(Louise Brown)
Sooner or later the liberation from a traditional videogame critics such as widespread in today's cultural must be done, there is hope. One thing is certain: as long as the terminology of the hobbyist reviewer will be found in the texts on paper or Web, basking in the taxonomy of opinion as easy as consolidated, the game will not make any step which has always remained anchored ie your hard determinism and aseptic aesthetic that can only cut off the plug-cultural importance that could inject into the breast to the other systems of art.
criticism within the videogame might instead play a vital role in this effect, acting as a counterbalance between popular opinion and a summary epilogue which really cultural art projects characterized by the development of many years and huge investments of human and financial resources behind them.
Given such importance, and in light of the facts, it is therefore a role that today should be completely rethought, as the games criticism not only of the primary need is to advise the user to purchase expensive "games," real and luxury goods with their immense power to move the macro-economy in the short to medium term by influencing the micro-financial savings for individual consumers, but the need to encourage a rethinking of the Culture of Video Game assure dignity when contrasted with the authoritative cultural criticism generated by the other arts, preventing peraltro qualsiasi eventuale ghettizzazione.
L’esperienza videoludica, sia in fase di produzione che di consumo, è cosa seriosamente giocosa quanto impegnativa e culturale, pertanto, quando criticata, non dovrebbe continuare ad essere (quasi sempre, come accade) compressa in aspetti comodi e codificati quali le categorie di giudizio comunemente presenti nella maggioranza degli enunciati critici: dal gameplay alla grafica, sonoro e longevità, ecc…
Tali sub-aspetti, ed é inutile giravi troppo intorno, trattano di termini parziali che non “fanno” assolutamente il gioco in sé, tantomeno possono esprimerlo globalmente in comode sintesi numeriche. Con l’affermare questo non si vuole assolutamente focus attention on the practical usefulness of the vote or less in the bottom of the reviews, or de-legitimize an abuse of terminology to that effect, but provide a starting point for reflection on the relativity of that habit.
Would not it be exciting if we could see more often as a critical contribution multidiretto gaming, multi-level multi-purpose, of all the arts whenever possible? In criticizing a date by then, you could not go beyond the limits of reference of the video game itself, straying beyond the "game itself"?
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Example: Art Criticism
place in front of a painting, a good art critic will not move in the critical text remained only in painting, calling into question that is only and exclusively the kind of "paint" to make a critical comparative analysis, but this critical scomoderà in a cultural discourse at large, various artistic categories ranging from literature to architecture, from movies to music to religion if necessary, so that the dignity of the art stand out of a vocation and an important authorial which will lead a total value at least, multi-culturally constituted and finally single substance.
In place of analysis are also scomodati gli aspetti psicologici e sociali dell’autore dell’opera, i contesti storici e le influenze artistiche sincretiche alla formazione dell’opera stessa.
Se è vero che la definizione di Autore Videoludico é ovviamente problematica in quanto, oltre al limite tecnologico, le software house rappresentano realtà “corporative” nelle quali la visione autoriale rischia di naufragare nei complessi rapporti di produzione e distribuzione del mercato (oltre alla difficoltà di rintracciarla in un team di lavoro di centinaia di persone dotate di competenze e sensibilità disparate), c'é da constatare quanto siano pochissimi i recensori “specializzati” che possono affermare di promuovere lo stesso discorso polisemico, anche in minime percentuali, per il Videogioco.
Ma é bene ricordare che anche in ambito videoludico, per qualsiasi artefatto esistente che si voglia analizzare (che si chiami Pong, Rez, Metal Gear o Giulia Passione Top Model), ci sarà sempre spazio per un apporto trasversale che nobiliti il sostrato del codice oltre i confini puramente ludici del mero gioco in sé.
Questo spazio purtroppo non viene quasi mai indagato per non dire ignorato dal sistema critico generatosi nel tempo attorno al videogioco (se di sistema si vuol parlare).
place in front of a painting, a good art critic will not move in the critical text remained only in painting, calling into question that is only and exclusively the kind of "paint" to make a critical comparative analysis, but this critical scomoderà in a cultural discourse at large, various artistic categories ranging from literature to architecture, from movies to music to religion if necessary, so that the dignity of the art stand out of a vocation and an important authorial which will lead a total value at least, multi-culturally constituted and finally single substance. In place of analysis are also scomodati gli aspetti psicologici e sociali dell’autore dell’opera, i contesti storici e le influenze artistiche sincretiche alla formazione dell’opera stessa.
Se è vero che la definizione di Autore Videoludico é ovviamente problematica in quanto, oltre al limite tecnologico, le software house rappresentano realtà “corporative” nelle quali la visione autoriale rischia di naufragare nei complessi rapporti di produzione e distribuzione del mercato (oltre alla difficoltà di rintracciarla in un team di lavoro di centinaia di persone dotate di competenze e sensibilità disparate), c'é da constatare quanto siano pochissimi i recensori “specializzati” che possono affermare di promuovere lo stesso discorso polisemico, anche in minime percentuali, per il Videogioco.
Ma é bene ricordare che anche in ambito videoludico, per qualsiasi artefatto esistente che si voglia analizzare (che si chiami Pong, Rez, Metal Gear o Giulia Passione Top Model), ci sarà sempre spazio per un apporto trasversale che nobiliti il sostrato del codice oltre i confini puramente ludici del mero gioco in sé.
Questo spazio purtroppo non viene quasi mai indagato per non dire ignorato dal sistema critico generatosi nel tempo attorno al videogioco (se di sistema si vuol parlare).
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Levels - Questioni di cultura e sensibilità
There are different levels of play, as there are different levels of competence in reading the text and enjoy the game itself. But knowing how to read the same book to the end, for two different readers, does not know at all experience the same way. For this reason, challenging a mouse or a pad to start playing the same game is not the same thing for all gamers. And this is obviously not only of skills in the sense of skill, ability or "skill" in completing the game, but the "journey" physical / mental and recreational / cultural context in which we live the game itself. It 'too easy to assume that gamers can come from several criticisms of the different game, but if the experience critical to conform to a cultural reference more rich, polysemic, generated by a renewal of the critical tools that today's games criticism persists to ignore, what would happen to the Culture of Videogames?
Renewing the critical tools in video games, and thus the same critical vision of / for the game, could change the very experience that makes the game itself?
Example: a driving game .
affirming the star playing SBK08 - Superbike World Championship, we should preface what I have in the past and never been interested in racing cars, motorcycles and even less so. It is not mystery that I do not possess alcun racing simulativo nella mia ludoteca, poiché ciò che guido più volentieri sono i veicoli di Grand Theft Auto nelle fasi di “guida” appunto, nient’altro.
Imbattendomi in una recensione on line di un videogiocatore che, lo si intuisce dal testo, è un appassionato di videogiochi racing (da una ricerca postuma ho poi scoperto che gli vengono affidati quasi tutti i racing da recensire), é avvenuta la magia.
Seppur tale critico abbia espresso toni affatto entusiastici per il titolo in questione, la cognizione insita nelle sue parole mi ha fatto infine optare per la “prova” del gioco, il volerne fare “esperienza” appunto.
Oggi potrei sicuramente affermare to learn more, virtually of course, suspension, balance, compression of variants, trim and pull: the experience has definitely affected me on the track as "educated" on this world of fast cars with 2 and 4 cylinders, and all this thanks to a competent text, characterized among other things, I want to clarify, from a final comment without voting. Never
but today I could afford to review a VG of racing simulation, although he can play and experience the essence fully. This is because I personally recognize the defects of the substrate cultural, ideological / psychological, etc ... that would be complementary as necessary for a review qualified criticism.
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Questions
Questions
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But how many times you are NOT given a chance to a product, perhaps to a refusal to "skin" to the images or to the screen flooded with game statistics for a difference with our feeling on the context of the game itself ?
How many experiences have been discarded because of a review as soon as voting ended with a discreet, who then directed towards the purchase of another?
And if the critics knew more comprehensively in terms of cultural prestige of the gaming experience in itself, calling into question other aspects of meta-playful many gamers, assimilating the text critic, came less superficial and more curious about a particular game to increase interest, complicity and its implication for the same? Or perhaps only become an issue too pedantic, ill confacentesi the simple definition of "carefree-game entertainment," from which the medium itself can not break free?
However, just as with the texts generated by other critical systems would only be good if the criticism itself was bearer of videogame development and cultural growth for the game, becoming a tool to study / know "other things" taking as a basis starting the the game itself. Such a possibility certainly more freely give dignity cultural experience in video games, no doubt about it.
Although this is not the place to analyze the common understanding of areas of reference of the consumer (VG = Game = just children) or the same onomastic idisioncratica and misleading to the gaming experience itself ("Game" of course), the game is almost always result away from such cultural achievements, far from arousing the necessary intellectual stimulation in this regard. And the rampant superficiality of the myopic vision of criticism within the gaming certainly did not help him.
Although the tools for a cross-sectional study We are all from the Internet to film to books and essays several texts widely available on the Web, the medium continues to limp awkwardly on the dance scene when done along with other Arts
E 'must therefore recognize the urgency of a true school of thought for the critics of art in video games, a school of thinkers "cross", which sing the praises of a multi-disciplinary culture as well as supported by mere passion for the game.
Although it is true that any video game, like any other artistic artifacts, needs a "critical" art wise in ennobling experience of playing in itself, cultural customs clearance must pass on to a textual production far different from what you are used to read so well disseminated.
We'll see, at least that's for sure.
But how many times you are NOT given a chance to a product, perhaps to a refusal to "skin" to the images or to the screen flooded with game statistics for a difference with our feeling on the context of the game itself ?
How many experiences have been discarded because of a review as soon as voting ended with a discreet, who then directed towards the purchase of another?
And if the critics knew more comprehensively in terms of cultural prestige of the gaming experience in itself, calling into question other aspects of meta-playful many gamers, assimilating the text critic, came less superficial and more curious about a particular game to increase interest, complicity and its implication for the same? Or perhaps only become an issue too pedantic, ill confacentesi the simple definition of "carefree-game entertainment," from which the medium itself can not break free? However, just as with the texts generated by other critical systems would only be good if the criticism itself was bearer of videogame development and cultural growth for the game, becoming a tool to study / know "other things" taking as a basis starting the the game itself. Such a possibility certainly more freely give dignity cultural experience in video games, no doubt about it.
Although this is not the place to analyze the common understanding of areas of reference of the consumer (VG = Game = just children) or the same onomastic idisioncratica and misleading to the gaming experience itself ("Game" of course), the game is almost always result away from such cultural achievements, far from arousing the necessary intellectual stimulation in this regard. And the rampant superficiality of the myopic vision of criticism within the gaming certainly did not help him.
Although the tools for a cross-sectional study We are all from the Internet to film to books and essays several texts widely available on the Web, the medium continues to limp awkwardly on the dance scene when done along with other Arts
E 'must therefore recognize the urgency of a true school of thought for the critics of art in video games, a school of thinkers "cross", which sing the praises of a multi-disciplinary culture as well as supported by mere passion for the game. Although it is true that any video game, like any other artistic artifacts, needs a "critical" art wise in ennobling experience of playing in itself, cultural customs clearance must pass on to a textual production far different from what you are used to read so well disseminated.
We'll see, at least that's for sure.
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