EVALUATION 7

Here is our commentary on both our prelim and thriller.

EVALUATION 6

Here is our evaluation on the technology we used:

EVALUATION 5

EVALUATION 3

Poster Analysis

Here in the top of the poster we have established what actors are starring in out thriller (Tom Vale and Taylor Gladwin). The font has been chosen to be put in black, which connotations resemble death or darkness, the font used does not join the letters. This makes it easier for people to read but it also has an element of creepiness. Tom Vales name also has a red background of blood whilst Taylor’s is in white. This could infer that Tom is playing the character who has danger centered around him, maybe meaning he is the villain. This come from the connotations of the colour red.

We have used an image of a knife to show the type of film that it is. It also suggests what props we have used in the making of the film and that it has some significance to the movie. As well as this, in the reflection of the knife the reflection of a person can be seen. This leads the audience to create their own enigmas to whether he is the villain or innocent.

This states the name of the film, again the colour of the font is red which represents danger and worry but also keeps with the theme of blood. Secondly the font it different, it doesn’t have the appearance to something that would be on a Disney film. It is plain, to the point and used in everyday life which is what most thrillers are set about.

The definition to the word disposition we found to be quite creepy, again this was used on the poster to suggest what the film is about, especially the last word ’torture’.

The colour scheme of the poster consists of whites, reds and blacks. We used white as it connotates innocence, isolation and perhaps a degree of psychological craziness. We wanted to contrast this with the use of red, which means danger, suggesting there is a fight between the innocent and guilty.

Lastly, at the bottom is shown the credits of who was in the making of the film. This includes the directors, editors, scripts and names of institutions and distributors.

Third Day of Filming

Third day of filming

Our third day of filming consisted of shooting at Tom Vales house and at Shenfield station. We shot at the house as it was very deceiving, from the outside it looks well maintained and normal, however the inside contrasts with turned up carpet, abandoned and run down. At the station, we needed shots of him coming out and starting his journey to what the audience should think home.


We left from school early in the morning to have time to film; we had to fit in filming in the house and station. The first shots we got once got to the location were of tom entering the house, however we had some problems with cars and people in the background also when shooting the match on action of the opening of the door, the key kept getting stuck. Apart from this we got a variety of shots to save us from having to come back and re-film, with shots that included panning we got a few takes so that we had a choice to be able to select the best one.

Once inside the house we had to sort out the costumes and placing of the torture scene. We improvised with old phone cables to tie Taylor to a old chandler hook on the ceiling, we then used this to bind his feet and used a tie to gag his mouth. A black plastic bag was placed over his head to give the impression he had been then for a while. To shoot the torture seen we used a mixture of handheld shots, point of view and mid with the tripod. We also had to shoot when Tom entered the room and laid out his torturous devices. We shot this from a different room through a whole in the wall in a low angle shot to show that Tom was in control. We had problems getting this angle as the tripod was to small so we had to improvise and use bits of old tiles and wood to make it higher to tom was in the camera lens.

Once we had completed the shooting at the house we left and made our way to Shenfield station. He we got shots of tom walking through the barriers at the, and then coming out of the station. We again got a variety of shots, changing the angle and the place of shooting to have more to work with. We had to take some multiple shots were work men in bring florescent jackets walked through, this would have been no good as footage as it distracts the viewer away from Tom.




Finally, when all the shooting was completed we made our way back to school, uploaded what we had filmed and started the process of editing.

Second Day of Filming

With the travelling montage complete and edited, we pressed on with the warehouse torture sequence on the 30th March 2010. With all the props summed up together within the briefcase, we travelled to the suburbs of Brentwood to locate the warehouse. With us, was main antagonist actor Tom Vale and torture victim Taylor Gladwin. After a reasonably long walk, we finally located the warehouse, which is positioned within the Brentwood industrial estate.

Informed by others that it was abandoned, we made our way in through a broken window, familiarising ourselves with the surroundings. Primarily, the rooms were excessively dark, making the shooting almost impossible. However, after some time, we found our way into a considerably substantial room, which almost resembled a plane hanger.

Initially, the process was running extremely smooth. High angle establishing shots of the interior had been perfected, and the props we’re fundamentally set out for filming. However, just as Taylor had prepared the costume, law enforcements interrupted the session. They were extremely cooperative and understanding once we had informed them of our perception upon the matter, as well as the job in hand.

They explained to us that under the circumstance of danger, we would not be insured, due to the fact that the establishment was dangerous. They further elaborated by stating that the building was in hiatus of being bought, and if we actually wanted to shoot there, we would have to contact DHL, fill out permission paperwork etc.
Somewhat disheartened about the current situation, our group left the site, along with Tom Vale and Taylor Gladwin, and travelled back to the train station. Under a moment of reflection, we analysed the footage at the warehouse, and decided that the amount of recording was unsatisfactory.

Fundamentally, this dilemma had caused a variety of problems, as we literally had nowhere to shoot the second sequence. Lending us a helping hand once again, Tom Vale offered to lend us his dilapidated house upon Hutton Mount, stating that it was ok to shoot there if we want. So therefore, it appears that we will probably pursue this tangent. Once reflecting upon the matter, it would seem that all the Blog work on warehouses would go to waste, however, as long as the house is spacious and derelict, all the theory work we have done would still be relevant and fundamentally apply.

On the other hand, we could also follow the variable option of contacting DHL and requesting permission for the warehouse usage. However, time is extremely precious. So unless we can extend the deadline, Tom Vale’s house is the only option we have left.

First Day of Filming

Despite the minor hindrance here and there, I feel on the whole that the days shooting was fairly successful. Once sorting out authorization to leave school, the group, as well as Tom Vale (our actor) travelled to Liverpool Street Station, where we planned to shoot the opening minute of our thriller.

Once departing the train, we took our first sequence of shots from the platform, away from the public eye. Encapsulating both examples of match-on-action, and shot reverse shot, the process was running efficiently. Occasionally we did however stray away from our storyboard, as we were lucky enough to catch footage of a train pulling into the platform bay.

However, we reached our first hurdle as the group prepared from a high angle establishing shot of Liverpool Street Station. Before even placing the camera upon the tripod the group was consulted by a Liverpool Street employee, who suggested that we should consult the Liverpool Street information office before shooting. It was here that we were informed that shooting inside Liverpool Street was strictly forbidden, unless prior to the shooting, permission forms were signed. So therefore, we followed a variable tangent, where we took an establishing shot from outside Liverpool Street.

To insure that we had enough footage to stretch out for a complete minute, the group then passed through Stratford Station, merely as a back up in case the Liverpool Street footage was insufficient. We followed the same format to the Liverpool Street storyboard, with slight variations here and there. However, one predominant factor that we faced was the timing for trains. The fact that the vast majority of trains terminate at Liverpool Street meant we could perfect the shot-reverse-shot and match on action. However, the unfortunate train timings at Stratford meant we would have sparse time to take any shot whatsoever, as the platform is more compact, and therefore, more and more people would just walk into the shot.

On our journeys back home, we decided that taking a shot of Tom reading the paper would be an effective idea to ground the thriller and enhance reality. However, thinking that the shot had been taken successfully, it was to our surprise in the editing suite that the sequence had been recorded over, which unfortunately meant that we had to sacrifice a shot.

So, despite the trials and tribulations we faced through our transport montage, I still think we managed to accumulate a reasonable amount of footage in the process. Left now was merely the torture sequence, which proved much more demanding than we hoped…

Focus Group

As part of our research, we decided to conduct a focus group, which we filmed. Since we were limited with time, we decided that the best thing to do would be to conduct the focus group with part of our Film Studies class, as well as asking the same questions to people of different age groups outside of school.

Here is the focus group we filmed:

Focus Group Research

Focus groups

A focus group is a form of qualitative research in which a group of people are asked about there perceptions, opinions, beliefs and attitudes towards a product, service, concept, advertisement, idea or packaging.

Henderson, Naomi R.(2009) Managing moderator stress: ‘take a deep breath. You can do this!’ Marketing research, vol.21 issue 1, P28-P29

Disadvantages

If in the group you use friends are being interviewed then there answer may just be what you want to hear.
In the group one person may dominate given really only one opinion.
You may not here what you want.
There could be to many people talking over each other which could make things unclear.

Strengths
There are a variety of responses directly from your target audience.
The type of research is a lot more in depth making it qualitative rather than quantative

Thriller Idea

Disposition

The first shot will be an establishing shot from out side London Liverpool Street. It will establish the location and where the events will first take place. We then have a long shot of the antagonist walking through the station, in a high angle shot. Mid shots and close ups establish that he is the main character but also show that he is moving. We see his character walk through his daily routine on his journey home from work. We use cross cutting to show him checking between the time on his watch and the time boards. The idea is to give the impression that he is a normal guy going through his normal routine. We then follow him onto the train and off of the train into a more isolated and run down station.

There is a significant difference between the two locations. Things start to become weirder when we follow him down an empty street into the warehouse. Between each couple of shots the take will fade to black and have a credit. The point of this is to make give feelings of loneliness and horror.

As he enters the warehouse his victim is already tied up, unable to speak from a gag. His clothes are ripped and covered in blood, inferring that the protagonist has been in this situation for a while. This creates enigmas in the audiences head as to why this man is here. He then opens up his brief case and takes out tools and appliances, this hopefully would have shocked the audience who would have seen him as just a normal man. We do not see any torture or violence but we end of a shot of the antagonist going towards the protagonist with the intention of torture. This then fades to the main title of the Film. Disposition.

Hybrid 2 Minute Horror/Thriller Storyboard

To Be Continued...

BRIEF - Conventions

What Conventions are you Going to use for your Thriller and Why?

At the moment we haven’t filmed our sequence so we do not yet no if things will go to plan so ideas may change. At the time being, there are a variety of conventions that we are going to use for the thriller.

Firstly, we have chosen our locations carefully. Usually thrillers are filmed in busy, crowded areas to create a realistic image. This would normally include busy cities, towns, train stations, foreign harbours. We have then decided to film in a busy station, perhaps Romford or Stratford, this can show the isolation of the character even in a busy place with the right shots and sound. We have then chosen to shoot in a warehouse which is abandoned, cold and gloomy, which again help to create enigmas and a sense of loneliness, also for the audience to become emotional towards the protagonist.

As we are filming in march this also helps us to convey a thriller. The weather will most probably going to dull and glim, also with the time of sunset it gives a sense of darkness. The naturalistic lighting will again help to put across realism, but also give a sense of darkness, horror, sadness and isolation.

In terms of props and iconography we have found that the most commonly associated with thrillers would be knives and guns. We have chosen not to use guns as this would probably fall under the sub genre of a crime thriller, we went with knives and more gruesome objects as we want to make a thriller/horror. Other props that we have decided to use would be rope, black plastic bags.

When deciding on the costume, with knowledge of other thrillers we have found that in some cases the costume of the main antagonist can go either casual or smart. Jack Torrance in the Shining (1980, Stanley Kubrick) wears a casual winter jack and clothes, where as Timothy Olyphant in the Hitman (Xavier Gens, 2007) dresses all in black in suit. Are idea at the moment it to have the main villain in a suit to give the idea of a normal person with a normal office job but with a hidden agenda. The clothes of the innocent will then be casual with items of white to show the innocence and vulnerability

When choosing the sound we have come up with music that is creepy but yet exciting allowing the viewer to make there own enigmas, it will keep them on edge and excited which is the common idea in most thrillers.

BRIEF - Genre

Do you Invision your Thriller to be a Hyrbrid or Sub Genre?

With the story line of our thriller it would make sense to call it a hybrid. It will contain violence, with seemingly normal people, in normal places which constitute as a thriller. However it will also take on the characteristics of a horror, it will have blood and violence, build mystery and suspense, but also make the audience sit on edge. Also, in a thriller the usual weapon choice would be some type of gun, but we have chosen to be more on the horror side by using knives, and what can be considered as torture devices. The lighting will be low key and naturalistic which will mix the two together, low key (horror), Naturalistic (Thriller). The sound that we use will give the opening energy, thereby building the suspense in the audience, but then the soundtrack will change to become more dramatic and eerie, accompanied by musical stings. Therefore, our thriller will be classified as a hybrid. Thriller/Horror.

Research into institutions.

This is a list of the top thrillers, with the institution and directors, from this research we have been able to decide on the institution that we want to produce our's.

The Godfather, Paramount Pictures. (1972, Francis Ford Coppola)
The dark night, Warner bros Pictures. (2008, Christopher Nolan)
Rear window, Paramount pictures and universal. (1954, Alfred Hitchcock)
Fight club, 20th century fox. (David Fincher, 1999)
Psycho, Paramount pictures and Universal. (Alfred Hitchcock, 1960)
Se7en, New line cinema. (David Fincher, 1995)

Paramount pictures have been the institution behind some of the best thrillers of all time; they have made films such as The godfather, Rear Window and Psycho. They continue to make top class films, which are first aired in the cinema like there up coming ‘Shutter Island’ (Director, Martin Scorsese, March 12th 2010). The institution has a strong reputation for making good thrillers witch deliver suspense and never fail to thrill.

Due to there good reputation we have decided that Paramount should produce our film as supposed to Universal or 20th century fox, because the films that these produce are more Hollywood, we want ours to have a more realistic approach that gives the feeling of everyday life.

Another good reason for choosing Paramount is because of its use of synergy. Paramount have not converged with iTunes, however they are able to distribute and advertise there products on the programme. This broadens there global reach to a much wider audience, as the company is so widely know as used by people of all ages. To distribute there products they use another division in the company (synergy) which is Paramount Home Video which was founded in 1975. This also distributes for DreamWorks, and therefore gets a cut in their profit.

Paramount create websites to promote there film, for example there new film Shutter Island starring Leonardo DiCaprio, and directed by Martin Scorsese has its own website, chat rooms, and forums. There have been interviews shown on MTV with the cast that promote the film. They have advertised also by creating posters and using previews on the site and in cinema’s.

Age Restrictions

During the production of our thriller, we will have to take into consideration the age rating system for films in the UK. We have done some research on this:

Universal - This means that the picture is suitable for all children.

Parental Guidance - This rating is completely advisory and means that there may be scenes which are unsuitable for small children.

12A is for use by cinemas and means that children under the age of 12 are allowed in when accompanied by an adult.

12 - Children under the age of 12 are not allowed to buy 12 rated films. This only applies to films being bought or rented on video or DVD.

15 - Children under the age of 15 are not allowed to see the film, usually because of violence, language or brief nudity.

18 - Nobody under the age of 18 is allowed to see the film usually because of strong violence, language, drug use or sex scenes.

Restricted 18 - Strictly adults only, may only be sold in licensed sex shops or shown in licensed cinemas.

We did some research on thiller ratings using the film website imdb.com. The top 10 thriller films were rated as follows (most recent ratings):

1. The Godfather (1972) Francis Ford Coppola - Rated 15
2. The Godfather: Part II (1974) Francis Ford Coppola - Rated 18
3. Dark Knight (2008) Christopher Nolan - Rated 12A
4. Fight Club (1999) David Fincher - Rated 18
5. Rear Window (1954) Alfred Hitchcock - Rated PG
6. The Usual Suspects (1995) Bryan Singer - Rated 18
7. Psycho (1960) Alfred Hitchcock - Rated 15
8. The Matrix (1999) The Wachowski Brothers - Rated 15
9. The Silence of the Lambs (1991) Jonathan Demme - Rated 18
10. Memento (2000) Christopher Nolan - Rated 15

Our main influences were also films such as Saw (2004, James Wan) - Rated 18, Reservoir Dogs (1992, Quentin Tarantino) - Rated 18, Pulp Fiction (2005, Quentin Tarantino) - Rated 18, Marathon Man (1976, John Schlesinger) - Rated 18, Scream (1996, Wes Craven) - Rated 18, The Thing (1982, John Carpenter) - Rated 18, Panic Room (2002, David Fincher) - Rated 15, The Shining (1980, Stanley Kubrick) - Rated 15.

While some are rated 15 - and some of the older thrillers are rated 12 or even PG - most of these films are rated 18. often due to violence and language. Considering our influences (and the fact that our idea involves a torture scene) we decided that should our completed film be shown in cinemas, it would probably be rated 18.

Previous Year 12 Thrillers

From watching last year's year twelve's thrillers, we noticed a few things which we though could be improved or avoided:

Firstly, we discovered that when the thrillers were filmed at night, the cameras were not very good. In many of the thrillers that we watched, they had tried to create a ‘scary’ or 'creepy' atmosphere by shooting at night, however it turned out that when we watched them it was simply difficult to see what was happening.

Some of the thrillers we watched included an isolated location, which is a good way of creating a tense atmosphere; however this is ruined when something which is out of place can be seen on screen. For example there should not be somebody walking a dog in the middle of an 'isolated' forest. Also, we should make sure that our iconography matches the genre, e.g. if a knife is used it should be a sharp butcher knife, rather than a butter knife.

Many of the thrillers included panning shots which were unsteady, somewhat ruining the quality of the film. We will practice panning with the cameras and also do multiple takes to prevent this from happening.

As mentioned in a previous post, when filming we will avoid using too much, if any, dialogue as the cameras are not good at picking up sound.

Another thing which we thought could be improved in many of the videos was the acting and casting. Many of the groups simply acted themselves, however it just doesn’t look right when teenagers are in a thriller, so we will try to use older actors who match the iconography of a thriller film.

"Cape Fear" - Textual Analysis

As the film begins, even before we are shown anything, there is a soundscape of running water. This immediately suggests that most of the film will take place around water - anchored by the images of water, and the fact that the film is called 'Cape Fear'. There is then a sound sting as the non diegetic score begins, which instantly puts the audience on edge.

The water rippling is accompanied by a contrapuntal score, as the water is calm while the music suggests otherwise. This creates many enigmas as the audience is wondering what is going to happen that makes the water significant.

The soundtrack then becomes louder and more dramatic as an eagle flies into view behind the images of the water. Again, enigmas are created as the audience is wondering how the eagle and the water are connected. Eagles also have sinister connotations, as they are birds of prey and fearsome predators, suggesting that the film may centre around a murderer or someone who preys on others.

The water then turns darker, and the music becomes even more dramatic as the title of the film appears. This suggests that the name of the film (which is a place) is important, and that bad things happen there. The text used for the credits also suggests a general feeling that something is not quite right, as they are shown in a slanted font.

An eye then fades into view behind the water, as though the person is in the water. This mysterious person is significant as they may be someone who is murdered and thrown in the water, or they could be the antagonist. who plays a significant role in the film. A shot of a mouth is then shown in the same way, which could be someone screaming. We are then shown the face of the person which becomes clearer. It become evident that the face is of a perosn laughing, which has connotations of evil and villains.

As the non-diegetic score draws out, we as an audience see that the lake turns a murky crimson colour, as if to reflect the suns evening rays. The sense that darkness is imminent revives pre-conceived notions of immediacy to mind, as in any conventional thriller, the darkness is almost an optimum time for misdemeanours to take place. The colour red also works alongside the conventional codes and conventions of Mise En Scene, as red typically signifies danger or a looming threat.

This sense of immediacy is heightened as the water begins to ripple, exposing a burly male who appears to have woken for deep sleep. The fact he is enveloped around darkness, as well as his peculiar NVC ultimately signifies he is a mysterious figure, who is somewhat cold inside, possibly looking for revenge. The audience then begin to ponder over who this mysterious man really is.

As this image fades, we are reintroduced to what appears to be the same man, writhing as the non-diegetic score continues in the distance. The fact the N-D score is repetitive, and the water has a yellowing tinge signifies that this lake has a notorious, lengthy history.

To anchor the notion of pain and danger written of above, the water then impulsively ripples to mirror a heart monitor seen in hospitals. The fact it frantically gets bigger, with red pigments oozing from the top signifies imminent death, or once again a pending doom the audience will have to wait for.

The repetitive non-diegetic soundtrack then builds to an optimum focal point of tension as the camera fades to the silhouette of a man, smothered by green water. The daunting score works alongside the NVC, as the fact he moves closer to the screen almost mirrors him walking towards the audience, which should provoke audience response.

Finally, the lake is completely consumed by a pool of blood, with a mere droplet falling in the background. This is a similar technique seen in Scream, where the white copy turns a blood curdling red as someone screams. Both examples portray to the audience that the circumstance of events have changed for the worst, as the lake is metaphorically consumed by danger and most prominently death.


In the next scene the first shot is a extreme close up of a girls eye’s, the shot fades from red to white In a negative. This infers that maybe what is happening is in the past, and connotation of the colour red perhaps means that she is the victim of what will happen later on. This shot is accompanied by a soft creepy soundtrack as the dialogue begins. The soundtrack then fades completely and the non digetic sound of a river or waterfall starts, this suggests that what will happen later will also have something to do with water.

The camera slowly zooms out to a mid shot of her whilst she is talking in a direct address. The set design of the room she is sitting in is all white, her costume is all white. The whiteness of the room and her could mean that she was the innocent victim or is insane. The connotation of the colour white normally associated with innocence or insanity which is being inferred to the audience here. Her polo shirt is done up to the top, so she could be a bit weird. Again this shows that she may have been through something and has been affected mentally by it.

When she talks she begins with the phrase ‘my reminiscence’, it shows that she used to think the place was a nice place to be and that the name of the lake (cape fear) was misleading. This again reinforces that the horror to come orientates about this place and that she is one of the main characters that has been affected by what has happened there.

The scene has been shot with no editing, and no music soundtrack this helps the audience come up with their own enigmas as it has them more entwined. This scene has used many conations with the colours it uses to create and involve the audience, its use of mise en scene, music and iconography all help the audience create enigmas about what is going to happen.


The camera slowly pans down the prison cell wall, where theirs pictures of malicious leaders of the past. These images instantly create a negative tone towards the film. The pictures automatically tell the audience that this man is the antagonist of the film. Whilst the camera is panning down the wall the loud non-diegetic soundtrack from the credits starts up again, it comes in suddenly to shock the audience and to reinforce the negative tone of the film.

We then see a close up of some books, one of them being the bible, the importance of this is that is tells the audience that he has certain beliefs, creating enigmas for what those beliefs may be. As the scene continues the music softens slightly until we see the man doing press ups. We see he’s a strong, muscularly man making the audience fear him. The fact that the music then becomes louder and turns into a musical sting reinforces the idea that he is the antagonist.

The push up movement that the actor is doing appears in a worshiping manner, as if he is worshiping the leaders on the wall, it makes the audience UN –easy as well as intriguing them. The camera then shows a close up of his back revealing his tattoos; the tattoo is a big, cross with the American style scales on either side, with the words truth under one side and justice under the other. The significance of this is huge as the scales are balanced telling the audience that he believes the truth equals justice. Then as he turns around we see that he is covered in tattoos fitting the stereotype of the classic tough criminal. The non-diegetic soundtrack then decreases in volume as the prison officer say’s to Cady “ok, the moment you’ve been waiting for” this informs the audience that he’s been in there a long time.

Cady then walks out his cell and down the stairs, as this is happening the other prisoners stare in silence giving the impression that they fear him. Another interesting point is that Cady walks in front of the prison officer representing that even the officers fear him. We see all this through a long, panning shot around the prison as Cady walks. The camera then shows a mid shot of Cady and the officer walking out through the gate, where the gate then shuts to end the scene.

The next scene then starts with the outside gate being opened and Cady walking out. As this happens the officer say’s “Anybody coming for you Cady? What about your books?” and Cady replies with “Already read em” this again reinforces that Cady has been there a long time and tells the audience that he has no one, he’s alone. The camera shows a wide, long shot as we see Cady walking out of the prison this is to establish the storm that starts up behind him; this makes the audience think that something bad is going to happen, as if Cady shouldn’t be released. The scene then ends with Cady walking straight towards the camera and the non-diegetic soundtrack building as he goes. Cady then walks straight into the camera blacking out the screen and the soundtrack comes to a sudden stop.

"The Dark Knight" - Textual Analysis

At first glance at the movie poster of the dark knight (Director: Christopher Nolan. Date: July 2008) we notice the dark dull colours that create the poster and set the mood, this is accompanied by the burning colours of the motif of the bat. The dark greys used are usually connotations of death, sadness and darkness which make up the sky and tall building in the background. The vast amount of grey clouds could indicate and explosion such as the 9/11 expressing distress. The clouds furthermore could represent a type of smog that has covered the city for a while leaving the people in a depression such as how a long period of bad weather has on a city, in this case it could indicate some type of fight against the people.

The office block in the background could represent the city of Gothem where as the colour infers to us that the city may be in some type of depressed state or under threat. The use of the building also suggests the urban setting, which is very common amongst thrillers. It shows that what events to come will be occurring in everyday life to normal people.

The bat motif has been burnt into the building behind using strong burgundies, reds and oranges. The colour scheme connotes death, violence, blood shed and anger, maybe betrayal. The fact that the symbol has been burned into the behind building could suggest that the hero that the public thought protected them had betrayed them and is now perhaps the villain.

The body language of batman shows his strength and masculinity as he is slanted to the side in a low anger shot. This shows that he is in power showing his strength and domination of character. His costume is all black, with mask to cover his identity; it conjures mystery about the person who is behind it. The darkness could be a use of camouflage, inferring that he protects people during the night where he can not be seen. Consequently the use of the colour black could also suggest that maybe this figure is the bringer of death.

The title and credits on the cover are in a white normal font. White usually comes across as innocence or insanity, vulnerability. It could suggest the insanity of one of the main protagonists, or the vulnerability of the people who may be taken advantage of.