Super Cop World is just an innocent play with a fictional action movie and imaginary classical video game. Jacky Chan’s fictional action collage is a coincidental match with Super Mario’s runs and jumps.

MONTAGE in a film tries to evoke unique perception of time. The creative decision of montage gives illusion of virtual time, creates tension, triggers emotion and tells a story. What if the decision to montage is totally based on a rule driven structure? What if the continuity of images is not just based on shot-by-shot but also motion-to-motion?

Every game has a rule and a goal. For instance, Super Mario World requires players to keep going forward to save the Princess. Risk factors are inevitable and you have to interact with the space and the creatures to design when you would run or jump. In other words, you’re bringing live a narration of Mario while playing, which the story goes by chance, by how players perform. In Super Cop World, I tried to tell the story of Super Mario World by assembling Jacky Chan’s Action on to Mario’s Action. Jacky Chan therefore is running in a Super Mario Wonderland and sub-spaced in his fictional movie world.

What really transformed the montage decision is how I treat the footages while editing, I treat the footages just as a branch of motion. Besides depicting the meanings of the images, I make use of the character’s motion in them. I connect the motion of different shots which shadow Mario’s each and every movement. It is a type of montage-like animation: trying to make continuous movement by sequencing connectable motion.

Mario-driven Jacky runs in unexpected motion continuity, and the interaction of sub-movie-space and Mario Wonderland give complete new meanings to both Jacky and Mario (the movie and the game).

Eric Siu is a Hong Kong new media artist who has a broad interest in device art, interactive art, kinetics, installation, video and animation. He is currently based in Tokyo and works as a creative director for Great Works Tokyo advertising agency. He worked as a resident artist at the Ishikawa Oku Laboratory of the University of Tokyo for 2 years after he had received his MFA from the Department of Design Media Arts at UCLA in 2010. Before that, he had completed a 12-month cultural exchange and research project in the United States funded by the Asian Cultural Council. Eric’s works have been shown in Ars Electronica. MOCA Taipei, ZKM, FILE, Transmediale, EMAF, WRO, SIGGRAPH Asia, ISEA, Microwave, and so fort. His work “Touchy” received the first prize from the WRO 2013, 15th International Media Art Biennale, Wroclaw, Poland. The project has been featured in various media such as Discovery Channel, Neural, Washington Post, Huffington Post, the Creators Project, etc. Since 2008, he serves as board member of Videotage, Hong Kong.