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In a world consumed by commercial interests and failing economics, it's not hard to understand why certain games are primed for the spotlight and others are left to devise their own means for success. Gears of War will not ever have to fight for air time in the market - it's got an extensive company behind it, virtually unlimited funds, and to a lesser effect, a massive fan base that demands everything to do with it be revealed to them as soon as possible. This satisfies the latest generation of gamers who are more familiar with these relatively new franchises than the ones that paved the way for them.
To many veteran gamers however, the path we're on is leading to a worsening environment that jeopardizes the quality of all titles. Gameplay innovation has slowed drastically, cliches are ever present, and story writing has been left behind in favor of graphical enhancements. For all the exciting games that allow you to shoot hundreds of terrorists or watch the dramatic explosion of a space ship, there have been scant few titles to inspire deeper thought and push the envelope of artistic power in the gaming community.
It's true that the first video games were simple devices like Thomas Goldsmith and Estle Mann's missile simulator or Ferranti's NIMROD computer, but this hasn't always been the case - MUDs, the first types of games to become major influences on the public, utilized only the power of words to tap into player's imagination, letting them craft better worlds than graphics ever could. In a sense this is how the modern game concept began; allowing people to interact with a story and giving them the power to play an alternate life written out by their own actions.
Will Crowther's Colossal Cave Adventure would inspire others to produce similar types of interactive fiction but story began to fall to the wayside as the industry was rocked by the invention of graphics-laden gameplay. But the franchises to follow were no less authentic or worthwhile than their predecessors and proved that having in-depth story application was not necessary for a successful game. The first Mario Bros. on NES is a great example of this, where innovation in the form of control of an on-screen character, challenging gameplay, and intriguing graphics kept players playing for years.
However these ground breaking advancements have become less and less frequent and changing standards in the medium is rare these days. This is where the surge of independent creators come in and why this article was written; in support of their movement. Before discovering the experimental gaming community most are not even aware of what they are missing out on, but a little research will lead you to some very exciting concepts. The following is a glimpse into the possibilities presented by several independent creators.
Developer: Jason Rohrer
The meaning of this game is hard to pin down but the emotions it can arouse are not. In simple terms the game is a show of how life passes by, adding years to your age as you travel along. Finding items can increase your age drastically, making you much older and ultimately you will always die at some point. You can choose early on to meet a girl and travel with her but the added space of a second person prevents you from choosing certain routes. It's a fascinating insight into the decisions we make and how they can limit our options later in life.
Developer: Ian Dallas
Specifically utilizing what many consider the most important sense they have, this game initially presents you with a blank screen without detail. Only by splashing it with globules of color will the landscape be revealed, one splotch at a time until you understand where to go. This simple mechanic makes even a basic door become an intriguing landmark and the colors you use can alter your emotion in seconds. Additionally messages can be hardwired into the landscape, revealed once enough color surrounds the letters for you to make out the phrase.
Allows the player to draw basic shapes into a landscape to interact with other objects, ultimately achieving a specified objective such as getting a ball from one end to the other. Balance becomes quite important, as dropping a small box onto the ball might slightly push it but dropping a massive one will throw it quite hard. Stacking of objects factors in as well, such as building a mock stair case with different sized boxes precariously on a cliff. Even with greatly simplified visuals it produces much strategic thinking and engages players by its friendly style.
Developer: Naoya Sasaki
A basic interface of statistical information leaves the player in control of a group of particles on a screen, indicated by orange or blue. The goal is to eliminate the opposing group by manipulation of order - you can either draw your particles up into a tight group or force them to break up and retreat. It presents very interesting implications for the power of strategy and formation, simultaneously bringing to mind the complexity of a molecule's constant movement. This could even be used to simulate a massive war game and help to determine an army's success.
Developers: Kyle Gabler and Ron Carmel
By working together with hundreds of blobs of goo, you can construct many different structures but you must maintain their stability or
your creations will fail. What at first looks easy becomes quite complicated as you must learn how to build things properly to achieve your goals, and sometimes build weaknesses into your structure for alternative reasons. Creations include but are not limited to bridges, towers, trebuchet-like devices to swing an object, lowering lines to descend from high places, and much more. It has relatively simple visuals but a very unique feel and surprisingly emotive interface.
Developor: Daniel Benmergui
Freely explorable circumstance game with only a few outcomes, each being entirely unique. Despite its size it evokes strong feelings through the sentimental scene before you; there is a boy and a girl on a raft with a moon above them. They can each be moved around to build different relationships, but the results of those bonds can break other ones in tragic ways. It shows how emotion can be produced with minimal effort as long as developers give it some. This game shows how emotional connection can make decent gameplay into a masterpiece.
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These are only some of the many projects that have existed independently from the flash of the mainstream media. They are brilliant in execution, but it remains a very difficult battle for those wishing to express these unique styles. They often operate single-handedly or with a small group of people to produce these games, often releasing them for free to whoever might enjoy it. This of course extinguishes both time and money but they care more than just for monetary success. They realize these types of dreams are necessary if the gaming world is to grow and finally break from the stereotypes and minimal intellectual growth it's seen recently.
Yet it's not all bleak. The community took to Jonathan Blow's Braid like a wildfire, helping it achieve nearly instantaneous fame as word of its features spread through online gaming news sites. With his own funding and resources he was able to polish Braid into a graphically pleasing but ultimately foundation breaking game. It utilized a vague narrative to capture intellectual interest as well as extremely innovative use of time control to bring about a completely new experience.
If only I could take back that ten minutes late to work...
With the public's support he has managed to garner financial success from Braid and may continue his efforts in changing the gaming landscape through innovation. Other independent creators have a better chance everyday of making it into the spotlight, and every one that does improves the universal perception of what "video game" actually means.
The future is dependent upon examination of all forms of gaming innovation whether it be in story, gameplay, physics, or any other area. Hopefully supporters will aid them and large developers will take their opinions about the industry into consideration before pumping out another sequel that doesn't build upon anything significant or create a footstep of its own.
It's 2009 - a good year to once again cement video games as art.
-TidalSpiral
AWESOME article, Tidal. Looking forward to hearing more from you!
Posted by: Faded | February 03, 2009 at 04:39 PM