For many years we have strived for realism in our computer generated art work. Just look at the progression of one of video game’s most enduring characters, Lara Croft, who has seen consistent titles released since 1996 in the days of visible polygons and hard edges on supposedly curved surfaces, through the rubber-doll days of Chronicles and Underworld, and into the modern reboot that can border on photo-realism in stills.
And yet, it seems like the closer we get to emulating reality, the more we seem to want to step away from it. Increasingly we see more stylisation in our artwork, cartoonish features, abstract colour palettes, or a simple distortion of reality to create a theme. I want to look into some of these artistic choices… Continue reading “Departing Realism – Art in Video Games”
The first person view is the easiest way to instil fear in the viewer, the forced perspective makes the experience a lot more personal. The found footage subgenre is great at forcing us into the eyes of the victims and helping us share the experience side-by-side with them, and video games are starting to borrow a few tricks from found footage, such as camera tilting and jolting. Amnesia started those tricks early, having the camera drop to the floor in panic and crawl through a short and boring corridor.
There’s a growing amount of games that bring horror into new perspectives, Limbo, Little Nightmares, and Deadlight are all prime examples of platform horrors that shift the view of the player so that they act as witnesses, rather than active participants, but they employ some rather different methods to inspire dread: Continue reading “Horror And Perspective”