Tale of Tales. Notgames Fest. Not a manifesto. Notgames is not a category.
Notgames do not exist. There are no notgames. Notgames is not an art movement. Notgames is not a genre. Notgames is a project. Can we create a form of digital entertainment that explicitly rejects the structure of games? The notgames thought is inspired by videogames. Rare moments that are all too often shattered by the demands of the game. So notgames is a design challenge. This is a new medium. One of the motivations for the notgames thought is the desire to explore the potential of videogames as a medium. So notgames is also an artistic challenge. The question is not whether videogames are art. Noctuelles. Lecturer and Researcher at DkIT Section of Creative Media. Design & Interaction & Hacking & Netizen.
CONTROL – an experimental (meta) game about interface constraints CONTROL is a videogame based critical design piece examining the constrained link between videogames and their players through the manual interface of the game controller, while referencing elements of lofi computing aesthetics through its visual and auditory feedback mechanisms.
The player is represented onscreen by a hand avatar, which is controlled using the basic arcade videogame control mechanism of 8 directions and one action button. The 5 digits of the hand can be individually used to press the onscreen game controls. In order to use one of the fingers, the player must hold down the action button along with directional control for either left, top left, up, top right, or right. Each of these 5 movements corresponds to a single digit, for example, the combination of left and action corresponding to the thumb. The CONTROL title screen. Level 3, Nintendo’s NES / Famicom joypad configuration.
Link selection: Links: Timothy Michelangelo Sherman. Interactive. A fine WordPress.com site. Daniel Benmergui. I have a big problem with Storyteller’s design right now… There are just too many rules. The first stories are simple and most people have no problem going through them, but as more and more characters are introduced, it becomes harder to predict what is going to happen when you place the lover next to the angry villain that just secretly killed his wife out of jealousy. Examples of Rules I fall in love with the closest character if: I am compatible (nobles like rich people, heterosexuals need opposite sex, etc.) I don’t feel remorse about something I did to him (lovers don’t care) I don’t hate or dislike her (lovers don’t care) I am not already in love and as far as I know my partner didn’t die (lovers don’t care) I am not envious of this person (lovers don’t care) I spent the past two months rewriting, debugging and adjusting the rules that govern character behavior, hoping that it would fix the problem, but I got stuck going back and forth without making significant progress.
ROB LACH. Feng Mengbo. Feng Mengbo is a young Chinese artist whose work uses the the styles and structures of contemporary electronic games.
He combines this with cultural influences of China, from traditional opera legends to more recent stories from the Cultural Revolution and Hong Kong action cinema. The icons from Mao Zedong's Cultural Revolution and those of Hong Kong cinema both use a romantic, heroic style to tell moral or political tales. Mengbo has worked in paint, video and more recently digital media, to produce narrative pieces, full of computer game images, mixed with symbols from communist China. His 'Streetfighter' painting series (see below) features a revolutionary soldier, in Red Guard uniform, in conflict with a series of computer assasins and monsters.
His weapons range from ninja stars to crushed Coca Cola cans. "My art is concerned with the commonplace lives of ordinary people. Since 1996 Mengbo has worked with computers, not as a passive player, but making CD-Roms and games. Feng Mengbo - Reviews. Multiplayer Online Cultural Revolution Feng Mengbo. In his interview with AAP, Feng stated that he does not want to be categorized as a media artist; his practice, he points out, is broader than any specific medium.
In around 2001, Feng began to show paintings and other two-dimensional works again, first at Hanart TZ gallery in Hong Kong, and eventually elsewhere, including Shanghai’s ShanghART gallery, the artist’s mainland dealer. These works consist of scenes captured from his computer game-play transferred onto canvas or rendered as prints made with cutting-edge reprographic technologies, such as Veejet printing, often in collaboration with specialist technicians in China or abroad.
According to a statement on the Hanart website, for example, from his second Quake movieAh_Q (2002), Feng created a series of screen-captured photos (“Q4U,” 2002–03) and two acrylic paintings (Q4U_200201.TGA andQ4U_200301.TGA, 2002–03) showing the Feng-avatar in various states of shoot-’em-up game-play. New Acquisition: Feng Mengbo’s Long March: Restart.
Posted by Katelyn Sandfort, Department Coordinator, Department of Media and Performance Art Feng Mengbo.
Feng Mengbo.