It’s funny how things often tie themselves up in satisfying little bundles. One week after posting a long rambling piece on how we can go about forging a style of criticism unique to games, I came across this interview with Jon Blow. Now I’d never heard of indie developer Jon Blow before, or even either of his games Braid or the upcoming The Witness but it made fascinating reading nevertheless, which tied in nicely with the whole games-as-art thing that I’d been thinking about. Here’s a man who’s not just echoing what so many of us are saying about the one-dimensional nature of modern video games but doing something about it too.
It’s a long piece although entirely worthwhile. But just in case you don’t have time to read it I’ll go straight for what I thought was the money shot, toward the end of the article:
As Hecker explained it: “Look, film didn’t get to be film by trying to be theater. First, they had to figure out the things they could do that theater couldn’t, like moving the camera around and editing out of sequence—and only then did film come into its own.” This was why Citizen Kane did so much to put filmmaking on the map: not simply because it was well made, but because it provided a rich experience that no other medium before it could have provided.
This is one of those times where I was forcibly struck by the fact that this was screamingly obvious once stated, but that I’d never heard it stated before. Games are not films, and to become the unique artistic medium they can be, they need to concentrate on what it is that they can do uniquely.
And the tie-back to the criticism piece? Well, if this message is true of the medium, it’s true of the criticism as well. As writers we need to be thinking about this, about what makes games unique and focussing on that when we de-construct and analyse things. And not only that, we need to be thinking about what makes writing about games unique, and using that as the basis to forge our new art.