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Beyond Machinima: Rudy Poat and John Gaeta on the Future of Interactive Cinema
For example, you could have a scene with two people and believe you've seen everything you could in the movie experience, but at that precise moment in the interactive version of that scene there could be another character that you didn't know about, watching. Thusly, you could create another whole thread of the mystery that wasn't known at the time of the movie screening and you could expand upon that thread. Or, that scene, which would have to be a virtual construct of some sort, could be a portal to the gameplay universe. Outside of those doors, play could happen in full chaos mode. Essentially you take that moment, and turn them into nodes within an interactive format. These are nodes that you can expand exposition and then exit, if you will. They then become gateways. The time frame when something like that will happen is essentially when we can achieve exact match fidelity between what you would need to put on a wide screen experience and the best you can do on a game console or on line experience. As we watch the state of the art in real time graphics, we can see that we are definitely getting closer and closer to being able to do a nice job on an animated movie that can be re-visited in match fidelity as an interactive experience. GS: So, you could experience each scene from different angles, you could move it around or whatever you like with real time rendering. JG: Well, yes, the simple first step is sort of like Bullet Time again, right? GS: Right.
JG: That's the surface, that's the first go. To me, what's much more interesting is that the universe is dynamic. Here are a few examples: yes, you can see it from any angle perhaps, but embedding things that one never knew was there in the first place. So you solve the exposition problem that films tend to have. Additionally, you can create crossover dramas, dramas that cross over the spine. It's as if you're looking at a movie as a spine that runs through the game universe. It sits there like a dynamic sculpture in the center of this game universe. If you choose to observe or pass through the film, you can, but the universe is still there as any game universe would be. I find that really fascinating because it gives you a lot of different options. You can be a voyeur, cross over the spine or build your own crossover thread, for those who are into Machinima interfaces or expanding worlds. That way you could have an influence. You could look at a film five years from now that will have all the dramatic climaxes and arcs, but is a passive experience. Another way to look at the semi-interactive mode is that we could construct a movie in a way that the world environment that surrounds fixed scenes, like two actors talking, is a busy city. Suddenly there's a car accident behind one of them, if we constructed the world behind the acting as a dynamic simulation then that car accident wouldn't always happen. That would make the movie different every time it's viewed. It's full dynamic cinema. That's a step between passive cinema and what I was just describing. |
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