Anda di halaman 1dari 2

Roland Barthes: Mythologies.

Two parts: 1. Collection of essays about a selection of myths in (french) daily life. (Wrestling as spectacle, french toys teaching children to be consumers, not creators, the fringes of the Romans in American films, the steak rare and fries etc.). 2. Semiological explanation of myth. In general: Understanding, deconstruction and critique of the myth as intrinsic part and constructor of (bourgeoise) society and (mass)culture. Explanation of the workings of mythology as a fragment of semiology.

Important points: Myth is a type of speech/ system of communication defined by its intention. Speech understood as message not only oral speech including: Modes of writing Representations Photography Cinema Reporting Sport Shows Publicity (We could add videogames) Myth is speech stolen and restored example: clich. Double system of mythical sign:

Constantly moving turnstile presenting alternately the meaning of the signifier and its form; a languageobject and a metalanguage; a purely signifying and a purely imagining conciousness. Because of this constant distortion, the myth is not just a symbol, but gains meaning by presence while at the same time emptying itself by becoming artificial/transparent presence.

Signifier in myth: constant hide and seek between: Meaning: full; postulates a meaning; belongs to history. Form: empty; leaves contigency behind; only letter remains. For a myth to be percieved as such, it should not be possible to see neither the empty nor the full signifier, but the inextricable entity constituted of the two. Myth is a very important part of how we perceive the world. For Barthes, there was a revolutionary, political intention in deconstructing and eliminating myths, because they were signs used to maintan the Established Order, or bourgeuise society.

Useful points for gameworld design: To create gameworlds, which are intended to evoke different emotions, narratives and experiences, it is useful to understand and make use of the signs available in our cultural iconography. Since myth is a type of speech defined by its intention, it seems to be very related to designing, meaningful, yet artificial gameworlds. Virtual gamespaces consists purely of signs (and mythical significations) created by the designers. Or take black pebble: I can make it signify in several ways, it is a mere signifier; but if I can weigh it with a definite signified (a death sentence, for instance, i an anonymous vote), it will become a sign. (p.113) Myth is always aimed at somebody (appropriated), that being a national or global society, or smaller groupings (target audiences?) in those societies, and it seems it would be very useful to understand these audiences and the shaping of those mythical signs by which great parts of their (our) perception is shaped.