Boo will scare Om Nom every time they come in contact with each other, which causes the latter to jump and fall elsewhere, usually right where you need him to be in the level. Toss will catch candy, Om Nom or certain other objects that fall on him and then you can tap on him for him to toss them in the air. Blue multiplies every time you tap on him (till a limited number of times) this can be used to create a platform or for a support pillar in some levels. Lick has a long tongue that can be used to create obstructions or paths for the candy simply by tapping on him. Each of these has a different ability Roto will fly around a level along a fixed path and will pick up and carry either the candy or Om Nom if they fall in its vicinity. The game has five level packs and each one introduces a new monster. But for the first time, Cut the Rope 2 also introduces additional monsters that you can control in the game. You still have to get the candy to the lovable monster Om Nom while getting all the stars in the level. Through an examination of her scholastic connections, artistic patronage, and adoption of antique guises, this analysis coalesces seemingly disparate aspects of Christina’s visual, rhetorical, and political agendas, re-framing them as parts of a lifelong campaign to figure and redefine her Gothic identity.Cut the Rope 2 closely follows the premise of the original game but throws in several new additions along the way. I claim that she sought a hybrid historical identity as both Swedish and European, and that the necessity to maintain political authority in both political contexts gave shape to the queen’s self-fashioning through the antique. When her collecting habits are assessed alongside her sponsorship of classical scholarship, it becomes clear that Christina’s development of antiquities collections was inextricably tied to the large body of allegorical imagery associated with the queen. This dissertation argues that personal and political reasons motivated her to develop what could be considered a borderless, genderless, classical persona, that is represented in her display of antique objects. By its broad and exhaustive timeline, the thesis presents a comprehensive case study on the phenomenon of medal art and aids in understanding how early modern art and visual culture was used and how these uses changed over time.īy examining how Queen Christina of Sweden collected, what she collected, and where she displayed objects, we can better understand her motives for amassing what became the Early Modern period’s largest collection of antiquities owned by a woman. The medium’s materiality was an essential element of how the medal was used, the way its visual design communicated with the beholder, and the importance that the object conveyed. However, much of its meaning was connected to the sensory experience of touching the medal. The medal was appreciated for its potential to express various themes on a small surface, its exclusive material and practical size. The medium aided the sitter’s commemoration, self-fashioning, and legitimisation while being used as a gift, worn as a jewel, collected, discussed, or viewed as an artefact with antiquarian purposes. It examines how the medal was viewed, handled, circulated, and used plus what significance people ascribed to it. The study addresses the transformation from being a royal gift to prize medals and rewards and from limited use to being available at an open market. Parallel to Sweden’s historical and cultural development, the analysis follows medal art chronologically and thematically in five chapters. By drawing on visual and archival sources materials and examining material from a Northern European context, the thesis provides an unprecedented wide-ranging study of the functions and meanings of early modern medals. Theoretically, the thesis applies an art anthropological approach to the medium, focusing on its materiality, meaning and use. The study asks why are medals commissioned, how the intention is reflected in the visual design and materiality of the medal, how medals were used during the 16th, 17th and 18th centuries, which continuities and changes the practices show over time, and what cultural significance medals have in early modern Swedish society. It aims to contribute to the understanding of the varying uses and functions of early modern medals by applying a long-term perspective that connects Renaissance, Baroque, and Neoclassical medals. This thesis analyses medals issued between 15 in Sweden and studies the practices and roles related to these objects.
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