Is a work of interactive new media digital software art as well as a member of the "art game" subgre of the serious video game. The term "art game" was first used academically in 2002 and it has come to be understood as describing a video game designed to emphasize art or whose structure is intded to produce some kind of reaction in its audice.
They also typically go out of their way to have a unique, unconvtional look, oft standing out for aesthetic beauty or complexity in design.
The concept has be extded by some art theorists to the realm of modified ("modded") gaming wh modifications have be made to existing non-art games to produce graphic results intded to be viewed as an artistic display, as opposed to modifications intded to change game play scarios or for storytelling. Modified games created for artistic purposes are sometimes referred to as "video game art".
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A definition of the art game was first proposed by Professor Tiffany Holmes (School of the Art Institute of Chicago) in her 2003 paper for the Melbourne DAC Conferce, "Arcade Classics Span Art? Currt Trds in the Art Game Gre". Holmes defined the art game as "an interactive work, usually humorous, by a visual artist that does one or more of the following: challges cultural stereotypes, offers meaningful social or historical critique, or tells a story in a novel manner." The paper stated that an art game must contain at least two of the following: "[1] a defined way to win or experice success in a mtal challge, [2] passage through a series of levels (that may or may not be hierarchical), [3] a ctral character or icon that represts the player."
This definition was narrowed by Rebecca Cannon in an October 2003 paper where she highlighted the competitive, goal-orited nature of the gre in defining art games as "compris[ing] an tire, (to some degree) playable game... Art games are always interactive—and that interactivity is based on the needs of competing [...] Art games explore the game format primarily as a new mode for structuring narrative, cultural critique."
In a 2015 article, Colombian video game theorist Carlos Díaz placed importance on the "reflection experice" as an integral aspect of the art game.
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Within the topic of the art game, further subdivisions have be proposed. In her 2003 paper, Holmes idtified two common art game types as the "feminist art game" (an art game that gerates thinking about gder and typecasting), and the "retro-styled art game" (an art game that juxtaposes low-resolution graphics with academic or theoretical contt, and that creatively subverts the format of an arcade classic to support a conceptual creative agda).
In 2005, art theorist Pippa Tshabalala née Stalker broadly defined the art game as "a video game, normally PC as opposed to console based, that gerally but not exclusively explores social or political issues through the medium of video games." She proposed two differt categorical schemes to further subdivide the gre by theme and by type. Subdividing by theme, Stalker defined "aesthetic art games" to include "games that deal with using the game medium to express an artistic purpose, " and she defined "political" or "agda-based art games" as art games that "have some sort of ulterior motive other than aesthetics" and whose basis is in "using the medium of the computer games to bring an issue to the public's, or at least the art world's, atttion in order to attract support and understanding for a cause."
Subdividing by type, Stalker idtified the "art mod", the "physical manifestation art game" (the player is involved physically in the game, oft expericing physical consequces, such as pain, for their actions), "machinima", and "3D real-time [art] game" (an art game that displays all the characteristics of a complete level-based commercial game, both on the programming and commercial side).
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The idtification of art mods and machinima as forms of the art game conflicts with Cannon's definition of the art mod that highlights the non-interactive and non-competitive nature of these forms of media.
Distinctions are drawn in describing the art game as a gre compared to traditional video game gres (such as the platformer or first-person shooter). Rather than describing the game on a surface level, descriptions focus on the artistic intt, as well as the execution and implemtation of the gameplay. For instance, Bethesda's 2008 release Fallout 3 is considered to be a role-playing game with first-person shooter elemts, but it could also be considered to have elemts consistt with art games
There are several rect instances of video games that similarly involve the characteristics of art games, such as Braid and Undertale. Games like these ar't necessarily created or marketed under the classification of "art game", but are still created for artistic purposes that transcd their respective structures. The pottials and limitations of the medium are increasingly discovered as the video game industry develops, therefore resulting in the rect popularity of art game elemts. If nothing else, the gre can be se as a means to push the medium to its conceptual limit.
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And further definitions have emerged from both the art world and the video game world that draw a clear distinction betwe the "art game" and its predecessor, "video game art".
At the core of the matter lies an intersection betwe art and the video game. Easily confused with its oft non-interactive sibling art form video game art, and the concept of video games as an art form (irrespective of artistic intt), the esstial position that art games take in relation to video games is analogous with the position that art film takes in relation to film.
ACM SIGGRAPH oped an online exhibit "The Aesthetics of Gameplay" in March 2014, featuring 45 indepdtly developed games selected via a nomination process, where the mechanics of gameplay are, in part, tied to the visuals and audio of the game. Greg Garvey, the curator of this exhibit, compared this to the concept of Gesamtkunstwerk where the work attempts to compass other art forms, though as Garvey commts, the "merger of interaction with the aesthetics" drives these games beyond this concept.
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Due to the contemporaneous improvemt of graphic capabilities (and other aspects of game art design) with the trd toward recognition of games as art and the increases in video game art production and art game releases, discussions of these topics are oft closely interleaved. This has led to the drawing of a number of critical distinctions betwe the "art game" and the various kinds of "game art".
In drawing a distinction betwe games with artistic imagery and art games, commtators have compared the art to sculpture and have emphasized the concept of artistic intt in the creation of the art game. This differce has be described by Justin McElroy of Joystiq as "the same [as that] betwe a sculpture and a building. Though a building/game can be aesthetically pleasing, an art game/sculpture is using its very structure to produce some kind of reaction."
This same comparison has be used by Jova Ch in an interview discussing art games and the promince of non-games to the artistic gamer community.
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Along with expanding on the notion of art games as comparable to architecture in a 2010 interview with Nora Young for Spark, Jim Munroe stated that whereas video games such as the "art game" are shifting in the direction of the "high arts" within the realm of art gerally, traditionally video games have occupied a position in the "cultural gutter" (making up the "low arts").
Another key distinction that has be made betwe art games and games with artistic imagery (and indeed all games viewed as art) is that art games are intded as artistic creations from the outset whereas traditional games are oft commercially motivated and play-orited.
Thus the "game" portion of "game art" is merely the means to an artistic d. This has be expanded by some commtators to include the artistic inttion of the curator as well as the original creator.
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This distinction also brings into focus the concept of "serious play." Graham and Elizabeth Coulter-Smith of Southampton Solt University and The University of Northampton respectively, define serious play as "a mode of communication that is not instrumtal and not overbearingly focused on the linguistic model, "
A communicative medium that involves the concrete action of the participants rather than abstracts such as language. This holds significant implications for an artistic medium, as it facilitates communication of meaning through increasingly more empathetic and concrete means. Unlike other media, players of games must expd not only time but effort—in the form of problem-solving or the application of timed reflexes. This participatory elemt demonstrates that adding effort as an elemt in an art work results in a higher degree of emotional investmt, and therefore a higher pottial impact of artistic intt on the participant.
In distinguishing betwe art games and video game art, the elemts of interactivity and oft competition (or goals) are frequtly emphasized. Because art games are games and because games are interactive, definitions for the art game td to require interactivity whereas video game art can be either interactive
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