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Insert Credit's "Gaming's Missing Kane"
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Sketch



Joined: 05 Dec 2006

PostPosted: Fri Mar 02, 2007 7:05 pm    Post subject: Insert Credit's "Gaming's Missing Kane"    Reply with quote

Is there a topic discussing this already? Are we allowed to make topics about IC articles?

Anyway, just thought I'd say this piece by Brendan Lee is quite possibly the best games related piece of writing I've read in months... At least, since that Fire Engine story which spoke the truth about games journalism.

Raw linkage, because I'm too lazy to code it properly:
http://www.insertcredit.com/features/kane/

I loved this article, because it summed up what I've been thinking for a long time, but in a more concise way than I've managed to convey.

Not the whole "are games art?" nonsense. But why I don't get a buzz out of gaming like I used to. Why, despite owning dozens of recent triple-A titles, I've not finished any of them, and honestly can't be bothered to play them. I dip in for 10 minutes, get a buzz, and then leave...

I almost wish there were videogames which reveal all of their consumeable content in 10 minutes or less (and this content can be wholly consumed in the same time).

I ordered Gurumin recently, and this article made me think, will I bother completing that? Will I enjoy it to the fullest? Or because I have a disposable income, will I discard after a few hours and wait for the next game? I seem to spend more time talking about or reading about games than actually playing them.

But yeah, utterly brilliant article. Perfect. It really sums things up. The whole, there are two types of gamer: Those who look to the past saying it was better before, and those looking to the future, saying gaming can only get better... But no one is really satisfied in the NOW. And indie gamers; the whole poetry slam analogy thing can't really be bettered.


Last edited by Sketch on Fri Mar 02, 2007 7:24 pm; edited 1 time in total
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Levi



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PostPosted: Fri Mar 02, 2007 7:23 pm        Reply with quote

This was a really smart, concise article. A tad myopic, but well reasoned.
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kthorjensen
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PostPosted: Fri Mar 02, 2007 7:47 pm        Reply with quote

In five years the "industry" is going to be so different it'll be almost pathetic. It's all going to be casual/downloadable.

ETA: with the exception of 5-8 AAA studios, much like the film industry now.
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Mr. Mechanical
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PostPosted: Fri Mar 02, 2007 7:55 pm        Reply with quote

That was a great article that just further confirms my worst fears about videogames in general.

I think I'm going to pick up a new hobby.
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Deets



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PostPosted: Fri Mar 02, 2007 7:59 pm        Reply with quote

kthorjensen wrote:
In five years the "industry" is going to be so different it'll be almost pathetic. It's all going to be casual/downloadable.

ETA: with the exception of 5-8 AAA studios, much like the film industry now.

That sounds pretty good, really.
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kthorjensen
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PostPosted: Fri Mar 02, 2007 8:14 pm        Reply with quote

Sounds good to me too, why do you think I work for a casual games studio?
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Maztorre



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PostPosted: Fri Mar 02, 2007 8:15 pm        Reply with quote

This is pretty great, Brendan. Cheers for pointing out the elephant in the room where nobody even tries. Refreshingly bleak!
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DJ
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PostPosted: Fri Mar 02, 2007 8:38 pm        Reply with quote

I can't help but feel like part of this is the normal "I liked games as a kid and now I don't; I can't really reconcile this with myself" stuff that gets brought up a lot. I liked the article, but I don't really agree with the viewpoint.

There's been plenty of amazing modern games; if the whole concept is simply not doing it for you anymore, don't play games anymore, that's all. If you don't like modern stuff at all -- if gaming has lost its shine for you in the here and now and you're just running on a good supply of nostalgia fumes at this point -- then there isn't going to be a single Citizen Kane game that will somehow make it all okay. Not because one can't (or hasn't already) been made, but because on a personal level you're no longer affected by it.

Because as far as really amazing modern-day games go, I'd say there's been been a lot of those all over the place in recent years. Gaming's better than its ever been. If nothing clicks anymore, the problem isn't the fans or the industry or anything else like that.

It's you.

That said, the viewpoint expressed in the article is a pretty god damn common one, and it was well expressed, so fair enough. It's just not a viewpoint I personally can really get behind.
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Deets



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PostPosted: Fri Mar 02, 2007 8:57 pm        Reply with quote

Yeah, I definitely agree with you, DJ.

Quote:
The whole, there are two types of gamer: Those who look to the past saying it was better before, and those looking to the future, saying gaming can only get better... But no one is really satisfied in the NOW

I'm pretty satisfied right now, personally.
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Cossix
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PostPosted: Fri Mar 02, 2007 9:03 pm        Reply with quote

This is hard to phrase properly...

It seems like maybe Brendan is chasing a high perhaps? If you're playing games for nostolgia you're never going to be happy! There are plenty of good titles out that have come out recently and honestly a lot of older games just aren't really holding up in the face of them. Sure sometimes these really neat games don't do too well, but fuck, a lot of times really really good MOVIES or BOOKS don't do well either. It's kind of systemic to the entire entertainment industry! Much like the rest of the entertainment industry, a lot of stuff that is actually good does well too.

Sure there hasn't been a Citizen Kane in the video game world, but we have had a Half-Life 2 and a Gears of War and a lot of other things that are simultaneously interesting and tell at least decent stories AND play well.

Also I don't really think the rest of the entertainment industry necessarily needs to get involved in the video game creation process. It's happened a few times already and it's not been overly interesting (so far anyways, maybe Lost Oddesey will change this?), but you know people other than like computer scientists should be involved in the creation of worlds (not that these people are incapable of doing this sort of thing!). I'm fucking THRILLED that we are moving away from the whole 17-year old saving the world sort of thing in video games. I really feel like the story-telling in video games is kind of being driven by action games at this point and not really so much in RPGs which are so far beyond derivative almost at this point (there are exceptions!) that it must be almost impossible to make one that doesn't involve saving the world without your fanbase getting pissed at you.

Maybe what you are looking for is a short like, 2-4 hour game with a really really good story? I would pay for such a thing as well, but I doubt it would be much of a commercial success! The RPG and some other genres have kind of caused people to expect to have like EIGHT HUNDRED HOURS OF EPIC GAMEPLAY which has bled into the industry all over the place (people complaining that Crackdown is too short? It's almost perfect! Make short games with replayability!).

God this is probably the longest forum post I've ever made and it's probably really inconsistent and ADD or whatever. This sort of thing just bothers me though!
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Shapermc
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PostPosted: Fri Mar 02, 2007 9:15 pm        Reply with quote

I think that many of these comments are missing the point.

The point isn't that the feeling is gone. The point actually happens somewhere around the paragraph starting with "Those industry jokes I mentioned -- Takeshi, Desert Bus -- are not fun games."

The part about "the feeling is gone" is just a red herring. The industry is aping "the feeling" and it just needs to grow the fuck up.

I will agree with pretty much everything from there on, whole heartedly. The only problem with is that there are people making games like Bruised, but they are getting completly ignored and most aren't even getting brought out as public releases.

Next week, I say pay attention to the Serious Games Summit at GDC and see what they show there.
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Cossix
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PostPosted: Fri Mar 02, 2007 9:33 pm        Reply with quote

Shapermc wrote:
I think that many of these comments are missing the point.

The point isn't that the feeling is gone. The point actually happens somewhere around the paragraph starting with "Those industry jokes I mentioned -- Takeshi, Desert Bus -- are not fun games."

The part about "the feeling is gone" is just a red herring. The industry is aping "the feeling" and it just needs to grow the fuck up.

I will agree with pretty much everything from there on, whole heartedly. The only problem with is that there are people making games like Bruised, but they are getting completly ignored and most aren't even getting brought out as public releases.

Next week, I say pay attention to the Serious Games Summit at GDC and see what they show there.


I think I understand some of his other points as well. But I mean like, he's saying that indie developers and people that really push the limits are making games that people think are pretty good but no one's playing them at some point. To that I'm kind of like

So what?

This sort of thing happens all the time in other industries.Why does it suddenly spell the doom of the games industry or whatever? I mean, He's saying this stuff is really formulaic and that nothing really interesting is coming out and everyone's looking to the future or the past for games? That's what it seems like in a LOT of places in his article! But I mean, if that's the case, how did we get Katamari? How did that come out of his proposed programmers and designers that optimize games for money? How did we get the Digital Devil Saga games?

I mean here

Quote:
So then: new markets, new blood. But how? New inputs aren't the cure -- while Wii Sports certainly showed a lot of people that pretending to bowl could be a fun time, the vertical nature of console releases ties the experience to a single corporate entity, robbing any title of the universality other mediums enjoy. Yes, Rez, yes, Killer7, but innovation isn't even the cure: innovation is consistently and continually punished. Innovative titles that succeed are recycled and lobotomized; those that fail are considered bad ideas that just don't work.


This doesn't seem like a valid argument for anything! So bad games get made. And people will even buy them. But like yet again

So what?

Are people still pushing the limits? Did Suda 51 wake up this morning and go "FUCK MAN I should just make the new MADDEN because not enough people bought Killer7!" It seems like the man is still pushing out things that could be interesting!

Yeah, Capcom closed Clover Studios beceause they didn't make enough money. You know what, Okami wasn't that great of a video game. It had a gorgeous art style, this is true! But other than that, it was a Zelda game that wasn't really as good as a Zelda game and WAY too long! They also did some Viewtiful Joe sequels. Also, sometimes things that don't do well that have a budget that's too high go away! This happens everywhere.

And like you say with your last comment, pay attention to the Serious Games Summit. These people do some neat things and some of them have some really good ideas! Sometimes they go to far (sexism in Super Princess Peach), but sometimes they make some points that are interesting (Bully could have been more). So these things are happening! People are interested in pushing the format even if that sort of thing might not be profitable because people sometimes like creating things for the sake of creating them, not for the fame or the money!
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luvcraft
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PostPosted: Fri Mar 02, 2007 9:36 pm        Reply with quote

I lost interest halfway through the article, but forced myself to keep reading, but then I gave up completely about two-thirds of the way through.

I liked Brendan's previous article about the idolm@ster (btw I cry when I masturbate), though.

I'm gonna agree with all the previous posters who said that this article is just about Brendan's discovering that he isn't as interested in video games now that he's a twenty-something as he was when he was ten. No more, no less.

Addressing the title of the article rather than its content: There is no Citizen Kane of books. There is no Citizen Kane of music. There is no Citizen Kane of graphic novels. There is no Citizen Kane of sculpture. There is no Citizen Kane of painting. There is no Citizen Kane of fashion design. There is no Citizen Kane of theater. There is no Citizen Kane of television. There is ONLY a Citizen Kane of movies. So why, for fuck's sake, should anyone expect a Citizen Kane of video games?
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Shapermc
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PostPosted: Fri Mar 02, 2007 9:39 pm        Reply with quote

I'll just say that while, in a general sense, I agree with a lot of the article, it's much more pessimistic than I would have written it.

I'll also say to: "How did we get the Digital Devil Saga game," that DDS is fairly formulaic.
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Shapermc
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PostPosted: Fri Mar 02, 2007 9:41 pm        Reply with quote

luvcraft wrote:
So why, for fuck's sake, should anyone expect a Citizen Kane of video games?

Do you understand that symbolic significance of Kane? Because, like, it's not meant to be taken literally
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Mr. Mechanical
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PostPosted: Fri Mar 02, 2007 9:46 pm        Reply with quote

vision wrote:
What's with all of the sled images throughout that article? They were annoying and made it take longer to read.


Rosebud was the name of Kane's sled in Citizen Kane.

Oops, did I just spoil the whole movie?
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Shapermc
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PostPosted: Fri Mar 02, 2007 9:48 pm        Reply with quote

I think you just ruined a joke.
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extrabastardformula
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PostPosted: Fri Mar 02, 2007 9:49 pm        Reply with quote

Painting Dig Dug isn't about trying to remember. It's about the fun of painting using the shared experience of Dig Dug to make other people notice. I could grafitti any generic mascot inflating a bagel on a brick wall, but it would lack the connection of Dig Dug with his neon orange caption of "DA BAGEL WHORES"
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Cossix
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PostPosted: Fri Mar 02, 2007 9:53 pm        Reply with quote

Shapermc wrote:
I'll just say that while, in a general sense, I agree with a lot of the article, it's much more pessimistic than I would have written it.


I can agree with some of the article. There's definitely more to do with video games to improve them a lot, but it also seems like people are DOING these things or working on doing them. I just don't think anyone needs to be pessimistic about video games unless they just don't like them anymore I guess. It's like those guys you knew in college that talk about how no good music has been made since the 80's. It doesn't make sense to me and I would have a hard time getting behind it.

Shapermc wrote:
I'll also say to: "How did we get the Digital Devil Saga game," that DDS is fairly formulaic.


Maybe DDS was a bad example. I'm kind of partial to it because (at least the first one anyways, I haven't gotten to the second part because I'm slowwwwwww) because the story seems a bit unconventional as far as video game RPGs go (also the art style is pretty neat to me) as you aren't all off saving the world and whatever. I mean yeah. Combat in the game is pretty much the same as it has been forever and it still has the whole levelling up and boosting your stats thing (I think levelling up is kind of dumb). Anyways, bad example.
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Mr. Mechanical
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PostPosted: Fri Mar 02, 2007 9:55 pm        Reply with quote

Shapermc wrote:
I think you just ruined a joke.


Yeah I do that.

I'll go cry in my corner now.
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luvcraft
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PostPosted: Fri Mar 02, 2007 10:01 pm        Reply with quote

Shapermc wrote:
luvcraft wrote:
So why, for fuck's sake, should anyone expect a Citizen Kane of video games?

Do you understand that symbolic significance of Kane? Because, like, it's not meant to be taken literally


Yeah, I have a degree in film. So, do you mean a Citizen Kane in the sense of a groundbreaking work that critics, scholars, and adherents of the medium widely cite as a groundbreaking work, or do you mean a Citizen Kane in the sense of a work that just does OK commercially when it's released and then picks up steam later, or do you mean a Citizen Kane in the sense of a work that pisses off a rich industrialist who systematically destroys the career of the work's creator?

In the first case there are too many video games that fit the bill to even start naming them, although the first two that spring to mind are Space Invaders and Pac Man. In the second case there are a lot of games that are being seen in a new light and receiving new acclaim via XBLA and Wii VC, some of which were fairly obscure when they first came out. In the third case the closest thing I can think of is R0x0r making In The Groove conversions for DDR machines which pissed off Konami and pretty much destroyed their tiny company.

One work that does all three of those things, though, that's something that I don't think has happened yet in video games, or most other media, although there are probably a few paintings that cover all three bases pretty well.
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Adilegian
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PostPosted: Fri Mar 02, 2007 10:11 pm        Reply with quote

article wrote:
I have an idea for a survival horror game called Bruised. You play a single parent fighting to save her children from an abusive non-custodial father. The game has nothing but bad endings: you can save the girls, but the father commits suicide in front of them. You can save one girl but not the other, dooming one to a life of chaos and abuse. The profits from the game go to support local women's shelters.

This game would be almost cliche to try and pitch as a book or movie, but what game studio would take it on? Who would play it in numbers large enough to justify the cost? The types of people to pay money for that kind of human drama would never be able to suss the dizzying amount of specialized knowledge and assumptions needed to play modern games; the greater gaming public would never have an interest in shelling out money for what was sure to be a bummer of a time.


If the History Channel put up the money for a bad game about the Civil War, I'm willing to bet that Lifetime would fund this.

EDIT:

luvcraft wrote:
One work that does all three of those things, though, that's something that I don't think has happened yet in video games, or most other media, although there are probably a few paintings that cover all three bases pretty well.


I'm pretty sure that analogous examples exist for most the the traditional arts. No examples on hand, but it seems a bit disingenuous to require various media to have succeeded on terms predicated on conditions of the modern world.

Anyway, I think that Citizen Kane was basically used as a synecdoche for "a product of the medium that makes people who are not hardcore into that medium say, 'Hey! I've heard there's something culturally valuable and excellent in this movie, even though I might not watch many movies! I think I'll watch this movie!'"

Examples filling that bill exist for all the traditional arts. Nothing in videogames grants anyone that sense of urgency.
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SplashBeats
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PostPosted: Fri Mar 02, 2007 10:11 pm        Reply with quote

Vision, that avatar & sig . . .

I'm speechless.
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PostPosted: Fri Mar 02, 2007 10:21 pm        Reply with quote

The significance of Citizen Kane is that it communicates something that could not be communicated nearly as effectively within any other medium, using narrative techniques that are inherent and specific to film to do this. In a historic sense, it's an early technical accomplishment that you can point to and say "this is why film exists; this is how to use 'cinema.'"

In this context I think someone could make a pretty convincing case for Half-Life 2 as the Citizen Kane of videogames.

Quote:
The past has been completely strip-mined. Emulation, roms, homebrew; everything we so desperately needed at age eight hovers within the most half-hearted grasp. Video games are everywhere; the perceived value drops like a fucking rock. That precious scarcity -- that brain defect that kept you playing Bugs Bunny's Crazy Castle up to the CONGRATULATION screen -- has disappeared.


This paragraph is great. I agree with it so much that it fucking hurts.
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luvcraft
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PostPosted: Fri Mar 02, 2007 10:22 pm        Reply with quote

vision wrote:
I'm pretty sure Shaper was referring to Citizen Kane's story, rather than the film's impact.


The first time I saw the ending of Klonoa had a more profound and emotional effect on me that the first time I saw Citizen Kane.

One thing that there really isn't much of in video games that there is a lot of in film is "heart-string tugging". That doesn't have much to do with Citizen Kane, but it might be a key to getting games to have a stronger "artistic" effect on people. Now that I think about it, that gap may be due to video games' Japanese-ness; I'd presume that there is "heart-string tugging" in Japanese movies, but it's Japanese heart-string tugging, and doesn't translate well for U.S. audiences; maybe games also have heart-string tugging, but since the majority of games with plots are Japanese, the heart-string tugging usually doesn't translate (except in the case of the ending of Klonoa).

Adilegian wrote:
Anyway, I think that Citizen Kane was basically used as a synecdoche for "a product of the medium that makes people who are not hardcore into that medium say, 'Hey! I've heard there's something culturally valuable and excellent in this movie, even though I might not watch many movies! I think I'll watch this movie!'"

Examples filling that bill exist for all the traditional arts. Nothing in videogames grants anyone that sense of urgency.


Bejeweled. and/or Spider Solitaire.

Citizen Kane didn't actually do that, though. It just did OK when it came out, and the vast majority of modern-day movie-goers would be bored to tears by it. I have watched it in MANY film classes and many venues outside of film classes, and after every showing there are several people who loudly say "That was Citizen Kane? What the fuck? That was totally boring." Citizen Kane is a marvel of filmmaking, but it is only appreciated as such by filmmakers, film students, film buffs, and film critics. Everybody else regards it as "some boring black and white shit".
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Sketch



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PostPosted: Fri Mar 02, 2007 10:34 pm        Reply with quote

I've never actually seen Citizen Kane... Does this make me an uncultured heathen?
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DJ
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PostPosted: Fri Mar 02, 2007 10:34 pm        Reply with quote

Shapermc wrote:
The part about "the feeling is gone" is just a red herring. The industry is aping "the feeling" and it just needs to grow the fuck up.


I kinda have no idea what you mean here.

We're seeing regular works that have an extreme level of creativity and maturity behind them. Yeah, there's a lot of crap too, but there's always been a lot of crap. 90% of NES games? Crap. But nobody remembers the crap. Meanwhile, there's all this really good stuff being produced routinely, modern stuff...And no NGJ people ever seem to actually play it. They're way too busy talking about how it doesn't stack up to their memories of what gaming meant to them.

And that's really unfair.

Really, quick poll here: Who has beaten Half-Life 2? Who has beaten San Andreas? Who fought to the end of Ninja Gaiden, beat any of the Digital Devil Saga games, shelled out for Flow, completed Gears of War? What about Half-Life 1? Doom 3? Warcraft II? Ico? Jak and Daxter? Baldur's Gate 2? Deus Ex? Thief? Eternal Darkness?

Nine times out of ten the people decrying the fact that the soul is gone from gaming are in no position to be making any claims to that effect, given how picky and almost illiterate they are when it comes to any form of gaming that didn't include the stuff they played as a kid. So many "real fans" dismiss nearly everything new out of hand, and then complain about the lack of soul more or less sight unseen, leading to articles about what a sorry state gaming is in coming largely from people who haven't been a part of gaming since the SNES died.

Videogames, right in the here and now, are better than they've ever been in the history of the medium, ever. I''ve had more memorable gaming experience in the past 6 years or so than I ever did in SNES era, because I'm still excited by and interested in this stuff. If someone has fallen out of vibration with the medium at large, that's not a condemnation of the medium, the industry, or those who still enjoy it.

Basically: If you are not excited by videogames today, you never will be again, so just throw in the towel now. There's nothing wrong with this! People grow out of stuff all the time. But don't go grasping at ephemeral straws for some kind of overarching explanation. The "solution" is not anywhere near so convoluted as that.
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luvcraft
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PostPosted: Fri Mar 02, 2007 11:04 pm        Reply with quote

DeusJester wrote:
Videogames, right in the here and now, are better than they've ever been in the history of the medium, ever. I''ve had more memorable gaming experience in the past 6 years or so than I ever did in SNES era, because I'm still excited by and interested in this stuff. If someone has fallen out of vibration with the medium at large, that's not a condemnation of the medium, the industry, or those who still enjoy it.

Basically: If you are not excited by videogames today, you never will be again, so just throw in the towel now. There's nothing wrong with this! People grow out of stuff all the time. But don't go grasping at ephemeral straws for some kind of overarching explanation. The "solution" is not anywhere near so convoluted as that.


This sums up my opinion of the article perfectly.
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Adilegian
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PostPosted: Fri Mar 02, 2007 11:09 pm        Reply with quote

luvcraft wrote:
Bejeweled. and/or Spider Solitaire.


I don't know what Bejeweled is. I don't think Spider Solitaire fits the bill here because, despite having some universal appeal, there's nothing necessarily heavy in its presence as a videogame. To quote a middle age black mother who brusquely turned down the aggressive pitch of a sales clerk, "I don' need to spen' no goddamn thousand dollar on some robot that can do what I can do for myself with a goddamn pack of Bicycle!" She then summoned her son, Tito, who was playing Solitaire with me on a demo PC, and got the hell out.

Also, along another line, I don't think either one of these games have received much critical praise for bearing the medium standard. If they have, I expect that the critical reasoning resemblies novelty moreso than a convincing argument.

luvcraft wrote:
Citizen Kane didn't actually do that, though. It just did OK when it came out, and the vast majority of modern-day movie-goers would be bored to tears by it.


I don't think that the initial reception bears much weight on the Brendan Lee's reference to Citizen Kane in the article. I agree with others who have written that this might be too narrow a reading.

luvcraft wrote:
I have watched it in MANY film classes and many venues outside of film classes, and after every showing there are several people who loudly say "That was Citizen Kane? What the fuck? That was totally boring." Citizen Kane is a marvel of filmmaking, but it is only appreciated as such by filmmakers, film students, film buffs, and film critics. Everybody else regards it as "some boring black and white shit".


I'm of the general opinion that most people have not been shown how to recognize the spiritual urgency that makes art necessary to our lives. As a consequence, I think that most people have coarse imaginations, which leads to duller wits and an atrophied sense of empathy.

(This isn't mere misanthropy, but a sincere elitism. I am fortunately saved from the usual fruits of such elitism by the fact that I am handsome and kind. Also, I keep my negative opinions of specific people to myself, and I sincerely like people even when I disagree with them.)

(Unless they are assholes. Unless they are assholes.)

Which is to say: the critical recognition afforded to Citizen Kane cycles through the popular audience. The pomp and circumstance sucks them in; they "don't get" the movie; and most of them can move on with the satisfaction that "they saw the great Citizen Kane." Not everyone comes away with that kind of reaction, though, because some people enjoy working for their pleasure. By that, I mean the kind of effort that art requires from an audience.

I almost always try to put forth that effort, and I adore Citizen Kane. I am neither a fimmaker, a film student, a film buff, nor a film critic; however, I am an intelligent, curious human being. I don't think it takes much more than sincerity and curiosity to enjoy something that takes more work than one might have expected to give. I am also friends with a number of people employed in a variety of arts—one an opera singer, another a poet, another an novelist, and so on—and they also enjoy the movie for what it is.

That's where I think Brendan Lee's article scores the right points, actually, when it covers games such as Takeshi and Desert Bus. Those games are not immediately fun, and, in order to get anything out of them, they require more maturity than allowed by the question, "Are we having fun yet?"

Art don't babysit. This, along with several adjunct points that elaborate upon how games continue to babysit gamers, is what I think lies at the base of Brendan Lee's argument.

And I think it's a pretty goddamn good argument.
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ajutla



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PostPosted: Fri Mar 02, 2007 11:14 pm        Reply with quote

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This isn't mere misanthropy, but a sincere elitism.
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luvcraft
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PostPosted: Fri Mar 02, 2007 11:30 pm        Reply with quote

Adilegian wrote:
Also, along another line, I don't think either one of these games have received much critical praise for bearing the medium standard. If they have, I expect that the critical reasoning resemblies novelty moreso than a convincing argument.


Certainly not, but that's not what you asked for. You asked for a work that made the everyman sit up and take notice of the medium. Bejewelled and Spider Solitaire fit this bill. Citizen Kane does not.

Adilegian wrote:
I'm of the general opinion that most people have not been shown how to recognize the spiritual urgency that makes art necessary to our lives. As a consequence, I think that most people have coarse imaginations, which leads to duller wits and an atrophied sense of empathy.


You lost me at "spiritual urgency". Otherwise I think I agree; most people do not notice nuance.

Adilegian wrote:
That's where I think Brendan Lee's article scores the right points, actually, when it covers games such as Takeshi and Desert Bus. Those games are not immediately fun, and, in order to get anything out of them, they require more maturity than allowed by the question, "Are we having fun yet?"


Dollars to donuts if you sat down Takeshi Kitano and Penn and Teller and asked them what effect they were honestly trying to have on audiences with those games, they would say that they just wanted to be annoying, and/or lampoon videogames in general. There is no deeper meaning to those games, and they are bad examples of "if games are art they don't have to be fun". The ending of Shadow of the Colossus is a much better example. Even better examples are possible, but none have been realized yet, at least not successfully enough to register on anyone's radar.
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haze
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Joined: 04 Dec 2006

PostPosted: Fri Mar 02, 2007 11:30 pm        Reply with quote

Pauline Kael wrote:
Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them.
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special blend



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PostPosted: Fri Mar 02, 2007 11:35 pm        Reply with quote

I liked the article mostly because of the 24 Hour Party People reference.

THUMB UP
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icycalm
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Joined: 17 Dec 2006

PostPosted: Sat Mar 03, 2007 12:23 am        Reply with quote

I agree with my good friend DeusJester here.

Brendan Lee needs to stop playing the idolmaster and start hanging out with me in Akihabara. He needs to play GG Accent Core and Senko no Ronde in the arcades, and Gears of War co-op on a gigantic screen and 4-player Culdcept Saga matches on Xbox Live.

Brendan is not a "new games journalist", so I will spare him my anti-NGJ rhetoric, but yeah. NGJ people suck and know next to nothing about videogames. So if any of them are reading this right now please put down the thesaurus and go play some games. Your writing will be all the better for it.
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aerisdead



Joined: 17 Dec 2006
Location: Toronto, Canada

PostPosted: Sat Mar 03, 2007 12:31 am        Reply with quote

person stating their interpretation of demarcation in this thread again

it is a shame because they ruined their post at the last second with it ;_;
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Leau



Joined: 05 Dec 2006
Location: Metro City

PostPosted: Sat Mar 03, 2007 12:31 am        Reply with quote

This whole article stinks of.... depression more than anything else. Well the obvious: Spending evenings alone sitting at home getting pickled and staring out the window. And the main hallmark of depression is and has always been losing interest in activities that used to be enjoyable. Lee's got that. I mean... who is this guy? Is he still around?



Oh and I agree wholeheartedly with DeusJester...

DeusJester wrote:
Nine times out of ten the people decrying the fact that the soul is gone from gaming are in no position to be making any claims to that effect, given how picky and almost illiterate they are when it comes to any form of gaming that didn't include the stuff they played as a kid. So many "real fans" dismiss nearly everything new out of hand, and then complain about the lack of soul more or less sight unseen, leading to articles about what a sorry state gaming is in coming largely from people who haven't been a part of gaming since the SNES died.

...

Videogames, right in the here and now, are better than they've ever been in the history of the medium, ever. I''ve had more memorable gaming experience in the past 6 years or so than I ever did in SNES era, because I'm still excited by and interested in this stuff. If someone has fallen out of vibration with the medium at large, that's not a condemnation of the medium, the industry, or those who still enjoy it.

...

Basically: If you are not excited by videogames today, you never will be again, so just throw in the towel now.



Maybe not in this case specifically, but in a lot of arguments like this, the good ole days contigent has no idea (or interest) in discussing what is actually really good right now.
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Marshmallow
just call him badass


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PostPosted: Sat Mar 03, 2007 1:09 am        Reply with quote

luvcraft wrote:

Dollars to donuts if you sat down Takeshi Kitano and Penn and Teller and asked them what effect they were honestly trying to have on audiences with those games, they would say that they just wanted to be annoying, and/or lampoon videogames in general. There is no deeper meaning to those games, and they are bad examples of "if games are art they don't have to be fun".


penn jillete wrote:
“Remember Janet Reno? When she was taking away our rights, instead of the people who are now? Janet Reno was really against violent videogames, so we decided to do this game, Eddie’s original idea, it was called ‘Desert Bus.’”

“‘Desert Bus’ was a game we thought would really appeal to people who didn’t like unrealistic games, and didn’t like violence in their games. It was just like real, loving life.”
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Joined: 04 Dec 2006
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PostPosted: Sat Mar 03, 2007 1:19 am        Reply with quote

Pikachu wrote:
He needs to play GG Accent Core and Senko no Ronde in the arcades, and Gears of War co-op on a gigantic screen and 4-player Culdcept Saga matches on Xbox Live.


That sounds desperate.
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gutstank
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PostPosted: Sat Mar 03, 2007 2:45 am        Reply with quote

what if... the idea of art was approached as a meaningless distraction to the real point of anything... there are OBJECTS and some of them were made by people and some of them are worth discussing, and some aren't...

imagine if you didn't have sex because you were worried about the color of your condom... that's what "are games art?" feels like...

games have not had a citizen kane, and movies have not had a resident evil 4...

games will evolve just fine without a bunch of academics throwing in spanners by worrying far too much... we've got all these great new games, and all the old ones are being preserved... it's a golden era, and it can only get better as saturn emulation improves and the first workable PS2 emulators begin to emerge...

i looked at the article... individal parts scanned really well but as a whole it felt like a lot of pointless, unstructured fretting... felt like it was in danger of ending with a conclusion, but instead it just sort of ended... if he's just playing grinding games, of course he's obsessed!

he needs to take 12 weeks off games, completely... no games at all... dude just sounds miserable and depressed...

I suppose idol games will do that to you... me, i'm excited about super mario galaxy (first 5-Dish platformer? you have flat planes curved by a sort of videogame spacetime, all interconnected) or resident evil 5... games never die, but gamers do... sad
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Adilegian
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Joined: 05 Dec 2006
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PostPosted: Sat Mar 03, 2007 2:48 am        Reply with quote

luvcraft wrote:
Certainly not, but that's not what you asked for. You asked for a work that made the everyman sit up and take notice of the medium. Bejewelled and Spider Solitaire fit this bill. Citizen Kane does not.


I think that you have read into my statement what I did not intend to imply. Part of this misunderstanding owes to a gap in my own communication, so I'll fill it in. I wrote this:

adilegian wrote:
Anyway, I think that Citizen Kane was basically used as a synecdoche for "a product of the medium that makes people who are not hardcore into that medium say, 'Hey! I've heard there's something culturally valuable and excellent in this movie, even though I might not watch many movies! I think I'll watch this movie!'"


The unwritten part of my thought: I had presumed that we were comparing hypothetical audiences with the same prior level of interest in these respective media. Meaning, insofar as the non-gamer would sit up and take notice of whatever this redeeming game might be, Citizen Kane would draw the attention of someone who sees movies as cultural schlock with little redeeming in their experience.

I'm not particularly interested in "everyman." I even see my post as precluding appeal to "everyman," since nearly everyone watches movies socially or alone. The hypothetical audience that I've had in mind is somewhere between "everyman" and the professional.

luvcraft wrote:
You lost me at "spiritual urgency". Otherwise I think I agree; most people do not notice nuance.


The word "spiritual" refers to my own understanding of such a necessity. I am not necessarily beholden to the language, for the sake of discussion, since I think that the same urgency can be appreciated in other terms, with similar weight.

luvcraft wrote:
Dollars to donuts if you sat down Takeshi Kitano and Penn and Teller and asked them what effect they were honestly trying to have on audiences with those games, they would say that they just wanted to be annoying, and/or lampoon videogames in general. There is no deeper meaning to those games, and they are bad examples of "if games are art they don't have to be fun". The ending of Shadow of the Colossus is a much better example. Even better examples are possible, but none have been realized yet, at least not successfully enough to register on anyone's radar.


I don't mean to take those games as examples of art. I think they're formally significant in the fact that they rebuff the only real standard for videogames: fun. They're probably the most comic games I've seen, as they pinch the player between a given formal expectation and a horrible formal reality.

It's kind of like the poems of Ogden Nash. He writes these long, wandering, free verse lines, and yet he always caps them with regular rhymes. It's one of the things that lends humor to his work, besides the content: the contrast between form and formlessness.

Anyway, as I read Brendan Lee's article, I find an echo of one of my own recent reactions to videogames. "Fun" just doesn't cut it anymore. The medium still feels like it's pandering to kids (and the kid in me) when I have outgrown it.

And, hell, isn't this what you do when you feel like you've outgrown something you love and want to keep around: try to get it to grow up with you?

One more thought: I don't think it's necessary to react to Brendan's article with "GTFO." It speaks better of a community when those who disagree can tolerate each other's differences without insisting that they need to protect the pastime against the other's ideas.
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luvcraft
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PostPosted: Sat Mar 03, 2007 3:52 am        Reply with quote

Cycle wrote:
luvcraft wrote:

Dollars to donuts if you sat down Takeshi Kitano and Penn and Teller and asked them what effect they were honestly trying to have on audiences with those games, they would say that they just wanted to be annoying, and/or lampoon videogames in general. There is no deeper meaning to those games, and they are bad examples of "if games are art they don't have to be fun".


penn jillete wrote:
“Remember Janet Reno? When she was taking away our rights, instead of the people who are now? Janet Reno was really against violent videogames, so we decided to do this game, Eddie’s original idea, it was called ‘Desert Bus.’”

“‘Desert Bus’ was a game we thought would really appeal to people who didn’t like unrealistic games, and didn’t like violence in their games. It was just like real, loving life.”


Notice the use of the word "honest" in my post. I doubt that Penn honestly thought that anyone would actually enjoy Desert Bus. I feel quite confident that he made it specifically to aggravate people and prove to them that they would NOT enjoy such a game.
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