Digital Game Art: Character Design in Digital Games

Author: (English) Morris, (English) Hatas, translated by Wang Yi, Wang Hao
Publisher:
Publish Date: 2004-04-01
Features: Regarding the art of computer games, you could set up an entire university course on it, and it is undoubtedly the case that many have already done so. Broadly speaking, it is more extensive than the art of cinema, as it must include factors beyond aesthetics: game theory, graphic design, storytelling, and the entire entertainment experience. Game production differs from other forms of painting art; it is not designed to be viewed within a frame, unlike the production design of cinema. Since players interact with the game world, the work of game artists is more akin to that of an architect—creating a colorful, light-dappled, and spacious world, designing pathways within it. Observing game art from the outside, like viewing the Elgin Marbles in the British Museum, it remains art, but no longer in the original way of viewing art. However, if game art no longer follows the original construction method of art but instead takes on an interactive function, what does that mean? Precisely because we view it here as "the art of the frame," we can gather many interesting and impactful collections. Both of us have worked extensively in the development of CD-ROM games, as well as in the television and book industries. We have realized that for the older traditional media, looking down and learning from games has become a trend. This is similar to how theater looks down and learns from cinema, or how radio looks down and learns from television—these elders take a moment to see what they can learn from the younger generation. We are personally without a doubt that CD-ROM games will become the art form of the 21st century. Let's make a bet? Everything is still unknown!