As a medium older and more established than the digital game, film has certainly played a role in documenting its trajectories. Through audiovisual essays and narratives we can be introduced to game artifacts alongside the contexts of their creation, distribution and reception. The older medium avoids a problem of abandonware and emulation, whereby games are preserved but are devoid of the temporal specificity and popular excitement often so important to their meaning. Yet there are always problems with such documentation; film, with its limited capacity for immersion, can only represent and relate narratives about gaming. As such, it alienates viewers from the content and mechanics of such games, relegating them to the position of a passive viewer.
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