"A beautifully designed videogame invokes
wonder as the fine arts do, only in a uniquely kinetic way. Because the
videogame can move, it cannot offer the lapidary balance of composition that we
value in painting; on the other hand, because it moves, it is a way to
experience architecture, and more than that to create it, in a way which
photographs or drawings can never compete. If architecture is frozen music,
then a videogame is liquid architecture.” – Poole
Introduction
Hal Barwood once explained to readers of
Game Developer magazine, “Art is what people accomplish when they don’t quite
know what to do, when the lines on the road map are faint, when the formula is
vague, when the product of their labors is new and unique” (as cited by
Jenkins, 2005). Over the years, scholars have looked at the qualities art forms
that have developed after the industrial age. Media such as radio and film were
initially regarded with suspicion because of their commercial motivations and
technological origins. However, they were eventually embraced, celebrated, and
supported by the populous, due to the democratic nature of the consumption of
these arts (Jenkins, 2005). Such is the same with art created after the
information revolution. These new arts created with the advent of advanced
communication technologies allow for a redefinition and re-examination of the
nature and structure of creativity. Video games are an excellent example of
this, as they rely on the communication technologies to exist, but also inspire
further creativity in others. In this way, games are not only an art of new
media, but are a medium itself. When fully triggered, games are both activated
by the audience, and become an impetus for further creativity.
Characteristics
of new media
The
arts of new media are defined as creations that harness the connective
capabilities of computer technologies, specifically the internet, in order to produce
creative artifacts. Jenkins defines art by its affect—in this understanding,
art is understood by the temporal reactions it elicits in its viewers (Jenkins,
2005). Beryl and Bauwens posit that the unique characteristics of connective
technology itself stimulates new types of creations. They discuss these
characteristics of new media art further, with specific notice paid to the
democratic nature of the medium bestowed by its social aspects. “The
participatory and interactive opportunities offered by the Internet touch upon
issues about democratization of art both as a practice of consumption and
production and about art, artists and aura” (as
cited in Beyl, & Bauwens, 2010). This new media art is characterized not only by its
content, but who creates it—redefining our common understanding of what we
think of as an artist. This is first confounded by what Beyl and Bauwens
further explain to be new media art’s “process of social
communication”—symbolic content is exchanged between artist and audience by way
of the interactive communication that is the Internet. This allows the artist
direct contact with their audience and, in return, the audience inspires the artist.
This co-creative process requires the sort of broad and constant
connectivity in order to produce the artifacts made by the artist (2010). The
second confound to previous notions defining an artist, is technology’s
democratization of resources. No longer the sole purview of those with access
and capital to procure the materials for art production, the internet, and
web-based tools allows a broader participant base to experiment with art
creation (Frank, 2006). Both of these aspects result in a shift in the type of
art that audiences wish to experience. They seek a more interactive
experience—not only do they want to participate in selecting what they want to
see, but they also demand to contribute to the work. (Beyl, & Bauwens,
2010) “These
features are often conceived of as social and democratic opportunities of the
Internet, that, in theory, enable every user to react, to voice one’s opinion,
to distribute this opinion on a global scale, to share it and, consequently, to
mould societal debates.” And, more specifically, this applies to the viewer’s
desire to manipulate content in based on personal attitudes and preferences,
even when participation is not implicitly or explicitly encouraged. Though this
drive is not unique to this era, digital and interactive technologies more
easily facilitate this aspect (Beyl, & Bauwens, 2010). In summary, because
of the interactive nature of the new media’s art and the experience of
artifacts created through this co-creative collaboration, art is no longer a
broadcast from artist to viewer, rather it has become a conversation between
both parties where the product created is reliant on that process.
Nature
of Games
Games
are one of the quintessential artifacts of new media art. Pearce states that
the “malleability, discursive quality, and networked infrastructure of the
Internet returns us a pre-industrial culture of play, a time when games were…
made up, changed, and reconfigured by groups of ordinary people in
site-specific, socially and culturally specific contexts” (2006). In this,
Pearce refers to the implicit dependence games have upon their audience in
order to activate. Play is utilized—both between the gamer and the game, and
between the gamer and other gamers—to manifest the intent and message of the
work. Games present players with a world populated by objects, however it is
only through the manipulation of these objects that the game is “brought to
life” (Atkins, 2006). Wood investigates this relationship, and defines it at
recursive—based on the feedback loop between game and gamer. “Recursive space
proposes a mode of engagement in which the gamer is both embedded within a
space defined by the organization of objects, and also creating that space at
one and the same time by altering the organization of objects. … A gamer’s
involvement with space is understood as interactions that lead to a series of
reconfigurations of the objects, which in turn leads to a generation of space.
Recursive space is, then, a mode of engagement in which the gamer is both
embedded within a space defined by the organization of objects, and also
creating that space as they configure the organization of objects” (Wood, 2012).
This process is most literally seen in games such as Minecraft and the Sims
where the object of the game is to make alterations the world in which the
player is placed in. However, this mechanism also occurs in games where it is
not so obvious. For example, as a player moves through a game world, they may
open a door which will lead to another area. All games involve movement through
the space depicted on the screen—as that player moves through the space, they
unlock more of the game world. In this way, the player’s movements, activities,
and decisions reflect on the game world, which gives the player more options to
utilize to continue this process. While this interaction has been shown to directly contribute to the enjoyment
experienced by players (Ang, Panayiotis, & Wilson, 2010), this effect is often unintended by designers.
Steinkuehler states that though they implement the game objects, and apply the
rulesets, the player often takes actions unanticipated by the designers (2006).
This aspect, however, is what allows the game to take on its real meaning, as
an art form. At its core, a game is an artistic artifact depicting an experience. In his work on gameplay analysis, Gee focuses
on the difference of experiences between players. Because players will
encounter the game in different settings, may take different paths, or discover
the narrative in a different order, every player will experience the game
slightly differently. “This proactive production by players of story elements …
and a unique real-virtual story produces a new form of performance art
coproduced by players and game designers” (2006). In addition to this,
collective play, and social interaction represent a significant part of the game
experience (as cited by Ang, Panayiotis, & Wilson, 2010). A study by Ang,
Panayiotis, and Wilson found that as computer games push the boundaries of game
play or technologies, the nature of play in that form shifts from one of
manipulation of gameplay elements to construction of new objects (2010).
Because game designers work in a commercially-competitive industry with
emergent technologies, these boundaries are continuously being pushed (Jenkins,
2005). In this way, designers are also able to creatively “play” the commercial
industry in order to stay ahead of competing companies.
Game
community
Williams
warns us that “Games do not exist in a social vacuum, and the reason to study
them has as much to do with what’s happening outside of games as it does with
what’s happening in them” (2006). Pearce adds to this notion when she states
that the “boundaries between play and production, between work and leisure, and
between media consumption and media production are increasingly blurring”
(2006). Not only do games use players to activate the artifact, but games are
in turn used to by gamers to create new art. These synthesized works both
expand the work, and have the unintentional side effect of morphing the game
into a product claimed by the gamer. Players create content, collaborative
documentation websites, and fan-art based on the games they participate in.
They write songs based on lore and legends in the backstory of the game, such
those written by YouTube user malufenix. They make costumes, in the form of
elaborate cosplay. They also expand the narrative on various fanfiction sites
such as on archiveofourown.com. Pearce states that these activities “fly in the
face of the status quo of centralized, hegemonic, broadcast, and distribution
models of media creation” (2006). This results in the rise of a subculture of
artists that utilizes the game as their medium or inspiration, as well as an
emphasis on content creation from the wider game community (Ang, Panayiotis, &
Wilson, 2010). The artifacts created from these expressions are often motivated
from a desire to assist and inform the game community, who then, in recursive
fashion, better excel at playing the game. (Ang, Panayiotis, & Wilson, 2010)
Players with skills and interests in game creation often take this to the
extreme, creating modifications, or “mods” for their chosen games—additional
content that other members of the community can download, install, and play
through (Postigo, 2007). This is game content created not by the developers,
but by the fans themselves, often including new tools, narratives, and gameplay
mechanics, and is shared amongst the community, becoming part of the experience
of the game (Ang, Panayiotis, & Wilson, 2010). This behavior has become so
intrinsic to the game community, that many video games are now released with
level and game creation tools as a feature of the game, as well as virtual
spaces where players are encouraged to share their fan-made content (Ang, Panayiotis,
& Wilson, 2010). Such is the case in Halo where players are allowed to
create their own levels and invite others to play them. In this way, the
creation of artifacts on the part of the gamers becomes part of the
understanding of games as a new media art. Postigo explains that the “life of a
game” is based not on sales numbers, but the amount of time a game remains a
subject of active involvement with their players (2007). As such, it is truly
this interaction between the audience and the work, rather than the initial
creator of the game, which is the living creative force of this art form.
Conclusion
Jenkins
calls video games “a new lively art” in that it opens up new aesthetic
experiences and reveals a world of experimentation that is as innovative as it
is accessible (Jenkins, 2005). Through use of the connective technologies, it
allows for an ongoing discussion between the artist and the player, and the
players amongst each other. This opens up a creative dialogue, whereupon the
game designer tells players a story of a world, sets its boundaries, and fills
it with its opportunities, and the players respond by activating making the
stories in this world. This process is where a game is truly activated. The
development and creation of the game is like so much set creation and costume
crafting before a theatrical performance. It is when the performers take to the
stage that the stage itself comes alive. And this creative process is so
potent, so effervescent, that it extends past the boundaries of the game, and
takes root in the hearts and minds of those players. Game communities often
spring up and extend that world, members making their own crafts based on the
truths found in the game. Lastly, games often become a medium itself, lending
its technology and systems to new experiences created by members of the game’s
community. This allows gamers to themselves become developers, and begin the
process again. It is these qualities of new media, the open lines of
communication between artist and audience and the audience with itself, the
development of a community based on participation and production of creative
artifacts, and the ability to experiment with media itself that allows us to
stretch our understanding of and embrace this new creativity.
References
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March 31, 2014