ShinyCharizard said:
To be honest I'm not looking to start a discussion here. Instead merely to put to words my thoughts on the matter.
It seems when discussing games as an art form, many use examples of games that are similar
to films in the way they deliver a story (Mass Effect series, The Witcher II, Uncharted and more) or merely experimental (many indie titles ect, Journey, Flower, ect). Critics of course say games are not art because they cannot deliver emotion like films.
Why must we use the merits of a different art form like film and apply them to gaming? A very different medium. Would we compare Films to Paintings? Or consider only those games that are being a bit different/experimental?
I say that the games that should be considered art are the ones that we individually think are the best gaming experience. For example I would consider Super Mario Galaxy 2, Super Metroid, Final Fantasy 6 and 7, hell even Gears of War to be art. Games that we personally find are the pinnacle of gaming. Therefore they should be considered art. Because games should be judged on the merits of their own medium.
Well the issue is the mixture of what games are. Film crit borrows terminology that originated in lit crit, and used to vocabulary for it's own ends. While you're right that the work should be judged differently (like we'd consider a film differently from a novel), to deny the similarities and not use the language or look at fundamental similarities and apply the same concepts wouldn't make sense. A protagonist is a protagonist, right? What we need to consider more deeply is the relationship player agency has with the concept of protagonist, I think, or the concept of level design as a kind of mimesis and emplotment.
I think you're right, but new art inevitably borrows from older stuff; have you heard how ludicrously florid some of the dialogue from old films are? Straight up novel shit, to my ears. Now we're dealing with a medium with camera angles and lens flares and shit, so how can we not transplant some of the concepts, and inevitably, expectations? The work comes in critiquing games in such a way that differentiates them. This is why I endlessly despair over games being considered as art; part of that work comes from academics, and that work is being done to some small degree, but it also just generally comes from people criticizing art in a valuable way. So far, we have the review industry, which I'd say is pretty invested in games NOT being art, and the giant publishers, who are basically the Penguins of the game world (they could give a fuck less about art, as well).
We need first to generate a space where we can stop talking about whether some shit is fun and instead discuss how it is beautiful. We need to consider what matters in gaming: interactivity or fun? When you open a book, you expect to read something enthralling, whether it's painful or not (try Hogg, if you dare). When you catch a film, it's similar. Neither of these mediums are in a place where the audience necessarily has to enjoy what's happening, as long as they're riveted (again, look at Hogg, and for films, much as I hate to say it, Precious comes to mind as a good example, even though I feel that in some ways it was a racist manipulation of expectations). Since games are expected to be fun, and the mechanics meant to be consistent and fair and exploitably enjoyable, calling all games art can be difficult. Sure, I think we can talk about artful constructions (I think Bastion is a fucking masterpiece and readily call it art), but feel that most games are too consumed with base goals to be art in the same way that something like Gertrude Stein's or Akilah Oliver's work is.
So some of the work is up to designers/writers, creating works that seek something more elementally engaging than just pleasure, and some of the work falls to critics, to give culturally relevant, medium-moving criticism that doesn't come down to something as moronic as a number. Imagine if someone read Howl and gave that shit a 3 out of 10. God damn.
Sorry if I got a bit off topic.