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Graphic by: Jenny Conner |
Throughout the years, the mediums of film and television have primarily been the dominant entertainment mediums. While film is more often considered the apex of artistic expression in the multimedia world, there seems hardly enough room for another medium that can so accurately capture the high standards in artistic expression that film has achieved. Yet, there is one that has emerged that may come as a surprise to some. Video games, now a multi-billion dollar industry, are quickly becoming a legitimate medium as capable, if not more capable, than film.
With video game sales reaching the mark of $30 billion in global sales versus the movie industry's $20.4 billion in 2002, this shows that video games can contend with and even surpass the movie industry in terms of revenues (Gaudiosi), 2004, 3). However, there are two factors that may mislead. For one, these reported figures make no mention of gross figures or net profits and two, no mention of the effects of piracy on either industry. Defying the downward turn in the U.S. economy following the year 2001, the sale of video games stayed strong, even reaching an all-time high of $6.9 billion in 2002. Video game software is also the fastest-growing segment in the industry, according to PricewaterhouseCoopers, a media analysis firm (Kane, 2004, 1). The game industry, which relies heavily on the development of newer, faster software and hardware to whet the appetites of gamers, is spurred in this continual growth by the ever-advancing drive towards superior digital technology. This outlook by PricewaterhouseCoopers, though carefully researched, is still only an estimation of the coming years and therefore could still prove to be inaccurate.
Video games, like films, have also captured a large audience. So much so that many video game business executives believe its evolution will transform the industry into one that rivals the film industry in creativity, scale, audience responsiveness and revenues (Kane, 2004, 12). Many game players say that they get a uniquely satisfying experience from the virtual reality aspects of the game - interactive engagement of a playerís imagination, thought and physical activity (Kane, 2004, 12). Considering that game developing executives are in the business to make and market a product to game enthusiasts who already share an obvious passion for their particular hobby, one should be aware that these statements of course are biased in favor of games since it is such an integral part of their lives already.
An interesting development in recent industry trends is the creation of college courses and even entire schools devoted to game development - the largest of these being the Redmond, Washington based school DigiPen. As we all know, for years now, film classes have sculpted and cultivated students into bright young directors and producers among the hundreds of other film-related jobs. Again, like the movie industry, game design classes are slowly beginning to creep into colleges around the world, such as the U.S.'s own UNLV (Hoyt, 2003, 2). This could be seen as a cause-and-effect relationship between the two mediums; as digital movie technology increases, so does the need for experts in the field. Likewise for game designers - in an emulation of the way movie makers were once shaped, the game designers of tomorrow are following in these footsteps by doing the same.
Now that the technology and markets for video games have been shown to rival the major media outlets, the question of games as art capable of expression must be explored. Take this definition of the word. Art (art, n.): The conscious production or arrangement of sounds, colors, forms, movements, or other elements in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium. There certainly is a lot of conscious production going on; what with the constant arrangement of sounds and colors combining into an often-intense synesthesia further topped with a graphic visual. One may have trouble convincing an art historian on the matter, however. As Computer Science Prof. Eric Roberts was quoted as saying at a conference on games as art, "I often feel that the exhibitsÖare not exactly ëmuseum-worthyí to my way of thinking." (Whaley, 2004, 12). A good opinion, certainly, but do games transcend some of the pre-conceived conventions we hold about art? Maybe games do not work on the same level as museum exhibits because they are meant to be an interactive experience such as music, which is also considered an art. Games, especially with todayís technology, do indeed rely heavily on music which, like a movie, attempt to establish or evoke an emotional response from the viewer. To quote Will Wright, creator of The Sims, a top-selling game franchise, "I think games can evoke emotional response[sic]. In games, I feel emotions like guilt and pride that I never saw before during a movie." (Whaley, 2004, 23). The probable reason for this sentiment is that, unlike film or other multimedia, a game player is not forced to sit idle and watch the action ñ the player is actively involved in making a multitude of choices using their wits and often, coordination in furthering the game play. In essence, the game player feels much more emotionally attached to a story or character because they are the ones in control. It would also be hard for anyone to doubt that video games donít have a cultural value as well or there wouldn't be such a fuss on Capitol Hill about the extent to which video games affect our lives.
Another sign that video games are being received as a legitimate medium is the cross-industry integration of Hollywood. Games based on movies are more common today, so common in fact, that making a game based on a movie is no longer a marketing after-thought but rather an integral plan of the overall marketing strategy (Movie Magic, 2004, 5). This has yet to transcend the barriers of action movies, though. Giving credit to the power of the movie-based game, it is now even possible for the game to be more entertaining than the movie. Legitimacy is also greatly compounded upon when actors lend their voices to the very characters they helped establish on film. Actors such as Arnold Schwarzenegger, Judi Dench, John Cleese and Jet Li have all lent their voice-sakes to games. Harry Gregson-Williams, who composed the soundtrack for the 2001 hit PlayStation 2 game Metal Gear Solid 2: Sons of Liberty, to his credit has also composed scores for such films as Armageddon and The Rock.
The medium of video games, once regarded merely as an expensive toy for a childís amusement has come a long way towards establishing itself as a media force capable of massive influence and appeal. With high prospects on the horizon yet, it seems that this fairly young medium can only become more and more capable of delivering stronger, more enhanced experiences to its audience. Whether generating profits and growth at a rate which film or television couldn't hold a candle to or recruiting top creative talent and helping change consumer culture at an astronomical rate, it is clear that games have achieved legitimacy through the purchasing power of the people.
(SOURCES)
Kane, Stefanie, March 22, 2004. The whole world is playing. Retrieved September 2, 2004 from http://www.hollywoodreporter.com/thr/pwc/talking_display.jsp?vnu_content_id=1000469019
Gaudiosi, John, Dec. 10, 2003. Games, movies tie the knot. Retrieved Sep. 6, 2004 from http://www.wired.com/news/games/0,2101,61358,00.html
Hoyt, Jeff, October 6, 2004. UNLV recognizes burgeoning video game field.
[Electronic version]
Rebel Yell. Retrieved Sep. 2, 2004 from
http://www.ryunlv.com/global_user_elements/printpage.cfm?storyid=520090
Whaley, Ben, February 9, 2004. Conference debates video games as art.
[Electronic version]
The Stanford Daily. Retrieved Sep. 6, 2004 from http://daily.stanford.edu/tempo?page=content&id=13037&repository=0001_article
Movie Magic Hits the Games Market, (2004).
Retrieved Sep. 9, 2004, from http://news.bbc.co.uk/cbbcnews/hi/sci_tech/newsid_3921000/3921793.stm
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The Emergence of Video Games