![]() This substance was harnassed by slaughtering 15 000 arcanists during the Massacre at Béziers (1209). They learned that when a magician was killed, their body left behind a substance known as Ethereal magic in it's purest form. As an Immortal cannot use any of the Obsidian Blades of Yahweh without being destroyed themselves-and any and all knowledge pertaining the creation of Immortal-killing weapons had been destroyed-the Immortals decided that they needed a way to be able to equalize the power when neccesary by killing each other.Īfter years of attempting to discover the secrets of the Obsidian Blades, the Immortals discovered an alternative to the blessed Obsidian. ![]() The Ethereal Blade is a blade that has been created by the The Immortals for the sake of killing one of their own. In addition, the book explores how film affects technologies and science fiction themes have begun to slip outside the boundaries of science fiction media and have entered the social realm - through 'special effects' that are rudimentary forms of artificial intelligence, through 'real' robots that are becoming a growing industry, and in the construction of our urban spaces which are deliberately modeled upon utopian images drawn from science fiction.The Ethereal Blade is a blade created by the Immortals for the sake of killing each other. Ranging from film examples such as Matrix Reloaded and Avatar to game examples such as Doom 3, one aim is to explore how similar themes of technological advancement in the hands of corporations and governments are conveyed across the different media technologies - the cinema and computer games. This book is concerned especially with exploring a diverse range of experiences that science fiction can offer its audience. The central concern is with technology: special effects technology used to create the special effects in media such as films and computer games and the way the media examples themselves image and thematize the role of new technology within their narratives. This book focuses on developments that have taken place in science fiction media over the last two decades. This collection of essays explores how science fiction films and computer games attempt to come to grips with the changing conceptions of the world around us, and our identity within it. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics. ![]() Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself these forms have emerged as a result of recent technological and economic transformations. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games, comic books, and theme-park attractions within an aesthetic-historical context and uses the baroque as a framework to enrich our understanding of contemporary entertainment media. The artists of the seventeenth-century baroque period used spectacle to delight and astonish contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |