Key Takeaways:
Shadow of the Colossus is a key example of a game that can be interpreted as art
Unique marketing campaigns may be necessary for an inherently artistic game
Games have made so many leaps and bounds in multiple facets and should be considered art
(Art?
Credit: returnoftheretro.com)
“To my knowledge, no one in or out of the field has ever
been able to cite a game worthy of comparison with the great dramatists, poets,
filmmakers, novelists and composers. That a game can aspire to artistic importance
as a visual experience, I accept. But for most gamers, video games represent a
loss of those precious hours we have available to make ourselves more cultured,
civilized and empathetic.” (Roger Ebert, https://www.theguardian.com/technology/gamesblog/2010/apr/20/roger-ebert-games-as-art)
Despite his objections, Mr. Ebert was misguided and biased in his assessment on whether video games should be considered an art
form. The quote came shortly after his poor review of the movie Doom, which was loosely based on the
game of the same name. Nevertheless, as recently as the year 2000, video games
have been legally awarded first amendment rights similar to their brethren in
literature and film. As time has passed the debate has continued to rage,
especially in more recent years as games with deeper plot lines, moving
soundtracks, and unparalleled visuals have become more prevalent. To me, 2005’s Shadow of the Colossus is the game that
settled the debate – games should be
considered art. Specific for this blog though,
how does a company sell a game that is based on intrinsic artistic value? Or
are artistic games a sunk cost, meant merely to prove that the industry is
capable with competing with all forms of entertainment?
(Music,
an integral factor in the games as art argument. Credit: themmnetwork.com)
Although a matter of opinion, I believe video games have
always been an art form. Perhaps this is a subjective response to validate my
hobby, but I truly believe that from its inception there have been numerous
features to qualify the medium as an art form. Naturally visuals play a key
role in defining a game as art, as several games shift from realism to
minimalist, to water colors, etc. I personally find that music is a key
differentiating factor in what makes a game a piece of art. Take my last subject,
Mega Man as an example. The series has always been known for one key
presentation feature: music. The Mega Man soundtracks have always been
unbelievably catchy, which in and of itself with limited musical capabilities
on the NES is quite an accomplishment. Contrast the soundtrack of Mega Man 2 against film scores and even
in some cases music albums and you’ll find that Mega Man 2 is not only
comparable but in some cases may surpass the other media. There may be no
lyrics and limited melodies, but the hooks and inventiveness of the themes are
present, and the effort to create something beautiful is evident. Looking
beyond the Blue Bomber, the level 1-1 theme from Super Mario Bros. may be the most iconic stage theme ever created.
Anyone who is familiar with video games is aware of the theme, it's synonymous with gaming. In my opinion, I would compare the stage
theme with the John Williams’ Star Wars’ theme,
it is that recognizable. Other series are known specifically for music, such as
Final Fantasy. With such an intense devotion to sound that rivals feature films, it's no wonder that national recognition has started to become commonplace. As recently as 2012, the game Journey received a Grammy nomination for Best Score Soundtrack for Visual Media, meaning video game music has now entered the realm of mainstream award recognition.
(Indiana Jones and Uncharted’s Nathan
Drake. Credit: gotgame.com)
Where the video game has truly improved upon most though is in the story, and why I believe video games need to be considered art on parallel
levels of film and literature. In the early stages of gaming, there were not a
lot of story elements in gaming. Most games revolved around defeating an enemy
or saving a princess. Today though, games are far more thought provoking with
plot twists, betrayals, romance, etc. The developer Naughty Dog is known
particularly for its excellent story lines. 2013’s The Last of Us imagined a post-apocalyptic world where a father who
had lost his child needed to travel across the United States with a young girl
who may have developed an immunity to the virus that caused the worldwide
chaos. The character development of each individual is unparalleled in gaming,
and brilliantly delivered through cut scenes and dialogue during missions. The
developer’s long running Uncharted series follows a treasure hunter through his
exploits across the globe in search of rare jewels and artifacts. In my
opinion, it is a modern day Indiana Jones
with better writing and characters (not including Raiders of the Lost Ark, which was fantastic).
(Settled the debate for me. Credit:
Sonicstadium.org)
Returning to Shadow of
the Colossus though, the game is a tale of a silent hero who is looking to
revive his deceased lover. In order to do so, the character (named Wander) must
defeat 16 colossi in a forbidden land. The world is desolate, with few living
beings (mainly the colossi, Wander, his horse Agro, salamanders, and birds).
The player is left to explore the world searching for each colossus, guided
only by the light reflected off of the character’s sword to find out where they
are located. There are no other objectives to the game. The colossi themselves
are enormous, something that had not been seen in gaming prior. The
typical size is similar to most buildings in other games, and the process of
defeating a colossus is different for all sixteen. Strategies range from
scaling a colossus’ fur and stabbing it in the head, climbing up a gigantic
sword after a colossus strike and then looking to attack the stomach, or
shooting a colossus in the eye while riding your horse. Each battle is tense
and somewhat like a puzzle, accompanied with beautiful orchestrated music and
lush environments[i].
During the conquest, minimalist story sequences come from a few concerned
individuals travelling to the land after Wander. By the end of the game, these
characters, who include a shaman, find the player possessed. As it turns out,
the 16 colossi each contained an essence of a dark entity that was locked away
previously, and by slaying all the beasts the entity is released and possesses
the player. The shaman then conjures up a spell to lock the beast-like monster
again, and the player is forced to struggle to move towards the shaman, but the
efforts are futile as the character tumbles back into a fountain and is turned
into a baby. The group departs, and as there is no sign of the shaman, the
deceased lover reawakens, only to find no one except the baby. She takes the baby
in her arms, and with no colossi left, the credits roll.
(A very intense
ending sequence. Credit: Youtube.com)
This was the first game I ever played where a twist truly
affected me emotionally; moreover, the ability to not control the fate of my character made
me rethink everything I had previously encountered in gaming. I rooted for the
character to bring back the princess, and to not only see it snatched away from
him but also watch him become corrupted was gut wrenching. This was not
supposed to happen. This was not a happily ever after. Although there may have
been warning signs along the way, I bared no concern for the outcome,
thinking things would turn out for the best. Nevertheless, the game ends the
way that it does, and having the opportunity to play as the now corrupted
character trying to approach his beloved in a futile attempt creates an
emotional connection between the game and the player. That emotional connection
is what leads me to believe that games truly can become an art form. In the
opening minutes of The Last of Us, a
2013 survival horror adventure, the main character bears witness to his own
daughter’s death, beautifully displayed and acted. It is nearly impossible to
not be somehow emotionally affected by the moment. Considering the breadth of
feelings that occur in such a short period of time, I would consider this game
as well to be a display of artistic prowess.
(A
fake skeleton from the hoax. Credit: giantology.typepad.com)
Given Shadow of the
Colossus is an adventure game focusing on boss battles and an artistic
motif, how does a company market this kind of game to consumers? In the case of
the game, a substantial amount of the appeal comes from the varying boss
characters. The colossi are enormous, unlike anything gaming had previously
seen. In order to generate interest prior to launch, an elaborate hoax was
created in both Japan and North America in a blog portraying the colossi
existed. The blog was titled “Giantology” and followed the findings of 28 year
old on apparent giant activity across the globe (http://web.archive.org/web/20051029065715/http://www.giantology.typepad.com/).
Postings included the study of giant skeletons found across the world, on land,
underwater, and washed up along the shore. All the stories were fictional, and
created by Sony beginning nearly 9 months before the game was released. The
blog featured fake local news reports and stories as well, and the reach of the
blog was wide, gathering 25 million viewers from 110 countries. It was a unique
way to introduce the antagonists of the game, and as a result, the game went on
to sell over 1 million copies globally. The game was also a major critical
success, reeling in multiple Game of the Year awards and currently holds a 91
score on Metacritic. Furthermore, it placed highly on several game of the
decade lists, including number 2 on IGN, a very prominent online publication.
(An outstanding experience. Credit: entertainmentmonthly.com)
Regardless on your experience with Shadow of the Colossus, the central question remains: Is a video
game art? I strongly am in favor of supporting games as a type of art form. In
today’s world we are surrounded by all forms and facets of literature,
drawings, photography, etc. from the highly advanced virtuosos of the genre to
the beginners writing short stories or trying to pick out the right filter for
a photo of a sunset. At the end of the day, if an emotional connection between
a person and the medium occurs I would consider it art. I know my perception of
art may be different than others, but I do not understand why some individuals are
closed off and overly protective of the term art. There are varying degrees of art quality, but the concept itself should be accessible. It’s worth noting
as well that there may still be a generational gap present. Video games became
popular when Mr. Ebert was in his late 30’s/40’s, so I think it’s fair to
assume that he might have been biased not having grown up with the medium, and
I think it will be interesting how the arguments develop over time. Lastly, the
fact that video games finding their place as art is controversial is a good
sign, because I believe that historically controversy is a good sign that an
impact is being made.
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