object lessons on the perils of unconventionality
- carved out of mischief (e.g. there are defecating gargoyles, these are generally difficult to see, being high up or in obscure parts of the building)
- as retribution for not paying the stone carver (see Freiburg defecator)
- fun (who knows what the medieval sense of humour was? see also a modern nose picker from Ely Cathedral
- caricatures of people maybe local clergy, which may be mischief or fun or possibly honour.
Architectural History
Gargoyles in the strict plumbing sense of the word have been around since the time of the Ancient Greeks or before. They became very popular on architecture in Medieval times, with a resurgence in the Victorian era, and to some extent more recently. Other periods have none or few carved ones.Saxon churches (a little before Medieval times) that I've seen usually have troughs but whether these are original or later additions is hard to say. Large buildings of the Elizabethan period (a little after Medieval times) did use channels or troughs but I've never seen or heard of carved ones.
Their first usage in the last thousand years or more seems to have been in the early 1200's as channels or tubes to shed rainwater from buildings, to keep the rainwater off the buildings themselves and away from the foundations. Strong evidence for this purely plumbing interpretation is that initially most were made of wood, some made of the more expensive stone, and were generally undecorated.
As time progressed, more stone ones appeared as did lining some with lead and decoration in the form of carvings of people or animals or grotesque representations of these (grotesque in the sense of being extravagantly formed, bizarre, ludicrous, absurd, fantastic and also in the sense of being ugly and frightening). Often these carvings are so imaginative as to bear little or no resemblance to any conventional creature and are the products of fertile imaginations and skilled hands.
They are common on the more expensive buildings from medieval times, particularly cathedrals and churches, and particularly France, and particularly the Gothic style. A few plain ones survive on non-religious buildings like the odd castle but rarely compared with religious buildings. Presumably, as today, the average wage did not run as far as paying for ornate stone guttering for your own humble dwelling.
It seems that this increasingly ornate carving extended to non-functional architectural features resembling them, so that "gargoyles" appear on the sides of towers and walls, and to stretch the term even further, inside the buildings (though these are more correctly called "grotesques" and "chimeras", of which gargoyles are only one kind).
Religious History
During the 1200's when gargoyles first appeared (and at many other times), the Roman Catholic Church was actively involved in converting people of other faiths to the Catholic, often very keenly indeed (as the Christian but non-Catholic Cathars could testify). The argument for decorated gargoyles runs as follows. Since literacy was generally not an option for most people, images were very important. Since the religious images (if any) that non-Christians were accustomed to were of animals or mixtures of animals and humans (e.g. the horned god, the Green Man), then putting similar images on churches and cathedrals would encourage non-Catholics to join the religion and go to church, or at least make them feel more comfortable about it, or at least ease the transition.This argument has reasonable grounds if you think about some of the other accommodations the Christian (not just Catholic) church has made, such as fixing the birth of Christ at around the winter solstice to fit in with existing pagan celebrations. Even the Romans made similar adaptations, e.g. in Britain the Celtic goddess Suli worshipped at modern day Bath bore a remarkable resemblance to the Roman goddess Minerva. Rather than replace Suli and upset the locals, both were incorporated into and revered in the Roman baths there. It's amazing how flexible an established church can be if it needs to be - pagan images? no problem if it puts bums on seats.
Mythical and Spiritual Connections-
Facts:
Religion and superstition (not entirely incompatible) were both very important indeed to people of medieval times, much more so than to most "westerners" today. People looked to God or gods and other supernatural beings for answers to fundamental questions and for help and especially protection.Suppositions & Logical steps:
What could be better protection for your place of worship than to put images of supernatural beings on it, although ones on your side naturally. Images of God or the Holy Spirit, perhaps, but these were frowned upon and anyway who knew what God really looked like?. Images of Christ might be better, but then Christ was also a man and he was already inside the house of God. Images of the old gods might work, but of course that would be heresy. It's a small logical step to the use of gargoyles as protectors and the myths about their abilities.The Gargoyle Myth and how gargoyles drive off evil:
I think many of the slightly grotesque ones can be explained by the myth if you note that some concepts were simpler for most people in medieval times, for example, pulling your lips wide apart in a grimace using your hands and trying to look scary was a terrific joke. Presumably it was also more scary than now, given that any kind of deformity could be worryingly reminiscent of deformity from incurable diseases or unexplained acts of God or devil, both things to be feared. Some of them have just got to be jokes though.
Other possibilities - a warning to the populace:
An appealing idea for explaining medieval gargoyles, is as a reminder or warning to the populace of the evil all around outside and the safe sanctuary inside the church. Evil takes many forms, from women carrying the devil on their backs to bug eyed human faces twisted into monstrosities, to demons, dangerous beasts, hideous human horrors, and hairy men who have descended terribly into the brutal and frightening level of the beast. Better the beauty and serenity inside, come on in and forget the trials of the world outside for a while and pray for your soul and your salvation from the horrors shown outside.'
Marian T. Horvat, Ph.D.
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http://www.traditioninaction.org/religious/f001rp.htm
Reflective-
Above are some definitions I have pulled off the internet of what I see gargoyles to do, to protect the buildings they are placed on, and to scare away bad spirits. I have print screened the definitions to see if I can stem off in a different direction, potentially looking at nature, potentially amphibians who warn off prey with warning colours.
From what I have learnt from my research on gargoyles so far is that they do not have a clear background history, and the meaning of these monstrous sculptures will be a mystery. Personally, I feel that they where created in Ancient Greece and Egypt as they where aesthetically pleasing for drains, and where altered in the gothic period to scare civilians, so they would not sin, and worship god, as science was scarce around this time. Its just a theory, but i feel that since there is a limited amount of history on the subject, it will allow me to trying to link in different styles and cultures into my work.
Grotesque-
The word grotesque, comes from Italian grottesco (through Middle French), literally "of a cave," The original meaning was restricted to an extravagant style of Ancient Roman decorative art rediscovered and then copied in Rome at the end of the 15th century. The word first was used of paintings found on the walls of basements of Roman ruins that were called at that time Le Grotte (The Grottoes) due to their appearance. These "caves" were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in AD 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements.
Since at least the 18th century (in French and German as well as English), grotesque has come to be used as a general adjective for the strange, fantastic, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity. More specifically, the grotesque forms on Gothic buildings, when not used as drain-spouts, should not be called gargoyles, but rather referred to simply as grotesques, or chimeras.
Grotesque Inspiration-
Grotesque Inspiration-
Reflective-
I Have decided to look into grotesque, as many gargoyles are set with this style. Many grotesque are disfigured human faces, and gives you an insight into what society was scared of in this period. I am hoping to incorporate it into my work, as creating a mutant gargoyle will be challenging but interesting. Society was Afraid of grotesque humans back in this period, as they knew very little about birth defects, as the science was not there, and where deemed to be outcasts of society. Luckily times have changed, but it lets me know that human history will not change as we will forever be scared of what we do not know. Theory- Gargoyles have a limited background and characteristics that are sometimes un-human, maybe this was the point, where people were uncertain of what these monstrous creatures were, therefor fearing them, and adding to the mystery.
Roman Sculpture-
The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere and Barberini Faun, are known only from Roman Imperial or Hellenistic "copies." At one time, this imitation was taken by art historians as indicating a narrowness of the Roman artistic imagination, but in the late 20th-century, Roman art began to be reevaluated on its own terms: some impressions of the nature of Greek sculpture may in fact be based on Roman artistry.
The strengths of Roman sculpture are in portraiture, where they were less concerned with the ideal than the Greeks or Ancient Egyptians, and produced very characterful works, and in narrative relief scenes. Examples of Roman sculpture are abundantly preserved, in total contrast to Roman painting, which was very widely practiced but has almost all been lost. Latin and some Greek authors, particularly Pliny the Elder in Book 34 of his Natural History, describe statues, and a few of these descriptions match extant works. While a great deal of Roman sculpture survives more or less intact, it is often damaged or fragmentary.
I have decided to have a brief look into Roman and Greek sculpture, as early forms of gargoyles have been originated to these times. Hopefully, this will give me a better insight into the skilled details, and style that they used back in this period. Although beauty was displayed in the inside of the chapels, or churches, I am hoping to use some of the style in my final piece, even though gargoyles are supposed to be monstrous. Having a look at this style of sculpture will help me better understand form, and how it was created before software.
Egyptian Gods and Goddesses-
Ancient Egyptian Gods and Goddesses-
For all ancient people, the world was filled with mystery. Much of what they experienced in the world around them was unknowable and frightening. The ancient Egyptian gods and goddesses represented aspects of the Egyptians’ natural and “supernatural” surroundings and helped them understand its many aspects.
Demons-
Demons were more powerful than human beings but not as powerful as gods. They were usually immortal, could be in more than one place at a time, and could affect the world as well as people in supernatural ways. But there were certain limits to their powers and they were neither all-powerful nor all knowing. Among demons the most important figure was Ammut – the Devourer of the Dead – part crocodile, part lioness, and part hippopotamus. She was often shown near the scales on which the hearts of the dead were weighed against the feather of Truth. She devoured the hearts of those whose wicked deeds in life made them unfit to enter the afterlife. Apepi, another important demon, (sometimes called Apophis) was the enemy of the sun god in his daily cycle through the cosmos, and is depicted as a colossal snake.
Gods and Goddesses
Most Egyptian gods represented one principle aspect of the world: Ra was the sun god, for example, and Nut was goddess of the sky. The characters of the gods were not clearly defined. Most were generally benevolent but their favor could not be counted on. Some gods were spiteful and had to be placated. Some, such as Neith, Sekhmet, and Mut, had changeable characters. The god Seth, who murdered his brother Osiris, embodied the malevolent and disordered aspects of the world.
The physical form taken on by the various Egyptian gods was usually a combination of human and animal, and many were associated with one or more animal species. And an animal could express a deity’s mood. When a god was angry, she might be portrayed as a ferocious lioness; when gentle, a cat. The convention was to depict the animal gods with a human body and an animal head. The opposite convention was sometimes used for representations of a king, who might be portrayed with a human head and a lion’s body, as in the case of the Sphinx. Sphinxes might also appear with other heads, particularly those of rams or falcons.Many deities were represented only in human form. Among these were such very ancient figures as the cosmic gods Shu of the air, Geb of the earth, the fertility god Min, and the craftsman Ptah. There were a number of minor gods that took on grotesque forms, including Bes, a dwarf with a mask-like face, and Taurt, a goddess whose physical form combined the features of a hippopotamus and a crocodile.
http://www.ancientegypt.co.uk/gods/explore/main.html
Greek Gods-
In the ancient Greek religion, the Twelve Olympians are the major deities of the Greek pantheon, commonly considered to be Zeus, Hera, Poseidon, Demeter, Athena,Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes and either Hestia, or Dionysus. Hades and Persephone were sometimes included as part of the twelve Olympians, although in general Hades was excluded, because he resided permanently in the underworld and never visited Olympus.
http://www.rickriordan.com/my-books/percy-jackson/explore-mythology/greek-gods.aspx
http://www.ancientgreece.co.uk/gods/explore/exp_set.html
Reflective-
I decided to look into the Greek and Egyptian Gods and Goddesses, as early forms of gargoyles (water spouts, drains etc.) were used in these periods of religion. Idolatry was also used in these periods, where statues where seen as a link to their gods if they paid them homage and gifts. Since both these time periods had a lot of mythology surrounding their gods, I have decided that I will look into Mythology, and see if I can link in any of these tales into my work.
Idolatry-
Reflective-
I will look into different civilisations in history, to see how statues where worshiped, such as ancient Greece and Egypt, as a gate to another world, to worship. I have chosen these periods, as their early engineering is the product of the modern gargoyle.
http://en.wikipedia.org/wiki/Idolatry
Mythology-
Greek mythology is the body of myths and teachings that belong to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. It was a part of the religion in ancient Greece. Modern scholars refer to and study the myths in an attempt to throw light on the religious and political institutions of Ancient Greece and its civilisation, and to gain understanding of the nature of myth-making itself.
Ancient Egyptian Gods and Goddesses-
For all ancient people, the world was filled with mystery. Much of what they experienced in the world around them was unknowable and frightening. The ancient Egyptian gods and goddesses represented aspects of the Egyptians’ natural and “supernatural” surroundings and helped them understand its many aspects.
Demons-
Demons were more powerful than human beings but not as powerful as gods. They were usually immortal, could be in more than one place at a time, and could affect the world as well as people in supernatural ways. But there were certain limits to their powers and they were neither all-powerful nor all knowing. Among demons the most important figure was Ammut – the Devourer of the Dead – part crocodile, part lioness, and part hippopotamus. She was often shown near the scales on which the hearts of the dead were weighed against the feather of Truth. She devoured the hearts of those whose wicked deeds in life made them unfit to enter the afterlife. Apepi, another important demon, (sometimes called Apophis) was the enemy of the sun god in his daily cycle through the cosmos, and is depicted as a colossal snake.
Gods and Goddesses
Most Egyptian gods represented one principle aspect of the world: Ra was the sun god, for example, and Nut was goddess of the sky. The characters of the gods were not clearly defined. Most were generally benevolent but their favor could not be counted on. Some gods were spiteful and had to be placated. Some, such as Neith, Sekhmet, and Mut, had changeable characters. The god Seth, who murdered his brother Osiris, embodied the malevolent and disordered aspects of the world.
The physical form taken on by the various Egyptian gods was usually a combination of human and animal, and many were associated with one or more animal species. And an animal could express a deity’s mood. When a god was angry, she might be portrayed as a ferocious lioness; when gentle, a cat. The convention was to depict the animal gods with a human body and an animal head. The opposite convention was sometimes used for representations of a king, who might be portrayed with a human head and a lion’s body, as in the case of the Sphinx. Sphinxes might also appear with other heads, particularly those of rams or falcons.Many deities were represented only in human form. Among these were such very ancient figures as the cosmic gods Shu of the air, Geb of the earth, the fertility god Min, and the craftsman Ptah. There were a number of minor gods that took on grotesque forms, including Bes, a dwarf with a mask-like face, and Taurt, a goddess whose physical form combined the features of a hippopotamus and a crocodile.
A link to the different Gods and Goddesses of Ancient Egypt:
Greek Gods-
In the ancient Greek religion, the Twelve Olympians are the major deities of the Greek pantheon, commonly considered to be Zeus, Hera, Poseidon, Demeter, Athena,Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes and either Hestia, or Dionysus. Hades and Persephone were sometimes included as part of the twelve Olympians, although in general Hades was excluded, because he resided permanently in the underworld and never visited Olympus.
The Twelve Olympians- Also known as the Dodekatheon, were the principal deities of the Greek pantheon, residing atop a mythical Mount Olympus. The Olympians gained their supremacy in a war of godsin which Zeus led his siblings to victory over the Titans.The concept of the "Twelve Gods" is older than any extant Greek or Roman sources. The gods meet in council in the Homeric epics, but the first ancient reference to religious ceremonies for the Olympians collectively is found in the Homeric Hymn to Hermes. The Greek cult of the Twelve Olympians can be traced to 6th-century BC Athens and probably has no precedent in the Mycenaean period. The altar to the Twelve Olympians at Athens is usually dated to the archonshipof the younger Pesistratos, in 522/521 BC.While the number was fixed at twelve, there was considerable variation as to which deities were included. However, the twelve as most commonly portrayed in art and poetry were Zeus, Hera,Poseidon, Demeter, Athena, Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes and eitherHestia, or Dionysus.Hades, known in the Eleusinian tradition as Pluto, was not usually included among the Olympians because his realm was the underworld. Plato connected the Twelve Olympians with the twelve months, and implies that he considered Pluto one of the twelve in proposing that the final month be devoted to him and the spirits of the dead. In Phaedrus Plato aligns the Twelve with the Zodiac and would exclude Hestia from their rank. But Eudoxus of Cnidus was the first to relate gods and signs.
In ancient Greek religion, the "Olympian Gods" and the "Cults of Twelve Gods" were often relatively distinct concepts. The Dodekatheon of Herodorus of Heracleaincluded Zeus, Hera, Poseidon, Hermes, Athena, Apollo, Alpheus, Cronus, Rhea and the Charites. The historian Herodotus states that Heracles was included as one of the Twelve by some. At Kos, Heracles and Dionysus are added to the Twelve, and Ares and Hephaestus are not. For Pindar, the Bibliotheca, and Herodorus, Heracles is not one of the Twelve Gods, but the one who established their cult. Lucian (2nd century AD) includes Heracles and Asclepius as members of the Twelve, without explaining which two had to give way for them.Hebe, Helios, Selene, Eos, Eros and Persephone are other important gods and goddesses who are sometimes included in a group of twelve. Eros is often depicted alongside the other twelve, especially his mother Aphrodite, but not usually counted in their number.
In ancient Greek religion, the "Olympian Gods" and the "Cults of Twelve Gods" were often relatively distinct concepts. The Dodekatheon of Herodorus of Heracleaincluded Zeus, Hera, Poseidon, Hermes, Athena, Apollo, Alpheus, Cronus, Rhea and the Charites. The historian Herodotus states that Heracles was included as one of the Twelve by some. At Kos, Heracles and Dionysus are added to the Twelve, and Ares and Hephaestus are not. For Pindar, the Bibliotheca, and Herodorus, Heracles is not one of the Twelve Gods, but the one who established their cult. Lucian (2nd century AD) includes Heracles and Asclepius as members of the Twelve, without explaining which two had to give way for them.Hebe, Helios, Selene, Eos, Eros and Persephone are other important gods and goddesses who are sometimes included in a group of twelve. Eros is often depicted alongside the other twelve, especially his mother Aphrodite, but not usually counted in their number.
List of Greek Gods and Stories-
http://www.rickriordan.com/my-books/percy-jackson/explore-mythology/greek-gods.aspx
http://www.ancientgreece.co.uk/gods/explore/exp_set.html
Reflective-
I decided to look into the Greek and Egyptian Gods and Goddesses, as early forms of gargoyles (water spouts, drains etc.) were used in these periods of religion. Idolatry was also used in these periods, where statues where seen as a link to their gods if they paid them homage and gifts. Since both these time periods had a lot of mythology surrounding their gods, I have decided that I will look into Mythology, and see if I can link in any of these tales into my work.
Idolatry-
Idolatry is a pejorative term for the worship of an idol or a physical object such as a cult image as a god, or practices believed to verge on worship, such as giving honour and regard to created forms. In all the Abrahamic religions idolatry is strongly forbidden, although views as to what constitutes idolatry may differ within and between them. In other religions the use of cult images is accepted. Which images, ideas, and objects constitute idolatry is often a matter of considerable contention.
Behaviour considered idolatrous or potentially idolatrous may include the creation of any type of image of the deity, or of other figures of religious significance such as prophets, saints, and clergy, the creation of images of any person or animal at all, and the use of religious symbols, or secular ones. In addition, Christian theologians, following Saint Paul, have extended the concept to include giving undue importance to other aspects of religion, or to non-religious aspects of life in general, with no involvement of images specifically.
Reflective-
I will look into different civilisations in history, to see how statues where worshiped, such as ancient Greece and Egypt, as a gate to another world, to worship. I have chosen these periods, as their early engineering is the product of the modern gargoyle.
http://en.wikipedia.org/wiki/Idolatry
Greek mythology is the body of myths and teachings that belong to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. It was a part of the religion in ancient Greece. Modern scholars refer to and study the myths in an attempt to throw light on the religious and political institutions of Ancient Greece and its civilisation, and to gain understanding of the nature of myth-making itself.
Greek mythology is explicitly embodied in a large collection of narratives, and implicitly in Greek representational arts, such as vase-paintings and votive gifts. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a wide variety of gods, goddesses, heroes, heroines and mythological creatures. These accounts initially were disseminated in an oral-poetic tradition; today the Greek myths are known primarily from Greek literature. The oldest known Greek literary sources, Homer's epic poems Iliad and Odyssey, focus on the Trojan War and its aftermath. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, and the origin of sacrificial practices.
Horned God-
The Horned God is one of the two primary deities found in some neopagan, especially Wiccan, religions. He represents the male part of the religion's duo theistic theological system, the other part being the female Triple Goddess or other Mother Goddess. In common Wiccan belief, he is associated with nature, wilderness, sexuality, hunting, and the life cycle. Whilst depictions of the deity vary, he is always shown with either horns or antlers upon his head, often depicted as being theriocephalic (having a beast's head), in this way emphasising "the union of the divine and the animal", the latter of which includes humanity.
The term Horned God itself predates Wicca, and is an early 20th-century syncretic term for a horned or antlered anthropomorphic god with pseudohistorical origins. According to Margaret Murray's 1921 The Witch-Cult in Western Europe, the Horned God was the deity worshipped by a pan-European witchcraft-based cult, and was demonized into the form of the devil by the Mediaeval Church.
Green Man-
A Green Man is a sculpture, drawing, or other representation of a face surrounded by or made from leaves. Branches or vinesmay sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament, Green Men are frequently found in carvings on both secular and ecclesiastical buildings. "The Green Man" is also a popular name for English public houses and various interpretations of the name appear on inn signs, which sometimes show a full figure rather than just the head.
The Green Man motif has many variations. Found in many cultures from many ages around the world, the Green Man is often related to natural vegetative deities. It is primarily interpreted as a symbol of rebirth, representing the cycle of growth each spring. Some speculate that the mythology of the Green Man developed independently in the traditions of separate ancient cultures and evolved into the wide variety of examples found throughout history.
Mythological Hybrids-
'They can be classified as partly human hybrids (such as mermaids or centaurs), and non-human hybrids combining two or more animal species (such as the griffin or the chimera). Hybrids are often zoomorphic deities in origin who acquire an anthropomorphic aspect over time.
Partly human hybrids appear in petroglyphs or cave paintings from the Upper Paleolithic, in shamanistic or totemistic contexts. Ethnologist Ivar Lissner theorized that cave paintings of beings combining human and animal features were not physical representations of mythical hybrids, but were instead attempts to depict shamans in the process of acquiring the mental and spiritual attributes of various beasts or power animals. Religious historian Mircea Eliade has observed that beliefs regarding animal identity and transformation into animals are widespread. The iconography of the Vinca culture of Neolithic Europe in particular is noted for its frequent depiction of an owl-beaked "bird goddess".'
Since mythology has been used in the early ages of gargoyles in greek and roman history, here is a link on more information of hybrid creatures of mythology.
I am hoping to look into more detail into these mystical creatures as their lore and various hybrids intrigue me. Since most mythical creatures are a mixture of animals or hybrid human, I feel that I could use this technique, and mix animals together to make a grotesque creature for my final piece.
Chimera-
according to Greek mythology, the Chimera was a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. Usually depicted as a lion, with the head of a goat arising from his back, and a tail that might end with a snake's head.
The term chimera has come to describe any mythical or fictional animal with parts taken from various animals, or to describe anything composed of very disparate parts, or perceived as wildly imaginative, implausible, or dazzling.
Reflective-
I have decided to look at the Chimera mythological creature, as it comes up in some of my research on gargoyles. The Chimera is made out of 3 creatures, a lion, goat and snake. I feel that this may be a good creature to recreate as my final piece, as the goat has links in with the devil, which will be good to portray. The snake also has links with the bible, with the serpent in Adam and Eve. I could reference an apple in the figure, to add a story to the piece, to have religious tie ins.
Fallen angels-
Reflective-
I have looked into the history of the bible to see if I would be able to incorporate fallen angles into my gargoyle project. I am researching to see if there is some bible law in which these fallen angels can repent for their sins. I am hoping to try and incorporate and look into these fallen angels as I am looking to see if they could guard the churches on which they are cast, to horde of bad spirits, in order to repent for their sins.
Inspiration-
Can fallen angels repent for their sins?
'No, fallen angels cannot repent. They have been given over to their sinful rebellion. Repentance is something granted by God to people (2 Timothy 2:25) and is part of the work of salvation that is the work of God. Angels have no way of being redeemed, that we know of biblically, because the pattern of redemption involves the incarnation of God where he became one of us and died for us. This means we are able to be redeemed by the sacrifice of Christ, God in flesh (John 1:1, 14; Colossians 2:9). But there is no such redemptive work supplied to the angelic realm. Therefore, there is no regeneration and no change, which means no repentance.
The Bible speaks of elect angels or chosen angels. "I solemnly charge you in the presence of God and of Christ Jesus and of His chosen angels, to maintain these principles without bias, doing nothing in a spirit of partiality." (1 Timothy 5:21). So we can see there were chosen angels. This probably means that God was electing angels not to fall in the great spiritual rebellion before the creation of the world. If they were chosen to not fall, it was probably for a reason to serve God. We as humans were not chosen by God not to fall, but we were chosen to be redeemed (2 Thessalonians 2:13; Ephesians 1:4-5).
So, fallen angels cannot repent, be saved, and spend eternity with God. They knew God in the spiritual realm, rejected him, and will face their just punishment.'
Question: "Why doesn't God give the fallen angels a chance to repent?"
'Answer:The Bible does not specifically address the issue of fallen angels having an opportunity to repent, but we can gain some insight from what the Bible does say. First, Satan (Lucifer) was one of the highest angels, perhaps the highest (Ezekiel 28:14). Lucifer—and all the angels—were continually in God’s presence and had knowledge of the glory of God. Therefore, they had no excuse for rebelling against God and turning away from Him. They were not tempted. Lucifer and the other angels rebelling against God despite what they knew was the utmost evil.
Second, God did not provide a plan of redemption for the angels as He did for mankind. The fall of the human race necessitated an atoning sacrifice for sin, and God provided that sacrifice in Jesus Christ. In His grace, God redeemed the human race and brought glory to Himself.
No such sacrifice was planned for the angels. In addition, God referred to those angels who remain faithful to Him as His “elect angels” (1 Timothy 5:21). We know from the biblical doctrine of election that those whom God elects to salvation will be saved, and nothing can separate them from God’s love (Romans 8:38-39). Clearly, those angels who rebelled were not “elect angels” of God.
Finally, the Bible gives us no reason to believe that angels would repent even if God gave them the chance (1 Peter 5:8). The fallen angels seem completely devoted to opposing God and attacking God's people. The Bible says that the severity of God’s judgment varies according to how much knowledge a person possesses (Luke 12:48). The fallen angels, then, with the great knowledge they possessed, are greatly deserving of God’s wrath.'
http://www.gotquestions.org/angels-repent.html
Chapter 2 – The First Wave of Fallen Angels
'What about the other Fallen Angels?
There are other fallen angels besides Satan. God made many angels on the first day of creation. We know that about 1/3 of the total number of angels became sinful under Satan’s influence, before Jesus Christ was born.
'What about the other Fallen Angels?
There are other fallen angels besides Satan. God made many angels on the first day of creation. We know that about 1/3 of the total number of angels became sinful under Satan’s influence, before Jesus Christ was born.
“And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.” Rev 12:3-4
The tail of the dragon Satan casting these stars down to earth shows that they became sinful under Satan’s influence. The timing shows that this occurred before Jesus was born. That the angels are compared to the stars of heaven demonstrates that there are many angels, but only a third of the total number of angels became fallen.
The Bible details that the angels who fell did so in two waves.
The first wave occurred before the flood, and they were imprisoned in the Abyss.
The second wave fell after the flood, and these were cast down to earth with Satan after they lost the battle in heaven.'
The first wave occurred before the flood, and they were imprisoned in the Abyss.
The second wave fell after the flood, and these were cast down to earth with Satan after they lost the battle in heaven.'
Reflective-
From my research it has shown me that fallen angels cannot repent for their sins. I have had a look for any folk tales or stories in which a fallen angel has repented or are repenting for their sins, but have been unfortunate in finding any. I will still try to incorporate fallen angels into my work, as I enjoy and would like to explore some of the bibles history, art, sculptures and the battle between good and evil and try to incorporate it into the gargoyle project. I will also look at over folk tales to see if their have been any mystical creatures who reflect darkness and scare of bad spirits. I hope to of gained a style from researching fallen angles in which i can use within my final project.
Death-
The concept of Death as a sentient entity has existed in many societies since the beginning of recorded history. In English, from the 15th century onwards, Death came to be shown as a skeletal figure carrying a large scythe and clothed in a black cloak with a hood, while the title of "the Grim Reaper" is first attested from 1847. In Jewish tradition, Death was referred to as the Angel of Life and Death (Malach HaMavet) or the Angel of Dark and Light stemming from the Bible and Talmudic lore. The Bible itself does refer to the "Angel of Life and Death" when he reaps Egypt's firstborns, but he is not connected toSatan. There is also a reference to "Abaddon" (The Destroyer), an Angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterised as archangel Samael.
In some cases, the Grim Reaper can actually cause the victim's death, leading to tales that he can be bribed, tricked, or outwitted in order to retain one's life, such as in the case of Sisyphus. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body and to guide the deceased to the next world without having any control over the fact of the victim's death. In many languages (including English), Death is personified in male form, while in others, it is perceived as a female character.
Amphibians-
Amphibians are ectothermic, tetrapod vertebrates of the class Amphibia. Modern amphibians are all Lissamphibia. They inhabit a wide variety of habitats with most species living within terrestrial, fossorial, arboreal or freshwater aquatic ecosystems. Amphibians typically start out as larva living in water, but some species have developed behavioural adaptations to bypass this. The young generally undergo metamorphosis from larva with gills to an adult air-breathing form with lungs. Amphibians use their skin as a secondary respiratory surface and some small terrestrial salamanders and frogs lack lungs and rely entirely on their skin. They are superficially similar to reptiles but, along with mammals and birds, reptiles are amniotes and do not require water bodies in which to breed. With their complex reproductive needs and permeable skins, amphibians are often ecological indicators and in recent decades there has been a dramatic decline in amphibian populations for many species around the globe.
Aposematism-
Aposematism , perhaps most commonly known in the context of warning coloration, describes a family of antipredator adaptations where a warning signal is associated with the unprofitability of a prey item to potential predators. Aposematism is one form of an "advertising" signal (with many others existing, such as the bright colours of flowers which lure pollinators). The warning signal may take the form of conspicuous colours, sounds, odours or other perceivable characteristics. Aposematic signals are beneficial for both the predator and prey, both of which avoid potential harm.
http://en.wikipedia.org/wiki/Amphibian
http://en.wikipedia.org/wiki/Aposematism
Reflective-
I have decided to look into the different patterns and characteristics that the amphibians have. I am researching to show how the use of colour and patterns that amphibians have is used to warn their prey of either their deadly poison, or to become part of the environment and hide in the shadows. I am doing this as gargoyles have been used to horde of bad spirits, much like the patterns and vibrant colours some amphibians use for survival.
Goblins-
A goblin is a legendary evil or mischievous grotesque dwarf-like daemon or monster that appeared in European stories and accounts during the Middle Ages.
They are attributed with various (sometimes conflicting) abilities, temperaments and appearances depending on the story and country of origin. In some cases, goblins are little creatures related to the brownie and gnome. They are usually small, sometimes only a few inches tall, sometimes the size of a dwarf, and have magical abilities; they are greedy, especially for gold and jewellery.
Reflective-
I have decided to look at goblins, as they have similarities to the traditional gothic gargoyles with long pointy ears, and grotesque faces. Hopefully I will be able to use some of their features within my work, and look into some folk tales on goblins, to see if their are any prolific goblins I can look into for inspiration. I will also look into the different kinds of goblins, although many might not look scary, but they are still mystical creatures, and have unknown fictional folk tale magic, and their for, people in the gothic period would be scared of it as they are unknowing of what it is.
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Reflective-
Gargoyles have changed a lot through history, from aesthetically sculptures, to subliminal messages in the gothic period, where they become more popular, and were used to show that evil lurks, but on the outside of holy buildings, wrapped around trying to break in, to scare the populous as the IQ back then is not of today, and there was a lot of unclear and mysterious unanswered questions of not knowing, or even to horde off the bad spirits, I will not be certain, and will not be 100% sure as the history and origins of the gargoyles is unclear.
From my research, I have looked at the history of the gargoyles, I have decided to look at the origins of the beginning of a gargoyle from ancient times, from this I have looked at the Gods and Goddesses of the time, from Greek and Egyptian mythology, and were statues used to be idolised, and seen as some sort of communication to the gods. The mythology interests me, and I like the concept of their beasts being a mixture of animals.
I also decided to look into the Christianity route, where I had a concept of these gargoyles being used to horde of bad spirits, from this I decided to look into if fallen angels would be able to repent for their sins, were the answer was no. I still hope to use influences from the fallen angels into my work. From this, I decided to look into death (the grim reaper) as many people of the gothic period time were and still to this day are uncertain of what life is after death, so from this, I feel that I could incorporate grim reaper like features into my work. I have also decided to look into amphibians, as some species use aposematism, where colours and patterns are used to warn prey of the dangerous poison they hold, I hope to use some of these textures and patterns in my work as a warning to scare of evil. Amphibians also have features I hope to use in my work, potentially making a hybrid with some of these characteristics. I have also looked briefly into goblins, as they have very similar characteristics to the gothic period gargoyles, some goblins are not of the scary disfigured kind, and i do not always need to go down the dark evil style, and can go for something which will create a fear for the mystery it holds. I hope to design hybrids of animals, using practices of mythological like creatures, were I will use features from the various research I have done, to combine them to be a grotesque mystical beast for my final piece.
Links I may have missed out-
http://garyrvarner.webs.com/gargoylesgrotesques.htm
http://www.thebluedot.com/gargs/g2.html
http://www.traditioninaction.org/religious/f001rp.htm
http://www.stratis.demon.co.uk/gargoyles/gg-ety-hist-myth.htm
http://en.wikipedia.org/wiki/Idolatry
http://en.wikipedia.org/wiki/Gargoyle
http://www.thewhitegoddess.co.uk/articles/mythology_folklore/gargoyles.asp
Contextual studies-
For my contextual studies, I have been set the task of looking into the roles and practices of the gaming industry. I will have to look into the different roles, work structure, practices, new technologies, and how they have evolved into what they have become today, and what I predict they will be like in the future. I have to come up with a question for my 1000 word essay, which I am not certain of yet, but through my research, hope to find a question which will also benefit me as it will give me a chance to look into the industry.
Video links-
These are a few videos that explore the future of the gaming technology, and how formats are changing, were we will not need to store games on discs, but instead, downloading a game online, potentially even renting. Consoles may even be a thing of the past, as super computers will be the new console, with addable upgrades, such as storage, or a better graphics card, making consoles more personal to the owner. As we strive towards making gaming more realistic, and to trick our brains that it is not a simulation, new technologies will be created to enhance the gaming experience, such as the Omni, which creates a stable walking station that allows the user to feel that they are walking in the game, which synergies well with the Octulas Rift. With super computers not being a thing of myths anymore, memory available to create photorealistic games may be in sight, with quantum computing in early developments, were atoms are used for switches in computers, taking up less space and having a faster processing time that will help load the more bulky memory future more realistic games will need. With development with the Octulas rift, and evidence of games increasing your response time, and in some parts intelligence, gaming simulators may be used as a form of training in the military or over forms of training simulators.
Future of Gaming: Are Discs Dead?
https://www.youtube.com/watch?v=I8YfEe0NoNA
Is Quantum Computing the Future of Gaming?
https://www.youtube.com/watch?v=mXPRF0LouFk
Omni: Real Battlefield Place-
https://www.youtube.com/watch?v=j3vHv4lNvg4
Are Photorealistic Video Games Possible?
https://www.youtube.com/watch?v=7ryRSspZlrQ
Controlling Games With Your Brain-
https://www.youtube.com/watch?v=cqoxjun43HM
4 Reasons Video Games Make You Smarter-
https://www.youtube.com/watch?v=bHwBUoLf_m8
HoloLens VS Oculus RIft and the Future of Gaming-
https://www.youtube.com/watch?v=RorHvHW26fc
The Future of Gaming: What Will Games be like in 10 Years?
https://www.youtube.com/watch?v=MUU_lp7kjQE
The Future of Games-
https://www.youtube.com/watch?v=oON6S4fXS4k
8 Ways Modern Technology Has Changed Video Games Forever
'In January 2007, Steve Jobs stepped on stage. He pulled a phone out of his pocket.
"It's a phone, an iPod, and an Internet device all in one. Are you getting it yet?"
He didn't know it at the time, but Jobs was about to change the face of gaming forever. The iPhone and subsequent smartphones popularized ultra-cheap and casual games.
The iPhone wasn't the only game-changer, either. The face of video games has changed so drastically that we probably wouldn't have even been able to predict where we are today just five years ago.
Game companies are on the cusp of unlocking the true potential of the Internet for video games. Odds are in favour that the way we play games will be completely different, again, just two or three years from now.
We've never been in a more exciting time for gaming, and we're nowhere close to finished innovating.'
http://www.businessinsider.com/10-ways-modern-technology-has-changed-video-games-forever-in-just-five-years-2011-11?op=1&IR=T
-You can play high-definition games through the Internet
With streaming technology being improved over the years, it has allowed companies to rent or sell games from the internet with a touch of a button, This may be a problem for low wireless connection. I predict that this will not be a problem in the future as google aim to set up internet access around the globe to widen their target market.
-Games are dirt cheap
Smart phones have brought a new market of app games, that offer a lot of content for a low fee. Smart phones have a widened audience since mobile phones are daily items, and are constantly by our side. I feel that in the future, everything you need will be stored on your phone, with the power to play high definition games.
-You play with your friends over the web
Multiplayer has been around on the PC for a long time, before consoles, and the evolution of what it used to be compared to todays has vastly changed with 60ffs online shooters. The ability to play games with your friends in different locations has changed what multiplayer used to be, but with this, split screen coop games have suffered, and the feeling of playing a multiplayer coop game doesn't have the same nostalgic feel.
-Games work in both bite-sized chunks and hour-long sessions
Apps have opened a new door to casual gamers who may not usually have the time to sit and play a console game. App games allows players to enter and leave the game freely, and are flexible with the time you take in the progression. I am not sure how this will evolve in the future, but I feel that since phones will continue to get better, the content is bound to get better.
-Most modern top titles are designed to be cinematic thrill rides
With the likes of GTA V, many AAA game companies have the same budget of hollywood blockbusters, this is due to new technologies allowing for bigger and better effects and physics, and the demand to get a for filling gaming experience which will please a wide audience market. In the future, I feel that games could be an experience you pay for much like a movie, with devices such as the Octulas Rift, where you can interact with characters, to empathise with them. The gaming industry is bound to increase, and new technologies being developed to help create better content.
-The cartridge and disc are on their way out
Since discs have a limited amount of data available on them, I feel that in the future, everything will be digitalised, or streamed of a website.
-You can make a game on a tiny budget
With the increasing difficulty of getting a job at AAA companies, Indie developers have increased heavily, With programmes getting better, it has allowed smaller teams to create small master pieces, filled with their passion. Examples of this are games such as Minecraft or Fez. I predict that programmes will make it easier for developers to create amazing content.
Gaming Special: Welcome to the world of grown up gaming-
'It used to be so simple. You had a games console - the Super Nintendo, say - and you had a game. Generally, this game was a cartridge, something in plastic, something you blew on to get the dust off, something you plonked in the console like an oversize shape-sorter toy. Cherchunk, and there it was - cartoon-bright, weird characters, and off you went to win a race, rescue a princess, or defeat the end-of-level boss.
Now, things are a bit different. Yes, the new console overlords Microsoft and Sony have finally released their next generation black-box monoliths - the Xbox One and the PlayStation 4 - but the bigger story is how much the blockbuster games already sell. At the time of writing, Iron Man 3 was the highest-grossing film of 2013, having made $1.2bn total worldwide. And why not? It's got Robert Downey Jr quipping while in a red metal suit that flies and fires rockets. Yet Grand Theft Auto V (pictured)- the violent, pulpy game where players must steal cars and rob banks, released in September 2013 - amassed that figure in little over three days. Three. Days. As your teenage son might mumble to you over dinner, "W'evs, Hollywood."
And the indie game scene has never been more alive. Requiring little more than a nerd and a laptop, inventive micro-budget games can make fortunes for the lone-wolf developers who sell via the online stores of Xbox and PlayStation. The 29-year-old Phil Fish became a millionaire on the back of his low-budget bedroom-gaming smash Fez, in which a 2-D character must navigate a 3-D world. Console games are just the start. There's no escaping it - gaming, and the money it makes, is a serious, grown-up business.
Take mobile-phone games. In the UK alone, 20 million of us have played mobile games, with 6.2 million playing every day. Take a look down your Tube carriage - these aren't kids.'
http://www.gq-magazine.co.uk/entertainment/articles/2014-02-/19/video-game-industry-evolution-2014
Reflective-
This article is talking about how the gaming word has changed from what it used to be, where games have become like big blockbuster hits, and how marketing strategies are used to promote these games much like the movies. It also talks about how indie gaming is on the high rise, from the ever increasing development of apps, to the independent developers producing AAA quality work.
Games Industry Jobs-
Here are some links that shows all the different departments within the gaming industry
http://www.gamesindustry.biz/jobs
http://creativeskillset.org/creative_industries/games/job_roles
http://www.slideshare.net/Thomas_Giblin_16/job-roles-in-the-games-industry-21097601
Reflective-
I have taken time to look into the different job roles in the industry, as i will need to decide what role i want to fall under, I am not sure how I will be able to link in a job role I have looked at, this is because i am looking at the evolution of the gaming industry, but it has helped me to better understand what I want to follow in the future.
The Line Between “Indie” & “Triple A”-
I can’t help but feel that since the rise of indie, thanks to games such as Braid and Minecraft that line has swayed, if not dissolved a little. Since the uprising in popularity for indie games console companies Sony and Microsoft have really pushed for their consoles to be indie developing friendly, perhaps recognizing that more people are making games and that they could get some passionate buyers out of them. Whatever the reason, I’m sure small time developers could care less, they now have a tool that launches their project to unlimited heights. These small games are usually non-commercial, and now we have the two kings of console gaming trying to be the voice of indie developers who now have to choose which corporation they want a relationship with, signing with them to have their game featured on the front of their site and even on their stage at E3, up there with the triple A games...
...With newer engines and software being readily available for anyone to create with, while Sony and Microsoft are fighting to support your creations are we losing the heart and soul of indie gaming? I don’t necessarily think so, the programs available from Microsoft and the support from Sony is an amazing step for wanna be game makers, but I do feel the line between “Indie” and “Triple A” is fading slightly.
http://www.gamerheadlines.com/2014/07/the-line-between-indie-triple-a/
The International Game Developers Association-
The International Game Developers Association (IGDA) is the largest non-profit membership organization in the world serving all individuals who create games.As an international organization, we are a global network of collaborative projects and communities comprised of individuals from all fields of game development - from programmers and producers to writers, artists, QA and localization. We bring together developers at key industry conferences, in over 90 Chapters and in Special Interest Groups (SIGs) to improve their lives and their craft. We advocate on behalf of our membership to ensure quality of life, perpetuation of our craft and preparing the next generation of developers.Whether you're a student with a goal to become a game developer or a seasoned veteran, regardless if you're based in the U.S. or any country/region in the world, whether you're an indie developer or in a AAA studio, whether your primary platform is a PC, console or a tabletop - we welcome you home to the IGDA!
Mission: To advance the careers and enhance the lives of game developers by connecting members with their peers, promoting professional development, and advocating on issues that affect the developer community.
This mission is carried out in the following key areas:
Advocacy: Make change in our industry by identifying and speaking out on key issues
Networking and Community: Connecting members with their peers, both geographically and functionally
Professional Development: Promoting constant improvement of our craft
International Reach: Expanding the global community of game developers
http://www.igda.org/
http://www.igda.org/?page=codeofethics
Photogrammetry-
http://en.wikipedia.org/wiki/Photogrammetry
Reflective-
Photogrammetry is used for programmes such as google maps, It can also be used to create highly photorealistic landscape in gaming by compressing a lot of 2D pictures depending on how big the object is, onto a programme where a 3D model is rendered and created. I feel that this could be used in gaming to either help speed up creating highly realistic scenery, although a lot of photos are needed to be taken.
Reflective-
Photogrammetry is used for programmes such as google maps, It can also be used to create highly photorealistic landscape in gaming by compressing a lot of 2D pictures depending on how big the object is, onto a programme where a 3D model is rendered and created. I feel that this could be used in gaming to either help speed up creating highly realistic scenery, although a lot of photos are needed to be taken.
Deep learning-
Deep learning (deep structured learning or hierarchical learning) is a set of algorithms in machine learning that attempt to model high-level abstractions in data by using model architectures composed of multiple non-linear transformations.
Deep learning is part of a broader family of machine learning methods based on learning representations of data. An observation (e.g., an image) can be represented in many ways such as a vector of intensity values per pixel, or in a more abstract way as a set of edges, regions of particular shape, etc. Some representations make it easier to learn tasks (e.g. face recognition) from examples. One of the promises of deep learning is replacing handcrafted features with efficient algorithms for unsupervised or semi-supervised feature learning and hierarchical feature extraction.
Deep learning is part of a broader family of machine learning methods based on learning representations of data. An observation (e.g., an image) can be represented in many ways such as a vector of intensity values per pixel, or in a more abstract way as a set of edges, regions of particular shape, etc. Some representations make it easier to learn tasks (e.g. face recognition) from examples. One of the promises of deep learning is replacing handcrafted features with efficient algorithms for unsupervised or semi-supervised feature learning and hierarchical feature extraction.
http://en.wikipedia.org/wiki/Deep_learning
Reflective-
Deep learning is pretty much a computer programme that learns from its mistakes, and in the future predict that it will be used in AI, making repetitive gameplay and stupid AI a thing of the past.
Video game industry-
History of video games
The Magnavox Odyssey, released in 1972, was the first home gaming console.
See also: History of video game consoles (first generation), Video game crash of 1977, Golden age of video arcade games and History of video game consoles (second generation)
The video game industry began in 1971 with the release of the arcade game, Computer Space[citation needed]. The following year, Atari, Inc. released the first commercially successful video game, Pong, the original arcade version of which sold over 19,000 arcade cabinets. That same year saw the introduction of video games to the home market with the release of the early video game console, the Magnavox Odyssey. However, both the arcade and home markets would be dominated by Pong clones, which flooded the market and led to the video game crash of 1977. The crash eventually came to an end with the success of Taito's Space Invaders, released in 1978, sparking a renaissance for the video game industry and paving the way for the golden age of video arcade games.The game's success inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts, restaurants and convenience stores during the golden age. Space Invaders would go on to sell over 360,000 arcade cabinets worldwide, and by 1982, generate a revenue of $2 billion in quarters, equivalent to $4.6 billion in 2011.
Soon after, Space Invaders was licensed for the Atari VCS (later known as Atari 2600), becoming the first "killer app" and quadrupling the console's sales. The success of the Atari 2600 in turn revived the home video game market during the second generation of consoles, up until the North American video game crash of 1983. By the end of the 1970s, the personal computer game industry began forming from a hobby culture, when personal computers just began to become widely available. The industry grew along with the advancement of computing technology, and often drove that advancement.
1980s
The Nintendo Entertainment System, released in 1985, helped to revive the American gaming industry after the video game crash of 1983.
See also: Golden age of video arcade games, History of video game consoles (second generation), North American video game crash of 1983, History of video game consoles (third generation) and History of video game consoles (fourth generation)
The early 1980s saw the golden age of video arcade games reach its zenith. The total sales of arcade video game machines in North America increased significantly during this period, from $50 million in 1978 to $900 million by 1981,[14] with the arcade video game industry's revenue in North America tripling to $2.8 billion in 1980.[15] By 1981, the arcade video game industry was generating an annual revenue of $5 billion in North America, equivalent to $12.3 billion in 2011. In 1982, the arcade video game industry reached its peak, generating $8 billion in quarters, equivalent to over $18.5 billion in 2011, surpassing the annual gross revenue of both pop music ($4 billion) and Hollywood films ($3 billion) combined at that time. This was also nearly twice as much revenue as the $3.8 billion generated by the home video game industry that same year; both the arcade and home markets combined add up to a total revenue of $11.8 billion for the video game industry in 1982, equivalent to over $27.3 billion in 2011. The arcade video game industry would continue to generate an annual revenue of $5 billion in quarters through to 1985. The most successful game of this era was Namco's Pac-Man, released in 1980, which would go on to sell over 350,000 cabinets, and within a year, generate a revenue of more than $1 billion in quarters; in total, Pac-Man is estimated to have grossed over 10 billion quarters ($2.5 billion) during the 20th century,equivalent to over $3.4 billion in 2011.
The early part of the decade saw the rise of home computing, and home-made games, especially in Europe (with the ZX Spectrum) and Asia (with the NEC PC-88 and MSX). This time also saw the rise of video game journalism, which was later expanded to include covermounted cassettes and CDs. In 1983, the North American industry crashed due to the production of too many badly developed games (quantity over quality), resulting in the fall of the North American industry. The industry would eventually be revitalized by the release of the Nintendo Entertainment System, which resulted in the home console market being dominated by Japanese companies such as Nintendo, while a professional European computer game industry also began taking shape with companies such as Ocean Software. The latter part of the decade saw the rise of the Game Boy handheld system. In 1987, Nintendo lost a legal challenge against Blockbuster Entertainment, which enabled games rentals in the same way as movies.
1990s
The PlayStation was the most popular gaming console of the fifth generation, which saw the common adoption of CD media.
See also: History of video game consoles (fourth generation), History of video game consoles (fifth generation) and History of video game consoles (sixth generation)
The 1990s saw advancements in game related technology. Among the significant advancements were:
The widespread adoption of CD-based storage and software distribution
Widespread adoption of GUI-based operating systems, such as the series of Amiga OS, Microsoft Windows and Mac OS
Advancement in 3D graphics technology, as 3D graphic cards became widely adopted, with 3D graphics now the de facto standard for video game visual presentation
Continuing advancement of CPU speed and sophistication
Miniaturisation of hardware, and mobile phones, which enabled mobile gaming
The emergence of the internet, which in the latter part of the decade enabled online co-operative play and competitive gaming
Aside from technology, in the early part of the decade, licenced games became more popular, as did video game sequels.
The video game industry generated worldwide sales of $19.8 billion in 1993 (equivalent to $31 billion in 2011), $20.8 billion in 1994(equivalent to $32 billion in 2011), and an estimated $30 billion in 1998(equivalent to $41.5 billion in 2011). In the United States alone, in 1994, arcades were generating $7 billion in quarters (equivalent to $11 billion in 2011) while home console game sales were generating revenues of $6 billion[28] (equivalent to $9 billion in 2011). Combined, this was nearly two and a half times the $5 billion revenue generated by movies in the United States at the time.
2000s
History of video game consoles (sixth generation) and History of video game consoles (seventh generation)
Though maturing, the video game industry was still very volatile, with third-party video game developers quickly cropping up, and just as quickly, going out of business.[citation needed] Nevertheless, many casual games and indie games were developed and become popular and successful, such as Braid and Limbo. Game development for mobile phones (such as iOS and Android devices) and social networking sites emerged. For example, a Facebook game developer, Zynga, has raised in excess of $300 million.
2010s
See also: History of video game consoles (eighth generation)
Today, the video game industry is a juggernaut of development; profit still drives technological advancement which is then used by other industry sectors. Though not the main driving force, casual and indie games continue to have a significant impact on the industry, with sales of some of these titles such as Minecraft exceeding millions of dollars and over a million users. While development for consoles and PCs is not dormant, development of mobile games is still lively.[citation needed] As of 2014, newer game companies arose that vertically integrate live operations and publishing, rather than relying on a traditional publishers, and some of these have grown to substantial size
http://en.wikipedia.org/wiki/Video_game_industry
How do you get a job in the game industry?-
How do you get a job in the game industry? According to Valve, all you have to do is give yourself one.
Valve's Chet Faliszek delivered a talk this afternoon to a packed audience at Eurogamer Expo with one clear message to budding developers: "Create something."
"There you go. And that's it. It's that easy," he said.
"I'm being serious. There are no gatekeepers. There are no requirements. There is no prior experience that you need. Just make something."
"There you go. And that's it. It's that easy," he said.
"I'm being serious. There are no gatekeepers. There are no requirements. There is no prior experience that you need. Just make something."
http://www.eurogamer.net/articles/2012-09-28-how-do-you-get-a-job-in-the-game-industry-give-yourself-one-valve-tells-us
Reflective-
I feel that since content may be easier to create in the future due to new programmes, the competition to get a job will be more difficult, and potential demos will be used as a form of a portfolio.
Mobile evolution will make today's market irrelevant-
http://www.gamesindustry.biz/articles/2013-11-01-mobile-evolution-will-make-todays-market-irrelevant
The evolution of video gaming and content consumption-
http://www.pwc.com/us/en/industry/entertainment-media/publications/assets/pwc-video-gaming-and-content-consumption.pdf
Predictions-
The gaming industry is an ever growing market with new additions such as the ever growing app market that has captivated a lot of casual gamers who would not usually game. With the increase in new technologies and programmes, the line between AAA titles and indie is fading, as content as rich as some indie developers has surpassed what was possible with the limited work force they have, I feel that the introductions of these new softwares will help passionate developers create content that may be altered if they where in a 3rd party. AAA companies have invested more money into their indie developed games as they see that their is a big community, and a lot of profit to be made from these unique games (Minecraft, Fez). Games have come a long way within the last 3 years, with our ever increasing desire to make games as realistic as possible, I feel that this will be possible with the ever increasing power of computers such as quantum computing, that allows faster response times and photogrammetry, where the speed of detailed environments that would be quicker, and less costly as a smaller team is required. With our need to create more realistic games, I feel that it will be possible with new technologies, and the Octulas Rift, where the chance to trick your brain from not knowing that you're in a simulator will happen, and the benefits and entertainment it will bring. The Octulas Rift has a lot of various applications, such as simulators for training (military) and picture (new movie experience), as well as gaming, since Octulas Rift has been brought by Facebook, I predict that in the future, the internet, or social websites will be something you can enter via the Octulas Rift, to meet up with friends or play multiplayer games. Inventions such as the Omni will help increase the realism of games by adding a 360o tread mill, that turns you into the analogue sticks. With our need to create more realistic, has it suppressed the content produced? With beefier computers and consoles being available, developers have been able to create more realistic content, but in focusing their attentions on the aesthetics, in many games these days have lost their quirky ness and passion put into the story, since we are in a day and age where we expect more content for our money, AAA companies have tried to fill this void with pointless content, with games such as Ryse and Destiny that are graphic masterpieces, offered repetitive gameplay, that didn't entice the player for the whole content. Streaming games will also be the next big step in games as CDs will not be compatible for the amount of storage future games will hold, in doing so, this may decrease the price of games, and help widen the target audience as they will be more appealing, much like app games. I can predict that I will never know what the future of gaming holds as it has evolved so rapidly over the years, and trends will continue to change, but i feel our dream of creating realistic simulators, that can be controlled by our minds may not be a myth, and feel that the positive marketing that big companies such as Sony, that are pushing for indie developed games, with future programmes that will make it easier to create games, as there is a large market for these quirky games, as the weird and wonderful will always intrigue man kind.
The gaming industry is an ever growing market with new additions such as the ever growing app market that has captivated a lot of casual gamers who would not usually game. With the increase in new technologies and programmes, the line between AAA titles and indie is fading, as content as rich as some indie developers has surpassed what was possible with the limited work force they have, I feel that the introductions of these new softwares will help passionate developers create content that may be altered if they where in a 3rd party. AAA companies have invested more money into their indie developed games as they see that their is a big community, and a lot of profit to be made from these unique games (Minecraft, Fez). Games have come a long way within the last 3 years, with our ever increasing desire to make games as realistic as possible, I feel that this will be possible with the ever increasing power of computers such as quantum computing, that allows faster response times and photogrammetry, where the speed of detailed environments that would be quicker, and less costly as a smaller team is required. With our need to create more realistic games, I feel that it will be possible with new technologies, and the Octulas Rift, where the chance to trick your brain from not knowing that you're in a simulator will happen, and the benefits and entertainment it will bring. The Octulas Rift has a lot of various applications, such as simulators for training (military) and picture (new movie experience), as well as gaming, since Octulas Rift has been brought by Facebook, I predict that in the future, the internet, or social websites will be something you can enter via the Octulas Rift, to meet up with friends or play multiplayer games. Inventions such as the Omni will help increase the realism of games by adding a 360o tread mill, that turns you into the analogue sticks. With our need to create more realistic, has it suppressed the content produced? With beefier computers and consoles being available, developers have been able to create more realistic content, but in focusing their attentions on the aesthetics, in many games these days have lost their quirky ness and passion put into the story, since we are in a day and age where we expect more content for our money, AAA companies have tried to fill this void with pointless content, with games such as Ryse and Destiny that are graphic masterpieces, offered repetitive gameplay, that didn't entice the player for the whole content. Streaming games will also be the next big step in games as CDs will not be compatible for the amount of storage future games will hold, in doing so, this may decrease the price of games, and help widen the target audience as they will be more appealing, much like app games. I can predict that I will never know what the future of gaming holds as it has evolved so rapidly over the years, and trends will continue to change, but i feel our dream of creating realistic simulators, that can be controlled by our minds may not be a myth, and feel that the positive marketing that big companies such as Sony, that are pushing for indie developed games, with future programmes that will make it easier to create games, as there is a large market for these quirky games, as the weird and wonderful will always intrigue man kind.
For my primary research I have decided to contact some of the companies I am a fan of to see if i could get an insight into their work environment, and how games have evolved in their time, and what they predict it to be like in the future.
I have emailed That Games Company and Naughty dog but have been unfortunate in getting any replies, I feel that i should of gone at this in a different way by contacting individuals, or using social media sites such as twitter. I hope to learn from this mistake as it has restricted my primary research.
Reviews-
Has our need to get make realistic games suppressed the content?
Destiny-
http://www.metacritic.com/game/playstation-4/destiny
Ryse: Son of Rome-
http://www.metacritic.com/game/xbox-one/ryse-son-of-rome
I have decided to use Medacritic to pull quotes and reviews as there is a lot of user and critical reviews. I have chosen these two games as they help back up my argument of big blockbuster games trying to create as realistic or high graphical games, which may be numbing the content that is available, although destiny offers 100+ of gameplay, the gameplay fails to feel new, and becomes repetitive over time. Much like Ryse where most of the game play was quick time events, that although where cinematically impressive in the start, the gameplay mechanics grew tiresome.
Diary-
Life Drawing-
Life drawing has helped me to understand the human form, and create perspective with scale and lighting in my work, I feel that It has helped me to add more detailed work that creates scale.
My Work-
In these photos, I have created different styled materials to create different styled gargoyle heads, and has helped me with the decision of what style I want to proceed with, I have looked at including a grotesque throughout my work, and feel that I have shown a wide range of different styled faces, and will make sure to try and incorporate this style into my work.
A few symbols I was thinking I may incorporate into my work.
Some digital sketches of different ways I could take my gargoyle, I have tried to create different facial shapes, to see what alteration I prefer, I feel this has helped me to know what direction and style I want to take my project.
Final Design-
I have decided that I am going to create a chimera for my final piece, a hybrid between a lion, snake and goat, I will try and incorporate grotesque and human features, I want to create something that will spark questions, as many fear what they do not know. I fee that it will be a good choice to create a chimera, as it has different elements and textures that I will need to create, I feel that it will test my skills, and challenge me to create a finished asset I am happy with.
Zbrush-
I have used videos, and the Zbrush manual to try and gain a better understanding of Zbrush and the tools it includes.
Links-
http://www.digitaltutors.com/11/index.php
http://docs.pixologic.com/user-guide/keyboard-shortcuts/
The videos have helped me to visualise the various processes, and what tools to use at certain points in the development of the sculpture. The videos have also helped me learn how to paint UV maps, texture sculptures, paint, add noise, change the pose of the model and topology.
Experiments-
In this experiment, I tried to create an amphibious body, This was in the early stages of learning Zbrush, It helped me to learn that i needed to create a structure with basic features using the move tool.
In this experiment, I have created a grotesque gargoyle head, I have created the base mesh from using the move tool on a sphere. I then started by adding the main features, after this I used Dynamesh, to create a lower res model with computer generated topology, I then started added the eyes in to the basic sculpture, using append in the sub tools section to add spheres. I had to scale and move them into place, and create pupils. To add detail, I added sub division levels, to increase the poly count, where, every level I increased, I would add more detail, whilst smoothing it out, using the clay add brush. I then proceeded to add small details, such as scales to the back of the neck and head. I feel that this experiment has helped me gain a better understanding of working with tools in Zbrush
Final piece-
In my final piece, I have created a grotesque chimera. I started off by creating the basic structure using zphere, with the low resolution model I had, I used the move tool to start creating the muscles, basic features and definition. After I was happy with the basic structure, I created an adaptive layer of 4, but in doing so, it mirrored my work, even though I had not had symmetry on, if that does even effect it. I decided to continue on with the piece, as I felt that the 4 heads would add a more grotesque look to the work. I then proceeded to creating eyes and a tooth and a horn, where I manipulated them into different sizes and shapes. I then proceeded to add sub levels, adding detail on each layer as i went along. I was unable to use topology techniques in this work, as the Zbrush version I have does not have this option, but I understand the mechanics and need for good topology, where the flow of the sculpture will help animators with their jobs. I am pleased with my final piece, and fee that I have created a piece that fits the requirement of the project. If I were to change certain aspects about the gargoyle, it would have a spout included in the piece, I would try and create a hybrid human of some sort, or potentially add more details around the eyes.
In conclusion, This project has allowed me to learn the fundamentals of Zbrush to create a game ready asset, I feel that I have shown a broad range of research, and come up with some theories of the misty history of gargoyle sculpture. It has also given me an insight into what job roles I may want to practice in the future, and how gaming will continue to evolve at an un-trackable rate.
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