01
Let me present a compelling perspective: Games and art exist as distinct entities on an ontological level, fulfilling different needs. Art, in its purest form, flourishes without requiring interactivity, while games engage players through their inherent interactive nature. However, this does not imply a complete dichotomy. A space for compromise exists, and I call it artplay. Artplay serves as a concept that harmonizes art and gameplay, seeking to bridge the divide between them. The reason gameplay is chosen as the focal point is its capacity to be abstracted from the confines of a specific game, allowing it to transform into a captivating aesthetic experience. Gameplay, the act of playing a game, can be observed and appreciated independently, whereas a game itself remains unfinished, existing only as a potential entity.
02
The challenge lies in the task of isolating gameplay from the game itself. The key to solving this lies in understanding the context in which the action occurs. It is indeed possible to engage in activities reminiscent of games outside of the conventional environment, even though gaming is predominantly associated with privately playing a game for entertainment.
Let’s consider a scenario where individuals attend the play Rosencrantz and Guildenstern Are Dead by Tom Stoppard, in which one scene involves observing an actor tossing a coin. Although this may not fit the conventional definition of playing a game, the act of tossing the coin carries gamelike features within the theatrical setting. The interpretation and objectives of games can be profoundly influenced by the environment in which they unfold.
The core of the artplay concept hinges on establishing a fresh context that has the power to transform the meaning and value of game elements.
03
Artplay skeptic: ‘I still struggle to grasp the significance of differentiating a game from gameplay. Without acknowledging this possibility, the establishment of artplay as an independent form of art loses its meaning. Gameplay, as the term suggests, is simply the act of engaging in playing a specific game.’
Artplay enthusiast: ‘The idea of isolating gameplay from a game imposes limitations on the infinite potential to iterate a particular game. It restricts the exploration of following the rules of a game for entertainment or educational purposes. Every piece of art is inherently unique, and the same holds true for each individual act of gameplay, as they occur at specific times and places. On the other hand, a game is composed of an abstract set of rules that can be endlessly applied as long as there are willing participants who follow those rules.’
Artplay skeptic: ‘Nevertheless, you cannot deny that every instance of gameplay presupposes a specific game.’
Artplay enthusiast: ‘That is true. However, if the act of playing a game is not the primary objective, then the dominant context is not defined solely by the activity of game-playing. It is well-known that playing a game should be a voluntary act of an individual engaging in a particular activity. When we consider the example mentioned earlier, where a game is being played on stage, it is not something the actors do as a personal choice but rather something devised by the writer or director of the play. The act of coin flipping, on its own, carries a different meaning than how it is portrayed within the mentioned play, where the game serves as an illustration of something pertaining to the nature of theater and life itself. The game becomes an expression of something beyond its own existence.’
04
I often find myself reflecting on the words of al-Mamun, renowned as “the most magnificent of all the Abbasid caliphs,” and his fondness for chess, despite not being skilled at playing it. He famously marveled: “It is wonderful that I, who rule the world from the Indus in the East to Andalus in the West, should be unable to master the thirty-two chessmen confined within a two-cubit square.”
This statement highlights the striking contrast between the tangible, physical territories governed by the sheer power of the state and the abstract, intellectual realm governed by the power of the mind, as exemplified in the game of chess. This observation uncovers an intriguing dynamic in today’s world, prompting us to compare the widespread influence of games and gamification, as promoted by the game industry encompassing video games, board games, TTRPG games, esports, and more, with the pervasive forces of corporatization that amass substantial revenues and shape people’s thoughts. Meanwhile, art often resides on the periphery of the digital landscape.
In this context, artplay emerges as the bridge between these two realms, although it remains firmly rooted in the domain of art. It is tied to the “two-cubit square” that cannot be governed by the dominant logic of today.
05
Artplay surpasses mere desires and delves into the realm of genuine human needs. The game industry thrives by catering to desires, shaping trends, and influencing the thoughts and behaviors of the generations it targets. Playing games provides an escape from the harsh realities of the modern world, enabling individuals to assume various roles and develop problem-solving skills.
While people are drawn to games for a multitude of reasons, it is difficult to conceive of a game that fully embodies mythological figures like Oedipus or Medea, or offers religious experiences. There appears to be an inherent barrier that restricts certain forms of agency within the gaming context.
Consequently, artplay shifts the focus from player interaction to the observation of specially trained professionals, known as “artplayers,” as they engage with the game. The audience derives enjoyment from the spectacle, and artplay serves as an extension, offering a uniquely aesthetic interpretation of genres such as video game streams, TTRPG podcasts and shows, and Japanese TTRPG replays.
06
The power of artplay lies in its ability to combine interactive elements with grand narrative themes, creating a unique form of expression. However, the challenge lies in finding sophisticated ways to integrate and convey the inherent dichotomy between these two domains in a manner that feels organic and genuine.
This necessitates a strong focus on the quality of physical materials used in the game, such as dice, cards, and objects, as well as the deliberate gestures employed during gameplay. These gestures, influenced by the artplayer’s temperament, thinking, and personal style, become an expression of themselves. When all these elements come together, they create a space that has the potential to connect artplay and the domain of spirituality. The connection is further strengthened by purposefully incorporating ritualistic elements that serve as guides for executing all the aforementioned components.
07
Focusing on the tangible aspects of game elements imparts symbolic meaning to their quality. As long as the right number and form of dice are utilized, it makes no difference to the D&D experience whether they are made of wood or gold. In artistic narratives and performances involving gameplay, the material characteristics of game components are referenced as integral parts of the overall composition. Similarly, the importance of quantitative values takes a secondary role, with their significance being less pronounced compared to prevalent game modes in existence today.
08
Artistic expression can be found in the act of playing games, as exemplified notably by Mikhail Tal’s daring style of sacrificing chess queens, the graceful movements of ancient Go masters as they place black and white stones while embodying the concepts of yin and yang, or the skillful and entertaining portrayal of characters by voice actors in TTRPG shows.
However, artplay performance takes a different approach by incorporating symbolic and meaningful gestures specific to the playful situation. It shares similarities with the function of physical game components, but since it is performed creatively on a stage, there is greater freedom to modify and adapt the gestures.
In the hypothetical artplay concept, the use of large woven cards featuring medieval heroes holds a significant role that is not as easily altered or reinterpreted compared to the gestures performed by the “artplayer.” The gestures encompass the manipulation of physical game components and the presentation of the outcomes of that manipulation to the audience.
While the gestures can be subject to creative variation and adaptation, the utilization of specific material game components, such as the woven cards, carries a more fixed and defined nature within the artplay framework.
09
The goal of artplay, which is still in its early stages, is to foster interactive art in a physical setting. For this reason, a stage is used. This enables actors to deliver stories, use gestures, and develop the plot by incorporating actual game features.
However, it’s crucial to remember that artplay cannot be reduced to a simple stage game, since it requires the adaptation of interactive features to fit a different purpose when there is an audience. Furthermore, since improvisation does not play a crucial part in the presentation of the tale, artplay is different from the improvisational presentation generally connected with TTRPG shows.
The artplay idea has a predetermined framework similar to that of a play’s text but with the addition of sections that include interactive elements, like tangible game elements and narration branching.
10
Now let’s delve into the purpose of artplay. What makes watching artplay enjoyable and different from other recordings of gameplay in various settings?
Firstly, artplay focuses on presenting gameplay as a thematic experience, highlighting the way play unfolds and presenting it as an integral part of the artistic expression. For instance, performers may discuss the game’s components and how they will be manipulated to convey a narrative.
Secondly, artplay places emphasis on the gestures involved in playing, allowing viewers to appreciate the process of drawing cards or throwing dice. The movement of hands or the entire body in interaction with objects is meant to be perceived as aesthetically pleasing.
Lastly, artplay explores profound themes that deserve attention, such as the meaning of life, tragedies, and the search for the divine. The success of artplay lies in its ability to establish a connection between these themes (narration) and the interactive elements (ludic aspects).