In the wake of Quake, Doom, and even Wolfenstein 3D, we found ourselves at the beginning of this century in a world of violent video games. After the tragedies of Columbine and more recently in Sandy Hook, we saw a direct connection between young people who played violent video games obsessively, and their actions which were uncommon.
If you don't think violent games are bad for your health, and you need more documentation, you can read this article and this article. This art project seeks to fulfill the mission of successfully encouraging children and young adults to rediscover these games which arrived before their time.
What concerns many parents is that their own children might become obsessed with violent 3-dimensional fighting games and realistic shoot-em-ups. And they have every right to be concerned. If you don't think violent games are bad for your health, and you need more documentation, you can read this article and this article. They're even having violent video game buybacks.
One of the goals of this project is to re-popularize the first original games from the 1980's (and 1970's, in some cases). The object is to bring these games "to life" as art, and make these young kids want to try to play them, rather than the modern games, regardless of how clunky the graphics are, or how basic the game play is.
This speaks to a larger extent about how not all new technology is technically better for society, even if the graphics and processors are more advanced. The lessons I learned, as a kid in the 1980's, were about hand-eye coordination and belief in self. Bouncing off the turtle shell of a koopa to avoid the narrowest of pits is a harrowing escape (8-3 Mario 1). But the underlying laws of physics were already written into the game.
As Conceptual Art
This art project resembles the classic definition of "conceptual art." That is, it is a set of instructions for anyone to follow. But just as in the games themselves, you must be skillful to "win" the game. Because the program is exceptionally difficult.
Here are the things you must consider. First, the goal of the game is not just to re-create a frame from a video game on a wall using spray paint and stencils. The goal is actually to animate an original scene, using the correct colors, dimensions, and behaviors, correct to the precise pixel. This can be extremely difficult and that's why these instructions are important.
Throughout the process, there are steps which involve physical labor (the actual painting, for example), and computer labor (the removal of the images from the games using graphics software). There is also some technical skill required (programming the cutting machine to create the stencils), and some art skills. Being able to complete this project successfully is extremely difficult.
As Classic Art Technique
Once the stencils are cut, they must be utilized as layers to produce the exact "pixel-for-pixel" appearance from the game. That requires organizational skills, as stencils are labelled in groups called "objects" and "layers" (these terminologies are from the Flipbook Island program).
These must be laid precisely in the proper order every time. Sufficient time duration for drying behind layers is also necessary to prevent smearing during the short period of time when spray paint is still wet.
About the Use of Spray Paint
Spraypaint is a suspension of fine solid particles or liquid droplets in a gas[1]. Many of those particles or droplets are harmful to human beings. All participants (volunteers) will sign waivers demonstrating that they understand the health risks involved, and all will be required to have proper ventilation equipment.
Order of Operations
- May 1-14: Determine Game, Select Scene (google form survey)
a. Decide on a game. Choose from a variety of options:
Super Mario Bros
MegaMan
Galaga
Bubble Bobble
b. Pick a screen or a sequence which is approximately 10 seconds long.
Those are all the options we have available at the moment. - May 14: Determine All Background "Stationary" Shapes
a. Identify all parts of the background, including repeating "tesselate" patterns and shapes
b. Isolate these shapes using graphic design program Adobe Illustrator (see example files) - May 14-28: Determine All Foreground "Object" Shapes (including animated sequences).
a. Identify all parts of the objects in the selected game
b. Identify all animated sequences of objects
c. Isolate all objects and animated sequences and save as .AI files - June 3-10: Program the Cutter, Cut Shapes (8-10 hrs or 2 days)
a. Import AI files into a computer that is attached to a plotter cutter
b. Open files and cut files using .4 Mylar
c. Keep layers grouped as objects
d. Label all sheets by object name and layer number - June 11-30th: Design Plan (8-10 hrs or 2 days)
a. Use a "Frame Sheet" to determine the action in each frame
b. Use object names and animation frames to reference specifics.
c. Use "Map Sheet" to determine the geographic location of each object - July 4th-5th: Paint the Background for the Wall (8-10 hrs or 2 days)
a. Use outdoor paint and a roller to cover wide areas
b. Have matching aerosol paint for touch-ups later
c. Use background "Stationary" shapes. - July 6-30: Sequence Events (all day every day for a week / month).
a. Organize each frame based on the Design Plan in Step 7.
b. Complete still frame. Take image.
c. Erase frame. Repeat 9.
The length of the project, in its duration, is dependent on 9(c) which is "Repeat 9."
40-50 frames per day is a relatively high-demand output expectation but can be done. (?).
Programming The Wall
The wall is to be "programmed" the same way that the game is. If Mario jumps, he only can reach a height of (x pixels). If he jumps while running, he's able to reach a different jump height (y pixels), in fact his motion is very precisely set to a series of imaginarily hyper-realistic parameters.
Not bad game programming for 1986. Not for a game which opened the eyes of the world to the imaginary world inside of videogames.
Regarding the Original Companies and Ownership of Images
For the first print of the book, we will use whatever images we have available because it will be for a private audience of art project funders. Contributing to the Kickstarter (April 2013) does not mean that you are buying a book. You are funding an art project which will be photographed and made into a book, on the popular web platform "Blurb." Therefore the images which are licensed to the respective companies will have
Copyrights
If a company is to send a letter of Cease and Desist for an image pertaining to a videogame graphic, the response will be a profuse apology and the removal of any instance of that game from our website and a message will be sent throughout the network system to stop playing that particular game.
The alternative to this would be to find a way to market the original emulator games and for the industry (particularly Nintendo) to endorse the project as a positive thing for the perception of their contribution to positive games, which would attribute to a healthier video game industry, as well as a mentally more healthy society.
Our Team
Will Reynolds is an installer of Sol Lewitt pieces at Mass MoCa and at the Yale University Art Gallery. He's the director responsible for carrying out the instructions.
Kyle Skar is an architect. He will be overseeing the plot cutting of the stencils.
Ian Applegate is an animator and videographer. And he writes in the third person.
We will also have a team of volunteers. The rate will be $50/day for volunteers, with a maximum of 5 hours of time per day for their usage and help. The final amount on the KickStarter can help determine the number of volunteers.
Apply To Join
Contact Stereomedia@Gmail.Com to join this project. Include your work as attachment. All submisions are confidential.
