https://repin.pjwstk.edu.pl/xmlui/handle/186319/988 2026-04-09T00:32:55Z 2026-04-09T00:32:55Z Kasatkina, Arina https://repin.pjwstk.edu.pl/xmlui/handle/186319/1775 2022-10-25T06:22:17Z 2022-10-25T00:00:00Z

Narcissistic characters in Japanese and American animation Kasatkina, Arina Japanese animated films are known all over the world and gain more and more recognition each year. Deep and thoughtful storylines, along with simple, yet eye-catching, character designs, engage the viewers, and this engagement allows Japanese people to spread their culture even further. What differs Japanese animated characters from the characters found in Western animation is that they are not locked between being either good and brave or being cruel and evil. Japanese animated characters often resemble people living in actual present societies, similar to the Japanese one, but at the same time they also depict their complete contradictions. Among Japanese people, who generally tend to be rather respectful and appreciate cohesion, we find artists who create characters that choose to concentrate fully on themselves and who, moreover, lack simple empathy and consideration for others, i.e., show narcissistic traits. American, or Western Animation, is a source of inspiration for lots of artists and animators, who dream to work in those very famous studios someday. The stories told by Disney, Pixar, DreamWorks and others, as well as the characters became a safe place for many people, including myself. American animation industry often focuses on messages that can be easily delivered for both kids and adults. Usually these messages are conveyed through the fight between obvious good and sometimes not so obvious bad. In contrast to good characters, evil characters are often presented, but recently, the boundaries of bad in cartoons are greatly erased. In my paper I am going to present a whole series of animated characters in Japanese and in American animation who seem to fit perfectly into this category. My hypothesis is that this type of character can be easily found in both Japanese and American animated productions. I will try to prove that these fictional personalities are in fact narcissistic in one way or another. To do this, I will first discuss the notion of narcissism. I will present the origin of the concept as well as its modifications and evolution over the course of history. Additionally, I will also present the modern-day understanding of narcissism and narcissistic personality disorder as conceptualized by contemporary experts in the field of psychology and psychiatry (DSM-V). In the second chapter, I will discuss characters from the following anime series: Death Note, My Hero Academia, Black Clover. In my discussion, I will try to show in what way they can be qualified as exhibiting narcissistic characteristics or even outright narcissistic personalities. In the third chapter, I will carry out the same task as in the second one, but this time taking a closer look at certain American animations in which we find narcissistic characters. In the last chapter, I will present an overview of the themes discussed, trying to draw substantial conclusions as well as presenting a comparison of the type of characters I am discussing in my paper.

2022-10-25T00:00:00Z Jedynak, Urszula https://repin.pjwstk.edu.pl/xmlui/handle/186319/1774 2022-10-25T06:15:29Z 2022-10-25T00:00:00Z

Creature character design based on Slavic folklore in video games: A comprehensive study of The Witcher games series Jedynak, Urszula This research paper aims to identify how creature designers appropriate Slavic demonology into the creatures appearing in the The Witcher video game series. The work outlines the fun-damentals of the Slavic beliefs system and the role of the Slavic religion in Early Slavs’ lives. Subsequently, through the analysis of the original imaginaries, traditional visualisations and in-game creatures, this study shows how Slavic creatures were adjusted to fit the game environ-ment. Lastly, the study gives an overview of the limitations of the design process in the gaming industry and a description of the basic design rules that creature designers follow.

2022-10-25T00:00:00Z Val, Gleb https://repin.pjwstk.edu.pl/xmlui/handle/186319/1773 2022-10-25T06:11:02Z 2022-10-25T00:00:00Z

Hologram Technology in Cinematography and Video games. Val, Gleb This diploma thesis is about analyzing Hologram Technology in science fiction cinematography and science fiction/horror video games. The text of the thesis is based on a subjective opinion of the author and can be incorrect from the scientific point or diverge from the views of another reader. Overview of technology shows that holography from the 1970s and in 2020s has absolutely different stages. In nowadays, is becoming more and more realistic and soon can become an integral part of everyday life. Hologram has ample opportunity and variations on how it can be used, and it is just a matter of time in which one field it will be developed.

2022-10-25T00:00:00Z Jakóbczyk, Maciej https://repin.pjwstk.edu.pl/xmlui/handle/186319/1772 2022-10-25T06:06:13Z 2022-10-25T00:00:00Z

Display typeface as an element of social movement’s visual identity. Analysis of examples from the XXI century. Jakóbczyk, Maciej Over the last 500 years, social and technological changes had a major on influence on type design. Whilst in the past it was an industry dominated by white male designers from middle and upper-classes, today we can observe that increasingly more social groups design typefaces. One of those groups are members and supporters of social movements, whose projects are (or can be) used in visual identities of those movements. This paper analyses those typeface and groups them into 4 categories, based on strategies that designers employ in order to embody certain meanings in the letterforms. The categories include: typefaces based on protest lettering, typefaces based on historical typographic resources, typefaces based on movement’s symbols, and typefaces based on theoretical discourse. The typefaces differ in appearance, legibility, target group and popularity among the users, however, what they have in common is that they all contribute to the expansion of the range of visual means used by social movements in communication.

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