2. Use this template to help you evaluate your project.
You should give specific details about your work.
You should provide both written and visual examples to explain your project.
You should find areas to praise in your work. Be specific about why you think they
are good or why you are proud of them.
You should also find areas that could be improved. Look for areas that you could
make better if you went back to them. Be specific about what you would improve.
Add additional slides as you need to. Don’t be restricted by what is here.
Any blank slides should be deleted before submission.
3. Does your final product reflect
your original intentions?
My final product in many ways reflects my original intentions, and also in many ways does not. It is natural
that along the stages of production of anything, there are always going to be changes made, and my
product is no exception. When compared to both my storyboard and digital flat plan, the actual narrative
remains almost exactly the same, with each page of the final product composed as set out in my plans. The
only exception to this was the fact that half way through production, after experimenting on Photoshop I
came to the conclusion that creating a space crater was simply too difficult to achieve within the art style I’d
gone for. For this reason I adapted the narrative so that the ball falls from a cliff, rather than into a crater.
Despite my narrative remaining almost untouched in terms of the original plan, the actual composition of the
shots, and the positioning of each character on stage was something which I did adapt quite significantly
from the flat plan. This was due to the fact that I wanted to be able to experiment as I progressed through
the production, and didn’t want to be limited to the angles and perspectives in which I had originally chosen
on. By doing this I was able to create more diverse images, with characters being shown from the side, front
and back, which admittedly was something I hadn’t considered doing originally. Another point worth
mentioning is the fact that I orignally intended my book to be composed of mostly shapes rather than
rotoscopes. When it came to it, I decided that using the polygonic lasso tool to create image would allow me
to create a more unique style, but I did so in a way which was more original, and rather than simply cutting
around images from the internet, I created my own images. So despite this going against my original
intentions, It did allow me to create something more unique, which justifies the choice. One other way in
which my final product slightly differentiated from the original plan was the fact that I had to adjust some
minor amounts of the narrative in order to make the text amount balanced on each page. I did so by taking
out certain words within some sentences to shorten them, and this didn’t really have a negative effect on
how my product reflects on my original intentions. Even though I didn’t religiously stick to the composition
proposed in my digital flat plan, or copy my original ‘final script’ word for word, I feel that my overall product
really reflects on my original intentions, keeping the same general narrative, moral, location and characters
which I had planned on using from the beginning. The general theme of the book was kept as intended, with
the fairytale inspired narrative and ‘Happily ever after’ style literature, so really there isn’t much to complain
about in terms of how well it reflects on my original intentions.
4. :Demonstration of how the character composition sometimes
differentiated between my digital flat plan and my final page.
5. How well have you
constructed your images?
My images have been constructed in a way which I was very pleased with, and admittedly,
at the start of the production, I wasn’t expecting it to all run as smoothly as it did. My
images were all aesthetically pleasing, and utilised lines and shapes in order to create a
3D looking image, which allowed me to create an image style which was very unique to
me. By using long lines I was able to create jagged looking edges, which further added to
the computer generated feeling the images gave off, which matched up to the sci-fi theme I
had intended on creating. A sense of texture was created in my images through the use of
pattern overlays, which gave certain parts of my image a material feel rather than just
being a solid colour. An example of how this worked well within my image construction was
how I was able to create a metal texture for the wall, which added depth to that page.
Consistency played a key part in my book, as it should in any. I had to make sure the
composition of my images remained similar in each page, by not only ensuring that the art
style was kept the same, but also that the colours remained consistent. The grey sci-fi
theme meant that I kept most of my colour palette in a fairly dull range, and despite some
scenes being moon-based, I was able to replicate this washed out palette throughout the
book in order to ensure image consistency. The ting that I really enjoyed was the fact that
my image style was so original, and like no other children’s book, and for this reason, there
isn’t any need for me to reference other children’s books in terms of a comparison. Due to
all this, I feel I was fairly successful in terms of how well I constructed my images, however
there were one or two setbacks along the way. Some of my images originally were lacking
in detail, and felt slightly empty, whilst others felt too crowded. I was able to deal with this
however, by adding more background objects to some of the pages, whilst removing some
unnecessary detail from the other pages. I feel that by utilizing multiple techniques which
I’ve learnt throughout the production process, I’ve been able to go back and optimize the
construction of all my images, and due to the steep learning curve, it was something which
was necessary to tweak towards the end rather than just trying to get the images to look
perfect from the beginning.
7. How well have you used text
to anchor your images
Text was an element of production which at first didn’t go as smoothly as I might
have planned. Originally due to having some pages with far more text than others, I
had the text in different sizes to compensate for the amount of or lack of text per
page. This didn’t work well, and ended up making my pages look slightly uneven and
disconnected from one another, which in turn took it’s effect on the text’s overall
ability to anchor my images. Despite this, I managed to sort the problem out by
cutting up certain parts of the narrative very slightly, which is something I’ve
mentioned in the first question. This in turn allowed for a much more orderly
appearance for the images. I felt that my original font actually deducted from the
images due to the fact that It stood out so much on the page, it was very artistic
looking, and in a very much san serif style. I had to handle this problem too, in order
to optimize the text’s ability to anchor the images. I went and chose ‘Times New
Roman’, which was not only far less distracting, but also much clearer to read. These
are two good examples of how I’ve shown the ability to go back and improve on
mistakes I’ve made in order to create a more smooth text/image relationship within
the book. I feel that each image on each page matches up perfectly to what the text
says, and by using very animated images I’ve been able to match up the emotion of
each image with the narrative, rather than just having cut-out characters which
wouldn’t contribute to the narrative in any way. Mostly I managed to achieve this first
time, but on page 10, it originally lacked image/text relation until I went back and
made the princess more animated. Generally I think despite originally having a few
flaws and lacking in this way, I’ve managed to make the text anchor my images as
necessary.
8. Example of how I
have managed to
match up the emotion
shown in the text
(folded her arms in a
strop), with the
emotion shown in the
image.
9. This example demonstrates how ‘The
Gruffallo’, which is a book I’ve
researched, uses similar techniques to
my book in terms of how the image
adds a lot to the what the text gives, by
using a hungry looking Gruffallo to
accentuate the narrative.
10. Is your product suitable for
your audience?
In my pre-production I planned that my book would be aimed at 3-6 year olds. I’d agree
that my book is appropriate for this age range due to a multitude of different factors. One of
which is the amount of text I’ve used per page, as well as the level of language used and
the size of the text. These factors all cater for the young audience in which I had planned
on making the book for. I’ve also mentioned in my pre-production stages, the fact that the
book will be aimed at both boys and girls, but primarily towards boys. I managed to
achieve a book which is suitable for this primarily male audience through the usage of a
space theme, which of course will appeal to boys more than girls. However, when thinking
about the actual narrative, one might say that it is slightly more girl orientated due to the
princess falling in love. Although this could potentially be a problem when marketing my
book primarily at boys, I think it is compensated for by the space-themed setting and alien
character. I specified that the geodemographic of my book would be English speaking
countries, and due to the fact that the book’s written in English, it’s suitable for this
geodemographic. The dull colour scheme, which mainly consisted of grey, blue and brown,
was one which helped me to further aid me in making my book suitable to boys due to the
nature of the colours and the fact that they are often associated with boys. I had to
consider my audience at all times in order to ensure that I wouldn’t end up with a product
which wouldn’t appeal to my chosen audience, and one way of doing so was to compare
my product to similar products on the market. The Gruffallo proved useful in this instance,
as it has a largely similar age range and target gender to my book. It utilizes a protagonist
character (The Gruffallo) which is boyish and masculine in order to appeal to the audience,
but at the same time also manages to remain appealing to a girl audience. This was
something I feel influenced the way in which I aimed to optimise my book for the audience.
11.
12. An example of how the
Gruffalo’s largely masculine
appearance allows the book
to cater for a male audience.
An example of how
the masculine
colors used in my
book allow me to
cater for a male
audience.
13. What do you like/dislike about
the techniques you have
used?As mentioned earlier, I went for a very computer-looking, 3D and unnatural look with my
images. The main way I did so was by using the polygonic lasso tool, and creating ‘layer
copies’. I really liked the way this turned out, and this technique alone was responsible for
providing me with the unique artwork style which I managed to achieve in the end. Despite
primarily using the polygonic lasso tool, I also utilized the shape ‘warp’ tool to create
features such as the eyes. I liked the fact that this added some diversity to my artwork,
rather than everything being completely straight edged, and the curves allowed me to add
more character to facial features. The ‘Guassian Blur’ tool in Photoshop was also great,
and allowed me to create a feathered look to shadows and various other background
features such as stars. This added further depth to my final images, and in my opinion
helped to bring the images alive. After composing the structure of my images, everything
looked fairly good, but I knew that by adding some texture and gradients I could help to
make images feel more busy and alive. For this reason, I really enjoyed using both the
‘gradient overlay’ tool and the ‘pattern overlay’ tool. When using the ‘polygonic lasso’ tool,
the fact that I made lines to long deducted from the difficulty of creating certain shapes,
which is one dislike I have for the technique. Perhaps using longer lines might have
provided more of a challenge for me, but having said this, the fact that the characters and
environments weren’t simply traced from other images meant that despite using lots of
straight lines, there was a lot of creativity involved in the process. Overall, I really felt that I
utilized various different techniques in a way which helped me to create the final book I
intended, and given the chance to make the book again, I’d adopt very much the same
techniques. To add to this, I can’t expect my book to be at the same level of detail as well
known children’s books which are currently on to the market due to the fact that I made it
with little starting experience, and over a very small period of time.
14. This slide is aimed at demonstrating some of the Photoshop tools that
I utilized.
A handful of the many tools I used in
order to benefit my product…
15. This example within
my book, shows how
the long lines with few
edges (achieved with
the polygonic lasso
tool) were fairly easy
compared to If I had
chosen to use more
complex shapes,
which meant that
creating some of the
environments was at
times less challenging
than I might have liked
it to be when
compared to the much
more textured
environment used in
‘The Gruffallo’.
16. What do you like/dislike about
how your final product looks?
There’s lots that I like within my book in terms of how the final thing looks, but also lots that
I don’t like perhaps quite as much. One element which I felt helped my book to really feel
polished and completed it was the inclusion of a front cover. I feel that this further
demonstrates my ability in graphic design, and sets my book apart from others. To add to
this, after viewing the final books of other members of the class, I can say that the way my
book looks differentiates massively from the others, which goes back to my previous point
about it’s uniqueness and aesthetic quality. I feel that the way my book looks is a reflection
of my own style, which is something I really value in it. I enjoy the general layout of my
book, and think that it’s really a layout which is suitable for the young age I’ve aimed for,
with a nice balance between text amount and image size, and consistent page layouts.
This brings me onto my point about image size, which in my opinion is something very
important in a children’s book. The images are large and clear, and the setting is
established clearly on each page due to this. High quality export sizes has assured that
pages of the book don’t look pixelated in any way, further aiding the book’s clarity. Having
said all this, there are elements which of course I’m less happy with than I might have
wanted to be, in terms of aesthetic quality and how it all looks. The level of detail within the
images (as mentioned previously) at some points lack slightly, for example the frog which
given the the chance to go back and change, I might have attempted to further animate.
Not only this, but when compared to the other children’s book which I researched before
making mine, the diversity in terms of how different each page looks, is slightly lacking.
This is especially apparent when compared to ‘The Gruffalo’ for example, which has a
multitude of diverse page layouts in order to captivate the young audience. Similarly, ‘The
Grouchy Ladybird’ utilizes a more diverse and interactive layout than that used in my book.
Despite all this, I enjoy the basic look of my final product, and prize it on it’s simplicity and
consistency.
17. Examples of more
diverse and interactive
looking page layouts
which have been used in
similar children’s books
which I’ve researched in
comparison to mine. The
usage of scattered
images for example, help
to add aesthetic value to
the books.
18. Why did you include the
content you used?
Much of the content which I included in my book was largely inspired by that of well known
children’s books that I had researched before starting production. I focused my influence
on books which were aimed at a similar demographic. By doing so I was aided in deciding
what types of images were appropriate for my audience, as well as the fonts. When
choosing the font, I came to the conclusion that choosing a serif font would allow me to
make my book easier for young children to read, and this factor played an important role in
the decision on what font to used. A quick Google search also showed me that basic serif
fonts such as ‘Times New Roman’ are much more child friendly, thus further influencing my
decision. By observing other books, I could clearly see that this was the standard choice.
Similarly, I learnt something about the amount of detail appropriate for my audience by
observing other children’s books, which was responsive for influencing my artwork style. I
could gauge what is and isn’t seen as appropriate for children’s books, for example not
over-complicating my illustrations with unnecessary amounts of background detail. An
example of a book which influenced me on this, was ‘The Bad-Tempered Ladybird’, with it’s
basic style and lack of detail. Despite my decisions on what content I should include being
largely influenced by other books, I wanted to bring my own style to the book. For this
reason, much of the content choices I made were influenced by myself. In terms of the
colours I used, as mentioned previously, I wanted to give my book a more masculine feel
due to the more male based target audience. This is an example of how I allowed and
gender stereotypes to effect the choices I made in terms of the content I used. To
conclude, there were a multitude of different factors which effected the content I included in
my book. By researching into children’s books, and understanding what would make my
book appeal to my audience, I was able to measure out every detail in terms of what I
should include, but at the same time I wanted the contents of my book to possess
originality. By balancing these factors I was able to come to the decisions which I made.
19. These are good examples of
how a bit of background
researched influenced the
decisions I made in regards to
the contents of my book, and
what I should or shouldn't
include. By understanding what
is beneficial for my audience I
was able to do so.
20. This example demonstrates that despite my content being
largely influenced by other children’s books, I still allowed myself
to make the content original and unlike other children's books in
terms of images, text etc.
21. What signs, symbols or codes
have your used in your work?
As mentioned previously, colour played a big role in enabling my book to appeal to the male audience which my
book was aimed at despite it’s feminine narrative. Essentially, the way my mind has been programmed due to
society means that I will associate various different colours, objects and themes with different genders, and
different types of people. Due to this, many of the symbols and signs which I have used were probably done
subliminally without me researching into them. The usage of a blue alien helps my audience to establish the fact
that this character is likely to be a male one, and similarly, the fact that the princess is wearing pink, helps my
audience to establish the fact that she is female (aside from the fact that she’s a princess). I’ve given the king a
cape, in order to symbolize that fact that this character has some degree of power, due to the fact that capes are
often associated with power (superheroes etc.). There are a few signs and symbols which might seem overly
obvious, but have been used in my book in order to establish certain facts to do with the setting and location of
the story. To give some examples, the fact that one some pages, I’ve chosen to include the earth in the
background. This may seem blatantly obvious, but it helps my audience to understand that the story is set on
another planet, thus being a symbol. The stars work in a similar way, and establish the book as being anti-
realism. Similarly to all of this, the actual design of my characters (which is slightly futuristic and very computer-
generated aesthetically) helps to symbolise the the fact that the book is set in the future. Despite the fact this
symbolism seems obvious when you think about it, they are essential in order to establish the facts about a story,
and this is especially relevant in a children's book due to the fact that children of this age will rely much more on
signs and symbols in order to paint a picture in their head. Paying homage to previous traditional literature was
something which I aimed to achieve from the beginning, and by using the traditional fairytale characters I was
able to symbolise this traditional theme. A Princess and King are often used in this style of literature, so by using
these characters, my audience are able to associate my book with others they have read in this style, which in
turn means that they are more likely to feel in their comfort zone when reading the book. To add to all this, I felt it
was important to convey a message within my book, and one of the ways I did so was by creating a ‘never judge
a book by it’s cover’ type moral. As soon as the princess shows kindness towards the alien, his true appearance
is revealed. This might also seem obvious, but it’s actually a way to encode meaning into the children who read
my book, and build on their moral values subconsciously. This is a technique that many books aimed at children
use, for example ‘The Gruffalo’, which teaches children a very similar lesson about how the way we perceive
things isn’t always reality. The book doesn’t specifically explain this, but instead symbolises it. To conclude,
signs and symbolism have played a key part in establishing various elements of my book, and whilst some were
included subconsciously, they have contributed to the overall structure and allowed my audience to further
understand various elements of the book.
22. This image
demonstrates my point
about the subconscious
message which ‘The
Gruffalo’ conveys. The
mouse appears to be
dangerous, thus scaring
the other animals, but in
reality, he’s just a mouse.
Similarly, These
images
demonstrate
how the alien
appears to be
one thing, but
then turns out
to be something
completely
different.
Important
values can be
implanted in
children’s minds
subconsciously.
23. What representations can be
found in your work?
Forming representations of certain groups was not something I was focused on achieving when producing
my book. This however, does not mean that there are not representations within the book. The point I’ve
mentioned numerously throughout my evaluation is that I’ve used colours in order to signify gender. This in
itself is a form of representation, I’m portraying females (the princess) as being pink, and males (the frog) as
being blue. I know I’ve mentioned this point a number of times, but I feel it is very relevant to this section of
the slide due to the fact that I’m essentially reinforcing the already apparent gender/colour assignments.
Gender representations and rolls play a key role in my book, as they do in many fairytales, and one other
example of where I’ve chosen to apply gender roles is the fact that I’ve chosen the King to possess the most
power and knowledge. He’s a male character, so essentially I’ve represented males as being more
authoritative and knowledgeable than females are. He dictates decisions that the princess makes, as
demonstrated on page 9, when he reminds her that she must keep her promise. He’s also shown as being
sacred and wealthy, when he gifts the princess with a magical golden ball. These are two examples of when
I have assigned the male character a role in which he is more valued than the female. Although I think there
was an element of choice in this gender assignment, I think there was an element of subconscious decision
making. I think that my previous knowledge of fairytales, and the significance that gender roles often play in
their narratives, influenced the way in which I constructed these roles within my book. An example of
another fairytale which I researched during pre-production, which could’ve been partially responsible for
this, is ‘Rapunzel’. This story essentially suggests to it’s audience, that women are a prize or object, and
that the male has the power to change things. The casual sexism in books like these largely lies in their
cultural history, as the books where written in a time where society was much more male dominant.
Although I don’t agree with this unfair sexism, I think it’s now become almost compulsory in any story tale,
which backs up why I might have subconsciously used the stereotypes. Aside from gender, there are also a
few, less noticeable representations within my book. The absence of any characters who aren’t Caucasian
essentially creates a representation in itself. It is essentially representing the importance of white people,
especially in fairytale literature, and although I am in no way racially discriminative, this lack of ethnic
diversity basically is a subconscious racial representation. On the other hand of the argument however, one
could argue that due to the fact that there are only 3 characters, the fact that there is no ethnic diversity isn’t
really relevant, as opposed to if there had been 15 characters and all of them had been white. Another
important representation within my book, which is worth discussing, is the fact that all the characters are of
royal blood. This one is similar to discussion on race, and goes back to the point about how the lack of
character diversity creates a representation within itself. To conclude, all of these representations stem from
what I’ve read in other pieces of traditional literature. Although they in no way are a reflection of my own
views or beliefs, they are still largely apparent within my work. Though subtle, they still play a significant role
within both the images I’ve created and the text of the book.
24. This image demonstrates how the gender roles are somewhat reversed within my
book, with the prince acting as the ‘prize/princess’, and the princess acting as the
‘hero’.
These images
demonstrate the
lack of ethnic
diversity that is
apparent in my
book, which could
be down to
subconscious race
25. What style have you employed
in your products?
I’ve discussed the style of my book a lot in other questions, but essentially my aim
was to create something which possessed originality, but also took qualities
from various other children’s books in order to benefit mine. By finding out
which children’s books were most successful, and then analysing the different
styles used, and the visual codes within them, I was able to form a solid
opinion on what I wanted the book to look like. A lot of what I will talk about
within this question will be essentially repeated information from other
questions, due to style playing an important role in every decision I made.
Despite this, there’s still some extra information about the style of my book
which I can discuss, most of which in regards to influence and similarities
between my book and others. When researching children’s books, I decided it
might be a good idea to search for some obscure art styles, and one of which I
found was a book called ‘The Story of Little Suck-a-Thumb’. Whilst fairly
terrifying, the originality of this artwork was one which fascinated me and
compelled me to take a more experimental approach to the style in which I
chose to employ. I felt that if I was able to make something that looked good
whilst also not just looking the same as other children’s books, I’d be able to
catch the attention of my audience. On top of this however, due to the theme of
the book (space themed), I wanted to modernise my artwork style as much as
possible. By using the long jagged edges with very little shading and texture, I
think I was able to achieve this ultra-contemporary feel.
26. Examples of how both my artwork style and the artwork style of
‘The Story Of a Little Suck-A Thumb’ both differentiate
massively from what someone might expect to see in an
average children’s book, and also both differentiate massively
from one another with their unique qualities. The textured wall
is unique to my style, whereas the vibrant and unnatural looking
colors are unique to the style of ‘The Story Of a Little Suck-A
Thumb’.
27. What were the strengths and
weaknesses of the pre-production
and planning
The pre production was an extremely important factor in creating my book. This was because it
allowed to develop a good understanding about what would be involved in production, thus making
me more prepared for it. Because of this, I had to make sure my pre-production went well. The
planning and research essentially allowed me to understand the market which I was about to enter,
and also understand the level of detail that went into similar children’s books. The first piece of
planning I did was a page in which I explored a few different styles of traditional literature. This
came in particularly useful, as I’d previously had little knowledge on the topic. This then allowed me
to progress in terms of focusing my thoughts on ‘fairytale’ literature and essentially speed up the
process of me deciding on what sort of narrative I might use. Although this particular page was
lacking in detail, I feel it served a definite purpose. In contrast, the next page I made, which was a
mind map, was detailed and allowed to place all my creative ideas in one place. This came in
particularly useful to me due to my slight lack of organizational skills, so I find having all my ideas in
one place to be beneficial. The mood board was another element of pre-production which I felt was
a strength, and worked particularly well for me. It not only allowed me to summarise the general
composition of my book and it’s content, but also allowed me to start to visualise everything
together, and start to paint a picture in my head. Due to being a visually aided learner, this was
something which greatly aided me and allowed me to progress with more confidence. There were
however, some weaknesses within my pre-production. One of which was the fact that my
storyboard lacked in detail, and does not really resemble what I’ve created (in terms of how it
looks, not in terms of storyline). Although this probably didn’t have much of a negative effect on the
strength of the production, it’s still relevant, and demonstrates lack of detail. I have to consider the
fact that I was fairly pushed for time throughout this section of my pre-production though, so didn’t
have hours upon hours to complete the storyboard or digital flat plan. This then brings me onto my
next point, time management. I think that considering the pace we were working at, and that we
were constantly being pushed to finish each section of the project as quickly as possible, I
managed to handle my time fairly adequately. I can put this down to pre production massively
aiding me in terms of preparation for time management. If I hadn’t been prepared due to planning
and research, I simply wouldn’t have been able to meet the deadlines, and this of course was a key
strength in my pre production.
28. This is an example of when my storyboard and
digital flat plan pages are fairly dissimilar to that of
my final book, which potentially could be seen as a
flaw in my pre-production.
This example shows
how the high level of
detail used within my
mind map allowed
me to store all the
creativity and ideas
in one place.
29. Historical and cultural context
My work was essentially based on a fairytale story. For that reason alone, it has a lot of Historical
relevance. The book which I chose to adapt (The Frog Prince/The Princess And The Frog)
doesn’t itself have any Historical value due to the fact that it was written only a handful of years
ago, but this doesn’t mean to say that it doesn’t take a lot from other fairytales. Essentially, the
storyline, morals, values and characters which I used in the book were largely influenced by
traditional fairytale literature. The basic structure of the story involves romance, a ‘happily ever
after’ style ending’, a prince and of course a princess. These are all elements which have
significance in History, and can be seen in almost every fairytale one reads. To back this point up,
other historical books such as Cinderella and Rapunzel uphold very similar values. All of this
helps me to come to the conclusion that my book is very much integrated with history, and
upholds many of the traditional values. Despite all of this, whilst having this historical relevance,
my book also manages to remain relevant in terms of modern day culture, and integrates within
the growing world of children’s literature. The main reason in which my book manages to achieve
this cultural relevance is due to the use of a modern setting. By taking a twist on the story, and
placing it in an setting in which children of our culture often take an interest in, I’m essentially
allowing it to integrate into modern society. Another point to make is the fact that my book is
aimed at helping young children to read. Everything in the book is essentially aimed towards
achieving this. Due to the constant influx of new children learning to read, this type of book will
always be culturally relevant within modern society. Basically, I’ve managed to combine historical
relevance and cultural relevance into an entirely unique book. It’s hard to come by any books like
this, but Catherine M Valentine’s ‘Six Gun Snow White’ is one which springs to mind slightly. This
book twists the story of the ‘Snow White’ fairytale, and bases it in America. Although in terms of
content this book is dissimilar to mine, the way in which it achieves relevance within modern
society whilst also upholding the Historical narrative, could be compared to my book in many
ways.
30. Example of how my book has managed
to have historical context by upholding
the traditional fairytale ‘happily ever
after’ ending.
Example of how my book has
managed to remain relevant and
contemporary in modern culture,
through it’s sci-fi theme.
Example of how ‘Six Gun Snow
White’ manages to remain culturally
relevant in modern society through
the usage of modern points of
discussion and themes, despite
being based on a historical piece of
