Right. We're all art critics now.

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AyreonMaiden

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I don't remember the last time I was so emotionally moved as when I finally beat Sonic 2006. It is truly a commentary on the nature of true love and how it holds no boundaries, even between species. Princess Elise's kiss at the end of the game was truly a culmination, and a tipping point in the ongoing debate of whether a human being should ever have relations with an animal. As a catfucker myself, I felt what minorities must have when Barack Obama got elected: a sense of belonging.

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.
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I can't even continue, I'm just not good at this. In all seriousness, fuck artsy crap. I'M DRINKING PORT AND EXPERIENCING VIDEOGAMES
 

FalloutJack

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shitoutonme said:
So, uh... Whatever happened to just playing a f***ing game for fun? Those days just seem so far behind now...
Oh, come on, guv. It's only a bit of fun. Get with it already.
 

EternalFacepalm

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There IS good art, but I'm having trouble finding it lately. Why? Because these days, random colours on a palette counts as art. And that art sells for over 9000.
Half-Life 2 can be considered good art in my eyes, though, by how it tells half the story through the atmosphere and environment.
 

FalloutJack

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Soviet Heavy said:
Tetris is the video game representation of the proletariat struggles against the bourgoisie regime. Each block is representative of a mass of people. As a line of blocks is connected, it is then removed, here showing the lines of people cut down by machine guns as they rushed towards the capital buildings, thereby proving that Tetris is the most depressing game ever created.

Or it could just be about shifting blocks.
So, basically what you are saying is that Tetris is a bit like...this:


Yes, it could very well be indeed.
 

The Stonker

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I believe Farmville is a mirror into the lives of farmers.

See!? Now everyone can be a art critic!
 

iamultraman

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Lord Beautiful said:
*monocle*

I find that the exploration-based entries of the Castlevania series act as allegories painting mind-altering narcotics as the salvation of mankind.

In the beginning of these games, you are a man of great strength who intends to save the world from whatever evil figurehead threatens it, an evil figurehead protected by the cruel, convoluted structure of Dracula's castle (no doubt a metaphor for the structure of modern government, or as I call it, "the system"). You may proceed a ways into this labyrinthine fortress and overcome somewhat few obstacles, but you can never reach the top, never reach "the man."

But then you come across an item that allows you to perform a jump even while in midair, a concept in itself which illustrates the idea of thinking outside the box, the box being the laws of physics, the laws of physics being a metaphor for the oppression of the working class at the hands of corporate fatcats. This newfound ability allows the protagonist to access areas of the castle previously unreachable, which allows him to topple the enemies therein, which opens to path to even more powerful items that allow him to jump even higher, perhaps even to fly.

The evil overlord is defeated because the protagonist, an obvious representation of the common man, overcomes oppressive forces and attains special items that allow him to soar in ways otherwise impossible, which is to say, he got high.
HAH. Leave it to a NEW ZEALANDER to interpret fine works of art. Quite obviously the Castlevania series is a farce. Dracula is quite obviously the representation of the common man; we know this because fireballs are a reference to the fire on a candle's wick, candles being a commodity for New Englanders in the whaling industry, often derided as the lowliest of lowliest of the lowest in occupations as represented by my last essay, The Harpoon and the Leviathan in Monster Hunter Tri. Now, the common protagonist in the Castlevania games is usually a member of the Belmont clan, analogous to the Belmund clan that ruled Cream-filled Germany after the seperation of German land as a result of the treaty of the Napoleonic War. The Belmund Clan were known for their lavish aristocratic ways; their daily meals consisted of golden-plated silver-colored bronze balls, which Herodotus called "da shit" in his Histories. Therefore the Belmont clan is clearly the representative of the aristocracy.

How do I know this? How do you not know this?! J'ACCUSE STULTUM! For the entire proof is in the double jump, MR. NEW ZEALANDER. You see, the double jump is a redundant word, because, regardless of the number of times you jump, it is still called a jump, or a one jump. No I don't understand the irony. Therefore double jump is a redundant word, quite like the redundant lungs that aristocrats procured back in the late 1800s when expenses were placed on air; as a result, many aristocrats displayed their wealth by doubling their air intake. The Belmonts, due to their double jump feature, mimick the aristocracy in redundancies. In fact, some Belmonts, in an attempt for Konami to stress this nature as a result of people not like me not getting it, have two crosses--the Grand Cross and the Cross. Why would they have two crosses? IT MAKES NO SENSE UNLESS THEY WERE AN ARTISTIC MESSAGE.

If we then believe Dracula to be a symbol for peasantry, then we understand the meaning of the whip. When Belmont strikes Dracula, he whips him as if a master to his slave. In other words, Dracula is the real victim, forever to be whipped in the face by his vampire hunting overlord. At times, he can change shapes into fearsome monsters, but these monsters are symbolic of class change; no matter how his shape morphs, he will always be under the enslavement of the Belmont clan. As a result, he might get a little...BATTY.

I am a great.
 

Lord Beautiful

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iamultraman said:
Lord Beautiful said:
*monocle*

I find that the exploration-based entries of the Castlevania series act as allegories painting mind-altering narcotics as the salvation of mankind.

In the beginning of these games, you are a man of great strength who intends to save the world from whatever evil figurehead threatens it, an evil figurehead protected by the cruel, convoluted structure of Dracula's castle (no doubt a metaphor for the structure of modern government, or as I call it, "the system"). You may proceed a ways into this labyrinthine fortress and overcome somewhat few obstacles, but you can never reach the top, never reach "the man."

But then you come across an item that allows you to perform a jump even while in midair, a concept in itself which illustrates the idea of thinking outside the box, the box being the laws of physics, the laws of physics being a metaphor for the oppression of the working class at the hands of corporate fatcats. This newfound ability allows the protagonist to access areas of the castle previously unreachable, which allows him to topple the enemies therein, which opens to path to even more powerful items that allow him to jump even higher, perhaps even to fly.

The evil overlord is defeated because the protagonist, an obvious representation of the common man, overcomes oppressive forces and attains special items that allow him to soar in ways otherwise impossible, which is to say, he got high.
HAH. Leave it to a NEW ZEALANDER to interpret fine works of art. Quite obviously the Castlevania series is a farce. Dracula is quite obviously the representation of the common man; we know this because fireballs are a reference to the fire on a candle's wick, candles being a commodity for New Englanders in the whaling industry, often derided as the lowliest of lowliest of the lowest in occupations as represented by my last essay, The Harpoon and the Leviathan in Monster Hunter Tri. Now, the common protagonist in the Castlevania games is usually a member of the Belmont clan, analogous to the Belmund clan that ruled Cream-filled Germany after the seperation of German land as a result of the treaty of the Napoleonic War. The Belmund Clan were known for their lavish aristocratic ways; their daily meals consisted of golden-plated silver-colored bronze balls, which Herodotus called "da shit" in his Histories. Therefore the Belmont clan is clearly the representative of the aristocracy.

How do I know this? How do you not know this?! J'ACCUSE STULTUM! For the entire proof is in the double jump, MR. NEW ZEALANDER. You see, the double jump is a redundant word, because, regardless of the number of times you jump, it is still called a jump, or a one jump. No I don't understand the irony. Therefore double jump is a redundant word, quite like the redundant lungs that aristocrats procured back in the late 1800s when expenses were placed on air; as a result, many aristocrats displayed their wealth by doubling their air intake. The Belmonts, due to their double jump feature, mimick the aristocracy in redundancies. In fact, some Belmonts, in an attempt for Konami to stress this nature as a result of people not like me not getting it, have two crosses--the Grand Cross and the Cross. Why would they have two crosses? IT MAKES NO SENSE UNLESS THEY WERE AN ARTISTIC MESSAGE.

If we then believe Dracula to be a symbol for peasantry, then we understand the meaning of the whip. When Belmont strikes Dracula, he whips him as if a master to his slave. In other words, Dracula is the real victim, forever to be whipped in the face by his vampire hunting overlord. At times, he can change shapes into fearsome monsters, but these monsters are symbolic of class change; no matter how his shape morphs, he will always be under the enslavement of the Belmont clan. As a result, he might get a little...BATTY.

I am a great.
...



By the way, what does New Zealand have to do with this? Is it a reference that flew straight over my head?
 

Halo Fanboy

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http://forums.selectbutton.net/viewtopic.php?t=28226&postdays=0&postorder=asc&start=82&sid=1ddca40c1416ff4fa1e86d9ae6e14db2
ionustron said:
What set this whole thing off was when I decided to sit down and watch various playthroughs of a chunk of the game, and the boss music. God, I don't know if Danny Elfman started it, but like every single short animation (usually in 3d, usually so the creators can play God Hand because they made it on a Siggraph dvd,) with a chase sequence has that rompy tune. It doesn't matter where I hear it, every time, something about it makes me go ballistic.

Actually, I'm beginning to really really agree with the axe thread I started with DDPF, upon watching the first couple of levels of DeathSmiles, enough that I'd ask it to be a full fledged Kop thread. Beyond the simple bonus icons you'd see with a bell in Twinbee or an extra speed/weapon icon at cap, something of the norm, why do Cave games jump on this?

Think about this for a second: if this had the same tired aesthetic of a space shooter with space colonies and long battleships and brownish mechs floating by from behind farting some bullet (from their booster!) behind them perhaps, would you complain that man this does look real glum!? Probably not because hey I'm playing a new twichy old style game in the here and now! I don't pay attention to those squees my ship makes or the nyaa enemies make when they explode... Well, then I'd hope your day job isn't to write up Excel spreadsheets because how could you see the game anyway?

I mean, look at their games, even a stage with a sprawling, kinda-undulating bitmap beetlepuppet, they do their absolute best to hide it behind stuff that shouldn't matter. 50%+ of the screen at any given time makes Star Ocean numbers the focus with searing cool streams of bullets the latter to keep you from the secret that there are Neo-Geo games that look and move better than this.

I work in the backroom of a department store unpacking crap mostly from Asia. As in, imitations of actual useful objects that would actually be useful if they weren't actually covered in lead paint. Vases, cups and plates, small trucks, rugged model helicopters, brass biplanes, all so proudly deflected with stickers of DISPLAY ONLY NOT A TOY NOT FOR CHILDREN! The best though is when we get those flat shaped copper Christmas tree impressions on a slab of wood. Except, it's May, and the Christmas tree was just quickly repainted in red white and blue because it's now a Patriotism tree! Common go with it!

This game opens with a brown town with some brown gourds and a huge hanging sign that says HALLOWEEN and then ogres fly around and purple flies off things. Sometimes the game does throw a bone and makes an ogre actually do something (remember when Order of Ecclesia just came out and I was ranting about that half-assed Super Contra homage?)

And then after all that, the game chucks campaign season signs on the hill, that oh here comes enemies! Don't actually look at them for what they are, just shoot so that they have a screen time of 5 pixels and 5 frames each. Oh it doesn't matter, you won't see them under the signs anyway. Then the screen almost fills with enemies but then it remembers it's a Cave game so then it promptly fills with Christmas balls.

And then it quickly shows what looks like a goth maid in a bubble bath followed by some deviant art.

I've never seen a game actively try to hide itself, I mean, it's completely shameless. While most everything in shooters that doesn't actually have a gun drawn on it does move like a gif, you can almost never see the gifs anyway in Cave games. I can see the understanding why, because the screen is already half covered by your river of color that will quickly do work to anything that isn't a boss, what's the point in bothering with fodder? What kills it for me is when you see these shit drakes make no effort to show awesome they could be! Could they roar a stream of bullets behind them? I mean there's a mess of them, there's a potential of interesting repetition there. Instead we get tons of enemies that drag and drop around like post-its who just summon columns of bullet spreads meters above them by merely thinking.

And then there was this zombie head stuck in the ground. The rage directed at the cloudy sepia is thick as Texas because the raging bull before him just ran melancholy like everything else until her face fell off. He began to scream carefree finally because his time was up. Just like in Cave fashion, we get another needless meter to cover more up. Well I guess it's there to show you you shouldn't use bombs because you're playing a Cave game play harder! I'd really love to think that he was more pissed because even then, the patterns of bullets appearing, like the numbers, were so completely detached from his face.

Cave has effectively made a niche business of selling us metagames. So delicious that now I know why they said all those years ago that the most hardcore of western fans should just go to Japan to play their games! Somewhere in making portions of their games cater to the kind of ballerina like Ben Shinobi, filling up the screen with colorful lies and bright dots that may not actually be lethal because the dot inside of the dot didn't quite connect to the dot inside of you as you bathe in lilac, it becomes harder to just play it how you wish. You know you're missing something, and that something is really the fly on the syrup or poo. And if you try to ignore it, what do you have left to stare at?

Cave should just do away with Black Label. If they wanted to make a real statement (which I wish they would,) they should make another mode, call it something like Nietzsche Libel. It's like Black Label, but the object is to keep flowing numbers on the screen at all times (ignoring needed loading time,) If the screen is not full of numbers for over one second, you break your combo. Then the game flashes 2 frames of a black screen saying slit your wrists, followed by rebooting itself.

Like a bet, they made the almost most pandering, Burton-aping, lifeless atmosphere (managed to do it out of space,) they could muster, set to something meant to be pulse pounding or Zen inducing. They did it because they knew it would sell. Then Aksys saw their bet and raised it a box. It's sad because every developer in Japan, doujin or douche, knows now without a doubt they can get away with what was hypothesized with Mushihimesama. Just look at Otomedius. (Though I'm sure ripping off Monster Hunter is more profitable.)

But I've never played a Cave Shooter. They probably play amazing, but they really play on the level of the idolm@ster (btw I cry when I masturbate).

---

(Seriously that tree boss looks like an after effects parented puppet firing clipart. But just to be on level, I like watching superplays too, unless it's Chaos Field.)
art criticism.

I wish I was better at this stuff myself :(
 

Halo Fanboy

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http://forum.insomnia.ac/viewtopic.php?t=3455
icemeal said:
The Gears of War series is a metaphor for a traumatized person recovering from depression. The Emergence Day represents a trauma, after which the entire world seems broken, gray and depressing. The weapons represent medication used to overcome the Locust, the negative thoughts that relentlessly attack the traumatized's mind, while the boss fights represent therapy sessions, and the squad represents his loved ones, who support him throughout his recovery and pull him back to life at points where he gets dangerously close to committing suicide. Dom is, in reality, Marcus' brother, and his wife had a similar depression, which lead to her death (represented in the game by her dying because of the Locust -- Dom finishing her off shows how part of him blames himself for her death) -- this makes Dom's resolve to help Marcus fight his demons even stronger, as he couldn't bear to lose another family member to the "Locust". The change in environments throughout the series, from completely gray in the first game, to slightly more colourful in the second, and green and bright in the third, represents Marcus' gradual healing. The triumphs at the end of the first and second game (the blowing up of large parts of the Locust army, and the flooding of their caves) represent major breakthroughs at therapy sessions. The mutating Lambent represent the imperfections of modern psychotherapy and medication -- though it does help, it can also cause psychological issues to morph and take on new forms.

As for the combat system: cover represents things Marcus does to temporarily escape from reality -- listen to music, meditate and so on -- so as to move away from thoughts of suicide (represented by damage). Active reloading represent the taking of medication: when he takes the right amount of pills, the fight against depression gets easier, and when he takes too few or too many, things only get worse. The little meter in the upper right corner showing the proper timing for active reloading is the doctor's prescription.

And voilà: Gears of War is now art! Right up there with Braid, Passage and Silent Hill 2! At long last, hipsters can enjoy chainsawing Locust to death without feeling guilty because they're playing something without "psychological depth" or "room for thought-provoking interpretations" or whatever it is they like to call their bullshit!
worm said:
Much joking has been made of the visual elements present in Shigeru Miyamoto's 1985 interactive installation Super Mario Bros. With mushrooms, flying turtles, and surreal landscapes, superficial analysis commonly "reveals" that the message of the work is "obviously" about drugs, or more generally, about hallucinations. And of course we have the tedious literalists that continue to bleat and insist that it is "about" saving a princess. However, such shallow investigations small-mindedly focus on what is present in the installation instead of what is reflected in it, which is the flaws of us, its human audience.

Of notable poignancy is the coin-collecting mechanic, in which we tirelessly prance and cavort in an effort to seize those shiny baubles, which are often tantalizingly presented just out of easy reach. But what is our reward for all this running and jumping? Only the nullification of achievement as the counter passes 99 and rolls back around to 0, returning us to the beginning of our Sisyphean task. This cruel blow nearly crushes us with the gravity of its message: that such monetary pursuits are not productive, are not desirable, and are not life. In fact they are as empty as the zeroes that appear when the cycle begins anew. Yet, the installation does affirm this behavior by bestowing a 1-up as our progress is reset. And we might well ask, what therefore are the coins if not life?

The distinction is subtle, for a 1-up is not life but an extra life. It is a chance to try again. And with this boon comes the gentle insistence that we wake up and realize what we are living for. It is not the trinkets that we collect, but the progress that we make. There is no going back, neither in Super Mario Bros. nor in reality. It is our continued determination in the face of death, our one-way march towards danger and discovery, that propels us onward to our final end. The 1-up merely allows us to go further down the path before that end comes.

In short, Super Mario Bros. is an affirmation of all the nobility and tragedy of the human spirit. It masterfully captures both our highest goals and our pettiest compulsions. Super Mario Bros. offers a truly human resonance, and no mushrooms are needed to grasp its messages.
faceplant said:
There is an infinite amount of meaning in the Zelda Rupee. It's meaning and genius cannot be contained in mere words, but this mortal will try anyway. Try and break himself against the impenetrable rock that is the Zelda Rupee. At most, I can say this was a noble sacrifice.

Those who have read my previous essay, "The ramifications for social justice on the placement of tile 1F in the title screen of Duck Hunt" will know well that this is a topic to take with the utmost seriousness. Truly, the information gleaned here is vital to the survival of the human race as a whole.

The first row, one white pixel and one orange pixel, represent the light and darkness of the eternal soul that persists in the hearts and minds of every person on the planet. And believe me when I say we are just getting started delving into the depths of this unparalleled masterpiece.

The next two rows, represent strife and dissonance, as the gulf and number between the pixels widens and creates a sense of definite tension, as if the pixels themselves could split apart at any moment and collapse into nothingness. The agony! The pain and despair! Truly all the world's "Realist" paintings could not hold a candle to the arrangement of these pixels.

The 4th row represents the congruent merging of all the world's races into one harmonious sparkling white destiny of peace, harmony and love. It's mixing of white and orange cannot be described in mere words - one merely needs to look upon it and gaze into it's infinite depths of meaning and resonance in the hearts of all men and women, nay, hearts of all living things that have ever existed! Even though bacteria lack hearts, I am sure even they can appreciate it on some level.

The next seven rows are the seven pillars of infinite justice, spelled out for all to see. If you can't see it, well, I suppose you'd just have to kill yourself out of shame. There is no room in the Zelda Rupee's new utopia of infinite peace, love and justice for nay-sayers.

The next row, a perfect inversion of the 4th row, represents the yin and yang of all creation. Do not be confused for this row's form on the Zelda Cereal box, however, as it was modified and thus was ruined what could have been the perfect breakfast cereal to ever have been created.

Finally, the final rows represent perfect peace and harmony as the orange color floods the pixelscape for a finale of beauty. Please do not ask why it does not have any white pixels, you just don't understand.

And then, we have the Zelda 3 rupees. Ugh! Truly whoever made these understood nothing about the genius of the originals, as they've been stripped of all meaning and look like ugly little blobs of refraction, light and color. They actually almost resemble a real thing, if you look at it the right way. It even has a shadow, of all things! Just disgusting. Obviously, whoever made these abominations will burn in the lowest levels of hell for all eternity. Not to mention, there are three Rupees, instead of just two. And three is just not a good number. I don't like it. Don't ask why, you may inadvertently release some deep childhood trauma I never knew about until now.

But let us forget about this for now, and go back to the Zelda Rupee as a whole work.

When you collect the Zelda Rupee in-game, the sound it makes, could be compared to 10,000 newborn doves crying out for the first time. It also acts as the sound that's made when you make a selection in the menu screen, justifying it's worth as a choice everyone can (and should) make.

There are at least 1,000 more pages to go, so I'll stop here. Needless to say, when it is finished, it will be the greatest message of all time.
 

Acier

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Condemned: Criminal Origins explores the inner demons of addiction and presents the class struggle as a manifestation of physical violence. It also presents the moral quandry of he who hunts monsters must have the mental steadfastness to resist falling into the pit of rage and malice thereby turning the hunter into the monster he hunts himself.

Fnaar fnaar
 

FalloutJack

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Halo Fanboy said:
-Gott in Himmel, what a snip!-
All very well and good, but could you make your own thoughts please? After all, we are putting our very best efforts into making some completely hackneyed and not-at-all-serious artistic impressions here, and it seems out of place to post somebody else's works which may - Gasp and shock! - even be construed as serious discussion.
 

Hollock

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you asked for it.
it's time for a
[HEADING=1]hollock video response[/HEADING]
 

Bobby_D

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Ghengis John said:
Nobody would argue the Micheal Bay or Uwe Boll compendiums are art.
Really? I think the folks over at the Criterion Collection would disagree in Mr. Bay's case. Just because you don't like it doesn't mean it's not art, and there's not a damn thing that's inherently bad about any of Uwe Boll's flicks...people just don't like them, don't THINK they're good...that doesn't mean that Uwe Boll doesn't have some rabid fan out there.

EDIT: OP:

My first "academic" video game criticism paper: "The Silent Protagonsit: An Examination"

Much has been made over the years about the role of the so-called "Silent Protagonist" and his or her seemingly limited role within the story being told. While it may seem that such a trope could come from developer laziness, lack of resources, or any number of things, the silent protagonist represents much more: our own feelings of inadequacy (whether acknowledged or not), and the preference to sit quietly on the sidelines and let responsibility be taken by others.

The examples of the silent protagonist are varied and diverse: from the player-named Jedi in the Star Wars: Knights of the Old Republic series and the Hero of Fable, to those whose past and personality are dictated by the developer, such as Gordon Freeman of Half-Life 2 and Claude Speed of Grand Theft Auto 3. Though the first two have personalities dictated by the player themselves, and Gordon Freeman and Claude Speed could not possibly be more different people, all four examples share one extremely important characteristic: they are people thrust into situations that are seemingly beyond their grasp, or power to control.

So what does this mean to us, the players? Too often do people find themselves seemingly unable to control their own fates, and the silent protagonist serves as a metaphor for such circumstance. In such times, stress weighs on the typical person like a really bad analogy weighs down a heretofore perfectly suitable short essay, and in such times it seems all too simple to stop trying to control that which we cannot, and let our lives move as they please.
 

Terminally Chill

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Bobby_D said:
Just because you don't like it doesn't mean it's not art
Absolutely. I've always felt all games were art for this reason, it's just that there's good art and bad art. Just as I don't like some paintings by Matisse and Gauguin, as well as despising a lot of conceptual sculpture, I still recognise them as being artworks. A video game can still be appreciated or derided for its formalist qualities rather than needing some deep-rooted wanky meaning.
 

AdumbroDeus

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FalloutJack said:
Games are art within the United States and now the supreme court has made a decision to constitutionally protect games in the same way as other media. Fabulous! Well, time to get to work then. Put on your monocles and follow me. If games are art, then we're the critics.

Now, give me a spoofy sort of artsy critique of a game of your choice, as silly or snobby as you like. You have that power, so let's see something funny.
Not everyone who watches movies is a movie critic...
 

Bobby_D

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Terminally Chill said:
A video game can still be appreciated or derided for its formalist qualities rather than needing some deep-rooted wanky meaning.
God, yes. Thank you. Even though most of the academic/artistic criticism I've read of literature (English major) has been about some sort of "deep-rooted wanky meaning" (awesome phrase, by the way), I've seen plenty that was little more than an examination of the actual STRUCTURE of the novel. As video games become increasingly recognized as art, academics will start to write similar criticisms of a game's story, engine, implementation of narrative, etc., and even though I'll probably be long gone from college at that point and won't have the pleasure of taking it, I'm positive that one of my children will have a Humanities elective called "Video Game Appreciation" or something like that...something I wish were around now in universities that don't have specialized game programs.

EDIT: OT:

FalloutJack said:
AdumbroDeus said:
FalloutJack said:
Games are art within the United States and now the supreme court has made a decision to constitutionally protect games in the same way as other media. Fabulous! Well, time to get to work then. Put on your monocles and follow me. If games are art, then we're the critics.

Now, give me a spoofy sort of artsy critique of a game of your choice, as silly or snobby as you like. You have that power, so let's see something funny.
Not everyone who watches movies is a movie critic...
Oh dear, you're not taking to the whole 'joke' premise, are you?



Rather.
Jack, you are the funniest fucking person I've seen on these forums. Sorry to be off-topic, but damn, man...good stuff
 

FalloutJack

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AdumbroDeus said:
FalloutJack said:
Games are art within the United States and now the supreme court has made a decision to constitutionally protect games in the same way as other media. Fabulous! Well, time to get to work then. Put on your monocles and follow me. If games are art, then we're the critics.

Now, give me a spoofy sort of artsy critique of a game of your choice, as silly or snobby as you like. You have that power, so let's see something funny.
Not everyone who watches movies is a movie critic...
Oh dear, you're not taking to the whole 'joke' premise, are you?



Rather.
 

Ghengis John

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Bobby_D said:
Ghengis John said:
Nobody would argue the Micheal Bay or Uwe Boll compendiums are art.
Really? I think the folks over at the Criterion Collection would disagree in Mr. Bay's case. Just because you don't like it doesn't mean it's not art, and there's not a damn thing that's inherently bad about any of Uwe Boll's flicks...people just don't like them, don't THINK they're good...that doesn't mean that Uwe Boll doesn't have some rabid fan out there.
Having fans does not make something art, nor does the publisher selling your material. As for Uwe Boll's flicks... Nothing inherently bad? You have never actually watched one now have you? Be honest. BloodRayne is on netflix, go ahead. Check it out. I'll wait.

...

Awful, no?

Unless you mean to tell me you've gotten your panties in a bunch because you're a fan? You used a four letter word no less. "Not a damn thing"? You really are upset aren't you? Not to be an asshole but that's hilarious. I'm certain Mr Boll does have at least one rabid fan though, himself. If you have never seen one you might want to check it out. Maybe you feel the need to defend him because you don't like to see anyone get dog piled, that's admirable but in this case, misguided.

There's plenty of art I don't like, Bobby. I refer you to post number 46 in this thread where I cite a few examples. That doesn't mean I refuse to acknowledge them as art. I imagine (though I could be wrong because I don't know you that well) you're simply upset because you think I've ragged on something you like. And while it's true that not liking something alone doesn't automatically disqualify it as art, conversely liking something alone does not make it art.

But you have won in any event. I bet nobody on earth would like the worst films on earth and here we have a defender for Uwe Boll. I applaud your spectacular bad taste.