By Henry Jenkins
The real problem with video games
The changing face of child's play
Students dreaming of game design
The industry's top creative minds
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In the end, games may not take the same path as cinema. Game designers will almost certainly develop their own aesthetic principles as they confront the challenge of balancing our competing desires for storytelling and interactivity. It remains to be seen whether games can provide players the freedom they want and still provide an emotionally satisfying and thematically meaningful shape to the experience. Some of the best games—Tetris comes to mind—have nothing to do with storytelling. For all we know, the future art of games may look more like architecture or dance than cinema.
Such questions warrant close and passionate engagement not only within the game industry or academia, but also by the press and around the dinner table. Even Kroll’s grumpy dismissal of games has sparked heated discussion and forced designers to refine their own grasp of the medium’s distinctive features. Imagine what a more robust form of criticism could contribute. We need critics who know games the way Pauline Kael knew movies and who write about them with an equal degree of wit and wisdom.
When The Seven Lively Arts was published, silent cinema was still an experimental form, each work stretching the medium in new directions. Early film critics played vital functions in documenting innovations and speculating about their potential. Computer games are in a similar phase. We have not had time to codify what experienced game designers know, and we have certainly not yet established a canon of great works that might serve as exemplars. There have been real creative accomplishments in games, but we haven’t really sorted out what they are and why they matter.
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photo courtesy of viewimages.com |
But games do matter, because they spark the imaginations of our children, taking them on epic quests to strange new worlds. Games matter because our children no longer have access to real-world play spaces at a time when we’ve paved over the vacant lots to make room for more condos and the streets make parents nervous. If children are going to have opportunities for exploratory play, play that encourages cognitive development and fosters problem-solving skills, they will do so in the virtual environments of games. Multi-player games create opportunities for leadership, competition, teamwork and collaboration—for nerdy kids, not just for high-school football players. Games matter because they form the digital equivalent of the Head Start program, getting kids excited about what computers can do. Which kids are playing these games?
The problem with most contemporary games isn’t that they are violent but that they are banal, formulaic and predictable. Thoughtful criticism can marshal support for innovation and experimentation in the industry, much as good film criticism helps focus attention on neglected independent films. Thoughtful criticism could even contribute to our debates about game violence. So far, the censors and culture warriors have gotten more or less a free ride because we almost take for granted that games are culturally worthless. We should instead look at games as an emerging art form—one that does not simply simulate violence but increasingly offers new ways to understand violence—and talk about how to strike a balance between this form of expression and social responsibility. Moreover, game criticism may provide a means of holding the game industry more accountable for its choices. In the wake of the Columbine shootings, game designers are struggling with their ethical responsibilities as never before, searching for ways of appealing to empowerment fantasies that don’t require exploding heads and gushing organs. A serious public discussion of this medium might constructively influence these debates, helping identify and evaluate alternatives as they emerge.
As the art of games matures, progress will be driven by the most creative and forward-thinking minds in the industry, those who know that games can be more than they have been, those who recognize the potential of reaching a broader public, of having a greater cultural impact, of generating more diverse and ethically responsible content and of creating richer and more emotionally engaging stories. But without the support of an informed public and the perspective of thoughtful critics, game developers may never realize that potential.
Henry Jenkins is director of the Program in Comparative Media Studies at MIT.
http://www.techreview.com/articles/oct00/viewpoint.htm
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