The Evolution of Interactive Media: A Dialogue on Video Games and Art

In a recent interview, game designer Sam Barlow and podcaster Justin McElroy delve into the debate surrounding video games and their place in the realm of art. This discussion revisits the controversial statement made by film critic Roger Ebert in 2012, who argued that video games could not be considered art due to their mutable nature. The conversation explores how the boundaries between traditional media like films and interactive experiences have blurred over time, particularly with advancements in technology. Barlow highlights the evolving consumption patterns of digital content, emphasizing the personalized and fluid nature of modern entertainment. He also reflects on the implications of these changes for storytelling and audience engagement, suggesting that the future of media might lean more towards tailored experiences rather than fixed narratives.

Barlow begins by reflecting on his personal experience with streaming platforms. He describes evenings spent endlessly browsing through Netflix's algorithmically curated recommendations, noting how this interactive browsing has become an integral part of contemporary entertainment. This shift from passive viewing to active selection mirrors the broader transformation in how we consume media. Traditional formats, such as movies and TV shows, were once rigidly structured due to technological limitations. For instance, films required physical distribution methods that necessitated a single, unchangeable master copy. However, with the advent of streaming services, content no longer needs to adhere to these constraints. Instead, it can adapt to individual preferences and behaviors.

One of the key points Barlow raises is the fluidity inherent in the creation process of even the most conventional forms of media. He challenges Ebert’s assertion by pointing out that films, despite appearing fixed, undergo numerous revisions before reaching audiences. Directors often reshoot scenes, actors improvise lines, and editors make final cuts based on test screenings. This iterative process suggests that the notion of a "fixed" work of art is more complex than it seems. Moreover, Barlow argues that if media could be tailored to each viewer, it would offer a richer, more nuanced experience. He uses the example of Breaking Bad, where different viewers perceived the characters differently. If the show could adapt to each viewer’s reactions, it might enhance understanding and emotional connection.

McElroy adds an intriguing anecdote about Netflix's release of an alternate cut of The Notebook in Europe, which featured a happier ending. This unexpected version sparked widespread confusion among fans, many of whom questioned their memories or even their sanity. The incident underscores the assumption that video content is immutable, highlighting the psychological impact of encountering something outside the expected narrative framework. It also demonstrates the potential for interactive media to challenge our perceptions and create new forms of engagement.

The interview concludes with a forward-looking perspective on the future of digital media. As technology continues to advance, the line between creator and consumer may blur further. Personalized, adaptive storytelling could become the norm, offering unique experiences that resonate deeply with individual viewers. This evolution challenges traditional notions of art and opens up exciting possibilities for how we interact with and perceive media. The ongoing dialogue between creators like Barlow and critics like Ebert will undoubtedly shape this emerging landscape, pushing the boundaries of what we consider artistic expression.