Lastly, I covered the filmic influences of The Last of Us and drew connections between the texts and the game. Next, I deconstructed the visual and auditory aspects of the game and how they contribute to the overall construction of the narrative. I proposed a new genre called “Zombie Drama” which refers to texts that focus on character development in a zombie world backdrop. Malheureusement, cette opération est souvent de longue haleine et coûteuse (néanmoins elle est bien moins coûteuse que la re-traduction de tous les documents). I also found that the game challenges notions of masculinity and femininity and takes inspiration from Bildungsroman, which are coming-of-age novels. Unfortunately, this can often be a time-consuming and expensive process (but hopefully still less expensive than retranslating everything). And, hopefully, it's skeletal, rather than muscular. Con suerte, hacer esto te proteger de mordidas y araazos accidentales. Doing this will hopefully protect you from accidental bites and scratches. Pero, con suerte, el estimulante cardaco y el diurtico ayudarn. This is Teddy, my son, pictured taking his PADI open water certificate. But hopefully, the cardiac stimulant and diuretics will be helpful. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. This is crossing Socials, but hopefully interesting. For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative.
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