2009 Fifth International Joint Conference on INC, IMS and IDC
Exploring Traditional Art and Culture in Modern Computer Games
2009 Fifth International Joint Conference on INC, IMS and IDC
Conrado R. Ruiz, Jr.
College of Computer Studies De La Salle University - Manila Manila, Philippines
e-mail: cons.ruizjr@delasalle.ph
Nor Hidayu Salimi
Malaysian Institute of Information Technology Univeristi Kuala Lumpur
Kuala Lumpur , Malaysia
e-mail: nhidayu@miit.unikl.edu.my
Sujitra Chodnok
Division of Computer amp; Electronics Engineering Ewha Womens University
Seoul, South Korea
e-mail: sujitra42@hotmail.com
Pham Trung Ha VTC Game Hanoi, Vietnam
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- ail: ha.pham@vtc.vn
Abstract— One of the main difficulties that computer game designers face is finding engaging content for their games. In this paper, we explore the possibility of exploring tradition art and culture as a possible source of inspiration for the actual content of modern computer games. We also consider computer games as a medium for promoting culture and arts, and therefore being considered as an art form itself. To establish why computer games can be considered art, we take into account the major theories of art in terms of historical, institutional, aesthetic, representational and expressive definitions. We also present the computer games that we have developed and show how these can be used to exhibit the culture and art of a country. The first game is Tuk-tuk (auto rickshaw) based on Thailandrsquo;s popular mode of transportation. It is essentially a taxi simulation game where the player has to pick up passengers and bring them to their desired location. In the game the tradition architecture of Bangkokrsquo;s structures is shown, passengers wear Thai traditional costumes and Thai music is played in the background. The second game is “O An Quan” (game of squares), a traditional board game played with stones in Vietnam. It is similar to Malaysiarsquo;s “Congkak” and the Philippinesrsquo; “Sungka”.
Keywords-computer games, digital art, tradional art, computer graphics and animation, game content
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- INTRODUCTION
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Computer games are now one of the most popular forms of entertainment in the digital age. The pervasiveness of the computers in homes coupled with the increased processing power of video cards and improved multimedia capability has led to computer games that are visually stunning and able to capture the imagination of its players.
Computer games are said to overtake the film and music industry in terms of growth in the coming years [2]. Catering to a vast audience and different age groups, the market for computer is steadily increasing. However, despite the cultural prominence of computer games and technology- based art, philosophical aesthetics has completely ignored the area [12].
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978-0-7695-3769-6/09 $26.00 copy; 2009 IEEE DOI 10.1109/NCM.2009.178
978-0-7695-3769-6/09 $26.00 copy; 2009 IEEE DOI 10.1109/NCM.2009.178
Computer games combine elements from narrative film, music and sports. Ironically, its major resistance comes from the scholars in film and animation, which is arguably its closest art form. Some critics believe that it greatly differs from film because it allows interactivity. R. Ebert [7] argues that, “Video games by nature require player choices, which is the opposite strategy of serious film and literature, which requires authorial control.” The proponents believe that games should not be easily dismissed because of this presumption. After all, the entire recurrent problem at the heart of modernism is how to make the audience involved in the art work. R. Collingwood [5] used the term “concreative” to describe art this type of art, which is more collaborative.
It is difficult to find one encompassing definition of art, however if we simply consider art as anything that can creatively express thought and feelings to an audience, then computer games should be considered a plausible candidate. Conservative scholars may find it difficult to see computers games as art, but this is also true when movies were first appeared or when any other art form was first introduced.
Even if we do not agree that computer games in its entirety are art, there is no question that the elements that make up modern computer games are art. Most computers games have 2D or 3D pictures, music and animations. All of which taken separately are unquestionably considered as art forms. Therefore, our premise can still hold true, that computer games can used a medium of presenting the culture and art of a country by contemporary means.
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- GAMES AND ART
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- Evolution of Computer Games
Computers were first utilized for military and scientific applications. Since most the intended output was merely numerical in nature, there was no pressing need for a graphical means of producing output. But eventually technological advancements gave computers graphics and sound capabilities allowing it to become a new medium of emotional communication art.
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Figure 1. Computer games through the years. From top- left to bottom right: Atarirsquo;s Pong (1972), Nintendorsquo;s Super Mario (1985), IDrsquo;s Doom (1993), and UbiSoftrsquo;s Assassinrsquo;s Creed (2008). Images are owned and copyright by their respective owners.
In the 1970rsquo;s most of the computers had monochrome screens and video games only had one color. In terms of sounds, computers only produced beeps with varying frequencies. One of the first well-known computer game
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探索现代电脑游戏中的传统艺术和文化
摘要：电脑游戏设计者面临的主要困难之一是为他们的游戏找到吸引人的内容。在本文中，我们探讨了探索传统艺术和文化作为现代电脑游戏实际内容的可能灵感来源的可能性。我们也认为电脑游戏是一种促进文化和艺术的媒介，因此被认为是一种艺术形式。为了确定为什么电脑游戏可以被认为是艺术，我们从历史、制度、美学、代表性和表现力的定义上考虑了主要的艺术理论。我们还展示了我们开发的电脑游戏，展示了这些游戏如何被用来展示一个国家的文化和艺术。
关键词:电脑游戏、数字艺术、传统艺术、电脑图形和动画、游戏内容
一、导言
电脑游戏现在是数字时代最流行的娱乐形式之一。家庭计算机的普及，加上视频卡处理能力的提高和多媒体能力的提高，使得电脑游戏在视觉上令人惊叹，能够捕捉玩家的想象力。
据说，就未来几年的增长而言，电脑游戏将超过电影和音乐行业。计算机市场正稳步增长，以满足广大用户和不同年龄组的需求。然而，尽管电脑游戏和基于技术的艺术在文化上占有突出地位，哲学美学却完全忽视了这一领域。
电脑游戏结合了叙事电影、音乐和体育的元素。具有讽刺意味的是，它的主要阻力来自电影和动画的学者，这可以说是它最接近的艺术形式。一些评论家认为它与电影有很大的不同，因为它允许互动。R. Ebert认为，“电子游戏本质上需要玩家的选择，这是严肃的电影和文学的相反策略，需要作者的控制。”支持者认为，游戏不应该因为这种假设被驳回。毕竟，现代主义的核心问题是如何让观众参与艺术创作。R. Collingwood用“合作”这个词来形容艺术，这种艺术更具协作性。
很难找到一个涵盖一切的艺术定义，然而，如果我们仅仅把艺术看作是能够创造性地向观众表达思想和感情的东西，那么电脑游戏就应该被认为是一个可信的候选者。保守的学者可能会发现很难把电脑游戏看作是艺术，但当电影首次出现或任何其他艺术形式首次出现时，情况也是如此。
即使我们不同意电脑游戏是艺术，但毫无疑问，构成现代电脑游戏的元素是艺术。大多数电脑游戏都有2d或3d图片、音乐和动画。所有这些单独采取无疑被视为艺术形式。因此，我们的前提仍然成立，即电脑游戏可以用当代的方法来展示一个国家的文化和艺术。
二、游戏和艺术
a．电脑游戏
目前的电脑游戏可以与数字动画电影甚至好莱坞电影的电脑图形相媲美。很快就很难用游戏中的图形来区分现实生活中的图片了。在游戏中，凭借高端视频卡的先进功能和功能，《刺客信条》被认为是当今游戏美学的领头羊之一。但是，不仅计算机的图形能力有了进步，而且它产生声音的能力也有了进步。现在的游戏可以利用标准声卡中的高清晰度3d声音功能。很快，我们所能创造的游戏类型和它们所展现的现实主义只会被其创造者的想象力所限制。
b. 艺术理论
在这一节，我们探讨了其他主要的艺术理论以支持我们的论点，即计算机游戏可以被视为一种现代艺术形式。大多数电脑游戏遵循一个详细的故事情节，这使得它与电影等艺术的叙事形式密切相关。虽然玩家可能有选择，但大多数情况下，所有的故事都不会改变，或者仍然会有预先确定的结果。因此，任何接受叙事电影作为一种艺术形式的历史艺术理论，都会认为电脑游戏是一个合理的候选者。
艺术的表征理论争论体育是一种艺术形式，因为它在一个标准上是失败的。体育可以是艺术的主题，但艺术不能是体育的主题。对于电脑游戏来说，这种情况并没有使它成为一个可行的候选项目，就表现形式而言，它甚至比体操这样的美学运动更可行。
电脑游戏是一个相对较新的，它需要时间来获得接受，即使是游戏开发者作为一种艺术形式。尽管如此，在目前的状况下，它仍然是一种可用于促进文化和艺术的媒介。
三、执行和设计问题
电脑游戏是使用Irrlitch 1.2游戏引擎创造的。Irrlitch引擎是一个开源的高性能实时3d引擎，可以在C 中使用。网络平台.它是完全跨平台的，使用直接3d，OpenGL和它自己的软件提交程序，并具有所有的功能，可以在大多数商业3D引擎。它也是一个灵活的图形引擎，可以开发出许多不同的应用程序使用它。其中一些例子包括：复杂的3d模拟应用，有室内和/或室外场景的第一和第三人称射击游戏，实时策略游戏，二维游戏，虚拟现实系统等等。
四、结论
支持者们提出了一些艺术理论，并介绍了如何利用这些理论将电脑游戏视为一种现代艺术形式。尽管如此，它仍不是所有学者、艺术家和理论家广泛接受的形式。即便如此，它仍然是一种可行的传播艺术和文化的手段，但要充分利用其要素。
在第一个游戏中，展示了曼谷建筑的传统建筑，乘客穿着泰国传统服装，背景播放泰国音乐。它展示了这个国家的传统艺术形式，在这个数字时代，也许大多数人会更喜欢它。
第二个游戏是《奥安泉》（方块游戏）,是越南传统的用石头玩的棋盘游戏。在今天的现代科技社会中，大多数孩子不再玩传统游戏，大部分时间都在玩电脑游戏。但是，通过在电子游戏中改编传统游戏，我们可以保存这个国家的一些遗产和文化，同时让下一代感兴趣。
支持者建议其他游戏开发者将传统游戏视为当代电脑游戏，特别是休闲游戏的可能内容来源。大多数游戏还利用西方的传说和神话，并期望日本和中国的影响。然而，其他亚洲国家也有丰富多样的文化和神话，可以成为现代电脑游戏的内容来源。
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