Work by Owen Ribbit
Blade Runner (1997)
Blade Runner (1982)
Do Androids Dream of Electric Sheep (1968)
Paradoxically, game theorists love stories for the reasons ludologists renounce them. According to ludologists, games and stories belong to different categories, because, as Juul argues and Aarseth concurs, the plot of a story cannot be extracted from a game based on that story, while in the inverse translation from game to story the rules of the game get lost (Juul, 2001; Aarseth, 2004). Aarseth concludes: “So, although non-narrative and non-ludic elements can be translated [setting, atmosphere and characters], the key elements, the narration and the gameplay, like oil and water, are not easily mixed” (Aarseth, 2004).
Are video games art? They sure are, but they are also design, and a design approach is what we chose for this new foray into this universe. The games are selected as outstanding examples of interaction design—a field that MoMA has already explored and collected extensively, and one of the most important and oft-discussed expressions of contemporary design creativity. Our criteria, therefore, emphasize not only the visual quality and aesthetic experience of each game, but also the many other aspects—from the elegance of the code to the design of the player’s behavior—that pertain to interaction design.