Phone Detective

published this week on PlayStation 3, Journey is one of the most talked about games of the year so far. But what is it? And they have more in common with art games?

In the 1960s, pioneered by British artist Roy Ascott has been fascinated by the possibilities of the telecommunications network as a conduit for their work. A long been interested in the idea of ??cybernetics and human-machine interfaces, but as the Internet emerged, saw in it the possibility of a new interactive art form in which groups of participants would be able to remotely collaborate on projects online.

later coined the term telematic art works constructed to describe telecommunications networks as their environment. The most famous example is his 1983 work, The Plissure text, which organized a group of artists in different locations around the world to collaborate on the Internet, in a story emerge, each contributing a portion of a history for a job online and did not have an overview of history, where you can drive. Some contributors have known each other, some not, but the only thing they shared was a string of words that appear in separate terminals -. A story without problems from the site

Fast forward 20 years and we move, the latest version of THE thatgamecompany experimental study. The only thing that most critics of games may agree, is to be known. This wonderfully ethereal - adventure, part meditation on the life and death - is one of the most interesting out of the main game of the decade, not for its content (which is quite attractive), but what really matters com

And it really is the key issue. Because, generally accepted definitions of the word, the trip is not a game it does not error status: although they are not perceived the danger, it seems impossible to actually "die" while playing. No time limit, and solve puzzles that makes no sense of tension. And despite the presence of challenging puzzles and therefore suggests a game-like experience, these tasks are simple and toys.

players can not compete for resources or physically interact (collision detection seems to retired members could not touch each lane in front of others). Although the exploration, experience ends with a conclusion in advance -. But of course, the conclusion can be interpreted differently by each player

This is his journey. An interactive work of art. Thanks to the wonderful soundtrack, soundscapes emotionally symbolic looming, his exploration of interactivity and telepresence, we want to ask questions and feelings of the experience without having to interact with the game-like structures. It has more in common with the works of, for example, the theory of collective BLAST interactive art, which he does with Modern Warfare and other traditional games online.

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