@Example1013: You're right that the "games are art" stance isn't inherent, but I do believe that's the sentiment here. Listening to curator Chris Melissinos speak throughout the weekend, that was definitely his intention. I do wish this notion was extrapolated further in the show though.
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This past weekend the Smithsonian American Art Museum (SAAM) opened The Art of Video Games: a history-spanning account of the life of the medium. It's a big coming out party for games-as-art champions who get to see the games they love stand in the limelight on a national stage. The show was put together with great care and respect by guest curator Chris Melissinos, but perhaps the most significant thing about The Art of Video Games is that it exists at all.
The title of the exhibition is so purely descriptive it seems like it should be the subtitle to something written in leetspeak. I imagine the reasons for such a bland header are multifold. There's a wide audience of museum goers who know nothing about games and the straightforward title lets them know what they're in for. It plays it safe, which could be used as a descriptor of the entire show. It isn't surprising that SAAM would want to avoid controversy, especially in the wake of the hot water their housemate, the National Portrait Gallery, found themselves in with their Hide/Seek exhibition. Also, the Smithsonian can be a stuffy place, and The Art of Video Games is a sign of goodwill on the part of games advocates who are willing to keep the crazy in the box in exchange for a solid dose of recognition.
The exhibition consists of three rooms: a "visual art of games" display, a hands-on arcade space, and an archival console timeline. Aside from the hilarious video footage of gamers' faces as they play, the initial room seems geared towards showing the visual appeal and traditional craft of game aesthetics. Concept art and storyboards are installed salon-style, and a 5-channel display shows the graphical leaps in video games hardware over the past few decades. I imagine the first room gives non-gamers something to latch onto that's a bit more familiar for an art museum.
Moving forward, visitors enter a wide open space with a handful of large projected games to play, each contained within a giant half-cylinder "arcade cabinet." The whole room is aglow in purple, blue, and black stenciled lights, offering an aesthetic that's very roller rink/lazer tag arena. During the opening weekend there were lines for the multi-generationally recognizable Pac-Man and Super Mario Bros. People were playing Myst and The Secret of Monkey Island too, but the nature of those adventure titles made them more suitable for a less crowded setting. Along with Flower, these are the only playable games in the exhibition.
The third space, the console timeline, seems like the centerpiece of the show. In this room, again bathed in purple, vertical structures display video game consoles individually behind glass and pair them with four games each. The games are divided evenly into Action, Target, Adventure, and Tactics categories, offering a better glance at genre evolutions than necessarily the best or most important games on a particular system. Each tower has a button per game that plays a video with voiceover describing why the game is of significance and additional contextual details. Unfortunately, some of the game selections feel like an unnecessary stretch to prove their worth. The video for TRON: Maze-Atron even admits that the game wasn't very good, yet, here it is. It may have been a noble effort to democratize the selection process, but it's difficult to see that as a plus given some of the resulting picks; I'm looking at you Worms Armageddon.
It's frustrating to see an exhibition of video games both spread itself too thin and miss essential pieces at the same time, but The Art of Video Games does just that. Everyone could have their list of impossible-to-satisfy omissions, but I find it hard to stand behind the absence of all fighting games and, by extension, arcades. On the other end of the spectrum, the broad survey of games is rooted in understanding chronological history more than communicating a clear argument for why we should view games as artworks. Perhaps "games are art" is the inherent assumption, given the context of the exhibition in an art museum, but I was hoping for a little more intellectual rumination on the subject.
I love video games, but I realize this show is only partially meant for me. I don't go into an art exhibition expecting to adore every piece, but I do need to find resonance in the core conceits of the artists and curators who bring everything together. This is a sentiment that The Art of Video Games ultimately achieves. Melissinos has painted a history of games that may not be a mirror reflection of actual events, but it is a narrative that makes sense, and is actually digestible. The show is a foot in the door for the medium that will hopefully lead to increasingly daring efforts in the future.
The opening of The Art of Video Games was supplemented by talks and panel discussions as part of Gamefest covered herepreviously.
Opening this weekend at the Smithsonian American Art Museum (SAAM) is the Art of Video Games exhibition, curated by Chris Melissinos. I'll be taking a deeper look at the show itself soon, but in the meantime, SAAM has been putting on a series of events they're calling Gamefest that lasts all weekend. For Saturday this consisted of a couple lectures, live music and games, and a film screening (The King of Kong). I'll focus on the two auditorium discussions of the day.
A Conversation with Hideo Kojima
I wasn't able to physically attend this talk since tickets were claimed in advance and the line that showed up for standby was pretty huge. Luckily it's available to view online, which is the version I'll just briefly touch on.
I don't think "conversation" was really the correct term to describe the Kojima event, since it was really just the Japanese developer answering Melissinos' questions through a translator for an hour. It's difficult to overcome language barriers in these kinds of situations, and as such, it's best to go into a talk like this with metered expectations. Still, it's cool to see Hideo Kojima in person. I love his games and his sense of style.
Topics ranged from original inspirations, to qualities of great game designers, to the difference between games and films. There was nothing super surprising, especially for audience members who've been following Kojima and/or Metal Gear for a long time. He wouldn't reveal anything about his next projects except to say that he's working on "something," and that the player will be more in control of the narrative pacing in contrast to the Metal Gear Solid series.
There was no mention of Transfarring.
It’s All in the Design with Robin Hunicke
Indie studio thatgamecompany has been enjoying quite a bit of limelight at the Art of Video Games. Producer Robin Hunicke is a producer who worked on their latest title, Journey. Before that she was with EA for Sims 2, My Sims, and Boom Blox. She spoke about what she sees as the core mechanics of game design, and how those points apply to people lives outside of games.
Hunicke broke her design goals down into 4 categories: Exploration, Expression, Experimentation, and Experience. She related these to various points in her game development career, making sure to note how not only are these goals for what a game should play like, but also how the development process should operate. She sees great leadership coming from someone who acts as a "force multiplier." This would be an individual who knows how to ask the right questions of their team, and trusts them to answer those questions by doing great work. The leader can't be an overlord. She recognized Steven Spielberg, the create force behind Boom Blox, as an individual who is a master of this force multiplier technique.
Knowing that her 4 design goals make for a satisfying work environment, it makes sense that creating content that performs extraordinarily in those categories would make for rewarding game experiences. They aren't just game experiences though, since game experiences are increasingly part of our life experiences. It makes sense to make the two more successfully intertwine, meaning individuals can aspire to better meet those design goals n both virtual and real-world fronts.
Development on Journey was also discussed in the context of the 4 design goals. Hunicke explained that the team had at one point built a variety of puzzles that required the two people playing the game to work together; think ladder lowering, dual switch pressing, and the like. This was found to be incredibly stifling to the openness of the design concept and was ultimately scrapped. It felt too much like you're completing a test instead of actually playing around in the world. Those 4 design goals are really 4 different factors of play that, once combined, can make for an immersive experience.
*all photos were shot by me, please let me know if you'd like to use them for something
Opening this weekend at the Smithsonian American Art Museum (SAAM) is the Art of Video Games exhibition, curated by Chris Melissinos. I'll be taking a deeper look at the show itself soon, but in the meantime, SAAM has been putting on a series of events they're calling Gamefest that lasts all weekend. For Friday this consisted of a couple panel discussions, a lecture, and a film screening (TRON). I was able to attend all of the talky-talk events.
The Evolution of Video Games: Pioneers
Panelists (left to right): Chris Melissinos, Mike Mika, Keith Robinson, Rand Miller, and Don Daglow
First up to bat was a series of industry vets who weren't above swapping a few war stories, but offer plenty of first-hand knowledge from the dawn of the medium. Honestly though, the pre-crash era of games is the one I'm least familiar with, so I was happy to hear about the processing power equivalents of walking 13 miles to school in the snow. I had no idea that games were being programmed prior to the notion of the live monitor interface. They printed out on paper! That might have been the most stirring factoid I heard all day.
Much discussion was framed around the forward evolutions in console generations, and how new sets of constraints are introduced in each cycle. Daglow made the association that when a new piece of hardware was introduced, it was as if someone turned off the lights in your living room, rearranged all the furniture, and left you to feel around for familiar textures. All of the panelists echoed the notion that design constraints imposed by limited hardware may have presented significant challenges, but ultimately they were a boon to focusing creativity and keeping their minds from running totally wild.
Mika parleyed these sentiments into discussing the challenges of true emulation and homage, specifically citing his work on faux NES title Dark Void Zero. I couldn't help but think about certain rock bands who only play with vintage gear to achieve specific classic sounds. Others mentioned how the lack of modern paddle controls makes it very difficult for new players to understand what made a game like Warlords so much fun.
The discussion was moderated by exhibition curator Chris Melissinos who retained a positively giddy tone throughout. He was eager to share entertaining, personal stories from his own life in between panelist prompts. The tone of the conversations were mostly feel-good, without the usual disdain for nostalgia that accompanies art criticism. This wasn't really the venue for that anyway. The Pioneers group shed light on some intriguing moments in history and successfully drew parallels between the industry issues of 40 years ago and those of today.
The Evolution of Video Games: The Future
Panelists (left to right): Chris Melissinos, Mark DeLoura, Paul Barnett, Ken Levine, and Kellee Santiago
While the Pioneers panel focused on how we got to the present, the Future panel was filled with speculation about where we go next and attempts to define where in fact we currently are. As a result there was actually some debate among the group.
Discussion sparked when Barnett suggested the idea of individualized "golden ages" for gamers. The basic idea is that there's a range of years in your life when you are most absorbed in playing games, and most susceptible to that saturation having a significant role in your development as a person. I don't know if that's true across the board, but definitively within certain genres and franchises. Is there really a need to play any version of Mario Kart other than the one you originally fell in love with? Maybe, but I doubt you'll like it as much. Santiago argued that the increased diversity in the gaming community has led plenty of individuals to discover and understand games in more varied stages of life.
Diversity was actually a point of commonality among the panel; diversity among developer personnel, styles of games, funding models, audiences, and more. One question from the audience spoke ill of "pretentious indie games" which Santiago later jokingly admitted to producing. After a string of don't-like-it-don't-play-it responses, Levine smartly piped up and reassured the audience member that developers pull from a wide variety of games and other media for inspiration, and that it's likely that "hardcore game" (my quotation marks, not Levine's) developers will play something like Dear Esther and incorporate and translate some of those ideas into their future titles. On the subject of borrowing ideas from other people's work, Barnett chimed in with a Monty Python quote for inspiration that went something like "All of my best ideas are bad ideas that someone misheard and made a good idea from."
Likewise with the notions of teamwork, sharing, and open communication being key elements of a successful development studio being touted, only DeLoura sidled with the remark that there's something significant and worthwhile to the singular vision of an artist, seen through from beginning to end. As an artist, I was personally glad someone on the panel expressed that sentiment. I'm all for teamwork, but for certain projects there are people who need to control everything in service of a perspective that only they can offer. DeLoura offered Jonathan Blow's Braid as an example.
I thought we might be treated to more talk about the hot-off-the-presses Journey or the looming Bioshock Infinite, but a lot of the concepts being touched on were more "big picture" items. This was for the best since it kept the discussions driven in directions that all of the panelists could contribute their expertise to. I left the panel feeling like I'd actually seen some genuine intellectual discussion happen, which is what I was hoping for. I've watched video of Levine speaking at GDC about the potential for narrative in games and read Santiago's writing about thatgamecompany's aspirations, so I went in with high hopes, which were mostly fulfilled.
Nolan Bushnell: Video Games in Retrospect
Having never seen Bushnell speak in person before, I only had the title of his lecture to draw from. Would this be an encyclopedic history lesson? An intimate trip down memory lane? Turns out it was a little of both with generous helpings of kookiness and comic relief, and a general sense of wide-eyed amazement at what new generations of game makers are creating based on frameworks he helped invent.
Much like the Pioneers panel, there were some look-how-big-computers-were stuff, but I was most interested in Bushnell the businessman since he came off as particularly shrewd. He pointed out that his company, Atari, had developed Pong, but that game had been ripped off by so many other companies that the majority of Pong machines weren't actually sold by Atari. They counteracted this by faking the labels on the boards that they manufactured so that when competitors would look at them for copies, they'd end up putting things in the wrong places, and the boards wouldn't work at all. They supposedly drove most all of their non-conglomerate copycats out of business with this strategy.
That's the other thing about Bushnell: he likes legendary stories, and he's certainly billed as one. Are some of these stories myths? We have to take his word for it I suppose, since at least the results of his endeavors are on record as facts. I hadn't questioned anything until he mentioned the ET cartridge debacle and rumor of a desert burial repository for the unwanted titles. I always had fun telling that story to non-gamer friends, but I don't know that I really believed it was anything but a tall tale. On the other hand, Bushnell freely admits they had to sell Atari-Japan to Namco due to defying numerous rules and regulations out of ignorance of the country's bylaws, so why not just hop on for the ride if he's willing to go that far.
The talk wrapped up with a "ref" from Twin Galaxies and high-score king Billy Mitchell trotting out a giant video game trading card of Bushnell as an honorary award. There was a chumminess between them and a heartfelt recognition that having an exhibition of video games in a national art museum is a truly significant step for the form. They seemed to relish it so much that they burned right through Q/A time, which meant it dragged a bit, but in the context of this symbolic achievement, I understand wanting to hold onto that moment as long as possible.
*all photos were shot by me, please let me know if you'd like to use them for something
Once again I'm doing this list as a "best music" one, meaning songs, singles, EPs, and LPs will all be included in indiscriminate fashion. I'm trying to keep things lean this time with an even 30 selections to be spread over 3 posts (compiled as one here on GB). All entry titles are hyperlinked to YouTube videos featuring correlating songs. I'll do some writing for the top 10, which hopefully won't delay the post too severely (update: it's there).
Happy listening and Happy New Year!
30. Trent Reznor and Atticus Ross feat. Karen O - Immigrint Song
29. Four Tet - Locked
28. Joy O - Wade In / Jels
27. ZZT - Vulkan Alarm (Proxy Remix)
26. Tim Hecker - Dropped Pianos LP
25. Rustie - Glass Swords LP
24. Surgeon - Breaking The Frame LP
23. Gatto Fritto - Beachy Head
22. Hercules & Love Affair - My House
21. Radiohead - The King Of Limbs LP
30. Trent Reznor and Atticus Ross feat. Karen O - Immigrint Song
29. Four Tet - Locked
28. Joy O - Wade In / Jels
27. ZZT - Vulkan Alarm (Proxy Remix)
26. Tim Hecker - Dropped Pianos LP
25. Rustie - Glass Swords LP
24. Surgeon - Breaking The Frame LP
23. Gatto Fritto - Beachy Head
22. Hercules & Love Affair - My House
21. Radiohead - The King Of Limbs LP
18. Chrissy Murderbot feat DJ Spinn- Bussin' Down
16, Salva - Complex Housing LP
14. Blue Daisy - The Sunday Gift LP
10. Africa HiTech - Out In The Streets VIP
This year I learned that VIP can stand for "variation in production." This is mainly used in drum n' bass circles when a producer remixes his/her own track drawing mostly the original components. "Out In The Streets" isn't the first time I came across this, but it was the first time when a VIP blew me away to such a degree that I had to uncover more about what's going on behind it. Africa HiTech's self-titled debut LP is solid all the way through, but "Out In The Streets" is the footwork-y standout. The VIP takes that flurry of skittery snares and cymbals and straps them to a dnb rocket. AHT's post-LP single asked "Do You Really Wanna Fight?" in a way that talked down aggressors by puffing their chests. "Out In The Streets VIP" shows that they were serious when they coyly asked that.
9. The Field - Looping State of Mind LP
I've gushed so much in the past about how great Axel Willner is at what he does, that I honestly don't have all that much more to say. When I first listened to Looping State of Mind I simply thought of it as more music from The Field, and I'm perfectly happy to have it. That said, LSoM doesn't hit the pleasure centers quite as hard as some of the producer's previous long players, opting for a more sustained bliss than the hills and valleys of his more dramatic pieces. The Field has produced a more balanced album as a result, which I imagine has to be part of the reason I've seen it showing up on other people's lists who I've never known to be Field fans. If broader appeal(?) means Willner can continue on with his practice though, I eagerly await the next dose.
Zomby is one of the most difficult producers to pin down in a genre. He has tropes that recur here and there (8-bit blips, gunshots, airhorns), but to say that this collection actually defines what Zomby sounds like is a gross over simplification. On Dedication we're turned in yet another new direction, and this one's pretty dark (see song titles in the album art). It's hard to listen to Dedication and not feel a sense of lurking. Ghostly synths haunt some tracks juxtaposed with poppy hi-hats that make me sense one sound is hunting the other. Dedication is music of contained unrest, possessing the ability to remain calm in the face of pure terror. Playing this while driving at night out in a rural area might be the ideal way to listen to it, but I don't think I have the constitution for that sort of thing.
2011 was more of an "album year" than one of singles for me, and I think that changeover is easily paralleled with the way I listened to Cut Copy's latest. The reason I never clocked a multitude of replays with In Ghost Colours had most to do with the fantastic remixes that were being released of that album's singles, which were more attractive to me at the time. Now in 2011, I still DJ, but it's not the primary reason I'm seeking out Cut Copy tracks. I think the singles simply got stuck in my head and I found myself cycling choruses in my mind, which drew me into Zonoscope enough to realize that every song on it had an infectious hook somewhere. I may still seek out remixes that have risen to the top, but I feel like my heart has already staked its loyalty with the originals.
6. James Blake - Limit To Your Love
Reactions to James Blake's reintroduction to the world as a pretty boy, piano bar crooner have been incredibly varied depending on which circle you travel in. With this emergence, Blake was suddenly on the big, Pitchfork-christened indie music circuit which many latched on to, some of whom would then turn around in traditional, popular backlash form. I liked James Blake as an underground UK "dubstep" producer, and was really more shocked than anything else when his first true vocal outing, "Limit to your Love" was shared around the Internet. Perhaps even more surprising to me, was that this Feist cover was the best thing Blake had yet produced. There's a variety of great elements to dissect here, but none more impactful than James Blake's use of silence. When all of the sounds drop out, that silence perfectly encapsulates the depression of being left behind, only to have those old hopeful feelings rush back again when those familiar piano chords signal the music's return.
5. Pictureplane - Thee Physical LP
I wish I had it in me to attempt to create music the way Travis Egedy of Pictureplane does, but I feel like only some bizarro world version of myself would actually be of a mindset of produce and perform this kind of stuff. Egedy's meditations on the ways human relationships evolve amidst oceans of technological advancements are messy in the best way possible. The sampling techniques employed here are very DIY, laying out repetitions that are pretty raw in a way that nicely reflects on the digital production process. The samples themselves are pitchshifted diva calls, paired with sped-up and slowed-down trance synths, a nice correlation to the current US pop landscape which itself is basically a form of trance music. Egedy's breathy vocals are the cherry on top, rounding out Thee Physical as a concept album that absolutely delivers on its core ideas without sacrificing any of its hooky madness.
4. The Rapture - How Deep Is Your Love?
Great singles can sometimes serve as enthusiastic hype-men for upcoming albums. A couple years ago when M83 put "Couleurs" on the band's website prior to Saturdays=Youth, I was ready to preemptively grant it "album of the year" status. Though my expectations were a bit more reserved for The Rapture due to their extended hiatus and member shake-up, "How Deep Is Your Love?" had me as juiced to see what else the band had in store as I could have hoped. After repeat listens, In The Grace Of Your Love may be kind of a mixed bag, but that lead single still shines brighter than perhaps any other individual song released in 2011. Almost all of The Rapture's best traits are on exhibit with this one: Luke Jenner yelping at top-range, infectious piano-stabs, music-centric chanting ("Let me hear that song!"), and a saxophone breakdown. The band may have shed their punk-infused adolescence, but they've kept their ability to make a track that is equal parts charged rock song and heart-wrenching dance cut.
3. Andy Stott - Passed Me By / We Stay Together LP
Andy Stott's 2011 output feels like it was made just for when I'm in a "music-listening" mood. The compiled EPs isolationist aesthetics are perfectly suited to the earbud-donning lifestyle. It's amazing how cold and distant the music comes off despite all the vinyl scratch and static fuzz on display here, which normally lend a homespun warmth the the proceedings. Stott slows his tempos down to gurgling chugs that sound as if the inertia continues to fight back. The beats hit like implosions, gasping for air instead of rippling out across the dancefloor. The same way The Field floored me with their debut by producing sample-based techno music that sounded like nothing else, Andy Stott has done likewise here with Passed Me By / We Stay Together, a combination of the two EPs released separately this year, along with a couple very worthy bonus tracks. I'd like to convince more people to give this stuff a spin (that's why I include the YouTube links), but I also know this is the type of music that's already in my wheelhouse and probably in few others.
2. M83 - Hurry Up, We're Dreaming LP
Another year, another M83 album in my top 2. Anthony Gonzales was heavily influenced by the stadium-filling rock bands he was touring with as he conceptualized this double LP. I totally understand where this is coming from in terms of his bold vocal performance on Hurry Up, We're Dreaming, but everything else about the album reads as studio wizardry, not live performance improvisation. "Wizardry" is actually an understatement as the diversity of instruments and styles M83 pulls together here is masterful. Woodwinds, strings, guest vocalists and more are culled together to form a truly bombastic soundstage. Gonzales hasn't forsaken the signatures of his past work either, giving shoegaze, 80s synth-pop, and cinematic dreamscapes equal footing. Hurry Up, We're Dreaming basically has everything an M83 fan would have already wanted, plus Gonzales showing off his pipes like never before. This album showcases just how great a work of art can be when an artist bares their soul to craft it. M83's latest is a testament to dreaming big and following through on that vision to the fullest.
1. Gang Gang Dance - Eye Contact LP
In interviews, members of Gang Gang Dance have spoken of this year's album as being a moment of clarity for them. Signs of this are apparent even before listening to Eye Contact, from the song titles ("Glass Jar," "Thru and Thru") and sharp cover art. In comparison to their previous LP, the experimental Saint Dymphna, Eye Contact definitely has a direct focus; a successful melding of bizarre vocal stylings, pan-global tribal influences, and modern electronic instrumentation. Perhaps it goes without saying that everything works well together (there are even designated interludes), but the real reason this album is so good is that every song is fantastic in a totally different way than the last. Leaving things here, the decision about whether to put this or M83 on top might as well been a toss-up. The scales tipped in GGD's favor primarily based on the incredible strength of the 11-minute epic, lead-off track "Glass Jar." The first half of the track is all build-up; constantly evolving and reshaping, but always growing. It would be all for naught if the payoff weren't so huge when the drums finally kick in, but GGD delvers on this too, offering up a psychedelic whirlwind of synths, beats, and voices that a lesser band would have had to divide amongst three or more pieces. If GGD has one core strength, it's their ability to draw from influences that have very concrete connotations, and redefine what you think of them. "Glass Jar" and the whole of Eye Contact performing this feat would be impressive enough, but to do so under the "guise" of clarity shows they trust their listeners to trust them back, which I certainly did.
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