Only The Strong Survive

Since mid-August the team of Rogue-Ops has a new member: Jason I. Choi aka Crack 6K. In the community he is well known for his machinima Only The Strong Survive (OTSS) [download links & mirrors | .wmv & divX | diverse qualities | from 72MB to 224MB]

Today morning I read a long interview Peter Bogdanovich recently has done with Clint Eastwood. Among many other things Eastwood related that one day an executive from the studio visited the set of “Dirty Harry” and watched a scene wherein the killer slides down some handrail, enters a car and drives away. After the very first take the director Don Siegel was satisfied—the executive could hardly believe it, as from visiting other directors on the set he was used to at least ten takes or more. Eastwood, who stood next to him, just said: “That’s the difference.” There’s a difference in OTSS, too: [OTSS] relies heavily on pre-scripted sequences, but there are shots that are done live and puppeteered, and even some where both methods are used simultaneously.”

In 1911 British actor, producer, director, scenic designer, and theatre theorist Edward Gordon Craig (1872-1966) wrote in his book “On the Art of the Theatre”:

And who knows whether the puppet shall not once again become the faithful medium for the beautiful thoughts of the artist. May we not look forward with hope to that day which shall bring back to us once more the figure, or symbolic creature, made also by the cunning of the artist, so that we can gain once more the ‘noble artificiality’ which the old writer speaks of? Then shall we no longer be under the cruel influence of the emotional confessions of weakness which are nightly witnessed by the people and which in their turn create in the beholders the very weaknesses which are exhibited. To that end we must study to remake these images no longer content with a puppet, we must create an Über-marionette. (Craig 1912[1911]:84)

Computer-generated 3D-characters are the prototypical Craigian perfect actors, his ‘super-puppets’. In OTSS they partially are animated live, improvisation—another point strongly emphasized by Craig—is re-introduced. It seems that in artistical expression the human new gods are far from being dispensable. “A Dream Within A Dream” already is a strong metaphor for all that—and it emerged from within the community.
don’t miss Henryk Jurkowski’s Craig and Marionettes and the machinima faq

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