Thirty years ago, when young angry people wanted to express something about their lives, they would pick up a guitar and write a song; if they wanted to tell a story, they might have written that as poetry or bought a camcorder and made a film. Now they’re just as likely to make a game. [...] Games have become the permissive creative space that punk rock once was.
I think this is the most important thing to happen to games - that they get this right to exist as expression or commentary from their creator, without being some kind of Customer Service Product that must cater to the explicit needs of a consumer.
Because I believe, that games have the potential to become the primary aesthetic form of the coming century, between their expanding reach into more ubiquitous platforms and broader audiences and emerging cultural status as an entertaining expressive education medium. Games are poised at a critical moment of definition and change.
Und das zeugt - auch wenn es sich bei Spielen um kollaborative Kunst handelt - von einem sehr individuellen Ansatz. [...] Sie übersetzen nicht einfach Filme in ein Spiel oder gamifizieren irgendeine Art von Erlebnis, sie wollen mehr: etwas über den Zustand der Welt sagen, darüber, was es heisst, als Mensch in dieser Zeit zu leben. Für sie sind Spiele das Mittel, um ihre Sicht der Dinge auszudrücken.
Janet H. Murray in: Philipp Sickmann: Rückkehr auf das Holodeck (WASD 9)
Setting up an environment, a system for experiencing, learning and enjoyment. That's both teaching and game design for me.
Prof. Csongor Baranyai (BTK Berlin)
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