Convergent Art Forms: Examining the Relationship between Video Games and Film

Kev Tomes

“I remain convinced that in principle, video games cannot be art.” (Ebert, Video games can never be art, 2010)

Contrary to Roger Ebert’s statement, I shall argue that video games are their own art form and that their development as an art form can be explored and explained by comparing the development and history of video games to the development and history of film, highlighting the similarities between the two.

Comic Books“Perhaps "game" is the wrong word for what videogames have become. I've always felt the same thing about the term "moving picture;" it seems rather quaint now that we're not all diving under our seats in fear because we think a train is about to bust through the wall.” (Croshaw, Videogames as Art, 2010)

Graphic Novels

History

Cinema of Attractions

‘[The Cinema of Attractions is] cinema that bases itself on […] its ability to show something.’ (Gunning, 1986:56-57)

Narrative

The Interactive MovieFor any film scholar who has begun to take an interest in video games, what is commonly referred to as the interactive movie seems a natural place to start. No other multimedia product came closer to crossing the threshold that separates the worlds of film and video games. However, a film scholar who commences research on this premise will be both disconcerted and disappointed (Perron, 2003:237)

‘The Cinematic Game’

• With other art forms, the artist directly creates the experience that the audience will encounter. Since this experience is carefully planned and executed, the audience must somehow be prevented from disturbing it; hence, non participation. With a game, the artist creates not the experience itself but the conditions and rules under which the audience will create its own individualized experience. (Crawford, The Art of Computer Game Design, 1984)

• Real art through computer games is achievable, but it will never be achieved so long as we have no path to understanding. We need to establish our principles of aesthetics, a framework for criticism, and a model for development. New and better hardware will improve our games, but it will not guarantee our artistic success any more than the development of orchestras guaranteed the appearance of Beethoven. (Crawford, The Art of Computer Game Design, 1984)

Interactivity, Moral Choice and Consequence

Conclusion

Bibliography & Refrences:

• ADAMS, E., 2006. Introduction. In: BAETEMAN, B & BOON, R., 2006. 21st Century Game Design; Massachusetts: Charles River Media, xiii-xvi

• ALLEN, R., 2008. Penguin Pocket English Dictionary. London: Penguin.

• BAETEMAN, B & BOON, R., 2006. 21st Century Game Design; Massachusetts: Charles River Media

• BORDWELL, D. & THOMPSON, K., 2004. Film Art. New York: McGraw-Hill.

• COGBURN. J & SILCOX. M., 2009. Philosophy Through Video Games. New York & London: Routledge

• COOK, P., 2007. The Cinema Book. 3rd Edition. London: BFI.• COUSINS, M., 2004. The Story of Film. London: Pavillion • CRAWFORD, C., 1984. The Art of Computer Game Design. New

York: McGraw-Hill/Osborne Media• CRAWFORD, C., 2003. Interactive Storytelling. In: WOLF, M.J.P

& PERRON, B., (Ed) 2003. The Video Game Theory Reader. New York & London: Routledge, 259-273

• DURING. S., (Ed) 1993. The Cultural Studies Reader 2nd edition. London & New York: Routledge

• GUNNING, T., 1986. The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde. In: ELSAESSER, T., (Ed) 1990. Early Cinema: Space – Frame – Narrative. London: BFI 56-62

• JOHNSON, C., 2002. Exploiting the intimate screen: The Quatermass Experiment, fantasy and the aesthetic potential of early television drama. In: THUMIN, J., (Ed) 2002. Small screens, big ideas: television in the 1950s; London: I.B. Tauris, 181-194

• JUUL, J., 2005. Half-real. Massachusetts & London: The MIT Press

• KINDER. M., 1991. Playing with Power. Berkeley, Los Angeles & Oxford: University of California Press

• KING, G & KRZYWINSKA, T., 2006. Tomb Raiders & Space Invaders London & New York: I.B.Tauris

• KENT, S., 2001. The Ultimate History of Video Games. California: Prima Publishing

• MILLER, F., 1986. Batman: Dark Knight Returns. New York: DC Comics

• MOORE, A., 1986 Watchmen. New York: DC Comics• PERRON, B., 2003. From Gamers to Players and Gameplayers:

The Example of Interactive Movies. In: WOLF, M.J.P & PERRON, B., (Ed) 2003. The Video Game Theory Reader. New York & London: Routledge, 237-258

• REHAK, B., 2003. Playing at Being: Psychoanalysis and the Avatar. In: Wolf, M.J.P & PERRON, B., (Ed) 2003. The Video Game Theory Reader. New York & London: Routledge, 103-128

• SYDNOR, S., 2005. ‘Man, Play and Games - A Review Essay', Sport in History, 25(3), 536-544

• WOLF, M.J.P & PERRON, B., (Ed) 2003. The Video Game Theory Reader. New York & London: Routledge

Webography:

• CARLESS, S., 2005 Playing Catch-Up: Sierra Founder Ken Williams [online] Available: http://www.gamasutra.com/php-bin/news_index.php?story=6864%20/%20http://www.thedoteaters.com/p4_stage2.php [accessed 12th May 2010]

• CROSHAW, B., 2010 Videogames as Art [online] Available:http://www.escapistmagazine.com/articles/view/columns/extra-punctuation/7473-Extra-Punctuation-Videogames-as-Art [accessed 24th November 2010].

• DAILY MAIL REPORTER., 2009 Iraq War video game branded 'crass and insensitive' by father of Red Cap killed in action [online] Available: http://www.dailymail.co.uk/news/article-1168235/Iraq-War-video-game-branded-crass-insensitive-father-Red-Cap-killed-action.html#ixzz1JUvmoIRw [accessed 14th April 2011]

• EBERT, R., 2010 Video games can never be art 2010 [online] Available:http://blogs.suntimes.com/ebert/2010/04/video_games_can_never_be_art.html [accessed 24th November 2010]

• Fox News., 2009 'Six Days in Fallujah' [online] Available: http://video.foxnews.com/v/3932989/six-days-in-fallujah?r_src=ramp [accessed 14th April 2011]

• IGN., Six Days in Fallujah[online] Available: http://xbox360.ign.com/objects/143/14336300.html [accessed 14th April 2011]

• IMDB., 2011 Uncharted: Drake’s Fortune [online] available: http://www.imdb.com/title/tt1464335/ [accessed 14th April 2011]

• MORIARTY, B., 2011 An Apology for Roger Ebert [online] available: http://www.ludix.com/moriarty/apology.html [accessed 14th April 2011]

• NATIONAL VIDEOGAME ARCHIVE, 2009 F.A.Q. [online] Available: http://www.nationalvideogamearchive.org/index.php/faq/ [accessed 12th May 2010]

• NXT GAMER, 2010 Bejeweled – Most Popular Game of the Century. [online] Available: http://www.nxtgamer.com/xbox360/bejeweled-most-popular-puzzle-game-of-the-century/ [accessed 12th May 2010]

• PORTNOW, J., 2010-2011 Extra Creditz [online] Avaliable: http://www.escapistmagazine.com/videos/view/extra-credits [accessed 14th April 2011]

• ROLFE, J., MATEI. M., 2007 Nintendo Power [online] available: http://cinemassacre.com/2007/09/04/avgn-nintendo-power/ [accessed 14th April 2011]

• WINTER, D., 1996-2010 Pong-Story: Magnavox Odyssey [online] Available: http://www.pong-story.com/odyssey.htm [accessed 12th May 2010]

Filmography:

• Arrival of a Train at La Ciotat, 1896. Directed by LUMIÉRE, A & LUMIÉRE, L. France: Lumiére Films.

• Great Train Robbery, The, 1903. Directed by PORTER, E. S. USA: Edison Manufacturing Company.

• Hurt Locker, The, 2008. Directed by BIGELOW. K. USA: Voltage Pictures

• Johnny Mnemonic, 1995. Directed by LONGO, R. USA: Tristar Pictures.

• National Treasure, 2003. Directed by TURTELTAUB. J. USA: Disney Pictures

• Tomb Raider, 2001. Directed by WEST. S. USA, UK, Japan, Germany: Paramount Pictures

Gameography:

• 7th Guest 1993, LANDEROS. R & DEVINE. G; Trilobyte

• Bejeweled 2000, KAPALKA.J; PopCap• Elite 1984, Firebird• Final Fantasy VII 1998, KITASE. Y; Square• Freeway 1981, Atari Activision• Ico 2001, UEDA. F.; SCEE• Johnny Mnemonic: The Interactive Action Movie

1995, GAYETON. D; CineACTIVE• Last Guardian, The (Unreleased), UEDA. F.; SCEE• Mass Effect 2, HUDSON. C., Bioware. • Night Trap 1992, RILEY. J.W; SEGA Entertainment• Phantasmagoria 2: a Puzzle of Flesh 1996, HOYOS.

A; Sierra On-Line • Pong 1972, ALCORN.A; AtarI, • Privateer 1993, ROBERTS. C; Origin Systems• Ripper 1996, PARMET. P; Take 2 Interactive• Shadow of the Colossus 2005,UEDA. F.; SCEE• Spacewar! 1961, RUSSELL.S. • Tetris 1985, PAZHITNOV. A.• Tomb Raider 1996, SCHMITT. M; Eidos• Uncharted: Drake’s Fortune 2007, HUMMEL. E &

KYUNG. Y; Naughty Dog

Kev Tomes