Editor's Note: I'm fascinated by the parallels between film and games. Apparently, so is Alex, who examines the evolutional similarities of the two forms of media -- and how games may be poised to take the next step in how they tell their stories and affect their players. -Jason




When we talk about the art of game design, a comparison with movies often follows. It's not a surprise that the two are so frequently talked about in the same breath, as many gamers have a shared interest in movies, and films and games regularly share themes and ideas. Also, and perhaps more important to the wider audience, the media in which we view them is the same. Fortunately for this article, the comparison is also a useful place to look at the evolution of games.


In truth the two forms of entertainment are very different, with the passive nature of film making the experience far easier for the author to sculpt a consistent narrative. The illusion is rarely stretched by the viewer, and no one deliberately tries to break the experience. But both media exist in a similar space in most people’s consciousness, and frequent crossovers exist between the two. Films and games are also very recent forms of entertainment, and as such cinema proves a useful starting point to draw analogies from to help us better visualize the phase of the development games are in.


If we look at cinema’s development (I am not a scholar here, just an enthusiast), we can view how the medium progressed and was put to better use, both in the technology involved and its creative application. The very first examples of cinema were merely tech demos (for want of a better term), a proof of concept of what the medium could do. This new art form inspired people. The lack of sound meant that people had to use workarounds; onscreen text helped progress plot, and live pianists (and later gramophones) produced additional atmosphere for the filmgoer. Despite these limitations people started to produce comedies and romances, drawing heavily on classic storytelling techniques. Filmmakers applied theatrical stage techniques, including mime to great effect, to produce a spellbinding magic for early audiences.


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Yes, the games are very different...



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Charitably you could call me fair skinned, or less charitably ginger. So as a child on vacation I was either smearing sun-block over my blubber or hiding in arcades playing ‘Star Wars.’ Its crisp graphics still burn brightly as one of my earliest memories.


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 A great podcast with the creator of Sensible Soccer, Cannon Fodder and Megalomania. Interview kicks off at the 54min mark.


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The Nazi imagery creates many preconceptions.



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It’s difficult to be objective about it. Games are so often belied that to be able to classify them as art would silence critics. The problem is the majority of popular games could never be defined as art.



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There is a blight, that dogs both I and Darren. We can take it no longer, this offence to auditory senses. But what is this festering pox covered beast which haunts our iPhones? Left 4 Dead stories. Yes, this show we talk about gaming podcasts. What we like, what we don’t like and why we are happy to pander to your every desire to keep you listening to us.



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I have reached a time in my life where the majority of gaming I do is single player. I want to jump into games world. I’m a tourist. Except I have strange holiday requests. Instead of sun and beaches I want adrenalin and fear.



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This time the Japanese androgynous hero IS actually a girl, called Lightening

This time the Japanese androgynous hero is actually a girl, called Lightening.



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Often when we talk about games being art we approach the subject in terms of definitions. People seem to forget that usually to the observer art elicits something more than a pragmatic break down of its construction. Unless specifically tasked to do so, I rarely look at a painting or listen to music and dissect it. I see the work in its entirety and feel the emotions it provokes.


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Explosions are erupting all around. There is confusion, gore. Your vision is wrenched towards where your supposed aggressor lies, but it’s unclear. Searching your focus glides across the horizon. Searching. It’s blurry, indistinct. Catching occasionally on a distant feature you eyes slip over it like Teflon, unable or unwilling to acknowledge the scene. Huddled in terror, you realise your only choice is to move from your cover is you want to make it out of this alive.


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