The common ground between TV and Gaming
August 31st, 2010 § 3 Comments
I’ve just had an interesting email conversation with Nicholas Lovell, the excellent games consultant and Gamesbrief blogger, prompted by his appearance at the Edinburgh TV Festival on a panel about the cross over between TV and Games. The session left me very frustrated, partly because it seemed to assume that the only reason that TV people would be interested in games is if they wanted to license their IP to produce a spin-off game. Nicholas (and Paulina Bozek, who made SingStar) did give a different perspective, but this came after two long sessions that were pretty dull histories of Sony and Ninetendo’s histories in the AAA game industry.
Having spent nearly a decade working for broadcasters, I know that this isn’t the way to get a bunch of creative people excited about your sector. How much more interesting it could have been if there were more creative talent there – Ben from Zombie Cow, Darren from Littleloud, or Phil from Preloaded – to explain how their creative process works. Making a TV programme and making a game share a lot of common skills, from great writing to stunning visual production and a keen understanding of your audience. The session at the TV Festival would have been a lot more valuable for everyone involved if it had focused on these issues, rather than a history of the games industry.
I was particularly frustrated, as I’ve spent the last few years (together with Alice Taylor) trying to get broadcasters to understand that games are valuable ways of delivering public value projects, not just parasitical, licensed projects feeding off a linear TV programme’s brand equity. The common ground between TV and Gaming isn’t licenses and IP – it is talent, stories and audiences. Its a pity that the panel in Edinburgh didn’t illustrate this.
Ed Catmull on Creativity at Pixar
August 13th, 2010 § 3 Comments
This is pretty much everything I could ever say about the industry I work in, but said more effectively than I could ever say it:
“If I look at the range, you’ve got one [constraint] that is art school, I’m doing this for arts sake, Ratatouille and WALL-E clearly fall more on that side, the other is the purely commercial side, where you’ve got a lot of films that are made purely for following a trend, if you go entirely for the art side then eventually you fail economically. if you go purely commercially then I think you fail from a soul point of view… we’ve got these elements pulling on both sides, the art side and the commercial side… and the the trick is not to let one side win. That fundamentally successful companies are unstable. And where we have to operate is in that unstable place. And the forces of conservatism which are very strong and they want to go to a safe place. I want to go to the same place for money, I want to go and be wild and creative, or I want to have enough time for this, and each one of those guys are pulling, and if any one of them wins, we lose. And i just want to stay right there in the middle.”
Ed Catmull, founder of Pixar.
From Scott Berkun’s Blog
There’s a reason Pixar is the most admired and consistently brilliant creative company in the world right now. Its because Ed Catmull runs it.
