1. Problem & Hypotheses

2. Information on Far Cry 3

   1. Game Type

   2. Single Player Campaign

   3. Groups of NPCs

   4. Optional Storylines

3. Intermediality

   1. Concepts & Approaches

   2. Intermediality & Far Cry 3

4. Documentality

   1. Maurizio Ferraris' (et al) Concept

   2. Problematic Application on Far Cry 3

5. Conclusion

Outline

2. Information on Far Cry 3

Specimen:

• Official Trailer: https://www.youtube.com/watch?v=rli2DXlrSaM

Marketing:

2. Information on Far Cry 3

Specimen:

• Official Trailer: https://www.youtube.com/watch?v=rli2DXlrSaM
  • Pop Culture References | Music:
    • Trailer/Noisia-Machine Gun (16Bit Remix):

      https://www.youtube.com/watch?v=_Waqn0jBG58

    • Skrillex feat. Damian Marley - Make it Bun Dem: :https://www.youtube.com/watch?v=g7sgq6PxFXE

    • "Make it Bun Dem" - In-Game Context: https://www.youtube.com/watch?v=YyGgJrtc6tQ

    • Die Antwoord - I Fink U Freeky: https://www.youtube.com/watch?v=p4IH6BUvAr0
    • "I Fink U Freeky" - In-Game Context: https://www.youtube.com/watch?v=Vnx0jsDXgBY

Marketing:

2. Information on Far Cry 3

2.1. Game Type

giantbomb.com: "open-world first-person shooter"

spong.com: "Viewed: 3D First-person" | "Genre: Shoot 'Em Up"

vgcollect.com: "Genre: First-person Shooter"

igdb.com: "Genre: Shooter"

mobygames.com: "open world first-person shooter"

thegamesdb.net: "Genre: Shooter"

2.2. Single Player Campaign

2. Information on Far Cry 3

Sources of Information:

• playing through the game myself
• observe marketing/PR:
  • press & guides: e.g. Kotaku, IGN, Gamestar, ...
  • observing annual events/conventions: e.g. E3, Tokyo Game Show, Gamescon, ...
• analyse* web-content:
  • generated by producers: e.g. trailers, official websites, art work, ...
  • generated by users: Wikis, Let's Plays, Twitch streams, forum discussions, ...

*We probably should discuss this.

2.2. Single Player Campaign

2. Information on Far Cry 3

Sources of Information:

• playing through the game myself
• observe marketing/PR:
  • press & guides: e.g. Kotaku, IGN, Gamestar, ...
  • observing annual events/conventions: e.g. E3, Tokyo Game Show, Gamescon, ...
• analyse* web-content:
  • generated by producers: e.g. trailers, official websites, art work, ...
  • generated by users: Wikis, Let's Plays, Twitch streams, forum discussions, ...

*We probably should still discuss this.

2.2. Single Player Campaign

2. Information on Far Cry 3

Main Characters

• Citra Talugmai (determinant)

• Dennis Rogers (alive)

• Willis Huntley (alive)

• Sam Becker (deceased)

Supporting Characters

• Liza Snow (determinant)

• Riley Brody (determinant)

• Daisy Lee (determinant)

• Oliver Carswell (determinant)

• Keith Ramsay (determinant)

• Dr. Alec Earnhardt (deceased)

• Grant Brody (deceased)

Protagonist

• Jason Brody (determinant)

Antagonists

• Vaas Montenegro (deceased)

• Hoyt Volker (deceased)

• Buck (deceased)

characters mentioned by farcry.wikia.com:

2.2. Single Player Campaign

2. Information on Far Cry 3

factions mentioned by farcry.wikia.com:

• Vaas's Pirates
• The Rakyat
• Hoyt's Privateers

not mentioned by farcry.wikia.com:

• civilians
• Japanese Soldiers who died in World War 2

2.2. Single Player Campaign

2. Information on Far Cry 3

factions mentioned by farcry.wikia.com:

• Vaas's Pirates
• The Rakyat
• Hoyt's Privateers

not mentioned by farcry.wikia.com:

• civilians
• Imperial Japanese Soldiers who died in World War 2
  

The Rakyat and their presentation as an ancient tribe works as an inner-diegetic* reference. Ritual places, ruins, and myths - although fictional - are social objects as they indicate a historical past of The Rakyat's society. It can be viewed as an outer-diegetic reference*,too, as they show a specific mode of commemoration: visiting and interpreting locations.

*We probably should discuss this.

2.2. Single Player Campaign

The Rakyat and their presentation as an ancient tribe works as an inner-diegetic* reference. Ritual places, ruins, and myths - although fictional - are social objects as they indicate a historical past of The Rakyat's society. It can be viewed as an outer-diegetic reference*,too, as they show a specific mode of commemoration: visiting and interpreting locations.

*We probably should discuss this.

2. Information on Far Cry 3

did you notice the cannabis plants in the last trailer?

cannabis is presented in mission: "Kick The Hornet's Nest"

music (cf. above): "Skrillex feat. Damian Marley - Make it Bun Dem"

pop-cultural reference

Please, think about this game's target customer group.

2.2. Single Player Campaign

2. Information on Far Cry 3

Imperial Japanese Soldiers are represented as mummified corpses which can be found all over the two islands. They still wear their uniforms and some still carry letters.

The soldier's remains can often be encountered near or inside ruins of war devices. These ruins function as indicators of a historic past as well. Their function as inner-diegetic* references is highly limited. But they also reference outer-diegetic* contexts which are referring to a) an event to which memory is shared (and discussed) on a global scale - and to b) actual war ruins, of course.

*I may be repeating myself: Probably we should discuss this.

2.2. Single Player Campaign

2. Information on Far Cry 3

ruins function as indicators of a historic past as well

Imperial Japanese Soldiers represented as mummified corpses

The soldier's remains often encountered near or inside ruins of war devices

Please, notice the letters!

2.2. Single Player Campaign

2. Information on Far Cry 3

The Rakyat and their presentation as an ancient tribe works as an inner-diegetic* reference. Ritual places, ruins, and myths - although fictional - are social objects as they indicate a historical past of The Rakyat's society. It can be viewed as an outer-diegetic reference*,too, as they show a specific mode of commemoration: visiting and interpreting locations.

Imperial Japanese Soldiers are represented as mummified corpses which can be found all over the two islands. They still wear their uniforms and some still carry letters.

The soldier's remains can often be encountered near or inside ruins of war devices. These ruins function as indicators of a historic past as well. Their function as inner-diegetic* references is highly limited. But they also reference outer-diegetic* contexts which are referring to a) an event to which memory is shared (and discussed) on a global scale - and to b) actual war ruin, of course.

*We really should discuss this, too.

2.2. Single Player Campaign

2. Information on Far Cry 3

In Far Cry 3, ruins are used in at least two ways to constitute the impression of historicity.

The ruined war devices of the Imperial Japanese Army are mostly abandoned and represented as locations which do not primarily have the purpose to stimulate commemoration.

Regarding The Rakyat, they are presented as places that are still (or again) subject to historic interpretation through a certain group. This way it invites the user to assign specific values to The Rakyat, e.g. validity of their claim to rightfully reconquer the islands.

2. Information on Far Cry 3

2.3. Groups of NPCs

If everything went well, I will be able to move over to a short in-game presentation using Far Cry 3's Map Editor. I intent to show you the game from a productive perspective that resembles the perspectives assumed in Game Design and Production.

A Productive Perspective on Collective Identity in Far Cry 3:

2. Information on Far Cry 3

2.4. Optional Storylines

The War Letters:

• specific type of in-game object: Collectible Item
  • total number: 20
  • worth/Experience (in-game currency): 500XP
  • collecting 5/20 letters unlocks a weapon
• contain a seperate story about the events that took place on the island during World War 2.

3. Intermediality

3.1. Concepts & Approaches

"Intermediality" refers to the crossovers and interrelations taking place between the arts and the media. It also refers to the linkage within and between the various media that have intensified with the arrival of the digital (hyper)medium, insofar as the latter works through the interplay of words, images and sounds on but also through convergence of film, television, radio, news writing, e-books, photography, etcetera on the web. (p.7)

3. Intermediality

3.1. Concepts & Approaches

"Intermediality" refers to the crossovers and interrelations taking place between the arts and the media. It also refers to the linkage within and between the various media that have intensified with the arrival of the digital (hyper)medium, insofar as the latter works through the interplay of words, images and sounds on but also through convergence of film, television, radio, news writing, e-books, photography, etcetera on the web. (p.7)

3. Intermediality

3.1. Concepts & Approaches

Seven Approaches to the Discours on  Intermediality:

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

3. Intermediality

Seven Approaches to the Discours on  Intermediality:

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. Intermediality

Seven Approaches to the Discours on  Intermediality:

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. "With the difference in discipline comes a different historiography." (ibid.)

3. Intermediality

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. "With the difference in discipline comes a different historiography." (ibid.)

4. Verstraete suggests "to further investigate the national specificity of certain traditions or schools, of intermediality in relation to the global developements and crossovers that it mostly signifies." (p.10)

Seven Approaches to the Discours on  Intermediality:

3. Intermediality

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. "With the difference in discipline comes a different historiography." (ibid.)

4. Verstraete suggests "to further investigate the national specificity of certain traditions or schools, of intermediality in relation to the global developements and crossovers that it mostly signifies." (p.10)

Seven Approaches to the Discours on  Intermediality:

5. Distinctions to be discerned between intermediality, multimediality, and transmediality. (cf.ibid.)

3. Intermediality

Seven Approaches to the Discours on  Intermediality:

5. Distinctions to be discerned between intermediality, multimediality, and transmediality. (cf.ibid.)

Multimediality

Intermediality

Transmediality

co-existence of various media

translation of one medium into another

interrelation of various - distinctly recognized  - arts and media within one object

narrow scope

3. Intermediality

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. "With the difference in discipline comes a different historiography." (ibid.)

4. Verstraete suggests "to further investigate the national specificity of certain traditions or schools, of intermediality in relation to the global developements and crossovers that it mostly signifies." (p.10)

Seven Approaches to the Discours on  Intermediality:

5. Distinctions to be discerned between intermediality, multimediality, and transmediality. (cf.ibid.)

6. Alternatively, differences between multi-, trans- and inter-mediality can be viewed as differences in the degrees and scales of intermediality. (cf.ibid.)

narrow scope

broad scope

3. Intermediality

1. "(...) [I]ntermediality as the interaction between, and within, media is made to critically re-evaluate the function of communication, entertainment, representation, mediation, meaning, expression... by the (singular) medium." (p.9)

2. Disciplinary perspectives differ in their "emphasis on what is important". (ibid.)

3. "With the difference in discipline comes a different historiography." (ibid.)

4. Verstraete suggests "to further investigate the national specificity of certain traditions or schools, of intermediality in relation to the global developements and crossovers that it mostly signifies." (p.10)

Seven Approaches to the Discours on  Intermediality:

5. Distinctions to be discerned between intermediality, multimediality, and transmediality. (cf. ibid.)

6. Alternatively, differences between multi-, trans- and inter-mediality can be viewed as differences in the degrees and scales of intermediality. (cf.ibid.)

narrow scope

broad scope

7. "[G]iven the immense variations in the forms and cncepts ofintermediality described above, I prefer to speak of intermedialities, in the plural." (p.11)

3. Intermediality

3.2. Intermediality & Far Cry 3

narrow-scope approach:

Various media and arts are represented within Far Cry3:

• Media: radio & other audio, TV & other video, speech, letters
• Arts: painting (tattoo & wall paintings), music, play-acting

3. Intermediality

3.2. Intermediality & Far Cry 3

narrow-scope approach:

various media and arts are represented within Far Cry3:

broad-scope approach:

different degrees of intermedialities in Far Cry 3:

• representation of media & arts -- in-game mimicry
• production of animations, concept art, dialogues (text & recording), music score & foley, programming -- technical realisation of the game
• scripts, story-boards, schedules -- conceptualisation of content & production processes

• Media: radio & other audio, TV & other video, speech, letters
• Arts: painting (tattoo & wall paintings), music, play-acting

3. Intermediality

3.2. Intermediality & Far Cry 3

returning to the War Letters

-ways of representation are twofold:

• letters found near the corpses
• content of the letters are written from perspectives of different soldiers (and Hurk)

• writing content
• visual design
• implementation in game software: tagging letters as interactive items, repositing textual content, access in the game menu

technical realisation:

in-game mimcry:

conceptualisation:

• designing the plot, characters
• standardising the implementation (probably via game engine)

3. Intermediality

3.2. Intermediality & Far Cry 3

returning to the War Letters

Characters:

• Captain Jiro Sato

• Private Arata Hyogo

• Lance Corporal Mori

• Ren

• Major Kuro Mogi

• Tadao

• Shinji

• Dr. Koga Hayato

• Lieutenant Colonel Yamada Masahiro

• Hurk

returning to the War Letters

Example1 (12/20)-- Scientific Personnel WW2:

To Colonel Imada Daichi,

I hope your family is well. I apologize for stepping outside the chain of command, but I feel that Lieutenant Colonel Yamada Masahiro is not taking my worries seriously, and is thus unfit to continue commanding this facility and its experiments. I must report that Project Tenka and Project Kyouken would have progressed much further if the Lieutenant Colonel would just listen to me. Instead, he has cut me out of his inner circle of advisors and has forbid me from communicatingwith anyone. I have been forced to write multiple copies of my letters and give them to loyal soldiers and scientists in the hope that one reaches you. Please, I am a prisoner of the Lieutenant Colonel's ambitions and unable to serve the Emperor because of his medding.

Dr. Koga Hayato

"HAYATO'S FIRST LETTER"

returning to the War Letters

Example2 (8/20)-- Military Personnel WW2:

General Yamagata,

I am shocked and dismayed to report that what I had assumed was Private Tadao's incompetence is in fact sabotage. I was suspicious that none of the long-range radios were working, so I checked them. I am no expert in electronics, but even I could see that the tubes had been removed, the wires cut, and the battery missing.
I thought him weak, not a saboteur. He is too simple to be a spy. Regardless, he has betrayed his follow (sic!) soldiers, he has betrayed me, he has betrayed his oath to protect Japan, and he has betrayed the Imperial Family. I am going to execute Private Tadao, and if any of the men try to protect him, I will be forced to execute them as well.

Major Kuro Mogi

"MOGI'S FOURTH LETTER"

returning to the War Letters

Example3 (18/20) -- Civilian post-WW2:

To whoever reads this,

It's Hurk again. I ran out of space on that last piece of paper, so I was saying I needed to stop Gilbert before he started his rain (rein?)(sic!) of terror, right? Too late. He already started. Gilbert's got other monkeys following him like a pack, doing his bidding. It's like watching cheerleaders, man. You know the way cheerleaders move around in a pack, right, always following that one really hot chick with the blond hair, the tight ass, and the perfect tits? And it's like, every time theywalk past you, they move like they're in slow motion, aand they look at you like they don't even see you. Totally Lacy Barnstrom, right? She was the head cheerleader at my school, and I did shit her yearbook pictures that totally got the pages all fucked up. Shit, I'm out of space again.

Hurk

"HURK'S SECOND LETTER"

4. Documentality

4.2. Problematic Application on Far Cry 3

One problem lies in the definition of as a social object as a physical object documenting social interactions.

Another difficult question arises because Ferraris emphasises that collective or individual intentions and beliefs are disqualified as constituents of a social object.

Ferraris' concept of Documentality seems not to be oriented on the requirements that have to be met in order to decipher documents.*

This will be the place the discuss problems that arose when applying Documentality.

Is Far Cry 3 a social object according to Ferraris?

yes: What is its content and what does it document?

no: How else does Far Cry 3 relate to social reality?

*e.g. knowledge, meaning, symbolic thought, ...

5. Conclusion

The game's narrative properties  are based on intermedialities.

How Does Narration Work in Far Cry 3?

5. Conclusion

The game's narrative properties  are based on intermedialities.

How Does Narration Work in Far Cry 3?

• "interrelation of various - distinctly recognized  - arts and media" (cf. above) within Far Cry 3

  • presenting history: The Rakyat, their identity and their temple ruins

  • representing history: ruins of war devices

  • referencing hisory: letters written during World War 2

5. Conclusion

The game's narrative properties  are based on intermedialities.

How Does Narration Work in Far Cry 3?

• "interrelation of various - distinctly recognized  - arts and media" (cf. above) within Far Cry 3

  • presenting history: The Rakyat, their identity and their temple ruins

  • representing history: ruins of war devices

  • referencing hisory: letters written during World War 2
• different degrees of intermedialities in Far Cry 3
  • in-game mimicry
  • technical realisation
  • conceptualisation

5. Conclusion

The game's narrative properties  are based on intermedialities.

How Does Narration Work in Far Cry 3?

• "interrelation of various - distinctly recognized  - arts and media" (cf. above) within Far Cry 3

  • presenting history: The Rakyat, their identity and their temple ruins

  • representing history: ruins of war devices

  • referencing hisory: letters written during World War 2
• different degrees of intermedialities in Far Cry 3
  • in-game mimicry
  • technical realisation
  • conceptualisation

As which kind of social object can Far Cry 3 be interpreted?

• Can Documentality provide answers?

5. Conclusion

Literature:

Maurizio Ferraris, Giuliona Torrengo:Documentality: A Theory of Social Reality. online:

http://www.academia.edu/8901687/Documentality_A_Theory_of_Social_Reality

Ginette Verstraete: Intermedialities: A Brief Survey of Conceptiual Key Issues. online:

http://www.academia.edu/22430381/Introduction_Intermedialities_A_Brief_Survey_of_Conceptual_Key_Issues

Youtube:

Ubisoft/Havok: Far Cry 3 - Official Game Trailer. online: https://www.youtube.com/watch?v=rli2DXlrSaM

Noisia - Machine Gun ( 16 Bit Remix). online: https://www.youtube.com/watch?v=rli2DXlrSaM

Skrillex feat. Damian Marley - Make it Bun Dem. online: https://www.youtube.com/watch?v=g7sgq6PxFXE

"Make it Bun Dem" - In-Game Context. online: https://www.youtube.com/watch?v=YyGgJrtc6tQ

Die Antwoord - I Fink U Freeky. online: https://www.youtube.com/watch?v=p4IH6BUvAr0

"I Fink U Freeky" - In-Game Context. online: https://www.youtube.com/watch?v=Vnx0jsDXgBY

Ubisoft/Havok: Far Cry 3 - Introduction to Dennis and Citra. online: https://youtu.be/m_KReqSjoXA

UGC: Far Cry 3: Letters of the Lost : Locations Guide. online: https://youtu.be/YU4MwP-bXdI

5. Conclusion

Wikis & other online resources:

Far Cry Wiki. online: http://farcry.wikia.com/wiki/Far_Cry_Wiki

Games Datebase: giantbomb.com. online: http://www.giantbomb.com/far-cry-3/3030-32933/

Games Datebase: spong.com. online: http://spong.com/game/11049176/Far-Cry-3-PS3

Games Datebase: vgcollect.com. online: http://vgcollect.com/item/16775

Games Datebase: igdb.com. online: https://www.igdb.com/games/far-cry-3

Games Datebase: mobygames.com. online: http://www.mobygames.com/game/far-cry-3

Games Datebase: thegamesdb.com. online: http://thegamesdb.net/game/11774/