Sis said:I have a ton of respect for the people doing ICO and SotC (which I haven't played yet), but I would argue that ICO is probably the best the video game has to offer in this regards, and yet it still pales in comparison to other mediums.
Video games are probably similar to the silent films in terms of maturity. One or two more things have to happen before we see full blown artistic growth.
.Sis
Yeah I agree. The ending of ICO was poignant and so was Flashback when the hero seemed fated to sleep away into oblivion after saving the world.
But I've been far more moved by books, films, music and painting than any game I've ever played.
Forget about artistic merit or authorial control vs. interactive branching which changes the plot or the outcome. Has there been any game which has left your head buzzing afterwards or which has moved you as profoundly as any other work of art?
But unlike Ebert, I don't think games are inherently unable to create those kinds of experiences and reactions. Just that it doesn't seem to have happened yet.
Games have delighted and intellectually stimulated people as much as other works of art. But when it comes to plotting and character development, or revealing truths about our lives (i.e. human nature), it just hasn't happened.
Part of it is that game scripts are derivative of films and other media. Doesn't mean they have to come up with completely original stories in order to attain artistic heights. After all Shakespeare took other people's stories and then made great masterpieces out of them. So execution is a big part of it.
Perhaps if there is an obstacle, it's that games are a collaborative medium, maybe even more so than professional movie production these days, as much as they're scrutinized by studio execs. and test marketed before they do the final edit.
How much singular authorial control does Miyamoto or the MGS guy exert over their games these days? Have games production become so big that it's impossible for any individual vision to survive the development process?