The Art of Collective Play: How Video Games Can Become Performance Art
A recent theatrical production of the video game "Asses.Masses" turned an ordinary gaming experience into a work of collective performance art. The game, created by Canadian artists Patrick Blenkarn and Milton Lim with a small team of collaborators, is about donkeys, reincarnation, and organised labour.
The game opens with a series of questions, mostly about donkeys, some in different languages, and quickly becomes obvious that players must work together to get them right. The setting โ in a theatre, surrounded by others, everybody shouting advice and opinions and working together on puzzles โ transforms the experience into a collaborative performance art piece.
The game is designed around collective play, with players taking turns guiding an avatar through a surreal quest to regain their jobs from redundant farm machines that have made them redundant. This creates a sense of camaraderie among players as they navigate the game's challenges and discuss its themes.
However, despite its innovative design, the game also highlights the limitations of traditional gaming experiences when played alone. Players often struggle to connect with each other and prioritize ideas, leading to a herd mentality where individual opinions are drowned out by the crowd.
The success of "Asses.Masses" as performance art raises questions about how video games can be reimagined as collaborative experiences that engage audiences on multiple levels. Its use of live gameplay, audience participation, and interactive puzzles creates a dynamic experience that blurs the line between gaming and live performance.
As the article highlights, this type of engagement is not unique to "Asses.Masses." Other games, such as "Baby Steps" and "Dark Souls," have been praised for their challenging and thought-provoking gameplay. However, "Asses.Masses" stands out for its innovative use of collective play and interactive storytelling.
The article also touches on the idea that traditional gaming experiences often focus on removing suffering from the player experience, making games smoother but less engaging. In contrast, games that create a sense of pain or discomfort can be more memorable and thought-provoking.
Overall, "Asses.Masses" offers a compelling example of how video games can become performance art through collective play and interactive storytelling. Its success raises questions about the future of gaming and its potential to engage audiences in new and innovative ways.
A recent theatrical production of the video game "Asses.Masses" turned an ordinary gaming experience into a work of collective performance art. The game, created by Canadian artists Patrick Blenkarn and Milton Lim with a small team of collaborators, is about donkeys, reincarnation, and organised labour.
The game opens with a series of questions, mostly about donkeys, some in different languages, and quickly becomes obvious that players must work together to get them right. The setting โ in a theatre, surrounded by others, everybody shouting advice and opinions and working together on puzzles โ transforms the experience into a collaborative performance art piece.
The game is designed around collective play, with players taking turns guiding an avatar through a surreal quest to regain their jobs from redundant farm machines that have made them redundant. This creates a sense of camaraderie among players as they navigate the game's challenges and discuss its themes.
However, despite its innovative design, the game also highlights the limitations of traditional gaming experiences when played alone. Players often struggle to connect with each other and prioritize ideas, leading to a herd mentality where individual opinions are drowned out by the crowd.
The success of "Asses.Masses" as performance art raises questions about how video games can be reimagined as collaborative experiences that engage audiences on multiple levels. Its use of live gameplay, audience participation, and interactive puzzles creates a dynamic experience that blurs the line between gaming and live performance.
As the article highlights, this type of engagement is not unique to "Asses.Masses." Other games, such as "Baby Steps" and "Dark Souls," have been praised for their challenging and thought-provoking gameplay. However, "Asses.Masses" stands out for its innovative use of collective play and interactive storytelling.
The article also touches on the idea that traditional gaming experiences often focus on removing suffering from the player experience, making games smoother but less engaging. In contrast, games that create a sense of pain or discomfort can be more memorable and thought-provoking.
Overall, "Asses.Masses" offers a compelling example of how video games can become performance art through collective play and interactive storytelling. Its success raises questions about the future of gaming and its potential to engage audiences in new and innovative ways.