Eugene weekly., September 28, 2017, Page 16, Image 16

COLLABORATIVE
STORYTELLING
Video games are an art form
BY E M I LY DU N NA N
I
am not a gamer, but I am an artist. “What is
art?” is an important question to me. The fine-
art world’s answer has been expanding rapidly
since the 1860s with the controversial advent of
Impressionism in painting.
The debate only intensified with art surrounding the
World Wars. Is a Picasso painting art? Is a urinal displayed
in a museum art? Is film art?
Are video games art, for that matter? Both video games
and film are digital media that a creator skillfully uses to
affect an audience.
Ted Brown, a local indie game developer, points out
parallels between the history of film and that of games.
He says both media were considered merely entertainment
at first. But filmmakers pushed boundaries and produced
thought-provoking pieces like Citizen Kane.
Game developers are doing the same thing today.
“Art is communication from one heart to another; to
touch another person in a way that changes or impacts
them,” Brown says. “Art changes people.”
He says games affect people in a unique way, unlike
any other medium, because “they are an intersection of all
that came before: story, visuals, architecture, psychology.”
A well-crafted game, like an excellent movie, utilizes each
of these to produce an experience for the gamer, making it
art by Brown’s definition.
Amber Cecil is a senior at University of Oregon and
president of the UO Think.Play club, a group that discusses
the philosophical underpinnings of games and, of course,
plays them. Cecil’s explanation of games as art emphasizes
the teamwork involved to fashion the narrative and graphics
of a game.
Why does Cecil play games? “It’s one of the best forms of
storytelling there is. It’s completely interactive by nature, which
is a type of storytelling there isn’t anywhere else,” she says.
Movies are a form of storytelling. Video games take it
a level further: collaborative storytelling. Interactive art.
Brown says, “Games can give you agency from a point
of view that you would never otherwise have.” He adds
that games provide a wakeup call for people (including
himself) living in entitled luxury.
BR I T BR A DY, F OU N DE R OF COW B OY COLOR
For example, in the indie game “Night in the Woods”
you play as a sassy cat with a mysterious past and a mental
illness. This exploratory game delves into generation gaps,
faltering small-town economics and crippling anxiety.
Pauses in the game’s main narrative allow gamers to
contemplate what has transpired, and what it’s like to live
with mental illness.
The image of a contemplative gamer was foreign to me.
The biggest hurdle I had to overcome before considering
games to be art was the stereotype of gamers as lazy teen-
age guys eating leftover pizza and playing “Call of Duty”
for weeks on end.
This stereotype was debunked by everyone I inter-
viewed. Many gamers are women; there is actually a lot of
skill involved in playing some games; and plenty of games
have more depth than “shoot-‘em-up.”
There is a division between movies meant for pure en-
tertainment (the James Bond series) and movies made to
touch us on a deeper level (Schindler’s List). This same
division expresses itself within gaming: think “Pong” vs.
“Night in the Woods.”
Britt Brady, founder of the local game development
company Cowboy Color, says that the purpose of enter-
tainment does not diminish a game’s status as art; someone
still spent hundreds of creative hours to make and deliver
“Call of Duty” to you.
Brady finds building games “the ultimate creative out-
let” because it combines different artistic expressions. He
says, “I don’t get burned out because I can switch from
[visual] art to music.”
Brady especially enjoys designing pixel art games due
to the challenging limitations inherent in using only square
building blocks. He says it’s like super-refined pointillism:
you’re conveying an image, not actually making it. If he
wants realism, he looks out the window.
I’ve come away from these interviews with a much great-
er appreciation for games and the artists who construct them.
Ultimately, will Vincent van Gogh’s swirling sky and Jack-
son Pollock’s splatter paint keep company with “Halo” and
“Legend of Zelda” in the annals of art history?
Stay tuned for the next hundred years. ■
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