Feb 222008
 
Yesterday Kotaku put up an article about Barack Obama’s line in which he says people “…are going to have to parent better, and turn off the television sets, and put the video games away, and instill a sense of excellence in our children…” The particular editor at Kotaku clearly overreacted by seeing this as Obama using games a metaphor for underachievment. That’s clearly not the point. But if it were, it would be a largely valid point, and more importantly a point with which most Americans would agree for mostly correct reasons. Anyone who has read this blog for more than a week knows I am not saying this because I believe games to be devoid of artistic content. Quite the opposite: I earnestly believe games have the power to convey stimulating stories and emotions in a uniquely powerful way. Unfortunately, most video games, and especially the video games that have the most impact on popular culture, fall far short of this ideal. True video gaming enthusiasts are not the only ones to blame for this problem. However, they are well-placed to do something about it.

The main features supporting Obama’s (and the larger public’s) view are pretty obvious. For the most part, games are not a physical activity, although the Wii is changing that to some extent. They generally do not convey enlightening or even interesting stories. Because they divorce themselves so totally from the science, history, or mythology on which they occasionally claim to be based, the vast majority of games are not even slightly educational. Indeed, in this regard they are usually so far off base they aren’t even wrong. It is at least possible, even likely, that shooters and gory games desensitize their players to violence (though not necessarily uniquely so), especially if those players are young. The majority of television and movies are at least as bad and probably worse. However, video games shouldn’t make a negative case versus competing media; they should try to stand positively on their own. This, at present, they cannot do, particularly not as they are perceived in the larger culture. Given what the average person knows, a parent promoting any alternative activity, be it reading books or playing with sticks, over video games would be acting reasonably. At least the sticks won’t make your kids dumber.

What makes this so upsetting to me is that it need not be so. Many games rely on critical thinking and problem solving skills. Games largely do not possess the “quick cuts” common in commercials and film that are suspected to adversely affect attention span and concentration. In fact, most games reward concentration and careful observation. And despite the generally grim situation, there are many games that include interesting and stimulating narratives. Even the first-person shooter genre, justifiably reviled for its generally awful writing, recently developed entries that featured a genuinely interesting story (BioShock) and an extremely clever and novel mechanic (Portal). Games like these, that favor inventiveness and storytelling over crystal-clear graphics of aliens’ heads getting blown to bits, are rare gems to be celebrated.

But why? Why is BioShock the revelation, instead of being the status quo? Why is Shadow of the Colossus the exception rather than the rule? The reason is that the low (intellectual) quality muzzle-flash-and-gore spectacles sell. They sell spectacularly, and the simple fact is that companies have not just a desire, but an obligation (to their shareholders) to maximize their profits. If cow manure sold like candy bars, you’d never see another Snickers vending machine. The reason gamers don’t get candy is that they’re willing to buy crap.

Why are there great artistic movies, despite the triumphant profits of summer blockbuster pablum? Because there are people that believe in movies as an art form, who support artistic movies, who tell their friends about the emotionally moving films they see and encourage those people to support them. Some of these buffs also enjoy the occasional schlock film, and there’s nothing intrinsically wrong with schlock films or watching them, as long as you don’t confuse Transformers with Citizen Kane. Look, Halo isn’t art. It’s got art—perhaps even really good art—in it, but hey, Face/Off had some great cinematography and set design. That doesn’t mean Face/Off isn’t schlock—nobody in film confused dual-wielding Nic Cage with Nic Cage in Leaving Las Vegas. Halo is great fun, but the perception of the broader culture is that we see Halo and Gears of War as the pinnacle of the gaming artform, while I think the genuine perception of gamers is that these are the easily-discarded summer blockbusters.

Game publishers appear to be content to let the public perception stand. Thus, it falls to the enthusiasts to help elevate the form. We can do that in many ways. The most obvious, and the one most likely to directly impact the choices made by publishers, is to shift our purchasing habits. When you come across a game that makes an artistic statement, buy it; when you want to play a game that doesn’t, rent (or ignore) instead. Stop pre-ordering games—require publishers to demonstrate quality and artistry before you buy. When it becomes favorable to a company’s bottom line to push artistry over flash, they will do so. Why? Because they love money.

In that same vein, reward reviewers (with your traffic) if they focus their greatest attention on the artistic merits of games. I know the initial reaction to this is to say that reviewers should review games for “what they’re trying to be” rather than focusing on the artistic aspects. That’s a bunch of crap. Roger Ebert, Leonard Maltin, and that funny-looking guy from the Today show could all pan the hell out of the next entry in the “Michael Bay Blows Up” series (Michael Bay Blows Up Alcatraz, Michael Bay Blows Up Asteroids, Michael Bay Blows Up Your Childhood, etc.), and it will still make hundreds of millions of dollars. Game publishers and designers, as well as the purchasing public, need to develop a similar attitude towards bad reviews of schlock games, instead of insisting that review scores reflect popularity or ultimate sales. If Halo is bad art, give it an F, even if it’s a good time. There’s nothing wrong with doing that as long as the audience is aware of your angle, as they are with Ebert.

The final thing to do is for enthusiasts ourselves to talk about games as art, and to focus on artistic games when gaming comes up in casual conversation. Enthusiasts must get in the habit of talking (or writing) about games as art, rather than purely entertainment. The earnest, well-articulated, public attitude that games are art will do a great deal to promote this view in others, even if they have no direct experience of artistic games.

Obama was right to say what he did, and the next politician to say it will be right, and the next one after that, up to the day you lose your teeth and your mind. Games will always be a juvenile, inferior medium unappreciated by the public at large unless those who love them most put real pressure on developers, publishers, and reviewers to transform the motivations and attitudes that inform game creation and media response. If dollars support the best art instead of the best gloss, better art will be made and supported by the industry, and if the public at large gets used to seeing games discussed as art, criticized as art, and publicized as art, they will get used to thinking of them as art.

Child’s Play, again… plus, game reviews!

 charity, reviews, video games  Comments Off on Child’s Play, again… plus, game reviews!
Dec 032007
 
I went over to the Child’s Play site this morning to check out how things were progressing. Apparently, they’re up to $450k, with several weeks left to go. If you haven’t already, please add your own 5 or 6 bucks to the pot. Readers in North Carolina will be pleased to know that Children’s Hospital of North Carolina (in Chapel Hill) now has their own wish list available. Coverage of the 50 states seems to be increasing daily, so if you’re concerned with giving locally, check it out. Most of the eastern states have at least one hospital you can give to. Canadians, Brits, and our friends down under in Australia and New Zealand have hospitals on the list, too. If you don’t want to give games or gaming systems, remember that there’s also a huge demand for (non-absorbent) toys, books, board games, and DVDs. Just click on a hospital you like, or the PayPal direct donation link.

You don’t have to like the Penny Arcade guys (hey, plenty of people don’t) to like what they’re doing. The recent game-reviewing spat (exacerbated by Gerstmann’s suspicious firing) is really relatively tame compared to their past feuds with, say Jack Thompson. Anyway, I think it comparatively obvious that Gabe is right—game reviews have adopted the approach of newspaper movie reviews and devolved to being dominated by their metrics. This is the same phenomenon that creates those movie print ads that heavily feature 5-star raves and “two thumbs up”. Some gaming companies adopt the same approach, touting 10/10 scores and the like, to the exclusion of giving any idea what the gameplay is about. Consider Kane and Lynch, for example, the game that kicked off the present controversy. The advertisements feature a bunch of cutscene violence that looks decent, so I know the game is about killing dudes with reasonable graphical fidelity. But what’s the story? How does it feel to play the game? Why is ‘killing dudes with reasonable graphical fidelity’—a property shared by no less than 50% of extant games—their marketing focus? This is different from asking why it was their development focus; that’s a question for its own post.

The length and breadth of most gameplay, paired with the diversity of personal goals associated with a person’s approach to gaming, calls for a more measured and less numeric approach. Prince of Persia: The Sands of Time is a fantastic platformer wedded to a charming story and a dull combat system. For the platforming enthusiast it is a game sent from heaven, but someone who loves RPGs, fighting games, or 3rd person adventures might justifiably hate it. Game reviewers need to consider an alternative approach to reviewing games, one that pays less attention to a dubious and corrupt quantification scheme and puts more effort into opening a window for the reader onto the experience of playing.