Games as Art

In the last few years the video game industry has seen a dramatic increase in the number of high-profile titles sporting unique art direction. Last generation’s art movement started with a controversial bang when Nintendo announced The Legend of Zelda: Wind Waker would feature cel-shaded visuals and has continued all the way to Okami’s release last year. As hardware power has increased, designers now have the ability to create worlds matching their personal vision, not just crafted to get around horsepower limitations. With the freedom to do more visually then ever before we’ve seen a significant number of designers choose to use the power of a console for artistic experimentation rather than realism. This trend should continue and if the last five years were any indication, this generation will be a pivotal period in deciding whether our medium can be considered art. In addition, the decision between realistic worlds or stylistic creations will continue with developers taking firm stances on both sides.

Last generation we saw several critically-acclaimed titles use unique art direction to elevate the game experience. In addition to the previously mentioned Zelda and Okami, Sony published Ico and Shadow of the Colossus, two of the most artistically-driven games ever created. The unique design decisions made on these titles had an immeasurable impact on the final product. While the core gameplay would have been solid regardless of presentation, it’s clear that these games directly benefited from art direction and the fact they proved that there is another option beyond strict realism is significant. I don’t mean to diminish the ability of realistic environments to engross the player, because that would be a mistake. Realism is another artistic decision, and it can be just as valuable for creating the right mood as abstraction, but it should never be considered the only viable option. Too often our industry pans those who reject the gritty, blood-soaked realism of “mature” titles. Both options, realism and abstraction, should be considered viable means to the end of creating the optimum experience for the player.

Both directions must be equally respected if the art of gaming is to progress, because both directions can produce fantastic returns. Games such as Okami and Ico would be far less breathtaking with a realistic presentation; those titles are designed in a big way to derive a certain amount of their brilliance directly from unique visuals. Likewise, it’s arguable whether games such as Gears of War would work in an abstracted setting. When making decisions early in the design of a title, it’s becoming increasingly important to consider both directions and weigh their benefits for the type of game that is being produced, and I think this is a positive thing for our industry. With the hardware power of this generation (yes, even the Wii), developers must be mindful to continue to push art direction. Don’t rely solely on realism or abstraction, but instead be creative and passionate in the attempt to produce the most engrossing experience possible for the player. If this goal is kept in focus, the returns should be spectacular.

Considering a game’s artistic value does not end with visuals. Music can play a crucial role in sucking the player into the game. Superior music can create the perfect mood, from RPGs such as Chrono Trigger to 8-bit titles like Super Mario Bros., a memorable soundtrack can elevate a game in intangible ways. Critics have pushed the idea of orchestrating soundtracks for big-budget titles, but I feel this is a waste of potential. While audiophiles will no doubt shake their heads at that statement, and there is no doubt an orchestral score yields superior audio quality, I feel like our medium yields itself to the transitions and interactivity MIDI audio can provide. Though orchestrated scores are beautiful to the ears, they are far too static for games. As the player’s perspective changes, so should the music.

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That brings us to the final component of art in gaming: the way the player interacts with the game. Embracing the interactivity of games, and using it to create experiences other entertainment could never offer will play a key role in solidifying the medium as art. Producers too often attempt to make their titles emulate film when they should instead be looking at the elements that set games apart from other art forms. We should not try to emulate the strengths of other forms of art; we should instead trumpet our own.

I consider Shigeru Miyamoto the greatest artist in the industry because he embraces the idea of bonding the player with the experience. While his titles have often been criticized for being too whimsical, they embody the greatest strength of our past time: the ability to let the player interact with a game’s world in a natural manner, even if the rules are not so natural. It is not difficult to understand how to control a Miyamoto game. If you want to do it then it is possible, and the way you would have imagined it done is generally how you would achieve that end in the game. While other designers focus on visual or audio presentation, Miyamoto for the most part puts his efforts into refining the interactivity and that is one of the reasons his titles seem to have an almost magical quality to them. It would be interesting to me to see that same focus on interactivity be put into a more serious title. Serious themes can be taken on in the same way, with engrossing interactivity, but I am often discouraged by our industry’s attempts.

I sometimes wonder if we collectively are mature enough as an industry to make a meaningful statement through this art form. Games too often resort to channeling Rambo or James Bond as opposed to giving a truly mature take on a subject. Then I see a title such as Shadow of the Colossus and I’m heartened. Our medium can indeed reach its potential, but it is still young and we may have to be patient to see it fully realized. It is up to designers to continue to move the artistic aspects of gaming forward and gain credibility day by day. At the same time we gamers must make an effort to support pioneering works; without sales, even the greatest concept will fall through the cracks and a chance to stride forward will be lost. Obviously the jury is still out in the minds of many people on whether games can ever be considered art at all, but I believe it is only a matter of time before the medium is recognized in that way. At some point it will be impossible to deny it, as long as we continue to show progress of course.

By continuing to push the boundaries through visuals, music and interaction gaming can force itself into the art discussion and put gain acceptance as a legitimate form of artistic expression. By embracing the unique advantages a game has in its presentation, the medium will differentiate itself from other art forms, which designers too often attempt to emulate in their titles. I look forward to the day when I can have a conversation with someone about a title’s artistic merit without ever having to defend it being labeled as art in the first place. Only then will I feel like we’ve reached our potential and that our industry has finally accomplished something truly meaningful.

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