#everthingisart

I’ve mentioned a few times on this blog that I’m a little weird as a person. I’m quirky, kinda sarcastic and obnoxious, and I make more pop culture references than I probably should (and I’m honestly not entirely sure how many people get my jokes) But when it comes to my craft as a choreographer and performer, I’m the weird guy who doesn’t get exclusively get inspired by the works of other choreographers before me. Why? Because I’m nerd of my senior class. When I got to college, I was a broadway nerd (I’m less of that now), and as the years went on, I became a gaming journalist and a hardcore nerd (I mean I made a post about choreography coming from Dungeons and Dragons...that’s peak nerd right there). 

The major change in my life came with my roles at Zelda Universe. I started as a guide writer and in a turn of events that I did not expect, I ended up becoming the Media Director and an attendee to the Electronic Entertainment Expo (aka E3, the big event for the Gaming Industry). Going to E3 as a member of the press drastically altered how I compose myself because it forced me to step up to the plate and make myself seem professional. It was very weird the first year I went to E3 (2015), but by E3 2016, I felt comfortable calling myself a gaming journalist. As an artist, it also is incredibly interesting to talk to the developers of the games themselves and ask them what their process was and some of the reasoning behind their choices. My recent favorite is getting the chance to play Outlast II, a sequel to 2013′s surprise horror hit. During the demo, there was a particular jumpscare that got me so hard it actually made me scream in the middle of the show floor. When talking to the devs, they told me that that specific jumpscare is triggered by how fast your turn the camera, and NOT by touching a door, which allows the tension to continue to build up until you unwittingly set it off. That is genius. 

Sadly, I’ve also gotten a lot of shit for being a dancer that plays video games. I’ve been told by a handful of family members (as well as a few faculty members at school) that I am not prioritizing myself and should be taking more inspiration from dance. Which is unfortunate because I feel like we don’t look at video games complexly. I’ve gotten so much crap for this that I’ve become really good at explaining why being a dancer who plays video games is valid. And because I am currently sitting on a flight for three hours: I figured it would interesting to write about it.

First of all, there’s the obvious answers of storyline, art-style, and music. There are plenty of video games that do an incredible job at creating a plot arc that is gripping and engaging. For me, some of the memorable games that do this incredibly well are The Last of Us, Bioshock, Bioshock Infinite, most of the Legend of Zelda titles, and most recently, The Last Guardian (which I still have to finish, but what I’ve played I’ve enjoyed). These are games that have a great score, and have story-lines that make me connect to the characters and find things to use as inspiration. 

Then you have those games that also force you to make specific decisions that do have impact. Telltale is prastically know for this in their titles, but the one that’s had a lasting impact on me was Undertale. Undertale’s art-style mimiced that of Nintendo’s Mother/Earthbound series, and had an incredible, multi-faceted story that wasn’t afraid of being fun and kid-friendly one minute and then actively trying to fuck with your mind the next (there are even some movments near the end where the game takes a page out of Eternal Darkness and Arkham Asylum and crashes on purpose, just for good measure). The game also boasts a fabulous score, and it was one of the very few games (if not the only game) that I found a personal connection with. But what set the game apart from other RPG-style games was the primary mechanic of either sparing every enemy you meet or killing anything that crosses your path. The Pacifist and Genocide runs give two entirely different experiences and completely alter how NPCs view your character. Genocide goes one step further as well and activates a permanent flag in the game’s files upon completion, which alters the outcomes of future True Pacifist and Genocide Runs unless you go into the game’s files and delete the flag yourself (which is not as easy to do for the Steam version). This moral choice has so many different implications and is a very brilliant way of showing that every action has a consequence, which in dance, is an important rule. 

But those aren’t the reasons why I play video games. There is one reason that outshines them all, and it can be consended into a quote by Robert Frost.

"In three words I can sum up everything I've learned about life: it goes on" -Robert Frost

 If the countless hours of YouTube, Film, and Video game have taught me anything in the 22 years I’ve been on this Earth, it’s taught me that pretty much everything related to media shares a common aesthetic: life in motion. Whether it’s in the depths of outer space in Star Trek, a Deathclaw in Fallout 4, the Demogorgon from Stranger Things, or just two people chatting in a Starbucks, the act of existing in the world naturally evokes movement. Life doesn’t stop. Ever.

In video games, this is amplified depending on the game. Every character and enemy model has to have a specific way of traversing through space. Sometimes that’s as easy as using a reference (like spiders are common in games but they all move like actual spiders...also...fuck spiders). But in the cases of original enemies, somebody has to create a model and then think “Ok...so how would this character traverse through space?” Once you have that, then there are the specific and subtle nuances that all the characters should possess like Idle animations. That is all movement. 

Case in point: look at the idle animation for Team Skull Grunts in Pokémon Sun and Moon.

Now this is the most ridiculous thing I’ve ever seen in a Pokémon game. Easily. It’s so dumb that it’s absolutely hysterical. However, as dumb as it is, when I think of Team Skull now, I immediately start doing these arm gestures. I now associate Team Skull with that movement. As ridiculous as it is, it’s still movement.

Mankind is currently living in an era in which technology is evolving at a rapid pace. There is so much media in our lives we are pretty much drowning in it. As a result, everything can connect to movement, regardless of sentience or whether or not we can actually see it.

As a citizen living in a country where everything is about to drastically change come January 20th, the arts now have an important role to serve our society and create meaningful work. If we look complextly at the video game industry, we come to realize how much goes into it and how much you can use as a jumping-off point for anything. 

And that is something I intend to do--I am interested in deconstructing current media and technology down to a series of movement principles to create work (either performed live or produced as films) that not only references the culture, but also comments on it as a way of showing the complexity of modern existence through technical and natural movement. I’m also interested in utilizing technology like Twitch to create work that puts control into the hand of the audience.