Mak­ing a game com­bines every­thing that’s hard about build­ing a bridge with every­thing that’s hard about com­pos­ing an opera,” he said. “Games are basi­cal­ly operas made out of bridges.”

Part of the prob­lem with this urge to ele­vate games is that they also become domes­ti­cat­ed,” Mr. Lantz said. “Now that we’ve got­ten them in the muse­um and the uni­ver­si­ty, keep­ing games weird and scary is maybe the next prob­lem to solve.”

I got to vis­it NYU Game Cen­ter dur­ing Prac­tice last year, and I am con­vinced it is basi­cal­ly the best games pro­gram in the world today because it is (1) explic­it­ly focused on mak­ing, and (2) does not pan­der to what­ev­er is “hot” in the indus­try at any moment, but tries to active­ly shape it in stead.

With regards to weird­ness (or illeg­i­bil­i­ty), this is a con­cern if mine too for some time and I tried to talk about how I see this work­ing at Hide & Seek back in 2012.

(via Tal­ent­ed Design­ers Stream Into M.F.A. Video Game Pro­grams —

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Kars Alfrink

Kars is a designer, researcher and educator focused on emerging technologies, social progress and the built environment.