MULTIMODAL ANALYSIS TO HYPERDIMENSION NEPTUNIA RE:BIRTH 1 CHARACTERS
A THESIS
BY
DANNISH DARMAWAN
REG. NO 130705008
DEPARTMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES
UNIVERSITY OF SUMATERA UTARA
MEDAN 2017
Universitas Sumatera Utara
MULTIMODAL ANALYSIS TO HYPERDIMENSION NEPTUNIA RE:BIRTH 1 CHARACTERS
A THESIS
BY DANNISH DARMAWAN REG. NO: 130705008
SUPERVISOR CO-SUPERVISOR
Prof. T. Silvana Sinar, MA. Ph.D Dr. Dra. T. Thyrhaya Zein, MA. NIP. 195409161980032003 NIP. 196301091988032001
Submitted to Faculty of Cultural Studies of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English
DEPATMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017
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Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.
Head, Secretary,
Dr. Deliana, M.Hum Rahmadsyah Rangkuti, MA. Ph.D NIP. 195711171983032002 NIP.197502092008121002
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Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan
The examination was held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Wednesday, August 9 2017
Dean of Faculty of Cultural Studies
University of Sumatera Utara
Dr. Drs. Budi Agustono, M.S.
NIP. 1960080519841001
Board of Examiners Sign
1. Rahmadsyah Rangkuti, MA. Ph.D NIP. 197502092008121002
2. Prof. T. Silvana Sinar, MA. Ph.D NIP. 195409161980032003
3. Dr. Masdiana Lubis, M.Hum NIP. 195706261983032001
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AUTHOR’S DECLARATION
I, DANNISH DARMAWAN, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHER OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.
Signed:
Date: August 9 2017
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COPYRIGHT DECLARATION
NAME : DANNISH DARMAWAN
TITLE OF THESIS : MULTIMODAL ANALYSIS TO
HYPERDIMENSION NEPTUNIA RE:BIRTH 1
CHARACTERS
QUALIFICATION : S-1/SARJANA SASTRA
DEPARTMENT : ENGLISH
I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR
REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF
DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,
UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT
USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF
THE REPUBLIC OF INDONESIA.
Signed :
Date : August 9 2017
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ACKNOWLEDGMENT
Al-hamdu lillahi rabbil „alamin, praise to god Allah SWT the almighty. I am grateful that I finally finished my thesis entitled “Multimodal Analysis to Hyperdimension Neptunia
Re:birth 1 Characters.”. Much things happened in the making of this thesis and I am pretty much sure without Allah SWT guidance and the support of so many people around me I will not be able to finish this thesis and for that I want to express my best gratitude and regards for:
1. My family: My parents, my brothers and sisters, you all are always be there for
me whenever I need and it is the best support I can have as a person until now
and on.
2. My supervisor and co-supervisor, Mam Prof. T. Silvana Sinar, MA. Ph.D and
Mam Dr. Dra. T. Thyrhaya Zein, MA. Thank you for all of your guidance me
and advices for my thesis.
3. The dean of Faculty of Cultural Studies, Dr. Drs. Budi Agustono, M.S, the head
of English Department, Dr. Deliana, M.Hum, the secretary of English
Department, Mr. Rahmadsyah Rangkuti, M.A, Ph.D and all the lecturers and
staffs in English Department of USU, you all are the best.
4. Bang Keyboard, thank you, simply just for everything.
5. To everyone in Duelist Medan and Velocity: Mubarak, Molen, Ralfi, Bang Dwi,
Bang Gunalan, Bang Rejak, Bang A‟dli, Bang Irvin, Bang Ryan, Bang Imam,
Bang Albert, Dhika, Darin, Bang Aan, Bang Aka, Bayu, Bang Ibal, Ojik, Bang
Wellem, Bang Gian, Bang William, Bang Joe, Bang Boni, Mr. Ali, Adit,
Tommy, Bang Teguh, Koko, Lek Gar and just everyone in there, I am sorry if I
forgot to mention some people, but the point is, I really have to mention you
guys, for you are my other family where I grew up as a person and also the place
where I can have laughter and happiness all the time, no matter how hard I hit
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the bottom. Without all of you, I might have given up all these things already.
Thanks guys, for everything, sincerely.
6. My friends who always got my back: Dini & Sandra. I have failed and fell so
many times, but you two just always keep pulling me back so I can stand on my
two feet. I do not know whether I will keep going if it was not for the support
from the two of you, thanks besties.
7. To Ivan, Rizky Hawan, Daniel, Bang Adi, and Bang Fikry, you all might not
believe it, but you all are the people who inspire me and also encourage me to
keep being me and built up so many ideas, and for that I cannot thank you
enough.
8. IMSI, KRAMAT, all my friends and seniors in college especially, to Bang
madzi, Bang Aulia, Bang Nuriza, Geta, everyone in 2013 whether it is A class or
B class, we are one anyway. It was four years that I have been through with all
of you, many things happened, tears and laughter, but we are kind of a family
now, thank you very much for everything.
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ABSTRAK
Penyusunan skripsi ini bertujuan untuk mengubah pandangan masyarakat terhadap video game yang hanya berisikan tentang „sekedar permainan‟, dengan cara menemukan komposisi multimodal yang terkandung di dalam video game yang berjudul Hyperdimension Neptunia Re:birth 1 dan juga juga pesan pesan yang terdapat di dalam video game tersebut, yang didapati dalam bentuk representase. Hyperdimension Neptunia Re:birth 1 merupakan sebuah video game yang mengangkat industri video game sebagai sebuah referensi yang menonjol, terutama pada keempat karakter utama yang bernama Neptune, Noire, Blanc, dan Vert. Metodologi yang dipakai dalam penelitian ini adalah qualitative deskriptif dari miles dan Huberman. Multimodal adalah teori yang dipilih dalam penelitian ini karena mampu menganalisis video game melalui gambar yang diberikan oleh video game melalui layar berdasarkan komposisinya. Beberapa gambar yang di ambil dari video game Hyperdimension Neptunia Re:birth 1 di analisis menggunakan teori multimodal dan didapatilah komposisi yang membangun gambar tersebut, kemudian komponen-komponen tersebut dijelaskan satu per satu.Hasil dari penelitian ini didapati bahwa ada terdapat komponen komponen yang berupa ada dan tidak adanya Information Value, Salience, dan Framing pada gambar-gambar yang dianalisis.
Kata Kunci: Image, Multimodal, Video game
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ABSTRACT
The objective of this thesis is to change society‟s mindset about video game that being an “only just for fun” media by finding composition of multimodal inside a video game titled Hyperdimension Neptunia Re:birth 1 and also the messages in the game which found in a form of representatio, because video game itself has messages that need to be noticed by the society. The object in this thesis is Hyperdimension Neptunia Re:birth 1. Hyperdimension Neptunia Re:birth 1 is a video game that refer to the industry of video game itself. This reference is well seen especially on the characters named Neptune, Noire, Blanc, and Vert. This thesis used a qualitative descriptive method by milles and Huberman. The theory used in this thesis is multimodal, because it can reveal the composition inside the image that provided by the video game through the screen. Some images taken from the video game Hyperdimension Neptunia Re:birth 1 are analyzed. Components received from the images are explained one by one. This thesis found the absence and presence of Information value, Salience and framing in the analysed images.
Keywords: Image, Multimodal, Video game
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TABLE OF CONTENTS
AUTHOR’S DECLARATION ...... v
COPYRIGHT DECLARATION ...... vi
ACKNOWLEDGMENT ...... vii
ABSTRACT ...... ix
ABSTRAK ...... x
TABLE OF CONTENT ...... xi
LIST OF TABLES ...... xiii
CHAPTER I: INTRODUCTION
1.1 Background of The Study ...... 1
1.2 Problems of The Study ...... 4
1.3 Objective of The Study ...... 4
1.4 Scope of The Study ...... 5
1.5 Significance of The Study ...... 5
CHAPTER II: REVIEW OF LITERATURE
2.1 Concepts ...... 6
2.1.1 Systemic Functiopnal Linguistics ...... 6
2.1.2 Multimodal ...... 6
2.1.3 Video Game ...... 8
2.1.4 Hyperdimension Neptunia ...... 9
2.1.5 Image ...... 11
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2.1.6 Character...... 11
2.2 Relevance Previous Studies ...... 12
2.3 Theory ...... 13
2.3.1 Narrative Structure...... 14
2.3.2 Interactive Meanings ...... 14
2.3.3 Composition ...... 15
2.3.4 Symbolic Processes ...... 17
2.4 Theoretical Framework ...... 18
CHAPTER III: METHOD OF THE STUDY
3.1 Data and Source of Data ...... 19
3.2 Technique of Data Collection ...... 19
3.3 Technique of Data Analysis ...... 20
3.3.1 Data Condesation ...... 20
3.3.2 Data Display ...... 21
3.3.3 Drawing and Verifying Conclusion ...... 21
CHAPTER IV: ANALYSIS AND FINDINGS
4.1 Composition Multimodal Analysis ...... 22
4.1.1 Analysis of Neptune Event ...... 23
4.1.2 Analysis of Noire Event ...... 24
4.1.3 Analysis of Vert Event ...... 25
4.1.4 Analysis of Blanc Event ...... 27
4.1.5 Analysis of Start Menu ...... 28
4.1.6 Analysis of Dungeon Crawling ...... 31
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4.1.7 Analysis of Tutorial ...... 33
4.1.8 Analysis of Battle ...... 36
4.1.9 Analysis of Victory Pose ...... 38
4.1.10 Analysis of World Map ...... 39
4.1.11 Analysis of Home Menu ...... 41
4.1.12 Analysis of Dialogue ...... 43
4.1.13 Analysis of Game Over ...... 45
4.1.14 Analysis of Ending Credits ...... 47
4.2 Symbolic Processes Analysis ...... 49
4.2.1 Symbolic Processes Analysis of Neptune ...... 49
4.2.2 Symbolic Processes Analysis of Noire...... 50
4.2.3 Symbolic Processes Analysis of Vert...... 50
4.2.4 Symbolic Processes Analysis of Blanc ...... 51
CHAPTER V: CONCLUSION AND SUGGESTION
5.1 Conclusion and suggestion ...... 52
REFERENCES ...... 53
APPENDIX
i. Images Taken From HDNR1
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CHAPTER I
INTRODUCTION
1.1 Background of The Study
The rapid development of technology has brought people to the era of digital media which provides entertainment on television screen, computer, and also smartphone.
Digital media was not a big deal, people used it as a device to help communication, but it develops really fast that its usage in society already on daily life level.
Video game is one of the digital media that develops really fast, replacing traditional games, toys, and story books for children. Nowadays, it is normal to see kids playing video game everywhere on their gadget such as smartphone or any portable video game platform. The parents seem okay with it, even some parents use the video game to keep their children busy so the children will not bother them, this phenomenon also can be referred as video game babysitting effect.
A study from CouponCodes4u.com in 2013, stated that 58% of parents in US use gadget to babysit their children with majority of video game application in it, some stated that so they can take a break from babysitting (Taylor: 2013). Parents often overlook the content of video game and let their children play the video game without any supervision as long as the children are not bothering them. A UK-based game website playr2.com, had a survey among parents if they pay attention to the video game content, 62% answered no. This fact made Simon Killby, thePlayr2 founder, really surprised to find that the majority of parents did not even check the age restrictions and said "they're there for a reason." (Cox: 2012).
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Not every game was made for children is a fact. Entertainment Software Rating
Board (ESRB) has five ratings based on the age of the players which are Children,
Everyone, Everyone 10+, Teen, Mature 17+, and Adult Only. The fact that there are rating for Mature 17+, and Adult Only is a proof that video game might also contains some video contents such as nudity or violence and some children out there might play it because their parents are ignorant about the contents in video game. This phenomenon might lead to bad behavior of the children to the society, one of the example is the mass murder in Sandy Hook elementary school on December 14th 2012 by Adam Peter Lanza which killed 27 people. The most noticed thing about Adam Peter Lanza is he is a gamer which frequently plays First Person Shooting (FPS) genre game. The content of the FPS game is the one indicator of Adam Peter Lanza motive in his mass murdering act
(Fletcher: 2015).
The popularity of video game nowadays is also one thing that cannot be ignored. A world class tournament of video game titled „The International‟ has been held annually.
„The International 6‟ which was held in 2016 reach the prize pool of 20,770,460 USD
(source: http://dota2.prizetrac.kr/international2016). This is a fact of how popular a video game nowadays.
Based on the facts that the content of video game should be paid some attention and the popularity of video game nowadays, it is a need for people in the society to understand the contents in a video game. One way to understand the contents inside a video game is using the multimodal analysis.
Multimodal is a branch study of systemic functional linguistics which able to analyze more than one mode in a language. The area of multimodal research is the
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relationships across and between modes in multimodal text (Bezzemer: 2012). The multimodal analysis is a fitting way to analyze a video game since video game does provide more than one mode in it.
This multimodal analysis is enough to realize and be aware of what are the contents contained in a video game, yet just aware and realizing what are the contents of video game is not enough.
The video game which used in this thesis is a video game titled Hyperdimension
Neptunia Re:birth 1 (later refered as HDNR1). HDNR1 is a role-playing genre video game which is a narrative based video game. HDNR1 taking a setting in a fantasy world which based on the real-world video game industry (Devries: 2011). The world which named Gamindustry is divided by four nations which are Neptune, Lastation, Leanbox, and Lowee, with each nation has a guardian titled as the CPU (Idea Factory International:
2014).
As mentioned before, HDNR1 world was based on the real world of real-world video game industry, including the name of the nations, and also the CPU characters.
Each name of the nation found in this video game is a rhyme to the real-world video game platform from big video game companies which are Neptune (Sega), Playstation
(Sony), X-box (Microsoft), and Wii (Nintendo) (Devries: 2011). The CPU characters are also the representation of the video game platform in the real world. How they represent their video game platform will be analyzed in this thesis as how a message is delivered through a video game, and to do that this thesis used the Symbolic Process based on the book Reading Images: The Grammar of Visual Design by Gunther Kress and Theo Van
Leeuwen (2006).
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There are some positive impacts can be achieved by understanding and increasing awareness of contents in a video game. One of it is educational impact, some video games do have some educational contents in it, such as Dynasty Warrior which is a game that take a setting of Romance of the Three Kingdom which is a historical story of china or God of War which tale a setting of Grecian mythology. This information can be achieved if society, especially the player, well aware about the contents of a video game.
There are also negative impacts of video game as mentioned before, everything in this world has good and bad sides. For an analogy, a car is a good machine to go to somewhere conveniently, but it can also crash on something or someone and causing damage by a bad driver which means it is about the driver. In video game, it is about the player.
1.2 Problems of the Study
There are two problems of the Study as follows:
1. How does multimodal analysis applied in in the video game Hyperdimension
Neptunia Re:birth 1?
2. How do the CPU characters in Hyperdimension Neptunia Re:birth 1 represent
their video game platform?
1.3 Objectives of the Study
From problems mentioned previously, the objectives of this study are:
1. To apply multimodal analysis on the video game Hyperdimension Neptunia
Re:birth 1.
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2. To describe how the CPU characters in Hyperdimension Neptunia Re:birth 1
represent their video game platform.
1.4 Scope of the Study
The scope of the study focusing on the images provided in the video game HDNR1 on different sections around the CPU characters using the multimodal composition which contains analysis of Information Value, Salience, and Framing.
After the analysis of multimodal composition, the CPU characters which are
Neptune, Noire, Vert, and Blanc are analysed using the Symbolic Process to describe how they represent their video game platform.
1.5 Significances of the Study
This study offers practical and theoretical significances as below:
1. To rise people‟s awareness about contents in video game.
2. It is hoped to change the stereotype perspective of video game from being a
„just for kids‟ media or „just for fun‟ media, become a work that worth to be
appreciated.
3. To be a reference in the future research in the study of multimodal and video
game.
4. This study can be a step to expand the view of multimodal theory to be applied
in more fields, especially in video game.
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CHAPTER II
REVIEW OF LITERATURE
2.1 Concepts
2.1.1 Systemic Functional Linguistics
Systemic functional linguistics (also referred as SFL) is the study of
relationship between language and its function in social settings. SFL contains
meaning (Semiotics), sound (Phonology), and wording or lexicogrammar (Syntax,
Morphology and Lexis) (Nordquist: 2017).
The systemic functional approach to multimodal discourse analysis is
concerned with the theory and practice of analysing meaning arising from the use of
multiple semiotic resources in discourses which range from written, printed and
electronic text (O‟Halloran: 2008).
2.1.2 Multimodal
There are four common core concepts in multimodal research: mode, semiotic
resource, modal affordance and inter-semiotic relations.
a. Mode: An outcome of the cultural shaping of a material through its use in the
daily social interaction of people.
b. Semiotic resources: Display regularities through the ways in which people use
them and can be thought of as the connection between representational
resources and what people do with them.
c. Modal affordance: The material and the cultural aspects of modes, what it is
possible to express and represent easily with a mode, this concept connected to
both the material as well as the cultural and social historical use of a mode.
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d. Intersemiotic relation: The relationships across and between modes in multimodal
texts and interaction.
These four concepts provide the starting point for multimodal analysis.
Multimodality can be used to build inventories of the semiotic resources, organizing principles, and cultural references that modes make available to people in particular places and times: the actions, materials and artifacts people communicate with. This has included contributions to mapping the semiotic resources of visual communication and color, gesture and movement, gaze, voice and music. Multimodal studies have also been used understand how semiotic resources are used to articulate discourses across a variety of contexts and media such as online environments, textbooks and advertisements. The main area of multimodal research are the relationships across and between modes in multimodal texts and interaction. Multimodal research makes a contribution to research methods for the collection and analysis of digital data and environments within social research. It provides novel methods for the collection and analysis of types of visual data, video data and innovative methods of multimodal transcription and digital data management. (Bezzemer: 2012)
This theory has been developed from semiotics schools roughly after the past
75 years schools of semiotics applied in Europe and America. The first was the Prague
School of the 1930s and early 1940s, developing the work of Russian Formalists by providing it with a linguistic basis and applying notions such as „foregrounding‟ in the language as well as to the study of art, theatre, cinema and costume. The second was the Paris School of the 1960s and 1970s, which applied ideas from de Saussure and other linguists to painting, photography, fashion, cinema, music, comic strips, etc.
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The ideas developed by this School are still taught in countless courses of media studies, art and design, etc., often under the heading „semiology‟. Everywhere students are learning about „langue‟ and „parole‟; the „signifier‟ and the „signified‟; „arbitrary‟ and „motivated‟ signs; „icons‟, „indexes‟ and „symbols‟ (these terms come from the work of the American philosopher and semiotician Charles Sanders Peirce, but are often incorporated in the framework of „semiology‟), and so on. Generally, this happens without students being given a sense of, or access to, alternative theories of semiotics (or of linguistics). (Kress, Von Leeuwen.: 2006)
2.1.3 Video Game
Video game is interactive digital entertainment that you “play” via a computer, a game console and other platforms. The label “video game” casts an absurdly large net over a whole lot of different things. There are a million different kinds of video games and each of them functions as its own form of entertainment media.
Video games are sports that take place in a computer. They‟re interactive TV shows and interactive movies. They‟re digital board games and card games. They‟re rough simulations of everyday life. (Owen: 2016)
First mass-marketed around 1970s, video games are played by installing cartridges into a game box connected by wire to a television set. Played using controller to control the actions of a character or series of characters as the characters face obstacles displayed on the screen. Video games, designed chiefly to appeal to children and adolescents.
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In 2004 nearly every home with children had one or more consoles of the most popular game systems. Few children have not been exposed to some form of video game, and access to the games is pretty much easy.
So many kinds of genres in video games presented for various kinds of gamers all around the world. The society need to be aware of the popularity of video game among children because some video games are not made for children with some adult content inserted in it. (Advameg 2017)
2.1.4 Hyperdimension Neptunia
Hyperdimension Neptunia is an RPG (Role Playing Game) which has a setting of fantasy world named the Gamindustry, which means game industry. Gamindustry was divided into four nations: Neptune, Lastation, Lowee, and Leanbox. Just like what this world representing the game industry in the real world, these four nations are representing the four famous game console in the world from four big game company in the world: SEGA Neptune (from SEGA), Playstation (from SONY), Wii
(From Nintendo), and Xbox (from Microsoft). These four nations have their representative called the CPU for each nation and they have been fighting Console
War for many times to get share which is the representation of gamer‟s interest
(Read Idea Factory 2014)
This video game covered in pretty cute appearance that it looks like this game is supposed to be played by little girl around age 7-12 years old but this game actually is presented for male gamers and have some contents that are not appropriate for children especially in half nudity. (Devries: 2011)
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Hyperdimension Neptunia was originally a title that distributed in Sony
Computer Entertainment platform which are Playstation 3 and Playstation VITA. Its popularity already brought this game to its fourth sequel and this franchise already playable in PC through PC video game portal Steam.
There are female characters in this video game whose appearance and characteristic are a personification to the actual platform of video games in the real world. These girls are titled as CPU which is the title of the guardian of a nation in the video game. These CPU characters are:
a. Neptune
The leading character of the game, the story resolve around her who is
trying to get her memory back. She is the CPU of Neptune, also known as
Purple Heart. She lost her memory because she was defeated by the other
CPUs.
b. Noire
The CPU of Lastation, also known as Black Heart. She is a very hard-
working person but very to open up to people yet she would gradually
open up to Neptune and the others.
c. Blanc
The CPU of Lowee, also known as White Heart. Her hobby is reading
book. She is actually a very calm person, but if something snaps her out,
no one can stop her anger.
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d. Vert
The CPU of Leanbox also known as Green Heart. She has the most adult
appearance compared to the other CPUs. She is a hardcore gamer despite
her elegant appearance.
The appearances also characteristics of the four CPU are made for some reasons, which one of it is being the personification of the video game platforms from
Sega, Sony, Nintendo, and Microsoft. (Idea Factory International 2014)
2.1.5 Image
Image is an information in form of a picture that served on visual or paper
(Santoso: 2011). Image is used for showing an information in the form of picture, it is a kind of message that can be understood by people and also can be considered as a text.
2.1.6 Character
In his article, Anthony Wall mentioned five points to describe a character:
1) the concept of the separate character-individual
2) unfinishedness
3) character as a point of convergence
4) the question of hierarchy
5) the question of identification.
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The first point pointed out that character is being that needs interaction with
his/her surroundings. The second one pointed out that a character will keep getting on
problems one after another. The third one pointed out character is not a static being,
but is an active ingredient in a novelistic discourse. The fourth pointed out that the
narrator and the character has different position in a narration. The last one pointed out
that a character has a special status in a literary work. (Wall: 1984)
2.2 Relevance Previous Studies
An article Analisis Visualisasi Karakter Game Pada The Sims 4 by Priska Merciano
Rossie (2015) having an analysis to the tactile feature of the video game that make the
player can make a character design as free as they could to the video game The Sims 4,
giving an example of character visual analysis in a videogame using semiotics and also
psychoanalysis.
The Character of Difference: Procedurality, Rhetoric, and Roleplaying Games, A
paper by Gerald Voorhes (2009) This paper constructs a theoretical foundation for the
claim that the Final Fantasy series (a video game series) can be understood as an
apparatus for players adjusting to changing formations of cultural difference. This paper
giving a contribution as an example of a video game analysis by cultural approach.
An article Video Game Characters Theory and Analysis by Felix Schröter and
Jan-Noël Thon (2014) This essay develops a method for video game characters analysis
based on a theoretical understanding of their medium-specific representation and the
mental processes involved in their intersubjective construction by video game players.
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It distinguishes narration, simulation, and communication as three modes of representation particularly salient for contemporary video games.
A thesis A Multimodal Discourse Analysis of Video Games: A Ludonarrative
Model by Toh Weimin (2014) proposes an integrated framework to analyse computer games from a discourse analysis perspective. The objective of this research is to investigate the player's understanding of how the different modes of computer games combine to create a multiplicative meaning for them during gameplay. The modes analysed under the multimodal discourse analysis perspective include the linguistic and visual, and for the ludonarrative perspective, the narrative and gameplay. The ludonarrative model emphasises on the combination of narrative and gameplay. This thesis gave a contribution in giving an example of seeing a meaning in a video game.
Multimodality: Menafsir Verbal, Membaca Gambar, dan Memahami Teks by Budi
Hermawan (2012) this paper introduces and elaborates multimodality as a „procedure of analysis‟ to use to analyse texts which use more than one semiotic mode, particularly those that use verbal and images at the same time. Secondly, this article both explicates technical steps of the procedure that can be used to analyse given texts, and provides an example of the application of the steps. Hence, though implicitly, the article explores the strengths to gain from the application of the procedure. This paper contributes in giving an understanding of multimodal analysis, also example to its application to some multimodal object.
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2.3 Theory
Gunther Kress and Van Leeuwen Introduced a multimodal theory that analyse multimodal text based on visual meta-function which divided into three kinds of analysis which are Narrative structure, Interactive meanings, and Composition. This thesis will apply the Multimodal Composition meta-function analysis to the images found in
HDNR1. After that, the symbolic process is applied to the CPU characters to find out their representation.
2.3.1 Narrative Structure
In abstract images such as diagrams, narrative processes are realized by
abstract graphic elements for instance, lines with an explicit indicator of directionality,
usually an arrowhead. Such features of directionality must always be present if the
structure is to realize a narrative representation: connecting lines without an indicator
of directionality form a particular kind of analytical structure, and mean something
like „is connected to‟, „is conjoined to‟, „is related to‟. The „Actor‟ is the participant
from whom or which the vector departs, and which may be fused with the vector to
different degrees. the narrative processes are realized by a visual element, an image as
a visual element, a number or an equation as a visual element.
Figure 2.1 Structural Frame of Multimodal Narrative Structures Analysis
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2.3.2 Interactive Meanings
Interactive meanings of images related to the „size of frame‟, to the choice between close-up, medium shot and long shot, and so on. Just as image-producers, in depicting human or quasi-human participants, must choose to make them look at the viewer or not, so they must also, and at the same time, choose to depict them as close to or far away from the viewer and this applies to the depiction of objects also. The choice of distance can suggest different relations between represented participants and viewers.
Figure 2.2 Structural frame of Multimodal Interactive Meanings Analysis
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2.3.3 Composition
Composition analysis relates the representational and interactive meanings of the image to each other through three interrelated systems which are „Information
Value‟, „Salience‟, and „Framing‟.
Figure 2.3 Structural Frame of Multimodal Composition Analysis
1. Information Value: The placement of elements, endows them with the
specific informational values attached to the various „zones‟ of the image
which are left and right, top and bottom, centre and margin. The
Information Value is divided by centred and polarized to show which
image has the highest informational values according to their zones. The
value of information from the highest to lowest can be described as Centred
> Ideal > Real > Given > New, with explanation „Centred‟ means centre,
„Ideal‟ means top, „Real‟ means bottom, „Given‟ means left, „Ideal‟ means
right.
2. Salience: The elements‟ which are made to attract the viewer‟s (in this
thesis referred as the player) attention to different degrees. Salience is
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divided to „Maximum Salience‟ which attract player‟s attention the most
and „Minimum Salience‟ which attract less attention from the player
compared to the „Maximum Salience‟. This can be determined by the
relative size of an image, contrast of colour, difference in sharpness, the
placement in the foreground or background (informational value), etc.
3. Framing: the presence or absence of framing devices in form of dividing
lines or actual frame line. In its presence, Framing can be divided to
„Maximum Connection‟ and „Maximum Disconnection‟. „Maximum
Connection‟ means that the frame shows that the elements are belong
together and „Maximum Disconnection‟ means that the elements are not
belong together.
2.3.3 Symbolic Processes
Symbolic processes are about what a participant means or is. Either there are two participants or there is only one participant. Symbolic attributes are objects with one or more of the following characteristics:
(1) They are made salient in the representation in a way, for example by
exaggerating the size or their colour.
(2) They are pointed at by means of a gesture which cannot be interpreted as
an action other than the action of „pointing out the symbolic attribute to the
viewer‟
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(3) They look out of place in the whole, in some way.
(4) They are conventionally associated with symbolic values.
Figure 2.4 Types of Symbolic Image Structure
Symbolic Suggestive Processes have only one participant, the Carrier.
They cannot be interpreted as analytical, because in this kind of image detail tends to
be de-emphasized in favour of what could be called „mood‟ or „atmosphere‟. It is this
which lends Symbolic Suggestive pictures their genericity, their quality of depicting
not a specific moment but a generalized essence. As a result, Symbolic Suggestive
processes represent meaning and identity as coming from within, as deriving from
qualities of the Carrier themselves. Symbolic Attributive processes represent meaning
and identity as being conferred to the Carrier. Human participants in Symbolic
Attributive processes usually pose for the viewer, rather than being shown as involved
in some action. This does not mean that they are necessarily portrayed front-on and at
eye level, or that they necessarily look at the viewer.
2.4 Theoretical Framework
This research focus on the Multimodal Composition Analysis framework to find elements can be found in images provided in the video game HDNR1 and followed by the representation analysis of the CPU characters to find out how these characters represent their video game platform.
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HDNR1 images
Composition
Salience Information Framing Value
Max. Min. Max. Max. Centred Polarized Salience Salience Connection Disconnection
Symbolic Processes
Findings and Conclusion
Figure 2.4 Theoretical Concept
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CHAPTER III
METHOD OF THE ANALYSIS
3.1 Data and Source of Data
The data of this study is the images found in the video game titled Hyperdimension
Neptunia Re:Birth 1 which captured using print screen feature from the video game itself, the collected data are collected through different section of the video game.
The source of the data is the video game HDNR1 which developed by Idea Factory,
Compile Heart, and Fellistella released in 2013. It is an enhanced remake of the original
Hyperdimension Neptunia which released in 2010. The video game is available in the following platforms: Playstation 3, PSVita, and PC. The game duration takes 27 and a half hours to finish the main story.
3.2 Technique of Data Collection
The data collection will use the documents and records technique. Examining existing data in the form of databases, meeting minutes, reports, attendance logs, financial records, newsletters, etc. In this study, the data acquired from the video game played through PC. The images from the video game Hyperdimension Neptunia Re:Birth 1 will be captured via print screen. The events in the video game that captured are the events that regarded has strong relation to events also phenomenon in real life.
In this analysis, the first thing to do to collect the data is by downloading the video game Hyperdimension Neptunia Re:birth 1. Then images that appropriate for being
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data in this analysis was taken by using print screen. Then those images are the main data of this analysis that will be analyzed.
3.3 Technique of Data Analysis
This analysis uses the qualitative data analysis by Miles, Huberman, and Saldana
(2014) that divided into three parts which are Data Condensation, Data Display, and
Drawing and Verifying Conclusion as presented in figure 3.1.
Data Collection Data Display
Data Conclusion Condensation Drawing/Verifying
Figure 3.1 Milles, Huberman, and Saldana Components of Data Analysis
3.3.1 Data Condesation
Data condensation refers to the process of selecting, focusing, simplifying,
abstracting, and transforming the data that appear in the full corpus to make the data
stronger.
Focusing the data means ordering the data to be so it will be easy to analyzed.
In this analysis, the data collected from the video game are focused according to what
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part of the game the data took place, so that the data will not have same pattern of multimodal composition repeated in more than one images.
Using the multimodal composition analysis, those data are simplified and become information value, salience, and framing so the first objective of this analysis can be achieved. Abstracting are done using the concept of representation mentioned in chapter 2, to achieve the objective of finding out the CPU characters‟ representation to their video game platforms.
3.3.2 Data Display
Data display means organizing assembly of information that allows conclusion drawing. Usually in a form of table or diagram to make the data looks more organized and easier to observe so it helps conclusion drawing.
In this analysis, the data are displayed in form of images which analysed using the multimodal composition theory and the findings also displayed in table. Later, In the analysis of the CPU characters representation, data that have been achieved through the multimodal composition analysis will be displayed in form of table so aspects that support the representation can be seen.
3.3.3 Drawing and Verifying Conclusion
Conclusion drawing from the start of data collection until data display which then will be verified. Conclusion from this thesis will focus on rising people awareness to the contents in a video game because video game is not only a media of entertainment but it also has meaning in every part of it and need to be appreciated.
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CHAPTER IV
ANALYSIS AND FINDINGS
4.1 Composition Multimodal Analysis
In multimodal composition analysis, there are three aspects that can be analyzed, those are salience, information value, and framing. Salience divided to maximum salience which catch most attention of a viewer (in this analysis referred as player) and minimum salience which catch less attention than the maximum salience. Information value is where the player can achieve information, divided to centred, top, bottom, right, left, top right, top left, bottom right, and bottom left. Framing refer to the framing devices
(realized by elements which create dividing lines, or by actual frame lines) which presence or absence from an image. In its presence, framing also divided to maximum connection and maximum disconnection which showing the relation between the images or elements in an image they divided.
This analysis contains 14 images which will be analysed. Four will be images of the
CPU character which appeared when the player reached a certain point of story (Event) in the video game and the rest of the images will be images which player will have throughout the gameplay and also has the CPU character in it.
4.1.1 Analysis of Neptune Event
This event appeared when the player going to fight the first enemy‟s boss in the
game. According to the story, in figure 4.1, Neptune will use the disc on her hand to
give her more power to defeat that enemy‟s boss.
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In figure 4.1, there are three information value, two saliences, and one framing found.
The three information values are Neptune (Centred), the disc (Margin), and The Auto sign
(Ideal, New).
The maximum salience is Neptune because of her big size compared to any other object in Figure 4.1 describing that Neptune is the one that the player should pay attention the most in
Figure 4.1. Her colour is dominated by white and purple, the purple colour actually represents the „Neptune‟ console. The minimum salience is the auto sign on the top right of the image because of its small size, the auto sign indicates that player does not have to press any button to play the scene.
A frame can be seen on the auto sign which is a maximum disconnection that divides the auto sign from the rest of the image and also informs the player that the auto sign is not a part of the story.
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Table 4.1 Results of Neptune Event Analysis
INFORMATION VALUE CENTRED POLARIZED 1. Middle (Centred) 1. Top Left (Ideal, New) 2. Margin (Margin) SALIENCE MAXIMUM MINIMUM 1. Neptune 1. Auto Sign FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. Auto sign frame
4.1.2 Analysis of Noire Event
This event appeared after the player defeated Noire for the first time in the video game. In the story, Noire was running away from Neptune because Noire was defeated by Neptune and finally Neptune captured her.
Information Value: Middle
Information Value: Margin Max. Salience: Noire
Figure 4.2 Noire Event
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In figure 4.2, there are two information values and one maximum salience.
The Information values are Noire (Centred) and Neptune (Margin). The centred is seen because Noire position was put right in the centre of the image. Neptune became a
Margin because she was sticking around Noire.
There is only one salience found in figure 4.2 which is Noire, because of her big size which covers most part of Figure 4.2 which means that this Event let the player to have a good look at Noire. This kind of event is often called „fanservice‟ in video game community. Her colour is dominated by black and white which was the original colour of „Playstation 3‟, a video game console from Sony Computer
Entertainment which Noire represents in HDNR1. Table 4.2 Result of Noire Event Analysis
INFORMATION VALUE CENTRED POLARIZED 1. Middle (Centred) 1. - 2. Margin (Margin) SALIENCE MAXIMUM MINIMUM 1. Noire 1. - FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. -
4.1.3 Analysis of Vert Event
This is an event where the player seen Vert for the first time in the video game.
She was seen sleepy in front of a purple curtain. Later it was revealed that she was sleepy because she was playing video game all night long.
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Information Value: Middle
Max. Salience: Vert
Figure 4.3 Vert Event
There are only an information value and a maximum salience can be found in figure 4.3 with vert being both of it. The centred information value was because vert put in the middle of the image and she also became the max. salience besides that she is the only object in figure 4.3, it is also because of her size. Her colour which dominated by white and green are representing the original colour of „X-box 360‟ a video game console released by Microsoft. Her sleepy expression also one aspects that the player should pay attention to, because it is related to her behaviour which is playing video game until late night. Table 4.3 Result of Vert Event Analysis INFORMATION VALUE CENTRED POLARIZED 1. Middle (Centred) 1. - SALIENCE MAXIMUM MINIMUM 1. Vert 1. - FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. -
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4.1.4 Analysis of Blanc Event
This event showing Blanc was having leisure time in her room while reading a book. In the story, Neptune and her friends were looking for Blanc so they could ask for some information, but they found Blanc was leisurely reading a book in her room.
Max. Salience: Blanc
Information Value: Middle
Information Value: Bottom, Left
Min. Salience: Book
Figure 4.4 Blanc Event
There are two information values and two saliences can be found in figure 4.4.
The information values are Middle as the centred with polarized elements of „Non-
Vertical Polarization‟ and at bottom left as „real new‟. These positioning means that
the book has connection to Blanc which can be seen here Blanc is reading the book.
The Max. Salience is Blanc with her size and contrast colour that gain attention
the most from the player. Blanc‟s position which is a „Non-Vertical Polarization‟ made
the player need to see her from left to right which means that the player tend to look at
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her feet before seeing her face on the right. Blanc‟s white colour is the representation of „Wii‟ a video game console released by Nintendo. The book which she was reading is the minimum salience of Figure 4.4 because of its size. On the cover of the book can be seen a star-shaped flower on a pipe which is a reference to a video game franchise from Nintendo titled Super Mario Bros.
Table 4.4 Result of Blanc Event Analysis INFORMATION VALUE
CENTRED POLARIZED
1. Middle (Centred with Polarized 1. Bottom, left (Real, New) Elements: Non-Vertical Polarization) SALIENCE MAXIMUM MINIMUM 1. Blanc 1. Book
FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. -
4.1.5 Analysis of Start Menu
Start menu is where the player will start the game. Given choices of new game, to start the game from beginning, continue, to continue from the last point you saved,
Config, to do configuration before entering the game, DLC, to download some additional contents from the internet, or Exit, to exit the game.
In figure 4.5 there are three minimum saliences can be found which are, left given ideal, left given real, and right new ideal real. Left given ideal is the title which put slightly on top. Left given real is the selection which below the title.
The information value on right new ideal real, shows character with Neptune at the centre as the main character.
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Max Salience: Information Title value: Right
Information Value: Left
Min. Salience: Min. Salience: Characters Copyright Min. Salience: Selection
Figure 4.5 Start Menu
The maximum salience is the title. The title, selection and characters have
fairly size that can take the attention of the player, but because the concept of
informational value which prioritized information value is described as centre > ideal
> real > given > new, the value of title has the highest value which made it the
maximum salience. The minimum saliences in figure 4.5 are the characters, selections,
and copyright. The characters displayed are IF, Neptune, and Compa, giving an
information that Neptune is the main character because she was put in the middle of IF
and Compa. Selection below of the title is a minimum salience because the player need
to pay attention to it to enter the game. The third minimum salience is the copyright
that hardly can be seen below the characters because of its small size.
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4.1.6 Analysis of Dungeon Crawling
This is where the player can move the character and interact with monsters or
items. In figure 4.6, Neptune is used as the playable character, but actually, the
character can be changed up to the player preference.
Framing: Max. Disconnection Information Value: Centred Information Value: Min. Salience: Top Left Map Max. Salience: Neptune
Framing: Max. Disconnection
Min. Salience: Status bar
Figure 4.6 Dungeon Crawling in HDNR1
In figure 4.6, there are three information value can be found, one centred and
two polarized. The centred is centre, without any connection to any other polarized
information value. The first polarized is ideal given on the top left which is the map.
The second polarized is real new on the bottom right which is the characters‟ status bar.
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The maximum salience of figure 4.6 is Neptune with her centred position and
contrast colour. In the dungeon crawling, the character which played by the player is
always put as the center with small size, so the player can see their surrounding to get
some items or embracing enemy. There are two minimum saliences. The first one is
the map showing the position of the character played by the player. The second is the
status bar that shows the status of the characters. These two became minimum due to
their information value which less valuable than the centred which is the character the
player is playing, this is because in dungeon crawling section the player need to move
the character and pay more attention to it rather than the map or status bar. Framing
that found in figure 4.6 are the map frame, and the status bar frame. The map frame
divided the map with the rest of the image. The framing of status bar divided the status
bar with the rest of the image. Both are at maximum disconnection.
Table 4.6 Result of Dungeon Crawling Analysis INFORMATION VALUE Centred Polarized 1. Centred (Centre) 1. Top Left (Ideal, Given) 2. Bottom Right (Real, New) SALIENCE Maximum Salience Minimum Salience 1. Neptune 1. Map 2. Status Bar FRAMING Maximum Connection Maximum Disconnection 1. - 1. Map Frame 2. Characters‟ Face Frame on Status Bar
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4.1.7 Analysis of Tutorial
Tutorial will occur when the player got in to a new mechanic system of the
game. Figure 4.7 shown a tutorial about basic battle mechanic system of the game
which occur before the first battle of the game so the player will understand how to
battle in this video game. It provides commands and additional information that can be
used in the video game by the player.
Framing: Information Value: Max. Disconnection Framing: Max. Disconnection Top
Framing: Max. Disconnection
Information Value: Left Information Value: Information
Centre Value: Right
Min. Salience: Arrow of Order
Min. Salience: Min. Salience: Images in the Framing: Background boxes Max. Connection
Min. Salience: Information Value: Min. Salience: Additional Information Max. Salience: Bottom Control Tutored Commands Information
Framing: Max. Disconnection Figure 4.7 Tutorial of Basic Battle Control
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Five information value can be found in figure 4.7 which found on centre, top, left, right and bottom. The centred is a centre without any polarized elements.
The polarized can be found at top, left, right and bottom. The top is ideal, given and new because it is a line from left to right which means it is on the given and new zone.
The second is left which is a given. The third is right which means it is a new. And the last is bottom which secured real, given, and new.
The maximum salience is the tutored move because of the contrast colour it has. Compared to the rest of figure 4.7 the tutored move has colour of red and blue which will get the attention of the player the most. The first minimum saliences are the images in frames which placed from left to right in figure 4.7 made the player hardly pay attention to one of it specifically. The second minimum saliences are the additional information which put on top and bottom. The one at the top became a minimum salience because of its size. The one at bottom become a minimum salience become a minimum salience because the color does not contrast as much as the maximum salience. The third one is the arrow of order that can be seen from center image to the right image. Its size is small made it the minimum salience. The last minimum salience in figure 4.7 is the control information can be seen beside of the bottom additional information. The control information indicates that player can press
„R‟ to move on to the next tutorial.
There are seven framing can be found in figure 4.7. One of it is at maximum connection, connecting the left image to the centre image which is a zoom from the left image. The rest are at maximum disconnection with three being the frame of the
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images, two are the frame of additional information and two as the frame of the
tutored command
Table 4.7 Result of Tutorial Analysis INFORMATION VALUE
Centred Polarized 1. Centre (Centre) 1. Top (Ideal, Given, New) 2. Left (Given) 3. Right (New) 4. Bottom (Real, Given, New) SALIENCE Maximum Salience Minimum Salience 1. Tutored Commands 1. Images in the frames 2. Additional Information 3. Arrow of Order 4. Control Information FRAMING Maximum Connection Maximum Disconnection 1. Purple frame which has arrow 1. Image‟s frame (Left) 2. Image‟s frame (Centred) 3. Image‟s frame (Right) 4. Additional Info‟s frame (Top Right) 5. Tutored Commands‟ frame (Right) 6. Tutored Commands‟ frame (Left) 7. Additional Info‟s frame (Bottom)
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4.1.8 Analysis of Battle
Battle occur when the player move the character to the enemy found in a
dungeon. It is one of the crucial part of the game because if player lose in a battle, it is
a „Game Over‟ and the player need to start again from their last saved point. If the
player win a battle, the player can get items and also experience to level up which can
make the character stronger along the game.
Information Value: Min. Salience:
Top left Background
Framing: Max. Disconnection
Information Value: Min. Salience: Min. Salience: Framing: Centred Non-targeted Order of Action Max. Disconnection Enemy’s Status Bar
Min. Salience: Targeted Enemy’s Max. Salience: Status Bar Playable Character and Targeted Information Value: Enemies Margin Min. Salience: Attack-range
Min. Salience: Min. Salience: Information Value: Min. Salience: Character’s Status Command box Right Active Marker Bar
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There are three information value in figure 4.8, one at centred and two at
polarized. The centred is at centre without any polarized elements. The firstl polarized
is an ideal given. The second polarized is a new.
The maximum salience can be found at the centre, where Neptune fought
against two enemies at the centre. Eight minimum saliences can be found at figure 4.8.
Starting from the targeted enemy status bar at top right giving information of the
targeted enemy and marked by the yellow colour. The next one is the not targeted
enemy the size is smaller than the targeted and the colour is purple. The third is the
character status bar to at bottom left to show the character information in battle.
There are four framings in figure 4.8, dividing enemy‟s status bar, the
character‟s status bar, command box, and order of action.
Table 4.8 Result of Battle Analysis INFORMATION VALUE Centred Polarized 1. Centre (Centre) 1. Top Left (Ideal, Given) 2. Right (New) SALIENCE Maximum Salience Minimum Salience 1. Playable Character and Targeted 1. Targeted Enemy‟s Status Bar Enemies 2. Non-targeted Enemy‟s Status Bar 3. Character‟s Status Bar 4. Active Marker 5. Attack Range 6. Order of Action 7. Command Box 8. Background
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FRAMING Maximum Connection Maximum Disconnection - 1. Enemy‟s Status Bar‟s frame 2. Order of Action‟s frame 3. Command Box‟s frame 4. Character Status Bar‟s frame
4.1.9 Analysis of Victory Pose
A victory pose occured when the player won a battle. The character shown is
the character who lands the last hit on the last e nemy and brought the player to
victory. A victory pose displays a character doing a pose and also result of what
gained from the battle.
Information Information value: value: Right Left
Min. Salience: Results Max. Salience: Neptune
Framing:
Max. Disconnection Min. Salience: Control Information
Figure 4.9 Neptune taking a Victory Pose
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There are two information values in figure 4.9 which are Polarized. At the left can be found a given information value which show a character. At the right can be seen an information value of new.
The maximum salience in figure 4.9 is Neptune who was doing a victory pose, supported by her size and information value zone. the minimum salience is the result at the right, showing a notification that the player had victory from the battle and also information of what the player got from the battle. The only framing in figure 4.9 is the frame on the results that divi de the result from the rest of the images.
Table 4.9 Result of Victory Pose Analysis INFORMATION VALUE CENTRED POLARIZED 1. - 1. Left (Given) 2. Right (New SALIENCE MAXIMUM MINIMUM 1. Neptune 1. Results FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. Results frame
4.1.10 Analysis of World Map
World map is where the player can choose their destination of dungeon.
Provided with icons of character, event, dialogue box, and dungeon. The player can move the character to the other icon to enter a dungeon or get an additional information up to what kind of icon the character icon moves to.
There are three information value in figure 4.10, one centred and two polarized.
The centred is centre without any polarized elements. The first polarized is at top right, an ideal new. The second one is at the bottom, a real new.
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Information Value: Top right Information Value: Centred Min. Salience: Character Icon
Min. Salience: Max Salience: Event Icon Framing: Shares Percentage Max. Disconnection
Min. Salience: Dialogue box Icon
Framing: Min. Salience: Information Value: Max. Disconnection Control information Bottom
Figure 4.10 World Map in HDNR1
The maximum salience in figure 4.10 is the shares percentage on top right
which has medium size and contrast color compared to any other object in Figure 4.10.
The shares percentage shows how much shares a nation has in percentage. The first
minimum salience is the character icon at the center implying the where is the player
at the time. The second is event icon giving an information that a special event can be
occurred if the player goes to that icon. The third is the dialogue box icon which will
give the player an additional information if the player goes to that point. The last is the
control information at the bottom giving information to the player about control in the
map.
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There are two framing in figure 4.10 with both being at maximum
disconnection. The first one is the frame of the map that implies that right now player
is in the world map. The second is the frame of the shares‟ percentage. It separates the
percentage of the share to the world map so the play er can look at the percentage
easily. Table 4.10 Result of World Map Analysis
INFORMATION VALUE Centred Polarized 1. Centred (Centre) 1. Top Right (Ideal, New) 2. Bottom (Real, New) SALIENCE Maximum Salience Minimum Salience 1. Shares Percentage 1. Character Icon 2. Event Icon 3. Dialogue Box Icon 4. Control Information FRAMING Maximum Connection Maximum Disconnection 1. - 1. Map‟s frame 2. Shares‟ percentage‟ frame
4.1.11 Analysis of Home Menu
A home menu can be accessed by pressing „start‟ button in your controller. It
can be accessed from the world map and also during dungeon crawling. Home menu
gives the player option many option from changing equipment, using items, until the
most important, saving the game data.
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Information Value: Framing: Framing: Framing: Left Max. Disconnection Max. Connection Max. Disconnection
Min. Salience: Menu
Max. Salience: Character’s face
Min. Salience: Pointer Information Value: Right
Min. Salience: Character’s status information
Min. Salience: Control information
Figure 4.11 Home menu in HDNR1 There are two information value can be found in figure 4.11, both are polarized
on the left and right. The left which is a given shows the option that can be chose by
the player. The right which is a new shows the characters‟ information.
The maximum salience can is the characters‟ face on the right information
value. This is can be seen from their contrast color. The minimum saliences are the
menu, pointer, characters‟ status information and control information.
There are three framing can be seen in figure 4.11, one at maximum connection
and two at maximum disconnection. The maximum connection is the frame on
characters‟ number that pointed at the character and giving connection to the character.
The maximum disconnections are the character‟s status information frame and also
menu‟s frame.
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Table 4.11 Result of Home Menu Analysis
INFORMATION VALUE Centred Polarized 1. - 1. Left (Given) 2. Right (New) SALIENCE Maximum Salience Minimum Salience 1. Characters‟ face 1. Menu 2. Pointer 3. Control Information 4. Characters‟ Status Information FRAMING Maximum Connection Maximum Disconnection 1. Characters‟ number 1. Character‟s Status Informatio n‟s frame 2. Menu‟s frame
4.1.12 Analysis of Dialogue
During a dialogue, two characters shown talking to each other using a dialogue
box. The player will get most information of the story in this dialogue. Dialogue often
seen attended with two characters on the right and on the left with dialogue box appear
on the bottom.
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Information Value: Max. Salience: Information Values: Right Dialogue box Left
Min. Salience: Name box Min. Salience:
Characters
Framing: Max Disconnection
Information Value: Bottom
Figure 4.12 A dialogue in HDNR1 I
n figure 4.12, there are four information values can be found. The first one is
the Dialogue box which has the highest value on the bottom which classified as „Real‟.
The second is Neptune as she put at the left of the picture as „Given‟ which has higher
value than the fourth information value which is Noire that put on the right of the
image as „New‟.
There are three saliences in figure 4.12, with a maximum salience and two
minimum saliences. The maximum salience is the dialogue box because of its
information value which is the highest in figure 4.12 and also its size which medium
that can be seen clearly by the player, and also the player need to pay attention to the
dialogue box the most during a dialogue because in a dialogue the dialogue box gives
most information for the player. The first minimum salience is the name box which
margined to the dialogue box, it gives information to the player about whose dialogue
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is in the dialogue box at the moment. The second minimum salience are the characters which put on the left and right what the player needs to pay attention to from the characters are their position and facial expressions. Their positions give the information to the player about who started the conversation. In HDNR1 most of dialogue started from the character on the left. Their facial expression gives the player information about how the characters are feelings in the dialogue.
There are three framings found in figure 4.12, all three found at „Maximum
Disconnection‟ which means none of it possessed by any object in figure 4.12. The first framing is the dialogue box frame. The second framing is the name box frame.
And the third frame is the frame at the bottom of the dialogue to inform the player that the player is at a dialogue section of the game.
Table 4.12 Result of Dialogue Analysis INFORMATION VALUE CENTRED POLARIZED 1. - 1. Bottom (Real) 2. Left (Given) 3. Right (New) SALIENCE MAXIMUM MINIMUM 1. Dialogue Box 1. Characters FRAMING MAX. CONNECTION MAX. DISCONNECTION 1. - 1. Dialogue Box Frame 2. Name Box Frame 3. Dialogue Section Frame
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4.1.13 Analysis of Game Over
Game Over will occur when the player lose at a battle, then the player will be sent back to the start menu to start over the game from the beginning or continue from the point the player saved. In game over, the player will be given an image where
Neptune being stomped by a big monster
Information Value: Min. Salience:
Top ‘Game Over’ notification
Max. Salience: Information Value: The Big Monster Centred Min. Salience: Small Monsters with dialogue bubbles Information Value: Left
Framing: Information Value: Max. Connection Right
Information Value: Margin
Figure 4.13 Game Over
In figure 4.13 there are five information values. The first information value is the big monster in the middle of Figure 4.13 as a centred, stomping on Neptune which is the second information value as a margin to the centred. The third information value is the top as „Ideal‟ showing a „Game Over‟ notification. The fourth and fifth are the little monster on the left and right as „Given‟ and „New‟.
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The maximum salience is the big monster at the middle because of its big size and also it information value, this monster actually is a very weak monster in the video game that can be fought in the early game. In Figure 4.13, that weak monster stomped and defeated Neptune which gives a sarcasm message to the player that the player is weaker than a very weak monster in this video game. The first minimum salience is the „Game Over‟ notification which give the information to the player that the player just lost the game. The second minimum salience are the little monsters gathered on the left and right of Figure 4.13 giving support to the big monster through the dialogue bubble.
There are four framing in figure 4.13. All of it are the frame of the dialogue bubble of the little monsters. The frames show maximum connection as all of it are pointing to the little monsters which means that the dialogue bubbles were possessed by the little monsters. Table 4.13 Result of Game Over Analysis
INFORMATION VALUE CENTRED POLARIZED 4.1.141. Middle (Centred)A 1. Top (Ideal) 2. Margin middle (Margin) 2. Left (Given, Real) n 2. Right (New, Real) SALIENCE a MAXIMUM MINIMUM 1. The Big Monster 1. „Game Over‟ notification l 2. Little Monsters with dialogue box y FRAMING MAX. CONNECTION MAX. DISCONNECTION 1.s Little Monsters‟ Dialogue 1. Bubble frame x 4 i
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4.1.15 Analysis of Ending Credits
Ending credits will appear when the player finished the story of HDNR1. It
shows a recap scene from the start until the end of the story at the left using a 16bit
display and credits for the staff that working on the making of the video game at the
right.
Max. Salience: Recap Min. Salience: Credits text
Information Value: Information Value: Framing: Left Right Max. Disconnection
Figure 4.14 Credits of HDNR1
There are two information can be found in figure 4.14 on left and right. The left
is a given showing a recap from the start of the game until the end of the game and
right is a new showing credits.
The maximum salience is the recap on the left which tells the story of the game
and attract the attention of the player more rather than the minimum salience which is
the credits at the right with the contrast color it has. The minimum salience which is
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INFORMATION VALUE Centred Polarized 1. - 1. Left (Given) 2. Right (New) SALIENCE Maximum Salience Minimum Salience 1. Recap 1. Credits FRAMING Maximum Connection Maximum Disconnection 1. - 1. Credits Text‟s frame the credits giving an information about the name of people who have been working on
the making on the game.
The only framing in figure 4.14 is the frame of credits using black background
to divide the recap from the credits so the player can see the recap and credits
separately without any interference from each other
Table 4.14 Result of Credits Analysis
4.2 Symbolic Processes Analysis
To have a symbolic process, it is needed to have an image to fit at least one of the
symbolic attributes characteristics. In this analysis, the Symbolic Processes will be
applied to the images of CPU characters which are the images of Figure 4.1, Figure 4.2,
Figure 4.3, and Figure 4.4 which the CPU characters are being the symbolic attributes
because in those four figure each of the CPU character is the salience.
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4.2.1 Symbolic Processes Analysis of Neptune
In Figure 4.1, Neptune became a Maximum salience because of its centred information value and no other object in the figure, but her color is also a salience in which dominated by purple which is the attribute of the „Neptune‟ console.
The „Neptune‟ console actually a canceled console from Sega due to the drop of its predecessor selling and also because Sega was working at another console project at that time (source: http://cancelled-games-and- consoles.wikia.com/wiki/Sega_Neptune). But the developer of HDNR1, Compile
Heart and Idea Factory, brought up an imaginational form of the Sega „Neptune‟ console with purple color added on it. The „N‟ logo of the console also can be seen on
Neptune‟s jacket‟s zipper.
It is found that the representation of the character Neptune to the console
„Neptune‟ is „Attributive Symbolic Structure‟ because it represents attributes of the console which are the color and also logo.
4.2.2 Symbolic Processes Analysis of Noire In figure 4.2, Noire is the Maximum salience because of her size and also her color. Her color is dominated by the color of black and white which is the attribute of
„Playstation 3‟ from Sony Computer Entertainment. Noire represent Sony „Playstation
3‟ with the color which classified as „Attributive Symbolic Structure‟.
4.2.3 Symbolic Processes Analysis of Vert
Vert is the salience in figure 4.3. She was wearing an outfit with color of white and green which is the attribute of „X-box 360‟ from Microsoft. The other attribute is
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her blonde colored hair which represents that „X-box 360‟ is a product from USA. Her design considered hotter than the other CPU characters it is also because the „X-box
360‟ is a console that has most problem with overheat. In figure 4.3 Vert was also seen sleepy which is a symbol of how easy that an „X-box 360‟ got overworked. It is found that Vert represented „X-box 360‟ using „Attributive Symbolic Structure‟ by her pose and also her outfit color tone.
4.2.4 Symbolic Processes Analysis of Blanc
In figure 4.4, Blanc was seen as the salience because of her size and information value zone. her outfit color is white which represent the „Wii‟ console from Nintendo. She also was reading a book with picture of a star shaped flower on pipe on its cover which is a reference to the Nintendo iconic game Super Mario Bros.
Blanc represents the Nintendo „Wii‟ as „Attributive Symbolic Structure‟ by her outfit color and also the book she read. Table 4.15 the symbolic structure analysis result of the CPU characters No. Name Console/Platform Symbolic Structure
1. Neptune Neptune Attributive
2. Noire Playstation 3 Attributive
3. Vert X-box 360 Attributive
4. Blanc Wii Attributive
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CHAPTER V
CONCLUSION AND SUGGESTION
It is concluded that multimodal are able to be applied in HDNR1 to analyze the absence or presence of components provided from the video game which served on the screen. Therefore, using the composition multimodal theory, components which are provided on the screen can be classified as information value, salience, and framing.
In Symbolic Processes analysis, it is found that all four CPU characters are represent their respective video game console/platform as „Attributive Symbolic Structure‟ because of the similar attributes can be found in the video game console to the CPU characters.
This analysis is one way to analyze a video game in linguistics perspective using multimodal, especially on the character. This analysis is limited to the image provided from the video game. There are many more aspects in video game that can be analyzed using multimodal and other linguistics also literature method in many aspects for examples in narrative aspects or phonology aspect which can be analyzed, for examples there are background music that keep changing in each area that might symbolized something, or maybe looking at the User Interface
(UI), that actually that connect the player to the video game which might have meaning inside it as well. Hopefully this analysis can be a stepping stone for people to look at video game not only as a media of entertainment, but also as a work that need to be appreciated just like literary work, then the awareness of the society for video game content can be increased.
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REFERENCES
Books:
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O‟halloran K.L. 2008. “Systemic functional-multimodal discourse analysis (SF-MDA): constructing ideational meaning using language and visual imagery” in Visual Communication, Vol. 7 No. 4. Singapore: National University of Singapore
Wall, A. 1984. “Character in Bakhtin‟s Theory” in Studies in 20th Century Literature, Vol. 9 No. 1. Kansas: New Prairie Press.
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Idea Factory International. 2014. Character. retrieved from http://ideafintl.com/rebirth1/#/chara (February 2017)
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Owen, P. March 2016. What Is A Video Game? A Short Explainer. retrieved from http://www.thewrap.com/what-is-a-video-game-a-short-explainer/ (May 2017)
Santoso, A.B. May 2015. Pengertian Image/Gambar dalam Komputer Grafik dan Multimedia. Retrieved from https://arifboedisantoso.wordpress.com/2015/05/11/ (July 2017)
Sterlicchi, J. October 2007. Nintendo Wii Market Target. Retrieved from https://www.theguardian.com/business/2007/oct/10/usnews.internationalnews (July 2017)
Taylor, V. June 2013. 58% of U.S. parents admit to using gadgets to babysit their kids: study. Retrieved from http://www.nydailynews.com/life-style/58-parents-gadgets-babysit-kids- study-article-1.1383009 (July 2017)
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APPENDIX
Images taken from HDNR1
1.
2. A
3. F
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4. C
5. A
6. A
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