I was recently asked by a friend why I only write about TV. Well, after reading this I think even he will be able to deduce why I don’t talk about other things. I may be bad at writing about TV shows, but at least you can watch the show and have a vague notion of what the fuck I’m talking about. Here it’s just a vague hodge-podge of Pop Culture references and me pining after fictional women. Good times.
Double Note: For this article, I’ll be assuming that a song is the same as a videogame.
Triple Note: 2.Am. Bad Writing. Unfortunately not well proof read, sorry.
It’s almost a law of videogame commentary that the comment constantly has to be made that videogames are, at least from a narrative viewpoint, are still in wetting the bed stage of life. I’m sure that both detractors and supporters of videogames have a myriad of theories on why this is. Whatever particular side may be arguing whatever insipidly boring point, it’s generally a given that the term ‘art’ will be tossed around like god only knows what*.
Me, I couldn’t care what the jury decides. In fact, generally any discussion on the merits of videogames as art ranks somewhere around the upcoming Australian election in terms of things I devote my thought processes to (you really don’t want to know what exactly I devote my thoughts to, really). However, with one of those events coming up this Saturday, and this year in general being (I feel) an important one for the other, the two produced a duo so powerful that I was unable to resist, and (for a while at least) my ongoing argument (with myself) about why Avril Lavigne is the most overlooked woman in pop today has had to be on hold. Or maybe not
In fact, looking back on it, it’s almost a law of music commentary that Avril Lavigne, at least from a musical viewpoint, is still the ‘not quite writing her own songs phase’. However, in this discussion her detractors are too busy posting on the A.V Club, and her supporters are too stupid/busy/uninterested to comment. However, if this discussion was to take place, you can bet Emmys to Oscars that the world ‘artist’ would get thrown around like god knows what.
Just as the cultural sphere has hesitated to call videogames ‘art’ we have seen the same negativity at the thought of call Avril Lavigne an ‘artist’
In fact now that I think of it, 2007 has been an important year for I way view both Avril Lavigne and videogames **. Sure, this may nothing but me trying to thinly bead together two totally unrelated things because I’m totally out of ideas for other things to write, but bear with me for a minute***.
For the record, I’m truly not sure about videogames being art, and yes, I do consider Avril Lavigne to be an artist. This isn’t to say that I like Avril Lavigne’s music, or that I don’t like videogames (I do like them, way, way too much), it’s just the way I see it.
Now, as I alluded to earlier (in fact less than 100 words earlier) there where two videogames that made me (temporarily) rethink my position on their categorization of ‘not art’, and there two songs that solidified my belief that Avril Lavigne is a perfectly legitimate artist.
Furthermore, to me at least, there are some pretty significant parallels between the two (seemingly unrelated!) topics. Just like Kiss Kiss Bang Bang!
Firstly, I want to talk about The Darkness, a game that for me was one of the best experiences (at least from a narrative standpoint) of the year. Even though I’m generally a smartass (who isn’t funny) I’d much rather see something done seriously, and I feel that The Darkness had a mature plotline that was not only done…maturely, but was also damn well written.
I’m sure I’m not introducing a new of thinking when I suggest that the Darkness is in many ways reminiscent of Max Payne. Not only in the fact that both of them had a Film-Noir like narrative, but in fact that both of them actually any semblance of narrative and story direction at all.True, only the Darkness featured a look-a-like of Conor Oberst, but you get the thinking right?
Not only were their depictions of
Seriously, in the Darkness those levels were disturbing, as was the incident at the very end where the Darkness took control of you, and you got to witness some pretty horrific stuff.
In fact, the game was horrific in general, but was the kind of horrific that envelops and engrosses you. It held its serious tone throughout and never tried to cheapen the story. It never copped out, and the ending in particular was wonderfully melancholy (especially in an industry where the term is as foreign as ‘legitimate female character’)
As you can probably guess by now, I haven’t been as smitten with a fictional thing since watching Olivia Wilde’s character on House tonight (around two hours ago). The Darkness included everything that I think a great game should have. Whilst it was no means perfect, it at least set a precedent for how story in games should be told. Whilst it probably won’t be noticed (Space Marines sell copies bitches!), I think it should set an example of how narrative in games can succeed in 2007. In fact, it’s the best way of story telling in videogames that I have witnessed in a long time, perhaps ever.
Now here’s where the leap of faith starts, as the same thing could be said about Avril Lavigne’s song When You’re Gone, as I think it represents the best chance that Avril Lavigne to grow up, because let’s face it, before this has career has had more semblance to a knock knock joke than a real music career. Without a doubt, this career shift is just as micromanaged as all her other ‘evolutions’, but this time her identity restructuring is not so obvious as before, and it’s create her best music (which isn’t saying that much)
Permit me to demonstrate:
Three years, when you thought of Avril Lavigne she was immensely popular, but pigeonholed a performer. If you weren’t 15, female, and felt as displaced
Flash forward to 2007, and she’s in that ‘almost credible as a legitimate pop artist’ category, which technically speaking is a step up from countless Idol losers, but a step down from Adam Levine’s Bare chest and Pete Wentz’s eyeliner*****. When You’re Gone presents Avril Lavigne’s best change in half of forever to be come a legitimate artist. Sure, she’s never going to release an XO or an Under the Black light, but she does have the opportunity to a respectable pop musician (at least in the same way that ‘terrorists’ are considered ‘freedom fighters’). In short, it actually feels like she is actually in charge of her career, not some mindless execu-bot. Hmm, people in total charge of creative development? Remind you of any game companies? Permit me to continue.
If the Darkness did narrative well for tragedies, then Portal was Spinal Tap to its
Yep, Portal really took to the zeitgeist of the gaming community by storm in 2007. It was fun, quick dirty, and reminded us what video games should be. Remind you of anything? If Portal was the perfect example of a fun videogame done well, then Girlfriend was the perfect example of a fun pop song done to perfection
Both of them are totally throw away products. Sure Portal was a great game, but it was short, and a perfect exercise in consumerist production (I say that in the most loving way possible, and in everyway acknowledge it’s genius). Same with Girlfriend, it was simple the essence of stupid vapid pop music. But it was stupid, valid pop music done well. In short, both of them were gem’s shining in the cesspools of their collective industries.
Make no mistake, Avril is growing up. If Skater Boy was her Your Body is a Wonderland, then When Your Gone is her Gravity, in effect making her a more masculine version of John Mayer.
One thing I need to make clear is that this is only in my view. There is obviously no way that Portal would legitimatize gaming in the eyes of the mainstream media, but to me it demonstrated an important benchmark in games, because truthfully, barring Lucasarts, who has done comedies well in gaming?******. Similarly, it’s going to be a long time until Avril Lavigne (if ever) is considered legitimate. I’m just saying that this year, in my eyes, some important strides have been made in both videogames and girly pop music.
Also, yes I understand this is the dumbest thing ever written and relies entirely on anecdotal evidence. But really, is there any other kind?
*Funnily enough, the only time you’ll hear the word ‘art’ more is when you ask 100 University graduates what the most pointless degree is.
**Of course, I’m sure John Howard could be thrown into the mix, but this analogy is already complicated enough. Besides, assuming this analogy is true, then he’s throw off my mojo with Avril. Three’s a Crowd don’t cha know?#
***Also, it gives me the opportunity to look at pictures of Avril Lavigne under the guise of ‘research’.
****I’ve never been to NYC, but surely it’s not that bad right?
*****Okay, so not really.
******I include both the current Sam and Max and Tim Schafer in that broad use of ‘Lucasarts.
#Also, assuming this reality is real, Avirl’s husband has died, leaving us to make angsty music together.
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