has always been one of the greatest concerns of the art community, and due to the media that acts as a link between these creators and their audiences, agreement on objects is With which a work of art can be valued.
The subject of this complex and difficult puzzle is not the discussion of yesterday and today. It is not easy to say that the seventh generation games were "better" or the eighth generation games. Ever since art and artistic entertainment have played a role in human society, experts in every field and even commentators on the general course of culture have focused on their value views and the value of their views, whether through the lens of defined frameworks for art - which is also divided into different branches - and What about the special dimensions of the culture of a corner of the globe?
So if we want to talk today about whether the old Assassin's Creed games were better or the newer projects called "Odyssey" (Odyssey) and "Valhalla", or how Call of Duty lost its way in the latest games, we need to know that this story is long. Is Wolfgang Amadeus Mozart more musical, or the crowd of Syd Barrett, Jimmy Page, and Paul McCartney? Are Ingmar Bergman and Billy Wilder and Alfred Hitchcock more cinematic, or Guillermo del Toro and Wes Anderson and Danny Vilno?
But for a fledgling industry like video games, which is only a few decades old, it is not simply a matter of contrasting classical artists and modernist creators. It is useless to even measure this issue through the lens of artistic values in this day and age. Today's world is no longer a world of entertainment. The world is attracting attention. Attracting an audience that is saturated with content and wherever they look, some people are looking to get their attention for a short time. According to Tristan Harris, founder of the Center for Human Technology, in today's world where the population is floating in a sea of content, value is no longer in the creation of the commodity, but the commodity itself is the audience and their focus.
By itself, it gradually draws audiences to games that are simpler in terms of consumption and content-less, with the exception that their creators use addictive elements in their design process, resulting in a simple experience. And it becomes addictive that draws the audience in successively.
But as audiences' tastes decline, the challenges of producing video games and commercializing them have also changed the perspective of industry leaders. If 20 years ago a group of tasteful gamers gathered in one room and made their product with a storm of ideas every day and were constantly trying and making mistakes, today the game-making process is done in studios of several hundred people and everything has to be according to schedule. Determined by the company to go ahead and the game will be produced and ready to be released in a certain period of time. If 20 years ago, the first and last word was played by the creativity of the game makers, today, according to cyberspace and the interaction of users and the fan community, the initiative and innovation of video game designers is constantly overshadowed by audience feedback, which is necessarily specialized in game design. They do not and only give feedback to the game maker based on their feelings and emotions.
Certainly, such changes in the game production process have had a tangible impact on the final product. Maybe that's why we see more innovation in indie games that are made by a small group with limited tools. Maybe that's why most of the big studio games have become commercialized and are repetitions of their old repetitions. Finally, when we put all these images together, the audience may feel that most of the games on the market are similar, and out of every ten games released each year, perhaps one of them is really worth the experience and time.
But what has made the market fall on such a day, and what solutions can be found to correct it?
This is one of the inevitable realities of the capitalist system, which even swallows the artistic product in its crypt of greed and turns it into a commercial manifestation. What is happening now for the video game industry has been happening in the world of music and cinema for years; For example, at a time when the player revolution brought the experimental work of legendary bands to the ears of every teenager, there was no mention of large, wealthy label companies and dental producers. So many artists worked hard on what they wanted, and the result was an indescribable legacy for the history of music. But when the heads of these label companies and their Foxy group marketers were found, and these newcomers tried to find a solid formula for introducing new readers, creating artwork as a second priority and developing preventative strategies to ensure artists' success and profitability in their work. The first priority was given.
These business policies always follow a certain pattern and at their core is to create a cycle to produce more content and put the audience on an unbroken path; For example, if you think that only video games are largely duplicated, just look at the world of pop or pop music of the last twenty years to see that most of the popular and so-called trendy songs are all made in imitation of old works. Duplicate bits, old melodies and proven formulas; A cycle whose aqueous content does not matter to any audience. To understand this, just open YouTube right now and listen to the melody of "They Don't Know About Us" by One Direction, "Let Her Go" by Pasner, "Om Du Bara Vill" by Fault, "Tell It To My Heart" Take a look at Taylor Dean, "Ho Hey" Luminaries, "What Are Words" by Chris Medina, and even "Always Remember Us This Way" from A Star Is Born.
Genre and superhero cinema happened. No one even thought that Marvel's cinematic world could change the film's landscape forever. Other feature films are now produced by independent studios for a specific audience, and in some cases they cannot even make up for their box office budget. On the other hand, Marvel and its rival superhero films, Dessie, dominate the box office, and clichs and action and adventure formulas come in second every year. How many adventure films have we really seen in recent years starring Dwayne Johnson in the jungle and in the city? From "Jumanji" reboot to "Fast and Furious" and its sub-series entitled "Hobbes and Shaw"? When future titles like F9 or The Suicide Squad are on the bestseller list of 2021, but there is no mention of powerful works like The Green Knight, what future can there be for the industry?
On the other hand, the world of streaming with platforms like Netflix and Disney + and HBO & Max are just looking to saturate the audience with content and time Fill them somehow. That is why they produce low-quality genre films one after the other and jump from one project to another, leaving behind a graveyard of potential projects. This is perhaps the attitude that Microsoft will take with its GamePas service over the next few years. Anyway, we all remember the recent E3 conference. Microsoft showcased more than 30 games at this year's festival, most of which will be featured in GamePas, but how many of those games really excited you? Or rather,: How many of these games do you remember?
The truth is that, whether we like it or not, such a fate threatens the video game industry; We may have seen signs of that in the eighth generation. From duplicate games to countless remasters that waste the time and money of game crews recycling old, and of course successful, works, we in the gaming industry will see a reversal in the years to come. But alongside this fact, it is also worth noting that the gears of industry cannot be stopped. However, some issues are ultimately unavoidable and may have benefits. But the real concern is, to what extent can we stop this barbaric change and change course in the meantime?
Fans 'expectations or creators' creativity?
One of the biggest problems of any art medium today is the discussion of statistical marketing systems and related think tanks. As Anthony McCoy, a well-known Hollywood actor and Marvel movie star, said in one of his controversial interviews, "Many of history's most memorable films are not produced in these think tanks today. The problem is that the eyes of companies and their shareholders are on the pulse of the market, not the creation of a work of art. In any case, one cannot expect the investors or business managers of a company to think of anything but profitability and keeping their large organization afloat. Doing so is often at odds with the creative artistic vision of a work.
That is why shareholders, and the producers attached to them, are looking for works that can be as popular as possible and profitable for the company. Slowly But how do they find such works, and what determines its criteria? This is where Focus Group comes in first; A research technique that accurately identifies the audience of a product or work of art. For example, if a company's focus groups conclude that now is the time to make a Battle Royale game, that company will no doubt or interrupt its subordinate studios to produce an addictive multiplayer game in the Battle Royale genre.
In other words, what the market consumes ultimately feeds the focus of the focus groups. This creates an endless cycle whose end and end cannot be determined. In this case, is the main culprit in the production of duplicate, poor quality and artistically worthless games the audience who first went for these products and now companies have no choice but to pay attention to market statistics? Or was the problem initially with the manufacturers who dominated these low quality products with comprehensive advertising in the market?
The equation is simple; Fans of The Last of Us, or at least a group of their loudest, had certain expectations of their most popular game sequel. Cyberspace has enabled them to raise these expectations and even spend years debating and theorizing about Part II; So when the final effect did not live up to their expectations, the media game controversy ripped through video games for months. Statistical marketing with expectations that players might have of their favorite games or series may have left many developers Put it in a punch and suffocate their creativity. Even managers and shareholders are reluctant to vent their customers' anger, so they are constantly pressuring developers to make their final product follow the standards of focus groups.
In the case of video games, this is the case. Especially with a phenomenon called Playtesting, it gets more complicated. These days, most developers provide testers with almost every aspect of the game at every stage of development, including gameplay, narrative, characterization, etc., and if the feedback is not positive, the team will redesign and develop it. When we put all these things together, we see that the creators have less and less control over their work every day and they have to produce it according to the desire of the market and the current it embraces.
Why do formula makers work?
That is, when the likes of PUBG and Fortnite come to the fore, other manufacturers join the train with their work to share in its success, be it Call of Duty: Warzone Activision or Apex Legends Electronic Arts. This is also true in other games. The Assassin's Creed reversal was a sudden reaction to the global success of The Witcher 3: Wild Hunt.
What are the solutions to improve the path?
Commenting on a big industry like video games is not easy. It is not easy to think that by knowing the general facts we can turn the tables and judge the companies. The reality of the business world is far more complex than anyone outside of it can imagine, and the fact that the gaming industry has been able to move forward and grow larger every day is admirable.
But if without Moving Awareness Ahead, the video game industry is declining to the point where it has completely swallowed up other mediums. Does this mean the end of the dominance of video games in the world of entertainment? Certainly not. As the film industry is still evolving every day, at least statistically. But for those of us who care about creativity, innovation, and subtle artistic values in our chosen entertainment, the video game industry is in a dangerous and turbulent situation.
Now, we can come up with a few solutions. Think that it will be effective in the conflict with this dilemma. First of all, we should pay more attention to indie games. For many months, "entertainment" is what the media promotes. Just as over 90% of box office sales come from blockbusters and popcorn movies, and no one cares about more modest and artistic cinemas, in the world of video games, most sales come from premium games. Of course, these games are seen more than any other work created by the creative community of global gamers, and that is why the media wants to cover them more. But if you pay a little attention to the smaller market for independent works, you will find that they are full of creative and innovative ideas and create a compact and enjoyable experience for you; Sometimes more enjoyable than you might experience in a larger gaming space.
It is completely related to the first solution, it is a discussion of culturalization and leap of tastes. As we explained at the beginning of the article, what the audience consumes more and demands more in return creates a cycle between the overall direction of the content produced and its double consumption. As long as gamers buy these low-quality games, companies will not see a mistake in the path they choose, and this cycle will never end.
Finally, large companies must be more risk-averse. Such a policy certainly has its difficulties; For example, if the right team of managers and producers are not on a "risky" project, there is no guarantee that the failure we talked about will not happen. A clear example of this is Sony's eighth-generation policies. Sony gave its studios and directors complete freedom to make their visions a reality. The result was the production of several exclusive games, each of which was universally acclaimed and made its name in the history of video games. From Ghost of Tsushima and The Last of Us Part II to older examples like God of War, Sony's policy has been largely responsive. In the case of Nate Dogg, Neil Drakeman and his team went completely against the expectations of the fans, which was controversial, but the result was the creation of a controversial work that is literally more than a video game or a manifestation of this entertainment medium. . The "God of War" reboot of the series and the change in many of its gameplay elements initially raised suspicions, but when the final product was released, Corey Barlog proved how rewarding it can be to look at the issue from other angles. P>
Correcting the path for areas such as music and cinema is very difficult and even impossible at this stage. But given that video games are still in their infancy and the industry variables are different from the rest, we may still be able to revive that old spirit in the big game developers.
What else are the losses of the video game industry? Threatens? Share your opinion with us and other users of Digi Kala Magazine.