Interactive - a new scientific term or a manifesto of love for games
(manifesto and popular science article)
Theme of the article : Interactive graphics is a new scientific term for the art of electronic digital games.
')
What is “Interactivography”, why is this name called and from where?
- I, the author of this term, being a theoretical scientist and game designer, am also a big fan of games and even try to create something in this sphere personally.
When I first became acquainted with the term “Interactive Art”, representing the art of games, I realized that with such an not entirely specific name, it would be too small and unfair to such a grandiose form of modern art and a vast cultural area. Therefore, I set myself the goal to find a more adequate and logical name from the point of view of science. Being well acquainted with this area, I analyzed various variations, until I finally reached a specific term that would more correctly denote this art, starting from its basis ( -so, from the beginning ) and able to reveal this phenomenon from the inside - interactiveography .
Interactive graphics (Latin: inter- between, activitas- activity, graphica- graphics) is a form of synthetic art based on a computer program, composed of graphic images, either moving or stationary, in 2D or 3D dimension, in which the user, using a specific interface and manipulators, can interact with virtual objects, thereby participating personally in the actions occurring in games.
As it is known, the product of interactive art is “Game” ( Game, Juego, Jeu etc. ), and its user is called “Player” ( Gamer, Jucător, Joueur etc. ).
“Interactive”, also called “interactive art”, is known as art in which the player usually participates in certain simulations or in virtual interactive events, in which he has the opportunity, as a virtual actor, to take part in the development of the artistic or documentary plot of the game. In some games, the user can open up their plot with their actions, even develop the plot in their own interests, while being able to repeat the same action several times. Well, in some modern games the user can come to the final, which will depend on his personal actions during the game.
Simply put, in a modern game, each player can take part in different imitations of action, inspired from real life, or take part in invented actions that can be “dressed” in one plot (artistic or not) and where you can feel yourself in the skin of a virtual character participating in the events of the game as an eyewitness or even as a real actor in the lead role. It's just like playing in a theater on some kind of stage, not knowing the text and plot, but gradually we learn everything personally, intervene whenever we want and can even change the final in our favor.
Accordingly, being a synthetic art ( composite ), interactivographic art is similar to the theater, where we ourselves play as actors, and even shoot at virtual cinema sites. In addition, in games we can dance, sing, listen to music, build as architects, draw, etc., admire the beautiful and high art, or just fool around and wander.
Still, interactivity offers us much more opportunities than theater or cinematography, is constantly evolving, and I even allow myself to say that this relatively new art is now the most important for humanity than another form of art!
Since interactivity is a synthetic art ( composite ), it also has many common tangential connections ( interconnections ) with certain forms of art, mainly with cinematography.
For example, in the first decades of cinematography, some critics and artists argued that this “new” art form was only a weak imitation of the theater and would not be capable of anything else. But as technology progressed, sounds and music appeared in the films, colors, even the impression of depth ( stereo vision or so-called 3D vision ). Perhaps, over time, there will be other touch, new features and other technical eccentricities.
Now, if we look at the short history of games, from the first half-digital gaming consoles ( what Pong, Magnavox Odissey were, etc. ) and to the latest generations of consoles and modern personal computers, we can observe the evolution of interactive graphics in full scale, which is still ongoing. We saw the emergence of not only sounds and colors in games, but also an amazing development of graphics, as well as various manipulators for interactivity. But most importantly, we saw an amazing development of interactive products - games - from simple black-and-white sports simulators, to whole artistic or documentary works with millions of budgets, with separate plots like films and photorealistic graphics. Of course, a whole wave of negative criticism from those who did not understand it and did not love it hung over the interactivographic art, but we understand that not such critics will remain in history, but only those who understand this art and adore it.
Thus, the development of interactivography depends a lot on scientific and technological progress, mainly on digital computerized technology, which offers us not only powerful and more sophisticated devices, but also new possibilities for interaction in virtual worlds.
In addition, some cinematic methods are widely used in games, such as video scenes shot live ( documentary or with actors ) or using virtual camera cameras inside the games themselves - the so-called “cut scenes” ( cut-scene, cinematic sequences ).
Interactive genres are also identical to those of cinema and theater, even if it seems to some that there are more genres in games. In fact, the “large” number of these genres is dictated by interaction methods ( that is, interactive methods ) in virtual worlds. I would not list all these interactive genres, just highlight some of them:
- For example, if a player can take a gun in his hands and shoot, then this genre will be called “shooter”. If we can drive a car, then this genre is “race” or “car simulator” ( “racing” ), but if we take a saber and go through the whole game with it, then this interactive genre will be called “slasher” ( “slasher” ). One can cite as an example many more such interactive genres and subgenres, but nothing in the world can replace artistic genres, although they are few in number, such as comedy, tragedy, drama, melodrama - they are still the basis of any artistic work of cinematography, theater or interactivography. .
Now, if you ask, “why is the term interactivity graphics scientifically correct?” I will say that the answer is simple. For example, look at what is most important in the art of cinema, what stands at its foundation - the movement of short fragments of an image from ( or from ) a video carrier, forming the illusion of a general movement of the image on the screen to contemplate the effect of the film.
In games, we primarily interact with objects from a virtual image on the screen ( acting almost like actors ), this interactivity ( interaction ) is based on computer graphics. Even if this graphics is programmed and the ability to interact is also dictated by program codes, it is still necessary to take into account that games are not just some multimedia programs or entertainment for office work, but first of all represent a modern art form in which the author ( game designer, The screenwriter, developer ) expresses his artistic vision and philosophy, opens the soul to the viewer-player, tells him the plot and shows the fate of some characters. Is this a regular program?
Perhaps someone might ask: “Okay, but what about the situation with sports competitions, simulations of transport and other things less artistic? Or with "games" like RPGs, conducted in real life with real people, or paintball-shootout races, or casino games? How about them? ”
To this I will answer you, again referring to the analogy: look at film production. What do we notice?
There are documentaries that tell about the lives of certain people. We see the history of entire nations, we see sports competitions with people on the move or on different vehicles, finally, we see a wide range of diverse events, elements of life and history of mankind, captured on camera - and all this is “collected” first on paper by some cinematographer or reporter and then woven into a logical sequence of images, which we then contemplate on the screen.
So, cinematography is a complex art made up of feature films, documentaries ( which are divided into simple video reports, up to serious “documentaries” ), shot according to pre-written scripts and with real people in the frame ( and even recently with virtual people). ).
What do we notice in interactivography ? Approximately the same situation - there are artistic and documentary works. These works may be available on different electronic-digital devices, by one or several players. These works have graphical interfaces, everything is based on 2D or 3D graphics and programming languages.
- Do all these digital elements have anything in common with what happens in real life, in sports, in casinos and can those games played in real life be added to the ranks of interactive art? I have only one answer: no!
- Sports, auto contests, paintball, casino games, even RPG games held in reality ( compiled separately or inspired by interactive games ) are separate cultural phenomena. They can inspire game developers, respectively, can only be a source of inspiration.
As for virtual sports, car simulators or other types, these phenomena from the world of digital electronic games can easily be added to interactivity, as a documentary part of this art. On the other hand, some elements of virtual sports can be of artistic interest and value, for example, graphical interfaces, game design, and even methods of interactivity ( interaction ).
Well, if someone thought that I was too unfair to certain phenomena that have a very close relationship to digital games, such as the RPGs mentioned above, or to card games based on plots (by the way, who does not know, I confirm that there are those! ), in the end, these games can be systematized as “analog games” and they can represent artistic and cultural branches that have arisen or are inspired from the general area and form of art — interactivity . It is quite possible that some of these “analog” branches will eventually be able to transform into separate forms of art, as was once the case of cinematography, which originated from the theater.
No matter how strange it may be, but for some people, games can provide not only the opportunity to try something that they are not capable of in real life, but also a unique sense of wonder and beauty of the real world. In real life, we often do not notice or admire the world that surrounds us, and only when you dive headlong into the virtual world of the game, do we open our eyes to such phenomena as hand, foot movements, the ability to take something or to quit, turn on, turn off, drive, walk, ride a car, fly, etc ... The light that penetrates through the leaves, the morning mist or dust particles that dawn in the sun, etc. and so on ... In a sense, opening up again for everyone those opportunities and elements of real life, to which we sometimes do not pay attention, only in games we notice how important and special they are.
In science, there are such generally accepted terms ( and scientific, of course ), as a phenomenon and an object (the same thing ). So, from a scientific point of view, something in this world can be called a phenomenon , and something - an object .
For example, football is a phenomenon ( sporty and cultural ), and a ball is an object ( with which you play, of course ).
So, what you play, correctly called not a toy, but a game. That's because from a scientific point of view ( and rightly so! ), The game is a phenomenon , and the toy is an object .
For example, such well-known devices as the “PlayStation Portable” or “Nintendo DS” are toys ( that is , objects ), but what you play with using them is already games ( that is , phenomena ).
So please do not confuse one with the other!
....................
And yet - there are two types of worldviews - objective and subjective . In the simplest terms, they can be described as follows: some see the world as it really is ( mostly scientists, businessmen, etc. ) - this is an objective world view; others see the world as they themselves want it ( religious believers, most philosophers, etc. ) - this is already a subjective worldview.
I, the author of this article, define myself as a person from the first group.
I advise other people to first determine their worldview, then you can begin to seriously analyze and draw conclusions.
We all noticed that many players spend too much time on their favorite games - from 10 hours or more. Some generally stick out all day on the game, not resting at all.
I remember the case of a fatal outcome, when one avid player died, after several days of continuous play, without rest. What he played no longer matters. The problem is that this player completely lacked a normal upbringing, regarding the time for playing, for recreation, regarding physical and psychological health, not to mention his personal life.
Regarding this topic, an elementary question arises: how much time should be devoted to the game?
I paraphrase a bit: how much time is considered normal to play?
I myself (the author of this article ), being an avid player, have long come to the conclusion regarding this topic and have already answered this question, painful for many. My recommendations are as follows:
Play 2 hours a day ( and only! ): On weekdays ( usually from Monday to Friday );
Play 5 hours a day ( and only! ): On weekends or free days ( whether on Saturday or Sunday, for example );
Play 8 hours a day: only for specialists who are engaged in the analysis of games ( creating reviews, videos or text, etc. ), respectively, for game developers, journalists or scientists who study games. Well and for cybersportsmen, if such are. Eight hours is just a normal time for a working day. If someone works more than 10 or 12 hours a day, this can already lead to serious health problems.
In general, this is the normal time for the game - from 2 to 8 hours a day, depending on the circumstances. I even recommend playing for more often, but having spent only a certain, relevant amount of time on this activity! And it will always charge you with positive and constructive energy, reduce stress, tear you away from your routine a bit, help you even see your problems in a different light, ways to solve them, help you prepare for serious projects or for hard work.
And this is not a joke at all, but quite seriously. Remember, please:
- Yes, games can help you solve problems more easily!
- Yes, games can charge you with positive and constructive energy!
- Yes, games can help you collect your thoughts for hard work!
But only if you spend on the game only a certain, appropriate amount of time.
Be careful, please, because health is very valuable, besides, nature gives us life only once. It goes without saying that if you lose your health and life, then you lose the chance to play the myriad of games that appear over time.
Remember how many hours are considered normal for the game and then this time will play in your favor.
By the way. Some third-party observers negatively criticize the games for the fact that many zealous players forget about their health and completely give themselves to the game, as well as commit malicious actions that are noticeable in some games.
My answer to you: what about the games !? As if there are few lovers of all kinds of serials and creepy movies, all kinds of ( stupid and not so ) TV shows ?! And these lovers are ready to watch the “box” all night long and eat popcorn with sandwiches, filling their bodies and souls with all kinds of filth. Lovers of wasting their time and to the detriment of their health will be found always and everywhere - and this is completely independent of the type of art whose products they “consume”.
It's all about the person himself, his family and society, the product of which he himself is. If a person has not been imparted with a sense of proportion, knowledge and a sense of concern for his health, tolerance and respect for people, then this is already a problem both for this person and for the society in which he lives. And let them not be involved in their problems, and even the types of art, and let them be humanly explained, normal and logical, let them learn how to live with measure to everything, with care about themselves and their loved ones.
- Play, rejoice, live in full and do not forget about the measure.
The author - Dmitry Gervas
Theme of the article : Interactive graphics is a new scientific term for the art of electronic digital games.
')
Short introduction
What is “Interactivography”, why is this name called and from where?
- I, the author of this term, being a theoretical scientist and game designer, am also a big fan of games and even try to create something in this sphere personally.
When I first became acquainted with the term “Interactive Art”, representing the art of games, I realized that with such an not entirely specific name, it would be too small and unfair to such a grandiose form of modern art and a vast cultural area. Therefore, I set myself the goal to find a more adequate and logical name from the point of view of science. Being well acquainted with this area, I analyzed various variations, until I finally reached a specific term that would more correctly denote this art, starting from its basis ( -so, from the beginning ) and able to reveal this phenomenon from the inside - interactiveography .
Wording
Interactive graphics (Latin: inter- between, activitas- activity, graphica- graphics) is a form of synthetic art based on a computer program, composed of graphic images, either moving or stationary, in 2D or 3D dimension, in which the user, using a specific interface and manipulators, can interact with virtual objects, thereby participating personally in the actions occurring in games.
As it is known, the product of interactive art is “Game” ( Game, Juego, Jeu etc. ), and its user is called “Player” ( Gamer, Jucător, Joueur etc. ).
More details
“Interactive”, also called “interactive art”, is known as art in which the player usually participates in certain simulations or in virtual interactive events, in which he has the opportunity, as a virtual actor, to take part in the development of the artistic or documentary plot of the game. In some games, the user can open up their plot with their actions, even develop the plot in their own interests, while being able to repeat the same action several times. Well, in some modern games the user can come to the final, which will depend on his personal actions during the game.
Simply put, in a modern game, each player can take part in different imitations of action, inspired from real life, or take part in invented actions that can be “dressed” in one plot (artistic or not) and where you can feel yourself in the skin of a virtual character participating in the events of the game as an eyewitness or even as a real actor in the lead role. It's just like playing in a theater on some kind of stage, not knowing the text and plot, but gradually we learn everything personally, intervene whenever we want and can even change the final in our favor.
Accordingly, being a synthetic art ( composite ), interactivographic art is similar to the theater, where we ourselves play as actors, and even shoot at virtual cinema sites. In addition, in games we can dance, sing, listen to music, build as architects, draw, etc., admire the beautiful and high art, or just fool around and wander.
Still, interactivity offers us much more opportunities than theater or cinematography, is constantly evolving, and I even allow myself to say that this relatively new art is now the most important for humanity than another form of art!
Brief history, relationships
Since interactivity is a synthetic art ( composite ), it also has many common tangential connections ( interconnections ) with certain forms of art, mainly with cinematography.
For example, in the first decades of cinematography, some critics and artists argued that this “new” art form was only a weak imitation of the theater and would not be capable of anything else. But as technology progressed, sounds and music appeared in the films, colors, even the impression of depth ( stereo vision or so-called 3D vision ). Perhaps, over time, there will be other touch, new features and other technical eccentricities.
Now, if we look at the short history of games, from the first half-digital gaming consoles ( what Pong, Magnavox Odissey were, etc. ) and to the latest generations of consoles and modern personal computers, we can observe the evolution of interactive graphics in full scale, which is still ongoing. We saw the emergence of not only sounds and colors in games, but also an amazing development of graphics, as well as various manipulators for interactivity. But most importantly, we saw an amazing development of interactive products - games - from simple black-and-white sports simulators, to whole artistic or documentary works with millions of budgets, with separate plots like films and photorealistic graphics. Of course, a whole wave of negative criticism from those who did not understand it and did not love it hung over the interactivographic art, but we understand that not such critics will remain in history, but only those who understand this art and adore it.
Thus, the development of interactivography depends a lot on scientific and technological progress, mainly on digital computerized technology, which offers us not only powerful and more sophisticated devices, but also new possibilities for interaction in virtual worlds.
In addition, some cinematic methods are widely used in games, such as video scenes shot live ( documentary or with actors ) or using virtual camera cameras inside the games themselves - the so-called “cut scenes” ( cut-scene, cinematic sequences ).
Interactive genres are also identical to those of cinema and theater, even if it seems to some that there are more genres in games. In fact, the “large” number of these genres is dictated by interaction methods ( that is, interactive methods ) in virtual worlds. I would not list all these interactive genres, just highlight some of them:
- For example, if a player can take a gun in his hands and shoot, then this genre will be called “shooter”. If we can drive a car, then this genre is “race” or “car simulator” ( “racing” ), but if we take a saber and go through the whole game with it, then this interactive genre will be called “slasher” ( “slasher” ). One can cite as an example many more such interactive genres and subgenres, but nothing in the world can replace artistic genres, although they are few in number, such as comedy, tragedy, drama, melodrama - they are still the basis of any artistic work of cinematography, theater or interactivography. .
Now, if you ask, “why is the term interactivity graphics scientifically correct?” I will say that the answer is simple. For example, look at what is most important in the art of cinema, what stands at its foundation - the movement of short fragments of an image from ( or from ) a video carrier, forming the illusion of a general movement of the image on the screen to contemplate the effect of the film.
In games, we primarily interact with objects from a virtual image on the screen ( acting almost like actors ), this interactivity ( interaction ) is based on computer graphics. Even if this graphics is programmed and the ability to interact is also dictated by program codes, it is still necessary to take into account that games are not just some multimedia programs or entertainment for office work, but first of all represent a modern art form in which the author ( game designer, The screenwriter, developer ) expresses his artistic vision and philosophy, opens the soul to the viewer-player, tells him the plot and shows the fate of some characters. Is this a regular program?
Perhaps someone might ask: “Okay, but what about the situation with sports competitions, simulations of transport and other things less artistic? Or with "games" like RPGs, conducted in real life with real people, or paintball-shootout races, or casino games? How about them? ”
To this I will answer you, again referring to the analogy: look at film production. What do we notice?
There are documentaries that tell about the lives of certain people. We see the history of entire nations, we see sports competitions with people on the move or on different vehicles, finally, we see a wide range of diverse events, elements of life and history of mankind, captured on camera - and all this is “collected” first on paper by some cinematographer or reporter and then woven into a logical sequence of images, which we then contemplate on the screen.
So, cinematography is a complex art made up of feature films, documentaries ( which are divided into simple video reports, up to serious “documentaries” ), shot according to pre-written scripts and with real people in the frame ( and even recently with virtual people). ).
What do we notice in interactivography ? Approximately the same situation - there are artistic and documentary works. These works may be available on different electronic-digital devices, by one or several players. These works have graphical interfaces, everything is based on 2D or 3D graphics and programming languages.
- Do all these digital elements have anything in common with what happens in real life, in sports, in casinos and can those games played in real life be added to the ranks of interactive art? I have only one answer: no!
- Sports, auto contests, paintball, casino games, even RPG games held in reality ( compiled separately or inspired by interactive games ) are separate cultural phenomena. They can inspire game developers, respectively, can only be a source of inspiration.
As for virtual sports, car simulators or other types, these phenomena from the world of digital electronic games can easily be added to interactivity, as a documentary part of this art. On the other hand, some elements of virtual sports can be of artistic interest and value, for example, graphical interfaces, game design, and even methods of interactivity ( interaction ).
Well, if someone thought that I was too unfair to certain phenomena that have a very close relationship to digital games, such as the RPGs mentioned above, or to card games based on plots (by the way, who does not know, I confirm that there are those! ), in the end, these games can be systematized as “analog games” and they can represent artistic and cultural branches that have arisen or are inspired from the general area and form of art — interactivity . It is quite possible that some of these “analog” branches will eventually be able to transform into separate forms of art, as was once the case of cinematography, which originated from the theater.
Conclusion
No matter how strange it may be, but for some people, games can provide not only the opportunity to try something that they are not capable of in real life, but also a unique sense of wonder and beauty of the real world. In real life, we often do not notice or admire the world that surrounds us, and only when you dive headlong into the virtual world of the game, do we open our eyes to such phenomena as hand, foot movements, the ability to take something or to quit, turn on, turn off, drive, walk, ride a car, fly, etc ... The light that penetrates through the leaves, the morning mist or dust particles that dawn in the sun, etc. and so on ... In a sense, opening up again for everyone those opportunities and elements of real life, to which we sometimes do not pay attention, only in games we notice how important and special they are.
On a note
In science, there are such generally accepted terms ( and scientific, of course ), as a phenomenon and an object (the same thing ). So, from a scientific point of view, something in this world can be called a phenomenon , and something - an object .
For example, football is a phenomenon ( sporty and cultural ), and a ball is an object ( with which you play, of course ).
So, what you play, correctly called not a toy, but a game. That's because from a scientific point of view ( and rightly so! ), The game is a phenomenon , and the toy is an object .
For example, such well-known devices as the “PlayStation Portable” or “Nintendo DS” are toys ( that is , objects ), but what you play with using them is already games ( that is , phenomena ).
So please do not confuse one with the other!
....................
And yet - there are two types of worldviews - objective and subjective . In the simplest terms, they can be described as follows: some see the world as it really is ( mostly scientists, businessmen, etc. ) - this is an objective world view; others see the world as they themselves want it ( religious believers, most philosophers, etc. ) - this is already a subjective worldview.
I, the author of this article, define myself as a person from the first group.
I advise other people to first determine their worldview, then you can begin to seriously analyze and draw conclusions.
Appropriate time to play
We all noticed that many players spend too much time on their favorite games - from 10 hours or more. Some generally stick out all day on the game, not resting at all.
I remember the case of a fatal outcome, when one avid player died, after several days of continuous play, without rest. What he played no longer matters. The problem is that this player completely lacked a normal upbringing, regarding the time for playing, for recreation, regarding physical and psychological health, not to mention his personal life.
Regarding this topic, an elementary question arises: how much time should be devoted to the game?
I paraphrase a bit: how much time is considered normal to play?
I myself (the author of this article ), being an avid player, have long come to the conclusion regarding this topic and have already answered this question, painful for many. My recommendations are as follows:
Play 2 hours a day ( and only! ): On weekdays ( usually from Monday to Friday );
Play 5 hours a day ( and only! ): On weekends or free days ( whether on Saturday or Sunday, for example );
Play 8 hours a day: only for specialists who are engaged in the analysis of games ( creating reviews, videos or text, etc. ), respectively, for game developers, journalists or scientists who study games. Well and for cybersportsmen, if such are. Eight hours is just a normal time for a working day. If someone works more than 10 or 12 hours a day, this can already lead to serious health problems.
In general, this is the normal time for the game - from 2 to 8 hours a day, depending on the circumstances. I even recommend playing for more often, but having spent only a certain, relevant amount of time on this activity! And it will always charge you with positive and constructive energy, reduce stress, tear you away from your routine a bit, help you even see your problems in a different light, ways to solve them, help you prepare for serious projects or for hard work.
And this is not a joke at all, but quite seriously. Remember, please:
- Yes, games can help you solve problems more easily!
- Yes, games can charge you with positive and constructive energy!
- Yes, games can help you collect your thoughts for hard work!
But only if you spend on the game only a certain, appropriate amount of time.
Be careful, please, because health is very valuable, besides, nature gives us life only once. It goes without saying that if you lose your health and life, then you lose the chance to play the myriad of games that appear over time.
Remember how many hours are considered normal for the game and then this time will play in your favor.
Addition to the notes
By the way. Some third-party observers negatively criticize the games for the fact that many zealous players forget about their health and completely give themselves to the game, as well as commit malicious actions that are noticeable in some games.
My answer to you: what about the games !? As if there are few lovers of all kinds of serials and creepy movies, all kinds of ( stupid and not so ) TV shows ?! And these lovers are ready to watch the “box” all night long and eat popcorn with sandwiches, filling their bodies and souls with all kinds of filth. Lovers of wasting their time and to the detriment of their health will be found always and everywhere - and this is completely independent of the type of art whose products they “consume”.
It's all about the person himself, his family and society, the product of which he himself is. If a person has not been imparted with a sense of proportion, knowledge and a sense of concern for his health, tolerance and respect for people, then this is already a problem both for this person and for the society in which he lives. And let them not be involved in their problems, and even the types of art, and let them be humanly explained, normal and logical, let them learn how to live with measure to everything, with care about themselves and their loved ones.
- Play, rejoice, live in full and do not forget about the measure.
The author - Dmitry Gervas
Source: https://habr.com/ru/post/230669/
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