فهرست مطالب amir hossein pourshabanan

Computer games are a combination of the arts of cinema, graphics, music, literature, and their subsets that, despite having an applicant and a consumer, have not been considered in Iran in terms of production for various reasons. However, by adapting literary works as the axis of creative ideation in connection with the narration of computer games, a more effective platform can be created in the production of such products. Therefore, in the present study, the aim was to investigate this issue by a descriptive-analytical method, relying on the desirable features of classical Persian literature that has a range of epic works and texts such as Borzounameh and similar examples. The question posed in this study is: What are the characteristics of existence, multiplicity, and diversity that make adaptation desirable for computer games with an indigenous culture approach and considering appropriate value-ethical norms? It seems that features such as the presence of a compelling story and lively narrative, the presence of a hero (anti-hero), and the multiplicity of attractive characters with the ability to interact in the context of various conflicts and image-based expression of appropriate themes in epic works have turned these types of texts into desirable options for adapting computer games with a loyal approach and with small changes appropriate to the age and culture of the target audience in the widely-used martial-combat genre.

Animation is one of the most important genres in the history of cinema in the world, which has always been of interest to many artists and audiences, and has created many brilliant works in its context. One of the main areas of animation is the adaptation of literary works during the formation and development of this type of image. In adaptation for animation, texts with characteristics that fit the needs of this demo are needed to create the best quality of the transformation of a literary text into an image. Therefore, in the forthcoming article, the goal is to answer this question with a type-oriented approach and reliance on the intellectual and literary style in the transborder, in a transcript and similar epic works, the existence , The multiplicity and variety of features that enhance the drama and create the utility for adaptation in the animation genre. With this description, fantasy, imagination, the variety of imaginative beings in the context of a variety of conflicts and conflicts, and succinct expressions of the proper themes, seem to be the features of the style of thought and the existence of some literary arts Such an exaggeration, recognition, symbol, and a variety of detailed descriptions as well as features of literary style and its adaptation to the structural and content requirements of animation, make these types of works suitable for restoration in this genre, and can be identified by sampling this feature With similar or less similar capacities in the Persian epic texts of Persian literature, produced appropriate adaptations.

Farsi Persian Literature is a rich treasure of various narrations of the mindset of Iranian talented writers, which is in line with the urgent need for the new society to interact with the influential art of cinema, and has a great deal of interaction. He was able to exploit his various works in making image versions. From this angle, the historic novel of The Ten Qezlbash written by Hossein Masroor, is one of these works written in the context of folk literature, with detailed payment and extensive details, and with the benefit of the visual features and the multiplicity of some of the elements of the drama, has good adaptive capacities. Accordingly, in the present paper, we tried to use a descriptive-analytical method to highlight some of the most important indicators that paid attention to this work from a dramatic dimension, and examined some examples tailored to this approach. And analyzed. By this description, it seems that the context of the story and its ups and downs, along with a plethora of fragrances with a variety of crises and points of the story's height, is the context in which other demeanoristic elements, such as plenty of excitement conflicts, the diversity of precise descriptions The imaginative and verifiable dramatic character, with its epic and action-oriented expression, has transformed it into one of the most desirable options for cinematic adaptation, with engaging and appealing themes

The attention to the issue of post-death life is one of the things that, in the form of the parable of the narrative of the journey to heaven and hell, was created in the literary and artistic works of various nations throughout history, with regard to the cultural, social and religious factors of each society. The wishes and pains of human life in the other world have been exhibited. Adavirafname (narrative and prose) of Iranian literature and the movie "What Dreams May Come" is the product of American cinema, among which the allegorical journey to heaven and hell is depicted in them, and this paper attempts to analyze and answer the main question to about the allegory of this course and the function of the symbols in these works, what are the similarities and differences, and the reasons for these different interpretations in a descriptive way. This comparison shows that, given the dominant individualism of the movie, the symbolic expression in that narrow interpretation with a specific framework, focused on shaping the sensory relationship with the audience in the form of recreating scenes from heaven and hell personal, and emphasizing pleasures and spiritual sufferings and individual motivations, but in Ardavirafname, by emphasizing on the notions of collective memory and religious believes, symbols in the general form, repetitive interpretations and educational-religious goals, and focusing on physical rewards in the context of the general parable of the journey to heaven and hell, the main theme of the text has been shaped.

The purpose of this article is to investigate the capacities and trends of the literary text in the transformation into a computer game by analyzing the descriptive-analytical method by examining the part of inferno from the text of Dante's Divine Comedy and its adaptation game. The main question to answer is that the Ardavirafname of Persian classical literature, given the structural and content similarities with the Divine Comedy, will have the capabilities to reproduce in the form of a computer game. With this description, it is possible to conclude from the simultaneous review of the game and the text of inferno and to compare the artifacts with it, it can be concluded that the fictional framework of both the literary works is similar, and the narrative of the artifacts is also reinforced by the struggle, suspension, and complementary narratives, The ability to become a fitting story of the game is adapted. The heroes of both texts have common characteristics and, like the game of inferno, one can remove the characters in a descriptive way, and by turning the function and the active connections into desirable characters for an adaptation game. The space and place described in Dante's text and detailed in the adaptation game is faithfully reproduced, and in terms of both qualitative and symbolic expressions, the visualization function has the same capability and has the capacity to be amplified and expanded descriptions and spatial images are becoming an appropriate place to create a multi-stage adaptive computer game.