Henry-Lowood
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PAX East todo: The Digital Game Canon, a panel about video game preservation
PAX East is underway and we're dedicated to making sure each one of you makes it to one very special panel. But first, we'll level with you: it requires some homework on your part. "Ten Games You Need to Play: The Digital Game Canon" borrows its name from the 2007 GDC session of the same name, in which an incredible group of panelists (including this writer) deigned to select ten video games that deserved to be preserved. We're revisiting that effort, and reconsidering it with a stellar group of panelists. This year's panelists include: Henry Lowood is a professor (and curator!) at Stanford University and chairman of the IGDA's preservation SIG. His academic work is focused on the preservation of video games. Chris Melissinos was a longtime gaming evangelist at Sun, before founding Past Pixels, an organization dedicated to the preservation of video games. He's currently curating the Smithsonian's Art of Video Games exhibit, scheduled to open in 2012. Jon Gibson has worn many hats (including games journo and screenwriter hats) but is currently busy with iam8bit, the LA-based outfit responsible for art exhibits, books, and excellent game marketing gigs (think: Capcom Fight Club). David Gibson has been employed as a Processing Technician in the Library of Congress's Moving Image section since 2006. In that time, he has become a key player in the Library's initiative to collect, preserve, and provide access to America's gaming heritage. Chris Grant is a writer who works from home in his pajamas. And your homework: Get a crash course in game preservation by listening to the entire hour-long "b-side" interview with Henry from Episode 2 of the excellent A Life Well Wasted podcast, which you can find here. Read the excellent "Preserving Virtual Worlds" final report while waiting in PAX East lines (download it here!) and, when you finish that, move over to "Before It's Too Late: A Digital Game Preservation White Paper" (which you can download here). VOTE! Head to www.artofvideogames.org and "vote for games that you think are visually spectacular or boast innovative design!" This is for the Smithsonian Institute, guys. Think about that! And, one final bit of homework: Get in line early. The panel takes place at 2pm on Sunday, March 13, at the IGDA Dev Center (on the 2nd floor, right next to Manticore Theater).
Stanford machinima panel recap
Thursday's WoW machinima event at Stanford showcased the winners of the World of Warcraft Summer Movie Contest. Following the screening of the best videos, Daniel Kayser of GameTrailers.com hosted a panel discussion with a few Stanford professors and other machinima luminaries. Also, Joystiq's Christopher Grant sat on the panel.For an hour, Kayser led the group through questions about the state of machinima, its history, and its future. In general, the participants anticipated a bright, creative future for machinima, but they were uncertain how the art would change once corporations tried to exploit the style.Matteo Bittanti, from Stanford's Humanities Lab, commented on the continuing shift of machinima from in-jokes to a general artistic tool; many of the contest winners relied on WoW jokes, but the grand prize short, The Edge of Remorse, bore no direct relation to WoW as a game. Bittanti anticipated that the balance would continue to even out, with more machinima stories unrelated to games able to find a broader audience.Machinima's practical definition was another topic. Ezra Ferguson of Rufus Cubed Productions said that a feature-length machinima production is inevitable, especially as the game tools continue to evolve to show facial emotions and better acting. Animation director and one of the night's winners, Jun Falkenstein questioned the point at which those machinima tool updates would change the technique into a standard animated movie. Are the rough edges in machinima part of its definition?Henry Lowood, Curator of Stanford's History of Science and Technology Collections, also stressed that accessibility and rapid production are the root of machinima. He mentioned French Democracy, a story created with The Movies that responded almost immediately to last year's riots around Paris. He said that this method of quick reaction is "a power we really have never had before."Will machinima become regular-old animation once the results mirror other computer animation tools? Are accessibility and quick response the real root of the style?
