Strict Standards: Non-static method installk2::installer() should not be called statically in /home/writerresponse/writerresponsetheory.org/wordpress/wp-content/themes/3k2w-b2r344/functions.php on line 23
Machinima in Europe (10/12-10/14) at WRT: Writer Response Theory



Machinima in Europe (10/12-10/14)


Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/writerresponse/writerresponsetheory.org/wordpress/wp-includes/functions-formatting.php on line 76

[See also this previous thread on “The Movies” and Machinima]

[Update 10/11: The Machinima Festival sessions will be streaming online.]

machinima.gifThis weekend De Montfort University will be hosting films and filmmakers from around the world at Machinima Festival Europe. According to various Machinima insiders, a number of the videos are returning for awards. Hugh Hancock, coauthor of Machinima for Dummies, points out that “there’s quite a strong lean away from game-based Machinima.” (He’s posted links to many of the nominees here). Six of the films come from Second Life. Two use Moviestorm. My “22 Short Films about Grammar” (nominated for Best Series) use “The Movies.” The question becomes what is machinima when its not made from captured gameplay?

While some trace the Machinima tradition back to other hacking and reapropriation traditions, clearly a major strain of Machinima involves manipulating captured footage of game play. Consider Diary of a Camper, the first machinima drawn from Quake. Or what of the breakout hit Red versus Blue? (Red versus Blue will present an “original” video made for the Festival.)
A retro-hit “Kung-Fu Glitch” uses a Commodore 64 game Kung Fu Master (1984) (and a Retro Replay cartridge) for its material and it proves a curious case study.
In the music video, Entter and Goto80, the film’s director/hackers (dirackers), explain how they

manipulate the game’s graphics and functionality. The blue screen that appears at some points is the interface of the cartridge and the lists of letters and numbers is the data in the RAM. By simply changing this data, you modify the game. This technique was also used for the music.

Here is hacking at the center of a work of Machinima. On the other hand, the movie itself is more a recording of the hack, perhaps more akin to documentation of performance art, rather than a narrative production.The Academy of Machinima Arts and Sciences declares:

Machinima can be produced in a couple of ways.

It can be script-driven, whereas the cameras, characters, effects etc. are scripted for playback in real-time. While similar to animation, the scripting is driven by events rather than keyframes.

It can also be recorded in real-time within the virtual environment, much like filmmaking (the majority of game-specific Machinima pieces are produced in this fashion).

While both of these approaches have their pros and cons, they are both Machinima-making techniques.

But the question remains to what extent is “reappropriation” a powerful force behind Machinima? It’s a question that gets behind the hacker aesthetic that directs many of the discussions of new media art. It is perhaps why “second attempts” at new media forms often garner much less attention than first ones.
When making “22 Short Films about Grammar,” I used Activision’s The Movies to generate the films. Though much of that game is a tycoon sim, the game directly affords the production of films using pre-assembled action sequences, actors, and settings. When I first began making these films, I would add subtitles to whatever film the game generated (hence “Spliceback Mountain” and “The Insider”). That felt a bit subversive, or at least inappropriate. However, by “Passive Pete Awakens,” I was creating the actors, choosing settings, action sequences, and camera angels. Meanwhile, with the help of Jan and Joe Celio and my brother, I was dubbing voices in many of the films as well. This felt less like a reappropriation, as opposed to say, the Grand Thieves Audio Modologues, in which players can put monologues directly into Grand Theft Auto and change the context of the game by driving with a driver’s ed instructor or an Army recruiter in the appropriated vehicle.

So is it Machinima if you are recording, splicing, and dubbing over Halo the same as if you are using a Machinima-production software, such as Moviestorm? This is not to suggest that there is a Machinima that is more pure. But it is interesting that the world of machinima bifurcates along the lines of reappropriation and remixing versus construction and production. It is perhaps similar to the relationship between artists making graffiti art on the street and artists making graffiti art in art school. Where does the energy reside?
[Small note:
Incidentally, since many of us cannot physically attend the conference, we’ve been asked to make machinima “thank yous” in case we win an award. This is the opposite of reaching frantically in your dress or tuxedo for that crumbled, just-in-case acceptance speech. We’ve all virtually won and accepted these awards in the medium of our choice. ]

Here’s the list of nominated films:
Nominated Films:

BEST DIRECTION
Faith Hope and Charity – James Thorpe (UK)
Stolen Life – Nanoflix Productions (Australia)
Fallacies of a Stranger – David Riedel (Germany)
Instinct – Werner Versluys (Belgium)
Pictures of War 2 (Before and Beyond Flight 19) – Steven Worsley (UK)

BEST EXPERIMENTAL
The Ballad of Black Mesa – Zachariah Scott (USA)
Kung-Fu Glitch – ENTTER (Spain/Sweden)
Duel – La-Interactiva (UK)
Cirque du Machinima: Cuckoo Clock – Tom Jantol (Croatia)
Mum’s Gone to Iceland – Katy Fosk (UK)

BEST COMMERCIAL/GAME
Comcast Island – Planet Video (UK)
When the Postman Spits Twice – SL-Inworld Productions (Germany)
4 Commercials for mtvU – Oxhorn Brand Movies (USA)
Did That Break Your Concentration – Short Fuze Limited (UK)
You Hypocrite You – Geuis Dassin (USA)

BEST SERIES
Pirates of Parallel Structure, Sopronouns, Passive Pete Awakens – Mark Marino (USA)
Pathfinders: Operation Husky, Operation Avalanche, Operation Neptune – Machinima Inc (USA)
The Grid Review (Episode 3, 7 and 8) – The ILL Clan (USA)
BloodSpell: Episodes 11, 13 and 14 – Strange Company (UK)
Blink (Episodes 1, 2 and 3) – Brigit Lichtenegger (Netherlands)

BEST SOUND
Ausgedacht (Dreamed Up) – Machinima Studios (Germany)
Innocent Minds – James Dubose (USA)
The Ballad of Black Mesa – Zachariah Scott (USA)
Hark! Hear the Wails – Oxhorn Brand Movies (USA)
Blink (Episodes 1, 2 and 3) – Brigit Lichtenegger (Netherlands)

BEST STORY
Faith Hope and Charity – James Thorpe (UK)
Stolen Life – Nanoflix Productions (Australia)
Instinct – Werner Versluys (Belgium)
Pictures of War 2 (Before and Beyond Flight 19) – Steven Worsley (UK)
The Snow Witch – Britannica Dreams (UK/Canada)

BEST STUDENT
Azerothian Super Villains (Episode 3) – Beckman Movie Productions (USA)
A Child’s War – Global Kids (USA)
Waterlogged 3 – Nathan Clark (UK)
Machinima! With Officer Dan (Episode 1) – Amorphous Blob Productions (USA)
Domestic Violence – La-Interactiva (UK)

BEST TECHNICAL ACHIEVEMENT
BloodSpell: Episode 14 – Strange Company (UK)
Better Life – Rob Wright (UK)
Hindenburg – Paul Carr (Japan)
Machinima Island (Episode 1) – La-Interactiva (UK)
Halo Unyielding Part 1 and 2 – ThatRandomCanadianGuy Productions (Canada)

BEST VISUAL DESIGN
Faith Hope and Charity – James Thorpe (UK)
Stolen Life – Nanoflix Productions (Australia)
Fallacies of a Stranger – David Riedel (Germany)
Pictures of War 2 (Before and Beyond Flight 19) – Steven Worsley (UK)
Blink (Episode 2) – Brigit Lichtenegger (Netherlands)




5 Responses to “Machinima in Europe (10/12-10/14)”

  1. 1 Ricky Grove

    Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/writerresponse/writerresponsetheory.org/wordpress/wp-includes/functions-formatting.php on line 76

    Interesting question. The game element in whatever we can call a “tradition” in machinima is still quite strong. Whether hacking a particular game to create films or writing stories that take place in a particular game universe, games will always be a very popular and essential part of machinima. However, tools and media forms change over time. Some filmmakers want to own their own work and to create stories that are outside of the game world and more akin the narrative cinema or animation tradition. Since game companies have ignored this opportunity (only Epic has a movie making license for their engine), the only other option is to use a non-game engine. It’s still machinima, but it won’t have the same emphasis or aesthetic as, say, HL2 or WoW. And considering the amount of people making films in those two engines, I think it’s a good thing that filmmakers are looking to create films that are different from game machinima. I think it’s a natural development.

    Still, it’s a good question for debate. And congrats on your nomination. Good luck!

    Ricky Grove
    Machiniplex.com

  2. 2 Ricky Grove

    Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/writerresponse/writerresponsetheory.org/wordpress/wp-includes/functions-formatting.php on line 76

    Interesting question. The game element in whatever we can call a “tradition” in machinima is still quite strong. Whether hacking a particular game to create films or writing stories that take place in a particular game universe, games will always be a very popular and essential part of machinima. However, tools and media forms change over time. Some filmmakers want to own their own work and to create stories that are outside of the game world and more akin the narrative cinema or animation tradition. Since game companies have ignored this opportunity (only Epic has a movie making license for their engine), the only other option is to use a non-game engine. It’s still machinima, but it won’t have the same emphasis or aesthetic as, say, HL2 or WoW. And considering the amount of people making films in those two engines, I think it’s a good thing that filmmakers are looking to create films that are different from game machinima. I think it’s a natural development.

    Still, it’s a good question for debate. And congrats on your nomination. Good luck!

    Ricky Grove

  3. 3 Ricky Grove

    Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/writerresponse/writerresponsetheory.org/wordpress/wp-includes/functions-formatting.php on line 76

    BEST STORY
    Faith Hope and Charity – James Thorpe (UK)
    Stolen Life – Nanoflix Productions (Australia)
    Instinct – Werner Versluys (Belgium)
    Pictures of War 2 (Before and Beyond Flight 19) – Steven Worsley (UK)
    The Snow Witch – Britannica Dreams (UK/Canada)

    BEST STUDENT
    Azerothian Super Villains (Episode 3) – Beckman Movie Productions (USA)
    A Child’s War – Global Kids (USA)
    Waterlogged 3 – Nathan Clark (UK)
    Machinima! With Officer Dan (Episode 1) – Amorphous Blob Productions (USA)
    Domestic Violence – La-Interactiva (UK)

    BEST TECHNICAL ACHIEVEMENT
    BloodSpell: Episode 14 – Strange Company (UK)
    Better Life – Rob Wright (UK)
    Hindenburg – Paul Carr (Japan)
    Machinima Island (Episode 1) – La-Interactiva (UK)
    Halo Unyielding Part 1 and 2 – ThatRandomCanadianGuy Productions (Canada)

    BEST VISUAL DESIGN
    Faith Hope and Charity – James Thorpe (UK)
    Stolen Life – Nanoflix Productions (Australia)
    Fallacies of a Stranger – David Riedel (Germany)
    Pictures of War 2 (Before and Beyond Flight 19) – Steven Worsley (UK)
    Blink (Episode 2) – Brigit Lichtenegger (Netherlands)

  4. 4 shinn

    Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/writerresponse/writerresponsetheory.org/wordpress/wp-includes/functions-formatting.php on line 76

    None of these movies ring a bell. I guess they’re still considered “indie” even after being nominated in a film fest.

  1. 1 Free Pixel » For those in Europe (well Leicester) from 12 to 14 October 2007

Leave a Reply



Strict Standards: Declaration of sk2_captcha_plugin::output_plugin_UI() should be compatible with sk2_plugin::output_plugin_UI($output_dls = true) in /home/writerresponse/writerresponsetheory.org/wordpress/wp-content/plugins/SK2/sk2_plugins/sk2_captcha_plugin.php on line 0

Strict Standards: Declaration of sk2_pjw_simpledigest::output_plugin_UI() should be compatible with sk2_plugin::output_plugin_UI($output_dls = true) in /home/writerresponse/writerresponsetheory.org/wordpress/wp-content/plugins/SK2/sk2_plugins/sk2_pjw_daily_digest_plugin.php on line 0

Strict Standards: Declaration of sk2_rbl_plugin::treat_this() should be compatible with sk2_plugin::treat_this(&$cmt_object) in /home/writerresponse/writerresponsetheory.org/wordpress/wp-content/plugins/SK2/sk2_plugins/sk2_rbl_plugin.php on line 0

Strict Standards: Declaration of sk2_referrer_check_plugin::output_plugin_UI() should be compatible with sk2_plugin::output_plugin_UI($output_dls = true) in /home/writerresponse/writerresponsetheory.org/wordpress/wp-content/plugins/SK2/sk2_plugins/sk2_referrer_check_plugin.php on line 0





thesis writing service