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diariesofaplutonian · 4 years

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Pluto: Where is your power lost? Where can it be won back?

Let’s talk about Pluto! Pluto, to me, represents everything it has been mythologically and culturally assigned to—the underworld, the shadow side, the darkest parts of ourselves, the selves we wish to hide or keep contained from others, death, taboo, mystery, power struggles, and so on, but above all else, to me, where the planet falls in a house demonstrates the arena in which we feel the most powerless. The house where Pluto falls in shows us the themes we will grapple with and indicates the obstacles and struggles that may arise. Gratefully, Pluto also represents in the chart the area where we can most empower ourselves and elevate our lives and our dignity if we find a way to turn what disempowers us into our strength and make it part of our story, our story of victory, instead of a lesson of our defeat, our story of failure. Pluto shows us where we can triumph if we find a way to revolutionize or otherwise radically transform/change ourselves internally, despite our external challenges. Most importantly, Pluto is about recovering our power. For example, if Pluto falls in the 4th house/IC, it may indicate that a person feels most powerless or defeated in situations involving family. One may be estranged from one’s family or have a difficult relationship with one’s mother or stepfather, for instance, but due to financial, emotional, or other reasons, such person is unable to liberate himself from his family and be free of a toxic home life. He thus feels resentful not only by the fact that his environment limits him, but by the fact that he cannot escape or change his environment. His transformation may come through the act of juggling multiple endeavors to support himself until he is physically and emotionally able to remove himself from his unfit guardians and cultivate his own family through his individual selection of trusted people he names “adopted family.”

Someone with Pluto in the 8th house may feel powerless over death. Such person may undergo countless tragedy in the form of losing people close to him. He may lose his mother, aunt, younger brother, cousin, close friend, mentor, etc. through the course of his life, and so on. He may feel like he has no control over the lives of people he meets, and be plagued by the thought of forming attachments with other people, due to the fear that they, too, will die if he develops a closeness with them. His fear of death (not even necessarily his own) may evolve into a fear of connection and intimacy, another 8th house theme. He can overcome this fear or feeling of powerlessness through re-examining his basic safety, comfort, and survival needs, so when he reevaluates or reassesses his proximity to death, he sees not the history of all those who have passed before him, but the potential to live as though he is dying, not wasting a single minute, relating to himself and others with a newfound depth and urgency. He can form fierce, meaningful, powerful connections that allow him to interact and engage with people without being held back by the immediacy of crisis or the threat of future death. His knowledge that the future is uncertain can give him resistance to the notion of being extinguished, causing him to live relentlessly and with vulnerability, in search for deeper truth. Death may ignite a fury or appreciation for living within him. He may, as the familiar poem goes, “not go gentle into that good night. Rage, rage against the dying of the light.” Knowledge of the impermanence of life makes him full of the desire to build something stable, solid, and long-term, seemingly permanent connections. He finds longevity in essence and via the impact he leaves on others and the impact they in turn impress on him. This gives him life and intense pleasure. Life becomes about energy, constancy in spite of inconstancy, and active transformation (self-transformation). He cultivates resilience and strength/temerity of character through this commitment to continuity of self-change.

Someone with Pluto in the 9th house may feel disempowered in light of others’ ideology/belief systems or in the field of higher faith or science or education. These people are some of the most likely to be successful high school or college dropouts. They have their own unique mission in life, and discovering it is their source of power. This person may also feel constantly tested or undermined by religious notions or organizations and possibly even the notion of God or higher power. This person may, alternatively, derive immense inner strength and fortitude by believing in God or higher power or the Spirit. This person may also form his own introspective, unique thoughts about life and produce philosophies or inquiries about the nature of existence. He could derive great fame or fortune or success or influence from disseminating his views, albeit controversial, whether positive or negative. In fact, he is sure to be polarizing. Nonetheless, his ideas will generate significant outreach due to the distinctiveness of his voice or message. His spirituality may be called into question, abandoned, or adopted. This person may struggle at school/in formal education, not necessarily academically or intellectually, but in terms of curriculum. This student may not agree with what he is being taught or feel like he cannot learn via compulsory schooling. The native may thrive in more organic settings where, opposed to sitting in a lecture or taking notes off a PowerPoint, for instance, he may be asked to design a project implementing his ideas or approach to something or invent a novel way to problem-solve an application. This, to him, may be a better use of his time, energy, and creativity. He may also flourish in home-schooling or alternative schooling, trade schools, or special schools. This person may feel restricted in environments where he is subject to other people’s beliefs or so-called knowledge, such as when someone insists fascism is the right way to live, for instance, and he argues socialism is the right way. He has to learn to contend with other people’s viewpoints, however challenging to hear he believes them to be, without feeling the urge to change or compel them, despite whether he believes himself to be right and they wrong. Other people don’t have to believe what he believes and he shouldn’t feel obligated or righteous enough to attempt to sway or influence them. He will find his personal power when he is able to separate the actions and beliefs and opinions of others without feeling the need to compete with, attack, or obliterate them. There isn’t always a “winner.” Not everything needs to be contested or debated, and sometimes, it really is best to say nothing at all.

Pluto in the 3rd house may feel intimidated, pressured, limited, or controlled in situations involving siblings, local spaces or regional transportation, or informal school as opposed to higher education. For instance, one may be significantly older than her sister and may be forced to help her parents raise her due to her family being large and having significant age gaps between children, or, her sister may have been made an orphan after their parents died in a tragic car accident, and the native thus may have been forced to intervene and take custody of her sibling to avoid the younger girl ending up in the foster system. She may resent having to take care of someone else as an adult when she is not even fully able to provide for herself and her own needs, or she may have difficulty relating to her younger sibling because of their large age gap, and may thus find herself in the mother role instead of the big-sister role. She can see this as an unfair constraint upon her own resources, time, and happiness. Or, in a different scenario, the Pluto in the 3rd house person may have parents who divorced when she was a child and one of her parents, say her father, remarried and her stepmother brought in 3 children of her own. This person may feel abandoned by her own father, especially if her mother remained her primary caregiver and her father acted as a birth parent to his stepchildren, treating her as an adopted or stepchild. She may resent her step-siblings for being closer to her father and in her eyes, ‘stealing’ her dad away from her. Tension between her siblings and herself could cause her to feel troubled or indignant and unable to change this deeply unsettling feeling of being replaced that dwells inside her and eats her up from the inside. Rather than letting this jealousy or envy consume her and ravage her insides, she can overcome this tribulation by fostering an intense self-love within herself and finding stimulating mental activities and hobbies (as Mercury traditionally rules the 3rd house) that make her feel powerful.

For example, let’s say she begins to read and write exceptionally well, eventually crafting a memoir about her experiences, and it turns into a bestseller. Or, perhaps, though, this is petty, she joins the chess or debate team at her school along with her siblings and constantly crushes them at debates or chess. She will have thus found a way to transcend those setbacks that made her feel defeated and less important, by becoming the best in a field or championing her story or becoming victorious in publishing or some type of Mercury-related field. She will have attained some sort of dominance or recognition and will no longer see herself as second-best in terms of her parents’ eyes/her father’s treatment of her. And who wouldn’t like to be the most successful sibling? The one who introduced the world to the family name? Sibling rivalry/competition can be healthy.

Pluto often brings the potential for struggle and demise and defeat, but it also rules comebacks and success stories and champions the role of the underdog. There is no ‘failure’ or setback that cannot be overcome with Pluto, so long as one constantly and consistently transforms and generates a second skin, so to speak. Pluto is a test, and you can’t ace every test, but you can’t flunk them all either.

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theflutterbyliterature-blog · 5 years

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Sowing: The Purification Era #1, by Angie Grigaliunas - A Review

Sowing, by Angie Grigaliunas, is a dystopian novel narrated by two sisters, Ariliah and Rabreah. Within this dystopian world, they hold drastically different opinions about what’s right and what’s wrong. While one believes that the authoritarian government is there to help and protect her, the other believes that the government is run by a bunch of crooks with the sole agenda of oppressing her freedom. Despite these opposing views, the two sisters love one another and it is that love that drives them toward most of their major decisions.

What I really liked about this story is that despite it being a dystopian novel, it focuses more on the human side of dystopia versus the societal. A lot of dystopian novels will harp on how society has crumbled into its current state of affairs and you get more of a bird’s-eye’s view of the situation. Grigaliunas, on the other hand, allows us to see through the eyes of her characters and since they are just common folk, they aren’t experts on what’s going on and I like that. It makes the story much more relatable. After all, who really knows what their government is up to? Do they work with our best intentions at heart or are they only out for themselves?

This kind of ambiguity is abundant throughout the story. It’s extremely difficult to differentiate between right and wrong, good and evil. While one character might seem like a total bad guy – one conversation – one single event – might change your mind. This writing technique works is Grigaliunas’ favor because it drives suspense for the reader, urging them to continue onto book two of the series. She has lured me into supporting certain characters and now I’m invested in their outcome. I’m certainly looking forward to her future works and if she continues with this level of sophisticated writing, I have no doubt that they will be a pleasure to read.

***

Sowing is a classic example of a YA fantasy novel. Both protagonists are young women who are just getting their feet wet with the real world. As the story progresses, they come to mature and grow alongside the events that challenge them. Personally, I adored Ariliah’s progression and I feel that by the end of the book, we glimpse her true potential. Rabreah, on the other hand, did not develop nearly as much as I would have liked her to. Don’t get me wrong, she is by no means a flat character. She certainly grows and learns to adjust her flaws to a degree but I just feel that more could have been done with her. However, I will concede that her lack of significant growth might be due to her stubborn nature. It’s hard to change someone with a thick skull.

In terms of world-building, I think it was solidly built. The world operated within its fantastical parameters and at no time did I feel like something didn’t make sense within the story’s context. Grigaliunas remained consistent throughout and certain scenes that described official ceremonies really demonstrated her grasp on the made-up world. There’s nothing better than a fictional setting that seems real. For this specific book, that realism might arise from its striking similarity to Nazi Germany. After speaking with Grigaliunas, she actually told me that the idea for her story originally garnered inspiration from the Ku Klux Klan and their acts of atrocity in Southern United States. Personally, I love when a fantasy novel comments on history. It just adds a unique flavor and perspective to events we are so used to learning about in a textbook fashion.

***

This book is Grigaliunas’ first published work. She has written a few other novels through to entirely but hasn’t chosen to share them with the world. This prior experience certainly shows in her work. Sowing is a well-polished novel that is supremely written. As I read, I always take note of any mistakes I might find and try as I might, I could not find any. In the e-book version I read, there were a few formatting hiccups but I suspect that’s a PDF/MOBI issue and not a mistake made on the author’s part.

It is my hope that Grigaliunas continues her success into the second book, Quelling. While I have yet to read it, people on Goodreads seem to like it as it has over a four-star rating (out of five). If she maintains her diverse cast of characters, retains the emotionality of the first book, and continues to craft a compelling plot, I have no doubt that it will be a hit.

***

I have already briefly touched upon the main protagonists, Ariliah and Rabreah. Here, I would like to discuss the minor characters. While some of them fully fleshed out, others are not. Specifically, I was a bit disappointed with Grigaliunas’ portrayal of the mother. For all intents and purposes, she is Ariliah’s antagonist. She is abusive, cruel, and downright heartless. This is fine but I wish I knew why. There’s so much I don’t know about her. Where’s her husband? Is Ariliah actually a half-breed or is that just an insult she flings around? And why is she so hell-bent on making her daughter’s life a living hell? Was it something Ariliah did? Or does Ariliah remind her of something she rather forget?

While I do not advocate for an author to spell out everything for the reader, I do appreciate it when I get inside the head of an antagonist. It humanizes them and at times, it makes the reader sympathize with the ‘wrong side’ which adds to the emotional rollercoaster we call reading. Now, I do realize that Grigaliunas was limited in terms of what she could do regarding minor characters since the story is told predominately from a first-person perspective. While an omniscient narrator can know everything that goes through everyone’s head, Ariliah and Rabreah cannot and I acknowledge that.

***

As I have said, this book is rather well-written. My only real qualm was with the beginning of it. The prologue, instead of grounding me within the story, only made me feel disoriented. Suddenly, I was plopped in the midst of a rebellion attempt and I didn’t quite know what to do. Then, once I reached the first couple of chapters, I had a hard time keeping up with the names. This could be a personal problem but I do find a certain comfort in a story that starts off slow and builds up momentum. This is not to say that there was anything wrong with Grigaliunas’ approach.

And, sure enough, as I continued to read, I was further and further absorbed by the story. As soon as I developed a connection with Ariliah and Rabreah, I was hooked and that’s exactly what a good book should do. Good writing isn’t just about stringing words together in a beautiful fashion, it’s also about what those words mean and create.

***

To be frank, this book wasn’t what I expected it to be. With a title like Sowing, I expected something of a murderous culling, you know, where some criminal ticks off his targets one by one. Of course, that is not what I got with his novel but I’m not disappointed by any means. Although, after finishing the novel, I do wonder what sparked the title because I still don’t get it. And I also do not understand why the series is called the Purification Era. Maybe I missed something along the way but I totally noticed the totalitarian government part of Nazi Germany but not the Holocaust part. If purification is a statement on race then I guess I expected something a bit more dramatic.

***

I would certainly recommend this book to anyone who is a fan of dystopian novels. It is similar enough to Nazi Germany to make you reflect on that part of human history while still being unique enough that you can enjoy the story for story’s sake. The language is fluid and easy to understand. The alternating perspective between sisters makes it easy to pick a side and engage with the plot. Are you team Ariliah? Or are you team Rabreah? So, if you love a story that blurs the lines between good and evil and keeps you guessing until the very last page, then this is the book for you.

***

Score: 4.5/5

Plot: 5

Characters: 4

Language: 5

Enjoyability: 4

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gskygroup · 5 years

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Mastery Journal Process and Reflection

As a majestic place to visit Reykjavik’s appeal of natural beauty and adventure became the focus of this project, the research conducted consisted of understanding the allure of the aurora borealis and the winter months in Reykjavik. Focusing on the wonders of nature to promote discovery, the play on the Northern Lights and it is wonderous majestic which people hunt the skies to see is the draw with a young population of young American and European tourist who flock to the city for festivals, art, and fun. The cities luxury hotels and expanding growth can often dilute the adventure and exploration just footsteps from the city limits. The campaign synthesizes the two worlds of luxury and adventure by using the window as the translucence of transition, despite the wind, the weather, darkness or cold there is still adventure and discovery to be had. Using a voice and tone of fun and excitement the draw is to let the imagination run wild with the experiences available to tourist in Reykjavik. No matter the adventure, snowmobiling, hiking glaciers, whale watching, visiting a volcano or geothermal spa, it’s all about the discovery of incredible sights and sounds.

Target Audience

Focusing on the wonders of nature to promote discovery, the play on the Northern Lights and it is wonderous majestic which people hunt the skies to see is the draw with a young population of young American and European tourist who flock to the city for festivals, art, and fun. The cities luxury hotels and expanding growth can often dilute the adventure and exploration just footsteps from the city limits. The campaign synthesizes the two worlds of luxury and adventure by using the window as the translucence of transition, despite the wind, the weather, darkness or cold there is still adventure and discovery to be had. Using a voice and tone of fun and excitement the draw is to let the imagination run wild with the experiences available to tourist in Reykjavik. No matter the adventure, snowmobiling, hiking glaciers, whale watching, visiting a volcano or geothermal spa, it’s all about the discovery of incredible sights and sounds.

Benefit of Movement

The benefit of motion is instrumental in expanding the look and feel of the storyboard. It evokes an entirely different feeling moving from a 2 dimensional to a 3-dimensional space. In the first scene, the muffled voiced talking gives a feel as if you are in a room with conversations happening. The cut to a transition of a scaled static woman leaving the scene offers a feel of movement to something different. The movement of colors and wind let that audience feel as if they are outside looking at the Northern Lights in the winter. These are feelings that the 2-dimensions storyboard sketches failed to accomplish. “3D depth and motion is a great way to help people get oriented to where things are: what's behind what; what's in front of what. There's that whole spatial metaphor there” (Head, V and Bowles, C).

Design Problems

The design problem not considered until the development of the dynamic vision board was the incorporation of the cut-out style used in the vision board. To stay consistent in the communications elements such as the Reykjavik skyline cutout and the Iceland cutout was used as focal points. In the dynamic vision board, the use of a window was created to show the transition from one act to another. The extreme weather is the issue to unimaginable treasures just outside in nature being the solution. The design style selected does address the problem and allows for further expansion and use of additional cut-out elements.

During the development of dynamic vision board, there was some issue which included rendering resizing and the motion of elements. To create a smooth transition the original concept had to reworked multiple times. Despite the layering process within Adobe After Effect due to some of the design cutouts not blending and transitioning as envisioned, many of the issues were fixed in Adobe Premiere. “While you can certainly create motion design projects in other software, there is no single program more versatile and essential to a modern Motion Graphics workflow than After Effects” (Ward, 2018). For the final development of the design, there were issues with putting the flying birds behind the layer showing the woman looking outside of the window. As you can see in Example 1.0 of the first draft, the birds are displayed over the top of the woman. The problem was due to a blending issue where the fonts to highlight the color palette became distorted due to how the background and woman layers were rendered.

Example 1.0 First Draft (Problem) Example 1.1 Final (Solution)

How the issue of the birds flying in front of the woman solved was difficult at fixed. To solve the issue, the layer showing the birds were delayed entering the scene scaled out in size and the scaled-up moving them from right to left as the woman is seen leaving the scene. In the draft, the birds are placed in front of the woman layer scrolling from left to right across the screen. This fix would have been an easy fix if the birds had been planned in the beginning but were an afterthought after the rendering of the previous layers.

Action Principles

By using the solid drawing and secondary action principles within the dynamic vision board, the design concept was able to communicate a depth of motion effectively. By showing two-dimensional objects enhanced with the three-dimensional flow of movement from the stars and northern light video in the background. "A hot emerging trend in the motion design industry is that designers are exploring new ways to mix 2D with 3D animation and graphics to achieve a more graphic, stylized look and create complex visuals. This leads to a variety of new and interesting experiences to offer the viewer" (PixFlow, 2018).

Additionally, font motion thru masking and opacity is used to create an added movement to the presentation. "Using animated Fonts and Titles is a trendy way for gaining attention and keeping the audience invested while also conveying them a message, two birds with one stone! The designs range from simple moving characters all the way to paying homage to social heroes" (PixFlow, 2018). Using the Lynda and Adobe Tutorials to understand how two-dimensional presentations can show movement through the use of video help gain further insight into visual movement.

Audio Identity

Using diegetic sounds such as light music, wind, hovering of the character and the sounds of nature the presentation will give the audience a sense of going through the experience. “Diegetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame” (Film Sound.org, n.p).

The non-diegetic sound of transitional music and sound effects will help the audience keep pace with what is happening in the scene. It is essential for the dynamic vision board to express a sense of innovation by expressing a sense of comfort with the character sitting in a cozy luxury hotel room. “Non-diegetic sound is represented as coming from a source outside story space” (Film Sound.org, n.p).

Three Act Structure Breakdown

First character problem is she has to wait out the cold wind and temperature drop that is unpredictable in Iceland. While in the hotel sitting to wait out the cold, there is a growing awareness of wanting something different. This awareness expands upon the sight and beauty of the city’s skyline against the natural backdrop. “Act 1, should introduce your character(s), establish what they want, and also introduce a problem standing in the way of them getting what they want” (Blazer, 2015).

Next, the character works towards a solution to deal with boredom by escaping into nature while looking outside the window ignoring the other people within the room. The sight of seeing the Northern Lights for the first time hypnotizing her as she escapes into landscape just outside her window. “Act 2, is where the character attempts to overcome the problem. Here your character fully commits to solving their problem and comes up against all sorts of roadblocks that make solving it seems even less likely” (Blazer, 2015).

Finally, the character solves the problem by escaping into her imagination to reimagine all the things she could do outside of the city. The discover new experiences Iceland intrigues the woman as she recognizes that she does have to spend lots of money enjoying Reykjavik. When doing research much of what was talked about by the target audience in blogs and articles were experiencing Reykjavik staying in luxury. In these writings, the promotion of high-end hotels, restaurants, festivals, museums, the Blue Lagoon Spa, and luxury paid tours are the primary focus. There is so much more to Reykjavik such as natural resources, backpacking staying in hostels, horseback riding, ice fishing, kayaking, hunting, snorkeling, etc. For the target market, we are looking to reach we want them to see the city as a playground to experience the country. “Act 3, is the resolution. This act usually has fewer cards than Acts 1 and 2 because the character should now be facing their problem head-on, winding into an unexpected resolution” (Blazer, 2015).

Through the use of motion, the design concept has helped to connect the audience to the brand emotionally. The look and feel represent the brands messaging showcasing unique things to do while in Reykjavik. The motion graphics concept makes the brand’s message more engaging to a broader audience while the static design offers only a singular focused message. Both methods are similar in providing the audience with the brand's vision and message distinguishing itself from the competition.

Innovative Thinking

When faced with a project or software that you are not well versed in it is important to set goals and develop a strategy, but it is just as important to plan for the inevitable. Through research, it can be determined if others have had short-coming and failure. It can be a good point of reference to evaluate when faced with things that may or may not become problems. During this project, there were problems with masking and transitions. It took multiple hours and tutorials to understand what was being done wrong and how to fix it. When a solution was not found more research was done to solve the issue. To solve the solution required working with both Adobe After Effects and Adobe Premiere. By using multiple tools in such as transition swipes, scaling, making and blending effects the desired results were achieved.

Two of the most innovative elements of the design piece were used during this project one being the cut-out background with video and the masking of the Reykjavik created in After Effects. The first innovative design element can be found in the first couple of scenes where there are video elements operating behind a static cutout of the skyline of Reykjavik. The movement of the Northern Lights and moving stars are all separate video eliminates use color adjustments, white balances and effect blends. For the second innovative element, a mask was used to write Reykjavik twice in the presentation.

Motion in Context

For our final week of the Motion Media, the task was to create a design that showed Motion in Context. The lesson instructed the class to develop a story and message using one of the following methods: Animatic, Motion Poster, Kinetic Typography, Cinemagraph, or 2.5D Parallax Image, General Motion Design. The motion piece which was selected was the Motion Poster design due to its ability to expand the brand's messaging beyond traditional methods of print media.

Through the use of looping and blending of multiple layers, the 2D elements were able to be animated in a way that created motion. The feel and sound of the raging water and waterfalls evoke a feeling of kayaking on a raging river. The design takes the audience into a third-person perspective that allows them to view the experience just over the shoulder of the character as if they were experiencing the event also. "To immerse the player, some third person games use different techniques to make the player feel like he's watching a movie. Blood spatters onto the screen in Gears of War, shaky cam is used during intense moments in Uncharted, lens flare appears in Blood Stone when the player is facing a light and what is maybe the most original use of the third person perspective to this date, Dog Days makes it look like a cameraman is following you around" (Giant Bomb). The Motion Poster starts with raging water billowing over the edge of the waterfall. The animation fades in the logo just as you can hear the kayaker breathing hard as he gets to the edge of the waterfall before going over. The movement of the kayaker from left to right provides a feel as if the view is being jostled around by the waves.

Throughout the design, there are multiple raging streams of water that are animated to create a feeling of adventure. “With the animation, you can feel that it’s hand-crafted. Otherwise, with just the one layer, you could see it but not really feel it” (Benyon, 2016). Through the use of motion, the poster design allowed the audience to imagine themselves being there experiencing the moment. The 2D and 3D elements allow for the poster to tell a story without leaving anything to the imagination. The audience does not have to question what the message is. It is straightforward about what is about to happen next. The logo indicated Reykjavik, Iceland as the location to experience this type of activity while the action of the kayaking expresses the extreme adventure offered as the kayaker is about to go over the waterfall.

When looking at the best way to use the Motion Poster for Reykjavik, it was determined that it would work best as a social media advertising for the online adventure tourism industry. With many of today's tourist websites advertising deals and excursions, what better way to use a Motion Poster to promote their adventures. This method would not only limit production over creating individual videos, but the cost alone would benefit the industry. Visitors would be able to experience a short animation of a 2D design to pique their interest in attending the activity. The development of Motion Posters would open up a new target market of individuals just by capturing their attention.

Reference Blazer, L (2015). Animated Storytelling: Simple Steps for Creating Animation and Motion Graphics. Retrieved from https://ce.safaribooksonline.com/book/animation-and-3d/9780134133812

Head, V and Bowles, C (n.d.). Motion and Meaning: Episode 10: Design problems animation can answer. November 28, 2018. [podcast] Retrieved from https://motionandmeaning.io/episode10.html

PixFlow, (2018). The Top 20 Motion Graphic Trends Of 2018. [blog post] Retrieved from https://pixflow.net/blog/top-motion-graphic-trends/

Film Sound.org (n.p.). the Art and Analyses of Film Sound Design. November 22, 2018. [blog post] Retrieved from http://filmsound.org/terminology/diegetic.htm

Giant Bomb (n.d). Third-Person Perspective. [blog post]. Retrieved on December 17, 2018, at https://www.giantbomb.com/third-person-perspective/3015-464/

Benyon, L (2016). A New Poster Movement: How the traditional format is evolving with an injection of animation. Retrieved by https://eyeondesign.aiga.org/a-new-poster-movement/

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