Like many other individuals in the world today, I am becoming increasingly involved in the practice and the community of gaming. Fallout 4 is the first game that I have felt really connect me to the community, however when playing I felt extremely morally challenged by the questions being asked of my character and also me as a player. The entire story of Fallout 4 is complex and non-linear, due to the nature of the game, meaning every different player would experience the order of the story different and perhaps not experience parts of it at all. Whilst I appreciated I was playing a game, I also couldn’t avoid my emotional investment in the story towards my character and others. Suggesting that although the game is a fictional piece of entertainment, it could also be considered as a space in which to explore moral questions that might not, or couldn’t be asked in the context of material reality. There are on going discussions about video games being viewed as an art form, with sophisticated graphics that require a high level of computer literate artistry (Travinor 2009). A new emergent medium has been created through these video games, referencing photo-realism but building on it and creating a new stylistic world. The camera represents the device through which the game player both views and explores their world and more recently, through which the player can produce their own form of photographic-type artistry (Giddings 2013). It is this practice of videogame photography that I wish to produce, the images I intend to create will document the locations I associate with my play through of the story and therefore places I believe my character would most likely remember too. In addition to this I aim to capture the environment that my character travelled through in order to progress through the storyline, capturing these in-between places. My choice to engage with the concept of video games and video game art, is because I believe that gaming is becoming more and more important culturally. The industry is growing due to increased technology allowing for a higher calibre of games and because more individuals are becoming part of the gaming community, myself included.
As I have identified, the content in the games can also become an important part of culture as it prompts discussions about both current and futuristic issues, despite them happening in a fictional environment. Likewise, the practice of photography has been recognised as culturally important at engaging with current world issues. In the area of photojournalism and documentary photography especially, photography has served as the means to communicate where perhaps words couldn’t. There have been many iconic images that have stood out and served as the face of some of the most important stories, including but limited to Dorothea Lange’s Migrant Mother, Kevin Carter’s image of a starving child and Nick Ut’s image of the girl fleeing a napalm attack. In many of these cases the photographer has been criticised for not intervening in the moment and helping the subject of the photograph, despite these images being the catalyst for social change. Whilst these iconic images may not have directly benefitted the subjects featured in them, in some cases they manage to incite cultural change, a great achievement for a singular image. However there are flaws in photography, past the photographer not always being able to directly help the subject they are photographing. Photojournalism and documentary photography have been the focus of much critical debate about the relationship between photography and truth. The practice of photography itself has historically been labelled as objective, with Walter Benjamin and Andre Bazin identifying the apparent lack of the human hand in the creation of the image, focusing on the mechanical production. However behind the apparently objective mechanics of the camera is an extremely subjective photographer, a human being that has been shaped by their own experience of life. A person that has their own opinion, design preference, style of photography and all of these are communicated through the image; whether the photographer wants them to be or not. Objective photography, in my subjective opinion, is impossible.
So what does a photograph represent if not the an objective truth? And if a photograph doesn’t or can’t represent the truth, then why do we still believe what is depicted in them? So, it would be foolish to suggest that all people believe what they see in photographs to be true. Audiences of images have become increasingly sceptical of the content following various editing scandals in popular media. The first identifiable cases of manipulation in the media can be traced back to the National Geographic Cover of the Pyramids, where the photograph taken was manipulated to bring the two pyramids closer, so that the image could work with the portrait orientation of the cover. The invention and increase of digital technology facilitated a wave new photographs that were altered, shaping certain genres of photography such as beauty; where it is culturally acknowledged that the photograph is probably altered. The theory supporting this scepticism is naive realism, which proposes that the reality we perceive in our own certain way, is definitely reality. In photography naive realism relates to a person looking at an image and believing the photograph to be able to represent the entirety of reality in one frame, despite there being many other elements to reality (such as movement and sound). Naive realism in reality, proposes that as humans we believe that our way of perceiving the world constitutes what reality is, that is because we can perceive colours we believe these colours are reality, despite other animals only being able to perceive shades of black and white.
In my work, I will be using the concept of naive realism, to create a visual experiment. The images that I am producing could be perceived as reality if the viewer doesn’t look closely to pick out the details, some of them are closer to the reality we experience as humans and some of them focus on details that are unrealistic to us (as the game is set in a post-nuclear war environment. These images will aim to serve as an eye-opener for those who believe everything they see in a photograph, whilst appearing to be a normal artistic piece documenting landscapes. However whilst one purpose of this piece is to be a visual experiment on the concept of naive realism, I also want it to explore the sophisticated narrative experience of contemporary gaming. Fallout 4 is a choice-based game, which means that each player of the game has the potential to create a different storyline; from the order in which the player experiences the main storyline, down to the choices that can be made during conversations between characters. This dynamic means that each different player creates their own version of the Fallout 4 story. My set of images document the version of the story that I created through the specific choices I made my gameplay. This work is important because it engages with two concepts that I believe are currently very important culturally: the world of video games and naive realism. Combing these two concepts has allowed me to create a really interesting piece of work that both follows my character’s unique story in the game Fallout 4 and plays on the idea of naive realism, by attempting to trick the viewer into believing that the landscapes in the images are of a real world.
List of References:
Giddings, S. (2013) ‘Drawing Without Light, Simulated photography in videogames’ in
Travinor, G. (2009) The Art of Video Games. Hoboken: Wiley-Blackwell