In contrast to the gameplay, the cutscenes in Mirrors Edge are very simple and almost cartoon-like, this style acts as an anchor to inform you that you are no longer playing.
Anchors are another way of semiotically analysing texts, they are often used in adverts in the form of a logo or brand name and act to anchor what you are seeing to the company. Often adverts can be so ambiguous that anchors are required just so that the viewer understands what going on.
The differences between Mirrors Edge gameplay and cutscenes can be cross-analysed semiotically. With this cross analysis, a greater understanding of why the developers chose these two different styles can be achieved. For instance the first person perspective during gameplay creates a greater depth of immersion for the player, whilst the more cinematic approach during cutscenes informs them that the story is about to advance. This is accentuated by the anchored, contrasting art styles. The two are also inherently semiotically different because gameplay is a two way experience, whereas the cutscenes you can only view. Also the vibrant colours during gameplay add to the fast paced feel, whereas the muted colours of the cutscenes accentuate the slow paced feel. Often the gameplay will be set outside on rooftops and the cutscenes often will be set inside or in darkened alleys. Again this sets two different tones and anchors them separately.
The two styles have obviously been purposefully engineered to be different and set the gameplay and the cutscenes apart. The slow moving pace of the cutscenes compared to the fast moving pace of the gameplay suggests that this choice was made to break the tension for a more enjoyable play experience.
No comments:
Post a Comment