Breath of Fire image source: VGMuseum
Now that bump mapping and real-time shadow rendering are common vernacular, 3-D modeling is a career path to aspire to, and the consciousness of the gamer/consumer has been invaded by industry buzzwords and comparison charts, we often forget that the visual representation of the video game centers around a single element: the pixel, the simplest graphical unit by which all manners of computational drawing were first based. These literal building blocks (although “shapes” is a more accurate term, because you don’t dare call them squares) represent all that is good and right with modern media: a fixed system of creation that produces an endless variety of forms.
Severe technical limitations ensured that the first video games would have bare and almost laconic presentations, but, as Mark J.P. Wolf notes in “Abstraction in the Video Game” from The Video Game Theory Reader (edited by Wolf and Bernard Perron), the blocky and abstract visuals of the early games, while primitive by today’s standards, served as an educational tool as well: it was a way to wean people onto the different skills of manipulation that had to be mastered in order to succeed at the machines they were trying to play. With less ornamental distraction, one could better concentrate on the task at hand, namely, objective and input: What do I have
to do, and how do I do it? Without gamers even being aware of it, the pixel quietly and seamlessly taught them how to properly partake in video games, sharing in the interactive experience without becoming confused and disillusioned.
After the arcade machines of gaming’s infancy—and the graphics they introduced—laid the foundation for this new, interactive method of media reception, the first console systems began to appear in homes, signaling and embracing the convergence of abstraction, engagement, and technology. In a way, these pieces of hardware were the apex of post World War II consciousness, with counterculture, escapism, commercialism and raw information desperately trying to be contained into something compact and palpable, something that the average person could obtain—for the right price, of course. And what better way to distill modern thinking than through an equally modern and purchasable device that can also be switched off when things get too overwhelming or difficult?
It would be very easy to see these video games—and personal computers, which were tracing their own congruous path—as the first embodiment of this cultural merger, seeming to arrive suddenly and fully formed…but that’s not to say that other forms of art and media weren’t conceptualizing the forthcoming digital age. A few years ago I discovered the wonderful films of artist Norman McLaren, and I find such a close compatibility in his work to the notional quandaries that game scholars would later pose that I dare call McLaren the spiritual predecessor to electronic gaming, “pixelating” our world before anyone knew what the digital revolution would actually come to represent.
Sometimes, that’s all you need.
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