Games

'Beautiful Minecraft' Sees 'Minecraft' As a Sculptural Tool, Not Just a Game

Will Loader's A Futuristic Past (2016)

Beautiful Minecraft muses on the possibilities of using Minecraft itself as a medium for art.


Beautiful Minecraft

Publisher: No starch Press
Length: 104 pages
Author: James Delaney
Price: $19.95
Format: Hardcover
Publication date: 2016
Amazon

Minecraft

Publisher: Mojang, Microsoft Studios, Sony Computer Entertainment
Genres: Single Player, Multi Player
Developer: Mojang
Platforms: Sandbox, survival
Release Date: 2011-11-18

I should begin with a caveat: I am not a Minecraft player. Maybe even better put: I'm not really even a Minecraft fan. I understand the importance of Minecraft to its players, and I understand its importance to the medium of video games. It's an unstoppable force, and it is well deserving of its legions of fans and their admiration for its designs. It's just not my kind of game.

I discovered this way back in 2010 when I made my first attempt at playing the game to find out what all the buzz was about. After fiddling around with Minecraft for a little while, I discovered that, like a box of Legos, this game just couldn't hold my attention for long. Free-form play interests me less than games with defined rules and goals, which I ended up writing about in the essay, "I Don't Know How to Play".

Once again, to each their own. I actually kind of appreciated Minecraft teaching me something about myself and my own gaming habits, but I didn't especially want to go back for more.

That said, I'm not unappreciative of what Minecraft has meant and continues to mean to other people, other players that do know how to play. So, when No Starch Press sent a review copy of Minecraft-generated artworks, I was happy to take a look at what players of the game have created and how the game and art of Minecraft has evolved over the years.

James Delaney's Beautiful Minecraft is a collection of images of sculptures created in Minecraft by some of the more gifted members of the game's design community. It should be noted (and the book explains this) that many of the images were not purely generated using the basic Minecraft toolset and interface. Custom Minecraft sculpting and design tools were used in addition to what is normally provided in the game.

Images in the book range from architectural marvels, to complex landscapes, to organic sculptures, many designed by Delaney's team at his company Blockworks. The text that accompanies these images is written by Delaney and some of his team members and largely muses on the possibilities of using Minecraft itself as a medium for art, a provocative idea in and of itself, I think.

Having reviewed Matt Sainsbury's book Game Art (also published by No Starch Press), it was these textual portions that interested me most about the book. Sainsbury's goal in his book (and seemingly a larger goal of No Starch Press) was to show art from video games and then to allow designers to discuss their goals in creating through the medium of games. What I said in that review about Game Art was that “...In a nutshell, [Sainsbury] is asking questions of artists about how they conceptualize their art”, a fair question for an art book to explore and one that is not often asked in a medium known less for seriousness of purpose than for escapism.


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I really liked Sainsbury's approach, and I have similar feelings about the overall approach to the material here. Personally, I enjoyed Sainsbury's book a bit more, partly because the games and designers featured in it are ones more in my wheelhouse than Minecraft creations and creators, but also because I think that Sainsbury's presentation has a bit more depth to it than Beautiful Minecraft does. The discussion is interesting here, but it feels less substantive than Game Art.

As I said from the outset, though, this isn't exactly a book for me, since I'm not a huge fan of the game. However, both my daughter and her fiancé, who both play Minecraft regularly, pored over it. Clearly, it has an audience that will appreciate what it has to offer. I appreciate the discussion of the possibilities of seeing a game itself as a medium for further art and design, and I can't deny (despite my own lack of love for Minecraft as a game) that some of the images in the book are, as the title suggests, quite beautiful.

7

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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