Category Archives: culture

Art

I can’t believe I’m back blogging after more than a month of working and playing games and not blogging, just to add a couple of cents to the “are games art?” debate.

This good article on Hellmode has sparked a lively conversation. Can’t remember if it was Cliff Bleszinski or Leigh Alexander who ignited it.

So, what is art? I’ve spent some years in art schools (nine), have talked about this to death several times with people much smarter than myself, and like to think that I have a clear idea. I suspect most people do not.

Most people think art is something that is attributed to a thing due to some perceived value in the process of making it. Think crafting skills. (No, not that kind.) Thus huge oil paintings are art, if they look nice enough, whereas low effort spray paintings are not. Some people – lots of people – think that nice things are art, but ugly things are not. Lots of people think that photography is not art. It’s not involved enough, not hard enough. The majority of people have no idea how come something is fit for a museum and something is not. Some folks do not understand why there is such a thing as a modern arts museum.

Film was certainly not considered art when it was first conceived. I think it took until the efforts of Man Ray and Dali and the like to lift it over the status of idle entertainment.

Let’s look at videogames. They’re certainly very hard to make, so it takes effort. They can be beautiful and indeed, beautiful games are often cited as examples when thinking of artistic videogames. You could easily call Flower or Shadow of the Colossus or Rez just because they’re really nice to look at and listen.

Or maybe you’d look at how they’re commenting the world they’re spawning from. Does art need to deliver a message? No, but if we think it must, there are plenty of games with messages. Take all of the above, and maybe add the Metal Gear Solid series to the mix, or Far Cry 2.

Is it because we’re creating an entertainment product that it’s seen as less valuable? Surely we’re no less important than whatever Hollywood is churning out, or whatever’s on the pop charts today.

If you look at all the people you need to make a videogame, a lot of those professionals certainly see themselves as artists, even if they’re working on the annual instalment of a sports game. Coders often speak of their work as art. Artists can spend days working on a reflection if you don’t put them on a timer (you should). Designers write about the meaning of games all the time.

As a producer, I want to make games that matter to me. I am pouring way more than my nine to five to my work. I care about it. So does the vast majority of the people I work with. We may not call ourselves artists, but honestly, I see very little difference in the work of my crew and, say, a film crew.

Art is whatever the creator thinks is art. If the creator is just making things to sell them, that’s not art. (A lot of videogames are this way, but fewer than what you might think.) You cannot argue about this. You can limit your own view of art to whatever you’re comfortable with, but that doesn’t mean the artistic value of the things you choose to exclude is diminished in any way. Yes, this means that anyone can be an artist. Everyone should be an artist!

There is still “good” art and “bad” art and good products and bad products. But we are so far beyond the point of videogames not being art, it’s going to look really ridiculous in retrospect that we’re still talking about this, much less apologizing for the state games are in.

A videogame’s publisher almost always views the game as a thing to sell, a product. That does not take away its value as art in any way. It merely makes it accessible to more people.

Oh and about those games I’ve been playing? On the PC, Gratuitous Space Battles. It is so awesome, I wish I’d made it myself. On the PS3, Demon’s Souls. On the PSP, Peace Walker. On the 360, getting closure on a bunch of unifnished games (Fable II, GRAW). With real people, I’ve been running Dark Heresy and I’ve been playing an RPG as well in a glorious campaign spanning the whole 20th century, year by year.

I’d be comfortable saying several of those games are art.

Heavy Rain

Heavy Rain

Heavy Rain

The bar has been raised.

There’s been a lot of discussion on Heavy Rain. It’s deserving of all the talk.

Heavy Rain proves that A) you can actually do movie style, down to earth drama in videogames, and that B) the videogame part of the equation is valuable.

I have often wondered why there are no adventure games where you would “solve problems” by making decisions and talking with people instead of hunting for suitable items. This is the way you usually solve problems in the real life and by extension, in movies. Heavy Rain proves that it’s possible. You can do meaningful human drama without any fantasy crutches. It’s still a story about a Hollywood-style serial killer, but I can see that Heavy Rain’s character-based drama could work with any type of drama you might expect from the movies. In itself, this is a major breakthrough for videogames.

Some have said that Heavy Rain could just do without the player controls, as it can feel like you’re just going through the motions of “controlling” the characters. First, this is false as the story can and does take different turns based on your actions and second, it’s all in your head. If you decide that this is something you’re not interested in, well, then changing the baby’s diaper or sitting at a table, depressed, are unlikely to provide you with anything you might enjoy. If you do buy into the drama and go under the skin of the lead characters, you’ll find a very, very engaging experience. I found the many tense scenes in Heavy Rain far more engaging, more exciting, more scary than anything I can recall from other games.

Going through the motions of controlling these often very mundane things the characters do, like turning door knobs, brushing your teeth, deciding to take another drink, and so on, really makes you relate to the characters and immerse (yes, there’s that word) yourself in the story. This makes the admittedly very barebones, if competently told, Hollywood story much more interesting than what it would be, seen as a movie.

Also the whole notion of “movie-like” games has been now validated. Done properly, cinematography rules work in a game context. No other game has taken these nearly as close to heart as Heavy Rain, and it’s much better for it. Lots of points for the courage to throw videogame plot exposition conventions out of the window, as well. The story often cuts to a new scene without lingering and lets the audience fill in the blanks. It all feels very natural.

Heavy Rain is one of the very few games I would call mature. Can I please have more? I am only worried that we have to wait until Quantic Dream’s next game before we see the envelope pushed even further. I hope that the sales convince publishers that more mature games for increasingly mature audiences are warranted.

The best of 2009

My 10 best games of 2009

My 10 best games of 2009

For the most of 2009 I spent my gaming time playing games from 2008 – Far Cry 2, Fable II, Rock Band 2, lots of cheap PSP & DS titles, Company Of Heroes, Dawn Of War (the first one) – but I thought it could be fun to put together a list of what was the best 2009 had to offer. For future reference, see.

I have not played many of the big hitters of 2009 so there’s bound to be holes, but these days, gaming is too big a pastime for one man to wholly take in with his free time (and income). Major omissions include Halo: ODST, Modern Warfare 2, Resident Evil 5 and Dragon Age: Origins, to name a few.

My ten best games of 2009:

  1. Space Hulk (board game)
  2. Batman: Arkham Asylum. I haven’t written about Rocksteady’s phenomenal take on Batman (because I’ve been too busy playing it), but it ranks as one of my all-time favorite games. Play it.
  3. Demon’s Souls
  4. GTA Chinatown Wars (DS)
  5. Shadow Complex
  6. Torchlight. I’ve been playing this for most of the holidays, it’s crazy good. Too bad about the lack of variety and the still missing multiplayer.
  7. Killzone 2
  8. Plants Vs Zombies. This Popcap title stole a ridiculous amount of time this year. Probably the best value for money all year.
  9. Street Fighter IV
  10. Rock Band Unplugged

I’m surprised by how many “small” games there are – mobile games and cheap PC games. Remarkably, the only one I was looking forward to before it hit was Killzone 2, the rest of these have been more or less very happy surprises.

The state of the play

Video Games from MUSCLEBEAVER on Vimeo.

Are videogames art? Are videogames juvenile? Are videogames stupid? Are videogames fun? Yes, yes, yes, yes!

It’s complex

Shadow Complex

Shadow Complex

I liked Orson Scott Card’s original short story of “Ender’s Game”. I was looking forward to checking out some of the author’s other work at some point. When Epic’s 2D Super Metroid homage Shadow Complex was announced, I was mildly interested due to it being based on Card’s novels. The game came out, reviewed very well and I decided to buy it. Then I learned of the many people boycotting the game. I considered this for a day and bought the game for 15 USD.

I am strongly against Card’s world view. This wouldn’t be so much of an issue for me unless he was also an outspoken advocate of these beliefs. It looks like the developer of the game, Chair, and the game’s writer, Peter David, have made an effort to steer clear of Card’s controversial themes while making a kick-ass game. I’ve played the game for most of tonight and it is really, really good. Nothing in the content has jarred with me in any way.

So what we have here is an author I want nothing to do with, lending his name to an entertainment product I enjoy a lot. It helps that as far as I can tell, the author has not collaborated in a very meaningful way with Chair, but rather Chair has taken the fictional world and name from the author to get some PR.

This last bit is what really bothers me, beyond giving some small amount of money to Card through buying the game. According to an article in Gamasutra, Chair’s people are not homophobes to any degree. Maybe they didn’t know about the whole issue when they were working on the game – I know I didn’t. If they did, it bothers me a lot that they would give this publicity to Card, arguably more valuable than anything Card has published, as it’s reaching a new audience for him.

What I decided to do is enjoy the game for what it is (an excellent action adventure I would’ve loved to work on) and talk about my misgivings here. And no, I won’t be buying any books by Card.

Gaygamer’s take on the topic here.

Post I.T. Shooter

Kloonigames has a new game up. Falling resolutely on the “art” side of the “games as art” debate, it’s an experience you shouldn’t miss. It’s a scrolling shooter presented as a stop motion animation, composed of Post-It notes.

Coincidentally, I just bought Space Invaders Extreme for the DS and have been playing that. Pretty great stuff, actually. If only my trigger finger could be pressed to service like in days long gone. Nice tunes, great rhythm and suitably hard.

Metal Wolf Chaos

This video is so full of great lines, I couldn’t decide which one to go with. Believe your justice.

Should’ve been released outside of Japan, really.

The coolest thing in the entire world?

RX-78 Gundam in Odaiba, Tokyo

RX-78 Gundam in Odaiba, Tokyo

A 1:1 scale, eighteen meter tall giant robot? Out in the wild? No contest. Check out Punynari’s coverage.

DM-Spectrum

DM-Spectrum from Matthew Bradley on Vimeo.

Why we game?

A Life Well Wasted, episode three is up and asking the question “why we game?” It’s all good, of course, have a listen.

I’ve thought about my motivation for playing not just videogames, but games in general, for a great many times. Often it’s because I’ve spent a whole day gaming and feel maybe a bit shameful afterwards. Was that a good use of time? Did I accomplish anything? What did I actually get out of that? (Achievements.)

Because for me, “fun” doesn’t quite cut it, not anymore, not when all I do is games. Especially now that I’m working at a videogame developer, reviewing games as a gig on the side and playing games both alone and with friends, even most of my social gatherings being built around gaming – it’s pretty much all games, all the time.

There’s two things going on here. First is that I still like games for the same reasons I initially got into them: to discover and learn new things, to explore new worlds and to use my imagination. But using all of my time on this, in a sense, short-sighted recreation is not the core for me anymore. These days – and this has been going on for quite a while, probably since college – I’m more interested in games in general, as opposed to a given game. So instead of mulling over how an ability works in Fable II (which is what I’m currently playing, tonight losing a good three hours without realizing it), I’m thinking about what Fable II means in the bigger picture, what are its achievements in the genre and how I could learn from it. Why exactly am I so immersed in it? Does this affect on how I view other games?

So in a sense, I feel my love for games has matured. There’s a context, some method to the madness, something my now more demanding brain tells me is more worthy. Or, well, excusable.

And on the other hand, I find myself going back, towards the golden days of childlike, unshameful gaming of far too much, really. I made a return to pen and paper roleplaying games after an almost complete hiatus of a couple of years. It’s been fantastic and I’m really looking forward to our next game. I can feel parts of my mind waking up from a hibernation, imagination and improvisation skills kicking up again, taking four games to get back into gear and now I’m ready to really jazz it up. Roleplaying games rule, you know.