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Abstract Symbolism in Games

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Text:AAA
Monday, Jan 19, 2009
A look at 8-bit aesthetics and their advantages over modern graphics.


About a year ago, I was playing Trilby: Art of Theft and I noticed that it led to me doodling characters from it. That experience didn’t repeat itself again until I played the indie game Iji and started doodling the various aliens from it. The games are fairly different from each other except for one shared trait: the art for both is simplified and resembles 8-bit aesthetics more than modern games. Why is the simpler and more abstract representation enticing my subconscious to reproduce and modify what I saw more than any modern game with complex art and graphics? At a glance, the basic idea behind abstract art can be seen by flipping through this flickr group. You have the basic idea or concept communicated in the lines and coloring but you leave out enough detail or coherence so that the viewer still has to interpret. The audience gets to have a limited amount of input in what they’re viewing because the artwork remains silent on certain details. Looking at the urge to doodle that was suddenly springing back up after playing these two abstract games, is this an area of player input that is being under utilized in today’s graphical advancements?


 


Part of how these graphics create a connection comes from looking at the various techniques games use to draw you in. Your health bar, weapons, and abilities are tools for creating a connection with the avatar on the screen. In an essay on the subject of ideological worlds in games the author (can’t find the name on it, sorry) comments, “games forge what James Paul Gee (2003) has called a projective identity, whereby the player adopts the perspectivity of the avatar, developing a sort of empathy for the character on screen. Clinton shows how icons and representational bars attune players’ perceptions in the world to those of the avatar by making precise the character’s perceptual state.” In other words, the HUD, health bar, etc. constitute the player’s method for projecting onto the character by giving us a way to see what they are feeling. The essay and the quote are both about the ways players connect and project themselves into video games and it raises an important point: what player input is really about is giving you ways to project yourself into the character through game design. One of the reactions to that formula is to presume that interacting with the narrative then becomes the primary or even only way a person can project themselves into the game’s characters. The ambiguity that abstract art relies on could then also be considered a fair way to allow a player to interact. The player is able to interpret what their protagonist looks like, how their attacks look, and can manipulate those images to whatever their preference is with their imagination. This is something different than a character editor because unlike the finite options of Fallout 3 or Oblivion, with abstract art the player is unlimited in defining the meaning of the simple images.


About two years ago there was a fairly nonsensical false critical movement that games which didn’t feature realistic graphics were inferior to their cartoony counterparts. Mostly a byproduct of ad men selling games and HD TVs, the counter argument was to point out that there are countless games which rely on cartoony and non-literal depictions with great success. A good example of someone arguing this point is a Kombo article defending Wind Waker and pointing out that there are many unrealistic elements that make videogames fun such as physics or unrealistic reload times. The author also brings up a variety of games with more realistic graphics like Resident Evil 4 and points out that they are a lot less visually exciting. Grey, brown, mud, dirt, and equally drab monsters populate these environments. Yet video games already featured boring and grey environments in their 8-bit form without these complaints being noticeable. Numerous older games have the same kind of factory level or repetitive swarm of enemies that are equally dull. The fundamental difference is that modern brown worlds graphically leave nothing to the imagination. There is no abstraction for us to play with in our minds. An entire area of player input has been cut off by our very own desire to have things look sharper and Hi-Res. I don’t doodle Leon from Resident Evil 4 because I don’t have anything to add or interpret, that’s what he looks like and my horrid drawing abilities are never going to do him any justice.


Artistically, the division between a literal depiction of something and an abstract division can be read like the difference between a symbol and a sign. Carl Jung, in his book


Symbols of Transformation

explains, “A symbol is an indefinite expression with many meanings, pointing to something not easily defined and therefore not fully known. But the sign always has a fixed meaning, because it is a conventional abbreviation for, or a commonly accepted indication of, something known. The symbol therefore has a large number of analogous variants, and the more of these variants it has at its disposal , the more complete and clear-cut will be the image it projects of its object.” The giant parasitic man-monster in Resident Evil 4 is a sign. It’s a depiciton leaves no question about what it is thinking, feeling, or what its actions look like. The 8-bit Mega Man or pixellated King Graham are symbols of themselves. We are able to dictate how they look and act in our minds, we are able to apply our own input to even that fundamental level of the game’s narrative thanks to their symbolic nature. Instead of a character, they are a symbol that can be adapted to whatever the player wants it to be. Obviously the artistic quality and impressive efforts that developers put into their modern games is here to stay and should be applauded. But for those games that take a more abstract approach with their work, the possibilities of such art should not be underestimated.

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