Category: Thesis

•      Research title or question

The Differences in Stylistic Approaches of Visual Effects in Film and Games.

•      Draft Introduction

Since its integration with film and other visual mediums in the late 1970s, Computer Generated Imagery (CGI) has evolved and become an integral component of visual products. Presently, a vast number of films in the market incorporate a combination of real-world footage captured by cameras and digitally enhanced visual effects. On the other hand, in video games, every visual element is generated through computer systems and programs. These works draw inspiration from reality while simultaneously surpassing it. Visual effects play a crucial role in elevating these products beyond reality, captivating both viewers and players. Different visual styles, as manifested in the use of effects, serve directors and game designers in achieving sometimes contrasting, and yet occasionally harmonious, objectives. The purpose of this study is to explore the artistic variations in visual effects employed in films and games, as well as to examine the fusion and similarities that have emerged between them over the past half-century of development.

•      Key words searched

Film, Electronic game, Realistic art style, Cel-shaded art style, Unreal engine, Visual style,

•      Research Design Methods

The purpose of this thesis is to investigate the differences in visual effects styles used in different films and games. The research approach will primarily employ a comparative analysis. The research design will involve a systematic review of relevant literature and analysis of existing visual media. Representative samples of films and games, chosen to ensure diversity and significance in the field of visual effects, will be selected from different genres and time periods. In-depth visual analysis, capturing screenshots and video clips, and examining relevant papers on the respective films and games will be conducted. The comparisons will be divided into three stages. The first stage will involve comparing visual effects styles in different films. Two films that have extensively utilized visual effects will be selected, and their visual effects usage in specific segments and the overall impact on the films will be examined. Three to four scenes from each film that incorporate visual effects will be analyzed and compared. The second stage will focus on comparing visual effects styles in video games. The third stage will involve comparing the visual effects styles between one of the selected films and one of the selected games. The anticipated results of this study are expected to significantly contribute to the understanding of visual effects styles in films and games, providing insights for future developments and innovations in the field.

•      General outline of each chapter

1. Literature Review: Here we will review some of the main resources that will appear in the article, and the theoretical framework is established in this paper. Connect to the existing body of research on the topic of this article and how it relates to other pieces of research.

• Introduction: In this paragraph, introduce the research design methods for your thesis, which aims to investigate the differences in the style of visual effects used in films and games. Explain the importance of understanding these differences and how they contribute to the overall experience of visual media.

• Comparative Chapter 1: The Use of Visual Effects in Realistic Films and Science Fiction/Fantasy Films. The application of visual effects in realistic films aims to compensate for the limitations of practical filming, while in science fiction and fantasy films, visual effects are utilized to create visually immersive experiences for the audience, enhancing the portrayal of entirely fictional content.

• Comparative Chapter 2: Realistic Art Style Games vs. Cel-Shaded Art Style Games. This chapter explores the differences in perception and impact between two visual effects styles in games: realistic art style and cel-shaded art style. It examines how these styles contribute to the overall gaming experience and elicit distinct emotional responses.

• Comparative Chapter 3: Objectives of Visual Effects in Films vs. Games. In this chapter, the primary objectives of visual effects in films and games are compared. While visual effects in films often prioritize creating a sense of realism, visual effects in games serve multiple purposes and aim to enhance interactive experiences for players.

• Comparative Chapter 4: Convergence of Realistic Art Style Games and Film-Inspired Visual Effects. This chapter focuses on the increasing pursuit of realism in certain realistic art style games and how visual effects in films are being adapted for game production. It explores the ways in which visual effects techniques from films are utilized in creating game effects.

• Conclusion: Synthesis of Comparative Differences and Future Developments. The concluding chapter summarizes the main comparative differences observed between the studied objects and their functional disparities. Drawing upon the discussions from Chapter 3 and Chapter 4, predictions are made regarding the future development of visual effects in films and games.

•      Draft literature review

As defined in Donovan, Cho, Magnifico, and Lee (2013), visual style is used to describe a video game’s “cohesive and unifying visual aesthetic” in accordance with a set of terms found in a controlled vocabulary.

(I haven’t finished sorting out the sources in the literature review.)

Draft of Research Design Methods

The purpose of this thesis is to investigate the differences in visual effects styles used in different films and games. The research approach will primarily employ a comparative analysis. The research design will involve a systematic review of relevant literature and analysis of existing visual media. Representative samples of films and games, chosen to ensure diversity and significance in the field of visual effects, will be selected from different genres and time periods. In-depth visual analysis, capturing screenshots and video clips, and examining relevant papers on the respective films and games will be conducted. The comparisons will be divided into three stages. The first stage will involve comparing visual effects styles in different films. Two films that have extensively utilized visual effects will be selected, and their visual effects usage in specific segments and the overall impact on the films will be examined. Three to four scenes from each film that incorporate visual effects will be analyzed and compared. The second stage will focus on comparing visual effects styles in video games. The third stage will involve comparing the visual effects styles between one of the selected films and one of the selected games. The anticipated results of this study are expected to significantly contribute to the understanding of visual effects styles in films and games, providing insights for future developments and innovations in the field.

Indicative bibliography

Yin, W. (2012) The style of video games graphics: Analyzing the functions of visual styles in storytelling and gameplay in video games. dissertation.

Dunlop, R. (2017) Production Pipeline Fundamentals for film and games. New York: Focal Press.

de Joya, J.M., Coull, A., Davidson, K., Libreri, K., Stringfellow, R., Penty, C., Polson, B. and Vitz, F., 2015. Convergences in film and games technology. In ACM SIGGRAPH 2015 Panels (pp. 1-2).

Skalski, P.D., Neuendorf, K.A., Lieberman, E.A. and Denny, J., 2008. The parallel development of film and video game technologies: History and implications. Paperpresented at The Long History of New Media: Contemporary and future developments contextualized, McGill University, Montreal, Canada.

Carter, W.M., 2021. Animating Past Worlds. VIRTUAL HERITAGE, p.39.

Chernyakhovsky, A., Understanding the Convergence of Video Game and Film Styles.

Vääräniemi, T., 2016. Example Solutions of Visual Effects in Fantasy Games.

Fuchs, M. and Thoss, J. eds., 2019. Intermedia Games—Games Inter Media: Video Games and Intermediality. Bloomsbury Publishing USA.

Cho, H., Donovan, A. and Lee, J.H., 2018. Art in an algorithm: A taxonomy for describing video game visual styles. Journal of the Association for Information Science and Technology, 69(5), pp.633-646.

Since its integration with film and other visual mediums in the late 1970s, Computer Generated Imagery (CGI) has evolved and become an integral component of visual products. Presently, a vast number of films in the market incorporate a combination of real-world footage captured by cameras and digitally enhanced visual effects. On the other hand, in video games, every visual element is generated through computer systems and programs. These works draw inspiration from reality while simultaneously surpassing it. Visual effects play a crucial role in elevating these products beyond reality, captivating both viewers and players. Different visual styles, as manifested in the use of effects, serve directors and game designers in achieving sometimes contrasting, and yet occasionally harmonious, objectives. The purpose of this study is to explore the artistic variations in visual effects employed in films and games, as well as to examine the fusion and similarities that have emerged between them over the past half-century of development.

I intend to study the similarities and differences of visual effects in games and film and television, and then discuss the integration of game special effects and film and television special effects.

I will analyze and study the digital virtual visual production and effects of two films (one is The Matrix or Avatar, which seems to use a lot of visual effects technology, and the other is Forrest Gump, which makes the special effects fully integrated into the film and is difficult to be noticed.). Then I will also analyze the visual style and special effects of the two games for research (I am going to prepare one for the cartoon game Zelda or Genshin impact, and the other for the real-style game Call of Duty). Finally, I will have some existing theories and trends (for example, The Matrix 4 uses a game engine to produce special effects) to discuss the integration of game special effects and film and television special effects (in order to avoid technical discussions, I plan to discuss more realistic special effects styles).

I think it’s important to study this aspect because I think visual effects can change and even create human experiences. So I want to explore more how the most imaginative game special effects are widely used in the real world.