Painting in Terms of Virtual Graphics of the Game Space

  • Maksim Valrievich Shibaev National Research University Higher School of Economics

Abstract

World design of a modern game is hard to imagine without cultural references. In-game space can not only be a decoration for a narrative, but also represent a complex multi-layered text filled with metaphors, hints and reminiscences. The game level, being a passing element of the general canvas of the narrative, does not always imply an emphasis on specific details. Despite the fact that the main goal of most games is to go through the story from beginning to the end, the player as a direct participant in the interactive space is free to voluntarily deviate from the main plot. Attention to various structural elements, analysis of the visual component, search for clues that can tell more about the history of the game world — all these are extremely popular ways of spending time for users.

One of these elements is virtual graphics. It can manifest itself in a variety of forms: in the form of comics on the shelf, posters, advertising, and graffiti on the walls or paintings. At the same time, virtual stylization is always focused on creating a deep immersion effect. Despite the fact that the immersive space implies the automatic reading of information, by analyzing its individual parts the player is able to learn new meanings outside the main narrative line. Graphic images fill the inner world of the game, change their shape depending on the setting and provide many opportunities for interpretation. Therefore, the interior design of the cyberpunk universe using virtual graphics will differ from the Middle Ages. Whether it is a decorative, representative or sacred function, the use of images, works and practices of the real world, as well as their graphic embodiment, is of great interest for research.

The article provides a structural analysis of painting as a participant of game narrative, and explains the need of the term "virtual graphics" in the aesthetics of video games. The example of 21 games demonstrates how important it is to be able to contact art in the virtual world.

Downloads

Download data is not yet available.

Author Biography

Maksim Valrievich Shibaev, National Research University Higher School of Economics

Student of the Doctoral Programme “Fine and Decorative Arts and Architecture”

References

Барт, Р. (1997). Camera Lucida. Ad Marginem.

Кадиков, М. (2019). Проектирование виртуальных миров. Теория и практика дизайна уровней. Издательские решения.

Подвальный, М. (2020). Границы видеоигры как художественного произведения. Коммуникации. Медиа. Дизайн, 5(4), 120–136.

Barman, C. (1940). London Transport Publicity. The Penrose Annual, (42), 50–54.

Bogost, I. (2007). Persuasive Games: The Expressive Power of Videogames. MIT Press. https://doi.org/10.7551/mitpress/5334.001.0001

Bownes, D., & Green, O. (2008). London Transport Posters. A Century of Art and Design. London transport museum.

Calleja, G. (2011). In-game. From Immersion to Incorporation. MIT Press. https://doi.org/10.7551/mitpress/8429.003.0012

Castronova, E. (2020). Life Is a Game. What Game Design Says about the Human Condition. Bloomsbury Publishing.

Dewey, D. (2007). The Art of Ill Will: The Story of American Political Cartoons. New York University Press.

Egenfeldt-Nielsen, S., Smith, J. N., Tosca, S. P. (2019). Understanding Video Games. The Essential Introduction. Routledge. https://doi.org/10.4324/9780429431791

Elgammal, A., Elhoseiny, M., Liu, B., & Mazzone, M. (2017). CAN: Creative Adversarial Networks Generating “Art” by Learning About Styles and Deviating from Style Norms. https://arxiv.org/pdf/1706.07068.pdf

Graft, K. (2016, February 25). Terrifying players with unstable level design in Layers of Fear. Game Developer. https://www.gamedeveloper.com/audio/terrifying-players-with-unstable-level-design-in-i-layers-of-fear-i-

Jackson, G. (2019, December 18). One Way To Beat This Upcoming Puzzle Game Is To Wait 400 Days. Kotaku. https://kotaku.com/one-way-to-beat-this-upcoming-puzzle-game-is-to-wait-40-1840513881

Miller, M. (2015). Assassin's Creed. The complete visual history. Titan Books.

Nells, W. (2020). Frameworks. Narrative Levels and Embedded Narrative. Wipf & Stock Publishers.

Parker, F. (2008). The Significance of Jeep Tag: On Player-Imposed Rules in Video Games. Loading.

Perron, B. (2018). The World of Scary Video Games: A Study in Videoludic Horror. Bloomsbury.

Reblin-Renshaw, L. (2020). Ludonarrative Synchronicity in the BioShock Trilogy. Springer. https://doi.org/10.1007/978-3-030-63868-9

Salen, K., & Zimmerman, E. (2004). Rules of Play: Game Design Fundamentals. MIT Press.

Schwarz, A. (2020). History in Video Games and the Craze for the Authentic. History in Games (117–136). Transcript Verlag. https://doi.org/10.1515/9783839454206-007

Statt, N. (2021, October 27). There’s a platform war brewing in NFT gaming. Here’s what it means. Protocol. https://www.protocol.com/nft-play-to-earn-steam

Totten, W. (2014). An Architectural Approach to Level Design. CRC Press.

Valentine, R. (2020, February 27). Designing the end of all Longing. Gamesindustry. https://www.gamesindustry.biz/articles/2020-02-27-designing-the-end-of-all-longing

Zagalo, N. (2020). Engagement Design. Designing for Interaction Motivations. Springer.

Published
2021-12-31
How to Cite
ShibaevM. V. (2021). Painting in Terms of Virtual Graphics of the Game Space . Communications. Media. Design, 6(4), 5-28. Retrieved from https://cmd-journal.hse.ru/article/view/13745
Section
Scientific Articles