1/7/2023 0 Comments Diogenes getting over it![]() ![]() In part because of this the entire approach to artistic expression through this genre continues to go mostly unexplored with intentionality, and that is a damn shame. ![]() It was seen as a thing-in-itself, a stand-out piece that was in many ways creative and unique, but it was rarely touched on that it was a legitimization of asset-flip as genre. But asset-flips hail from a long implicit history established throughout other forms of media, the soundcloud mash-up, the remix, the collage, the youtube poop, and there are many stand-out artistic pieces among these established genres, in fact entire careers have been built upon them.Īt the time, Getting Over It With Bennett Foddy was amazingly well received, but this point wasn’t adequately explored in my opinion. #Diogenes getting over it trial#Those works don’t detract from the legitimacy of digital illustration as a medium despite their ubiquity, and the pieces being technically poor, messy, and ill-composed isn’t inherently bad in itself, all artists learn over time through trial and error I too cringe at the thought of much of my early work, but this is part of the process, the contextual history of my art taken as a whole.Īsset-flips were never given time to breathe, and I think the negative connotations of the act of asset-flipping scares away a lot of artistic exploration that could be done with the genre and all but guarantees that it will continue to be filled with poorly-executed pieces, because asset-flips as a whole are seen to be intrinsically poor form. #Diogenes getting over it full#I’d argue that every style and genre is full of more examples of poorly executed art than masterpieces, look up Sonic fan-art on Deviantart if you need proof of this. You take elements from disparate sources that weren’t designed to fit together and refashion them into a coherent piece. Found art is an established style, as is collage, and there is a case to be made that in video games asset-flips we find our collage, our mash-up, our found art. In this way I see the asset-flip as a nascent genre, one that is, absolutely, filled with poor quality and poorly thought out games, but not one that is inherently detestable or without quality. Art can express itself through myriad approaches, this is the core of genres, styles, and eventually traditions. I fundamentally disagree with the interpretation of the asset-flip as anti-artistic travesty. In the minds of some, unity store assets are there to be place-holder art only, something to shunt into the game during the dev cycle to be replaced by more appropriate art down the line. Of course much of this discourse revolved around how despicable the practice was, how implicitly deceptive it could be, and how this ‘wasn’t what unity store assets are for’. Shortly before the release of the game there had been an ongoing discussion of these “asset-flips”, games built from purchased unity store assets, hastily assembled, and pushed out the door. One could term the game a much-maligned “asset flip” in spirit, a term I think both poorly leveraged and unfairly pejorative. ![]() Something that’s of specific note about Getting Over It is the ubiquity of apparently store-bought assets from which the game is built. Part 1: “Trash is disposable, but maybe it doesn’t have to be approachable” But we’ll get to that, for now let’s take that proverbial last strike of the hammer into Getting Over It With Bennett Foddy. I think that in the reading of this deconstruction there’s an unspoken overlap on some level going on, a trade of understanding. There’s been a lot of talk lately about parasocial relationships, the type that we unilaterally form with artists, social media figures, writers, but I like to think that isn’t how you feel about me as a writer. ![]()
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