TAKE 78 Spil Surprise Party

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78

DEC 2019


LEDER

FREMTIDENS FILMSKOLE Af Klaus Kjeldsen

DANSKE FILMINSTRUKTØRER Linnésgade 25, 2. sal • 1362 Kbh K Tlf: 3333 0888 • mail@filmdir.dk www.filmdir.dk Temaredaktør Trine Laier Redaktør Karen Bernheim Redaktionsgruppe Karen Bernheim, Klaus Kjeldsen, Martin Strange-Hansen & Søren Kragh-Jacobsen Forsideillustration Trine Laier Design e-types & Sandra Odgaard Tryk Vestergaards Bogtrykkeri Oplag / 700

”FREMTIDENS FILMSKOLE” hænger ikke mere over døren ind til Filmskolen. Det hængte eleverne op som udsagn om, at det ikke er forandringer, de er imod. Skiltet hænger der ikke mere, fordi pedellen har taget det ned. Nedtagningen af det skal ikke være billedet på Filmskolen efter konflikten. Filmskolen har i det forløbne år været ude i et stormvejr. Det har været turbulent for eleverne og for rektoratet. Hvordan skal Filmskolen se ud i fremtiden? Det spørgsmål er blevet vendt, drejet og diskuteret udenfor skolen og på skolen. Konflikten har vendt og drejet branchen. Det har været højlydt, der har været uro og undertiden trukket splittelsen med i sit kølvand. I det tidlige forår eskalerede uroen på Filmskolen, da eleverne udtrykte mistillid til rektor Vinca Wiedemann. Den daværende kulturminister Mette Bock understregede, at enten bliver Filmskolen en kunstnerisk bachelor/kandidat eller en professionsbachelor. Ministeren opfordrede samtidig Vinca til at få sat en inddragende proces i gang. Der skulle der ro på og der blev nedsat en arbejdsgruppe

Take udkommer 3 gange årligt. Take er både et informationsblad og et debat-forum for aktuelle filmpolitiske diskussioner Alle indlæg er velkomne

Næste deadline: 13.02.2020 2

til at besvare det, som daværende kulturminister Mette Bock havde bedt om: ”Jeg lægger vægt på, at de mange gode ting, som er i de nuværende 4 -årige filmuddannelser, kan videreføres i en 3+2 struktur. Jeg tænker her blandt andet på, hvordan


traditionen for samarbejde på tværs af faglig-

rektorat tilsyneladende ikke gjorde brug af

heder, den praksisorienterede tilgang og fokus

arbejdsgruppens arbejde.

på den enkeltes kunstneriske udvikling kan videreføres og udvikles i en ramme, hvor der

Så skete det – besættelse og krav om Vincas af-

også skal være fokus på progression og lærings-

gang. Hjemsendelsen af Arne Bro var den gnist,

mål, vidensop-bygning og kvalitetssikring samt

som helt fjernede al ro på Filmskolen. Og en uge

en studentercentreret tilgang.”

efter også Vinca Wiedemann som rektor. Efter uroen er der et tomrum, som skal fyldes,

Arbejdsgruppen er et udvidet skoleråd, bestå-

og det bliver op til Bo Damgaard, det trådte til

ende af repræsentanter fra Filmskolens elevråd,

som midlertidig rektor.

rektorat og aftagerpanel samt Klaus Hansen (forhenværende direktør i Producentforenin-

Bo Damgaard siger selv: ”Min første opgave

gen) og jeg selv. Arbejdsgruppen skulle ikke

bliver at tage ud og mødes med lærere og elever

finde løsninger, opgaven var at definere, hvad

og få talt med alle parter, så vi kan få sat gang i

Filmskolens kerneværdier er.

skolen igen. Jeg vil gøre alt, hvad jeg kan for, at skolen også fremover kan blive et sted, der ud-

Arbejdsgruppen formulerede 6 centrale elemen-

danner nogle af verdens dygtigste filmskabere.”

ter, der skulle sikre, at Filmskolens særlige DNA lever videre i fremtidens Filmskole:

Og som det ser ud lige nu, så betyder det, at sko-

1. Sixpack-modellen/De studerendes kunstneri-

len tager et par skridt tilbage for i det hele taget

ske samarbejde

at få skolen i gang igen. Så er det op til den kom-

2. De studerendes oplevelse af kontinuitet via en

mende rektor at tage Filmskolen ind i fremtiden.

faglærer 3. Forholdet mellem kunstnerisk praksis og

Danske Filminstruktører fastholder vores krav

teoretisk viden: Vigtigheden af, at den kunstne-

om støtten til eleverne. Som vi skrev i bestyrel-

riske praksis fortsat er omdrejningspunktet for

sens udmelding om Filmskolen d. 21. november,

undervisning og uddannelse.

afhænger Danske Filminstruktørers opbakning

4. Den enkelte studerendes kunstneriske ud-

til fremtidens filmskole af:

vikling/stemme: Vigtigheden af at der er fokus

· At faglærerordningen genetableres

på denne igennem hele uddannelsen og, at den

· At den praksisbaserede undervisning er i fokus

studerende kan få en kontinuerlig opfølgning

· Og at der er fokus på professionsidentitet

over tid.

Danske Filminstruktører er med Producentfor-

5. Årgangens holdstørrelse. Reduktionen af

eningen, FAF og Danske Dramatikere sammen

holdstørrelse ved 1 årigt optag.

om et krav til, at der bliver lavet en bestyrelse

6. Årgangens sammenhængkraft ved uddan-

med de nødvendige filmfaglige og kunstneriske

nelse i 2 niveauer (3+2 år)

kompetencer på Filmskolen.

Der kom ro på, da den nye årgang startede efter

Vi håber, at branchen bakker op om Bo

sommerferien. Tilsyneladende. For det var som

Damgaard og hjælper til at få skolen på ret kurs

om alt, hvad arbejdsgruppen var kommet frem

igen. Så kan eleverne bruge deres tid på at lære

til, var pist borte som dug. Det var ikke praksis,

filmhåndværk, forstå og analysere filmkunst

der var starten, men teorilæring. Ikke lige det de

og diskutere verden i forhold til film, i stedet

seks punkter fortæller. Så lidt efter lidt var roen

for at stå på barrikaderne

udfordret. Det er problematisk, at Filmskolens

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INDHOLD TEMA: Temaredaktørens intro Jenny Jiao Hsia / Consume me Lea Schönfelder, USTWO / Monument Valley II & Assemble With Care Marcin Blacha, CD Project Red / The Witcher & Cyberpunk 2077 Mira Dorthé & Tanja Lind Tankred, Other Tales / Tick Tock Jenova Chen, That Game Company / Journey & Sky Trine Laier, Those Eyes / Hvad er det egentlig spil kan? Arnt Jensen, Playdead / LIMBO & INSIDE Ste Curran, game designer, Maraoke conductor and writer Sébastien Bérat, Don’t Nod / Life is Strange Ka0ru, MystPic VR Temaets afrunding

6 8 10 14 18 20 24 28 32 36 40 42

Mød de nye medlemmer Nyt fra sekretariatet Råd og udvalg Indflytterfest Legatuddelinger Fotokreditering

44 48 49 50 52 54

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TEMAREDAKTØRENS INTRO

Af temaredaktør Trine Laier

I sommer var jeg inviteret med til salon på Overgaden, Institut for Samtidskunst, arrangeret af Molly Haslund og gruppen JAC. Jeg spillede Cosmic Top Secret live med publikum og da en af gæsterne trykkede på agent T i spillet, (som er en spilkarakter udgave af mig - dvs. man spiller mig), så var der en dame der skreg af forbløffelse, da hun så jeg krøllede sammen som en papirkugle på skærmen og trillede ind i spillets verden. Hun fortalte mig efterfølgende, at hun havde siddet og stirret på denne her papirfigur, med de cartoony øjne, der stod stille i skoven og bare en gang imellem blinkede med øjnene eller kløede sig lidt på hagen. Det er dét, der i computerspils lingo hedder 'idle animation', når spillet afventer spillerens reaktion - mens hun lyttede til, hvad jeg fortalte: At man i spillet følger efter min far, for at finde ud af, hvad han, for real, arbejdede med for Efterretningstjenesten under den kolde krig. Og at man også møder min mor der bl.a. trænede Dronningen i judo, fægtning, orienteringsløb og skydning, og man møder mange andre, der har arbejdet med mine forældre på hemmelige anliggender. Og så pludselig kom denne ændring af papirfigur til papirskugle, der susede gennem luften og overraskede hende totalt, altså positivt overraskede hende, for hun syntes, at det var sjældent, der var noget der for alvor overraskede hende – og hun var ellers en garvet gæst i kulturlivet. Overraskelser er omdrejningspunktet i dette tema om computerspil i TAKE. Jeg har talt med et bredt udvalg af spiludviklere om overraskelser i spil; de mekaniske, fysiske og fortællermæssige, men også samspillet mellem publikum og spillet, som er særligt for computerspil. Og samtidigt har jeg fokuseret på, at temaet skal være inspirerende for alle - uanset om man arbejder med spil eller ej.

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Jeg skrev en anden sommer en kronik i Politiken om Pokémon og spildesign, som forsøgte at forklare grundbestanddele af et spils opbygning, og hvor jeg fx sammenligner et spils opgaver med det at fortælle en joke: at man bygger en historie op, og så vender den på hovedet eller lader den stikke af i en helt anden retning. Dette minder mig om, når man anbringer spilleren i en udfordring, fx et puzzle (gåde) - typisk en blindgyde, hvor det kræver, at spilleren tænker kreativt og gør noget andet, end det man umiddelbart skulle tro var løsningen. I arbejdet med Cosmic Top Secret har vi forsøgt at udvikle de mekaniske udfordringer, så de afspejler grundtemaet: At man fx med vilje skal lade sig gå i stykker (papir er jo skrøbeligt), for at kunne komme videre i spillet eller, at man ikke skal skynde sig gennem skoven for at gennemføre orienteringsløbet, selvom far siger, at mor venter derhjemme med frikadellerne, der bliver kolde. For når man bevæger sig langsomt, eller stopper og kigger sig omkring, så lyser de hemmelige ting gemt i skoven mere op, og det finder man kun ud af, hvis man tager det stille og roligt - og gør noget andet, end det man skulle forvente. Man kan nok godt sige, at vi har overført dele af historien, eller afspejler dele af historien, i det mekaniske, altså i måden man som spiller kan løse opgaverne på. Det er der også andre spiludviklere, der arbejder med, så jeg har i løbet af det sidste halve års tid interviewet en række meget forskellige spildesignere + en forfatter og en producer, for at prøve at nå mere i dybden med, hvad spil er for noget.

GOD FORNØJELSE!

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Jenny Jiao Hsia/

CONSUME ME Som appetizer, spiller vi det lille humoristiske og tankevækkende spil Consume Me, skabt af Jenny Jiao Hsia, som i år vandt ‘Digital Moment Award’ til Amaze. Festival for Playful Media i Berlin. Jeg var selv med til stemme på det, og jeg synes, det er et godt eksempel på et lille spil, alle kan spille nemt på deres telefon, og som samtidig får os til at reflektere over vores handlinger på en underholdende måde. Det er i familie med Florence, Fantastic Fetus, Papers Please, September 12th: A Toy World og Rosa’s Garden. Små oplevelser som anvender spilmekanikker, der simulerer nogle aktiviteter, de fleste kender til, og så bruger det til at servere en pointe, som man ‘mærker’ gennem sine handlinger - man kan sige, man "gør" historien frem for at få den fortalt. “Det er ok at fejle!”, synes spillet at sige til os, og her starter vores spil surprise party. Lad os høre, hvad Jenny har at sige: Can you pitch to me what games mean to you?

I grew up disliking most video games. My

Games are experiences derived from sets of

younger brother and my dad would stay up

rules. You can make a game about anything.

late and play a lot of computer games together: specifically games like Age of Mythology and

How do you start out when making a game?

Guild Wars. This would make my mom really

I cry! - Just kidding! I am usually doodling ideas

mad. At one point, she was so upset at my dad

and sketching stuff out in my notebook.

that she threatened to leave him! They are still

What is your biggest moment playing a game?

together now, by the way. She saw these compu-

Learning to fish (and catch bugs) in Animal

ter games as a huge waste of time and I guess I

Crossing... before that point, I thought the game

sort of agreed with her... So maybe I do have an

was extremely boring because I could only

answer for games I would consider the worst...

shake the trees for fruit... learning to fish and catch bugs opened up a whole new world to me,

However, I do not think those games [Age of

because I could finally make enough money to

Mythology and Guild Wars] are inherently

buy stuff. Also, both fishing and catching bugs

bad. In my experience, these games just caused

are just really satisfying actions to perform in

a bunch of tension in my family life when I was

the game.

growing up. Also, I just never really got into playing them! They were uninteresting to me.

What is your favorite game?

For a while, I thought the majority of video

PART TIME UFO

games were like Age of Mythology and Guild Wars. Maybe that had something to do with me

And worst game?

wanting to make my own games. Who knows!

I don't have one.. I DISLIKE MOST GAMES!

Maybe if I tried to play Age of Mythology and Guild Wars now (a decade later), I might actu-

Hmmmmm ok, here's a more thorough (and complicated) response to "worst game":

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ally appreciate them.


Also, both fishing and catching bugs are just really satisfying actions to perform in the game

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Lea Schönfelder, USTWO/

MONUMENT VALLEY II & ASSEMBLE WITH CARE I talked with Lea Schönfelder, LEAD GAME DESIGNER at USTWO in London - The successful company behind Monument Valley 1 & 2 (downloaded all together 80 million times) - on the day of the release of their new game Assemble with Care. Not only that game, but also the new game subscription service for IOS mobile games: Apple Arcade, was launched that day. For USTWO it has probably been pretty good to have Apple to cover the development cost and take the risk. But on a longer term, nobody knows how Apple Arcade will influence on, not only the market for premium (paid) games in general, but also the content of those games. Will this mean that fewer edgy, social and politically daring games will reach an audience in the future? Lea, will you tell us about your new game?

WE DID NOT HAVE A TRADITIONAL

Assemble with Care is about a young woman

TARGET GROUP

Maria, who repairs things. She comes back

It is a special game and not a difficult game. I

to a little European town where she repairs

hope we can speak to people who do not consid-

sentimental objects. It is set in the 80’s

er themselves gamers, yet. People who are a bit

and 90’s, there’s a lot of objects, like a slide

older and still have some connection to these old

projector, a rotary phone or a Game Boy that

objects as well. People in their 30's or 40's who

is very specific objects for that time period.

still know what a slide projector is for example. I

All the objects also have a meaning to the

want to make games that appeal to people who

people they belong to. The core concept of

usually read books or watch movies on that

the game is, basically, that while you repair

narrative level and not only on a Oh-there’s a-re-

these objects, you also get to know the people

al-hard-challenge-that-I-need-to-get-over level.

and stories behind them, and sometimes

So the whole narrative part and humanistic part

even help them to fix a broken relationship

was very important to me.

or change something that they never got to in their life. What you actually do in the game,

What is a mechanic?

is that you repair an idealized version of the

You do something and then the game reacts.

objects. It is not very difficult to play either,

Mechanic is a quite traditional way of de-

we try to make it really juicy, playful and just

scribing most games, but there are more and

enjoyable to play and hopefully it is more fun

more games, where we’re having a harder time

than to repair things in real life.

explaining the mechanics, like in ‘walking simulators’, for example Firewatch.

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Are there any limitations in thinking story in

the whole game in my head and then it is about

games from your point of view?

perfecting the core idea. Whereas at USTWO

I would not call it limitations, but different me-

it’s a bit more open and not as personal. Howev-

dia are good at different things, like books are

er, I must say it is a good place to be working as

good at describing inner thoughts. It becomes a

a designer, because it is a company that tries to

little bit more difficult in movies because obvi-

incorporate a lot of personality into their games.

ously, many of these thoughts are not spoken out

However, there are also broader company goals

and then in games: it is nice you can tell stories

and you design a little bit more towards that and

through a system. You give some input and then

obviously, you have to work together as a bigger

you get something out of it. When it works best,

team on how to get the best out of the conditions.

it’s not a linear story with cut scenes etc. but when the stories are interwoven with the me-

Do you know your audience?

chanics. For example in Assemble with Care,

The reason why I was so excited to join USTWO,

we tried to do that by attaching single lines and

was actually because of the audience. I knew

parts of the story, we connected it to a certain

they made games that are actually very accessi-

action you do in the game. For example, in the

ble, not only to gamers, but also for just normal

level where you repair a cassette deck, with

people who haven’t played many games before.

each of the screws that you unscrew and each

It was actually the audience I always wanted to

of the batteries you take back in, the character

have as my target audience, but I never really

will come into the shop and tell a little bit more

did, because my first indie games, like Perfect

about her relationship with her mother. Then, in

Woman and Ulitsa Dimitrova, they’re so spe-

the very end, you hear a song from the cassette

cific, that they would never find a big audience.

deck you just repaired and that the little girl

They are not polished enough, they're also not

recorded with her mother.

on the right platform, so in a way I see it as a big step for me to be able to work with a team now

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How do you start out developing a game?

that can really pull off high production value

It depends a lot, on what type of game you are

and thereby talk to these other audiences as

making. With my own indie games, we didn't

well. Obviously, it is not the end of the journey.

prototype a lot to begin with. I basically, had

In a perfect world, I could tell all these, maybe


more relevant or slightly socio-political stories, and still make it for a big audience. I am not really there yet, but I think that is my goal. What would you recommend for newcomers to game development? Basically, my recommendation is to just get started, there’s a lot of tools out there to use

The power of the medium is that there is a back and forth between the player and the game. The player gives an input; the game reacts to the input The power of the medium is that there is a back and forth between the player and the game. The player gives an input; the game reacts to the input

like programming classes and Unity3D and it’s good to join game jams, where you can team up

input; the game reacts to the input. An example

with other people. I’m not a big fan of design

where this is used in a meaningful way is Anna

documents, but I’m a big fan of small teams and

Anthropy’s game Dys4ia about her hormone

to get started trying out something very small

replacement therapy. In little vignettes, the

that works in an engine, then on the computer

player is going through her emotions along

or on your phone and then expand from there.

the journey, almost physically reliving the

Also, a vision document that gradually is being

experiences she went through. For example,

updated with what the game is about, the style,

the player tried to make a tetris-like object

the characters, the tone and the length. But

pass a wall through a gate where it clearly

[you should] never go down the line where you

doesn’t fit. Although simple, it is a very pow-

describe every single feature - it is just a waste

erful method to evoke a

of time.

strong feeling in the player, because they have to

Can you pitch to me what games mean to you?

go through it themselves

Games allow me to express a thought or an

rather than just getting an

artistic idea in form of a system, rather than

explanation or visualiza-

through linear (like in movies) or static (like

tion about it.

in paintings) storytelling. The power of the medium is that there is a back and forth between the player and the game. The player gives an

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Marcin Blacha, CD Project Red/

THE WITCHER & CYBERPUNK 2077 I Warszawa talte jeg med forfatteren Marcin Blacha på den enorme Witcher spilserie, udviklet af CD Project Red. Witcher har solgt over 40 millioner kopier. Til sammenligning har GTA V (Sidste version af Grand Theft Auto) solgt mere end 100 millioner kopier, men har også 1000 udviklere, hvilket er fire gange så mange som hos CD Red Project. The Witcher III & The Wild Hunt blev game of the year i 2016 med over 800 GAME OF THE YEAR awards. Det er de seriøst tunge drenge, både i indhold og økonomi - det tætteste vi kommer på et ‘klassisk’ computerspil i dette tema. Og da jeg overvejede, hvem jeg skulle interviewe til TAKE og researchede på The Witcher, gik jeg lidt kold på, hvad jeg skulle få snakken til at gå med. Det er billeder som det ovenfor fra en Witcher prisoverrækkelse, der kan virke lidt trættende i længden. Og til foredrag på IT Universitet om computerspil, bliver jeg bekræftet i min opfattelse af at computerspil både er et ungt, men også temmelig reaktionært medie - det samme gælder branchen. Dokumenteret i ph.d.-studerende, Ida Kathrine Hammeleff Jørgensens forskning om kønsstereotyper i spil. Men alt til trods blev det en yderst spændende samtale med en meget genert forfatter, der talte om, at spil er som det Vilde Vest: Der er så meget at undersøge, opdage og lære - også om sig selv.

THE PLAYER IS THE ULTIMATE DIRECTOR

work on digital video games. For me, games

I am Marcin Blacha and I am a game developer,

were always this innovative form of expression,

currently working at the CD Project Red. Previ-

where you can actually create something and

ously, I was working on The Witcher series and

participate in something. Sometimes, it was a

right now I’m working on Cyberpunk 2077 and

social gathering when people came together to

I’m the story director. Sometimes I’m a manager

play games and sometimes it was something I

and sometimes I’m actually writing.

was working on and something I was inventing or creating. So it is a huge part of my life. For me,

I was growing up with games and when I was

as I grew up, games became something equally

young, we were playing checkers, chess and oth-

to books: I’m a huge reader and it is a big thing

er board games. I love games and later I started

for me to compare games to books, movies and

playing pen and paper role-playing games. I

the like.

became an electrical engineer. But, after that, I

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started working in a small company publishing

The biggest moment I have had in a game was

role-playing and board games and from that

when I played ‘To the Moon’. It is a small indie

I moved onto CD Project Red and I started to

game and by the end of the game, I started to cry.


A ‘mechanic’ is a language we use to communi-

previous explanations was about what the story

cate between the maker of the game and the play-

is for the player and what the story is, when it

er and the mechanic is also the way the game is

comes to the relationship between the creator

written and the way it is meant to be interpreted

and the player. But from the perspective of the

by the player. It is a set of rules, like grammar in

creator story is a way to express yourself and

books. It gives the player some options and some

communicate something to the world.

possibilities to experience the game. When you are writing a book everything is ‘Story’ is a proposition. As a writer, I give the

under control, you are the director, the screen-

player a proposition, and I tell him: How

writer, sometimes you are even the publisher.

about this? Or about that? How do you want to

When you work in the games industry, you are

experience this game? It is a set of possibilities

given only the possibilities, not everything is

[the proposition] that the player might use to be

under your control, and you have to think more

entertained with and also story is another way

about the player and possible scenarios. When

to entertain the player. For instance, combat is

you are trying to imagine how someone will read

very popular in games. It’s a way to entertain

a book, it is easy, he will probably get the book

the player in a game. You can be a soldier and

and start to read, we don’t know what kind of

you can go and shoot people - that’s one way and

emotions he will experience, but it’s more or less

‘story’ is another way. Story is also a way for

under your control. When it comes to games, you

the creator to tell something to the world. The

never know. I would compare it to playing poker,

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because there's something uncertain in writing

this conclusion: Oh okay, probably they’re right,

for games, because you don’t exactly know what

so I have to improve it in the future and in the

is going to happen, how the player will react - the

next project, I have to make it better or different.

player is the ultimate director of the game you're making - you don’t exactly know how he is going

When you're working on a book, you’re your own

to direct this game. So you may try to bluff, you

master and commander. When you're working

may try to propose something, whatever goes. I

on a game in a team, usually people have differ-

like it very much in my job that you are not really

ent points of view and it’s much easier to avoid a

sure and you're expecting something and you’re

huge fail or to reach for greater success.

waiting for this and you succeed and you fail, but this moment of waiting, for what is going to

THE FOUNDING STONE

happen, is something very, very interesting.

Everything starts with an idea, and it is pretty fun and surprising because sometimes you

At the end of the production process, we are

have these funny little ideas and you think

playing the game a lot, and we are trying to find

uh, it is really cool! But it is not a game yet. It is

all the bugs, in addition to the QA (testing). CD

something you’re excited about, and you start to

Project Red is a huge company and everyone is

add some additional things to these ideas, some

trying to improve his or her work by testing the

parts of the story and you start to talk with other

game, sometimes we’re playing to find the right

people and they have other ideas. However, this

pacing, or correct something, and we’re rewrit-

very first idea is the founding stone, other ideas

ing a lot. A game like Cyberpunk or The Witcher

are like additional bricks, and after 3-4 years,

is huge. Testing is crucial and very necessary

you have a building. This founding stone is

and it is not so much fun because sometimes

somewhere there, you don’t really remember it,

you have to make all those hard decisions, like

you have this obscure memory of this very first

removing something you really like.

brick - but you don’t really remember it and you are surprised: Wow, it’s a game! And it started

BUT WHY?

with something you were thinking about, while

After the shipping of the Witcher 3, I was read-

brushing your teeth.

ing all the forums and reviews for the game and sometimes people were really enjoying a quest I

Making a game is a balance between feeling and

didn't like and I was thinking but WHY? Okay,

logic. For instance, when you sit down to write

okay, okay, I don’t really get it, and on the other

something, it is much easier to write something

hand, sometimes people didn’t like something I

good when you are guided by your feelings, but

really liked and I was asking myself: But WHY?

when you have to do a huge game, a huge project,

I think it’s natural, because people are different,

you have to think about it in a rational way.

when you're living with a project like the Witch-

16

er for 3-4 years, and you play and write for it

What would you suggest for newcomers to the

basically every day, it’s like growing a 4 years old

game industry?

kid, sometimes people tell you something about

What the industry values the most, is ‘the skill’

your kid, and you’re looking at them and you’re

- we call it ‘the skill’. So if someone wants to

thinking: Oh no, they’re wrong! Obviously, they

become a game developer, he or she should prob-

are wrong, because I know my kid, I was growing

ably start with making his or her own game. And

my kid and I know everything about him. But

right now, it’s easy, because we have all these

later you start to think about it and you come to

wonderful engines like Unity, Unreal or even


Gamemaker and if you’re a hard working person

To be honest, I really like working with people

and have good ideas, it’s possible to make a cool

who don’t play games, because they are thinking

game even if you’re working on it on your own.

out of the box. If they are talented and passionate, that is enough! Some writers working on our

The game elevator pitch - what do games mean to

games, they seldom play games - fine with me,

you?

because they have a different perspective.

I play games to experience something, to learn something. What I think differ games from other

What has surprised you?

media (like films and books etc.), is that the

After releasing the Witcher 3, we had many,

games are still young and vital, like being in the

many letters from the fans: “Thank you for this

Wild West, everything is still to be discovered.

game... it improved my life!” “Thank you for this

When you are a creator of games or a player, you

game, I’m very sick, I can only lay in my bed

are an explorer and you are looking for all those

and play games and this game made me happy.”

bonanzas, lost cities, for beautiful landscapes

“Thank you for this game, it made me think of

to be discovered. And also, the innovative ideas,

something in my life and it fixed my life” etc.

new ways of doing something, and you are

And all the time, I am surprised - it is unex-

surprised by someone who invented a new way to

pected for me. I am not making this game to fix

do something and it’s still like being a child in a

people's lives, but apparently, it happens.

huge playground. When you’re excited, surprised and you’re thinking there’s still so much to do, yet to discover, to create - that’s wonderful! I know you work with film people, like Keanu Reeves will appear in the Cyberpunk 2077 that you are working on at the moment?

What I think differ games from other media (like films and books etc.), is that the games are still young and vital, like being in the Wild West, everything is still to be discovered.

I am working with actors recording dialogue, after this interview, I’m going to our recording studio to record a very daring scene. I cannot tell you what it is about, but when the game is out in about half a year, you will know this is the scene that people are talking about. That is one way to co-work with the film world. Another way to work with the film world is to work with people who know how to direct, because we have cut scenes and conversations with characters and they need to be directed. We need people who really know how to do it. We have many talented people coming from a film background; they are coming to work in the game industry. It is something different; they can use all the knowledge and skill they have to create games.

17


MIRA DORTHÉ & TANJA LIND TANKRED, OTHER TALES /TICK TOCK Other Tales er en dansk/svensk duo bestående af Mira og Tanja. Tick Tock er deres første spil og det startede til en game jam. Siden er det blevet støttet af DFI og det svenske spilfirma Coffee Stain og klarer sig nu så godt, at de kan leve af det + spillet vinder internationale priser: sidst til IndieCade vandt spillet prisen for bedste ‘spil-sammen spil’, for spillet udmærker sig ved at kunne spilles i fællesskab på mobile devices og det fine ved konceptet er, at spillerne må kommunikere ‘uden for’ spillet for at løse dets gåder - altså simpelthen tale sammen. Lad os høre, hvad de har at sige til os om spil i det hele taget:

Mira, how do you work with ‘story’?

I would recommend everyone to always ask ques-

I really like to have the story in place from the

tions and assume that everyone else is doing the

beginning. It does not have to be complete but

same thing. Everyone started somewhere and all

just a base and a goal. This story might change

developers I know, Google A LOT.

completely but at least it is a great start. Then

18

in our case (in our company), we want to have

Games, to me, are a place to escape to, some-

a story, a mechanic, and a theme to the game as

where I can experience something I probably

early as we can, so that we are working towards

could not in real life (at least not without having

the same goal as developers.

lots of money and being able to travel every-

where and have tons of free time). I love reading

What would you suggest for newcomers to the

fantasy books, and love playing RPGs [Role

game development world?

Playing Games] - I see characters in games as


my friends. I spend a lot of time with them and will spend even more time with them if I like them. I love talking to other people about the games we have played (either together or apart) and to experience them differently, when I play them in a different part of my life. I can never get back to the same feeling of playing FFX again for the first time, but I can find new experiences that shake me to the core in the same way. The “shake” can be tiny, but it can still be incredibly profound. Tanja, what is your biggest moment playing

Games are many different things to me: What I like about playing games is exploring new universes, characters and ways of interacting. I love to be dropped into a world and learning how to navigate it, to go on an adventure and unfold the story. What I really enjoy about making games is the possibility of making stories in new and exciting ways.

a game? It is hard for me to single out one specific mo-

to be a game that told a story and that it had to be

ment. I think, for me, playing games are more

two players. Then we threw a lot of story cubes,

about being absorbed into a world and forgetting

wrote down many character possibilities and

time and place. One of my great gaming moments

spend time both brainstorming story together

was playing Journey together with a stranger.

and separately. In the end, we put everything

The stranger had obtained a white robe and

together and we were ready to prototype.

showed me all the secrets of the game. And this was done without using words. In Journey, you

Games are many different things to me: What I

can only play a whistle sound, so we had to devel-

like about playing games is exploring new uni-

op a new language by whistling to each other.

verses, characters and ways of interacting. I love to be dropped into a world and learning how to

How do you start out when making a game?

navigate it, to go on an adventure and unfold the

When Mira Dorthé and I come up with a new

story. What I really enjoy about making games

game idea, we usually have a long-ish brain-

is the possibility of making stories in new and

storming session with a few confinements. For

exciting ways.

us, the confinements are important because they create a point we can circle around and be

Tick Tock forløber på tværs af to skærme og fun-

creative within. When making our first game

gerer kun, hvis man fortæller til hinanden hvad

Tick Tock: A Tale for Two, we knew it was going

man ser og gør undervejs.

19


Jenova Chen, That Game Company/

JOURNEY & SKY

20


“Why is there no romance and comedy in games?” Jenova Chen begyndte at udvikle sine helt særlige spil, da han gik på filmskole i Californien. Han har skabt anderledes og spirituelle spil som Cloud, Flow, Flower, Journey og senest Sky. Særligt Journey har været epokegørende og skiller sig ekstraordinært ud ved, at du følges med en anden spiller, som du kommunikerer og føler et fællesskab med uden, at I kan tale eller skrive sammen. Læs Tanjas fine beskrivelse i forrige interview. Grundtanken med de to spillere i Journey ekspanderes i Sky til et større virtuelt fællesskab. Jeg var så heldig at møde Jenova Chen til Game Daily Connect spilkonference i Disneyland LA og jeg fik lov at citere ham og kreditere ham og James Brightman, GameDaily.biz for følgende:

21


Mission

Romance

In That Game Company, our hope is to expand

If you look at how the genres are defined, wheth-

the range of emotional experiences possible in

er it is books or movies or TV or music, they all

video games, so that it can be enjoyed and loved

use the words that describe a feeling. Because,

by people of all ages, cultures and backgrounds.

ultimately, they are entertainment, they are like food industry for feelings, there is something

Many people do not look at the games indus-

sour, something sugary, something bitter. If you

try through the lens of feelings, even up until

look at, for example, novels, you have romance

today; we are still categorizing games based on

- very sugary. There is romance in TV, film and

software terms, like first-person shooter versus

books, but why is there no romance in video

third-person shooter. Role-playing games ver-

games? Because for a very long time, the ma-

sus massively multiplayer online role-playing

jority of the demographic was young men and

games. It is treating it like software, but if you

what do young men hate the most of all movies?

really think about it today, gaming is entertain-

Romantic movies. So no one bothered making a

ment and if you look at entertainment, when

romantic game for a market that is 97 % targeted

people recommend a movie to watch, they don't

at young men.

care if the movie is shot in 3D or 2D. They care about what type of feeling they are looking for

Comedy

when it comes to entertainment. So do you like

Another very popular genre we see in film, but

horror films, or do you like comedy? You know,

that we don’t see in games, is comedy. There’s

do you like romance? It is about how it makes

“Tom & Jerry-like” humor in games, but the

you feel.

real humor that we are experiencing in drama, theater and movies is nowhere to be found in

Are you a gamer?

games. We are at the very beginning of tapping

I think because my voice is slightly different,

into funny games.

I want to see this medium to not be underdog anymore and that is why I make games. I think

Something has to be done

many people got into the industry, initially,

The other major problem is that game makers

because they enjoy playing games and they

continue to perpetuate the stereotype that

want to make games for a living. However, as

games are just for boys and young men by,

we grow older, it is more about, “can we make

continually, making content for that audience

enough money making games?” So when you

alone. As a kid, I loved to play WWII games, I

have that drive: “can we make money”, the inter-

felt like a war hero, but after playing 10 different

est is not really around inventing anymore, and

adaptations of D-Day and you see another one

it is more about what makes money? Ultimately,

is coming, I am done with it! I do not need to go

I love games, and if you want games to be loved

back there. As we grow older, we’re more inter-

by more people, you will ask the question: “Why

ested in things that are more about life, more

are games the only media where people say: Are

about mortality, family, the balance between

you a gamer or not? People never say, “Are you a

work and family and meaning of life - the sad-

film watcher or not”? They never say, “Are you a

ness of the reality.

music listener or not”? They don’t say, “Are you a book reader or not”?

22


23


Trine Laier, Those Eyes/

HVAD ER DET EGENTLIG SPIL KAN?

Hvad er det egentlig, spil kan? Hvorfor bliver de så populære? Og kan vi bruge dem til det samme som mere traditionelle medier, som fx filmen og bogen? Eller endda til mere? Er spilleren den ultimative instruktør, som Marcin Blacha hævder? Her kommer mit take på spil.

24


25


Der findes et spil, der bedre end noget andet

fortællinger og flere eksperimenter, tekniske

medie viser, hvad spil kan som statement.

som kunstneriske.

Det hedder September 12th: A Toy World. Du kan google det og spille det nu, inden du læser

Og der er grøde i spilbranchen, en voksende

videre, for spil skal spilles - ellers mærker

gruppe af uafhængige spiludviklere, indie

man dem ikke optimalt. Det er gennem dine

spiludviklerne eksperimenterer, og bryder

handlinger i spillet, du oplever det. Din fysiske

grænser mellem medier, formater, mekanikker

aktivering, og styring af spillet, påvirker ikke

og fortælletraditioner og for så vidt også mellem

bare spillet, men også dig selv. At se en video

det kunstneriske og det kommercielle.

af et spil, er ikke helt det samme. Det giver dig nok en fornemmelse af, hvad det går ud på, men

Danmark markerer sig i denne sammenhæng

ikke, hvordan det rent faktisk ’gøres’.

stærkt. I sommerhuset har vi, hele familien, spillet Inside fra Playdead, som før har udgivet

September 12th: A Toy World er et såkaldt

mesterværket Limbo. Inside er, ligesom Limbo,

”serious game” eller ”news game” og går ud på,

et såkaldt cinematisk puzzle-platformer-spil,

at man skal skyde terrorister, der bevæger sig

(dvs. visuelt som film og interaktivt som at hoppe

rundt i en tæt folkemængde i noget, der ligner

fra gåde til gåde og undgå at dø undervejs).

Mellemøsten. Man skyder terroristen, men rammer også lokalbefolkningen, der kommer flere

Gruopvækkende og klaustrofobisk handler

folk til, de sørger over de døde, og nye terrorister

det (vistnok) om kontrol og overvågning og

bliver dermed dannet.

om, at måtte gøre som de andre for at kunne undslippe. Derudover er det svært at fortælle

Således lærer man gennem egne simulerede

mere uden at afsløre forløbet. Spil det! Nyd det

handlinger, at vold avler vold, og at man på

smukt stiliserede dystopiske univers, de raffi-

forhånd ikke forstod konsekvenserne af sine

nerede puzzles, der altid skal løses for at komme

egne handlinger – det er en ubehagelig åbenbar-

videre, og den groteske humor, der giver os lov

ing og også et godt eksempel på, hvad spil kan.

til at grine undervejs.

Man læser, ser eller hører sig ikke kun til en pointe, man ’gør selv’ pointen.

Selv om det er et spil, der ikke er målrettet til børn eller til at være flere om det, må jeg alli-

26

Den aktivering af hjerne og fysik, som spil

gevel anbefale at spille det sammen. Mine børn

byder på, kan tilføre en ekstra dimension til alle

er indiskutabelt motorisk bedre end de voksne

typer fortællinger og temaer. At skydespil udgør

med controls (styringen af spillet). Til gengæld

99 procent af tilbuddene på de mest populære

er vi forældre ofte, men ikke altid, bedre til

hylder, er bare et udtryk for, at spilbranchen er

at regne ud, hvad der skal gøres for at løse de

konform og styret af globale markedskræfter.

enkelte puzzles.

Spilbranchen er traditionelt yderst kommercielt

I mit eget arbejde som spilinstruktør forsøger

anlagt, og som spiludvikler er det svært at blive

jeg, i samarbejde med holdet, at finde frem til

taget seriøst, hvis ikke man kan præsentere en

den mekanik, der bedst forløser spillets tema

overbevisende forretningsmodel; selvfølgelig er

og grundlæggende følelse. Det er regulær

langt de fleste spil ude på at tjene penge. Det vi

dramaturgi, der skal til. Som en effektiv joke,

har brug for at fokusere på er, at vi får mere var-

der opbygger en forventning om, hvor historien

iation i udbuddet af spil, mere forskelligartede

fører hen, og så vender den antagelse på hovedet


og sender pointen i en uventet retning. Et velde-

vi anerkender og støtter spil som kulturelt og

signet puzzle i et spil gør noget lignende.

kunstnerisk værdiskabende medie på lige fod med film, litteratur og kunst.

Først gør du det, du umiddelbart forestiller dig, du skal, og erfarer, at det ikke kan lade sig

Måske skulle vi overveje at omdøbe Filminsti-

gøre, f.eks. at hoppe over et hegn, der er for højt.

tuttet til “Skærminstituttet” eller bare Danish

Så kigger du dig omkring, opstiller hypoteser,

Screen (og filminstruktør til skærminstruk-

afprøver dem og prøver at forstå. Det er også

tør?). Og dermed, for alvor, stoppe med at skelne

her, spil kan noget særligt ved at give dig lov til

bureaukratisk mellem film og spil og i stedet

at undersøge og interagere med universet, mens

investere i og støtte udviklingen af den gode

spillets narrativ og/eller progression bliver sat

oplevelse, uanset genre, medie og platform?

på standby, og du prøver dig frem. Spil er typisk ’elastiske’ i forhold til hvor meget tid, du ønsker at bruge på dem. De giver dig lov til at falde i staver eller det, som man måske på en pæn måde kan kalde fordybelse. Så rammer åbenbaringen: Aha! Du skal skubbe en kasse over til hegnet, hoppe op på den og dermed forcere hegnet. Dette er et standard puzzle koncept i Inside. Efterhånden udvikler og varierer disse puzzles sig, og på udspekuleret vis gør det samme sig gældende for éns avatar. En sådan velfungerende spildynamik, der kan overkommes intuitivt uden at være forudsigelig, kan det tage mange mennesker mange år at udvikle, men den giver til gengæld stor tilfredsstillelse for spillerne. Det er denne følelse af selv at have ’gjort’ det, der b.la. gør, at spillere elsker deres spil og gerne bliver i dem eller genspiller dem i timevis eller årevis. At interessere sig for, og måske endda selv udvikle spil, drejer sig ikke kun om, hvordan vores børn bliver dannet gennem de mange spil, de spiller. Det drejer sig også om vores allesammens dannelse, hvad vi kunne have af gode oplevelser i fællesskab og, endelig, hvordan vi ruster os til en fremtid, der kommer til at byde på mere digitalt og komplekst indhold. Formodentlig vil spilmekanikker udgøre en stigende del af det indhold, og det er derfor vigtigt, at

27


Arnt Jensen, Playdead

/

LIMBO & INSIDE Playdead blev grundlagt i 2006 af Arnt Jensen. De har siden udviklet og udgivet LIMBO og INSIDE, som tilsammen er blevet downloadet af mere end 25 millioner mennesker på verdensplan. Spillene har modtaget utallige priser og hæder verden over. Playdead tæller i dag knap 50 ansatte fra hele verden og har til huse i hjertet af København. Fik du læst beskrivelsen af INSIDE i kronikken på de forrige sider? Jeg har forsøgt at få Arnt til at forklare, hvad spil er for noget for ham, og hvordan han skaber sine spil. Det er svært at svare på, siger han, det er kompliceret, og det er grunden til, at han sjældent giver interviews. Måske er det heller ikke nødvendigt, når nu han bruger sine spil til at fortælle, hvordan han har det - til at krænge sin sjæl ud, som han siger. Men vi prøvede alligevel med et slags interview på chat, læs med her:

28


Hvad er det største moment du har haft i et spil?

Det var da ellers en smuk beskrivelse.

Sikkert starten af Half-Life - den første time. Kan

Det er oftest drevet af en eller anden følelse, jeg

huske, jeg synes hele præsentationen var fantas-

gerne vil opnå...

tisk. Der var truffet mange begavede valg for at undgå̊ forstyrrende elementer, der kunne hive én

Er det den samme følelse i LIMBO og INSIDE?

ud af oplevelsen. Valget om at lade historien folde

Det ændrer sig nok sammen med, hvordan jeg

sig ud i selve spillet var ret unikt dengang. Når

selv ændrer mig.. men der er helt sikkert et gen-

først man startede, var der ingen naturlige steder

nemgående tema af melankoli i begge. INSIDE

at holde pauser. Det var meget inspirerende.

kom også til at handle meget om magt pga.

nogle omstændigheder i firmaet, som påvirkede

Hvad er Gameplay?

mig meget undervejs i produktionen.

(Og her gik interviewet i stå en uge og så fandt det alligevel sin fortsættelse.)

Det er jo super spændende. Du skriver 'kom til at

handle om magt', så det var ikke en del af spillet

Hvordan starter du, når du laver et spil?

fra starten?

Det er jo svært at svare på, fordi det folder sig ud gennem årelange processer af ideer, der flyver

Spillet startede med at være om en astronaut,

rundt og ændrer sig hundrede gange.. bliver

men det ændrede sig i starten af produktionen.

smidt ud og banket på i endeløse iterationer.

Astronauten er så noget, jeg er vendt tilbage til i

Svært at beskrive.

mit tredje spil.

29


Den første tegning til spillet Limbo. Tegningen er fra 2004

Südan kom det endelige spil til at se ud, da det blev udgivet i 2010 - der er ikke langt fra den første tegning til denne

30


Hvornår/hvordan fandt du ud af, du ville lave spil? Det har vist altid været der, lavede små̊ spil på min fars Texas computer (TI994A) i start firserne.. og senere på Amiga’en... og har været involveret i en masse små og store projekter, primært som grafiker... Men det var nok først med LIMBO, at jeg fandt ud af, at jeg kunne kombinere mine evner med mit eget univers. Er der noget, der har overrasket dig undervejs? Fra da du startede til nu? Jada... mange ting... bliver stadig overrasket

Kan du beskrive, hvad spil betyder for dig på

over, hvor hurtigt spilbranchen vokser... år for

kun 5-10 linjer?

år... og har stadig på fornemmelsen, at vi ikke

Det kan jeg ikke. Jeg holder lige så meget af

har set noget endnu.

musik og film.

Det er jeg meget glad for, så jeg kan lave mine

Vil du hellere lave film!?

spil, og have en sund forretning ud af det.

Engang ville jeg. Det skete ret tilfældigt det

hele. Jeg hjalp min daværende kæreste, Sabine Så hvordan finansierer du dine spil?

Ravn med hendes afgangsfilm på filmskolen og

Det gør jeg selv.. i dag. Med indtjeningen fra

tegnede en tegning en aften. Den hang ligesom

de to spil, vi har udgivet. Men det har været en

fast - kunne ikke slippe det igen.

svær kamp at nå dertil.

Her sluttede vi samtalen. Og hvad kan vi lære

Det tror jeg på. Hvordan holder man fast i sin

af det? At man med en kunstnerisk vision,

kreative frihed? - Som vel er det bedste ord for no-

held og forstand kan nå et overraskende stort

get, der også betyder en hel masse andet. Hvor er

internationalt publikum med noget der minder

det man skal passe på? Hvad er det for en kamp

om budgettet til en dansk low-budget film? At

man skal kæmpe?

være kompromisløs og kæmpe for det? At vigtige ting tager tid? Arnts to spil har taget 6-7 år at

Det er et eksistentiel nødvendighed for mig. Jeg

udvikle, hvilket vist også er den tid, det tager i

søger altid at være kompromisløs, og det kan

gennemsnit at producere en spillefilm, fra første

man ikke, hvis andre blander sig, eller bare

idé til den bliver vist i biografen. Det er den slags

tanken om at nogen kan.

facts, der har været gode for mig at støtte mig til, når folk er blevet utålmodige over den tid (også

Hvad ville du anbefale at gøre til en ny i

7 år) det har taget for mig, holdet og Klassefilm

spilbranchen?

at udvikle Cosmic Top Secret. Også det faktum,

Lav en masse prototyper, og lad andre spille dem.

at den kunstneriske integritet har betydning for

Men lad vær’ med at lytte til deres gode råd.

udviklingen af spil - der er brug for visionære

instruktører, der har fuld kontrol - også når det handler om computerspil.

31


STE CURRAN

/ GAME DESIGNER, MARAOKE CONDUCTOR & WRITER

32

There is an art to writing Maraoke. First, you

Sometimes that’s easy too. Total Eclipse

start with a song that is fun to sing. That, I sup-

of the Heart? It’s Total Eclipse of the Kart,

pose, is easy enough — just look at any karaoke

about Nintendo's iconic kart racing game,

library and think about the anthems that wreck

Mario Kart, obviously: “Turn around…”. I’d Do

voices and melt hearts. But then, and here is the

Anything For Love (But I Won’t Minecraft)

tricky part, you have to answer this question: if

writes itself: Notch sits alone in his mansion,

this song was going to be written about a videog-

withered, bitter, craves the past but knows he

ame, which game would it be, and why?

can’t go back, not now. Natalie Imbruglia’s


Torn is about a man in skintight neon-blue

My rewrite of Kanye West’s Stronger was

lycra at a cosplay convention: “Nothing’s

meant to be about Street Fighter IV but by

fine, I’m Tron.”

the time I had made it work, Street Fighter V was out. I have been working on Cry Me a

Other times, it takes a while. I knew finding

River since we started Maraoke. No closer,

the right words for Mr. Brightside would set

no closer. Donkey Kong?

a room alight but it took a friend to come up with the subject (Mortal Kombat, obviously). 33


However, no voice on the internet burns as bright as being present and feeling the reaction from the crowd at Maraoke. How Maraoke started

perhaps a parody of the original lyrics (a person

I have been making games for a lifetime and I

who wants to live like console people — who

know this much: no one knows anything and I

wants to see whatever console people see) or

know nothing at all. Eight years ago my friends

perhaps something new. Something better?

and radio-show colleagues Ann, Simon and I sat in a pub trying to brainstorm a new idea for an

Writing a Maraoke song feels like a game. It is a

event for a games festival. Simon suggested “8-bit

crossword puzzle. Except when you are playing a

Karaoke” and I thought it was dumb, the worst

game, working on a crossword puzzle, you know

idea I had ever heard. However, we had no other

there is a solution. Here the answer is not always

ideas and so “One Song Left”, a night of commu-

immediate. The solution may not exist. Maybe

nal karaoke with game-themed lyrics sung over

there is not an answer to Cry Me A River…

instrumental backing tracks, made its debut in October of 2011 at Nottingham Game City. In

working as a game designer

time that became Marioke, which eventually

I am a game designer and that is how I feel about

became Maraoke: Modded Karaoke. And it

designing games. I work for studios, agencies

turns out, after 150 shows all around the world,

and organizations across the world, accepting

Maraoke is dumb. But it is not the worst idea. It is

contracts to produce work to meet briefs where I

one of the best.

know there may not be a perfect answer. I work hard and deliver what I can but sometimes

I am a game designer and writing for Maraoke

the solution is imperfect (the line doesn’t scan

isn’t just an art: it’s a game. The game is to take

properly) (the meaning is not quite right). In the

a famous song produce a second set of lyrics,

real world, you rarely have six months to wait for

which fit so well, are so natural and coherent,

the perfect answer to arrive, especially when you

that those who hear it will mix your words up

know it might not exist.

with the original ones in the future. I saw Taylor Swift sing Shake It Off in Dublin last year, a

No one knows anything

song that, in the Maraoke universe, is about

I am a game designer and sometimes I travel to

shaking trees in Animal Crossing. When Taylor

games conferences where men and women share

reached the middle eight breakdown the stadi-

their stories about life in game development,

um sang with her as one — except me. I found

hoping you can learn from their experience.

myself mouthing: “One weird owl wants some

The best of these talks are personal, compelling

new fossils / He’s like Oh My God / But I’m just

stories that act as lighthouses, steering ships of

gonna shake”.

all sizes away from the rocks. The worst ones are structured as immutable guidelines: this is how

To make that happen we have rules. Every line

you develop a game, these are the rules you must

must scan perfectly; of course, it must. Iconic

follow. I know this much: no one knows anything

lines should be retained and preserved, recon-

and these people know nothing at all.

textualised by their neighbours. You should

34

try to hit as many of the same vowel sounds as

Hosting Maraoke

you can. And the song itself should tell a story,

Maraoke, a dumb idea that is also the best


idea, a solution to a problem that did not exist,

dumb jokes. Maraoke is an excuse for strangers

is the evening entertainment at some of these

to celebrate the rich heritage of games and

conferences. I am the host and this, too, is like a

gaming while appreciating that games, too, are

game. How can you make everyone in the room

wonderful, exciting, stupid, and terrible. More

feel included? Which order should the songs fall

than that, the creators of them, the players, and

to make the evening build? Who needs help on

everyone in the room, especially me, really do

stage and who would rather do it alone? You can

know nothing at all.

make someone’s night or you can ruin it, and you can read the consequences of each decision

There is an art to writing Maraoke, just as there

on every face in the room.

is an art to making games, or making anything at all. Start with an idea and then keep working

When I design games, perfectly, imperfectly,

on it until time runs out. Everything else is

the success of my work is largely measured in

persistence; everything else is just luck. That is

thumbs up and down on the internet. You read

all there is. That and finally realizing — wait,

reviews and the positive ones make you glow

that’s it — Cry Me a River could be about buying

for a millisecond; the negative ones are seared

The Witcher. Now that’s art.

into your brain and show you exactly how much you know. However, no voice on the internet burns as bright as being present and feeling the reaction from the crowd at Maraoke. I can see the stupid grin on her face; I can hear his voice crack; I can feel the room lift as my song hits the chorus and the payoff to the stupid joke arrives. In the heat of that moment, I feel like I know something. Or that Simon knew something, and I am lucky... When it was first suggested to me, I feared the dumbness, but now I embrace it: I know one thing and only one thing, that the dumbness is Maraoke’s secret super power. The conceit is so ridiculous, so ludicrous, that there is no other option than to commit to it wholeheartedly. You cannot be a karaoke diva on stage singing Let It Go about being a bro, nor can you pretend you are too cool for this. Irony is death and Maraoke is so stupid it kills irony. You are either wholeheartedly in or you are out of the room. Committing to stupidity That is why it works; the commitment to stupidity creates an inclusive, welcoming community from nothing, centered around loud singing and

35


SÉBASTIEN BÉRAT, DON’T NOD/

36


Hvordan er producerens blik på spiludvikling? Jeg spurgte Sébastien, associate producer på spilserien Life Is Strange, udviklet af det uafhængige franske spilfirma DONTNOD, der udvikler kritikerroste spil som Remember Me, Life is Strange 1&2 og Vampyr. Life is Strange er et multi-platform narrativt drevet serie af spil, der henter inspiration fra fx art house film og lader omgivelserne, og pauserne i timingen, være diskret medfortællende. Life is Strange har siden udgivelsen af første episode fanget over 3 millioner spillere. Finale på 2. sæson kommer d. 3 december 2019.

37


What is a mechanic?

Can you pitch to me what games mean to you?

Rigid producer’s answer: What is relevant for

Since the cherished time with my dad learning

the user, is already promising as prototype,

how an Amstrad CPC 6128 worked, when I was

comes with detailed specs before entering pro-

six, video games helped me figure out a thing

duction and is something that accommodates

or two about myself and they are always there

leverage for downscaling, if needed, without

when I need them. They are part of my DNA

losing all of its relevance.

as much as my books and records are. I had times of pure fascination and some others of

What is story in a game?

contempt towards them. However, this is when

Even when not narrative-driven, games are a

I had to move abroad to England without any

succession of choices. Overall, the story in any

video gaming devices for months. I realized

game is the one you make and tell your friends.

how important they were to me. Gaming means balancing something in my life, something deep

How do you start out when making a game?

I cannot really fathom, but should be linked

The production team usually comes after the

to primordial emotions. They are a medicine

pre-conception phase, our first role is to assess

I, unfortunately, do have to take as often as I

the scope, risks and bring ideas/guidelines

would but I now have the chance to produce this

about production pipelines tweaks based on the

medicine for others. We have received moving

previous games post-mortems. Then start the

letters from Life is Strange players I will never

pre-production phase and we run around every-

forget; our tiny crafted universe help them

where with a straight face, like modern ninjas.

balance something in their existence and avoid them sliding further. That means all to me.

Can you describe your work with one word? “Tank” As producers, we are here to conciliate to game creative needs with the reality of the agreed plan (cost, deadlines, resources). Properly scheduling in the timeline, working on our own tasks, supporting the people in any way possible while gathering info from/to the other trades or publishers. I’d love a simulation parodic game where, as an Associate Producer, you have to match the overall schedule with the interdependencies of the mocap or voice recording sessions while being challenged by both the marketing plans, technical pipeline shortcomings and internal creative team requirements. When I see how stressful work can be on an episodic game, I am glad I am not in the TV series production where timing and combinatorics are even worse, these guys deserve medals!

38

Overall, the story in any game is the one you make and tell your friends.


39


Ka0ru/

MystPic VR MystPic prøvede jeg til Annecy festivalen og det er, på en måde, det mest både simple og komplicerede af de spil, vi har spillet. Uden at fortabe os for meget i det tekniske, så er det både VR og AR - det som vel efterhånden bliver kaldt for XR for at kunne dække det meste. Det særligt opløftende ved oplevelsen er, at Ka0ro selv er tilstede i den virtuelle verden for at hjælpe dig. For mig var det skelsættende ikke at være alene i den virtuelle verden, for jeg blev ‘holdt i hånden’ af en ånd fra den virkelige verden.

What is your biggest moment playing a game?

What would you recommend for a newcomer to

When I forget the real world and I am transferred

the game business?

to the character and virtual world.

I am also a newcomer... but since making a game is such hard work, it is better that you make what you

What is a mechanic?

want to make from the bottom of your heart.

By the mechanics, players can obtain the real world feeling. Unlike the film, the story will not go on as long as players do not act. Through this sy-

Where do you dream of going - what is the goal of

stem, players will recognize that they are the main

your work on a long term?

character living in the game. In particular, with

My one goal is that the non-gamer can come to

VR, since they can touch something in the virtual

enjoy the virtual world. Not only depending on

world, the real feeling will be stronger.

specific devices, but also playing in real space will make possibility of a new game.

What is story in a game? The story in a game is not one. It is best that each

Can you describe your work with one word?

player can feel a different story.

It is not just game, the picture connecting a real and virtual world

How do you start out when making a game? By making the worldview and main visual. It will

Can you pitch to me what games mean to you?

decide the direction of the game.

Video games changed from just game to the virtual world we live. The people immersive in the

What is your favorite game?

virtual world and have expressions, pleasure, sad-

In recent games, the game that has a great world-

ness to virtual characters. Video game is another

view like INSIDE, GRIS, Shadow of the Colossus

life of people.

remake version was also good.

40


41


TEMAREDAKTØRENS AFRUNDING

AFRUND -ING 42


Og så er der alle de spil, vi ikke fik spillet. De sjove, de fjollede, de bekymrende, de lækre, Rosas Garden fx. Af Charlotte Madelon. Hende må vi så blomsterfrø med næste gang, ellers find det på App Store… Jeg håber, du som har læst med også er blevet overrasket over, hvor forskellige spil kan være og måske har fået lyst til at spille? At gøre historien i stedet for at få den fortalt. Måske endda udvikle spil selv?

/

43


MØD DE NYE MEDLEMMER Her kan du møde en række af Danske Filminstruktørers nye medlemmer. Vi vil gerne bidrage til større kendskab blandt medlemmerne og til det arbejde, I laver. Her præsenterer vi nogle af de medlemmer, der senest er blevet medlem.

Vi har stillet de samme fire spørgsmål til alle:

Hvad er din baggrund for at lave film – er du uddannet, autodidakt eller noget helt tredje? Hvorfor er det vigtigt for dig at lave film? Arbejder du på noget lige nu, og hvad har du tidligere lavet? Hvorfor har du valgt at blive medlem af Danske Filminstruktører?

44


Sebastian Gerdes

William Andreas Wivel

Teys Schucany

45


Sebastian Gerdes

Man skal bare ikke glemme

Filmproduktion kan have en nærmest terapeutisk effekt på at være lidt gak-gak engang mig, hvor alt den indebrændthed, skyldfølelse og angst, der imellem. Det gør sgu tingene snigende bygger sig op i mig, finder en ventil. Især når jeg lidt mere interessante. arbejder med komedie, der jo efter sigende altid udspringer af en form for indignation. Derudover giver arbejdet med film mig også muligheden for at kunne være befriende hudløs ærlig, og blive klogere på dybtliggende menneskelige processer. Det er derfor vigtigt for mig at gå ind i en proces med et åbent og nysgerrigt sind og altid være loyal overfor projektets ånd, og ydmyg overfor de mennesker, der er involveret. Man skal bare ikke glemme at være lidt gak-gak engang imellem. Det gør sgu tingene lidt mere interessante. Jeg startede min noget kringlede vej mod at blive instruktør, da jeg som teenager tog mine første, spæde skridt på filmvæksthuset Station-Next. I mange år troede jeg, at jeg ville være filmklipper og gik blandt andet på 18Frames’ klipperlinje. Jeg opdagede, at jeg havde flair for at forstå den menneskelige psyke og handlingsmønstre. Men jeg følte lidt, at jeg gemte mig bag en skærm for det faktum, at jeg ikke turde springe ud som instruktør. Det ændrede sig heldigvis, og efterhånden blev jeg mere sikker i takt med, at jeg fandt min egen stemme og eget udgangspunkt for at lave film. I 2013 blev jeg optaget på den første årgang af Multiplatform Storytelling and Productionuddannelsen og var bl.a. på udveksling på et universitet i Californien, hvor jeg tog instruktørfag i både kort- og dokumentarfilm samt serielle formater. Efterfølgende tog jeg til København, hvor jeg siden 2017 har arbejdet som freelance-filminstruktør. Senest på DR Ultra-serien P.E.K, som jeg konceptudviklede, skrev og instruerede. Jeg har altid haft ambitioner om at give den serielle komedie en berettigelse i Danmark, der kan udfordre publikum både følelsesmæssigt og intellektuelt. Det er mit mål, og jeg kan få helt åndenød, hvis jeg tænker for meget over det. Som freelancer er det vigtigt for mig at vide, at nogen repræsenterer mig og mine interesser. Derudover ser jeg også det at være en del af en stærk fagforening, som en god mulighed for at få styrket og udvidet mit netværk.

Teys Schucany Jeg startede som teenager med at lave teater i min hjemby, Roskilde, men vidste at det altid ledte hen mod at arbejde med filmiske fortællinger. Mine historier er i dag skiftet fra eventyrmusicals til hverdagsdramaer. Nu er jeg startet på Super16 Årgang #11.

Film skaber fællesskab (både i arbejdet med filmen, men også som færdigt værk), og det er min yndlings holdsport!

At film overhovedet eksisterer er SÅ vigtigt – det er gennem film, vi lærer mennesker og historier at kende, som vi måske aldrig var stødt på i vores eget liv. Det er gennem film, vi kan udvide vores horisont, og hvor vi måske engang imellem lærer noget om os selv. Jeg laver film, fordi jeg gerne vil dele ud af mine følelser og oplevelser, og måske få nogle til at tænke: ”Den følelser kender jeg

46


godt!”. Film skaber fællesskab (både i arbejdet med filmen, men også som færdigt værk), og det er min yndlings holdsport! For tiden arbejder jeg på min førsteårs-film på Super16. Den handler om, når man er begyndt at hade nogen, som man samtidig elsker rigtig højt. Og ulykkelig kærlighed. Hvilket rigtig mange af mine tidligere film faktisk gør. Jeg laver meget hverdagsdrama, og jeg har efterhånden opdaget at temaer som ulykkelig kærlighed, ensomhed og følelsen af ikke at passe ind i verden, er gengangere i mine film. Jeg har valgt at blive medlem af Danske Filminstruktører for at blive en del af fællesskabet. Det er enormt vigtigt for mig at støtte op om filminstruktørerne i Danmark. Det er totalt nervepirrende at lave en film, for man udleverer et stykke af sig selv, og der er tanken om, at man er del af et fællesskab, der alle sammen gør netop dét gang på gang, ret betryggende, synes jeg. Så bliver det måske lidt mindre nervepirrende næste gang.

William Andreas Wivel

Jeg kan godt lide at vikle ting ind, og det er vigtigt jeg alt om, hvordan man ikke skal lave film. Det var en stor ople- for mig at øge kompleksitevelse, fordi jeg simpelthen var uenig i alt, hvad de forsøgte at lære ten i de film, jeg laver. I foråret 2014 var jeg taget på en filmskole i São Paulo. Her lærte

os. Men jeg fik lånt mig til et kamera, fra en af mine medstuderende, og gik ud og lavede en film på egen hånd i weekenderne. Den brugte jeg som del af mit speciale og hurtigt derefter til at søge ind på Den Danske Filmskole med. Der gik jeg ud fra i sommer fra dokumentarafdelingen. Jeg kan godt lide at hamre videre i samme spor. Nu har jeg lavet flere film med samme hovedperson over en længere årrække, og jeg føler, vi bevæger os længere ud i det ukendte. Jeg kan godt lide at vikle ting ind, og det er vigtigt for mig at øge kompleksiteten i de film, jeg laver. Mysterierne kommer ikke altid med i de færdige film, men de ligger altid rundt om som åbne spørgsmål. Jeg arbejder en del på egen hånd og fortsætter med at forsøge at finde ud af ting i andres, og mit eget, følelsesliv gennem film. Jeg skal snart filmisk genbesøge Tunesien, og også til Athen og Iran, for at arbejde på et filmprojekt med arbejdstitlen Ruins. Derudover arbejder jeg videre med den producer, jeg lavede afgangsfilm med, og vi forsøger at udvide det univers, der knytter sig til vores afgangsfilms hovedkarakter, Eyad. Generelt tror jeg meget på foreningers kraft. Som vi har set, senest med ændringerne på Den Danske Filmskole, er det vigtigt at have vægtige stemmer i et forum, der kan samles og organiseres et sted. Ikke nødvendigvis for enighedens skyld, men for diskussionens skyld. Alle de ting en forening kan skyde ind mellem magtudøvere, og dem, det bliver pålagt, hilser jeg velkommen. Desuden kan man som filmskaber jo godt hænge og svæve lidt alene i lange perioder, og det er rart at vide, at man, i hvert fald på papiret, er en del af et fællesskab.

47


NYT FRA SEKRETERIATET LEGATUDVALGET UDDELER MIDLER FRA DEN KOLLEKTIVE 1/3 AF BLANKBÅNDSMIDLERNE FRA COPY-DAN. SØG VIA VORES NYE DIGITALE LEGATANSØGNING! De kollektive båndmidler kan søges af ophavsmænd og kunstnere inden for alle genrer, herunder navnlig de, som yder væsentlige og nyskabende bidrag til dansk musik og film, men som ikke har mulighed for at leve af deres kunstneriske virksomhed. Vi åbner for næste runde legatansøgninger i det nye år. Tidspunktet præciseres nærmere. Sådan søger du: Gå ind på Danske Filminstruktørers hjemmeside under: http://www.filmdir.dk/da/legatansøgning-blankbåndsmidler Her finder du vejledning og et link til det digitale legatansøgningssystem, som du skal klikke på og herfra udfylde din legatansøgning i de relevante felter. Bemærk, at du først kan benytte ansøgningsskemaet, når næste ansøgningsrunde er åben. Legatansøgninger til Danske Filminstruktørers legatudvalg kan udelukkende udfyldes og indsendes online.

PITCH ME BABY Stort tillykke til dette års vindere af Pitch Me Baby! Konkurrencen som vi i samarbejde med Danske Dramatikere og Odense Film Festival præsenterer på Odense Film Festival. Prisen blev overrakt til Darshika Karunahara med filmen First Night, og andenpræmien gik til Christian Einshøj med filmen No Family Photo.

48


RÅD OG UDVALG Danske Filminstruktørers Legatudvalg

DFI Dialogforum for diversitet:

Hans Kragh-Jacobsen

Christina Rosendahl

Andrias Høgenni Torben Skjødt Jensen

Psykisk arbejdsmiljø – sexkrænkelser og magt

Lin Alluna

Christina Rosendahl

Cæcilia Holbek Trier Klaus Kjeldsen (bestyrelsens repræsentant)

Solidarisk Kameraudlejning Rasmus Kloster Bro

DFI Rådet for Kort- og Dokumentarfilm Christian Bonke

Statens Kunstfonds repræsentantskab: Mette-Ann Schepelern

DFI Rådet for Spillefilm Birgitte Stærmose

Filmkontakt Nord/ Nordisk Panorama: Christian Bonke

DFI Festivaludvalg for Kort- og Dokumentarfilm Oliver Ussing

FERA- Féderation Européenne des Réalisateurs de l’Audiovisuel:

Dansk Kunstnerråds post i DFI's kontaktudvalg

Birgitte Stærmose

Martin Strange-Hansen Oscarudvalget: TAKE-redaktion

Anders Refn

Martin Strange-Hansen Klaus Kjeldsen

Komiteen for IB-prisen

Søren Kragh-Jacobsen

Annette K. Olesen & Per Fly

Ida Grøn Karen Bernheim

Kritisk revisor: Karsten Kiilerich

Create Denmark bestyrelse: Christina Rosendahl (ordførende)

SNF - Sammenslutningen af Nordiske Filminstruktører: Anders Refn & Sandra Piras

Create Denmark, koordinationsudvalg: Sandra Piras

Nye medlemmer Robert M. Goodman, Sebastian Gerdes, Rikke Kolding,

COPY-DAN:

William Andreas Wivel, Regitze Marker, Teys Schucany,

AVU-kopier: Klaus Kjeldsen

Jahfar Muataz Hilke Rönnfeldt, August Aabo, Lena Milovic,

Verdens-tv: Sandra Piras

Thomas Elley, Albert Kjær Morel, Rikke Nørgaard,

Blankbånd: Sandra Piras

Pauline Merrildgaard, Ömer Sami, Nikolaj Storgaard Mortensen, William Sehested Høeg, Mikkel Kruse,

Dansk Kunstnerråd:

Albert Kjær Morel, Rikke Nørgaard, Pauline Merrildgaard,

Anders Refn (FU)

Ömer Sami, Nikolaj Storgaard Mortensen, William Sehested Høeg, Mikkel Kruse

49


INDFLYTTERFEST : Autorhuset er flyttet i nye lokaler i LinnĂŠsgade 25, og vi holdt i den anledning indflytterfest fredag d. 13. september. Tusind tak for en dejlig aften! Fotos: CĂŠcile Desaint

50


51


LEGATUDDELINGER JUNI 2019 NAVNE

FORMÅL

Efteruddannelse/seminar: Kari Vidø Cecilie McNair Daniel Kragh-Jacobsen Søren Green Ulla Boye

8 ugers kursus og certifikat i The Ivana Chubbuck Technique 10000 Rhino Myth 8000 The Tools Foundation Workshop 7995 Skabelse af et sprog og brugbare værktøjer i arbejdet med skuespillere 3000 DMJX PODCASTKURSUS 3250

Rejser Esther Wellejus Jannik Splidsboel Mira Noltenius Julie Bezerra Madsen Maria Mac Dalland Morten Køhlert Christian Holten Bonke Robert Fox Mahdi Fleifel Lone Falster Nadia Alma Josefina El Said Isabella Eklöf Vibeke Bryld Lise Birk Pedersen David Adler

Happy Days Are Here Again (eller hvad jeg ved om sorg) Greenpoint, New York Jagten på Pineapple Del Monte Dokumentarfilm: To søstre og en far Annecy animationsfestival Hemmeligheder i Paris MEMENTO MORI Rejse til Cinequest, San Jose, USA Rejse til IndieLisboa Film Festival Turen gik til Rom Let's Go To The Forest Let's Go To The Desert Mariann NewImages Putin's Kiss 2 NATTENS ENDE

6800 8000 11000 14575 4000 7500 10000 5500 2750 5500 5620 7200 3500 18630 2000

Research/treatment/manus/lignende Maria Møller Kjeldgaard Flemming Lyngse Kathrine Ravn Kruse Johan Knattrup Jensen Mira Jargil Mads Hedegaard

Stille Liv Oum Khaltoum - Reflexions Mama AT DØ FØR DØDEN Dette Er Ikke En Film Alex Opdager Verden

8000 5000 7500 8000 10000 2000

Produktion Kathrine Kastholm Vimpel Sybilla Tuxen Frederik Sølberg Mikkel Skrøder-Christensen Jacob Pilgaard Tao Nørager Kerren Lumer-Klabbers Christian Sønderby Jepsen Anita Jensenius Suvi Andrea Helminen

TRO Ossetia GO FOR A WALK & WONDER Arv KHALID ZUSA URBAN STATION Smøla Syndens Hule Öznurs danske bryllup Flux

10000 7500 10000 6000 5000 5000 10000 20000 10000 15000

The lost years "Det Der eR" Løvemor Angående Anna Karina Den Blå Orkidé Lusaka Redemption Fjendeland/ Know Your Enemy

10000 25000 5000 10000 10000 8500 9000

Bogen om mine film 33 DVD "Rugged Road to Independe" Alexandria 2019 Workshop Maputo Diary

10000 8900 14780 5000

Efterarbejde Signe Stæhr Simon Staho Kiril Schjørring Jesper Nielsen Carl Marott Alexander Lind Martin Tamm Andersen Andet Jørgen Pagh Vestergaard Ulla Boje Rasmussen Flemming Lyngse Ditte Haarløv Johnsen

I alt

52

BEV. KR.

400.000 kr.


LEGATUDDELINGER OKT 2019 NAVNE

FORMÅL

Efteruddannelse/seminar: Jesper Bernt Morten BH Regitze Marker Karla Holmbäck Carl Marott Jesper Madsen

MediaXchange Showrunner LA TV FIKTIONSFIX "bevægelige samtaler" 2019 Workshop hos Manuskriptskolen For Børnefiktion Genre workshop with Stephen Cleary Robert Mckee - LOVE STORY DAY

Rejser Clara Tufte Lukasz Konopa Camilla Lee Fabricius Mahdi Fleifel Dan Säll Louise Leth-Espensen Lone Scherfig Anahi Testa Pedersen Vibeke Bryld

Le Circo de la Drag Den Tøvende Konge Et Bastardbarn Vender Tilbage Fra Palæstina til Sankt Petersborg Baluran Transformationen Libération Hvem fyrede Peter? Kun Havet Taler

10000 10000 15000 10000 12496 7500 10000 3000 10000

Research/treatment/manus/lignende Mikkel Stolt Mette Horn Emil Langballe Christian Einshøj Dorte Bengtson Lilian Klages Tanja Wol Sørensen Puk Grasten Julie Bezerra Madsen Tine Thomasen Peter Hausner Adda Elling Roja Pakari Jacob Møller Maria Møller Kjeldgaard Peter Engberg Karsten Mungo Madsen Michael Madsen Troels Hansen

NATURALIA Fødegangen MIN BROR No Family Photo PUSSER ME MEI Homesick, as I imagine it Den, Der Lever Stille To Søstre og en Far EVA Dream Julesvansernes Slemme Univers Man ved aldrig THUNDERSTONE In His Image NEXT STEP HUMANITY Små Film om Sorg (arb. titel) The Island Soy Unico

6500 15000 5000 15000 10000 10000 8000 10000 20000 5000 10000 15000 20000 10000 7500 10000 5000 10000 10000

Produktion Katrine Dolmer Tanne Sommer Berte Fischer-Hansen Jonas Robstad Nielsen Ida Helene Rovsing Anna Marina Skouros

Lukøje Hellige Høne Lion Lily Grillpølser i Måneskin Kun et menneske First Night

6700 6000 12500 10000 5000 7500

Efterarbejde Tom Akinleminu ROBERT FOX

When a farm goes aflame KIM OG MOSTERIET

20000 5000

Andet Kræsten Kusk Ulla Boje Rasmussen

Natten i Safarihulen Prins Peter og de 20 Tibetanere

10000 10000

I alt

BEV. KR.

5500 875 3000 3000 1195 3500

366.766 kr.

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FOTOKREDITERING Forsideillustration: Trine Laier, Those Eyes Portræt af temaredaktør Trine Laier: Fotograf Lise Saxtrup Fotos fra temaartikler: S. 4: Portræt af Trine Laier: fotograf Lise Saxtrup S. 6: App Store banner for Cosmic Top Secret, produceret og udgivet af Klassefilm, co-produceret af Those Eyes S. 9: Screenshots fra Consume Me, Selfie af Jenny Jiao Hsia S. 11: Portræt af Lea Schönfelder: ukendt fotograf. Screenshot Monument Valley II S. 12-13: Screenshots Assemble with Care, Poster Perfect Woman S. 15: The Witcher II at gamescom 2012, Fotograf Tim Bartel: S. 17: Poster Cyberpunk 2077: CD Projekt RED, Portræt af Marcin Blacha: fotograf ukendt S. 19: Selfies af MIRA DORTHÉ & TANJA LIND TANKRED, Patrick Jarnfelt S. 20-21: Screenshot Sky: That Game Company S. 23: Jenova Chen & Trine Laier: fotograf ukendt S. 25: Screenshot LIMBO, Playdead & Portræt Trine Laier: fotograf Lise Saxtrup S. 29: Screenshot INSIDE, Playdead S. 30: Poster, HALF LIFE, Valve. Concept art LIMBO & Screenshot LIMBO, Playdead S. 31: Portræt: Arnt Jensen: fotograf Ditte Vig Find S. 32-32: Maraoke, fotograf: Sebastian Bularca S. 35: Portræt af Ste Curran og datter Alice: fotograf Lisa Forrest S. 36: Portræt af Sebastien Berat: fotograf Gladys Deussner S. 39: Screenshot og poster Life is Strange, DontNod S. 41: Portræt af Ka0ru: fotograf Taro Terashi. Screenshot MystPic S. 43: Screenshot Rosas Garden af Charlotte Madelon   Mød de nye medlemmer: Portræt af Sebastian Gerdes: Fotograf Miku Kanada Portræt af Theis Schucany: Fotograf Miklos Szabo Portræt af William Andreas Wivel: Fotograf Stroud Rohde Pearce Fotos fra Autorhusets indflytterfest: Fotograf Cécile Desaint

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Danish Film Directors www.filmdir.dk ISSN 1601-5843


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