The Machinima Phenomenon Group Members
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The Machinima Phenomenon Group members Hans-Petter Ellingsen Kristian Jespersen Kenni Skafte Mortensen Hand in deadline: 23 May 2007 at 3 pm. Course: Computer Game Culture Teacher: Miguel Sicart The Master of Science study programme in Media Technology and Games (MTG), Semester Spring 2007 IT University of Copenhagen 1 Table of Contents 222 Introduction ................................................................................... ................................................................................................ ........................................................................................... ............................3333 2.1 Defining the machinima phenomenon.......................................................................... 3 2.2 Methodology and theoretical approach........................................................................ 4 333 Historical overview of machinimamachinima................................................................................................................... ............................................................................................ ..............................5555 3.1 Milestones ..................................................................................................................... 5 444 Communities and genregenre................................................................................................................... ................................................................................................ ..........................................................7.......... 777 555 Case study: World of Warcraft ................................................................................... ................................ .............................................................................................. ................. 101010 5.1 Tales of the Past.............................................................................................................11 5.1.1 Fifteen minutes o’ fame............................................................................11 5.1.2 Affordances and constraints .................................................................... 12 5.2 Epic Flight Form ............................................................................................................15 5.2.1 Epic Flight Form – imbalanced classes ..................................................... 15 5.2.2 Affordances and constraints ....................................................................16 5.3 Super Mario Bros. machinima ......................................................................................18 5.3.1 Games as frame of reference...................................................................18 5.3.2 Affordances and constraints ....................................................................19 666 Conclusion ................................................................................... ................................................................................................ ........................................................................................... .............. 212121 777 What’s on the DVD ................................................................................... ................................................................................................ ............................................................................... ......22222222 888 References ................................................................................... ................................................................................................ ........................................................................................... ............................23232323 999 Appendix A: Overview of machinima genres ................................................................................... ................................ ..........................................................25.......... 252525 Page 2 of 25 2 Introduction As part of the course Computer Game Culture, at the IT University of Copenhagen, students were asked to write a report on a topic of their own interest and choice. The report should utilize and represent a more practical approach to the research of a game related cultural topic and should seek to apply theoretical knowledge taught in the course. In this report we will examine the cultural phenomenon of machinima, to get an understanding of the communities and the creative climate in which machinima is produced i.e. in relation to cultural- and historical influences as well as technological affordances and constraints. As part of our research we will exemplify the above by analyzing three different machinima films, made in the game World of Warcraft (Blizzard Entertainment), from both a cultural and a technological point of view. The machinima examples referred to in this report can be found on the enclosed CD (see Error! Reference source not found. What’s on the DVD, page 22). 2.1 Defining the machinima phenomenon There are many opinions and attempts to coin an exact definition for what machinima is. A quick search on the internet instantly reveals that the boundaries of what defines the medium are somewhat flexible. Apart from the fact that machinima (a combination of the words machine, cinema and animation) is considered a type of filmmaking, there exist some basic requirements, which seem to reappear in most definitions we have come across: Machinima scenes are recorded in realreal----time.time. Recording in real-time means that what you see is what is being recorded, while it is happening. This does not rule out real world filmmaking since this is also shot real-time, but 3D animation films such as Monsters Inc. (Pixar Animation Studios) can, however be ruled out since these cannot be considered as recorded or rendered in real-time. Machinima scenes are recorded inside a virtual interactive environment. The environment in which machinima scenes are recorded is a virtual one that reacts to e.g. a users input. An environment that does not exist in the real world, but only inside a computer. There is no requirement to whether this should be based on two or three dimensional space, but usually the latter is the one preferred. There is neither a requirement stating that the virtual environment should be that of a 3D game engine in particular, but usually this is also the case. Seeing what machinima can be and knowing how its definition is taking shape around the phenomenon we believe that a broad definition is a good way to go. The requirements mentioned above state some essential elements of what define machinima – that machinima is filmmaking, recorded in real-time within a virtual interactive environment. It is also worth mentioning such boarder cases as sequential art and still capture in games as influences and parallel forms of expression to machinima. Although not dependant on the same criteria as machinima, these forms of expression also use the game as a creative tool. Page 3 of 25 2.2 Methodology and theoretical approach In our research of the machinima phenomenon we will seek to apply knowledge acquired in class and from texts we have been presented to during the course. As part of our case study of World of Warcraft we will seek inspiration in the texts on the subject of technology studies such as “Knowing what to do” (Donald Norman, 1992) and “Where are the missing masses?” (Bruno Latour, 2002). Both the texts pose a view on how technology and technological objects can be analyzed. In the case of the first text, Donald Norman divides an object into its affordances and constraints – what actions can you do with the object and which ones is it constraining you from. In doing so he points out that technological objects should in themselves signal users the proper usage of them. In the second text Bruno Latour introduces a somewhat similar way of breaking down and analyzing objects, but further explains that the same technological affordances can be favoring some users and discriminating others. The above is of course a short and summarized description of the two texts and not at all exhaustive, but it points out the main areas that we find interesting. In our case study we will try to adopt this method of breaking down and analyzing the technological object at hand (the game) in regards to making machinima. We will identify what the affordances and constraints are in relation to how our chosen machinima films were made. And since we are only studying World of Warcraft machinima we should be able to make a good comparison of how the films have used the technology. The case study World of Warcraft has primarily been chosen due to the extensive knowledge each of us has as a player and member of the World of Warcraft community since the games release in 12 February 2005. Page 4 of 25 3 Historical overview of machinima This section will give a historical overview of the major milestones of the machinima phenomenon. In order to accomplish the goals stated in the introduction it is crucial to have an understanding of which events have lead to where machinima is today. Especially with regards to how the creative climate was affected by technological affordances and constraints, and how this was utilized by the community. It is stated in the introduction that this report wants to create an understanding of the cultural and historical influences of machinimators and the possibilities