这是一个很长、也很久远的故事,这篇宣言可算是这个故事的开头。两位艺术家 Auriea Harvey 与 Michaël Samyn 近二十年前,在欧洲创建了 Tale of Tales 这个艺术游戏工作室,进行着探索游戏边界的实验与有着明确原则与方向的创作。这篇宣言中对于实时艺术与电子游戏的理解与深刻思索直至今天依旧超前,从创作、故事、设计到出版发行均有涉及。他们批判保守的商业游戏,并一针见血地指出「很多商业游戏中的个别要素通过技艺或精心制作,产生了艺术效果,但这整个产品却并非艺术。」。他们对于当代艺术有一种强烈的不满,「别做现代艺术!」他们这样警告道,「做艺术-游戏,别做游戏-艺术」,当代艺术在他们眼中刻薄,自以为是,害怕美好,害怕意义,恐惧技术,为了被写入馆藏而做而非为人们而做,并且最重要的,当代艺术缺乏技艺(artistry),大部分当代艺术做的艺术游戏糟蹋了这种早已催生了远超现代艺术交流能力边界艺术形式的技术。而看着这些依旧超前与准确的思考而不时激动和感慨的我,却是在近二十年后的今天才因翻译而阅读到,并依然觉得这之于国内业界与艺术界都是从未有过的成熟思考。更加讽刺的是, Tale of Tales 早在2015年他们两人的商业独立游戏作品《SUNSET 日落》失败后愤然关闭不再制作商业游戏作品(新的工作室名叫Song of Songs),这个作为落日间名字来源的游戏作品成了 Tale of Tales 的落日(And the sun sets…[1])。Tale of Tales(Auriea Harvey & Michael Samyn)
http://tale-of-tales.com/about.phpTale of Tales 是 Auriea Harvey 和 Michael Samyn 的电子游戏开发工作室,成立于2003年。我们的目标是为计算机互动娱乐创造优雅和情感丰富的艺术。作为艺术家,我们专注于美和喜悦。我们希望为人们创造艺术。这就是为什么我们在网上、便宜地发布我们的作品。作为设计师,我们希望电子游戏能像其他媒介一样多样且富有意义。我们希望创造出对玩家和非玩家都有吸引力的游玩体验。我们尝试设计表达式的界面,通过简单的操控来达及引人入胜的诗意叙事。作品有《SUNSET》《The Graveyard》《THE PATH》《FATALE》《BIENTÔT L'ÉTÉ》《LUXURIA SUPERBIA》等。Auriea和 Michaël 都接受过艺术训练。Auriea (出生于1971) 在纽约的帕森斯学院学习雕塑,Michaël 在比利时根特的 Sint Lucas 学习平面设计。我们从 Windows 3.1 和 Mac System 7 开始使用电脑。我们1999年在网上相遇,作为围绕着hell.com域名的在线艺术家集体的成员。从我们相遇的那天起,我们就一直在合作。起初,作为Entropy8Zuper!为客户设计网站和网络艺术作品。然后扩展到其他类型的互动项目。自2002年以来,我们一直专注于电子游戏。2015年,我们放弃了商业生产,转而将我们的生活全然奉献给缪斯。我们继续探索技术的奥妙,以追求艺术和美丽的 Song-of-Songs,2019年,我们从美丽的中世纪城市比利时根特搬到了永恒辉煌的罗马。严格来说,Tale of Tales 只有两人。但这也是一段合作的历史。事实上,可以说我们把每个电子游戏作为机会来接触我们所欣赏的有才华的人。有时候这些人是行业老兵,但他们往往是才华横溢的艺术家,我们认为他们能为这个媒介贡献独特的专业性。目前的主要重点是重制我们的首版的《The Endless Forest》。进展情况可以在开发日志中看到。我们仍然非常欢迎大家在筹款页面上支持此免费游戏的开发和扩展。除此以外,我们还在继续进行「云中教堂项目」(Cathedral-in-the-Clouds)的工作The Endless Forest :在联网的如田园般的森林中,奇异的鹿与线上的许多朋友在完美的和谐中快乐地玩耍。这里没有暴力,没有聊天,没有任务,没有竞争。发现远古的造物,有机会见到森林之神,并感受他们的无限神力。
「云中教堂」项目:一个数字艺术项目。一个不断扩大的虚拟三维景观集合的虚拟现实教堂,供人们沉思。许多这些景观的灵感来自于宗教图像,但这种体验无需要信仰。并通过各种媒体单独免费分发。2021年发布的新作品《Compassie》是其中一部分,来自佛兰芒语中的怜悯一词,是 VR 中的一幅哀悼基督像(pietà) *合作的历史部分原文处感谢了许多和他们合作的艺术家,可在原链接查看*为这篇文章与这两位创作者写的原按已经足以单独成文,计划未来在新栏目 游戏作者AUTEURS
中另外发布,此处不多赘述,有兴趣提前阅读的朋友可以在爱发电上读到草稿。*因为Manifesto宣言的独特性质,此处翻译保留原文对照,并保持原有排版,空行使用「-」进行代替。*翻译得到原作者 Auriea Harvey 授权
*封面来自其作品《BIENTÔT L'ÉTÉ》,gif 图来自其实验创作 CNCNTRC,此外他们的作品介绍有我见过写得最美的。REALTIME ART MANIFESTO 实时艺术宣言
Auriea Harvey & Michaël SamynDirectors, Tale of Tales, ram@tale-of-tales.com[2]Gaming realities: the challenge of digital culture 游戏现实: 数字文化的挑战mediaterra festival of Art and Technology[3] 地中海艺术科技节原文链接:http://tale-of-tales.com/tales/RAM.htmlAbstract 摘要
Auriea Harvey and Michaël Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.Auriea Harvey 和 Michaël Samyn 是新媒体艺术家,他们选择将实时3D游戏技术(realtime 3D game technology)作为其艺术媒介。实时3D是自布面油画以来最值得注意的新创意技术。它太重要而不能被仅在电脑游戏上浪费。本宣言是对创意人士的呼吁(包括但不限于游戏设计师和纯艺术家),期望能一起拥抱这种新的媒介,并开始实现其非凡的潜力。同样这宣言也是表达我们自己对使用该技术想法和理想的准则。1.Realtime 3D is a medium for artistic expression. 实时3D是一种艺术表达的媒介。2.Be an author. 成为一名作者。3.Create a total experience. 创造一个完整的体验4.Embed the user in the environment. 将用户嵌入环境中5.Reject dehumanisation: tell stories. 拒绝非人性化:讲故事6.Interactivity wants to be free. 交互性希望是自由的7.Don’t make modern art. 别做现代艺术8.Reject conceptualism. 拒绝观念主义9.Embrace technology. 拥抱技术10.Develop a punk economy. 发展一种朋克经济
Keywords 关键词
interactive storytelling 交互叙事REALTIME ART MANIFESTO 实时艺术宣言
1. Realtime 3D is a medium for artistic expression. 实时3D是一种艺术表达的媒介。
Games are not the only things you can make with realtime 3D technology.And modification of commercial games is not the only option accessible to artists.Realtime 3D is the most remarkable new creative technology since oil on canvas.It is much too important to remain in the hands of toy makers and propaganda machines.它太重要了,不能只留在玩具制造商或者宣传机器手中。We need to rip the technology out of their greedy claws and put them to shame by producing the most stunning art to grace this planet so far.我们需要将此技术从他们贪婪的手中解救,并且创造出令这些人感到羞愧、且迄今为止最令人惊叹的艺术(And claim the name “game” for what we do even if it is inappropriate.)(并将我们所做的事物称作「游戏」,即便其并不恰当)Real-time 3d interactives can be an art form unto themselves.2. Be an author. 成为一个作者。
Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.不要躲避在「交互性环境中用户是自由的」借口背后,而忽略了你作为创造者的责任。This only ends in confirming cliches.Do not design in board room meetings or give marketeers creative power.不要在董事会议上做设计,也不要给市场人员以创造性的权力。Your work needs to come from a singular vision and be driven by a personal passion.你的作品需要来自于一个独异的构想,并由个人的激情驱动。Do not delegate direction jobs.But collaborate with artisans more skilled than you.Ignore the critics and the fanboys.Make work for your audience instead.Embrace the ambiguity that the realtime medium excels in.Leave interpretation open where appropriate but keep the user focused and immersed the worlds that you create.在适当的地方留下阐释的余地,但让用户关注并沉浸在你所创造的世界中。Commercial games are conservative, both in design as in mentality.They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.他们回避作者性,假装给玩家提供一个中立性的容器来带他(她)穿过虚拟世界。But the refusal to author results in a mimicking of generally accepted notions, of television and other mass media.但对作者身份的拒斥带来的是对电视或其他大众传媒那些普遍接受观念的模仿。Reject pure commercialism.Individual elements of many commercial games made with craft and care produce artistic effects but the overall product is not art.很多商业游戏中的个别要素通过技艺或精心制作,产生了艺术效果,但这整个产品却并非艺术。Some commercial games have artistic moments, but we need to go further.Step one: drop the requirement of making a game.The game structure of rules and competition stands in the way of expressiveness.Interactivity wants to be free.Gaming stands in the way of playing.There are so many other ways of interacting in virtual environments.We have only just begun to discover the possibilities.在虚拟环境中有很多其他的交互方式。而我们才刚刚开始探索这些可能。They are ancient forms of play that have their place in our societies.But they are by far not the only things one can do with realtime technologies.游戏是「玩」的古老形式,在我们的社会中占有一席之地。但并非实时技术唯一能做的事。3. Create a total experience. 创造一个完整的体验。
All elements serve the realisation of the piece as a whole.Models, textures, sound, interaction, environment, atmosphere,drama, story, programming模型,材质,声音,交互,环境,氛围,戏剧,故事,编程are all equally important.Do not rely on static renderings.Everything happens in real time. The visuals as well as the logic.Create multi-sensorial experiences.Simulate sensorial sensations for which output hardware does not exist (yet).Make the experience feel real(it does not need to look real).Do not imitate other media but develop an aesthetic style that is unique.Make the activity that the user spends most time doing the most interesting one in the game.It’s not about the individual elements but about the total effect of the environment.In the end the work is judged by the quality of authorshipand not by its individual elements.Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.模型,材质,声音,交互设计,环境,氛围,戏剧,故事,程序。Together without hierarchy.No element can be singled out. All are equally important.Create a simulated multi-sensorial experience.4. Embed the user in the environment. 将用户嵌入环境中
The user is not disembodied in virtual spacebut takes the body into the experience.The avatar is not a neutral vessel but allows the user to navigatenot only through the virtual spacebut also through the narrative content.Interaction is the link between the user and the piece.(both conceptual and sensorial)to connect the user to the environment.Make the user feel at home.-just don’t start with alienation,the real world is alienationg enough as it is)Reject the body-mind duality.The user is the center of the experience.Think “architecture”, not “film”.to “put the user in the environment”.The user is not disembodied but is provided with a device(similar to a diving suit or astronaut’s outfit)to visit a place that would otherwise not be accessible.You bring your body with you to this place,or at least your memories of it.Strictly speaking, our output media only allow for the reproduction of visuals and sound .But real-time interaction and processing can help us to achieve simulation of touch, smell and taste as well, through visuals and sound.但实时交互和处理可以帮助我们通过视觉和声音也实现对触觉、嗅觉和味觉的模拟。In fact, force feedback already provides for a way to communicate with touch.And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.Don’t underestimate this connection.From the USB port to the joystick. Through the hand to the nervous system.Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.很快,嗅觉和味觉可以被再造,这些媒介可以很快被纳入我们的技术。The virtual place is not necessarily alien.It can deal with any subject.References to the real world(of nature as well as culture)(both conceptual and sensorial)create links between the environment and the user.Since interaction is pivotal, these links are crucial.Make it feel real, not necessarily look real.Develop a unique language for the realtime 3D medium and do not fall in MacLuhan’s trap为实时3D媒介发展一种独特的语言,不要落入麦克卢汉的陷阱(don’t allow any old medium to become the content of the new)Imitate life and not photography, or drawings, or comic strips or even old-school games.模仿生活,而非摄影,或绘画,或漫画,甚至老式的游戏。Realism does not equal photo -realism!In a multisensory medium, realism is a multisensory experience:在一个多感官的媒介中,现实主义也是一种多感官的体验:5. Reject dehumanisation: tell stories. 拒绝非人性化:讲故事
Stories ground people in culture,(and remove the alienation that causes aggression)stimulate their imagination,(and therefore improve the capability to change)teach them about themselvesand connect them with each other.Stories are a vital element of society.Let go of the idea of plot.Tell the story through interaction.Do not use in-game movies or other non-realtime devices to tell the story.不要使用游戏中的电影或其他非实时的手法来讲述故事。Do not create a “drama manager”: let go of plot!Plot is not compatible with realtime.Think “poetry”, not “prose”.The ancient Greek philosopher Aristotle recognized six elements in Drama.what happens in a play, the order of events,or the main idea in the workor the personality or role played by an actorthe choice and delivery of wordsthe sound, rhythm and melody of what is being saidthe visual elements of the work.All of these can be useful in non-linear realtime experiences. Except plot.所有的这些都可以在非线性的实时体验中发挥作用,除了情节。But the realtime medium offers additional elements that easily augment or replace plot.但实时媒体提供了额外的要素可以很容易地补充或替代情节the direct influence of the viewer on the workthe presence of the viewer in the workevery staging of the work is done for an audience of a single person in the privacy of his作品每次都是为了这单人的观众而上演,私密地在他 or herThese new elements add the viewer as an active participant to the experience.This is not a reduction of the idea of story but an enrichment.Realtime media allow us to tell stories that could not be told before.Many of the mythical fantasies about art can now be made real.Now we can step into paintings and become part of them.Now sculptures can come alive and talk to us.Now we walk onto the stage and take part in the action.We can live the lives of romance characters.Do not reject storytelling in realtime because it is not straightforward.Realtime media allow us to make ambiguity and imagination active parts of the experience.实时媒体使我们能够将多义性与想象力成为体验的积极部分。The realtime medium allows for telling stories that cannot be told in any other language.实时媒体允许讲述那些用任何其他语言都无法讲述的故事。But realtime is not suitable for linear stories:Realtime is a poetic technology.Populate the virtual world with narrative elements that allow the player to make up his or her own story.在虚拟世界中填充叙事元素,使玩家能够组织他/她自己的故事。Imagination moves the story into the user’s mind.It allows the story to penetrate the surface and take its place amongst the user’s thoughts & memories.它使得故事穿透表面并在用户的思想和记忆中占有一席之地。The bulk of your story should be told in realtime, through interaction.Do not use in-game movies or other devices.Do not fall back on a machine to create plot on the fly:plot is not compatible with realtime.Do not squeeze the realtime medium into a linear frame.Stories in games are not impossible or irrelevant, even if “all that matters is gameplay”.游戏中的故事并非不可能或不相干,即使 「最重要的是玩法」。Humans need stories and will find stories in everything.Use this to your advantage.Yes, “all that matters is gameplay”,if you extend gameplay to mean all interaction in the game.Because it is through this interaction that the realtime medium will tell its stories.The situation is the story.Choose your characters and environment carefullyso that the situation immediately triggers narrative associations in the mind of the user.6.Interactivity wants to be free. 交互性希望是自由的
The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.传统游戏设计中基于规则的结构和竞争要素阻碍了表达性。And often, ironically, rules get in the way of playfulness(playfulness is required for an artistic experience!).Express yourself through interactivity.Interactivity is the one unique element of the realtime medium.The one thing that no other medium can do better.It should be at the center of your creation.Interactivity design rule number one:the thing you do most in the game, should be the thing that is most interesting to do.i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.也就是说,如果在谜题间的行走需要很长时间,那行走应比谜题更有趣。7.Don’t make modern art. 别做现代艺术
Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning现代艺术往往是讽刺的、愤世嫉俗的、自我指涉的、害怕美好、害怕意义的-other than the trendy discourse of the day-,afraid of technology, anti-artistry.Furthermore contemporary art is a marginal niche.The audience is elsewhere.Go to them rather then expecting them to come to the museum.Contemporary art is a style, a genre, a format.Make art-games, not game-art.Game art is just modern art-ironical, cynical, afraid of beauty, afraid of meaning.It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.它糟蹋了一种早已催生了远超现代艺术交流能力边界的艺术形式的技术,Made by artists far superior in artistry and skills.Realtime media are craving your input, your visions.Real people are starving for meaningful experiences.Contemporary civilisations are declining at an unsurpassed rate.The world is collapsing while the Artists twiddle their thumbs in the museums.Into the private worlds of individuals.8. Reject conceptualism. 拒绝观念主义
Use the language of your medium to communicate all there is to know.The user should never be required to read a description or a manual.Don’t parody things that are better than you.Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.如果商业游戏的戏仿者的技术、工艺和技艺不能与原作相提并论,那十分可笑的。Don’t settle yourself in the position of the underdog: surpass them!Put the artistry back in Art.Make art for people, not for documentation.Make art to experience and not art to read about.Use the language of your work to communicate its content.The audience should never be required to read the description.The work should communicate all that is required to understand it.9. Embrace technology. 拥抱技术
Don’t be afraid of technology,and least of all, don’t make art about this fear.Technology is not nature. Technology is not god.Made for people by people.Software is infinitely reproducible and easy to distribute.Reject the notion of scarcity.Embrace the abundance that the digital allows for.The uniqueness of realtime is in the experience.Cut out the middle man: deliver your productions directly to the users.Do not depend on galleries, museums, festivals or publishers.Technology-based art should not be about technology:it should be about life, death and the human condition.Embrace technology, make it yours!Use machines to make art for humans, not vice versa.Software is infinitely reproducable(there is no original; uniqueness is not required-the uniqueness is in the experience)Distribution of software is easy through the internet or portable data containers(no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)(没有精英主义;没有博物馆、画廊或节日;从创造者到受众,以及从观众到创造者没有中介,都通过同样的分发媒介。)10. Develop a punk economy. 发展一种朋克经济
Don’t shy away from competition with commercial developers.Your work offers something that theirs does not:Don’t worry about the polish too much.Get the big picture right.“Reduce the volume, Increase the quality and density”Make short and intense games:But don’t become too dependent on government or industry funding:Sell your work directly to your audience.And use alternative distribution methods that do not require enormous sales figures to break even.并使用不需要巨大的销售量就能实现收支平衡的其他经销方式。Consider self-publishing and digital distribution.Avoid retail and traditional games publishers.Together they take so great a cutthat it requires you to sell hundreds of thousands of copies to make your production investment back.以至于你需要卖出几十万份拷贝才能赚回你的开发投入。Do not allow institutional or economic control of your intellectual property, ideas, technology and inventions .不要让制度性或利益控制你的知识产权、想法、技术与发明。Don’t depend on government support or the arts world exclusively.Communicate with your audience directly:Let the audience support your work.References 参考
Aristotle’s Six Elements of Drama 亚里士多德的戏剧六要素 http://www.kyshakes.org/Resources/Aristotle.htmlFumito Ueda & Kenji Kaido: Game Design Methods of ICO 上田文人&海道贤仁,ICO的游戏设计法 http://tale-of-tales.com/tales/ueda/Realtime Art Manifesto presentation slides. 实时艺术宣言的幻灯片 http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip链接
[1]
And the sun sets…: https://web.archive.org/web/20150621214545/http://tale-of-tales.com/Sunset/blog/index.php/and-the-sun-sets/
[2]
ram@tale-of-tales.com: mailto:ram@tale-of-tales.com
[3]
mediaterra festival of Art and Technology: http://www.mediaterra.org/
日 | 落译介计划 是媒体实验室落日间对一些有助于思考游戏/电子游戏的外文文本翻译和推荐/索引计划。(点击原文或查看网站 xpaidia.com/sunset-project/)
*更新:新推荐了郭娟译文:Adam Jasper 哈伦·法罗基最后的项目 The Last Project of Harun Farocki (2017) 《游戏手册》耿游子民译文:Olli Sotamaa 作为人工制品的电子游戏 Artifact (2013) TaoistPunk 译文:Espen Aarseth 一种游戏叙事理论 A Narrative Theory of Games (2012) 与 Ella Hoeppner 规划扰乱 Plan Disruption (2017)
落日间是一个探索「何为游戏」与「游戏何为」的媒体实验室。
感谢朋友们:@小雨 @阿伟 @11 @昕仔 @某小熊猫猫 @少楠 @Bob傅丰元 @小河shan @希辰Xichen @小乐 @DC @Bynn @webber @绅士凯布雷克 @侯晨钟 @Minke @Roam @兜&敏 @KIDD @菲兹 @喵呜 @李喆 @特特 @Skellig @阿和 @某大王akak1dD @solsticestone @鱼片与花卷 @Stoney @树袋熊 @MrNewton @鸭脖拉罕 @松果 @五香丸子@纪华裕 @李朵拉@WhiteO2 的在爱发电的大力赞助及所有关注者的支持!:)