In terms of representation, many FPS games have been accused of promoting problematic stereotypes by depicting enemies from specific real-world groups, regions, or ethnicities. This had led some to criticize them as glorifying violence for its own sake. Moreover, FPS games tend to prioritize action and combat over storytelling and character development. This has led to concerns that they are making violence seem mundane and potentially desensitizing players, perhaps an even more pernicious side effect than instigating aggression. Nonetheless, it is indisputable that the core mechanics of most FPS games involve shooting and killing, often in graphic ways. For instance, it is ironic that both Hillary Clinton and Donald Trump suggest the existence of a strong link between simulated violence and real life violence against all scientific evidence. They have been accused of promoting real life violence and aggression, usually by opportunistic, bi-partisan politicians funded by the weapon-industry, represented by the National Rifle Association. It should come as no surprise, then, that the FPS is also one of the most criticized genres of video games. In short, the FPS is a quintessentially USA-centric video game genre: the fact that a society that venerates weapons created an entire genre of techno-violence celebrating gun culture as a playful pastime makes perfect sense. Common elements include detailed graphics, surround sound, and realistic physics. The competitive element is a major component in most FPS games, which are known for immersive visual and audio experiences that make the player feel part of the world and action. FPS games tend to have a strong focus on reflexes and hand-eye coordination. The pace and gameplay is fast, intense, and action-packed. Players must aim and shoot enemies and opponents using a variety of guns and weapons, which occupy the center of the screen. The primary gameplay element involves shooting and combat from this first-person perspective. For those who are unfamiliar with FPSs, suffice to say that these games are presented from the visual perspective of the avatar: the player views the game world as if through their character’s eyes. Early examples include Wolfenstein 3D (1991) and Doom (1993) both developed by id Software, a company from Mesquite, Texas. This interactive piece – which debuted in 2016 in the context of the Fantômes numériques exhibition at Plateforme Paris – is accompanied by a soundtrack by Stéphane Rives and Frédéric Nogray, also known as The Imaginary Soundscapes.Īs most readers will likely know, FPS is the acronym of First-Person Shooter, a genre of video games that emerged in the United States at the beginning of the 1990s. After discussing 11 Executions and the Limbus series, we conclude our examination of Arcier’s game-based works with FPS (2016).Īlongside 11 Executions, FPS is one of Hugo Arcier’s most thought-provoking game-based installations. Blurring the real and virtual, Maksimov’s practice contemplates emerging technologies and their role in shaping our social environments and collective imagination.Ĭurrently on display at VRAL is Ghost City, Hugo Arcier’s groundbreaking 2016 video installation, which, until now, has never been exhibited online. His works have been featured internationally at Manifesta 10 (2014), Locarno Film Festival (2018), Hamburg KurzFilmFestival (2019), Riga Biennial (2020), Venice Architecture Biennale (2021), Art for the Future Biennale (2022), and DA Z festival in Zurich (2022), among others. After receiving degrees in Architecture and Photography, Maksimov began exhibiting experimental films and installations that investigate game aesthetics, 3D graphics, algorithms, and neural networks. Mikhail Maksimov is a Moscow-based artist and filmmaker whose multimedia practice bridges architecture, technology, and moving image. The New Game Is Over is a commentary on the intricate interplay between creation and destruction, growth and decay. In this position of power, players can develop, preserve or even destroy self-sustainable systems. VRAL is delighted to present an artist walkthrough based on Mikhail Maksimov’s latest project, The New Game Is Over, an interactive experience which revolves around a remarkable machine that generates emotions and desires, allowing players to take on the role of a demiurge.
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