Works Cited 4/18/2012

Arnott, Jack. "Andy Serkis on Enslaved and Acting in Video Games." The Guardian. Guardian News and Media, 08 Nov. 2010. Web. 17 Apr. 2012. <http://www.guardian.co.uk/technology/gamesblog/2010/nov/08/andy-serkis-enslaved-interview>.

"Assassin's Creed Brotherhood E3 Trailer [North America]." YouTube. YouTube, 14 June 2010. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=zzNs4-kRLaE>.

Assassin's Creed IPhone/iPod Touch Trailer - By Gameloft. YouTube. YouTube, 27 Apr. 2009. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=-Nhmj-Gn7_w>.

"Crysis 2: Story Trailer." YouTube. YouTube, 14 Feb. 2011. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=laIghwTFdqg>.

El-Nasr, Magy S., Simon Neidenthal, Igor Knez, Priya Almeida, and Joseph Zupko. "Game Studies." - Dynamic Lighting for Tension in Games. Web. 17 Apr. 2012. <http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko>.

"Games." South Park Studios. South Park Digital Studios. Web. 17 Apr. 2012. <http://www.southparkstudios.com/games>.

"The Godfather: The Game." Godfather Wikia. Wikia. Web. 17 Apr. 2012. <http://godfather.wikia.com/wiki/The_Godfather:_The_Game>.

Kyllo, Blaine. "Performance Capture Injects Emotion into Virtual Worlds." CBCnews. CBC/Radio Canada, 05 Apr. 2011. Web. 17 Apr. 2012. <http://www.cbc.ca/news/technology/story/2011/03/04/f-video-games-performance-capture.html>.

MafiaCutscenes. "Mafia Cutscenes HD #25: The Priest - Escape." YouTube. YouTube, 27 Mar. 2011. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=3A_-18K10J4>.

Parker, Laura. "Once Upon A Time: Narrative in Video Games - GameSpot.com." Gamespot. CBS Interactive, 7 Aug. 2009. Web. 17 Apr. 2012. <http://www.gamespot.com/features/once-upon-a-time-narrative-in-video-games-6214951/>.

"THE PROCESS OF PERFORMANCE CAPTURE in AVATAR." YouTube. YouTube, 29 Dec. 2009. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=d8jQDykEr2Y>.

"THE PROCESS OF PERFORMANCE CAPTURE in AVATAR." YouTube. YouTube, 29 Dec. 2009. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=d8jQDykEr2Y>.

Rubbermuck. "Jonathan Blow: Design Reboot." YouTube. YouTube, 08 Apr. 2011. Web. 17 Apr. 2012. <http://www.youtube.com/watch?v=K0kup_anLeU>.

The Top 20 Most Epic Game Trailers Of All Time. YouTube. YouTube, 13 Nov. 2011. Web. 17 Apr. 2012. <http://www.youtube.com/watch?NR=1&feature=endscreen&v=XaRhFHVZh-M>.

Wolpaw, Erik. "Mafia." Gamespot. CBS Interactive, 4 Sept. 2002. Web. 17 Apr. 2012. <http://www.gamespot.com/mafia/reviews/mafia-review-2879254/>. 

Written Analysis of Found Footage

           Video games are still defining themselves in the world of media, and it is our group’s intention to show their merits, intricacies, and uniqueness. More specifically, we will be analyzing video games that are based off of movies, and conversely movies based off of video games. Our video hopes to demonstrate the elements that video games and films have in common, while the other aspects of the presentation will elaborate on how video games are an independent medium from their cinematic counterparts. We would like to show that they can stand alone, rather than being simplistic paratexts.

            The greatest challenge in constructing our video was showing the connections between the video game/film pairs clearly and in a way that complimented each equally. We settled upon a strategy of selecting scenes that each had in common, and re-editing them so that the view would switch back and forth from film to game. Because the distinctive element of video games is interactivity, (and thus a personalization of the event sequence by the gamer), it was challenging to compare movie scenes with actual gameplay, but we found that the in-game cutscenes often matched perfectly with the film. The next challenge we faced was synchronizing audio between each jump from movie to video game, but this was solved by either maintaining the audio of one if they were very similar, or by replacing the entire audio with a musical overture. The latter method brings in a montage style of production to certain parts of our film.

            As Jonathan Blow discusses, video games will be the new art form and will change the way the world thinks. It was first the book which made tremendous cultural changes by not only recording knowledge and folklore, but by spreading stories en masse. Then the radio, which changed the people’s method of receiving information to a more audio-centered one, followed by film which moved society back to visual from auditory interpretations that are reminiscent of theater. Finally, with video games, the experience of narrative is a more interactive one. This feat of transition and media evolution is no small one, and marks a new chapter for mankind.

Movies and Games

Cinematic Trailers, Games and Movies a fine line

Like Joe, in my final post I will also be looking at the gray line between Film and Video Games. However I am looking very specifically at the cinematic quality of blockbuster games, and there trailers.  Blockbuster games, much like the summer hits for film, are big budget, highly anticipated games. These games are on the high end graphically, and usually have a strong plot and narrative. Examples of these are the Crysis series, The Halo series, the Assassins Creed series, the Mass Effect series, the Call of Duty series, and the Gears of War series. These games are ground breaking. Players develop real connections with the characters.  Like movies, games generate their own para text.  this is the link to the Assassins Creed Brotherhood trailer http://www.youtube.com/watch?v=zzNs4-kRLaE. After watching you will understand that this is no ordinary game. The trailer is so graphically rich that it looks almost real. There is suspense, action, and anticipation all warped up in a short trailer. This is not for a summer action movie this is for a video game. http://www.youtube.com/watch?v=laIghwTFdqg In this link we see the Crysis 2 trailer, which is also a cinematic gem.  It even incorporates real world footage and actual events to increase the reality of the trailer.  These trailers are better than most movie trailers. There is more than game play at stake with these two. In Assassins creed there isn't even any game footage just a cinematic adaptation.  These trailers show the development of the gaming industry.  In one direction we are getting games that are equivalent to playing movies, like in my other post we have another direction, the iPhone/android app.  

to watch some of the trailers that I used to write this post here is a link!

 http://www.youtube.com/watch?NR=1&feature=endscreen&v=XaRhFHVZh-M

Fine Lines That Grow Into Gaping Separations - Joe Chan

Although the line between video games and movies are becoming harder to distinguish as explained in my previous post, video games have also been developing more of its own identity as a medium. This separation actually spawns from the fact that video games are so similar to movies in terms of genre, technique, style, etc. These similarities as well as video games as an art form possessing the ability to maintain its own unique form of telling a narrative helps the art develop as a separate entity from movies.

            In my previous posts I discussed how many video games derive from movies the same style of evoking emotions such as lighting and camera use as seen in articles such as this http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko. I then discussed how the separations between the two mediums have gotten even more blurred due to the recent technological developments of which allow for better animation in both video games and movies as well as the ability to implement full performance capturing of an actor and placing it into movies and video games. This can be seen in examples such as articles featuring Andy Serkis (http://www.guardian.co.uk/technology/gamesblog/2010/nov/08/andy-serkis-enslaved-interview) who is a very famous actor that has much experience in the art of performance capture, acting in both movies and video games. Performance capture is now on the forefront of both video games and movies, such huge developments such as the movie Avatar: http://www.youtube.com/watch?v=d8jQDykEr2Y and the video game L.A Noire rely on the ability to really capture an actor’s performance in terms of body language, facial gestures, voice acting and so on, in order to really place an importance on the actor’s abilities to share the emotion that the narrative wants to convey.

                The reason why I argue that video games form its own medium of art now is not that it makes its own genres through imitating movies but that it provides narrative of similar genres in a new way (through the form of interactivity) in order to help the audience become more attached to the story and characters. This imitation of stories and remaking/retelling of tales can be seen in the transition from books to film, movies are a separate medium from books yet they share common genres, themes , stories and they parody each other as well (movies made into books and vice versa). This can be seen in the same way as how video games interact with movies. Video games and movies discuss the same genres and convey the same stories and themes as one another and each take the opportunity to parody each other as well. Video games are made into movies and movies often made into video games, each adapting the universes of one another and sometimes forming completely new worlds and stories rooted in the universes already crafted in their separate mediums.  As Jonathan Blow states, video games are a new form of art that need a little more development and, will in time, change the way the world perceives things the same way film had change the world from the auditory world of the radio to the visual world of television and movies. This separation of mediums that are rooted in similar purposes and styles is nothing new, the lines between the arts become harder to see with each innovation but the more similar they become the further and more independent each form of art evolves into at the same time. http://www.youtube.com/watch?v=K0kup_anLeU

                                                                                                             

Grading Games and Movies - Maximilian Eyle

            In my past posts I have discussed what makes certain video games “good” and others “bad”. The more I think about it, the characteristics of each are not so very different from what makes movies good or bad. Of course, these terms are very subjective so we will have to establish some parameters and definitions before we delve too deeply. First there is what I like to call the Sophistication Scale, where the text is judged based on originality, in-depth narrative, production quality, – basically the sort of elements that are found in The Godfather and other legendary films. Secondly, there is the Guilty Pleasure Scale, where the text holds a certain appeal despite having poor acting, terrible plot, or some other seemingly debilitating characteristics or combination thereof. As I intend to explain further, video games can be organized and rated in much the same way and with much of the same descriptors.

            Let us first examine the quality film, or rather one that would score very highly on the Sophistication Scale. Rather than introduce a new text, the Godfather should suffice for this analysis. The storyline, while not only complex and multi-dimensional, portrays a part of American and Italian history in such detail and with such superb acting that the likes of it had never been seen before. The acting is fantastic, as is the directing, dialogue, and environmental realism. One does not have to be sheepish or embarrassed to say that it is their favorite movie because it embodies the traits that we as a society have classified as great cinematic art.

            What I find interesting is that a similar text of a different medium – Mafia, has similar standing in the gaming community and for much of the same reasons. While it did not achieve quite the same level of widespread fame that the Godfather series did, it is generally considered to be of excellent quality. As shown here, it was groundbreaking for its time and was even considered an “Editor’s Choice” by the Gamespot reviewers. Putting aside the wonderfully designed gameplay mechanics that aren’t represented by cinema, Mafia earns its praise by having sincere voice actors and long between-level videos with complex dialogue that does wonders to add depth to the storyline. As you play, you explore a beautifully crafted 1930’s metropolitan city with honking cars, bustling civilians, and even police who pull you over for breaking traffic rules. The plot is not merely, “As Team A, violently eliminate Team B with these weapons.” Instead, we have multiple stories with their own sub missions that all contribute to the larger tale. Morality plays a major theme throughout, as shown in this gripping narrative moment.

            We may all enjoy movies and games like those described thus far, but what about those B-grade movies that we set aside an evening for despite their flaws? No movie aficionado would openly praise them, except among close friends, but we are nonetheless entertained. The film 300, for example, has abysmal acting, a shell of a storyline that is only an excuse for a battle, is unrealistic, and the concept is unoriginal. But despite all of this, the slow motion sequences of Gerard Butler leaping through the air while cleaving oddly costumed villains left and right is shamefully thrilling. It is that one element, the element-savant, if you will, that in its glory manages to displace every other displeasing factor. For 300, it is the action. For other films, it may be the leading lady with great tits, or the incredible scenery.

In video games, the element-savant is almost always the same: Gameplay. Gamers of all ages, genders, nationalities, and creeds have put up with horrific voice acting, pitiful plot lines, unoriginal and unrealistic situations for this same reason. If a game requires skill to play, and the mechanics – movement, interface, and general physics, among other things – are well designed, the rest becomes secondary to many gamers. Take the numerous FPS’s, (First Person Shooters), that are completely unremarkable except for well designed combat. Or the RTS’s, (Real Time Strategy), games whose only redeeming quality is the high level of strategy that the game supports.

These two media are not as different as we would like to believe. I believe that a large reason that they are considered to be so distinct from each other is because they orbit different generations. For the most part, my generation – the gamer generation – has not yet taken the time to watch and study the world of cinema. They do not grasp what constitutes a high rating on the Sophistication Scale. This is equally true, if not more drastically so, for the older generations who are blind to the world of video games. To adopt, perhaps insensitively, the rhetoric of Dr. Martin Luther King to this situation, I dream of a day when young people and old people can join hands and enjoy films and video games equally together.

The Lord of The Rings, A media phenomenon

In the world of media there are certain giants. These giants dominate all three major media mediums, Movies, Books, and Games. In an earlier post Max examined the Godfather. He explains how The Godfather started as a book, produced legendary movies and was transformed into a game. This is one Media giant. He mentions Star Wars, but others include Lord of the rings, and Harry Potter. What makes these stories unique is there location and scope. They all exist in a predefined universe. This allows developers to use their creativity, in a realm that viewers already enjoy. The audience doesn't necessary want to play the movie they just saw, however they would like to take those characters on a new adventure, or new characters on a parallel adventure. In The Lord of the Rings War in the North, players follow parallel characters to the main plot,  In one scene the main characters talk to Aragorn in the prancing pony, moments before the hobbits arrive. they players then have to defend the hobbits without them noticing. This interweaving of the plots is crucial, this is one of the main things that attracts the audience. http://www.warinthenorth.com/index.php/the-game/heroes This link outlines the back story of each of the characters. The three main characters are Man an elf and a dwarf, which is remarkably similar to Tolkien original novel. Players feel as if they are playing as their own version of Legolas, or Aragorn, not just playing as them. This is the ultimate compromise. Viewers or players want to have an affinity with the plot, hence the large amount of sequels, But if a game or movie is released within a predefined universe, but about different characters, it will still do as well. This distinction is most clearly seen with transformers. The first transformers movie spawned a video game, this game followed the movie to the letter, and it was shit.  However developers learned from there mistakes. After transformers came out with 2 sequels , the game developers struck gold. The based there game in the transformers universe, but way before the action in the movie. Gamers played during the war for cybertron. With unique game play, new characters and a new story, the game was a hit.  The creation of a fictional universe is essential for the continuation of narrative, in any form.

The Question of Separation -Joe Chan

Today's post is less of an argument and more of a question to the readers, how exactly do we distinguish the two genres? One of our group's biggest question revolves around whether the two genres are even seperate or do video games really derive from movies?
One of the biggest barriers between videogames and movies had largely been the need for real acting. Although some games make use of voice acting, there is no way in which any acting in which the body and the face are taken into the account. This raises the question of what is considered real acting and how do animated films separate themselves from videogames? In my previous post I discussed narrative and interactivity being the concepts that separate the two genres but are they really the only two factors that decide the difference between video games? Besides, narrative is a questionable argument because video games have their own form of narrative. Interactivity does not necessarily affect the narrative, in games such as Mirrors Edge you may interact with the surrounding world but the narrative and even the path in which you run are all predetermined to an extent. If videogames are to be marked differently from movies due to their ability to immerse the viewer, how does this bode for old scratch and sniff movies or current 3D and 4D (interactive in the form of chairs moving, smells emitting, objects being release, etc) movies?
Even with these factors ignored, the argument for acting is now further nullified with the use of performance capture which has the ability to capture the actor’s face, body movements and everything that is the actor and place it into a game or animated film. In games such as L.A Noire, the face is particularly focused upon because the player must analyze the actor’s faces in interrogations in order to solve the cases. Here is an example of how performance capture is incorporated: http://www.youtube.com/watch?v=d8jQDykEr2Y.
I am currently at a loss as to how the two genres differ and I pose the question to you readers. How do we define the difference between video games and film?

The Godfather: Novel, Film series, and Video Game - Maximilian Eyle

Let’s look at the story of The Godfather. I say “story” because it has been recreated in nearly every major media form. Initially it was a novel, then a major motion picture trilogy, and finally a game. Any tale with enough cultural substance will eventually be represented by each of these three media. Star Wars, for example, began as a movie series which spurred a vast number of novels, video games, newer movies, and countless paratexts. Anyway, the Godfather is usually only considered in its film and literary form. While the game is substantially newer than either of these, it is worth taking a further look to see whether this new text should be shelved alongside these past two texts or merely discarded as a tasteless paratext.

As I mentioned is a previous blog post, the significance and independent of a video game, “…depends upon two things: 1. the quality of the video game, and 2) the format of the video game.” Let’s apply these parameters to the example of The Godfather. First, the quality must be analyzed. I will say beforehand that this is somewhat subjective and I have not played this game firsthand as of yet. However, I have read about it extensively and am intimately familiar with its sister game – Mafia which shares common elements in the areas of narrative, target platform, format, and many others. The Godfather pays homage to its routes in several ways. The storyline is borrowed very directly from the first film, and many of the original actors such as James Caan and Robert Duvall are voice actors for the game. <http://godfather.wikia.com/wiki/The_Godfather:_The_Game>

The character that you play as are neatly fitted into the narrative. I have a personal appreciation for this often overlooked element of game design. So often, especially in cases of video games based off of movies, a new character or situation is introduced that doesn’t compromise the direction or integrity of the original piece. In the case of the Godfather, the character introduced to the mafia when his father is, “…gunned down on the street by the Barzinis, the Corleones' rivals in New York, Don Vito Corleone comforts the child, telling him when he has grown up and the hour comes he can take revenge for the death of his father.” This plot warp is a nice nod to the part of the original story when the simple and incompetent Fredo watches his own father, the Don, get shot by rival gang members. Such attention to detail and devotion to the game’s origins makes me give the game a high score in the quality department, though I would like to have more experience with the gameplay mechanics before I make too comprehensive of a review.

The format of the game is that of a third person shooter, where the view is from above and behind the figure of your character, and that character is often carrying a weapon or gun. This worked very well in Mafia, and seems to be an effective compromise in games that require efficient combat mechanics but also want to showcase an impressive environment for the player to explore, (this format has a broader view).

            I encourage anyone reading this to go the URL source listed at the bottom and read more about the synopsis and other game elements. It is very clear that the complexity and authenticity of the original texts did not disappear in this media transition. So, I put it to the academics, the public, or maybe just Godfather fans altogether: Don’t just give credit to the book and films, consider the video game as well.

Source: 
"The Godfather: The Game." Wikia. Web. 12 Apr. 2012. <http://godfather.wikia.com/wiki/The_Godfather:_The_Game>.

Video Games, Movies and Narrative - Joe Chan

            Although movies and video games are (arguably) very different mediums, as an art form, they both rely deeply on narrative. In analyzing the correlation of the narrative, the similarities and the differences, we can better assess the question of what makes a good game and movie and whether video games should be considered its own medium or not.

            The similarity in video games and movies sprouts from the fact that they are both mediums in which a story or narrative is told. This leads to many arguing that video games are merely deriving from movies because they are basically telling stories in the same manner using even the same film techniques. An example would be how horrors games such as silent hill force fixed cameras in order to build tension for the player or the use of lighting to affect the mood. What blends the two genres together even more now is the ability to insert full acting in terms of face, voice and body gestures normally restricted to that of theatre and film is now made possible to be incorporated into video games with the invent of performance capture. The barriers between video games and movies are now even less apparent than ever before.

            The question then lies in, what separates videogames and movies? The answer is interactivity. “Like other stories, video game narratives are a powerful expression of the human imagination-witty entertaining and complex stories. The difference is, of course, that video games combine these traditional elements with interactivity” (Parker Laura) Interactivity is the source of the major divide between video games and movies because when crafting a narrative story that is also structured around an interactive game/world the way in which a story is forged differently. The benefits of such interactivity are obvious, it immerses the player into the story better than any book or movie can because it is the player whose actions influence the consequences of the game and are emotionally attached to the achievements in which they put effort into personally attaining.

            On the other hand there are also arguments against video games as a narrative form, stating that “Games do not have the story structure we see in Greek plays, Shakespearean tragedies, or even soap operas on afternoon TV. They are, at their very heart, games and not stories.” (Dutton) Here Dutton argues that interactivity in games prevents the story from being linear and that there is little focus on the actual narrative and plot in games.

             I do however whole heartedly disagree with Dutton, although there is interactivity in games, most games have a linear storyline which the player must follow in order to continue through. From the simplest games such as Donkey Kong to modern games such as the Halo series, there is a story provided, it is indeed in the background as Dutton argues in some games (especially the simpler ones) but current games even the ones without a linear progression such as Sky Rim have a deep focus on the narrative and the path of the story even though the player can choose to wander and do other things in between the main points of the story. Although this does not follow the direct linear style of original theatre it still exists and does a fantastic job at conveying a narrative and causing the audience to be compelled by and immersed in it.

Sources

Regarding lighting:

http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko

Regarding acting:

http://www.cbc.ca/news/technology/story/2011/03/04/f-video-games-performance-capture.html

regarding  narrative:

http://www.gamespot.com/features/once-upon-a-time-narrative-in-video-games-6214951/

The Diffrence of Platform

In the world of digital media texts and para texts can easily switch places. Sometimes what is considered the main text can become overshadowed by its subsequent para texts, or in another case the para text becomes stand alone.  In the case of trailers, posters, and intro scenes this is not an issue, the respective para text leads to the viewers increased knowledge about the parent text. The para text is usually intended to interest audiences, but now since there are so many para texts, viewers have a sense of affinity with the text without viewing it. In video games this line between text and para text is even more gray.  Movies , Posters, Trailers, and Title sequences all exist in one medium. Video games however are produced on different platforms for different audiences.  Assassins Creed, a popular video game, has a very detailed narrative. This narrative has spawned many para texts, including short you tube videos, and other video games.  This is the link to the trailer for the iPhone assassins creed game. http://www.youtube.com/watch?v=-Nhmj-Gn7_w  

This iPhone game/app was created after the assassins creed series was in full swing, but what is its purpose?  Was it supposed to draw players of the original assassins creed game into a new text, or was it supposed to be a way for players to be drawn to the series. The level of intricacy varies between platforms. The iPhone version is much less complex and relies heavily on the original game for narrative support. But the game has decent graphics, solid game play, and could possibly stand alone.  In our exploration of video games as a para text of film, narrative superiority is becoming a much harder to discern.

The Video Game: Text or Paratext? - Maximilian Eyle

The relationship between interrelated video games and movies is a complex one. For most media, the quality of the product only dictates whether it is, for example, a “good” movie or a “bad” movie. The Resident Evil movies are prime examples, because while they are often criticized as being terrible cinematic imitations of the original video game series, they are still considered their own text. When the relationship is reversed and a video game is emulating a past movie, it is usually considered a paratext. I disagree with such a generalization, and suggest that whether it is truly is a paratext or not depends upon two things: 1. the quality of the video game, and 2) the format of the video game.

            The line between text and paratext can be a hazy one. For the purposes of our investigation, the paratext is defined as a supporting medium, such as a poster, article, etc, that is centered on a main text. However, when the text is reproduced in the form of another medium – such as a movie version of a novel – the new version should be considered its own text as it is a new imagining of the original and will likely generate a whole new set of its own paratexts. This brings us to the peculiar nature of the video game. It is the most technologically complex of mainstream mediums, and it takes longer to “view” in its entirety than any other mainstream medium. But even with these noteworthy attributes, academia turns its nose up at it and pop culture only enjoys it as a guilty pleasure devoid of any intellectual integrity or class. Like most things, the world of video games contains products ranging from the divine to the fecal in quality. To avoid a hopelessly lengthy commentary, let’s limit our look to the video games that are related to movies in one way or another.

            The first problem is that the term video games is so broad that it practically holds no meaning, at least not without further description. Take the most basic form of popular video game – the flash game. They are typically non-downloadable, two dimensional, have minimal controls, and poorly animated graphics. However, their simplicity makes them easy to learn, and ensures their playability on any half decent computer. We encounter them as paratexts only, when in connection to a movie or television show. They don’t have close to enough content to be a valid textual form in and of themselves, but can still entertain a fan for a shocking amount of time. Check out South Park’s page for a look at their flash games right here.

            When we take the leap into the complex world the PC or consol games, things change. A well developed video game has the potential to have as complex a storyline as its cinematic counterpart, but with the added bonus of being malleable and immersive. You experience the narrative as a character rather than a voyeur. Because of this phenomenon you can also adjust your experience as you play to make the game especially satisfying to your individual preferences. Look at my next post about the Godfather series to see an example of this broken down and explained.