The Modern Gaming View: Why Art Games Constitute Games

Though it is clear that the gaming community is growing more and more accepting of art games, it seems that there is still a pervasive view that their status as games is debatable. While they obviously break from a standard form in games, that does not change the fact that, of the main types of media (aesthetic art, theater, literature, music, movies, video games, etc.), they clearly fall under the category of video games. For all intents and purposes, they are merely Modernist games.

One of the main roots of this debates seems to be in a fundamental disagreement about what constitutes a video game. With the most avant-garde games like Gone Home, The Stanley Parable, and Dear Esther, the most overwhelming complaint seems to be that there are not enough buttons. The four arrow keys and an occasional click do not create a sufficiently interactive experience to call it a game. However, the major flaw in this logic is that interactivity is still heavily required. These are not movies in which you can only change the camera angle; the player must knowledgeably interact with their environment to move the narrative forward.

Dear Esther controls

A counterargument to this is that they should not be called games but rather “interactive narratives” or “interactive experience”, but this idea is flimsy at best. Where do we now draw the line between games and interactive narratives? Do not the majority of mainstream video games contain narratives that the player interacts with? Take Call of Duty for example. The game relies on a plot (albeit a weak one) to give the player’s actions meaning in all of the campaigns. If the player felt no sense of progression in story, they would quickly bore of the experience.

This line between “video game” and “interactive narrative” becomes even blurrier when accounting for a game like Amnesia. While I cannot find articles and discussion threads about games like Dear Esther that do not question their statuses as true games, I have never seen or heard such a complaint about Amnesia. However, if we decide to draw the line between “game” and “interactive narrative” by the number of buttons, Amnesia would fall on the side of “interactive narrative”, requiring the same number of buttons as a game like Gone Home (and, more subjectively, about the same level of interactivity).

What could differentiate these games so much that there is such a disparity in arguments over their statuses as games? The answer is simple; the average gamer likes Amnesia better. That is it. What Amnesia lacks in controls, it compensates for in a more appealing narrative to the majority of the gaming community. Other than the type of narrative (horror versus drama), there are effectively no differences between Amnesia and Gone Home. In fact, Gone Home seems to flaunt this by creating the same suspense and atmosphere as the average horror game.

Gone Home-Amnesia

Frictional Games has pointed out that Gone Home was even originally made in the Amnesia engine.

This is where the modern (or, if you prefer, “Stanleyist”) view on gaming comes in. The psychological concept that perception is reality is a well-known and commonly believed idea. The same holds true here; perception is everything in gaming. The perceived sense of danger in Slender seems to appeal more to the average gamer than the sense of irrationality in The Stanley Parable.

In fact, this is distinctively the “Stanleyist” view on games. The “Buttons” ending in The Stanley Parable is one of the most abrasive and harshly critical attacks against the gaming community that I have seen so far. This ending leaves the player in a heaven-like setting in which they are surrounded by buttons; the ending goes on indefinitely and pushing the buttons causes nothing to happen. The sarcastic setting points out that the gaming community seems to believe that pushing buttons is what is important rather than any narrative or artistic purpose. However, without any sense of accomplishment or narrative progression, player actions in video games quickly break down, losing meaning and appeal. Be assured that this is not just my subjective interpretation of The Stanley Parable, as this is what the rest of the game really gets to the heart of as well. The player needs a narrator to give their actions meaning, and the narrator needs the player to have their story heard.

Heaven

While this new wave of games push the boundaries of gaming and could certainly be considered a new genre or a new movement in gaming, the degree of difference between these games and any others when thought about a little more carefully hardly seems like a different form of media altogether. Remember that, though a game’s atmosphere might not enrapture you, there are plenty of people for which it does. Though a significant number of gamers prefer the atmosphere in Amnesia, I am not alone in finding the quirky nature of The Stanley Parable similarly appealing. And, although many love the interactivity of games like League of Legends, there are also people who prefer the game mechanic of exploration in a game like Dear Esther.

If you enjoyed this post, like, comment, and follow!

If you want to read more, click here to read about The Stanley Parable and Religion or Existentialism in Dear Esther.

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