In the constantly evolving realm of video games, the debate over what constitutes ‘art’ is an ongoing conversation. The advent of games that focus more on narrative depth and aesthetic appeal than traditional gameplay mechanics has added fuel to this discourse. ‘What Remains of Edith Finch’, developed by Giant Sparrow, is a prime example of this shift towards artistry within the medium. It has been hailed as a masterwork of interactive storytelling, and has received numerous accolades. Yet, its artistic merit remains a point of contention among critics and players alike. This article aims to delve into this debate.
Examining the Aesthetic Value of ‘What Remains of Edith Finch’
‘What Remains of Edith Finch’ stands as a testament to the power of video games as a storytelling medium. Through its use of richly detailed environments and innovative narrative techniques, it creates an immersive experience that goes beyond the conventional scope of video games. The game’s narrative is evocatively delivered through a series of interconnected vignettes, each one uniquely designed with its own gameplay mechanics. This not only adds depth to the game’s storytelling, but also allows the player to experience a wide variety of artistic styles and atmospheres.
The game’s visual and auditory aesthetics contribute significantly to its artistic merit. The Finch house and its surrounding environment are rendered in a style that is both realistic and dreamlike, adding layers of beauty and mystery to the exploration. The soundtrack, likewise, heightens the emotional impact of the game, often evoking feelings of melancholy, curiosity, and wonder. It is through the combination of these elements that ‘What Remains of Edith Finch’ transcends traditional gaming structure and moves into the territory of interactive art.
Contesting the Artistic Recognition of ‘What Remains of Edith Finch’
Despite the praise lavished upon ‘What Remains of Edith Finch’, there are critics who challenge its artistic recognition. Some argue that the game’s dependence on narrative over gameplay reduces it to a ‘walking simulator’, a term often used derogatively to describe games where interaction and challenge are minimal. They contend that the lack of traditional gameplay elements, such as combat or puzzles, diminishes the player’s agency and ultimately undermines the game’s artistic value.
Additionally, there are critics who question the game’s use of tragedy as a narrative tool. They argue that ‘What Remains of Edith Finch’ relies too heavily on sentimentality and shock value to engage players, rather than on subtler and more nuanced forms of storytelling. From this perspective, the game’s narrative techniques are seen as manipulative, reducing its artistic merit.
The debate over the artistic merit of ‘What Remains of Edith Finch’ provides valuable insights into the evolving values and expectations we have for video games as a medium. While its aesthetic appeal and narrative depth are undeniable, the game’s lack of traditional gameplay elements and its use of tragedy as a narrative tool are points of contention. Ultimately, the question of its artistic recognition may depend less on consensus and more on individual perspectives. As the medium continues to evolve and innovate, we must remain open to the possibilities of what video games can achieve as a form of art.