Etoh*the*Greato wrote:The best games-as-art arguments are games that have managed to find those things that videogames can do to convey something uniquely.
This is why Deadly Premonition is a good example of art.
This is why Braid is a bad example of art.
Yeah, I know everyone brings up Braid in the games as art argument and I'm honestly not sure why. The game was a lot of fun, was pretty, and had great music. Which is fine! But it didn't do anything unique in its story. In fact, the story could easily have been told as a short story...which is pretty much what they did, by having the story just be text blocks before the worlds.
Deadly Premonition on the other hand, did something unique with its premise. It couldn't be done as a movie or even a TV series (despite it being a huge love letter to Twin Peaks). The story was uniquely designed to require character interaction throughout, such as York's monologues while he was driving to his destinations, something that wouldn't have worked well in non-game form. Near the end of the game as well, there's a huge choice that is up to the player, something that could never have translated to the area of film.
So yeah, really wish Braid would stop getting brought up in these discussions. I didn't really feel anything while playing Braid except "Wow this puzzle is hard" or "This music is awesome" or "How do I do THAT?" Deadly Premonition on the other hand, even though I didn't play it (I watched both of the Giant Bomb Endurance Runs of it), managed to make me feel actual emotions and interest at the town and what was going to happen. It's unreal.
To put it another way, the only time I've ever felt as much for video game characters as I do for Deadly Premonition is Persona 4. And that's from watching an Endurance Run where the players didn't even do all the side-missions that flesh out the characters even further.