As I have been developing aesthetics over the past couple weeks in relation to aesthetics in games, I will be analysing the aesthetic with three concepts in mind: nostalgia, marketing and cultural capital.
Nostalgia
Nostalgia has entered popular discourse with many different meanings, though the most common interpretation tends to be “a .”>sentimental longing for the past, especially in reference to how things used to be better,” (Madigan, 2013).
Playing retro games may bring back a sense of childhood and can possibly make you feel like a kid again, as being an adult comes with a lot of stress. Nostalgic play may also recall positive childhood experiences unrelated to gaming. Evoking these when playing childhood video games could result in a boost to mood, especially if the individual is experiencing negative mood states. Applying nostalgia’s self-oriented function to video games, people who have had positive playing experiences might use these memories for actual self- enhancement and maintaining positive self-views. “Nostalgia emerging from re-experiencing these games might also come with a particular kind of meaningfulness,” (Wulf et al, 2018).
Marketing
Aesthetics is arguably the most important aspect to game design because it not only applies an extreme amount of lower budget games attempting to make their mark on the industry but also the more graphically intense games as well. They make or break a game. “Although the interactive character of games is now taken for granted, interaction design itself as a discipline has long been looking beyond systems design towards the broader user experience, with focus upon the tangible, material, emotional and embodied qualities of interaction,” (Niedenthal, 2009).
Let us travel back to 2010 to discuss one of my favorite games, Super Mario Galaxy 2. When hearing about such a game, you wouldn’t think much of it. However, when you first lay your eyes on it, any player would be in awe of the fact that it’s artistic integrity is beyond outstanding. As a developer, you may not always have the best tools when it comes down to graphics, but you can still create something unique and visually appealing if you take the time to develop a world which players can delve into.
Cultural Capital
Pierre Bourdieu defined cultural capital as the kinds of knowledge that allows one to acquire power and status, and part of that process is understanding the way that knowledge itself is constructed. Through media archaeology, I have been able to look into Jenova Chen, who is the creative director of Journey, an indie adventure game. Chen admitted his emotional struggles was inspiration behind the game design, specifically the snow sequence that immediately precedes the games conclusion. The game is mysterious and beautiful, highlighting his own personal experiences.
References
Madigan, J 2013, ’The Psychology of Video Game Nostalgia’, The Psychology of Video Games, weblog post, 6 November, viewed 17 September 2021, <http://www.psychologyofgames.com/2013/11/the-psychology-of-video-game-nostalgia/>.
Niedenthal, S., 2009. What we talk about when we talk about game aesthetics. In Digital Games Research Association (DiGRA), London, UK (2009). DiGRA Online Library, viewed 18 September 2021.
Ohannessian, K 2012, Game Designer Jenova Chen On The Art Behind His ‘Journey’, Fast Company, Fast Company, viewed 17 September 2021, <https://www.fastcompany.com/1680062/game-designer-jenova-chen-on-the-art-behind-his-journey>.
Wulf, T, Bowman, ND, Rieger, D, Velez, JA & Breuer, J 2018, ‘Running Head: Video Game Nostalgia and Retro Gaming’, Media and communication (Lisboa), vol. 6, no. 2, pp. 60–68, viewed 18 September 2021.
Samantha's Show 