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Main Objective: This study checks the different intersections of film and Artificial Intelligence (AI), and trial and error is needed to re-check the state of “new media” (NM). This study’s purpose is to identify of subversion of the creator duty, the media and instrument of creative activities, and the aesthetics subsequent from the identity of the developing Artificial Intelligence film. Background problem: AI is composed to take the film industry by the cyclone, its application helps streamline production practices, and its increasing work in film scripting and visuals convolutes the notion and function of creations and the aesthetics of NM. Novelty: By analyzing how three films were co-written with Artificial Intelligence arranged with “Foucault's theory” of the duty of the creator or producer, and the aesthetics and state of current NM, this research establishes an identity for the cinema form of Artificial Intelligence films. Research Method: This study uses a qualitative exploratory methodology to combine various perspectives that are developing on new media streams where this research is crossing 2 major areas in Film & Media, and Artificial Intelligence & Machine Learning. Finding/Result: Patterns discovered as curated data sets reveal trends in cinematic narratives, opening the door for a more creative agency. Artificial Intelligence films transcend the boundaries of technological convergence, offering a more essential way to recognize the special behavior and opportunity of NM forms as self-reflective and demonstrating the versatility of film. Conclusion: This research makes Artificial Intelligence films an emerging media with a different tendency from the media and is directly related to its contribution. By involving the theorization of NM technology and its developmental tuff simultaneously, Artificial Intelligence films are presented as an inventive design of film in phrases of digital production, virtual placement, historical preoccupation, and producer duty.

Main Objective: This study reports an experiment to explore differences in player feedback caused by different storytelling methods of Japanese-style Role-playing Games (JRPG). Background problem: Narration is considered the soul of JRPG, and is a vital and irreplaceable role. Different ways of telling stories can bring different experience effects even though the essence of the story is the same. Stories are presented directly to players in dialogue form, much like a visual interactive novel. Non-linear storytelling can break down important parts and allow players to explore freely. Players can collect clues to get to the main plot. Also, most JRPGs use short films and sound effects to create a cinematic experience. Novelty: Based on all studies of game storytelling (linear and nonlinear), this study will compare player feedback on different storytelling methods to see which narrative can provide a better player experience. Research Method: Researchers categorize these three narratives as Visual Novels, Environmental Narratives, Visuals, Sounds, and Dialogues. This experiment combined all three of Caught in Trap's in-game narratives to investigate player preferences. Data was collected through questionnaires and interviews with 21 players who were invited to play the game. Finding/Result: The research results show that the three ways of storytelling enrich the expression of game narratives. Both linear and nonlinear narratives have their advantages and disadvantages, and the best way to engage players is to interweave both narratives in the game. Conclusion: The experimental results show that the interweaving of three ways of storytelling can enrich the narrative form of games and guide game designers in improving game plots to engage players in JRPGs. Keywords: Storytelling-Method, JPRG, Game of Three Pillars

AbstractCommunication in disaster management uses a variety of media. In communication context, the media used as a channel for delivering messages that called the communication medium. This study aims to find the most effective disaster education communication based on a descriptive quantitative approach. Reserchers took samples aged 17-20 years old who had participated in disaster socialization activities that held by Meterorological, Climatological, and Geophysical Agency in Cilacap, Central Java, Indonesia and every respondent has had disaster experience. The number of research samples is 175 respondent. In the context of communication, the medium becomes important because it is a channel for delivering message.  An import function of communication is how medium can delivered message to be undesrstood together. The fuction of communication is providing information, education and persuasion. It was found that varioys activities have beed carried out such as Goes To School, which is used to deliver messages used some communication medium like pocket books, animated video, and power point template.  Fact findings related to the best communication medium  were sozialization (face to face meetings), films, public service advertisements, and roleplays. Meanwhile, animated learning videos in class are not very popular. Keywords: disaster education communication, communication medium, communication function

Tilapia fish fillet have a high protein contain (18,70g/100g) however it can be easily decay. The aim of this study was to know the characteristic of lemongrass oil, characterisric of edible film with the addition of lemongrass oil and quality of tilapia fish fillet coated with edible film-natrium alginate enriched lemongrass oil on cold storage. Edible coating based on alginat added with lemongrass oil and applied on fishery products, tilapia fish fillet. The studies used Complete Random Design 2 factor, lemongrass oil concentration and storage time. Analyzed used one way ANOVA and continued with Duncan’s Multiple Range Test (a:0.05) and paired t-test (a:0.05). The analysis showed that yield of lemongrass oil was 0.27%; specific gravity was 0.85476 g/ml; viscosity was 0.021 N.m/s2 and have 17 active compound. Inhibitory zone of lemongrass oil between 6.417 mm – 20.333 mm. Thickness of edible film added with lemongrass oil between 0.063mm-0.104mm; tensile strength value 1.974 MPa-2.563 MPa and WVTR 4.454 g/jam.m2-5.165 g/h.m2. The result of application edible coating enriched with lemongrass oil on fillet showed the TBA and TPC value were significantly increased during however it didn’t affect significantly to the TVB and pH value. Edible coating enriched lemongrass oil 1.5% able to maintain microbiological quality until day 3 and oxidative quality until day 12