infovore + stevegaynor   8

Fullbright: Quick Hits 2
"For instance, when a film critic with a Twitter account says that video games are not art, the natural followup becomes, "Well then... what is art?" And suddenly we're in some goddamn flourescent-lit student lounge, sitting on a nine-dollar couch across from a dude whose shirt is self-consciously spattered with daubs of encaustic, hip-to-hip with the girl who stamped each page of a copy of The Feminine Mystique with an ink print of her own labia, hearing the guy over our shoulder mention Duchamp for the sixth time this week, and it all just needs to stop right now." Well said, Steve.
stevegaynor  art  games  videogames  writing  criticism  stopitalreadydudes 
april 2010 by infovore
Fullbright: The middle child at peace
"...maybe this is the best of both worlds. An audience that, having crossed the barriers to entry, is by its nature more invested in our work; a public profile by which we have the means to occasionally reach into the mass consciousness, but which affords us the freedom to continue experimenting with subject, form, and style; an industry which is truly international; which is capable of producing both multi-million dollar blockbusters and single-creator labors of love (and releasing both on the same platform); which manages to be neither too big nor too small, and is the more vital, unique and exhilarating for it. We are a medium for us, and while there are more and more of us every day, we'll never be for everyone. In a way, that's beautiful." I think Steve's about right.
games  criticism  comics  culture  stevegaynor 
november 2009 by infovore
Fullbright: Single-A games
"They're like triple-A games, but trimmed down and tightened to fit a smaller team, smaller scope, and usually a smaller audience-- to try new, interesting, and exciting approaches that the baggage of a triple-A game can almost never allow. Single-A games: they're what we need more of, and they're what The Path and Zeno Clash are outstanding examples of." I like your coinage, Steve.
stevegaynor  writing  games  independent  singlea  newwave  industry 
may 2009 by infovore
Fullbright: A worthy model
"I would love to see more games that use Flower as a model, not in the copycat sense of being "flying games" or "games where you're the wind," but in the high-level approach that the production implies. Smaller, shorter, higher-fidelity, more focused, more sensate experiences that are affordable, accessible, and digestible. The primary obstacle to one designing a game with these principles in mind seem to be finding an engaging core sensation that fits the constraints. I can't wait to see the results that this challenge brings." Some sensible, and lucid, thoughts on Flower from Steve.
games  ps3  stevegaynor  scope  flower  highfidelity 
march 2009 by infovore
Fullbright: Storymaking
" games are driven by the player, experientially and emotionally. Fictional content--setting, characters, backstory-- is useful inasmuch as it creates context for what the player chooses to do. This is ambient content, not linear narrative in any traditional sense. The creators of a gameworld should be lauded for their ability to believably render an intriguing fictional place-- the world itself and the characters in it. However the value in a game is not to be found in its ability at storytelling, but in its potential for storymaking." Some commentary on the scale of storymaking games offer, from Steve Gaynor. Also: I like the word "storymaking", as opposed to "storytelling".
games  narrative  story  mechanics  stevegaynor  plot  pace  storymaking 
february 2009 by infovore
Games are Software « Save the Robot - Chris Dahlen
"I come from a software background, as well as an artsy-fartsy one. I want to see games as art, but they’re also supposed to work as logically-constructed bodies of code. And in a lot of cases, reviewers need to see them as software rather than as art. Here’s why..." I think Steve has some good points here, but I'm not totally swung yet; after all, games might _be_ software, but do we _experience_ them as software? I'm not sure that we do, and that's why we respond to them in the manner we do.
games  software  criticism  review  development  stevegaynor 
december 2008 by infovore
Fullbright: The immersion model of meaning
"Our attempts to bridle the player's freedom of movement and force our meaning onto him are fruitless. Rather, it is a distinct transportative, transformative quality-- the ability of the player to build his own personal meaning through immersion in the interactive fields of potential we provide-- that is our unique strength, begging to be fully realized." Some great Steve Gaynor; reminds me of Mitch Resnick's "microworld construction kits" all over again.
stevegaynor  games  immersion  systems  mechanics  openworld  narrative  experience  freedom  meaning 
november 2008 by infovore
Fullbright: On Invisibility
"In a strange way then, the designer of a video game is himself present as an entity within the work: as the "computer"-- the sum of the mechanics with which the player interacts." Fantastic piece from Steve Gaynor, which touches on some notions of the death of the designer - namely, that the designer *is* inherently present in games; they embody themselves in mechanics, and games that downplay logical mechanics that players can reverse-engineer do themselves a disservice.
games  design  play  mechanics  rules  rulesets  stevegaynor  designer  author 
september 2008 by infovore

Copy this bookmark: