The interaction between art and video games might seem obvious since popular video games now have dedicated exhibitions in museums, as in the case of “Game Story” displayed at the Grand Palais in 2011 or “Design / Play / Disrupt” showcased at the Victoria and Albert Museum in 2019. However, before this wave of institutional recognition during the 2010s (Colville, 2016; Ter Minassian, 2012), there were already connections between artistic practices and popular entertainment. Even if contemporary art is a multifaceted movement and difficult to define, the concept of experimentation, the aestheticization of everyday life, and the use of new materials are prevalent components (Millet, 2009). Continue Reading
Jeffery Klaehn: What possibilities afforded by the contemporary gaming landscape most excite you? I’m thinking of technological developments and digital distribution platforms such as Steam (2003) and GOG (2008), which are still relatively “new” in relation to the history of digital games.
David Brevik: It’s an extremely exciting time to be a developer. Being able to create something and distribute it all around the world from your own home is amazing. But because it’s so easy, the market has been flooded with people doing just that. There are hundreds of games a day on mobile app stores, and 30+ games a day on Steam. There is so much content right now, it’s impossible to wade through all of the games. Continue Reading
Jeffery Klaehn: What led you to launch Graybeard Games?
David Brevik: After working at Gazillion as the CEO for several years, I wanted to get away from management and back into making games. When I was a kid I wanted to be a game maker, not run a business. So after I left, the goal was to create a company where I could get back to design and programming. Continue Reading