“I think for me, broader than just the industry, you are seeing this everywhere.
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“There is a recognition, even amongst the old TV types, that the world is different,” Jones says.
“We are in a different cultural space,” says Jeffrey Jones, executive director of Peabody, when asked why now regarding the Peabody’s interactive awards. It’s a signal that interactive content is entering the mainstream arena in a more overt way than it has in the past.
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This week sees the release of a “Halo” series on Paramount+, “Sonic the Hedgehog” is now a film franchise, “Uncharted” has become a box office success and Netflix’s “League of Legends” series “Arcane” was a top winner at the animation industry’s Annie Awards. The Peabody recognition is arriving at a time when games are more overtly becoming entertainment IP. If there’s a defining medium of our still-uncertain pandemic age, it’s games. In 2021, play became a way to think about life If I had watched that in a passive context, I wouldn’t have had that.” I think ‘Journey’ was the first game that actually made me cry.
Games can get a bad rap - they’re toys or they only focus on the visceral aspect of the experience - but games can make you feel and cry. “You can feel in a very visceral way companionship, loss, struggle and liberation. “These experiences have the capacity to make us feel the consequences of choice, the consequences of our actions,” Hennig says. Hennig was on the board of Peabody jurors who chose the inaugural interactive winners. “I think people are realizing that games aren’t just trivial amusements,” says Amy Hennig, the president of new media at Skydance Media and a veteran game developer who was one of the architects of the “Uncharted” franchise. “Never Alone,” which came out in 2014, introduced players to little-known tales of native Alaskan culture, all while using simple run-and-jump mechanics to transform players into digital tourists.
It’s a game that explores the tension between duty and empathy for humanity. “Papers, Please,” first released in 2013, turned simple puzzles into a game of geopolitical chess, asking players to imagine life as an underpaid, overstressed immigration officer in an Eastern Bloc country. On Thursday, the Peabody Awards unveiled its first crop of winners for digital and interactive storytelling, which focused on a variety of foundational texts released prior to 2019, an acknowledgement that the field has long been overlooked by our institutionalized awards bodies. Over its 80-plus years, the Peabody Awards have focused on honoring thoughtful work in a variety of mediums spanning TV, radio and journalism, but has arguably long been most closely associated with television. Williams is also the chairwoman of the new Peabody Interactive Board. The act of play, says Williams, is constantly engaging “the eyes, the heart and the mind” due to the need for an active commitment on the part of the player. “It provides a different type of sense memory, and it provides a different way that your brain thinks and your heart beats,” says Diana Williams, CEO/co-founder of Kinetic Energy Entertainment and a former creative executive at Lucasfilm, of the importance of play. Ultimately, they instilled a lifelong love of play. For these pivotal interactive texts merged narrative with a participatory curiosity. The games “Monkey Island” and “King’s Quest” were as crucial to my early development as the Tolkien books I read on my own and the Dickens books I read in school. Growing up, I longed for video games to be taken as seriously as books, film and television.