Not the most concise title but I wanted to cover a bit of ground with it. I am leading a week long Multi Platform development residential lab next week in the Southern Highlands of New South Wales with some of the worlds leading mentors and Australia’s top projects – all linked to Screen Australia. This is followed by a one day seminar in Melbourne called ‘Idea to Market’ and top and tailing all of this, I have taken up the Executive Producer ABC Multi Platform TV role. More on each coming up.
As you know last year I founded StoryLabs, a global transmedia IP development network, with 3 other individuals in Canada, US and UK. Then, new format funding body, Screen Australia who were looking for a very practical, production orientated rapid development structure for their Digital Ignition initiative, looked to StoryLabs.
Screen Australia has engaged transmedia collective StoryLabs to direct the first workshop, under the guidance of its key founder Gary Hayes. He is recognised as one of the foremost digital thinkers. An award-winning multi-platform producer, author, educator and director. The founding director of global multi-platform training initiative StoryLabs he has recently become Exec Producer of ABC Multi Platform TV. He was the director of AFTRS’s LAMP program for 5 years, was Senior Interactive Development Producer at the BBC for 8 years, and was a Social TV Producer in the US. Gary has designed and lead multi-platform/transmedia courses internationally and in Australia with AFTRS and Metro Screen. He also runs MUVEDesign (creating story based augmented reality, virtual worlds and transmedia) and the influential media and marketing site PersonalizeMedia.. Gary will be supported by up to eight high-calibre international and domestic experts.
“The Digital Ignition Multi-platform Clinic falls within the suite of support offered through our All Media Program, which seeks to ignite and strengthen digital understanding, expertise and activity within the Australian screen content sector,” said Screen Australia Investment Manager Mike Cowap. “We’re thrilled to be working with Gary and his StoryLabs network to make this as rich and practical a workshop as possible.”
Founder of StoryLabs Gary Hayes said, “We’ll deliver a highly structured program focused on all the important practical topics, including storytelling, user experience, design, technical, business and marketing. We’ll be using case studies and tried and tested exercises to hone participants’ processes, and ensure they leave with a tangible ‘bible’ and clear list of next steps for their project to get it off the ground.”
Have we reached a tipping point – with many more user hours spent with games than films are they now more culturally relevant (as in our cultures are saturated with them)? With most films having ‘game-like’ story arcs and, at the last count, nearly 80 films with stories based on game titles in productionI am starting to think so.
Game culture and their inherent stories are now absolutely mass media. In a low risk, and dwindling film business, creating stories around experiences that people have already spent 20-40 hours immersed in the story world, is a no brainer, so what we are seeing is a threshold now of game-like films but more importantly films based on games. Anyway more after the ten minute video – stick with it.
“Playing With Stories” THE CINEMATIC GAME. A Film by GARY HAYES
I am designing curriculum for cinematic games and virtual worlds at AFTRS but also doing another report on the market potential of this cross-media, gilm (game/film) landscape. In the process again I threw together a compilation video of notable examples (I know there are at least ten times this btw!) interspersed with tasty quotations. “The Cinematic Game” was initially designed to be a look at the cross-promotion and story development potential of this most powerful mixed-media marketing machine. But, during the process though I was staggered to see the number of major feature films in production based on new and existing game universes (listed in this post below and scrolling at the end of the video) – suggesting to me a tipping point.
Game story starts to lead film development?
TV and Cinema has already become much more of a background or escapist medium for larger numbers of media consumers. In homes around the world we are spending more time in online pursuits than glued to the content breaks, in-between the advertising slots of traditional TV. We are also immersing ourselves in the social and story ‘exploration’ of the current generation of PC and console games. So how will TV and Film survive in a world where social gaming and associated peer appraisal online is far more compelling? Also given the choice will we continue to passively watch the protagonist or ‘be/live’ the hero? It is interesting to see 8000 employee EA Games now developing major strategies whereby games are made to be easily adapted to comics, books, TV and Film. In the business week article “Morphing Video Games into Movies” they note how EA are trying to emulate small non-game companies have built mini empires on their ‘story IP”
The idea is to repeat the success of companies such as Marvel Entertainment (MVL) and Hasbro (HAS), which used their base of fans to transform from marginal companies into Hollywood players. After licensing Spider-Man to Sony Pictures for a string of hit movies, Marvel has created its own studio, with Iron Man and other films set for release this summer. The Hasbro-backed Transformers movie grossed more than $400 million in 2007 global box-office sales, which in turn boosted company sales of movie-related toys and games.
It is interesting to note that the music industry is also starting to ride the coat tails of the games world. Kotaku reported on a ‘run-in’ between Warner Bros. and Activision about Guitar Hero. Suggesting the music publishers should get more royalties from games that use music, Activision’s boss Bobby Kotick hit back at Warner’s and said the following (which implied as the Kotaku item said ‘Perhaps the record companies should pay us‘)
We’re going to favour those publishers that recognise and appreciate how much we can add value to their artists… in the case of those kinds of products, you should be paying any money at all and whether it should be the reverse.
Back to the main thread of the post, it does make you wonder how many screenplay writers are sitting in front of their XBoxPS3Wii’s looking for inspiration nowadays? Variety suggests that in fact ‘all’ games could be made into movies but I will be really interested in what kind of film comes from The Sims and already know the likely story arc of MassEffect having run through it a couple of times but many others on the list below will be of interest, especially World of Warcraft which has around 4000 story threads/quests – so which story will we be ‘offered’?Films of games have had a shaky past with only a few critical successes such as Tomb Raider, Silent Hill, Resident Evil (there are several on slide 75 of my game/story presentation below, that I did several months ago) but given the serious money and credible directors such as Landau, Lucas, Speilberg, Cameron, Jackson etc: plus a deep desire to properly reflect the integrity of the ‘interactive’ experience, the tide is turning. Being an avid machinima maker I know at first hand what it means to capture the ‘essence’ of game playing, adapt it, reflect it and, if you understand the culture of the game, interpret it – the good thing is A list filmmakers (as you can hear Peter Jackson say at the end of my video) understand it too.
“AFTRS new game design and virtual world graduate diplomas will push students to go beyond the generation of clichéd actions and stereotypical characters, students of these new courses will be encouraged to step up and learn how to create meaningful interactive experiences for a variety of platforms informed by the expertise offered in all of the other creative disciplines taught at AFTRS such as directing, screen composition, screenwriting, sound design, production design and more. The field of game design and interactive experiences is equally as collaborative as the world of filmmaking, drawing together diverse specialists who together create the whole – writers, screen composers, programmers, animators, art directors – at AFTRS all of these disciplines are already housed under one roof – with a track record of cross disciplinary interaction and a staggering successful graduates.”
More about my video
A non-exhaustive compilation of story rich games or gamic films including in order of appearance: Contact, Indiana Jones, Heavy Rain, The Game, Burning Crusade, Max Payne, The Matrix, Heavenly Sword, Final Fantasy, Lord of the Rings, Ironman, Call of Duty 4, Simone, Rage, Tron, Bicentennial Man, SpiderMan 3, War of the Worlds, Tomb Raider, I am Alive, WoW Lich King, Indigo Prophesy, Jumanji, Desperate Housewives, Da Vinci Code, The Beach, Assassins Creed, Thomas Crown Affair, CSI, Halo, Resident Evil, James Bond, Sleuth, Afrika, The Godfather, The Cube, Narnia, Time Bandits, The Golden Compass, Half Life, Never Winter Nights, Silent Hill, Hellgate, Beowulf and interviews with George Lucas and Peter Jackson plus quotes from many film directors and games designers
My film contains some of the better hybrids, either films inspired by games, games inspired by films or just very rich cinematic, story or character rich games. I make no excuses that I have used a mixture of cut scenes as well as ‘real’ game play in the video – that is really to show where we are heading as game graphics continues to hurtle towards the real time equivalent of the likes of Beowulf and other ‘trickle’ rendered CG features. After the quotes and textual references from the compilation below, are more elements on this very exiting hybrid cross-story, cross-IP, cross-reality world.
I want gamers to be surprised by their own creativity. I want players to feel not like Luke Skywalker, but George Lucas Will Wright (Sims, Spore)
We’re way beyond the notion of game-as-brand-extending afterthought. Let the virtual world–the vibrant, living world that people inhabit–let that influence the movie. Let it feed back into the process and provide unparalleled riches and depth to what we’re doing
John Landau (Titanic)
Games are already good at creating fear, suspense, excitement, shocked surprise, and laughter. Much rarer are games that create genuine sadness Ã¢Â€Â¦ I have never cried during a videogame
Marc Laidlaw (Half-Life)
I think the real indicator will be when somebody confesses that they cried at level 17
When I found out one of my guildmates had died, someone with whom I had fought monsters, explored exotic lands, shared moments of jubilation and defeat, I wept. In spite of having never met him, the knowledge that we would not continue the story together, brought me great grief. Laurel Papworth
We had a notion to take the stars of the movies and have them play supportive roles in the video game and tell a story that is a companion story to the movies
Joel Silver (Matrix)
If done well, I don’t believe a videogame itself can detract from a film experience. Ideally, it would be a complement to the film and a way for fans to further involve themselves in a world once they leave the cinema
Peter Jackson, (King Kong, Lord of the Rings)
There are scenes that start in the video game and will complete the movie – ¦and fell like it’s a part and experience of the movie
Joel Silver (Matrix)
Games and MMOs in particular are providing such a sustaining experience that challenges us to make the theatrical experience better
John Landau (Titanic)
The next big emotional breakthrough in gaming is being able to tell a story that is consistent throughout the narrative. If the game is 15 levels, it’s just like 15 chapters in a story
We’re trying to understand the language of the film, but diverge in ways that are right for the game medium.
Neil Young’ EA VP (Lord of the Rings)
Games sometimes can reveal things. To watch someone in movement, unconscious movement, can be very stimulating and revealing, whether they win or not.
John Turturro (actor)
People wonder why games don’t have the same emotional palette as movies. But that’s the wrong way to look at it. It’s like saying, ‘Why isn’t radio like reading a book?’ Games, inherently, have a different emotional palette, which is their strength
Will Wright (Sims, Spore)
Alone in the Dark 2
American McGee’s Alice
BloodRayne III: Warhammer
Broken Sword: Shadow of the Templars
City of Heroes
Devil May Cry
Gears of War
God of War
Hunter: The Reckoning
Kane & Lynch
Legend: Hand of God
Metal Gear Solid
Mortal Kombat: Devastation
Paul Blart: Mall Cop
Resident Evil IV
Return to Castle Wolfenstein
Silent Hill 2
Sonic the Hedgehog
The Legend of Spyro
Tom Clancy’s Splinter Cell
Tomb Raider III
Warcraft (based on World of Warcraft)
Mixed Reality Futures
As a lead into a post about to be published I have been talking for a couple of years now (The Mixed Reality Perfect Storm ) about the fantastic potential of the live and by implication shared TV experience to be enhanced by extending the world into online games. It is exciting to think where we will be in a few years once the ‘broadcasters & studios’ realise that keeping an audience involved in the ‘IP’/programme in-between airings or sequels is a good thing. Good for the story creators, the latent creative audience and of course advertisers who need eyeballs/hands/ears/minds and hearts.
A further afterthought there are several companies around the world developing Cross-Reality forms, one that I am heavily involved with‚ The Format Factory, are pioneering formats that bridge the space between compelling participatory TV/Film and online game worlds. They have a promotional video that metaphorically demonstrates some of the ’embedded’ world-within-worlds. A trailer video teaser for the mixed reality, inhabited TV formats being pioneered and piloted by The Format Factory.
OK I had better blog this ‘press release‘ copied below which quotes me, but also as I am heavily involved in the creation of these courses and still running LAMP (the innovation unit at AFTRS). Frankly it is one of the best things to happen in Australian industry education for the last three years that I have been based in Sydney. AFTRS is renowned for its high production value filmmaking primarily with many students being nominated and going on to win Academy Awards, Oscars etc.
Via three years of LAMP I have had a key role in helping the internal AFTRS culture and curriculum adopt a new way of thinking about audiences and creating entertainment for them. This goes way beyond point and click, cross-media interactivity (very 90s) to experiential services and social media entertainment. So two key new courses below and a variety of ‘hybrid format’ workshops across the school will help create new thinkers – marrying dramatic story and immersive game, blending social with structured narrative and putting ‘play’ into areas where ‘playful interaction’ has previously dared to tread.
This press release from here and more about the courses here. There is already a high demand (Kotaku and Inside Film have more too) but pass this on to folk who want to play a part in the global development of the ‘gilm’ genre (thats mixing game, film, tv and virtual worlds to you and I) !
More on the wonderful world of Games and Film and Blended TV in an upcoming post with a Gary special, montage video 🙂
16Ã‚ September, 2008
FOR IMMEDIATE RELEASE
15 September 2008
Games and Virtual Worlds: a new frontier of experience
Can games have real story and rival the emotional pull of the cinema? AustraliaÃ¢Â€Â™s leading screen arts school thinks so as is introducing courses that prepare students for a future of filmic games and virtual story worlds.
The Australian Film TV and Radio School (AFTRS) has created two ground breaking Graduate Diploma courses specialising in Game Design and Virtual Worlds. These are two of the only courses in the world to explore the link between games or virtual worlds and cinematic story.
Ã¢Â€ÂœThere are already major Australasian filmmakers like George Miller and Peter Jackson working at the frontier between film and games and we know it is timely for AFTRS to integrate games into our screen directing program.Ã¢Â€Â said Sandra Levy, CEO of AFTRS
James Cameron is currently creating games and social virtual worlds around his latest film Avatar and one of his most famous films, Titanic. He said at a virtual worlds conference last week “I’ve always wanted to let people see what it was like to sail aboard the Titanic, to really know the ship, the passengers and their place in history.”
The games industry is growing rapidly and now supports a vast diversity of content ranging from pure entertainment, online social gameplay through to educational simulations of real life and situations. Some of the leading practitioners in the world have helped to develop the AFTRS program including CTO of Relic Entertainment John Buchanan and Matt Costello who wrote the popular Pirates of the Caribbean games.
Ã¢Â€ÂœGames are a key element of the global revolution in digital contentÃ¢Â€Â said Peter Giles Director of Digital Media at AFTRS. Ã¢Â€ÂœWe have built strong foundations for our games and virtual world courses at AFTRS over the past four years. Our expertise in computer animation and interactive writing has been coupled with our experience of rapidly prototyping digital content through our Laboratory of Advanced Media Production (LAMP).
Habbo Hotel, Second Life, there.com and HiPiHi are among 50 social virtual worlds which now command more than 320 million users worldwide. Film and television producers have begun to extend their engagement with audiences by moving them into social virtual worlds and role playing games such as CSI creator Anthony Zuiker who said recently:
“In the gaming area, you want to give people tasks, to shoot things and upload pictures… You’re doing this because you want these people to be creating their own story and it will be part of the crime on the broadcast… Even if it’s not the actual thing I shot, I was part of that experience, that community, that narrative.”
Gary Hayes who has created the AFTRS Virtual Worlds course and led the LAMP initiative said, Ã¢Â€ÂœIt is important when designing any form of digital content that it facilitates active engagement by the audience so that, for example, they may become the protagonist in film-like games or the ability to create their own stories. Our courses will give students the tools to create this new type of experienceÃ¢Â€Â.
The courses will look at the cross-over areas such as previsualisation for films, virtual scenes that aid the filmmaking process, real life motion capture, cinematic writing, sound and music for game worlds and the role of artificial intelligence in creating rich game experiences.
AFTRS welcomes applications from all areas of the industry for these exciting cross-disciplinary courses. The courses are suitable for applicants from creative or technical backgrounds. So if you have highly tuned writing or directing skills we can help you to up-skill in games and virtual worlds. Conversely, if you have a games or virtual worlds background we can teach you the skills in leading and developing story-rich projects.
Well a bit of a pompous title perhaps, fueled by a report just published by Pew Internet (one of my fav research groups) who reminded me of something a few of us have been bleating on about for a while – that the last 200 years of media distribution have been an anomaly. Dominated by scarecity of broadcast, one-to-many channels and power-to-the-few editorial, the way ‘stories’ have been shared have been a blip in human evolution. The limited pipes that have led the way are now being eroded as more and more of the ‘connected’ (Gen C, Y particularly) see spending most time sharing their conversation and inherent creativity as a natural, immersive activity. They see their expression being filtered by commissioners, moderators and editors as unnatural and alien. The best ‘creators’ will be able to charge for their work which is valued highly by their interest groups, they are what we used to call professionals. Also groups of people who ‘manage’ the best creators will grow and die organically in the connected community and they are what we used to call studios, music A&R departments and broadcasters.
Anyway to the report, PDF here, which simply shows how making stuff and sharing it over the global network is second nature to the ‘connected’ generations.
“Content creation by teenagers continues to grow, with 64% of online teenagers ages 12 to 17 engaging in at least one type of content creation, up from 57% of online teens in 2004….The survey found that content creation is not just about sharing creative output; it is also about participating in conversations fueled by that content. Nearly half (47%) of online teens have posted photos where others can see them, and 89% of those teens who post photos say that people comment on the images at least “some of the time.”
We are also seeing in social networks that have simple tools to create, Second Life is a good example, 30-40% of the time in those spaces are spent making stuff. Humans are just natural builders, talkers and peer controlled tribal entities – that won’t be affected by 200 years of limited channels. I often hear traditionalists say ‘the community will never create the film The Titanic”. Consider groups of talented community creators creating content that will want to be seen by more people than those marketed at to go see the film Titanic and then the value of any piece of content becomes driven by the collective. The long tail may start to flatten and invert. As to production value, yes good training will never be questioned, but the best equipment and the cost of experimentation is dropping dramatically and the price of iterative, create, learn from mistakes, create better is within the reach of many. Back to the report which reinforces my mild rant two posts ago where I reacted against some PhD folk at a conference I was presenting at who said Web 2.0 participation doesn’t exist because only 1% of people create stuff. Well this Gen C, Y research suggests otherwise and participation does actually mean a lot more than just uploading a ‘meaningful’ video (the example they gave of what the pinnacle of community input is – heritage media thinking) – in fact, as many strategists and social network gurus state, the conversation is now the content not the form or device it is delivered through.
There is a subset of teens who are super-communicators — teens who have a host of technology options for dealing with family and friends, including traditional landline phones, cell phones, texting, social network sites, instant messaging, and email. They represent about 28% of the entire teen population and they are more likely to be older girls.