Developers who craft first-person walker games certainly have intended consumers, a demographic I would imagine as the equivalent of cineastes that venerate arthouse films—like Gus Van Sant’s audience, for example. There is a particular kind of mindset necessary when approaching first-person walker games. One must think of these works in relation to one another under a common criteria, much in the same way that we can examine a catalog of Italian neorealist films or a compilation of magical realist novels. To think and write about these videogames without consideration of the burgeoning artistic movement fails to precisely identify what makes them significant. In many ways, first-person walker games serve as definite evidence of a trailblazing, artistically cohesive movement of artists that can be thoroughly examined and defined.
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