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CONSOLIDATING the RECOGNITION of VIDEO GAMES AS an ART FORM MARCO FRAGA DA SILVA Abstract

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CONSOLIDATING the RECOGNITION of VIDEO GAMES AS an ART FORM MARCO FRAGA DA SILVA Abstract INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2020) Vol. 5, Nº. 1 pp. 24-34 © 2020 BY-NC-ND ijfma.ulusofona.pt doi: 10.24140/ijfma.v5.n1.03 ‘VIDEOGAMETISM’: CONSOLIDATING THE RECOGNITION OF VIDEO GAMES AS AN ART FORM MARCO FRAGA DA SILVA Abstract Because video games are still considered ’low culture’ by many whilst being one of the most important art forms of the XXI century, this pa- per proposes a new concept for the field of game studies with the main goal of being a useful tool for the consolidation of the artistic recognition of the medium. A few countries have officially recognized video games as an art form and im- plemented legislation to support video game artists and their work; unfortunately, many gov- ernments still do not recognize this artistic field. For video games to achieve a widespread artistic legitimation it is necessary more critical thinking and institutional validation. The proposed neolo- gism – ‘videogametism’ – is an appropriation of the Eisensteinian concept of ‘cinematism’ and, as Sergei Eisenstein’s legitimation term, ‘videog- ametism’ intends to support the recognition of video game artistic status, asserting that all art forms are present in this medium and that some artistic artifacts are ‘videogamatic’. Keywords: Art, Cinema, ‘Cinematism’, Gamifica- tion, ‘Play’, Video Games, ‘Videogametism’ * [email protected] Lusófona University 24 Introduction computer program on specific hardware. Therefore, video games are not created as single, simple works, The field of game studies and the recognition of the ‘artgames’ but are an amalgamation of individual elements that category, “around 2007”, allowed the growing legitimacy of can each individually be copyrighted (i.e., the charac- video games as an art form (Parker, 2013). ‘Artgames’ em- ters in a given video game, its soundtrack, settings, body a partial legitimation of the art of video games; the me- audiovisual parts, etc.) if they achieve a certain level dium’s artistic status needs to be reinforced by the creation of of originality and creativity. (Ramos et al, 2013) new concepts and more critical thinking, which will be useful on the ‘journey’ towards the inevitable universal validation of This paper will try to define the concepts of Art, ‘cinematism’, video games as an art form. gamification, ‘play’, video games, and transmedia storytelling. These concepts do not have consensual definitions, hence, This paper proposes a neologism – ‘videogametism’ – which suitable theories were chosen to best present the concepts comes from the appropriation of Sergei Eisenstein’s concept under the main theme of this paper. After establishing the of ‘cinematism’. The Russian filmmaker and theorist’s goal importance of video games as one of the most significant was to give the new art form of cinema the corroboration it art forms of the XXI century, the concept of ‘videogametism’ deserved. The appropriation of the author’s concept proposed will be presented and analyzed as a useful tool to emphasize by this paper shares the same goal: valuing the artistic quali- the inherited and intrinsically artistic qualities of the medium. ties of video games by exploring its interconnections to a myr- iad of other art forms. Many countries around the world do Art and Video Games not recognize video games as an artistic medium; therefore, the ‘videogametism’ concept is a tool for the widespread val- The history of Art is intertwined with the history of technology idation of this art domain and its practitioners. Although the and technological innovation; scientific progress, the emer- video game industry is the biggest entertainment industry in gence of new tools, and new media have been massively rel- the world (Stewart, 2019), and one of the most important art evant to artists and their artistic output (Ramos et al, 2013). forms in contemporary societies (Carita, 2015; Fuchs, 2015), it is still considered ‘low culture’. The multidisciplinary produc- The definition of Art and its utility is controversial and com- tion of video games and the artists that create them deserve plex in contemporary philosophy (Adaijan, 2018). The Amer- the same institutional benefits as other artistic fields. Portu- ican philosopher George Dickie stated that the necessity of gal, for example, a member of the European Union, has yet to defining Art is old but not an impossible task. His ‘institu- recognize video games as an art form: the overall legitimation tional theory’ establishes that Art is what is defined to be Art of video games has yet to be a reality in many countries, nev- by the ‘artworld’. For this author, the ‘artworld’ is a group of ertheless, the multimedia aspect of the medium allows frag- systems – theater, painting, sculpture, literature, music, etc. – mented protection and legitimation of the final result. and subsystems, or niches, which accommodate the creative act. In essence: whatever the ‘artworld’ specialists consider Video games are complex works of authorship – being Art is Art. He established three historical phases for containing multiple art forms, such as music, scripts, the search of a definition: the first corresponds to the various plots, video, paintings and characters –that involve attempts to define Art, starting with the “imitation theory”, fol- human interaction while executing the game with a lowed by others such as the “expression theory”; the second 25 INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2019) Vol. 5, Nº. 1 is the negation that Art could be defined; the third phase – his in video games can be defined in several non-exclusive ways: ‘institutional theory’ – is the final definition, free of ambiguities entertainment, fun, knowledge, catharsis, and social status. and the difficulties of the traditional definitions (1984). The validation of the ‘artgame’ genre arises with the launch The American scholar Felan Parker wrote that the academy is of Jason Rohrer’s Passage (Parker, 2013), in 2007. The cu- a very important institution for the recognition of video games rator Paola Antonelli selected this game, in 2012, to the as an art form: permanent MoMA (Museum of Modern Art) collection. Her perspective on video games’ artistic status is very clear: “Are The growing legitimacy of games in general and indie video games art? They sure are, but they are also design, games in particular is bolstered by scholarly atten- and a design approach is what we chose for this new foray tion to games, academic game studies, and the intro- into this universe” (2012). That same year the Smithsonian duction of practical game design degrees and diplo- American Art Museum opened an exhibition entitled The Art mas at colleges and universities. These institutions of Video Games – one of the first displays dedicated to “the serve an important legitimating function, expanding forty-year evolution of video games as an artistic medium”. the discursive and material opportunity space for the After several months at the museum, the exhibit went on a production and reception of digital games as a sig- traveling tour (until January 2016) around the United States nificant cultural form, and situating games alongside of America (SAAM, n.d.). other legitimate art forms like visual art, theatre, liter- ature, and film. (2013) The specialized audience and some scholars seem to agree that video games are an art form but the general public still Parker identified the year of 2007 as a very important time, needs time to stop seeing them as just a distraction and a around which the ‘artgames’ genre emerged and, with this form of escapism. An important achievement would be wide- event, an “unusually high degree of cultural and artistic legiti- spread governmental legislation that legitimizes the artists macy” of the indie games category. He recognized that indie working on this medium. Many countries have yet to recog- games and the subcategory of ‘artgames’ are unstable and nize video games as an art form as others do: ambiguous concepts since the video games included in these categories have distinctive qualities. Nevertheless, the author The US National Endowment for the Arts (NEA) now established a few possible non-universal common features: considers video games eligible for artistic funding, aesthetic originality, small development teams, and a concep- meaning they are legally recognized as an art form. tual message (2013). ‘Artgames’ seem to be to video games For those not familiar with the NEA, it is a US govern- what ‘auteur cinema’ is for mainstream cinema: qualitative ment program which funds artistic projects to “en- superior artifacts considered to be works of art. hance the public good.” In other words, the group de- cides which artistic projects are worthy of receiving The industry of video games, like the cinema industry, is a federal funding. (Protalinski, 2011) profitable business with artistic ambitions: some individuals aspire to create artistic artifacts and be recognized by the The United States of America federal government consid- public, their peers, and the critics. The public (or consumer) ers video games worthy of artistic merit (Protalinski, 2011) is an important component of this industry and their interest as well as a few other countries (e.g. France, Germany). All 26 ‘VIDEOGAMETISM’: CONSOLIDATING THE RECOGNITION OF VIDEO GAMES AS AN ART FORM MARCO FRAGA DA SILVA video game developers, video game designers, or video game Defining Video Games and ‘Play’ artists from these countries have the opportunity of having their playable art pieces recognized as other artistic outputs The definition of video games doesn’t yet exist in its plenitude from acknowledged art forms. This artistic merit should be because the concept is in constant turmoil (Carita, 2015). A globalized. video game, according to the online dictionary Merrian-Web- ster, is an electronic game where players control images on The ‘artworld’ is not blind to popular art forms still consid- a screen (video game, n.d.). Agreeing with this definition, the ered minor arts, such as video games and comics.
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