UltimArt Vol IV No 2

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Ultimart, Vol. IV, Nomor 2, Desember 2011

ISSN 1979-0716

“UltimArt” ialah kependekan dari ultima (Latin: dalam, berbobot, bernilai) dan art (seni). Dengan akronim itu, jurnal ilmiah ini dimaksudkan sebagai wahana informasi, saling silang pendapat, berbagi, serta telaah ilmiah yang berkaitan dengan dunia desain komunikasi visual dan estetika pada umumnya, selain memuat perkembangan teori, konsep, dan praktik komunikasi visual, artikel ilmiah, ringkasan hasil penelitian, dan resensi buku/lm. Jurnal ini diterbitkan oleh Fakultas Desain Komunikasi Visual, Universitas Multimedia Nusantara. Redaksi mengundang para ahli, praktisi, dan siapa saja yang berminat untuk berdiskusi dan menulis sambil berkomunikasi dengan masyarakat luas. Tulisan dalam Jurnal Ilmiah UltimArt tidak selalu mencerminkan pandangan/pendapat redaksi. Pelindung Penanggung jawab

: Dr. Ninok Leksono : Johannes Prajitno, M.Sc. Prof. Muliawati G. Siswanto, M. Eng. Sc. Pemimpin Umum : Dr. P.M. Winarno Ketua Dewan Redaksi : M.S. Gumelar, M.A. Redaktur Pelaksana : Drs. R. Masri Sareb Putra Dewan Redaksi : Prof. Dr. Sugiarto, Hira Meidia, Ph.D, Ir. Budi Susanto, M.M., Andrey Andoko, M.Sc., Dra. Bertha Sri Eko, M.Si., Hendar Putranto, M.Hum., Edwin Sutiono, M.A., Niknik Kuntarto, S.Pd., M.Hum., Jey Kusumajaya, Kusumajaya, S.Sn. Tata Usaha : Ina Listyani Ryanto, S.Pd., M.A. Sirkulasi dan Distriusi : Sularmin Keuangan : I Made Gede Suteja, S.E. Alamat Redaksi dan Tata Usaha:

Universitas Multimedia Nusantara Scientia Garden, Jl. Boulevard, Gading Serpong – Tangerang Telepon: (021) 5422 0808, (021) 3703 9777, Faks: (021) 5422 0800 www.umn.ac.id; www .umn.ac.id; e-mail: [email protected]
























ISSN 1979-0716

DAFTAR ISI DAFTAR Volume IV, Nomor 2

Analysis & Critique of Visual Representation: Fallout 3 Angela McCarthy, Travis Yates, Yusup Martyastiadi ....................................................

97-106

Grati dalam Perspektif Budaya Kota Jakarta (Urban) Maria Josef Retno Budi Wahyuni .....................................................................................

107-119

Humanisasi Otomotif dalam Iklan Mobil Vw Caravelle Bambang Sukma Waya.................................................................................................... Waya....................................................................................................

120-125 120 -125

Visual Karakter dalam Game The Sims dan Interaksi Pemain Ratna Cahaya Rina, S.Sos., M.Ds. ....................................................................................

126-138

Conceptual Framework In Studying The Visual Of Comic Art Karna Mustaqim .................................................................................................................

139-145

Komik Indonesia dan Faktor-Faktor yang Mempengaruhinya Tetap Berkanjang di Era The New Media R. Masri Sareb Putra .......... ..................... ...................... ...................... ...................... ....................... ....................... ...................... ...................... .................. .......

146-154

Psikoanalisis Lacan dalam Pembacaan Levine Margaretha Margawati B. Soetrisno-va Soetrisno-van n Eymeren .................... ............................... ...................... ....................... ..............

155-165

Story Making Research M.S. Gumelar ......................................................................................................................

166-178























Utimart, Dsmbr 2011, a 97-106 ISSN 1979-0716

Vo. IV, Nomor 2

Aai & Criiq of Via Rraio: Fao 3 AnGelA MCCARthy *) tRAVIs yAtes *) yusup MARtyAstIAdI *); **) *) Mimia Gam dvom dvom,, Jam Cook uivri, Araia **) lcrr a Fac of Ar & dig, uivria Mimia Mimia naara, Ioia dirima: 28 novmbr 2011 diji: 5 dmbr 2011

Abrac: Game play cannot purely rely on in game navigational tools. Players need some visual aid and cues in order to guide their game play. Players should make use of all available game elements in order to eectively play the game, for instance, visual cues that could be explicit, such as signs and general directions given directly to the player. This paper describes and observes the visual representations of the Fallout 3 game. The observation nds the guide of the players’ navigational path within the game world, the use of game navigational utilities, tutorials, visual representation and cues. Kwor: Faout 3 gam, visua rprsntation, visua cus, payr’s xprimnt, gam navigationa utiitis

Irocio Ovr t yars, vido gams for bot t PC and conso av dvopd immnsy, growing from basic black and white games, to the rst 8-bit coour gams wic in turn dvopd wit mor coour into t 2D gams. Tos 2D gams tn progrssd to t xpansiv x pansiv and immrsiv compt 3D virtua words tat w s today, wr, vn now, t v of dtai is bcoming cosr to raity. In ts arg gam words, pop bcom payrs, taking contro ovr an avatar or ‘payr caractr’ as ty ntr ts gam words and ngag in t act of pay. Tr are a variety of dierent games which have large and xpansiv nvironmnts, many of wic

sot into t Ro Pay Gam (RPG) or Advntur gnrs. T numrous RPG/Advntur gams incud Mass-Mutipayr Onin RPGs (MMORPGs) such as World of Warcra (WoW), Guid Wars, Warammr Onin to nam a fw, and on t consos tr ar svra RPGs tat fatur arg gam words wic incud gams such as Oblivion, Fable 2, Viking: Bale for As gard and Faout 3.

Ovrviw of Gam T gam tat was sctd for anaysis and critiqu of visua rprsntation was Faout 3. Faout 3 was rasd on 28 t of Octobr 2008 by Bethesda Soworks for the PC, XBox 360, and























98

Analysis & Critique of Visual Visual Representation: Fallout 3

PlAYSTATION 3. It’s ratd MA15+ [Rstrictd] by the Oce of Film and Literature Classication (OFlC) for Bood and Gor, Intns Vionc, Sxua Rfrncs, Strong languag, and Drug Rfrncs. Faout 3 is an opn-word RPG, com bind wit mnts of a First-Prson Sootr (FPS), wr payrs can immrs tmsvs in t xpansiv gam word, taking on numrous missions and qusts, as w as intracting wit non-payr caractrs (NPCs) bot osti and non-osti. T Faout univrs paints a pictur of a dystopian futur; taking pac in t Capito Wastand in and around Wasington, DC in 2277, 200 years aer the bombs fell and 30 years aer Fallout 2 took place. It exists in what people on t cusp of t atomic rvoution in t 1950s saw as the sci- world of tomorrow, if several tousand nucar bombs wr droppd on it. It’s a quaint sci- view of a future lled with atomic cars, robot srvants, and incrdiby basic computr trminas. A nucar war as takn away most of ts tcnoogica comforts, providing t backdrop for a gam wit a drary, drary, dsprat atmosphere lled with glib and dark humour. humour.

(Bethesda/One Tiny Spark, 2009)

T gam bgins wit t payr’s birt and tn quicky movs troug cidood wit snapsots of pivota vnts, suc as t day t

VOl IV, 2011

payr gt is/r Pip-Boy 3000. It’s a cvry vid caractr cration and tutoria squnc tat sts t backdrop of t story. T payr ivs in Vaut 101, a bunkr dsignd to kp its occupants aiv troug t nucar war tat ravagd t surfac, owvr, tis vaut did not reopen when the war nished and as the open ing cinmatic informs you. It is r, witin t Vaut, tat you wi di bcaus nobody vr ntrs or avs Vaut 101. As t payr progrsss troug t v, it racs t nd of t payr’ payr ’s cidood wr /s awak to aarm and confusion. T payr’s fatr as opnd t vaut entrance and taken ight, a fellow fe llow Vault member as bn kid as a rsut of it and t fragi xistnc of t otr vaut inabitants as bn shaered. Through a sequence of events, and the coic btwn if and dat, t payr nds up aving to av Vaut 101. Onc stpping out onto t surfac it is r tat t sarc bgins for t payr’s fatr out in t wasts, and tn t xporations of t gam continu outsid of t Vaut 101.

smaic of  Fao 3 Gam Wor i Cox of Gam pa Faout 3 uss two prspctivs, rst and third third person , wr t payr can togg t viw wit the press of a buon/key to an over-the-shoulder viw tat can b zoomd in/out on t payr’s caractr. Bot viws ar avaiab trougout t ntir gam and p aid t payr in a variety of dierent ways. By using the rst person prspctiv/point-of-viw (POV), t payr is able to aim at targets easier and beer interact wit objcts at cos rang, wras t tird prson POV givs t payr a argr xpansiv viw of t ara around tm, and aso any NPCs that are out of the characters eld of vision (such as nmis snaking up bind t caractr). Players are able to ick between the dierent views in order to utilise dierent playing stratestrate gis, in ordr to obtain tir winning stratgy. Payrs can ngag in t Faout gam across three dierent platforms, being the PLAYSTAPLAYSTA TION 3, Xbox 360 and PC, the rst two platforms























Analysis Analy sis & Critiq Critique ue of of Visua Visuall Repre Representa sentation tion:: Fallout Fallout 3

ANGelA MChARTY, TRAVIS YATeS, YUSUP MARTYASTIADI

making us of contrors and t ast patform making us of a mous and kyboard stup. On a t patforms owvr, payrs ar ab to ater the controls to their specic taste, in order to grant tmsvs an advantag in gam. Witin t Faout 3 gam, tr ar a num ber of dierent skills skills and utilities available to the payr to mak us of in gam, ac combination yielding dierent eects, strengths and weak nsss. Suc utiitis incud t Vaut-Tc Assistd Targting Systm (VATS), in-gam compass, arg sca word map, Pip-Boy 3000 and the ability at dierent points in game to alter tir skist. A of ts utiitis combind togtr, as w as t contro systm, a p t payr in tir gam pay.

Obrvaio Mo T sctd group tat payd Faout 3 consisted of three dierent players, one female and two males of dierent ages, and also having a mix of prior gaming knowdg (bot wit and witout). A payrs in t sctd group ad nvr payd Faout 3 prviousy, so a payrs wr

99

on qua ground wn it cam to in-gam pay. Tr ar two main aras of pay for Faout 3. T rst area is contained inside a fallout shelter. shelter. The gam is vry rstrictiv in tis nvironmnt and specic tasks need to be completed in a specic ordr.. T scond sction is in a ug wastand. ordr Tis ara is a mor appropriat rgion of pay as payrs can av mor frdom to xpor and do watvr tasks ty may coos. Obsrvations of t payrs (s Appndix) wr rcordd as t sctd payr wnt troug t gam, ccking for intractions suc as stat in t gam, and stat in raity/outsid the game. The game was played upon the Xbox 360 patform, wit a payrs using dfaut controls. A variety of dierent experiments were conductd wit t payrs to tst ow t payr can travrs and navigat troug t gam word, making us of t utiitis providd or making us of t nvironmnt surrounding t player. At rst, inside the Vault, the player was to compt t missions and qusts witout t us of any of t in-gam navigationa itms suc as t map and compass, owvr, du to t natur of t Vaut, wr t majority of t

Figure 1: First POV (Bethesda/GameSpotAU, (Bethesda/GameSpo tAU, Screenshot–D Screenshot–Desolate esolateWasteland, 2008)

























100


VOl IV, 2011

nvironmnt ooks t sam; a payrs ad to rsort to using t navigationa toos providd.

rate levels of the Vault made it dicult to work out ow to gt dsignatd ocations. On the nal mission of the rst level, Player B tn took ovr t gam, automaticay switcing ovr to tird POV (s Figur 2: Tird POV) upon gaining contro of t caractr. Payr B prfrrd tird POV in non combat mod as ty found t abiity to viw tir caractrs position witin t gam to b a grat advantag, toug toug Player B would oen switch back to rst POV when facing combat, nding that it was easier to aim. Player B explored through the dierent vs of t compx to gt an ida wr ocations wr in gam, making us of navigationa utiitis, in-gam visua cus and mmory of prviousy visitd ocations. Payr B found using t compass to b confusing and prfrrd using t arg map to gt an ida of tir ocation and st dstination, making us of t map’s map’s ‘st destination point’ utility to gure out ways to go around in gam obstacs suc as was and ockd doors. On particuar in gam objct tat was to b ocatd was a st of kys wic wr iddn in t Ovrsrs bdroom. Bot Payr A, B and C aempted to nd the room, however ony Payr B succdd in racing t dsig-

par’ exrima excrio Tr wr a numbr of xprimnta xcursions tat t payrs ad to go troug in ordr to gt an ida of contrast btwn paying mtods wn travrsing troug unfamiiar trrain. Troug t initia vs of t gam, Payr A (keeping within rst POV [see Figur 1: First POV] t wo tim) was ab to foow otr characters to get to specic checkpoints, so not muc navigation was rquird. evntuay t gam got to a point wr t payr ndd to scap into t wastand. It bcam mor difcult at this point. The shelter was on two dif frnt vs and it was ard for t payr to dtrmin wr ty wr. Initiay, Payr A avoidd using any navigationa utiitis in gam, ratr rying on visua cus suc as dirctiona signs and gnra xporation. Utimaty, du to the diculty of navigating within the monoto nous nvironmnt of t Vaut, Payr A rsortd to using t compass. T compass dirctd t payr in t rigt dirction owvr t spa-

























natd ocation (and as a rsut, scap t Vaut) troug t us of t in gam map.

navigaio rog  of Via C Onc t payrs wr outsid of t Vaut, a payrs (A, B and C) wr ab to asiy trav through the game world, nding it easy to rec ognis wr ty wr, as w as trav to a particuar dstination tn back to tir point of origin, bot wit and witout t us of t in gam navigationa utiitis, but ratr, making us of visua cus in t surrounding nvironmnt. T payrs found a numbr of visua cus to p tm travrs unfamiiar trrain, wic incudd: a) Pats–eit Pats–eitr r worn pats wit igt sading, or for stp pats, woodn ogs wr aid sidways ovr t pat. Ts pats pd str t payrs away from xtranous aras. b) Sign posts–Sma sign posts wr discrty pacd on t pos nar t cornrs of buidings. Ts pd sow t payr wic pats to tak. c) Signs–Signs ovr t t doors of buidings. buidings. These helped conrm the player was in the rigt ara or coud b usd as andmarks. d) Ramps–Ramps wit guardrais wr idntied and made navigation easier. These had a similar eect to paths but oen helped t viwr ris and gt a carr viw of t gam ayout. ) 3D linar Prspctiv–By adjusting t viw of t mnts in t gam to matc t characters rst POV as the character moves it pd giv t iusion of 3D. f) 3D Sading and igt–Sading pd idn-

101

scribd t ara and gav andmarks to ook for, most of wic, at som point or anotr, t payr woud av passd wn xporing t gam word. Wit t combination of t visua cus in conjunction wit vrba cus mntiond abov it was possible for the player to nd a specic gam objct quit asiy asiy,, in wic cas, tir task was to nd the nuclear bomb, which the player found eectively within a few minutes. The fact tat it was a arg objct may av mad it asir than some other missions. Sign posts helped nd caractrs tat gav cus to t bomb’s wrabouts, but tr wr no signs to t bomb itsf. It was found by dircting t payr to a igr vantag point. T us of 3D tcniqus to give a longer eld of view when the player was igr was t biggst p. Wn switcd to tird POV t camra viwd from abov and also gave a wider range of view. This helped nd objects that were just out of the eld on view us ing rst POV. T arg sca map was not ndd to rturn to a point of origin. hr sign posts and pats wr t biggst p. By rading sign posts Player B could rstly identify where they wr and atr rad sign posts to rturn to tat point. T otr main p and visua cus wr t pats. By foowing pats and rmmbring wic turns wr mad it was asir to rturn to t starting point. T us of 3D tcniqus to giv t iusion of a rising and or faing andscap aso pd navigation. By traving downi for a priod t payr was ab to know tat ty must b traving upi to gt back.

tciq u u  o provi  Iio of 3d























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VOl IV, 2011

(using bot inar and non-inar prspctiv), dierential brightness, composition and colour,

iusory objct voum and us of ong txturs, coours and gradints.

Figure 3: The Pitt (Bethesda/GameSpotAU, Screenshot –The Pitt , 2008)

In Figure 3: The Pi tr ar a numbr of dierent qualities in the image that demonstrates a variety of dierent techniques to provide the iusion of 3D. T imag maks us of iusory dpt using inar prspctiv by aving objcts and subjcts in t background bcoming progrssivy smar t ’furtr back’ it is, as w as making us of iusory dpt in a non-inar prspctiv suc as t construction of buidings and other numerous architecture. Dierential brigtnss is aso usd to connot nvironmnta quaitis, in particuar, t prsnc of dust and smok, wr any igtd objct, wn sining appars to b somwat burrd and fadd, as pr t nvironmnt.

identied as being high through the use of shad shad-ows and gradints, as w as iusory dpt using non-inar prspctiv, in ordr to gain a btter eld of view of their environment. From the ig vantag point, Payr B was ab to s t pusing bomb, wic was suggstd to b in t distanc du to its siz and aso t carity of t objct, aving appard somwat ’fadd’, as if in t distanc. T Faout nvironmnt maks us of iusory dpt using bot inar and non-inar prspctiv troug objcts in t nvironmnt, as statd arir and sn bow in Figur 4: Payr and Dog, wr objcts in t background appar smar and aso od 3D quaitis suc as

























103

in t background appar fadd, wic not ony sn to fad into t distanc, txturs upon t ps portray distanc, but aso suggsts tat ground start out hard and dened before fading the environment is lled with dust and smoke out into igtr coours, giving t imprssion wic givs t payr t imprssion tat t tat ty’v bn worn troug and contrasting nvironmnt is vry dry. dry. T us of ong txturs, colours are used with each other to dierentiate coours and gradints ar usd across a objcts between dierent environments; in particular particular,, in t gam, as w as caractrs. T sky is igt and dark.

Figure 4: Player and Dog (Bethesda/GameSpotAU,Screenshot –Player and “Dogmeat” , 2008) (Bethesda/GameSpotAU,Screenshot

Cocio It is torougy car tat gam pay cannot pury ry on in gam navigationa toos and tat payrs nd som sort of visua aid and cus in ordr to guid tir gam pay. Wtr ts visua cus b xpicit, suc as signs and gnra dirctions givn dircty to t payr payr,, or mor subt suc as worn away pats, payrs

must mak us of a avaiab in gam mnts in order to eectively play the game. In particu ar, Faout 3 as dmonstratd tat it maks suprior us of its nvironmnt in ordr to guid, p and tac payrs navigation witin t word, making us of in gam navigationa utiitis, tutorias and most importanty, importanty, visua rprsntation and cus.























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Aix Obrvaio Taken by Angela McCarthy and Travis Yates Participants : Angela McCarthy, Travis Yates and Yusup Martyastiadi. Yusup Martyastiadi.

State in Game

Player State

Cinemac started playing

Player skipped cinemac

Select Gender

Boy–made a small laugh/sound of amusement

As cinemac playing

Player gazes at screen, then control, scratches head before looking back at game

Name Select

Chickenhouse

Player Visual creaon

Player selected basic haircut, changed to grey, then started selecng facial hair, looking at dierent opons, player then looked through complete list before picking any and proceeding ONE YEAR LATER

Cinemac

Player tried skipping, game wouldn’t let them skip CONTROLS TUTORIAL

You’re Special Book

Player experimented with dierent buons on control pad before nding triggers to open book Player icked through book casually before hing the skills alteraon secon, played around with skills, dropping them all down to one before distribung them as appropriate NINE YEARS LATER

Looking at opons Looking at presents

Player had opon to select a date with someone, laughed at it, but then selected something else

Exploring party room

Talked with several characters, exploring the dierent opons, every now and again skipping through dialogue

Player op open up wr wrist ba band (Pip Boy)

Looking through dierent op opons, ”W ”What the ** **** does this do?”

Player tried going through door

Player

Navigang through Vault

Player moves around, and makes a comment about the arrow poinng to the direcon to go

Character tells player to wait another minute for

”For ****’s sake, sake, I don’t want to wait another minute”



























105

Player sing down for GOAT

Player looks around for things to do before going and sing down. Sees Amata character and goes up to talk to her, but character responds negavely. Makes comment about shoong her in the back of the head. When waing for test, makes comment, ”Come on! Start already.” already.” Sits back in chair, leaning head back on chair

Going through test

Makes comment ”It ’s mostly logic”. Last queson, laughed at responses (4x ”The Overseer”). Picks skills, concentrang on aack style skills THREE YEARS LATER

Cinemac to wake up

Player goes through following opons

Runs into Radroaches

Player trying to gure out where gun is, can only punch, ”Gun, where the hell has my gun gone?”

Whe Wh en as asked to to he help an ano other ch character

Helps character ev even aer r rst sa sayi yin ng no no

Takes clothes from dead character

Laughs when character is le without clothes

Pla Pl ayer try tryiing to to g gure ou out wh where to to go go

Exploring, doing di dierent ta tasks al alon ong g th the wa way

Player opens up Pip-boy

Player gures out by going through dierent menus how to equip gun. Kills two guards, ”Now we’re geng some stu”, while pilfering guard’s bodies

Switched to 3rd POV

Tried some doors but locked

Made tu noise with mouth

Opened door to vault

Leaned back in chair and brushed hair back

Found Fou nd visu visual al clue clue to clas classr sroom oom and fo follo llowe wed d it

Made Mad e a tu tu nois noise e when when no no skill skillss foun found d

Checked map and read quest, followed compass got to a locked door

Said ”Damn it!”

Opened door to security and shot Overseer in leg Leaned back in chair said ”oops”. ”oops”. Pressed buons then died francally,, ”You can’t kill the Overseer that’s crap, this francally sucks” NEW LIFE STARTED

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VOl IV, 2011

Player talks with character in game, is given instrucons

Geng interacon with the characters you’re given landmarks to help idenfy visual clues, ”Well, that’s good. I can look for things easier now.”

Exploraon of town

Player walks down worn path aer looking around 360 in surrounding area, goes exploring around, looking around for an objecve

Look for bomb

Don’t want to fall down slope, but it looks low, so I’m gonna go down. I saw the bomb earlier from above so I’m heading towards it. But I can see, ... basically, the city is around everything and you have everything above and around. There’s a sign that s hows where everything is. Basically, the way to follow paths, there’s bits of wood to show that it’s a path, there’s lile signs, some half hidden, that you can read and tell where you are. And there are also signs above the door, so it’s not too bad. Talking with the character, got a p from some dude on how to get some ****.

Player Narrang Thoughts as Traversing through Game World

Rfrc Btsda/GamSpotAU. (2008, Octobr 28). Screenshot––Desolate Wasteland. Screenshot Wasteland. Rtrivd April 10, 2009, from GameSpotAU: hp:// au.gamspot.com Btsda/GamSpotAU. (2008, Octobr 28). Screenshot––Enemy Screenshot Enemy.. Rtrivd Apri 10, 2009, from GameSpotAU: hp://au.gamespot. hp://au.gamespot.com com Btsda/GamSpotAU. (2008, Dcmbr 12). Screenshot Player and “Dogmeat”. “Dogmeat”. Rtrivd

Btsda/On Tiny Spark. (2009, January 28). Fallout 3. 3. Rtrivd Apri 11, 2009, from On Tiny Spark: hp://onetinyspark.les.wordhp://onetinyspark.les.word prss.com Kvin VanOrd, GamSpotAU. (2008, Octobr 29). Fallout 3 Review for Xbox360. Rtrivd April 6, 2009, from GameSpotAU: hp:// au.gamspot.com Anga McCarty, Travis Yats. (2009, Apri 6).























Utimart, Desember 2011, ha 107-119 ISSN 1979-0716

V. IV, Nmr 2

G lm Ppk Bu K Jk (Ub) Maria Josef retno BUdi WahyUni fkul d Kmuk Vul, Uv Mulm nu Jl. Bulv, Gg spg tlp. 021-54220808, 37039777 dm: 12 nvmb 2011 duju: 20 nvmb 2011

abc: Man and his life was not free from from the inuence of the the surrounding environment as well as devel devel-opments in science and technology also continues to provide a variety of innovations in a community cultural activities. Results of culture which is also a man of action and the work of one of them can be found in the form of artifacts and the artifacts produced by this process of social transmission is also called the learning process in humans from generation to generation. As an illustration of human artifacts in the face of life, time travel, space, sustainable change is to take part as the fulllment of huhuman needs for a sense of beauty which later became the cultural development as a result of disclosure of the arts of human expression such as art form, sculpture, art painting, music, literary arts, etc.. Grati is becoming visible bloom decorate the face of the capital Jakarta. Although there were almost not known exactly when Grati was born in Jakarta and there, but Grati is very easy to nd in many places. Grati in the form of scratch grati, drawings and writings have on the wall or walls on the side of the road, on the pillars of toll roads and other public places that contain meaning and various messages as the expression of a person or group of people. Grati development itself is perceived as the evolution of human civilization which leaves traces the journey of life on this earth, through the drawings found in caves and on stones. If previously Grati is only in the halls of the slum walls or in hidden places (like behind a public bathroom door), now contains Grati ‘message’ is seen almost in every corner of Jakarta. This research will examine the meaning of grato in a cultural studies that talk about human























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Grati dalam Perspektif Budaya Kota Jakarta (Urban)

mansia mrpakan al mlak ang ak dapa diindari sbagai sarana brinraksi nk da pa mlangsngkan kidpann kidpanna. a. Komnikasi dadikan ala nk mmpraankan radisi dari nnk moang ang la idp rasan a n sblm masa kini brlangsng dan mla li radisila mansia modrn dapa mnga i nang aa cara kidpan sra brbagai rial ang ada di masa lampa. Komnikasi pada awalna, sblm bdaa lisan i ada, brpa baasa lisan paa-paa dan kalima sdrana. Namn, sjara la mmbkikan bawa prjalanan radisi scara rn-mrn i dapa rjadi dngan adana pross ’rans r’ mlali komnikasi, dan komnikasi ang dignakan adala idak mlali kaa-kaa, api dalam bnk rpa aa gambar. Komnikasi mlali gambar adala al ang sda dilak kan ol nnk moang sjak rasan an lal karna gambar mamp mnampaikan psan dngan akra. Rpa aa gambar sbagai mdia pnampai psan ini dimkan pada ga-ga prasjara (dinding, langi-langi), pada ba (gambar cadas), ang mnrpai galri-galri dngan gambar-gambar ang brcria. Jadi, galri-galri rsb mrpakan ’bk pinar’ ang dignakan nk mnrskan radisi k gnrasi slanjn s lanjna. a. Di ra modrn kini pn, gambar masi banak dimkan pada rang pblik ib koa DKI

Vol IV, 2011

dangkan gambar sbagai pnarik praian saja agar kalaak ma mmbaca lisan rsb dan mnggga rasa ingin a nang psan ang ada pada Grai. Grai adala cora-cor, gambar dan  lisan ang ’diliskan’ pada mbok dan dinding-dinding. Dignakan da isila kaa m bok dan dinding dalam pnliian ini karna da kaa rsb mmiliki pngrian ang br bda. Dalam Kamus Besar Bahasa Indonesia , an 1988, mbok mmiliki pngrian: dinding dari ba baa; ambak (bndng) dari ba, ba baa, dsb.; mndinding mndinding dngan mbok, sdangkan kaa dinding mngac pada makna: pn p (pnka) rang, rma, bilik, dsb. (diba) dari papan, anaman bamb, mbok dsb. ( KBBI , 2009: 206 dan 922). Ol karna i, dapa diam bil ksimplan bawa dinding sbagai ssa ang brsia , solid, mapan, sdangkan mbok adala ssa ang dapa brsia  spri dinding sra brsia idak  spri rrnan, bongkaan, bagian dari sba bangnan. Bila diamai dngan saksama, Grai ang ada di koa DKI Jakara ini mncrminkan gam baran sasana koa Jakara i sndiri, Jakara ang pn kmacan, kesemrawutan , disb sbagai koa rban, kidpan ang dinamis sra pn gjolak, dsb., spri prjalanan kidpan dari wak k wak, Grai ang lal pn akan dilapis dngan Grai rbar.
























MARIA JOSef RetNO BuDI WAhyuNI

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ka mnjadi opik ang mnarik nk dikaji. P - pmnan kban akan idp. Kbnliian ang dibri jdl ’Kajian Makna di Balik daaan ang brasal dari kaa buddayah ini esik Grai’ ini ingin mngngkap kbradaan adala slr akivias dalam kidpGrai sbagai mdia ksprsi dan aspirasi ang an mansia ang mmbrikan arka dan diang mlali rang pblik dan Kara Grai maraba ringgi pada mansia sbagai di DKI Jakara ra Rormasi sbagai sdi ka - maklk brakal bdi cipaan tan sra ss. esik aa kindaan ang dimaksd ada - mmbrikan prbdaan ang akiki anara la kindaan pada Grai sbagai asil kara mansia dngan maklk ang ana mngmansia ang idak slal ars snada dngan andalkan grak brdasarkan nalri. hal klmban, als, nram, rar, dan sim - ini jga slaras dngan pndapa dari Slo bang, api jga rwjd dalam bnk kasar, Somardjan dan Solman Somardi, kb kras, kaca, ak simbang, dan ak armonis, daaan adala sma asil kara, rasa, dan namn mngandng makna. esik Grai ini cipa masaraka ( Jacobs Ranjabar Ranjabar,, 2006: ana dapa dinikmai ssaa aa dapa dika - 21). Kbdaaan mmiliki pran bsar da akan jga brsia mporr kbradaanna. lam kidpan mansia, kbdaaan jga Dngan dmikian, pndokmnasian pn a- mmbrikan pngar radap prkm rs dilakkan dalam mpo ang cpa sblm sb lm bangan ang mngasilkan knologi dan Grai ang ada i ilang. tjan dan manaa brbagai ala ang ang dibkan dibkan mansia agar dari pnliian ini adala dapa mlakkan akivias nk mnga1. mngai dan mnosialisasikan ari kaa sai alam skiarna singga mmbrikan Grai singga dapa diprol sa gam - asil ang brmanaa bagi klangsngan baran ang lbi  nang nang Grai, idpna. Smnara mnr Konjara 2. mmbrikan konsp pmaaman n - ningra, kbdaaan dapa dibagi mnjadi ang nomna kbradaan Grai dalam j nsr ang brsia nivrsal, ai kidpan kidp an mansia (rama masaraka (1) sism rligi dan pacara kagamaan; (2) koa DKI Jakara pada kssna) ang sism dan organisasi masaraka; (3) sism akan dapa dimaknai sbagai bagian dari pngaan; (4) baasa; (5) ksnian; (6) kidpan dalam prjalanan pradaban sism maa pncaarian idp; (7) sism mansia, rama masaraka DKI Jakara knologi dan pralaan (Konjaraningra, pada kssna, 1981: 186-205). 3. mngidnikasika mngidnikasikan n Grai di DKI Jakara

























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akan kindaan ang rwjd dalam konsp Mlali kara sni mansia dapa mngba ksnian aa kara sni. dnia dan kidpan dmikian jga sbalikna Sni adala sala sa komponn ama apabila kara sni brjan nk ssa al nk dapa mngkaji mansia dngan nom- ang idak baik maka akan mmbrikan dgra na kbdaaanna karna kara sni adala dasi pada pradaban mansia ang brsangkpnjlmaan cipa-karsa-rasa mansia dalam an. Grai ang sda ada sjak zaman prasja brinraksi dngan lingkngan, rang, wak, ra ingga saa ini jga mrpakan sala sa prbaan, brbagai kmngkinan ang scara bnk rspons mansia radap nomna konin dapa rjadi dalam kidpan ang kbdaaan dan lingknganna ang rwjd diwjdkan dalam kara sbagai mdia ang dalam baasa gambar dan pada masa skarang mamp mnnangkan, mmaskan baik dari Grai Modrn mrpakan ksaan gambar sgi jasmani mapn bainia mansia. Kika dan kaa. Bila pada wak masa prasjara k mansia sda mmprol kpasan dan rasa ika bdaa lis blm ada, Grai dalam rpa ksnangan ila maka mansia akan mnca - aa gambar ang rdapa pada dinding, langipai knangan sra rasa aman dalam dirina langi ga; Grai pada ba aa gambar ca sla brasil mmansiakan dirina dngan das ini diba dmi kpningan spirial maka brkara. Grai Modrn, kika bdaa lis sda ada Manisasi kbdaaan dalam kidpan sra sda mmbdaa, banak dimkan mansia i ak lpas dari akika dimnsi sosial, pada rang pblik sbagai mdia pngngkapkonomi, psikologi, anropologi ssai dngan an ksprsi dan aspirasi mansia. Prmis inila akika mansia sbagai plak akivias bdaa ang mmbdakan pradaban mansia kika ang kbradaanna, baik scara jasmani ma - Grai i mnjadi bagian dari akivias bdaa
























Kj hmuk p Mk G Pnliian ini mngkaji Grai sbagai asil kara mansia skaligs mdia pngngkapan ksprsi ks prsi dan aspirasi di rang pblik. Grai jga dikagorikan sbagai arak ang mngandng aspk sni dan sik maka pngrian sik di sini dapa diarikan scara las sbagai pngrian id nang kbaikan, waak, pndapa, pikiran, moral, inlkal, dsb. ang dapa mngraikan mng raikan bawa kara sni dan pngalaman sik idak ana pngalaman absrak, api ada  bngann  bngannaa dngan prial-prial lain ang brada di lar bnk kara sni sra brkcndrngan nk mngisarakan sa psan aa makna sbagai prwjdan dari sa isi dari kara Grai, misalna brbngan dngan bdaa, lsaa idp, psikologi, dan sosiologi. unk dapa mngkaji makna pada Grai maka dignakan kajian rmnik sbagai mod nk dapa mmba inrprasi ang lbi


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orang da pnampai psan dari dwa dan mnrjmakanna kpada mansia. toko ls Ricard e. Palmr mngraikan nang rmnik sbagai pross mngba ssa aa siasi kidakaan mnjadi mngri. Kajian rmnik ang mncari inr prasi ini brbngan dngan baasa ang dignakan ol mansia nk brkomnikasi anar-individ. anar-individ . Baasa rdiri dari baasa vrbal aa capan dan baasa lisan ang dignakan siap individ pn brbda dngan individ lain namn kika baasa vrbal dan lisan i disimbolkan scara langsng maka akan mn jadi pngalaman ang nivrsal nk mng gambarkan ssa. hal ini adala al ang jga diarakan dalam kajian rmnik klasik dngan ori de interpretatione ol Arisols. Spri ang dikaakan ol ls h.G. Gadamr bawa baasa adala mods oprandi dari cara mansia brada di dnia dan mrpakan wjd ang sakan-akan mrangkl slr konsisi nang dnia ini, baasa sbagai mdim anpa























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mlairkan kbaran dalam kombinasi baasa spri dalam baasa sasra aapn pisi, api ap dapa dipaami arina. Gadamr mnb kondisi ini sbagai mngri ang brari mngri mlali baasa. Gadamr adala sala sorang oko ls ang mncari kbnaran mlali pross dialkika dan bkan mlali mod ang dianggapna jsr mrinangi dan mngamba kbnaran i sndiri, spri pada sni. Mnr Gadamr, kbnaran di dalam sni bkanla diprol skadar dari pnalaran, mlainkan dari aka-aka ang mnnang sma jnis pnalaran. faka-aka i adala pada saa kidakarmonisan rjadi pada garis, warna, bnk, dan bidang singga rlia mnjadi sa ror ang kaca sring kali mmbrikan dampak knikmaan ang brsia sis, bakan dapa pla dimkan pada mlodi monoon ang dimainkan brlanglang ol sorang komposr J.S. Bac, dmikian pla kara sni pang ang mnjadikan rplika bnk mansia diangka k ingka arisik

Vol IV, 2011

anara insing pancaindra dngan kbbasan inlkal singga singga mmbnk rasa ang diskai dan idak diskai dan slra mmbrikan kakinan nk mlakkan primbangan. Kmpa konsp mansia ini mmbrikan pngar bsar pada siap ingka lak aa indakan, ak rkcali pada saa mlakkan akivias bdaa dalam mmba sba kara sni sbagai ngkapan ksprsi dan aspirasi. Kika sni dianggap sbagai baasa, mdia nk brkomnikasi maka kara i pasi mngandng makna ang dipandang ol rm nik bawa makna rsb dapa diinrpr asikan mlali pnalaran dan inrprasi i akan mnjadi bnar apabila rjmaan akan makna dissaikan dngan corak baasa pada kara i sndiri sra scara rbka s ingga dapa diprol pmaaman  dalam kon ks prjalanan wak mansia dari masa k masa. Kara sni dalam prspki rmn ik sbagai sa ks ang mmiliki klnran
























pa mwakili dari jnis Grai ang dimaksd. Pndkaan pnliian ang dignakan dalam pnliian ini adala pndkaan inrdisiplin, ai pnliian ang mnggnakan pndkaan brbagai disiplin ilm ang dipad dan brkaian dngan sism dari disiplin-disiplin ilm lainna. Pndkaan inrdisiplin ang di gnakan dalam pnliian ini adala rmn ika, sdi anropologi, psikologi, injaan sni, sosiologi sni, dan kajian idnias bdaa.

hl  Pmb Diprol bbrapa dnisi Grai, ai sba gai brik. (1) Grati berasal dari bahasa bahasa Itali, yaitu grafto; graf--to ( gr-f gr-f t , dalam bentuk kata benda); graf--ti dalam bentuk jamak, semua memiliki arti goresan kecil, sebuah gambar atau prasasti prasasti yang terbuat di atas permukaan dinding dinding maupun permukaan-permukaan lainnya dan biasanya biasa nya di tempat terbuka yang mudah terli-


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Yunani, grapheion Yunani, grapheion yang artinya menulis (”Gra-

i, anara Kriminalias dan Sni...”, www. paningkl.com, paningkl.c om, 2009). Berdasarkan arti kata grati yang telah disebutkan di atas, grati mer upakan aktivitas menulis atau menorehkan sesuatu pada sebuah permukaan, yang ternyata telah terjadi sejak masa lampau. Pada masa lampau, grati dikorek, digoreskan pada sebuah tembok atau dinding dengan menggunakan benda tajam. Menulis di sini memiliki pengertian yang luas, yaitu membuat coretan, gambar, simbol selain dari menulis alfabet dan angka. Istilah menu lis juga digunakan dalam pekerjaan membatik. Dengan demikian, disebutlah hasil kerajinannya batik tulis karena dalam proses pengerjaannya memang ditulis secara manual menggunakan tangan. (5) Kata Grati itu sendiri sendiri mengacu mengacu pada prasasti, gambar berupa bentuk badan, tokoh terkemuka, bilangan atau angka, dan sebagainya yang digoreskan, dikorek di berbagai permukaan benda (”Grafti”, www.encyclopedy.com. Database























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Vol IV, 2011

Porta Portese (dahulu Porta Portuensis) telah bbrapa sniman konmporr konmporr.. Grai pada ditemukan sebuah prasasti yang isinya memo- akir akirna na mnjadi sa al ang konrovrsial hon pada semua orang untuk tidak mencorat- di Nw york pada akir abad k-20. Skala bsar, kliian, dan anka warna Grai ang diasil coret dinding.

kan dari ca smpro pada dinding-dinding baGrati sangat penting bagi yang mempelajari tu - ngnan sra kra api bawa ana dianggap lisan kuno dan prasasti yang menggambarkan bentuk- sbagai sba bnk robosan bar dalam bentuk dan perubahan bahasa dari susunan dasarnya sni bagi para pngama sni dan dikriik sba pada berbagai macam huruf yang digunakan oleh gai sa ganggan ol masaraka ( Britannica masyarakat serta sebagai panduan bagi para arkeo- Encyclopedic , 2009: 405). Grai idak sama dngan Lkisan Din ding, log tentang periode atau masa sebuah bangunan. Ba gaimanapun juga, nilai lebih bagi mereka adalah dua Sni Lkis, Posr, Ilsrasi, Advrnsi, Billkali lipat. Pertama-tama, keduanya sangat penting board , Mral, Lkisan pada rk aa bs. Grai bagi masyarakat tutur karena bahasa Grati gambar adala mdia pngngkapan ksprsi dan as lebih dekat dengan bahasa tutur pada masa itu dan pirasi di rang pblik ang di dalamna jga lebih diterima daripada bahasa tulis yang pada awal - rdapa dimnsi sosial dan moralis mlali p nya belum ada kemudian ada tapi belum membudaya san gambar, lisan bakan cora-cor. Skiar pada umumnya; masyarakat tutur pun mempelajari an 1970-an, Grai diidnikasikan sbagai berbagai bahasa lainnya, seperti halnya pada praju- kara ang diba dngan mdia ca smpro aa arosol, sdangkan Mral dngan mdia rit bayaran Yunani Kuno yang menuliskan namanya ca mbok. Namn scara knis nk saa ini, dalam dialek Cypriote dan daftar suku kata, pada anara Grai dan Mral sda mnggnakan sebuah Sphinx Mesir, atau para wisatawan Yunani be



























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menghibur,, dapa mngaps dari ingaan bawa cora- i) sifatnya kebudayaan massa yang menghibur cor gank cor gank skola masi rs brlangsng an - j) berbagai ekspresi untuk beragam kepentingan pa mmdlikan bragam pngaan nang termasuk problematik masyarakat urban dan konsp kindaan, sdangkan para ’plak’ lingkungannya, Grai rdal masi mmba kara wala - k) visualnya merupakan cerminan kehidupan kota; pn ana sbaas mbok kamar aa mdia selalu mengandung polarisasi budaya yang sekaang idak rmask wilaa pblik. ligus mengandung nilai-nilai pergeseran sosioSblm 2004, rjadi prmpran Grai kultural, dan dngan Mral anara para writer dan sniman l) budaya populer yang temporal. Mral. Mrka saling mmisakan diri dngan brbagai alasan knis dan nonknis nk Jadi, sni rban aa ang lbi disb didak dianggap sbagai jnis akivias sni ang ngan urban art adala prodk ksnian ang sama. tak jarang, arak Grai ana braan

























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bar-gambar, spri pada rk ang brisi gam - Sni rban adala sba cara orang koa bicara bar-gambar, bar gonan ringan; (9) Posr dan Sikr, ang lwa sni, ang lain mnikmai sni di irkdimpl di mpa-mpa mm sbagai sara - pikk koa. Mngpas sni rban lbi dalam lagi, na mdia ksprsi; (10) Msik dan Dance , ang diprnjkkan di lar rang (spri rap, ip- Jakara prna skss mngadirkan brba gai sival dan kompisi ang mnampilkan op, breakdance breakdance); ); (11) Arsik dan Insalasi. Isila sni rban ini mncl brsamaan kara-kara para sniman rban, ai anara dngan pnggarapan psa lang an Jakara lain adala JakAr@ dan Djarum Black Urban Art.. JakAr@ dapa dianggap sbagai sala sa pada an 2000, ang dinamakan JakAr@ f - Art sival. Pnggagas sival ksnian JakAr@ ini plopor lairna sni rban di Jakara. JakAr@ adala Ar Sdja, sorang pianis, llsan Mas - adala prok pmrina ang brsia nirlaba, r o Msic di towson Sa univrsi. Mn - mmiliki konsp kpdlian radap kgiaan pndidikan dan kbdaaan, ang diprakarsai


























oto: dokumentasi TEMBOKBOMBER.com Gambar Grafti di Depan Hotel Indonesia M.H. Thamrin, Jakarta Pusat


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anala bnk akivias krai dari masara ka ang rs brarap bawa sni adala milik sma orang anpa adana inrvnsi dari piak mana pn.

Kmpul  s Mmaknai nang kidpan mansia ang ak lpas dari arak jjak bdaa ang diba ol mansia brdasarkan pngalaman, ingaan, ima jinasi, dan impian ini adala bagian dari pmbnkan makna dari idnias, baik priba di scara individ mapn pribadi scara br

Vol IV, 2011

kara Grai rsb. Bila dipraikan saksa ma, Grai mncl kika adana gjolak radap nilai dan snsi dari bdaa brbngan dngan siasi-siasi ang slal brba-ba dan mskipn brbda dalam draja, sbagai sala sa waana pngngkap aspirasi ang rbka dan brsia progrsi. Kbradaan Grai ang ada pada dinding aa mbok rang pblik koa brali k da , brbagai accessories , tat, am fashion, broadcast , spa, dan prnak-prnik lainna bakan mm bri pngar bsar b sar radap gaa dsain


























Lippard, Lc R.. 1977. POP ART . London: tams and hdson. Ranjabar, Jacobs. 2006. Sistem Sosial Budaya Indonesia:: Suatu Pengantar. Indonesia Pengantar . Bogor: Pnrbi Galia Indonsia. Smarono, e.. 1999. Hermeneutik Hermeneutik:: Sebuah Metode Filsafat. yogakara: Pnrbi Kanisis. Sjarwa. 1999. Manusia 1999. Manusia dan Fenomena Budaya Budaya:: Menuju Perspektif Moralitas Agama. Agama . yogakara: univrsias Amad Dalan.


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d Puk g Bumb  i www.a149s.com/5.m  www.ncara.msn.co m www.graixplaind.co.k www.paningkl.co m www.wikipdia.co m



























Utimart, Desember 2011, ha 120-125 ISSN 1979-0716

V. IV, Nmr 2

Humanisasi Otomotif dalam Iklan Mobil Vw Caravelle BamBang Sukma Wiaya



























Humanisasi Otomotif dalam Iklan Mobil Vw Caravelle

digandeng masuk mbi eh pasangan prianya dengan ekspresi bangga dan puas (kemewahan), bahkan kadang-kadang pua memperihatkan sebuah keuarga besar dengan ekspresi gembira

BamBang Sukma Waya Waya

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Ikan versi ”Mata Mett” misanya. Visua menampikan close-up mata yang terbeaak dengan pupi mata mengarah ke kiri dan kanan sebagai peneguhan pesan pada teks judu, yaitu



























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Metode Metde yang digunakan daam menganaisis ikan VW Caravee ini adaah metde semitika

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sebuah media, sedangkan isyarat nnverba dapat diihat sekaigus didengar didengar,, dirasakan, dibaui, dan ain-ain. Kedua , pesan verba terpisah-pisah, sedangkan pesan nnverba sinambung. Arti-




























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hami maknanya. Begitu pua dengan ekspresi makna verba ”masih tersedia ruang ksng” senyum sebagai representasi sikap senang dan dan makna tersembunyi, yaitu ”keapangan ”ke apangan ega terhadap suatu keadaan atau bjek. interir mbi”, tapi bagi sebagian khaayak Chares Mrris menggunakan tiga dimensi bisa saja memaknai ”gigi bng” sebagai aki-



























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kegiatan perikanan, adaah ha yang wajar untuk menggunakan apa pun daam menciptakan pesan yang persuasif demi tercapainya tujuan kmunikasi. Kadang-kadang, pesan itu bersifat

kadang, cara-cara knvensina dan standar yang umum diakukan pengikan tmtif ain dengan de ngan menyampaikan ”pesan angsung” ebih mudah diterima eh khaayak meskipun kha-

















































































































































































































































































































































































































































































































































































































































































































































Psikoanalisis Lacan dalam Pembacaan Levine

MArgAretHA MArgAwAtI B. SoetrISNo-VAN eyMereN

pibadi an inasi. Kaa sni dapa s jnak mmnuhi kininan dalam sbu.

Puup Lacan mnunjukkan baha ajah sni, an bsifa nimais dalam mmahami dii dan alias, slalu mupakan misi dan ak pernah habis direeksikan. Pemetaan mengemengenai pnbab pndiaan an smbuni, dan an slalu dihindai lh pasin haus dikuasai lh psikanalis, dmikian jua lh sniman. Dnan dmikian, jian ksisnsial: ”tunjukkan ”t unjukkan pada diiku” dalam pncaian bjk an hilan, baik di dalam dimnsi ksadaan bain maupun di luana, dapa sdiki didakan la kaa sni. Pncahan dan pmb basan aas pndiaan dimunkinkan la penikmatan karya seni−baik oleh seniman dan pengamat−meskipun tak pernah terlaksana sesecaa unas. Psikanalisis Lacan, sbaaimana Fud, mnmpakan manusia sbaai subjk an sluuh kdiianna subjkkan lh suku ssial shina ia mnalami dii sbaai bjk skalius. Kana bjk ak pnah lnkap dipahami sluuhna, ia mnalami dii an slalu khilanan ssuau an diidamkan an dikia dapa mlnkapina. Dalam hal ini, sublimasi mupakan upaa kaif pmaknaan dii la uan ssial di dimnsi ksadaan lahi. Hana saja, idnias dii idak dinukan smaa-maa dai uan ssial ksadaan lahi. Filsafa psnalis dapa mnunjukkan baha manusia dapa mnalami dii sbaai individu skalius subjk dan mmiliki dua dimnsi ksadaan, aiu lahi dan bain. Sa dai pmuanna dnan an lain, san Aku dapa

165

mnalami dii skalius sbaai Aku-enkau. Di uan subjk, aau uan ssial, ia mnalami mn alami dii an dinukan lh an lain dan disbu enkau. Akan api, sbaai individu ia dapa mnundan Aku-enkau an lain k uan bainna. Lalu, dalam pmuan di lnln ahasia dimnsi bainna, ia mnalami baha diina adalah individu isima an ak pnah subjkkan sluuhna. Aku an individu skalius subjk, an mmiliki dua ruang kesadaran−lahir dan batin−, dapat mengalami dii sbaai Aku-enkau an bkmunikasi dnan Aku-enkau lainna mlalui kaa sni sbaai ”bnda iu”, dan mndapai dii sdan blasi dalam kkiaan. La kkiaan, dan dalam kdalaman dan kiniman pmuan ana Aku-enkau, bnarkah yang terSawang−yang berada dalam cakaala kaif ak baas- bna-bna ak aih? Aau jusu Aku an kusbu enkau dari dunia yang terSawang−atau dunia Yang Lain−sering menyelinap masuk, hadir dan berbersau dalam kkiaan, di dalam pnalaman kshaian la khadian an mnuhkan sa mujudkan idnias bau dalam kkiaan sbu? Dafar Pustaka

Appinansi, richad, osca Zaa. [1979] 1999. Introducing Freud. Freud. Cambid: Icn Bks. Chandl, Danil. [2002] 2004. Semiotics: The BaBa sics. Lndn: ruld. Kan, richad, Maa raina (eds.). 1996. The Continental Philosophy Reader. Reader . N yk: ruld. Lvin, Svn Z. Lacan Reframed: A Guide for the Arts Student. Student. N yk: I.B. tauis.























Utimt, Dsmb 2011, h 166-178 ISSN 1979-0716

Vo. IV, Nomo 2

Story Mking Rsrch M.S. GuMelaR univrsits Mtimdi Nsntr Jn. Bovrd, Gding Srpong Tp. 021-54220808, 37039777, -mi: mich.gmr@gmi.com Ditrim: 12 Novmbr 2011 Distji: 10 Dsmbr 2011

abstrct: Making a story, not everyone can do it. But many are able to tell a story, for that, this research will provide additional enrichment and how to make the story easily and also research approach with a new technique called Story Waveform Design, this approach is dierent from the technique called Mountain Story Design that widely used.

Kywods: mountin, stoy, mking, dsign, wvfom

Pndhn Tidk smu ong dpt mmbut cit. Nmun, bnyk ong bis bcit. Untuk itu, pnitin ini kn mmbikn tmbhn dn pngyn bgimn c mmbut cit dngn bih mudh dn jug kn di-research di- research pndktn tknik bu yng disbut Story Waveform Design.. Pndktn ini konspny bbd dngn sign pndktn tknik pnyusunn Story Mountain Design yng sm ini bnyk dipki. Research ini muni dmi kmjun dm mmbut cit (story (story making) making) dn toi yng muncu jug muni di tobosn dn po piki si di ngi sndii, yitu hsi ky nk bngs, hingg kn sngt bgus bi bi didukung didukung

dn ditpkn di ngi sndii, pgi bi didopsi oh ng in, kn sngt mmbnggkn.

Tjn dn Mnft Pnitin 1.

Muuskn pspsi yng sh bhw bhw mmbut cit dh mnuis, sbb mnuis bum tntu mmbut cit. Di smping itu, mnuis jug dh sutu tindkn yng hny mngh mng h pd sutu pkjn, yitu mnuis (writing ( writing). ). Pdh, mmbut cit tidk hus dikukn dngn mnuis, dpt dikukn dngn c mngtik (typing (typing)) di kts mnggunkn msin tik tupun mnggunkn komput.























Story Making Research

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M.S. GUMelar

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Mmbi pbdn yng bih js nt mmbut cit (story (story making) making) dn mmbut pon (report making) making) st gbungn k— duny. Mmbikn hn mndsin cit dngn bih bik, di w smpi ending dngn tknik tbu tmun dm studi research ini, yitu Story Waveform Design untuk mnggntikn Story Mountain Design. Design.

Stdi Pstk Cit (story (story)) sc umum dh sutu uutn kjdin, nmun kdng-kdng disbut jug nsi (narrative (narrative)) , , yng kit thu nsi bih cndung pd pngtin sbgi pbutn yng sdng mncitkn sutu cit dn bih tpt disbut dngn storytelling storytelling.. ”Story is  common tm fo  dsciption of  squnc of vnts, o  sttmnt gding th fcts ptinnt to  sitution in qustion (s Ntiv)”. hp://en.wikipedia.org/wiki/Story Hingg bi sutu ky nimsi, sinm tupun vido, u d yng mncitknny, yng disbut nto, itu bti nimsi, vido, dn tu sinm tsbut dibi nsi. Gmb 1 mupkn Story Mountain Design untuk mmbut cit bih th dm pm butnny.

Gambar 1.

Sumber: http://www.communication4all http://www.communication4all.co.uk/Screen%20Shot%20 .co.uk/Screen%20Shot%20 Images/smlge.png

Gambar 2

Sumber: http://www.learnnc.org/lp/media/le http://www.learnnc.org/lp/media/lessons/amyhoneycut ssons/amyhoneycut t8102004053/Story_Mountain_Keeping_Quilt.jpg

Gmb 2 mnpkn Story Mountain Design dm cit yng dibut. Ttpi, d yng unik dm c tsbut, shusny h-h yng mnynngkn tu positif bgk k ts dn h-h ngtif shusny bgk k h bwh, dn hidup nom dh yng d di  tngh. Ttpi, di Story Mountain Design tsbut, konik kon ik dan hal hal-ha -hal l neg negati atif f jus justru tru nai naik k kearah ts mmbntuk shape spti gunung, u pnysin tu sousi justu pd st hidupny mui nom gi. Oh kn itu, studi untuk mnpkn tknik bu Story Waveform Design ini kn ditpkn.

Mtod Dm studi research ini, mtod yng digunkn dh mtod nisis dn pncin dt ssui kbutuhn st thpn-thpnny yng vn dn cndung qualitative description description.. Poss di id smpi pwujudn cit yng utuh mnjdi nisis dn dt skigus untuk mn-support mn-support tmun tknik bu dm mndsin tu mmbut cit sin mnggunkn tknik Story Mountain Design. Design. Jug kompsi nt Story Mountain Design dngn Story Waveform Design di kduny untuk mnghsikn pndktn mn yng bih ps untuk digunkn dm mmbut cit. lngkh-ngkh dm mmbut cit dh























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1. 2. 3. 4. 5. 6.


VOl IV, 2011

id (idea idea), ), cotn-cotn tungn cit tu konsp (concept concept)) , , gn , tm (theme theme), ), kngk cit ( plot plot)) , , dn mmbut cit (story making) making).

Dm studi ini, bhsn m-yout mnjdi buku tu sjnis sjnisny ny tidk dibh dibhs, s, hny hny cndung mmbhs tknik design mmbut cit.

Pmbhsn Storyline bih sing disbut story dm bhsn nimsi, vido, komik, story making, dn sinm. Storyline dh ksuuhn cit di w smpi khi dm bbgi bntuk tuisn, spti script, screenplay, copyplay, stageplay , dn bbgi cotn tks smnt inny nnti bis digbung-gbungkn mnjdi stu cit yng utuh. Mmbut cit yng ditungkn dm tulisan/teksdisebutStory lisan/teksdisebut Story Making. Making. Mngng cit tntuny sngt mnynngkn sbb bnyk ong yng sukss dm hidupny kn mn jdi song pngng pngng cit (book (book author) author ). Untuk mmbut storyline yng th, kit pu bj story making. making. Kit kn mmbhs mtodny stu p stu, hingg smuny mn jdi mudh untuk dikukn. 1. Id (Id). Ggsn ktif, kn sg ssutu yng bum pnh dipikikn tu dikukn ong in, bti jik puny id hus sg diwujudkn sbb di u sn mungkin sj d ong yng sm idny dngn kit. Kn sip yng bih duu ituh yng bisny mnjdi pnntu. Ttpi jngn up, su cntumkn ogo Copyright tu tu Author Author Right dn thunny, g id yng th kit publish tidk dicui tu dikim oh ong in. Bgimn jik id kit sudh di- publish di- publish di bog tu mdi intnt inny? Tidk msh, itu ttp miik dii sndii sm kit mncntumkn copyright © u

thun pmuncunny pmuncunny dn mt mi d jug di bog bog tsbut tu di di ky ky ctk inny. Id tidk hus ngsung bup cit. Id dpt muncu di kkt bup gmb tu dskipsi tuisn yng th dibut  bih duu, tu di di puisi, tu di kt-kt bak(words bak( words of wisdom), wisdom), tu di sutu tmpt knngn, dn tu khyn. 2.

Konsp (Concept ). Sth mndptkn id, id tsbut ditungkn dm cotncotn smnt bup tks tupun gmb, dpt jug disbut dngn sketch sketch.. Ttpi, concept jug mnjdi mbigu pngtinny, yitu sbgi design yng sudh mtng nmun bum dipubiksikn tupun bum diwujudkn dm product dm product mss. Dm bhsn ini, kt concept sbgi sketch dn tu id-id tuisn sc ks. atu bis jug id-id tdi ditungkn dm ingksn cit tu sing disbut dngn synopsis.. Synopsis mupkn konsp cit synopsis sc ksuuhn dm bntuk ingksn pndk.

Bikut ini contoh synopsis untuk pmbc. Bung Bi, 2020, Ni Putu Inty gdis SMP Nguh ri ks 2, sdng dm pjnn pung st mngyuh spdny. Di dicgt sgombon Ninj di Jpng. Dngn bbk imu b dii Sit Tdision Bi, Ni Putu bthn nmun ttp kh. Ttpi, Ttpi, Ni Putu Inty ttp bush bthn jug. Di st kitis, dtngh ptp Bi yng mnoongny, bnm Mich Tn (ptp Bi song Bu? ad pkh?). lu, ptp tdi mmbikn pnjsn bhw mk kn mncgh Ni Putu Inty untuk mngikuti Tunmn B Dii ant Dimnsi yng disnggkn stip 1.6 jut thun ski. Ni Putu Inty bkatabahwadiatidakpernahmendaartur-katabahwadiatidakpernahmendaartur nmn b dii p pun, u mngp di
























dibuu? Dngn km, si ptp Bi tdi berkatabahwadiayang berkatabahwa diayangmendaarkanny mendaarkannya. a. Sjk st itu, Ni Putu Inty bj b dii bih git, bj tng dm, dn summoning. Di kn mwn pst b dii di dimnsi in dngn tuhn smu mnusi di bumi kn dibung k dimnsi bungn, di mn tmptny sngt tidk mnynngkn mnynngk n tu bumi dihncukn bi mwn. Untuk mncgh h ini, ush p dn bgimnkh g Ni Putu Inty bhsi mnjnkn misiny dn mmpu mnymtkn mnusi? Bikut ini contoh synopsis untuk pnbit, bi ttik untuk mnbitkn cit butn kit. Kimt w dn tngh cndung sm, ttpi di kimt khi cndung bbd kn pnbit hus thu sousiny ngsung di pmshn yng sudh kit but tsbut, hingg kimt khiny mn jdi: untk mncgh h ini, Ni Pt Intry mmpjri kktn utim Crtion by Mind, hingg mmp mnymtkn mnsi dn bmi .

Dm duni sni, sutu poss tidk hus uutnny ssui dngn yng disnkn dm buku sbb dm duni sni, poss ktif ssong dm bky dpt spontn muncu tnp mui thpn yng ssui dituis dm buku, yng tpnting dh hsiny yng bkuits dn bsni tinggi. Nmun sth nd dm mmbut cit, d bikny b ikny mnggunkn thpn yng disnkn dm studi dn research ini s bb mmbut ky yng kit but mudh diko (manageable (manageable)) dngn c yng bih bik. 3.

Gnr. Tm dn Gn sdikit mmbingungkn bgi ong wm. Tm (theme (theme))

M.S. GUMelar

169

buknh genre , ttpi thema cndung un buknh genre tuk dsin gmb (image (image). ). Smnt gn, bih cndung k citny, bukn k gm bny wupun cit cit khiny khiny jug dpt mmpnguhi gmb gmb.. Sth ingksn story atu atu bisny disbut dngn nm storyline sudh dibut, yitu yng disbut synopsis , kini kit kn kn miht storyline tsbut dm ktgoi tu jnis cit p? Smu stoyin hsi di story making atau creative writing dan atau writing tbgi mn jdi tig ktgoi bs, yitu sbgi bikut. . Fiksi ( Fiction Fiction)) Fiksi, Imagination, Fantasy , mmbut cit khyn tidk su bcit tntng ms dpn tu kcnggihn tknoogi, ttpi cit shi-hi pun jik dibut bdskn imjinsi dn tidk bdskn kish yng tjdi sc nyt, jug tmsuk kish imjinsi. b. Hybid Cit kjdin si, nmun ponny dituiskn dm bhs sst dn d citny hingg bksn kjdin ssungguhny mnjdi bih indh. Contoh cit mod spti ini di ms u disbut dngn Epic , di mn kjdin sjh ssungguhny yng tjdi dicitkn dm bit-bit puisi. Di ms kini, mnuis gbungn nt non no nks ksi, i, te teta tapi pi de deng ngan an me meng nggu guna naka kan n bhs indh dm duni junism disbut Creative Writing Journalism tu Literary Journalism. Mnuis gbungn nt Fiction nd Non Fiction Witing tidk hny untuk junistik, ttpi dpt jug digunkn untuk h in, misny mnuis popos tu tuisn yng ssui kbutuhn. Opini msuk ktgoi ini sbb opini k bnykn tidk bdskn fkt yng kut, hny sumsi spihk tnp research kbnnny. Bi d pngumpun faktamakamasukkenonksi.

























170


c. Non Fiction lbih cndung untuk duksi, journalism , note , list, check list, diary, schedule, event rundown, class rundown , rundown , tv programme rundown, proposal , , report , , academic research, research ,t ,tulisann ulisannonksi onksilainnya, lainnya,dan danuntuk untuk bit (news (news). ). News mupkn report tu iputn di kjdin si dn dituiskn dm bhs fom untuk news di kon, mjh, intnt, dio, TV tu mdi bu inny bi d. Jurnalisme untuk pel eliiputan konik lebih cndung miput vsi kdu bh pihk untuk mndmikn bi tjdi piputn pd du kubu yng bbd phm dn pmikin, g public g public dpt mnii dngn bakdanmencarisolusinya. bakdanmencari solusinya. Smnt not wupun bup cttn p yng hus dibi di toko, pon sdhn tupun hny check list , , bi dihisi gmb dn dibut mnik, bis disbut creative dm mmbutny. Kini, pnuis kn mmbhsny bih dti pd ktgoi Fiction ping bnyk pchnny, mnjdi bbp subgn sc otomtis didpt di id dn ingksn storyline (synopsis synopsis)) yng th dimiiki sbumny. Bikut ini dh gn ction gn ction yng d. 1) Hoo Cit mistik, pmbunuh psikopt, tu science ction yng sh h pnitin khiny bkhi tgis dngn bnyk kobn di hsi pnitin tsbut, di mn cit bointsi untuk mm bngkitkn s tkut pd h-h mistik, tkhyu, superstitious , pnom, supntu, science yng digunkn s-

VOl IV, 2011

tupun tknoogi yng msih dm konsp, dikmbngkn bih juh shingg hin gga a men menjad jadi i cer cerita ita ks ksi i ya yang ng pun punya ya ds cun ogik spti msin wktu, dn kcnggihn tknoogi. Science ction yng bih mngh k science-ny science -ny yng bih bnyk, misny mmbut komik, ttpi untuk pjn science tu imu-imu pngthun inny yng vn mk dt dn hukumhukum huk um si sika ka mau maupun pun lai lainny nnya a ya yang ng revn dipki dm cun pmbutn komik pngthun tsbut. 3) Action Cit ksi, di mn bnyk tjdi dgn pkhin, ptungn, kj-k jn, yng dikukn oh song tu skompok tokoh utm. Tm ini jug bis digbungkn dngn tm inny, spti action science ction. ction . 4) Dm Cit tntng kjdin shi-hi mnusi st ini yng mibtkn pcintn, ksdihn hidup, dn pjungnny dm mncpi cint dn cit-cit yng diimpiknny. Kish dm cndung mngob ksdihn, kkcwn, dn kt mngp-mngp yng su mnysi stip ngkh khidupnny. Dm bis jug dpt dikmbngkn mnjdi subgn, spti hobi, sport , , dn budy shingg kbhsinny dm mngtsi smu msh dm khidupnny khidup nny tsbut, tu mh pd ending-ny ending -ny tidk sukss sm ski. Cit dm dpt dibut bdskn imjinsi tupun mncontoh dn bds pd kish yng pnh dimi oh diiny sndii tupun oh ong in.
























Kshphmn kn bd pspsi, kshn dng, pmstn ktkt, singktn-singktn ucu, mmpbuuk gi wjh dn bgin tubuh yng mmng sudh buuk, kshn di tmpt dn wktu yng tidk tpt. Kckn yng tidk disngj tupun disngj, ttpi tidk mmbut tokoh-tokohny tbunuh, hny gpng, mniu ikn, dn h-h yng dinggp konyo inny. 6) Wizardry/Witchcra/Magic Kish tntng kkutn mkhuk yng tvousi bih tinggi, hingg bksn spti puny kkutn magic tu mutant , , hidup di ms u yng km di sutu kjn dn bgi-mn ush song hero ms itu bupy mnymtkn kjn di kkutn wn-wnny yng ingin mbut kjnny tu mymtkn j dn tu di ms itu. Sin itu, cit song ksti pdng, ksti pnh, ksti tombk, tupun ksti pnyihi tu ksti mutnt dngn bntun t-t tknoogi tinggi di ms u dn tmn-tmn in-ny tu monstny yng bhsi mnymtkn puti dn kjn ttntu di ncmn khncun oh wn mk yng bpn sbgi p ntgonis. 7) Mysteri Cit yng bih mnjuus pd pminn ogik kn bnyk tk-tki yng hus dipchkn. Kbnykn cit misti ini dipki dm cit dtktif tu kpoisin, spions, di mn tokoh ho tu tokoh bik kn bjung mmchkn tk-tki pm-

M.S. GUMelar

171

bsn di pbutnny yng mngg hukum tsbut. 8) Based on True Story Kish nyt dn bdskn kish nyt. Cit ini tidk smuny bn, ttpi bdskn kjdin nyt sbgi ds, nmun ttp sbgin bs dh hsi imjinsi. Bi kishny nyt sungguhn, tidk d kt ”bsd on”, ttpi ngsung sj ”true ”true story” tu dpt jug disbut ” pic of  if stoy”. 9) Myth/Saga/Legend/Folk Myth/Saga/Legend/Folklore lore Cit kyt yng tuun-tmuun dn bhkn dinggp igius oh kngn msykt ttntu di sutu tmpt yng mncitkn khbtn song mnusi dngn kkutn sup di ms u. Kkutn ini bs di mkhuk yng bih cds dn bih tinggi pdbn, vousi dn tknooginy di ms u disbut dngn bnyk nm, spti s dw, s in, s deity , s tuhn, s p pun yng dinggp bih unggu di sgi tknoogi mupun kmampuansikdanmentalnya. Myth jug puny pdn kt in, yitu Saga, Folklore, dn Legend Legend.. Khusus untuk legend , tjdi pgsn nii danpersepsiterkini,yaitupunyade nisi bu sbgi kmungkinn untuk mmbi pnghomtn pd ssong yng bddiksi dn mst dm bidng ttntu. 10) Epic Cit yng mnggunkn pnuisn tknik puisi yng pnjng untuk mncitkn kbhsin song phwn di ms u.























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kbnnny jug digukn, dn tetapmasukdalamkategoriksi. Kcui d yng m-research m- research dngn bukti-bukti yng mndukung epic ts but mk epic dpt dikmbikn gi k posisi Literary Journalism dn bukn k ction k ction.. 11) History/Based on History Cit yng mnggunkn fnsi sjh sbgi cun cit. Kdngkdng, mnggunkn bbp tokoh sjh di ms u yng dikn btmu dngn tokoh utm dm cit yng kit but, pmuncun tokoh tkn di sutu cit disbut Cameo Cameo.. History tu based on history ini dpt pu untuk mmbut komik tokohtokoh tkn yng mwni sjh sutu bngs, ng tu suuh bumi, dn bisny bdskn research kjdin di ms u yng bih bnyk dt dn fktny st mminimalkanksinya. 12) Fable Kish pndk yng ngsung mnuju pd contoh mo yng ingin dismpikn, bisny dm bntuk stw, tnmn tupun bnd-bnd in yng disumsikn dpt bbic, o bot yng bbic, tnmn tnmn bbic, in cds di pnt in yng dpt bbic, di tt suy in tu bhkn di dimnsi inny. Di situ tiht js cit fb tidk su idntik dngn kish-kish stw yng bpiku spti mnusi. 13) Sex Kish yng ointsiny mngob sks sbgi ssn dn hibunny

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ction , , genre genre comedy dngn horror skigus science ction. ction. 4. Tm (theme (theme). ). Bisny d kncun nt tm dn gn, ttpi gn dh jnis cit, sdngkn tm bisny untuk gmb, nmun dkny jug untuk mnghkn sutu cit ssui kbutuhn omb tupun tugs. Misny, buth sutu cit dngn tm Hi Kmdkn Ng Kit, tm mm bung smph pd pd tmptny, tmptny, tm kkkkter te r yan ang g ba baik ik da dan n b bak aksa sana na be berj rjiw iwa a Pa Pan ncsi, nmun boh digp dngn gn dm, sci, comedy tu horror horror.. 5.

Kngk Cit (Pot). Storyline tu story mmpunyi dinmik g pmbc ttik dn hnyut dm cit tsbut, di mn bnyk mibtkn mibtkn conict conict.. Di sinih kgunn utm di mndsin pot cit, di mn dpt bih mudh dikukn bi mnggunkn pndktn tknik Story Waveform Design. Design. Dinmik cit bisny mibtkn ksngsn, pjungn, conict , , dn ending di pjnn kkt dm hidupny. Bi digmb sc digm waveform, pus dh simbo di happy, normal life dh 0, dn minus sbgi simbo di sad/conict, sedangkan pnh k knn dh timeline dinmik kkt tsbut di w smpi ending cit mk kung bih spti gm b 3 bikut.
























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titik minus (-) tndh. Jik hidupny b nyk Ttpi Tt pi dm khidupn ssungguhny, kksdihn, bti gombngny bnyk di hidupn dpt bkhi tnp tdug. Sh  minus, ttpi jik bnyk happy happy-ny, -ny, bti mngmbi kputusn mk ms dpn jug gombngny bnyk di  pus, smnt bubh. Hsi khiny mungkin mnjdi sad jik nom-nom sj, cndung d di t- ending, happy ending , tu nom-nom sj. ngh. Dngn ending yng bvisi kmungkinnny ad kmungkinn di sutu range hidup s- ini disbut multiple ending. ending. Sutu cit jug dsong tokoh dm cit dimui di happy pt dibut spti itu, d pcbngn kn u sad ending spti gmb 4. 4. piihn-piihn dn ending ending-ny -ny jug kmungkinn bbd spti gmb 7.

Gambar 4. Stor y Waveform Design–Sad Ending Gambar 7. Story Waveform Design–Floating/ Design–Floating/ Open Ending

ad kmungkinn pu di sutu range hidup song tokoh dm cit dimui di sad u happy ending, spti gmb 5.

Gambar 5. Stor y Waveform Design–Happy Ending

Bila cer Bila cerita ita ya yang ng da dalan lani i ber bersam sambun bung g ata atau u mbigu di mn ivny sudh kh tu bum, hingg bksn soh d knjutnny (Float/Open Ending) Ending ) mk Story End-ny End-ny d tm bhn simbo ”tnd ”tnd tny”. Mmbut cit dpt jug mnggunkn digm story mountain yng sing dipki, nmun story mountain ini bih mnjuus pd koniksaja,yaitukoniksebagaititikpuncak, sdngkn khidupn bhgi dn nomny mnjdi stu, yitu jik sudh kmbi mncpi titik tndh gi.























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: khi di sutu cit yng mujuk k kpn cit tsbut bngyng mmbi ksimpu- sung (timeline (timeline). ). n khi, biasanya tdii di tig visi ending , Whr kcui jik storyline storyline-ny -ny Tjdi di mn? di Bi? di Indonsi? di mmpunyi multiple end- asi? di Bumi? di pnt in? di gksi in? ing.. ing di dimnsi in? tu di duni butn sndii? Hppy ending ending-ny -ny b- bih cndung mujuk pd tmpt cit : cit yng ending hgi. tsbut bngsung tu disbut seing (t Sd ending ending-ny -ny sdih g mu- bkng dn  kjdin). : ending kjdin). dh diingt. Float/OpenEnding: ending mngmbng, bi- Why sny untuk tm horror Mngp h itu tjdi? mngp tjdi pd dngn tujun bsm- sy? mngp tim sy? mngp kug bung citny citny sutu st, sy? mngp kksih sy? mngp ng pkh yng bukn horror sy? bih cndung k pnybb mngp itu tidk boh bsmbung? tjdi sbgi pnybb dn pmu inti cit Tntu sj boh. (Trouble Initiator). Mutip ending : ending bih di stu, bisny tjdi pd cit Who untuk games bdskn Oh sip ini tjdi? sip yng kn jdi skkt, sknio ttnvio? sip yng jdi wn utmny? sip tu. Ending Ending-ny -ny ssui yng jdi pnjhtny? sip kobnny? dngn d ngn piihn ngkh bih cndung mujuk k pn p yng kit kukn hingg kkt (Character’s (Character’s Role) Role) yng dibut dn tud kmungkinn Happy jun mk dibut (Character (Character Design) Design). Ending, Sad/Bad Ending , Ending , dn Float Ending. Ending . How Bgimn si hero dpt tmn, ptn, mkPot bfungsi sbgi guidance (pmbimnn, tknoogi? bgimn si hero mndptkn bing) g cit cit yng kit but tidk tidk ku di di cintny?, dn bgimn-bgimn inny bhsn dn tm yng dipukn. Pot dpt di-manage dimanage bih pi dngn bbp ptn- yng bih k action di kkt-kkt yng yn, spti p (what ( what), ), di mn (where ( where), ), kpn d.

ending

(when when), ), mngp (why (why), ), sip (who (who), ), dn bgimn (how (how). ). Pnuis kn mnguikn stu p stu g bih dti gi pnjsnny. Wht Tntng p, p yng dici? p yng dimksud? p yng diinginkn? p yng j di but-

Sotion Sngj pnuis mmbikn ”Sousi” di pmshn yng muncu sbgi tmbhn di writing principles sc umum, yitu 5W + H, dngn tmbhn S, hingg umus bu bgi pnuis sndii dh 5W + H + S.


























Chapter 1: Pngnn kkt utm ”Ni Putu Inty” Inty” , sbikny kkt utm diknkn sjk w dn ngsung di hmn-hmn w, wjhny sudh tmpk dngn js dn pmbc sudh tfokus pd kkt utm tsbut. Kkt utm btmu dngn kkt support yng bnm Mich Tn. Kkt support ini muncu mmbntu kkt utm yng dikoyok oh ninj-ninj di Jpng.

M.S. GUMelar

175

in yng mncob mngggkn upyny. St ktig tmpt tdi sistm gbng dimnsiny on on-smu, -smu, gbng dimnsi 7 m Fds tbuk. Tim mwn pn jg gbng dimnsi tsbut yng bnm aux and. aux and bhsi dikhkn, dpt jug di summon.

Chapter 2: Pnybb msh muncu, mnjwb ptnyn mngp Ni Putu Inty dibuu oh p Ninj. Ni Putu Inty mui bj imu b dii yng bih bik dn tkun tng dm dn Summoning. Di sini kkt utm summon ptm ki mkhuk cds pnjg di Dimnsi k-6 m Gjin yangbernamaYret(Ifrit).

Chapter 5: Mngn sjh dn pnduduk mkhuk Dimnsi k-7 m Fds dn kitnny dngn pnduduk Bumi. Ni Putu Inty dn tim kmbi k Dimnsi 3 m Bumi untuk mmbik poits engi di Sgitig Bmud, Sgitig Shngi, dn Sint Vy untuk mnuju gbng dimnsi k-6 m Gjin. Sth Gbng dimnsi k-6 m Gjin tbuk, Ni Putu Inty dn timny mwn pnjg gbng dimnsi yng bnm Mdh Ush.

Chapter 3: Inty bkhi ms bguuny pd Mich Tn dn mui mnci 9 pmt s bgi kunci k dimnsi inny yng ts b di suuh pmukn Bumi. ltkny d yng di Indonsi, USa, UK, Jpng, Tibt, rusi, Kutub Ut, Nzc lin Pu, dn Msi. Dm pjn-

Chapter 6: Mngn Sjh dn Pnduduk Dimnsi k-6 m Gjin dn kitnny dngn mnusi bumi. Dibuu oh Musuh utm yng mnginc Ni Putu Inty, pnyuuhny tnyt dh Gobood Dksid. Ptungn dngn Sidkick Gobood Dksid. Khny Ni Putu Inty dn























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ty, ptp Bi, guuny mnymtkn di di twnn psukn Gobood Dksid dn miknny k dimnsi nt edynh. Mngn sjh dn pnduduk Mkhuk edynh dn kitnny dngn mkhuk bumi dn mnusi di ms u dn jug khbtn tknoogi komput ognik mk. Pmbin tknoogi tbu yng ditnmkn di tubuh Ni Putu Inty, dn di sini ptp Bi Mich Tn mncitkn s usuny. Chapter 9: The bale begins , tunmn b dii suuh dimnsi th dimui. Tjdi ptungn sngit ntpst dn Gobood Dksid tkjut st Ni Putu Inty bhsi ikut dn mnng mwn pst inny di tunmn tsbut. Chapter 10: Gobood Dksid mwn Ni Putu Inty. Ptungn tk tkkn. Di ond w, Ni Putu Inty kh tk. Di ond kdu, kdudukn simbng, di ond ktig, ptungn dihntikn kn d msh di u, pnybun mkhuk dimnsi k-1 m Nhuuku.

VOl IV, 2011

Inty bnyk yng tws, cd, cct, ksdihn mnyuk, am edynh bgt, khncun mss. Dngn kkutn yng mngikn, Gobood Dksid tk thntikn. Smu mkhuk yng mmbntu Ni Putu Inty yng d di Summon smuny kh dngn ski tbs. Kini, smuny d di tngn Ni Putu Inty, dngn d ngn kkutn yng tidk sbnding, dngn kecerd kec erdasa asan, n, keb kebak aksan sanaan aan dan kem kemaju ajuan an tknoogi, st vousi yng didptny. lu, mnddk Ni Putu Inty tchkn sth bpiki mnggunkn sisi kbi jksnnny, jksnnny , dn mnggbungkn smu kkutn yng d tcipth kkutn Ultima Destruction by Mind yng mngikn dn tidk tbndung dngn kkutn p pun. Mumtkn dn mnghncukn smuny, it’s a Doomsday di m dimnsi tsbut. Smu yng bik dn yng buuk tws, tmsuk Gobood Dksid. Chapter 13: Dngn ttunduk sdih, Ni Putu mngm bng di ngks dimnsi edynh, edynh, tidk mnyngk pbutnny bih kji di Go bood Dksid. Ni Putu Inty mnysi p yng th dikukn, mnngis dngn ksdihn yng mndm. lu, mnddk pintu gbng dimnsi tbuk dn bmuncun mkhuk di Di-
























dngn mnghpus mbisi (cit-cit) untuk mngusi dimnsi in. lu, Ni Putu Inty I nty dn timny kmbi k Dimnsi Bumi dn kmbi k Puu Bi. Kini, di thu mngp Bi smpi skng disbut sbgi ”Isnd of th Gods”, puu p dw. Ni Putu Inty mnuskn khidupnny sbgi sisw SMP, ttpi dngn kbi jksnn dn kkutn yng sngt tinggi vny. Happy Ending. Ending.

M.S. GUMelar

177

Non linr (Dynmic Timin) Cit bjn bok-bik sc dinmis, bis di tngh, hmpi khi, k tngh gi u k khi cit, bik bgy ashback mngingt ms u mupun bgy cit science yng mkukn pjnn wktu di  k , misny di ms dpn k ms u, u bik gi k ms dpn, spti pd gmb 10.

Bgituh contoh pot science ction sbgi backbone (tung punggung ksuuhn storyline (story story)). Kgunn pot mmbut ksuuhn cit (stoyline (stoyline)) mnjdi tfokus, bih th, dn tntu juh bih bik. Bilaplot Bila plot sudah selesa selesai i dibua dibuat, t, dapat dadi dadikan kan dm fomt nov, komik, nimsi, vido, sin- Gambar 10 m, op, games op, games , dn sni inny inny yng yng vn. Pot mmpunyi ntomi du visi pnyusun- 6. Story Making. Making. Sth pot jdi, stny mmn wktu (timeline (timeline)) yng sing dipki dm but cit di pot tsbut kn pnuis mmbut ktif (creative (creative story making) making) , , yitu shny mnknkn pd dsin cit b bgi bikut. dskn Story Waveform Design yng th dibhs sbumny. Untuk mmbut citTimin ny, kn dibhs di research inny. Timin mupkn u wktu cit bjn. Sbnny bi sudh mmbut pot, ad du u wktu yng dipki, yitu u ikn mmudhkn untuk mmbut ston dn nonin (dinmik). ryline tu cit utuh. Mmbut cit kn mudh dngn bntun pot. Mmbut c-























178


ing) idntik dngn ing) d ngn bhs Indonsi dngn mkn yng sm, yitu kt ”mngng cit”. 2. Dm mngng cit tu mmbut cit (story (story making) making) th dititi dn disimpukn d tig ktgoi, yitu a. k  ksi ( ction), ction), yitu cit hsi kngn, b. hybrid story , yitu yitu pon yng yng tjdi ssungguhn sung guhnya, ya, tetap tetapi i berga bergaya ya ksi dalam pnuisnny, pnuisnny , dn c. nonksi/reportase (non ction/report), yitu hsi pon bdskn kjdin nyt, cttn, diary , dn sjnisny. sjnisny. 3. Dm mmbut cit dn kmudin dituangkan ang kan dal dalam am tek teks/ s/ tul tulisa isan, n, hal ini sangat ngat mudh dikukn bgi kit yng suk bceritasecaralisan/suara. ceritasecara lisan/suara.Jikakita Jikakitaber berasumsi asumsi bhw su yng kit citkn itu dikonversikanketeks/tulisan,jadilahceritayang mnik yng dpt mmudhkn ssong s song untuk mmbut cit dn diwujudkn dm tuisn. 4. Th dipknkn pu tknik mndsin dm mmbut cit, yitu Story Waveform

VOl IV, 2011

5.

Design , di mn bih mmudhkn dm pnyusunn pot, bhkn smpi k ending ending-ny. Dihpkn dngn pndktn tknik Story Waveform Design ini, pnciptn cit di ng kit tcint ini dpt bkmbng bih bik gi.

Dafar Pustaka

Nw Yok Wits Wits Wokshop (My (M y 13, 2006), 2006) , Portable MFA in Creative Writing (New York Writers Workshop), USa, Wits Digst Books. Co , Whity (august 1, 2002 ), The Everything Creative Writing Book: All You Need to Know to Write a Novel, Play, Short Story, Screenplay, Poem, or Article (Everything Series) , , USa, adms Mdi. Heron,Jack(November15,2002), The Writer’s Heron,Jack(November15,2002), Idea Book , USa, Wits Wits Digst Books. Books.
























ISSN 1979-0716

GAYA SELINGKUNG DAN SYARAT PEMUATAN ARTIKEL

JURNAL JURNA L ULTIMAR ULTIMART T

1.

Artikel berasal dari kata Latin ”articulus” ”articulus” yang yang berarti: bagian atau pasal (dalam suatu suatu karya karya tulis). Dengan demikian, artikel untuk jurnal UltimaCom ialah bagian dari hasil penelitian atau yang setara dengan hasil penelitian (artikel konseptual) di bidang ilmu seni dan desain. 2. Artikel ditulis ditulis dalam bahasa Indonesia dan atau Inggris yang yang baik dan benar (SPOK), (SPOK), panjang artikel 7.000 – 8.000 kata (setara dengan 20 - 25 halaman kertas kertas A-4 spasi ganda), dilengkapi abstrak dalam bahasa Inggris (75-100 kata) dan kata-kata kunci dalam bahasa Inggris (maksimal 6 kata). 3. Tata cara pengutipa pengutipan n dianjurka dianjurkan n meng mengguna gunakan kan catatan perut yang memuat: nama belakang penulis, tahun dan halaman dan ditulis dalam kurung ( name – date). date). Contoh Satu Penulis : (Miller, 2005:11) Artinya, kutipan tersebut mengacu pada karya Katherine Miller yang terbit pada 2005, halaman 11. Lebih dari tiga penulis : (Fidler, dkk., 2010:325) 4. Pe Penul nulisa isandaar ndaar pus pustak taka a men menggu ggunak nakangay angaya a Har Harva vardCita rdCitatio tionStyle nStyle:Namabe :Namabelakang, lakang,nama nama depan. Tahun Penerbitan. Judul Penerbitan. Judul Buku (cetak miring). miring). Kota: Penerbit. Contoh: Penulis (dibalik, kecuali Tahun terbitan Judul buku Temp Tempat/kota at/kota penerbit Nama penerbit Cina, Korea, dan Batak) Lev eviine ne,,S Sttev even en Z. 20 2008 08.. A Guide for for the Arts Student Student.. New York: I.B. Tauris & Co. Ltd 5.

Biodata singkat singkat penulis penulis dan identitas penelitian penelitian dicantumkan dicantumkan sebagai sebagai catatan kaki pada halaman pertama naskah dengan poin huruf lebih kecil dibandingkan badan naskah. 6. Artikel juga dapat dikirimkan dalam bentuk sofcopydalamMicrofoWorddenganformatRTF menggunakanjenishurufTimesNewRoman, font 12. 7. Artikel hasil hasil penelitian memuat: (1) Judul, (2) Nama Nama penulis (tanpa gelar), (3) Abstrak Abstrak (dalam bahasa Inggris), (4) Kata kunci (dalam bahasa Inggris), (5) Pendahuluan (tanpa sub judul, me-

























UltimArt Vol IV No 2

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