Are Games Art?

Editor's Note: A Reflection on Video Games as Art in 2024

Since the publication of our original article in 2006 questioning whether video games can be considered a form of art, the gaming industry has witnessed the emergence of numerous titles that further blur the lines between interactive entertainment and artistic expression. As we revisit this debate in 2024, it's clear that the past two decades have seen an incredible evolution in how games are perceived in the context of art. Here, we highlight a sampling of games that have contributed significantly to this ongoing dialogue, demonstrating the artistic depth and creativity inherent in the medium.

Outer Wilds (2019, Mobius Digital):
An open-world exploration game set in a constantly evolving solar system, Outer Wilds merges scientific curiosity with a profound existential narrative. Its innovative storytelling, which unfolds through exploration and discovery, exemplifies the game's artistic exploration of time, mortality, and the beauty of the cosmos.
Papers, Please (2013, Lucas Pope):
Set in the fictional dystopian country of Arstotzka, Papers, Please explores themes of morality, authority, and the human cost of immigration control. Through its gameplay, the game compels players to confront the ethical dilemmas faced by a border checkpoint officer, illustrating the medium's capacity to engage with complex social issues.
Dear Esther (2012, thechineseroom):
Often regarded as a pioneer of the "walking simulator" genre, Dear Esther blurs the line between video games and interactive poetry. Its narrative, delivered through fragments of letters, combines with breathtaking landscapes to evoke a sense of loss, mystery, and introspection, challenging conventional expectations of interactivity and gameplay.
Limbo (2010, Playdead):
With its minimalist aesthetics and atmospheric storytelling, Limbo crafts a hauntingly beautiful world that explores themes of death and isolation. The game's use of silhouettes, ambient soundscapes, and environmental puzzles demonstrates the emotional and artistic potential of minimalistic design.
Braid (2008, Jonathan Blow):
Braid revolutionized the puzzle-platformer genre with its innovative manipulation of time mechanics and a narrative that delves into themes of regret, relationship, and the quest for redemption. Its artful design, combined with a poignant story, challenges players to look beyond surface-level gameplay to uncover deeper meanings.
Aether (2008, Edmund McMillen/Tyler Glaiel):
A pioneering exploration of childhood innocence and the vastness of the universe, Aether showcases the power of games to explore complex emotional landscapes. Its hand-drawn visuals and profound narrative depth exemplify how games can serve as a canvas for personal storytelling and existential reflection.

These titles, among many others, have enriched the gaming landscape with their artistic ambitions, demonstrating the medium's unique ability to convey complex themes, emotions, and experiences. As we continue to explore the evolving relationship between video games and art, these examples stand as testament to the medium's potential for artistic expression and its rightful place within the broader cultural discourse on art. The journey of video games from mere entertainment to recognized art forms reflects the industry's growth, innovation, and the ever-expanding possibilities of interactive storytelling.

The debate over whether video games qualify as art has been fiercely contested. Triggered by Roger Ebert's assertive stance that video games could never ascend to the realm of art, this discussion has permeated the worlds of game development, criticism, and fandom.

As a game developer and contributor to "Make It Big In Games," I find Ebert's perspective limiting. Art, in my view, transcends traditional confines. While Ebert's acclaim in film criticism is notable, his dismissal of games overlooks their dynamic and evolving nature. I argue for valuing community-driven insights over singular critical authorities, believing these collective experiences offer a richer understanding of games as a medium.

Art is defined by its ability to harness creativity, imagination, and human skill to express the gamut of human experiences. Given this criterion, the artistic credentials of video games are undeniable. With their complex narratives, immersive worlds, and capacity to elicit strong emotional responses, games mirror the creative rigor and emotional depth of acknowledged art forms like music.

This parallel extends further when considering the artistic journey from concept to creation that games undergo, akin to traditional art. Icons like Shigeru Miyamoto and Will Wright embody the essence of artistry in game development, creating works that resonate deeply with audiences.

Moreover, games stand out as a distinct narrative medium. Their interactivity provides a unique avenue for storytelling, offering personal engagement and a depth of emotional experience unparalleled by static forms of art.

However, the discourse also accommodates voices prioritizing fun and gameplay over narrative complexity, highlighting a spectrum of purposes within gaming—from sheer entertainment to profound artistic expression.

The evolving recognition of games as a legitimate art form challenges us to appreciate their unique contributions without confining them to conventional art standards. The discourse around games and art underscores the medium's capacity for innovation and expression, far beyond the binary of art versus entertainment.

Anecdotes from both proponents and skeptics of games as art enrich this debate, illustrating the diverse views on the medium's artistic value. Regardless of where one stands, the ongoing discussion is a vibrant testament to games' dynamic nature and their potential for creative expression.

In conclusion, the question of games as art may never be resolved unanimously. However, the very debate highlights the medium's expansive and evolving character. As games continue to redefine storytelling and aesthetic boundaries, their role in the artistic landscape invites us to explore, engage, and define their value on our terms.

First published January 10, 2006 and last updated at March 8, 2024