A character is the representation of a person in a narrative work of art (such as a novel, play, or film).^[1] Derived from the ancient Greek word kharaktêr, it dates from the Restoration,^[2] although it became widely used after its appearance in Tom Jones in 1749.^[3][4] From this, the sense of "a part played by an actor" developed.^[4] Character, particularly when enacted by an actor in the theatre or cinema, involves "the illusion of being a human person."^[5] In literature, characters guide readers through their stories, helping them to understand plots and ponder themes.^[6] Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor.^[4] Since the 19th century, the art of creating characters, as practised by actors or writers, has been called characterisation.^[4]

A character who stands as a representative of a particular class or group of people is known as a type.^[7] Types include both stock characters and those that are more fully individualised.^[7] The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.^[8]

The study of a character requires an analysis of its relations with all of the other characters in the work.^[9] The individual status of a character is defined through the network of oppositions (proairetic, pragmatic, linguistic, proxemic) that it forms with the other characters.^[10] The relation between characters and the action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination, and the social order.^[11]

Classical analysis of character[link]

In the earliest surviving work of dramatic theory, Poetics (c. 335 BCE), the Greek philosopher Aristotle deduces that character (ethos) is one of six qualitative parts of Athenian tragedy and one of the three objects that it represents (1450a12).^[12] He understands character not to denote a fictional person, but the quality of the person acting in the story and reacting to its situations (1450a5).^[13] He defines character as "that which reveals decision, of whatever sort" (1450b8).^[13] It is possible, therefore, to have tragedies that do not contain "characters" in Aristotle's sense of the word, since character makes the ethical dispositions of those performing the action of the story clear.^[14] Aristotle argues for the primacy of plot (mythos) over character (ethos).^[15] He writes:

In the Poetics, Aristotle also introduced the influential tripartite division of characters in superior to the audience, inferior, or at the same level.^[17][18] In the Tractatus coislinianus (which may or may not be by Aristotle), comedy is defined as involving three types of characters: the buffoon (bômolochus), the ironist (eirôn) and the imposter or boaster (alazôn).^[19] All three are central to Aristophanes' "Old comedy."^[20]

By the time the Roman playwright Plautus wrote his plays, the use of characters to define dramatic genres was well established.^[21] His Amphitryon begins with a prologue in which the speaker Mercury claims that since the play contains kings and gods, it cannot be a comedy and must be a tragicomedy.^[22] Like much Roman comedy, it is probably translated from an earlier Greek original, most commonly held to be Philemon's Long Night, or Rhinthon's Amphitryon, both now lost.^[23]

Types of characters[link]

Round vs. flat[link]

In his book Aspects of the novel, E. M. Forster defined two basic types of characters, their qualities, functions, and importance for the development of the novel: flat characters and round characters.^[24] Flat characters are two-dimensional, in that they are relatively uncomplicated and do not change throughout the course of a work. By contrast, round characters are complex and undergo development, sometimes sufficiently to surprise the reader.^{[citation needed]}

See also[link]

Notes[link]

References[link]

Look up character or characters in Wiktionary, the free dictionary.

Character(s) may refer to:

Art and entertainment[link]

• Character (arts), an agent in a work of art, including literature, drama, cinema, opera, etc.
• Character (film), a 1997 Dutch film, based on the novel by Dutch author Ferdinand Bordewijk
• Character (album), by Dark Tranquillity
• Character (role-playing games), a fictional person controlled by a participant
• Characters (Stevie Wonder album), 1987
• Characters (John Abercrombie album), 1977
• Character Options, a toy company
• The Characters, a book by the Greek philosopher Theophrastus

Symbols[link]

• Character (computing), a unit of information roughly corresponding to a grapheme
• Character (symbol), a sign or symbol
• Chinese character, a written language symbol (sinogram) used in Chinese, Japanese, and other languages

Other[link]

• Character (income tax), a type of income for tax purposes in the USA
• Sacramental character, a Catholic teaching
• Charaktery, a monthly magazine in Poland

See also[link]

• All pages beginning with "Character"
• All pages with titles containing "Character"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Lincoln Center for the Performing Arts, New York City, United States

The arts are a vast subdivision of culture, composed of many endeavors (or artforms) united by their employment of the human creative impulse. The term implies a broader range of disciplines than "art", which in modern usage usually refers only to the visual arts.^[1] The other major constituents of the arts are the literary arts, more often called literature – including poetry, novels and short stories, among others – and the performing arts, among them music, dance, theatre, opera and film.^[2] Literary arts and creative writing are actually interchangeable terms.^[3] These divisions are by no means absolute as there are artforms which combine a visual element with performance (e.g. film) and the written word (e.g. comics). This list is by no means comprehensive, but only meant to introduce the concept of the arts.

Whether or not a form of creative endeavor can be considered one of "the arts" can be contentious due to the cultural values attached in Western culture to the term "art", which can imply that it is a field elevated above popular culture.

Definition[link]

Collins English Dictionary defines 'the arts' as "imaginative, creative, and nonscientific branches of knowledge considered collectively, esp. as studied academically".^[4] The singular term art is defined by the Irish Art Encyclopedia as follows: "Art is created when an artist creates a beautiful object, or produces a stimulating experience that is considered by his audience to have artistic merit."^[5] So, one could conclude that art is the process that leads to a product (the artwork or piece of art), which is then examined and analyzed by experts in the field of the arts or simply enjoyed by those who appreciate the arts. The same source states:

Art is a global activity which encompasses a host of disciplines, as evidenced by the range of words and phrases which have been invented to describe its various forms. Examples of such phraseology include: Fine Arts, Liberal Arts, Visual Arts, Decorative Arts, Applied Arts, Design, Crafts, Performing Arts, and so on.

The term art commonly refers to the "Visual Arts", as an abbreviation of creative art or fine art. For example, the history of art is described as "the history of the visual arts of painting, sculpture and architecture. It is the history of one of the fine arts, others of which are the performing arts and literature. It is also one of the humanities. The term sometimes encompasses theory of the visual arts, including aesthetics." In the article for fine art, we read:

Confusion often occurs when people mistakenly refer to the Fine Arts but mean the Performing Arts (Music, Dance, Drama, etc.). However, there is some disagreement here: e.g., at York University (Toronto, Canada) Fine Arts is a faculty that includes the [visual arts], design and the "Performing Arts".^[6] Furthermore, creative writing is frequently considered a fine art as well.

To illustrate the previous statements, the College of Fine Arts at Stephen F. Austin State University (Nacogdoches, TX) consists of the Schools of "Art, Music and Theatre",^[7] while one of the Bachelor of Fine Arts degrees at the University of British Columbia is attached to the Creative Writing Program.^[8]

More work would be required to standardize the use of the terms "art" and "fine art", but for the purpose of this article the definition of "the arts" is not problematic, because it includes all the arts. One artist has even suggested that "[it] would really simplify matters if we could all just stick with visual, auditory, performance or literary – when we speak of The Arts – and eliminate “Fine” altogether".^[9]

History[link]

For all intents and purposes, the history of the arts begins with the history of art, as dealt with elsewhere. Furthermore, the history of the Performing Arts and Literature have been described in other articles --(Please see: Outline of performing arts; History of literature; prehistoric music). Some examples of creative art through the ages can be summarized here, as excerpted from the history of art.

The arts might have origins in early human evolutionary prehistory. According to a recent suggestion, several forms of audio and visual arts (rhythmic singing and drumming on external objects, dancing, body and face painting) were developed very early in hominid evolution by the forces of natural selection in order to reach an altered state of consciousness.^[10] In this state, which Jordania calls battle trance, hominids and early human were losing their individuality, and were acquiring a new collective identity, where they were not feeling fear or pain, and were religiously dedicated to the group interests, in total disregards of their individual safety and life. This state was needed to defend early hominids from predators, and also to help to obtain food by aggressive scavenging. Ritualistic actions involving heavy rhythmic music, rhythmic drill, coupled sometimes with dance and body painting had been universally used in traditional cultures before the hunting or military sessions in order to put them in a specific altered state of consciousness and raise the morale of participants.^[11][12] More generally, evolutionary psychology and applications in fields such as evolutionary musicology, Darwinian literary studies, and evolutionary aesthetics have given several different explanations for the evolutionary origins of the arts.

Ancient Greek art saw the veneration of the animal form and the development of equivalent skills to show musculature, poise, beauty and anatomically correct proportions. Ancient Roman art depicted gods as idealized humans, shown with characteristic distinguishing features (i.e. Zeus' thunderbolt).

In Byzantine and Gothic art of the Middle Ages, the dominance of the church insisted on the expression of biblical and not material truths.

Eastern art has generally worked in a style akin to Western medieval art, namely a concentration on surface patterning and local colour (meaning the plain colour of an object, such as basic red for a red robe, rather than the modulations of that colour brought about by light, shade and reflection). A characteristic of this style is that the local colour is often defined by an outline (a contemporary equivalent is the cartoon). This is evident in, for example, the art of India, Tibet and Japan.

An artist's palette

Religious Islamic art forbids iconography, and expresses religious ideas through geometry instead.

The physical and rational certainties depicted by the 19th-century Enlightenment were shattered not only by new discoveries of relativity by Einstein [1] and of unseen psychology by Freud,[2] but also by unprecedented technological development. Paradoxically the expressions of new technologies were greatly influenced by the ancient tribal arts of Africa and Oceania, through the works of Paul Gauguin and the Post-Impressionists, Pablo Picasso and the Cubists, as well as the Futurists and others.

The various arts[link]

In the Middle Ages, Artes Liberales (liberal arts) taught in medieval universities as part of the Trivium: (grammar, rhetoric, and logic) and the Quadrivium (arithmetic, geometry, music, and astronomy), and the Artes Mechanicae (mechanical arts) such as metalworking, farming, cooking, business and the making of clothes or cloth. The modern distinctions between "artistic" and non-artistic skills did not develop until the Renaissance.

In modern academia, the arts are usually grouped with or a subset of the Humanities. Some subjects in the Humanities are history, linguistics, literature, and philosophy. Newspapers typically include a section on the arts.

Traditionally, the arts are classified as seven although the list has been expanded to nine. These being Architecture, Sculpture, Painting, Music, Poetry, Dance, Theater/Cinema, with the modern non-traditional additions of Photography^[13] and Comics.^[14]

Visual arts[link]

Drawing[link]

Drawing is a means of making an image, using any of a wide variety of tools and techniques. It generally involves making marks on a surface by applying pressure from a tool, or moving a tool across a surface. Common tools are graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, pastels, and markers. Digital tools which simulate the effects of these are also used. The main techniques used in drawing are: line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftswoman or draughtsman.

Gastronomy[link]

Gastronomy is the study of the relationship between culture and food. It is often thought erroneously that the term gastronomy refers exclusively to the art of cooking (see Culinary art), but this is only a small part of this discipline; it cannot always be said that a cook is also a gourmet. Gastronomy studies various cultural components with food as its central axis. Thus it is related to the Fine Arts and Social Sciences, and even to the Natural Sciences in terms of the digestive system of the human body.

Architecture[link]

The Parthenon on top of the Acropolis, Athens, Greece

Architecture (from Latin, architectura and ultimately from Greek, αρχιτεκτων, "a master builder", from αρχι- "chief, leader" and τεκτων, "builder, carpenter")^[3] is the art and science of designing buildings and structures.

A wider definition would include within its scope the design of the total built environment, from the macrolevel of town planning, urban design, and landscape architecture to the microlevel of creating furniture. Architectural design usually must address both feasibility and cost for the builder, as well as function and aesthetics for the user.

In modern usage, architecture is the art and discipline of creating an actual, or inferring an implied or apparent plan of any complex object or system. The term can be used to connote the implied architecture of abstract things such as music or mathematics, the apparent architecture of natural things, such as geological formations or the structure of biological cells, or explicitly planned architectures of human-made things such as software, computers, enterprises, and databases, in addition to buildings. In every usage, an architecture may be seen as a subjective mapping from a human perspective (that of the user in the case of abstract or physical artifacts) to the elements or components of some kind of structure or system, which preserves the relationships among the elements or components.

Planned architecture manipulates space, volume, texture, light, shadow, or abstract elements in order to achieve pleasing aesthetics. This distinguishes it from applied science or engineering, which usually concentrate more on the functional and feasibility aspects of the design of constructions or structures.

In the field of building architecture, the skills demanded of an architect range from the more complex, such as for a hospital or a stadium, to the apparently simpler, such as planning residential houses. Many architectural works may be seen also as cultural and political symbols, and/or works of art. The role of the architect, though changing, has been central to the successful (and sometimes less than successful) design and implementation of pleasingly built environments in which people live.

Painting[link]

The Mona Lisa is one of the most recognizable artistic paintings in the Western world.

Painting taken literally is the practice of applying pigment suspended in a vehicle (or medium) and a binding agent (a glue) to a surface (support) such as paper, canvas, wood panel or a wall. However, when used in an artistic sense it means the use of this activity in combination with drawing, composition and other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner. Painting is also used to express spiritual motifs and ideas; sites of this kind of painting range from artwork depicting mythological figures on pottery to The Sistine Chapel to the human body itself.

Colour is the essence of painting as sound is of music. Colour is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but elsewhere white may be. Some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, Newton, have written their own colour theory. Moreover the use of language is only a generalization for a colour equivalent. The word "red", for example, can cover a wide range of variations on the pure red of the spectrum. There is not a formalized register of different colours in the way that there is agreement on different notes in music, such as C or C#, although the Pantone system is widely used in the printing and design industry for this purpose.

Modern artists have extended the practice of painting considerably to include, for example, collage. This began with Cubism and is not painting in strict sense. Some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet or Anselm Kiefer.

Modern and contemporary art has moved away from the historic value of craft in favour of concept; this has led some to say that painting, as a serious art form, is dead, although this has not deterred the majority of artists from continuing to practise it either as whole or part of their work.

Conceptual art[link]

Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. The inception of the term in the 1960s referred to a strict and focused practice of idea-based art that often defied traditional visual criteria associated with the visual arts in its presentation as text. However, through its association with the Young British Artists and the Turner Prize during the 1990s, its popular usage, particularly in the UK, developed as a synonym for all contemporary art that does not practise the traditional skills of painting and sculpture.^[15]

Video games[link]

A debate exists in the fine arts and video game cultures over whether video games can be counted as an art form.^[16] Some cite games such as Shadow of the Colossus, Myst and Journey as prime examples of video games as an art form.^[17] Others, such as game designer Hideo Kojima, profess that video games are a type of service, not an art form.^[18]

In May 2011, the National Endowment of the Arts included video games in its redefinition of what is considered a work of art.^[19]

Literary arts[link]

Shakespeare wrote some of the best known works in English literature.

Literature is literally "acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin littera meaning "an individual written character (letter)"). The term has generally come to identify a collection of writings, which in Western culture are mainly prose, both fiction and non-fiction, drama and poetry. In much, if not all of the world, texts can be oral as well, and include such genres as epic, legend, myth, ballad, other forms of oral poetry, and as folktale.

Performing arts[link]

The performing arts differ from the plastic arts insofar as the former uses the artist's own body, face, presence as a medium, and the latter uses materials such as clay, metal or paint which can be molded or transformed to create some art object.

Performing arts include acrobatics, busking, comedy, dance, magic, music, opera, operetta, film, juggling, martial arts, marching arts such as brass bands and theatre.

Artists who participate in these arts in front of an audience are called performers, including actors, comedians, dancers, musicians, and singers. Performing arts are also supported by workers in related fields, such as songwriting and stagecraft.

Performers often adapt their appearance, such as with costumes and stage makeup, etc.

There is also a specialized form of fine art in which the artists perform their work live to an audience. This is called Performance art. Dance was often referred to as a plastic art during the Modern dance era.

Music[link]

A musical score by Mozart.  Play (help·info)

Music is an art form whose medium is sound. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.

Theatre[link]

Theatre or theater (Greek "theatron", θέατρον) is the branch of the performing arts concerned with acting out stories in front of an audience using combinations of speech, gesture, music, dance, sound and spectacle — indeed any one or more elements of the other performing arts. In addition to the standard narrative dialogue style, theatre takes such forms as opera, ballet, mime, kabuki, classical Indian dance, Chinese opera and mummers' plays.

Dance[link]

A Ballroom dance exhibition

Dance (from Old French dancier, perhaps from Frankish) generally refers to human movement either used as a form of expression or presented in a social, spiritual or performance setting.

Dance is also used to describe methods of non-verbal communication (see body language) between humans or animals (bee dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.

Choreography is the art of making dances, and the person who does this is called a choreographer. People danced to relieve stress.

Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as Folk dance) to codified, virtuoso techniques such as ballet. In sports, gymnastics, figure skating and synchronized swimming are dance disciplines while Martial arts 'kata' are often compared to dances.

Arts criticism[link]

• Architecture criticism
• Visual art criticism
• Dance criticism
• Film criticism
• Literary criticism
• Music journalism
• Television criticism
• Theatre criticism

See also[link]

	Visual arts portal
	Arts portal

• Culinary art
• Fine art
• Martial arts
• Performing arts

• Art in odd places

Notes[link]

References[link]

• Does time fly?—Peter Galison's Empires of Time, a historical survey of Einstein and Poincare, intrigues Jon Turney. Jon Turney. The Guardian, Saturday 6 September 2003
• Contradictions of the Enlightenment: Darwin, Freud, Einstein

External links[link]

Find more about Arts on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

	Book: Art Book: The arts
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Stanley Winston^[1] (April 7, 1946 – June 15, 2008) was an American visual effects supervisor, makeup artist, and film director. He was best known for his work in the Terminator series, the Jurassic Park series, Aliens, the Predator series, Iron Man, Edward Scissorhands, Avatar and Enthiran.^[2][3][4] He won four Academy Awards for his work.

Winston, a frequent collaborator with director James Cameron, owned several effects studios, including Stan Winston Digital. The established areas of expertise for Winston were in makeup, puppets and practical effects, but he had recently expanded his studio to encompass digital effects as well.

Career[link]

Stan Winston was born on April 7, 1946, in Arlington, Virginia, where he graduated from Washington-Lee High School in 1964. He studied painting and sculpture at the University of Virginia in Charlottesville from which he graduated in 1968. In 1969, after attending California State University, Long Beach, Winston moved to Hollywood to pursue a career as an actor. Struggling to find an acting job, he began a makeup apprenticeship at Walt Disney Studios.^[4]

1970s[link]

In 1972, Winston established his own company, Stan Winston Studio, and won an Emmy Award for his effects work on the telefilm Gargoyles. Over the next seven years, Winston continued to receive Emmy nominations for work on projects and won another for 1974's The Autobiography of Miss Jane Pittman. Winston also created the Wookiee costumes for the 1978 Star Wars Holiday Special.

1980s[link]

In 1982, Winston received his first Oscar nomination for Heartbeeps, by which time he had set up his own studio. However, his ground-breaking work with Rob Bottin on the science fiction horror classic The Thing that year brought him to prominence in Hollywood. Between then, he contributed some visual effects to Friday the 13th Part III, in which he made a slightly different head sculpt of Jason in an unused ending.

In 1983, Winston designed the Mr. Roboto facemask for the American rock group Styx.^[5]

In 1983 he also worked on a short-lived TV series Manimal, for which he created the panther and hawk transformation effects.

Winston reached a new level of fame in 1984 when James Cameron's The Terminator premiered. The movie was a surprise hit, and Winston's work in bringing the titular metallic killing machine to life led to many new projects and additional collaborations with Cameron. In fact, Winston won his first Oscar for Best Visual Effects in 1986 on James Cameron's next movie, Aliens.^[6]

Over the next few years, Winston and his company received more accolades for its work on many more Hollywood films, including Tim Burton's Edward Scissorhands, John McTiernan's Predator, Alien Nation, The Monster Squad, and Predator 2.

In 1988, Winston made his directorial debut with the horror movie Pumpkinhead, and won Best First Time Director at the Paris Film Festival. His next directing project was the child-friendly A Gnome Named Gnorm (1990), starring Anthony Michael Hall.

1990s[link]

James Cameron drafted Winston and his team once again in 1990, this time for the groundbreaking Terminator 2: Judgment Day. T2 premiered in the summer of 1991, and Winston's work on this box office hit won him two more Oscars for Best Makeup Effects and Best Visual Effects.

In 1992, he was nominated with yet another Tim Burton film, this time for Burton's superhero sequel, Batman Returns, where his effects on Danny DeVito as The Penguin, Michelle Pfeiffer as Catwoman, and in delivering Burton's general vision for what was an increasingly Gothic Gotham City earned him more recognition for his work ethic and loyalty to what was an intrinsic ability to bring different directors' ideas to life. It was particularly poignant because for Batman Returns, Winston had to follow on from Anton Furst's earlier work, and recreate change according to what Burton wanted to do differently the next time around.

Winston turned his attention from super villains and cyborgs to dinosaurs when Steven Spielberg enlisted his help to bring Michael Crichton's Jurassic Park to the cinema screen. In 1993, the movie became a blockbuster and Winston won another Oscar for Best Visual Effects.

In 1993, Winston, Cameron and ex-ILM General Manager Scott Ross co-founded Digital Domain, one of the foremost digital and visual effects studios in the world. In 1998, after the box office success of Titanic, Cameron and Winston severed their working relationship with the company and resigned from its board of directors.

Winston and his team continued to provide effects work for many more films and expanded their work into animatronics. Some of Winston's notable animatronics work can be found in The Ghost and the Darkness and T2 3-D: Battle Across Time, James Cameron's 3-D continuation of the Terminator series for the Universal Studios theme park. One of Winston's most ambitious animatronics projects was Steven Spielberg's AI: Artificial Intelligence, which earned Winston another Oscar nomination for Best Visual Effects.

In 1996, Winston directed and co-produced the longest and the most expensive music video of all time, Ghosts, which was based on an original concept of Michael Jackson and Stephen King. The long-form music video presented a number of never before seen visual effects, and promoted music from two consecutive Jackson albums, HIStory and Blood on the Dance Floor: HIStory in the Mix, which went on to become the biggest selling double-album by a solo artist and remix album of all time, respectively (20 million and 11 million).

2000s[link]

In 2001, Winston, together with Colleen Camp and Samuel Z. Arkoff's son, Lou Arkoff, produced a series of made-for-cable films for Cinemax and HBO. The five films, referred to as Creature Features, were inspired by the titles of AIP monster movies from the 1950s — i.e., Earth vs. the Spider (1958), How to Make a Monster (1958), Day the World Ended (1955), The She-Creature (1956), and Teenage Caveman (1958) — but had completely different plots.^[7]

In 2003, Stan Winston was invited by the Smithsonian Institution to speak about his life and career in a public presentation sponsored by The Lemelson Center for the Study of Invention and Innovation. The presentation took place on November 15, 2003, at the Smithsonian's National Museum of American History.^[8]

In 2004, he expressed great disappointment when director Paul W. S. Anderson did not come to him for the creature effects for Alien vs. Predator, seeing as how he designed the Predator and the Alien Queen. "They're like my children to me," he stated.^{[citation needed]}

Winston also worked on Terminator 3: Rise of the Machines.

At the time of his death, Winston was working on the sequel Terminator Salvation.^[9] According to reports, next for Stan Winston was Jurassic Park IV.^[10][11] Winston designed the original monsters that appeared in the Midway game The Suffering^[12] and its sequel, The Suffering: Ties That Bind. He was also helping with his old friend, film director James Cameron and his upcoming film Avatar.

Stan Winston Studio also took a part in the most expensive Indian/Tamil film ever made, Enthiran, which became a huge success in India and overseas as well.

Death[link]

Stan Winston died on June 15, 2008, in Malibu, California after suffering for seven years from multiple myeloma.^[2] A spokeswoman reported that he "died peacefully at home surrounded by family."^[3] Winston was with his wife and two children, actor Matt Winston and Debbie Winston. Arnold Schwarzenegger made a public speech about his death, and Jon Favreau dedicated his Spike TV Scream Award to him upon receiving the award for Best Sci-Fi Movie for Iron Man. Terminator Salvation starts and ends the credits with a dedication to him. His special effects still lives on through his studio Stan Winston Studios, now renamed Legacy Effects, continuing to work on films after his death such as Pandorum, G.I. Joe: The Rise of Cobra, Avatar, Enthiran and Shutter Island thus continuing his legacy.

Collaborators[link]

Winston worked with the following directors on more than one film:

• Tim Burton (Edward Scissorhands, Batman Returns, Big Fish)
• James Cameron (The Terminator, Aliens, Terminator 2: Judgment Day, Avatar)
• John Carpenter (The Thing, Starman)
• Dennis Dugan (The Benchwarmers, You Don't Mess with the Zohan)
• Jon Favreau (Zathura, Iron Man)
• Stephen Hopkins (Predator 2, The Ghost and the Darkness)
• Peter Hyams (The Relic, End of Days)
• Frank Marshall (Congo, Eight Below)
• Steven Spielberg (Jurassic Park, The Lost World: Jurassic Park, A.I., War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull)
• Robert Zemeckis (Amazing Stories episode "Go to the Head of the Class", What Lies Beneath)

Academy Awards[link]

• 1982: Oscar Nomination For Best Makeup: Heartbeeps
• 1987: Won Oscar For Best Visual Effects: Aliens
• 1988: Oscar Nomination For Best Visual Effects: Predator
• 1991: Oscar Nomination For Best Makeup: Edward Scissorhands
• 1992: Won 2 Oscars – Best Visual Effects & Best Makeup: Terminator 2: Judgment Day
• 1993: Oscar Nomination For Best Makeup: Batman Returns
• 1994: Won Oscar For Best Visual Effects: Jurassic Park
• 1998: Oscar Nomination For Best Visual Effects: The Lost World: Jurassic Park
• 2002: Oscar Nomination For Best Visual Effects: A.I.

Filmography[link]

References[link]

External links[link]

• Stan Winston Studio
• Stan Winston at the Internet Movie Database

BioShock 2 is a survival horror first-person shooter video game developed by 2K Marin for Microsoft Windows, PlayStation 3 and Xbox 360.^[10][11] The sequel to the 2007 video game BioShock, it was released worldwide on February 9, 2010. The Mac OS X version of the game was released by Feral Interactive on 30th March, 2012.^[1]

The game is set in the fictional underwater dystopia of Rapture, in a biopunk/dieselpunk 1968, eight years after the events of BioShock. The protagonist and player-controlled character is a Big Daddy, a being that has had its organs and skin grafted into an atmospheric diving suit. Among the first of its kind, the player-controlled Big Daddy, named Subject Delta, reactivates with no recollection of the past decade's events, and scours the city in an attempt to relocate the Little Sister that he was paired with. Fearing this reunion will ruin her plans for the city, Sofia Lamb sends out her spliced up followers that she calls "The Rapture Family" and new Big Sisters in an attempt to deter Delta.

In 2010, the game was included as one of the titles in the book 1001 Video Games You Must Play Before You Die.^[12]

Gameplay[link]

BioShock 2 is presented as a survival horror first-person shooter, with the player taking on the role of Subject Delta, a prototype for the Big Daddies approximately 8 years after the events of the first game. As with BioShock, the player explores Rapture and fights off Splicers, the remaining psychotic human population of the city, using a combination of the environment, weapons, Plasmids and Tonics. Plasmids and Tonics are special genetic-reencoding liquids that grant the user active or passive abilities, respectively, and include both those introduced in BioShock and new ones for this game. For example, Plasmids can give the player the ability to use telekinesis or evoke fire, while Tonics can improve the player's movement speed, attack damage, or damage resistance. Several of the weapons in BioShock 2 are those that were previously seen carried by Big Daddies from the first game, including a powerful drill and a rivet gun. The player can use each weapon in a close-range melee attack. Unlike in the first game, the player is able to equip both one weapon and one Plasmid at the same time, which they can use in quick succession to destroy foes. For example, by first freezing a foe, then shattering into pieces using a spear gun. If the player is killed, they are revived in the nearest "Vita-Chamber".^[13]

As the player explores Rapture, they will collect ammo, health and EVE (a liquid used to power Plasmid use), recovery items, and money. Money can be used to purchase more items at vending machines across the city. The player will also encounter security systems which can be hacked through a mini-game. This requires the player to stop a quickly-moving needle one or more times in the correctly-colored marked area of a gauge. Stopping it within the green area progresses the sequence and or potentially ends it while stopping in the blue area may grant a bonus to the hacking attempt; landing in a white area shocks the player (dealing a small amount of damage) while landing in red-colored areas can lead to the start of a security alert. The player also gains access to a research video camera; in BioShock 2, once the player begins recording an enemy, the player has a short time to damage that enemy in creative ways in order to score a number of points, which are then added towards the total research of that enemy type. At various levels of research, the player is then rewarded with new abilities in general or towards that specific type of foe. Certain areas of the game take place entirely underwater, limiting the actions the player can perform.^[14]

As a Big Daddy, the player can attempt to defeat other Big Daddies escorting Little Sisters. Should the player succeed, they can then either choose to Harvest or Adopt the Little Sister, gaining appreciable ADAM to be used for buying new Plasmids, gene tonics, slots or the option to Adopt them. While adopted, the Little Sister will lead the player to corpses where she can extract more ADAM. While she does this, the player must defend her from Splicer attacks. Once the Little Sister has collected enough ADAM, the player can then return her to an escape vent, again allowing the player to choose to Rescue the Little Sister, receiving a modest amount of ADAM but with the possibility of beneficial gifts later, or harvest her for a large ADAM boost. ADAM can then be spent at Gatherer's Garden machines throughout Rapture. Once the player has either Rescued or Harvested each of the Little Sisters on the level, the player will be attacked by a Big Sister. The Big Sister's agility and resourcefulness will task the players with a difficult fight before they can proceed with the game.^[14]

Multiplayer[link]

BioShock 2 features a story driven multiplayer mode where the player takes on the role of a citizen of Rapture. Set in 1959, just before the events of BioShock, the player chooses to take on the role of a splicer fighting in Rapture's civil war. The player is being sponsored by Plasmid manufacturer, Sinclair Solutions, to test out their weapons, Plasmids, and Tonics in a consumer reward program. As the player progresses through the multiplayer experience, new weapons, Tonics, and Plasmids will be unlocked (provided by Sinclair), in addition to the story of the Rapture civil war being told.^[15]

The player can choose among 6 characters to be their in-game avatar. The characters are: a welder named Jacob Norris, a housewife named Barbara Johnson, a football star named Danny Wilkins, a businessman named Buck Raleigh, a pilot named Naledi Atkins, and an Indian mystic named Suresh Sheti. Two additional characters were available as a pre-order bonus from 12game, GameStop, EB Games or Game, or through the purchase of a DLC pack: a fisherman named Zigo d'Acosta and an actress named Mlle Blanche de Glace.^[16] Another two characters were made available by downloading the Sinclair Solutions Tester pack: a criminal named Louie McGraff and a smooth-talking playboy named Oscar Calraca.

Multiplayer comes in 7 different modes, two of which have a single and team based mode.^[17] The modes are:

Survival of the Fittest 

A 'free-for-all' mode where each player gets points for killing each of the other players. Whichever player has the most kills or 20 kills at the end of the match wins.

Civil War 

Similar to 'Survival of the Fittest,' but in this mode players are divided into two teams and the team with the most collective kills at the end of the match wins.

Last Splicer Standing 

A variation of 'Civil War' in which players do not respawn after being killed. Each match consists of several rounds in which players attempt to outlive the players on the enemy team.

Capture the Sister 

A 'Capture the Flag' style mode where players are divided into two teams. One team has to protect a Little Sister while the other team tries to steal her and place her in a vent on the other side of the map. The team protecting the little sister will have a randomly chosen player be a Big Daddy. After a pre-determined amount of time, the teams switch roles. Whichever team has the most captures at the end of the match wins.

ADAM Grab 

In this mode there is one Little Sister on the map and the player must seek her out and maintain possession of her as long as possible. The first person to hold onto the Little Sister for 3 minutes wins.

Team ADAM Grab 

A variant of 'ADAM Grab' where players are divided into two teams. The objective is the same, but victory is determined by a collective score rather than individual scores, and the first team to hold the little sister for 3 minutes wins.

Turf War 

Players are split into two teams and each team must reach pre-determined points on the map to capture that point. The team with the most control points over the longest time wins.

In 'Survival of the Fittest', 'Civil War' and 'Turf War', a Big Daddy suit will spawn at a random location in the level. If a player can find the suit, the choice is given to become the Big Daddy, which will give the player greater strength and endurance, but prohibits the use of plasmids and hacking and expels any previously held damage bonuses against other players. The Big Daddy can stomp, shoot a rivet gun, melee attack and throw proximity mines. All damage dealt to the Big Daddy is permanent, and can't be replenished. Once the Big Daddy is defeated, the suit disappears, spawning in another location on the map two minutes later. In 'Capture the Sister' one member of the defending team is chosen at random to be the Big Daddy. After the player's death, the Big Daddy suit disappears for the rest of the round.^[18]

Plot[link]

BioShock 2 takes place in Rapture in 1968, 8 years after the events of the first game. Tenenbaum has briefly returned to Rapture once she realizes that someone is continuing her work by enslaving new Little Sisters. It is shown through flashbacks and audio recordings that the player character, Subject Delta (the fourth Big Daddy created), is forced to commit suicide in 1958 by Sofia Lamb, through the use of a mind-controlling plasmid. This was done in part because Delta's Little Sister, Eleanor, is actually Lamb's daughter. Lamb, originally brought to Rapture to help psychologically-stressed citizens of the underwater city cope with the lack of sunlight, used persuasion to entice her patients into a cult called "The Rapture Family", and attempted to spread her altruistic ideals throughout Rapture. Andrew Ryan discovered this through a mole, Stanley Poole, and had Lamb thrown in prison, leaving Eleanor in the care of Grace Holloway. Eleanor eventually confronted Poole about his betrayal of her mother, and Poole panicked, kidnapping Eleanor and leaving her in a Little Sister's Orphanage, eventually leading to her conversion into a Little Sister. Lamb later returned to the city, reclaimed her daughter from Delta, and gained control of Rapture after Ryan's death. Lamb guided the development of the aging Little Sisters into more dangerous Big Sisters, and sent them out to the Atlantic coastline to kidnap little girls for conversion into new Little Sisters in Rapture.

In 1968, Eleanor, now a teenager, has gained control over many of the Little Sisters, and uses them to revive Subject Delta at a Vita Chamber. Delta is drawn towards Eleanor by their past Daddy/Sister connection. Brigid Tenenbaum encounters Delta, and explains that unless Delta reunites with Eleanor, a fail-safe device will trigger that will put him into a coma. With the help of the Little Sisters under Eleanor's control and Tenenbaum's ally, Augustus Sinclair, Delta makes his way towards Lamb's stronghold, encountering both Poole and Holloway en route. As Delta progresses, it becomes clear that Lamb is seeking to use ADAM to transform Eleanor into a perfect embodiment of her altruistic ideals. Lamb's ultimate goal is to have all the collected minds and memories of everyone in Rapture become a part of Eleanor, through the use of the genetic memory in ADAM, thus making her an "Embodiment of the Family", which Lamb believes will put an end to "The Self".

Delta arrives at a containment chamber where Eleanor is held, but Lamb captures him and severs his bond with Eleanor by temporarily stopping her heart. Though Eleanor survives, Delta is now slowly dying, as the bond cannot be re-established. Eleanor uses a Little Sister to bring Delta a plasmid which allows him to control the Sisters, thus enabling him to bring Eleanor a complete Big Sister suit, and allowing Eleanor to become a Big Sister. Eleanor escapes with it, rescues Delta, and together they head for an escape pod that Sinclair has arranged to leave Rapture. The two find that Lamb has converted Sinclair into a Big Daddy, and Delta is forced to finish him off. After a final climactic showdown with the remnants of The Rapture Family, Eleanor and Delta make it to the escape pod, but a final trap set by Lamb mortally wounds Delta and starts to send the entire building into the deep ocean rift. Eleanor teleports out of the explosion to the rising escape craft, but Delta is trapped on the outside. Using the last of his strength, he manages to grab onto the side of the escape pod and climb to its top as it rises. Trapped in the flooded escape pod with her mother, Eleanor makes the choice to either kill or save Sofia Lamb based on what she has learned from the player's actions.

There are several possible endings depending on how the player has performed during the game; these are based on whether the player has rescued all the Little Sisters or harvested them, and if they have spared the lives of certain non-player characters (like Holloway and Poole) within the game. If a certain number of these non-player characters have been spared, Eleanor will save Lamb. If the player killed all, or not saved enough, of these non-player characters, she will allow Lamb to drown. When the pod reaches the surface, Eleanor finds a dying Delta barely hanging onto the pod. Depending on how the player has chosen to deal with the little sisters, the ending will change. If the player has rescued all of the Little Sisters, Eleanor will absorb the ADAM from Delta, taking his mind and memories into herself, and leaving Rapture behind forever, accompanied by a group of rescued Little Sisters. If the player has chosen to harvest all of the Little Sisters, Eleanor will absorb Delta's power and use it to make herself even stronger to dominate the world alone. A mix of harvesting and rescuing of the Little Sisters will leave Eleanor to opt against absorbing Delta's ADAM and mourn Delta's passing.

Development[link]

Initially, media reports suggested that the subtitle, "Sea Of Dreams", would accompany the second entry in the series. However, this subtitle was supposedly dropped,^[19] before 2K withdrew the statement, stating that the "Sea Of Dreams" subtitle would still be part of the full title.^[20] However, a later statement from 2K spokesman Charlie Sinhaseni clarified that the "Sea Of Dreams" title was for the trailer, and not for the game itself.^[21] The first appearance for BioShock 2 came in the form of a teaser trailer that was available in the PlayStation 3 version of the game. The first major details on the gameplay and plot of the game were revealed in the April 2009 issue of Game Informer magazine,^[22] around the same time that the "viral" site "There's Something in the Sea" was revealed. This site documents a man named Mark Meltzer's investigation into the disappearances of girls from coastline areas around the Atlantic, along with a mysterious red light that accompanies each kidnapping. On April 9, 2009 on the Spike TV show GameTrailers TV with Geoff Keighley the first BioShock 2 gameplay video was shown featuring the Big Sister. This demo showed many features including the ability to walk under water.

The story received major changes over the course of development, with two of the most important relating to the player's character and the Big Sister. Initially there was only going to be one Big Sister who would continually hunt the player down throughout the course of the game and then retreat once she was defeated. This Big Sister was written as a Little Sister who, as she grew up on the surface, could not leave the memory of Rapture behind and eventually returned. The reason for the change, as explained by Zak McClendon, lead designer for 2K Marin, "If you have a single character that the player knows they can't kill because they're so important to the story you're completely removing the triumph of overcoming that encounter with them." ^[23] Jordan Thomas explains however, "The soul of the original Big Sister character still exists, but in the form of somebody you get to know over the course of the game." ^[24] The other major change is that the player's character, Subject Delta, is no longer the first Big Daddy, but rather the fourth prototype. He is, however, the first to be successfully 'pair-bonded' to a single Little Sister.^[24]

Digital Extremes produced the multiplayer component of the game.^[25] In the multiplayer portion, players are put in a separate story where civil war has broken out in Rapture prior to the events of the first game. In the multiplayer mode the player acts as a plasmid test subject for a company called Sinclair Solutions.^[26] As the player progresses through the multiplayer maps like Mercury Suites and Kashmir Restaurant they will either have the ability to hack turrets and vending machines or search for the Big Daddy suit.^[27]

Music[link]

The score to BioShock 2 was composed by Garry Schyman, who recorded his score with a 60-piece ensemble of the Hollywood Studio Symphony at Capitol Studios.^[28] Additionally, the Special Edition of Bioshock 2 included the orchestral score from the game on a CD, as well as the orchestral score from the original BioShock on a vinyl 180g LP. ^[29]

Track listings[link]

• Disc length 47:58

• Disc length 35:10 - Regular
• Disc length 52:08 - Special Edition