Sir Alfred Hitchcock is widely regarded as one of the most influential film directors in cinematic history, regarded as the king of suspense thrillers(1). A master of narrative he excelled at combining the macabre themes of Edgar Allan Poe’s poetry with the modern American film cutting techniques of D.W Griffith(2). With his vast success in his field it is no great leap to compare him as a kindred spirit to the esteemed playwright William Shakespeare. Many of his plays have been adapted to film with great popularity, Hitchcock even proposed a direct interpretation of  Hamlet into modern english although in it’s late stages of planning was unfortunately, not to be(3). However throughout his works many a reference pays homage to arguably, the only narrative media creator to best Hitchcock's legacy. Although the way we ‘english’ may have evolved it stands a test of time that the themes resonate an analogy with our psyche. Intertextual references so intertwined with our modern media, even through cartoons like The Simpsons(4). That even if you have never perused Shakespeare's work you can’t help but feel a shared knowledge of the conventions.

Intertextuality is defined as a means to understand the relationship among the media , the text and the audience. Recycled images help to mitigate a greater understanding of the text(5). It seems as reasonable time as any to mention that thanks to the budgeting restraints on his film Psycho he employs lesser known actors, lacking in intertextual expectation he uses this as a tool to keep the audience guessing(5). Uninhibited by the star system of the time.(6) In his pursuit to embody a new age ‘Shakespearean’ ethereal artist he pays homage often, even going as far as to pronounce “that cinema has come to Shakespeare's rescue”.

In Murder! he quite literally reenacts part of the play Hamlet. Quotes Romeo and Juliet into his film Foreign Correspondent. (6) In The Trouble with Harry he works Shakespeare's Sonnet 116 into the script(6). Even going as far as to reworking themes from Macbeth into his very popular Alfred Hitchcock Presents series. Which in itself is an exceptional example of his own aptitude for envisaging narrative combined with intertextual references. In a time when film was still gaining it’s footing over traditional plays he helped to establish it in it’s own right, particularly a technique Shakespeare was known for, the fourth wall. Which helped to bring his created worlds to life and embed the audience amongst there sordid affairs. 

In my chosen artist pursuit of Game Development many elements of film can be drawn from. Truly the difference between a good and a great game is its ability to delve into deeper messages than just it’s surface theme. Hitchcock is an amazing example of how small details referenced by intertextuality can emit a much deeper underlying message. Something that I have learned is that good narratives can only be improved with a touch of reference to Shakespeare, while still creating an original artwork, and artist, in their own right. 

https://en.wikipedia.org/wiki/Alfred_Hitchcock (Gene Adair 2002)

https://www.bfi.org.uk/news-opinion/news-bfi/lists/10-great-films-influenced-alfred-hitchcock

https://viennasclassichollywood.com/2018/07/02/hamlet-hitchcock-and-cary-grant/

https://the-artifice.com/the-simpsons-shakespearean-references/

https://www.studymode.com/essays/How-Does-Hitchcock-Exceed-Audience-Expectations-483215.html

In a pursuit to understand genre, perhaps the infamous Quentin Tarantino is biting off more than I can chew. Noted for being an autodidact, he dropped out of middle-school and proceeded to work in a video store, soaking in the many genres of film available to him(1). Pushing the envelope has become a mark of his particular style. Charles McGrath says in the New York Times-

“His movies are famous for their violence and bloodshed; their blaring soundtracks; their offbeat, Pinteresque dialogue; their startling performances from actors you had almost forgotten about; and their encyclopaedic range of references to other movies, especially schlocky ones”.

He has produced a select filmography of work, preferring quality over quantity throughout his career. Often blending genres together.  So how do you define his unique style into a genre, ‘Tarantinian’ has been a reference to particular features of this art(2).

For me personally genre sets a scene for how you interpret the art you are appreciating. Certain cues quickly help an audience know whether it is something that will comply with their select palate of taste. He has somehow attached a certain brand to his name, creating an expectation from consumers that immediately subdues their preconception of what exact genre his latest film will be. Notable in Django, which twists artistic cues of spaghetti westerns into his own metamorphosis(3). In John Hartley's Key Concepts of Media, genres are recognisable largely for recurring iconography, repetition of codes and conventions, as well as familiar plot lines(4). Through my research and personal appreciation of Tarantino's films, I believe that he very much does use genre to set his narrative portrait. As opposed to operating in a single minded landscape. Leaning on the style attached to his name to set the tone. 

Gore! Is no undoubtedly stereotypical of his work. When asked where the violence in his movies comes from he replied;

“Where does all this dancing come from in Stanley Donen movies?”(5)

His particular use of gore, not just as a use of horror, sometimes comedic in character is embedded throughout his films. Choosing not to use gore for the sake of it but as a tool to enhance the tale which he endeavours to place the viewer amongst. He remarks a stark difference between real life and movie violence. Real life violence appears all of a sudden. He consciously uses signature film techniques such as the film score, crescendos of music and trademark camera angles to give meaning to the graphic aesthetics.  

To conclude, what I have learnt is that genre is not steadfast in his works. More like a character in itself. Even within each movie blurring the lines. After all each new work of any genre adds to its overall interpretation of what exactly that genre is. Whether his collective filmography lends itself to history re-writing a genre specifically, is unlikely with genre definitions own dogmatic nature. Much like the term 'Shakespearean' although he dabbles in a vast array of different genres, it is his unmistakable style which is a testament to his hidden genius, and some might say depravity.   

And now some TOP 10 scenes from his various movies from Watch MOJO for your viewing pleasure:

1)https://www.nytimes.com/2012/12/23/movies/how-quentin-tarantino-concocted-a-genre-of-his-own.html

2)https://scottkeithcinemaandsociety.wordpress.com/2013/04/26/quentin-tarantino-and-his-trademarks/

3)https://www.spaghetti-western.net/index.php/Django

4)http://library.uniteddiversity.coop/Media_and_Free_Culture/Communication_Culture_and_Media_Studies-John_Hartley.pdf

As the elementary title suggest Euro Truck Simulator 2 is a simulator type game where the player can live out their dreams of driving heavy haul trucks through European landscapes(1). This in depth analysis will aim to derive a delineation of the specific mechanics, dynamics and aesthetics that this video game portrays. Utilising the MDA framework and industry terminologies it will provide an informative analysis of the experience the game presents to the player and retrospectively the chief player types it appeals to. This will be achieved by first working back from  the players perspective the aesthetic that the game provides. Then in turn breaking down the game into its base elements of the dynamics it encompasses via the mechanics employed into the development of the game.

The very first thing noticed about the game is that in stark contrast to its counterpart Big Mutha Truckers, the general title font and logo mark a much more sophisticated approach(2). The upright square and spartan text choice suggests a much more serious approach to the concept. Once entering into the menu the theme continues. Gone are the arcade eques appeals and the player is greeted with a well thought out user interface. Easily navigated to begin play immediately featuring a large green “DRIVE” button bottom left of the screen amongst the mostly neutral colour scheme. Laterally in importance the menu is laid out left to right. Choices of job market, world map, radio and email in their own section, these main tools are easily accessible. Also it offers game saving/loading, options which afford a multitude of variety in settings, informative about section and an easily recognisable large red exit button. Displayed proudly center of screen is a stunningly detailed and realistic rotating graphic of your currently selected haul rig. Then along the right hand side of the screen is all the important details you may need quick access to when returning to or pausing the game; Player emoticon, level, experience, earnings tracking. As well as options to purchase or upgrade new trucks, upgrade skill levels or build your fledging truck business operation.

Once embarking on your journey you enter into a highly detailed world. While not completely real time the map is gigantic and more than enough to give adequate reference to its premise. Huge amounts of road spreading far across Europe. Due to the size of the map some scenic parts of the city aren’t quite as detailed as their real life counterparts. Although overall as far as taking a journey across the country it supplies more than ample quantity of trees, buildings and textures. The attention to detail with terms of relevant road going cues are all there. Guard rails, speed and road signs, toll passes and fuel stations among some of the many aspects you begin to notice. Even going as far as to have stop lights and signage relevant to the country you are in(3). The actual truck itself also pays particular attention to fine details, not just on the outside but also a hyper-realistic cabin you can look around in. Adding to the aesthetic of which the additional option to make the game VR compatible(4). Latter updates even allow you to upgrade the cabin with physics capable ornaments such as fuzzy dice, bobble heads and other novelties(5). Not to mention the Aesthetics from outside. The trucks wallow and sway around the road as you expect a multiple ton truck to move like. Trailers articulate, you can even use your indicators.

For gamers drawn to discovery and exploring environments it is as highly rewarding as you would expect, but the details are what truly brings alive the fantasy of both simulating driving a truck but also running a trucking business itself.

“dreams are where every game begins. Before the code, before the software plan, before the concept artwork, even before the first document...” (Rollings and Morris 2004, p. 6; my emphasis).

The dynamics of Euro Truck Simulator 2 do great justice to its name. You can tell the developers approached the project with an aim to design a game with an intrinsic value to both its tangible and intangible facets. Considerable amount of detail is put into the small areas that count. this helps to immerse you into the environment. Driving along you feel very much at the helm of a heavy haul rig. Checking your mirrors to make sure you don’t turn into other cars. Keeping careful attention to speed limits, while feeling a sense of urgency to make your deadline and deliver your cargo and truck safely. A feeling of intensity at times as you realise, that your corner speed may have been a bit high coming into a tight motorway off ramp. Affording you the appropriate sense of urgency piloting such a high risk vehicle should bring. Next minute finding yourself cruising along admiring the sensation of the scenery and enjoying the radio station while still ensuring you pay close attention to the rpm of the engine and that you are in the correct gear to climb the hill you are about to commence. They have even managed to leave undisclosed that it doubles as a phenomenal road rage simulator, finding frustration at some of the driving behaviours of the NPC cars also sharing the road with you.

Adding engagement the mission structure is as dynamic as the driving itself. Yes you have everything you would come to expect from a simulation of this type, pushing to ensure swift and reliable deliveries. Where the game really gains extra involvement is the fact you can build and expand your empire. The intentness of paying attention to the finance side of your business is vast. Self expression is encouraged by way that there is no set in stone path to follow and the user is able to pursue the path that most interests them, choosing to either work for contracts to other companies, running their own or even hiring other workers to their company. The pending doom of balancing pay-checks to workers, minimising damage and the slow grind of upgrading trucks and depots adds a sense of competition to the dynamic of the game that would keep the challenge focused player concentrated on achieving their next goal in the game. Beneficially the expression of being able to customise your trucks as you gain the capital to do so, helps to add fidelity to the players feeling of becoming a part of the world which has been narrated to them through the mechanics of the game.

Thankfully what helps to sustain these aesthetics and dynamics are a keen eye to the detail of the mechanics which do not subvert from the ambition of Euro Trucker. The cinematic cut scene upon starting the game up captures attention immediately building impulse. That bright green “DRIVE” button draws your eye to it with anticipation diving straight into the game. It isn’t long after quickly having an explore around the world that you find yourself pausing the game to go back and examine the options menu. The sheer amount of adjustable features would be mind boggling if not so uniformly laid out. Reading much like a simulator you can choose either simple automatic, real automatic, Sequential transmission or even H-pattern. Connect a controller or even connect a wheel and gear box,  also having the option to add VR compatibility. 

Game play settings can be adjusted to suit the type of gamer you are, to ensure what you enjoy out of the game can be achieved. Giving the option to turn off fatigue simulation and traffic offences. Preferred job length is on a scalar bar which is excellent as they can in the latter game become long enough that you find yourself just completing one mission in a sitting before leaving and returning to the game. Different difficulty levels can also be adjusted with toggle settings for chance of rain, parking difficulty, realistic fuel consumption, braking intensity and trailer stability and a multitude of steering and handling adjusters among others in a list too varied to list them all. As you would expect from a game of this detail, graphics can also be adjusted to suit your gaming systems performance.

The handling mechanics of the trucks are spot on for a video game. There is a large variety of known truck brands. Engines gain torque quickly while the gear shifts are short. The trucks do tend to wander a bit much like big vehicles do, they don’t employ too much randomness in these handling settings that it makes that game feel too difficult to control or over emphasised. Unfortunately using a gaming controller it was not easy to figure out how to set it up using the clutch for H-pattern transmission which took away some of the interactivity, although the fact the setting is on an axis not simple off/on is excellent for a steering wheel set-up and adds more input for a simulation. Removing the usually legally required speed limiter on the trucks adds to more stimulating game play allowing the vehicles to achieve ridiculous speeds and quite phenomenal crash scenes. The trucks leaving the ground and the inertia of the trailers piling up onto them. Real life crash physics of the trucks crumpling in would definitely add to the experience.

While driving along the road there is a lot of mechanical elements that are noticeable at first look but it is the smaller details that really add to the intensity of the game if you wish to leave those settings turned on. Traffic infringements and accidents will cost you money. The trucks do use fuel with the setting on and it adds to the dynamic as well that if you are working for someone else's company the fuel is claimable as a business expense. Whereas when self employed you wear the cost. Unlike some games that use indicators as a novelty they actually do impact the behaviour of NPC cars on the road. If not indicating when exiting off a roundabout other cars will plough through you just like in reality, incurring costs. Nearly everything on the truck can be interacted with; you have interactive windscreen wipers, can turn the engine and headlights on and off and operate the lift able axles. Articulation of the trailer is a massive part of the game, with the speed of the front wheels turning being exponential to the speed the truck is moving. The camera singling in on the front wheels is very useful. While cornering the inner apex of the turning radius is much tighter on the trailers and will clip corners very predictably. Reversing the truck to park at docks is also extremely challenging. The game helps to create enjoyment out of this frustration by have multiple very useful camera angles cockpit, bumper bar, front wheel axles, top down and 3rd person as well as a phenomenal cinematic camera. Which while not useful in terms of operation provides an interesting challenge and adds tenfold to the beautiful scenic aesthetic of the game. Taking excellent angles which capture the image of the truck in its full environment almost flawlessly picking the right angle every time as you change through the different environments. The music options for the trucks are some of the best I have seen, offering multiple internet radio stations and also the ability to add your own MP3 music to a folder to listen to while driving. 

Overall many phenomenal elements exist in this game that add to its simulation genre, giving a very life-like feel without going too far that it becomes beyond difficult. For players that enjoy the more exploration focused aspects of the game, rather than the full fantasy elements of simulating operating a truck it is helpful that settings can be dialled down to make it easier. I couldn’t find many obvious faults other than the NPC cars sometimes driving into you on roundabouts but I suspect that is user error. The fact I could not figure out how to set it up to use a clutch with a game controller also would appeal to simulation aficionados although these days most gamers that serious would most likely have a steering wheel. The aesthetic matches the genre perfectly providing very photo realistic graphics and handling characteristics. The game appeals to discovery and challenge focused players but also provides a fantasy element to living out the dreams of being a truck business operator. The sensation of cruising the highways was cathartic at times and also intense when dealing with stressful environments such in a built up city. This analysis has touched on the aesthetics of the game and also the dynamic provided by the mechanics that make up the game. Providing a detailed description of what design elements have been employed by the developers and some small areas where the game could be improved.

https://eurotrucksimulator2.com/

https://www.gamespot.com/big-mutha-truckers/

https://www.destructoid.com/review-euro-truck-simulator-2-243592.phtml

http://blog.scssoft.com/2014/03/ets2-update-19-is-live.html

http://blog.scssoft.com/2015/09/cabin-accessories-dlc-available-now.html

Doom! Numbero Uno. The number one. As we now know, any game worthy of a sequel is somewhat of a masterpiece. The 9 or so titles since then prove unequivocally that Doom is one badass title, that not only defines the genre of monster goo exploding shoot’em’up but is also arguably where it all came to fruition. These days game play has evolved to the level where not only can we now jump and look up and down but can also build, fly, use vehicles and special abilities but also have graphics that add a level of reality worthy of the pioneers wildest dreams.  

Re-visiting this experimental masterpiece immediately makes one thing clear, we love to be challenged! To test ourselves in an environment of play that puts us on the edge of our seats in a battle of life and death makes us feel alive. Thank Jebus for the reset button because this game is just as challenging as some of the more complex mechanics now coming out of titles close to the second coming of the roaring 20′s. 

Us humans are a fickle bunch and keeping us engaged for longer than 30 seconds can be modern medias biggest hurdle. Doom accomplishes this through segmented rooms full of varying tasks that help to engage different aspects of our grey matter. The pre-historic aim assist was the first technology to allow us to engage the Baddies on multiple planes in a 3d world. Finding all the necessary switches to get to the next room is half the battle. You found all the health potions and armour upgrades? That will help. Rest easy you picked up a better boomstick, that shotgun is sure to help over a standard sidearm.