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Why Comparing Games to Movies is Doing Everone a Disservice


You may have noticed, but I've been a bit absent from Bitmob of late. Work ramped up, exams closed in, and suddenly I just didn't have the time or energy to write articles that people would actually want to read (some would argue no amount of time and energy can change that, but that's a debate for another day).

A little bit of distance never hurt anyone though, especially with the amount of time I've had recently to devote to just playing games. This extended break has reinforced some old ideas, twisted others, and has completely eliminated any desire I once had to read one particular tired old argument, about gaming and a certain film whose name I won't care to mention here (though for the sake of those who may not have read the argument before, let's just say it concerns a man by the name of KANE, who was a CITIZEN of the United States.)

So I've been thinking, analysing, and gaming for these past few months, and have come to the following conclusion.

Comparing games to movies is going to get us nowhere.
 

 


So perhaps at this point I should rephrase. It's not the comparison between games and movies I resent - far from it, I think there's much games can learn visually from such a medium – but the way this comparison is innately attached to the whole 'Games as Art' thing. Whenever anyone brings up the fact that games can, and should aim for artistic merit, someone else will inevitably come along and claim games can never match up to movies as art.

Of course games could never match the artistic prowess of movies, in the same way that books could never 'match' sculpture, and paintings can never 'match' music. They're two very different mediums, both with their own strengths, and ideas about what they can accomplish.

So the idea of saying 'Games can never be art because movies will always be better at telling a story' is stupid, because games don't need to tell a story to be artistic.

I suppose the reason why this argument is so tired to me, is that a much better medium already exists for comparing with games, music.

I like the idea of music, because you don't listen to it in order to hear a story. It might tell a story, through its lyrics (similar to the way a game might tell a story through its cutscenes) or through the tune itself, harsh sounds creating the impression of violence, whilst subtler melodies conveying the emotions of love or happiness (or in video games, 'gameplay').

The point is that you never pick a song out of iTunes primarily because you want to hear the story the artist wants to tell. You might be interested in any story of course, in the same way that a big reason why I played MGS4 was to see the end of Snake's story, but if the sound isn't enjoyable to listen to, or if the gameplay isn't fun to experience, then you're never going to listen to an album, or play a game, in the first place.

Games should never try 'just' to be fun, but at the same time trying to imitate film is just embarressing. Most of this rant was brought on by playing through the recently released demo of 'Heavy Rain', which tries so hard to be a movie, and in many ways fails so badly. From what I can tell, it's not a bad game, but claiming that this is the future of interactive entertainment is pure self indulgance.

I like films, and I like games, but anyone that tries to mesh the two together is doing both a disservice. Games can have incredible depth, and can illicit raw emotion, but anyone trying to achieve this in the same way as film is going about it in a very wrong way.

Comments (8)
I understand your frustration, and I even share it in part, but I think the key is to be patient. Games, and the critical community that sprouts around them, are going to take time to evolve the same way other 20th century audio-visual mediums have. Although some games share more in common with checkers or backgammon than Citizen Kane or Vertigo, some games do come close to duplicating the pace, tone, and presentation of a movie. Whether or not they're successful is a matter of opinion, I suppose. As for Heavy Rain, can you really make a judgment about whether or not it succeeds as a "cinematic" experience if, from the sounds of things, you haven't completed the finished product? I'd be curious to hear more of what you thought of the experience as a whole, after you're done.
Welcome back, Jon. You were missed. I agree with your fundamental point, and I would add something similar to what Paul above wrote. But I would also like to add that I would rather play a story then watch one. What would you rather do: have to endure Episode I or play KotOR?
@Jon: In recent weeks I've actually decided that the best medium to compare games to are amusement parks, or more loosely, full-on tourist attractions. No analogy is perfect though, as you've said, no medium can really do everything another medium can. Even in the case that a medium absorbs another, somewhere the features of the new medium modulate what it took from the old medium. Amusement parks though. They don't necessarily tell stories, but there are stories that can be told from the experiences within them, and the designers can shape the pool of statistically possible stories that can occur within them. At least in the past couple generations of game design, where open worlds and nonlinear gameplay, as well as linear games in larger environments, have become more common, maybe even expected, amusement parks seem to make the most sense. As far as artistic merit, well, I go for the definition of art as the process of communicating intangible ideas from one mind to another. Taking Disneyland as an easy example, Walt Disney apparently wanted to communicate a vision of carefree, happy, and wholesome childhood fantasy in the different forms it appeared. Now I'm not a big fan of Disney as corporation, but I appreciate the vision that informed the art that went into developing Disneyland. And here I realize I might have sidetracked. Anyway, I have no intention to argue, and can appreciate the comparison of games to music. Besides, I imagine comparing games to amusement parks isn't much of an exercise (although thinking of the Art behind tourist spots might be). Games have the capability like any good medium to convey intangible ideas, even if they're as simple as analogous representations of reality (heck the history of art until the industrial age was filled with the increasing sophistication of artists' capabilities to reproduce reality). I'm not sure when game artists and the lexicon of games and game comprehension will develop to a point where games can convey anything as complex as trying to convey a logical argument for an ethically complex issue through a game, or capture the depth and intensity of an emotion like love (without fancy hardware...you know that's where Nintendo's headed with the heart rate monitor). I think it's possible, but at least for now games can encapsulate and communicate ideas that no other medium can do concisely, much as games have a lot of ideas that it cannot handle as concisely as other media. For one, teaching people how to use available tools and their behaviors to solve problems. On a slightly different tangent, the value of games as art will develop not only as the lexical capabilities of games develop, but also as the value of the ideas that games handle best develops, or at least the value of the people that games develop, people who might find inspiration from games to be one of civilization's greats (good or bad, as idea people or action people, thinkers and planners). I can't think of anything else right now that games are excellent at conveying besides action/procedures/methods and tool use, but should these "training" ideas catch on and become valuable in themselves, so could the value of games as art. (Though if I recall the history of High Art tends to downplay practical crafts as Art; but hey, as geeks and nerds and techheads become more intrinsic to society they may get more say about the inclusion of "practical crafts" into High Art...). And I don't have a good way to segue out, so bye, and thanks for the article!
I see your points, but I think when I'm playing along with a story, even one as good as with Uncharted 2, because I have so little choice as to how the narrative progresses, I find myself thinking "Why can't I just watch this story as a movie?" Sure it's nice to have the story there, but at the end of the day, it's the gameplay we're drawn to in the first place. Maybe it's a matter of time though. We'll just have to wait and see. You're right about Heavy Rain of course. I really shouldn't judge it before I've completed it in its entirety. When I get around to it, rest assured that Bitmob will be the first to know about it.
I like films, and I like games, but anyone that tries to mesh the two together is doing both a disservice
Definitely agree. The problem is making either work like the other one instead of as their own thing. The two can *complement*, using what they do best to communicate their *part* of the designers' vision, but to make them try to do the work of the other is at best an exercise in linguistic R&D; and not necessarily artistically effective. Although, a successful discovery of how to make one medium act more like another does expand the artistic potential of the first medium, so in that sense there is value to the attempt. Still, it's best to admit what an artist is trying to do if they want to be taken seriously: either they're pushing the linguistic limits of a medium and trying to get it to do more, or they're making the medium go all out doing what it does best. (Or the rare geniuses who don't have to say what they're doing, but manage to both expand the medium's communicative potential and fully utilize its artistic idea-conveying power).
I've been saying this exact thing for a long time. Glad to read it from someone else. The idea that games need to be cinematic is birthed from the argument that in order to be art a game needs to have a narrative. It absolutely doesn't. The art is in the code. The comparison to music is one that I've made as well. The art is in the notes. If the story in the lyrics adds something to the artistry of the song, then that is extra, just as any story in a game is extra. The comparison really hits home for me when I think about the quality of the stories told in games and in music. Most lyrics in music are inane at best. Rarely do we get more than two dimensional characters doing anything for more reasons than old fashion ideas of love and honor... sounds a lot like games to me.
I'm not sure if games will ever be seriously regarded as a capital 'A' Art medium, but I think that has more to do with its appeal to the "commoner" and its approachability to anyone willing to learn a little control. I've always gotten this vibe that High Art needs to be set aside, up on a pedestal, unapproachable, whether it aspires to the mysterious Divine, or is commissioned by nobility or the state, or erupts from the abstract genius on the fringes of society, or even wildly running counter against the mainstream. I also fear that should civilization in the mainstream be ready to receive video games as art, it will also have to regard advertising as art. At thoughts like these I falter in wanting to look at games as art, but I make the mistake of thinking art is some special thing. All art is is a blanket term for however one person tells another person what they're thinking. Games are as much art as graphic design and communications, as much art as film, as much as literature, human speech, body language, and whatever is left of the human animal's capacity to shape its scent and interpret the scents of others. The real question is, as toolmakers and users, how much control do we demonstrate in the use of our tools, art as communication methods included? And how do we evaluate what it means to be in control? Nothing wrong with treating games as little more than interactive movies or choose-your-own-adventure books, but does doing so get an underlying, deeper vision across in a way that only having the game component, however small, could have? Did the movie suddenly communicate something much more valuable by having an interactive component? At this last thought I think of how Alton Brown talks about pantry ingredients (gosh darn it I love his show and his style). How versatile is it, and how versatile is the cook's understanding of it? Can the cook and ingredient come together so that the ingredient becomes the star of a variety of main courses? Can they also come together so that the ingredient is able to enhance the qualities of other main ingredients, or, even further, can the same ingredient enhance without drawing attention to itself? This in a sense is how I connect games to another art, that of cooking, much as games have already been likened to music here. For the most part, gaming's still a fresh medium, a new ingredient in the menu of ways people can get in touch with each other. For the most part designers have focused on cooking games as main ingredients, and at their most backwards (but god bless 'em) they try to see how games work as other media, as if they're searching for ways to substitute this new ingredient for a main ingredient in an established dish. For the most part, attempts to make games work as unobtrusive enhancers for other media are rare, probably because even I have this perception, this assumption, that interactivity is so noticeable so as to be impossible to subordinate to another medium. At best our best art-technical designers are able to blend games and balance them with other media, possibly riding the wave of creating rich multimedia experiences that seek out the entire surface area of our attention. So we've got a ways to go before we can claim real mastery over this new medium, and a bit further along to aspire to High Art, to comparisons of gourmet cuisine. For now the medium proceeds like I imagine food-preparation has, with people scrounging around for ideas/edibles, playing with ways to prepare them into mechanics that mean something, slowly building familiar dishes and bodies of similar food qualities/genres, until at some point our descendants are having international game sales as school fundraisers selling games and mini-games in the style of their subculture/niche. And yeah, I'm kinda hungry now. Anyway, you guys are free to think in terms of music and song for games, I just discovered that mine has to do with food.
Hmm...may I suggest comparing games to food? I suspect it may be less contentious, especially since with the exception of the handful of cooking games food hasn't really crossed paths with games, and so would be less likely to get confused in the discussion. Movies and music, while still valid, demand more attention to definition, I think. Just a suggestion! I might write a semi-serious article, but topic's up for grabs if it'll help warp our industry's approach to game design...in tasty, soulful, homey ways...
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