Essay Evidence/quote research

There are different aspects in creating believable complex characters- their visual appearance is just one of them. Their characterisation in the script, the way they move, the way they react, the way the player can interact with them- these are just as important as how they look. I also believe that realism makes our media more instantly accessible to a wider audience. A lot of people have found it hard to be interested in characters that dont relate directly to what they know. David Cage (2006) Edge Magazine Questions of realism were to acquire a centrality in this politicised aesthetics for the overwhelming reason that the realist text- in whatever of the many modes of realism it exists- has a distinctive, even unique, epistemic status: it represents things as they are, it claims to tell the truth. Film Theory: An introduction (2006) Robert Lapsley & Michael Westlake The fantastic occupies the duration of this uncertainty the fantastic is what hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event. In a world which is indeed our own, the one, we know there occurs an event which cannot be explained by the laws of this same familiar world. The person who experiences the event must opt for one of two possible solutions: either he is the victim of an illusion of the senses, of a product of the imagination and the laws of the world then remain what they are; or else the event has indeed taken place, it is an integral part of reality but then this reality is controlled by laws unknown to us. Tzvetan Todorov (1975) The Fantastic The uncanny is that class of the frightening which leads back to what is known of old and familiar. Sigmund Freud (1919) The Uncanny Historically we see them at a distance, and in settings, whether military, fantastical or otherwise- in which play dictates that the body be placed in the flows of continuous action. There is a tension however, between formally negotiating the look of the computergenerated image and our immersion into the dramatic action as it unfolds. This predicament is common to those animations styled in a hyperreal way.

And so the image health underlies the critique of realism in representational media. We know the proportions of the face and body so completely through the experience of everyday life that a highly realistic image of human form must comply with these conventions, or else be felt on a deep cognitive level to be unsettling or unacceptable. David Surman (2008) Gaming, Uncanny Realism and Technical Demonstration The concept most fundamental to hyperreality is the simulation and the simulacrum. The simulation is characterized by a blending of reality and representation, where there is no clear indication of where the former stops and the latter begins. The simulacrum is often defined as a copy with no original, or as Gilles Deleuze describes it, the simulacrum is an image without resemblance. Nicholas Oberly (2003) University of Chicago Motivation can be defined as the driving force behind all the actions of an individual. The influence of an individuals needs and desires both have a strong impact on the direction of their behaviour. Motivation is based on your emotions and achievement related goals achievement motivation can be defined as the need for success or the attainment of excellence. Individuals will satisfy their needs through different means, and are driven to succeed for varying reasons both internal and external. Explicit and implicit motivations have a compelling impact on behaviour. Task behaviours are accelerated in the face of a challenge through implicit motivation, making performing a task in the most effective manner the primary goal. A person with a strong implicit drive will feel pleasure from achieving a goal in the most efficient way. The increase in effort and overcoming the challenge by mastering the task satisfies the individual. Scott T. Rabideau (2005) Personality Research The familiar is bent back on itself, twisted, such that it becomes strange- familiar- yet strange. While a virtual world may have a horizon, light, gravity, without objects it would remain, for us, an utterly alien landscape The objects that constitute reality also conspire to render it uncanny. This is due to their function as reality-effects in videogames 3D virtual worlds. However, when these facilities fail, the reality of the game world flickers and becomes uncanny Horror games harness this uncanny effect to their benefit, but in other games these failures have an adverse effect, destabilizing the very symbolic construction of the games reality this reality is itself an elaborate reality-effect. Glitches are ruptures and irruptions in this reality-effect, and are, therefore, in the context of the virtual worlds in which they appear, uncanny. Eben Holmes (2010) Strange Reality: Glitches and Uncanny Play

We could referto an uncanny realism: the world has to be fundamentally ordinary before being invested with an uncanny aura; or, the uncanny works through the ordinariness of the world, even produced by it, as though a de-sacralised, disenchanted world becomes uncanny in its very essence. Jervis (2008) Uncanny Presences-Uncanny Modernity Insignificant notations Encountering such an object, one becomes unsure of the reality they belong to. empty forms irresistibly invite a content. Rolande Barthes (1972 &1984) The rustle of language/ Critical Essays