Which ones? They disagreed to the point of killing each other at times.
Anyone. Do you know anything about what they believed at all, and can you cite a single source?
I've looked at bits and pieces of all kinds of things and believe I have a workable picture put together. I once saw the first five minutes of Schindler's List.
Because if you can't, i don't see how you could comment on a refutation of their beliefs. Unless you think the only refutation needed is "Nazi bad hurr durr". You know, the trained NPC response.
The commentary on Schuon wasn't really framed as a refutation of Nazism. And if the nature of Schuon's work was refuting Nazism then I don't see it's relevance when we're talking about video games.
I pulled out as much of the piece as I was able to find relevant already and told you that I found it unhelpful and incapable of meaningfully informing any positions in the current discussion. And as for your actual positions in this discussion, my interest is not in your sources, it is in these beliefs you allegedly have. I assure you you are not the only one in this thread who has read a book before. But if you learned anything from these books you should just be able to tell me without demanding an assessment of your own sources.
I just want to know what you think.
What i think is what Schuon wrote.
What was Schuon's favourite JRPG? Did he like any? I don't have the patience to read his books and find out for myself.
Western "indie" is a subculture/scene that has nothing to do with a desire for artistic independence. Western "indie" games are mostly half assed attention seeking clones of things that already exist. The first wave of American "indies" were a fake counterculture of posers who saw existing culture as something to fight. And they were handed the win. All American games are spiritual indies now. In your face with performative rebellion against perceived (and non-existent) stagnant standards which they are stunningly rebelling against.
The history of western indie is very barren in retrospect. Hellish times. Hellish scenes. Pretty much every good western "indie" was actually completely unrelated to the western scene and was just european autists doing their own thing which could only be done that way and would have been regardless of anything else going on in the world (Hotline Miami, Factorio, Fear & Hunger, etc).
I was talking about the impulse, not the quality of the outcome.
That westerners or "whites" are generally more creative than the other groups is an historical reality. The sheer amount of cultural variation found among white peoples is all the evidence anyone needs.
I actually rather dislike the term "creative". It mostly lends itself to absurd and meaningless statements like "more creative than the other groups", "creative genes", etc. "The sheer amount of cultural variation found among white peoples"? Cultures are just distinct. Distinction is what makes culture and what culture is. I really don't know what this variation among white peoples is supposed to mean or how it signals "creative" superiority.
But, as i pointed out already, this can be both a positive or a negative.
Positive or negative towards what end?
Modern art is very much a negative consequence of this impulse.
By that do you mean poser jews in new york ripping off grants and museums and farming prestige in a creatively dead cultural scene as a specific period in history, or do you hate everything after Arno Breker statues?
The hipster culture of the mid 2000s out of which much of the western indie gaming scene sprung from is another.
I would say it was more or less the same phenomena repeating itself in another scene that was creatively dead but had money.
Lyric Suite does not speak from experience. Never owned a console, missed all the many hugely innovative console classics.
Maybe, but as far as i can see it seems Japanese games are all spiritually arcade games. Even the Wizardry clones have this aspect to them.
And an arcade game is?
Western games, at least up to the 90s, before corporate culture took over, seemed to be rooted more in a desire to push the medium forward, to see what could be accomplished through computing technology, hence the focus on the PC platform, which was basically like a mainframe for home use. Just look at the kind of games IT students were making for their university mainframes back in the 70s. Advenure games, strategy games, RPGs, even online games. It's amazing how much of what we now call typical genres of the PC platform came out all in tandem almost right away.
"The Medium" didn't functionally exist. "Medium for what?" is the obvious question. These were experiments and toys built on computers. They were not pushing a medium forward. They were stem guys doing stem stuff.
One friend of mine once said in conversation that "The Japanese invented video games." I agree. The Japanese were the ones who made it plausible to ask "Medium for what?" There was no medium until there was vision beyond technical construction for its own sake.
BTW, reguarding the "staleness" of modern corporate western gaming, that might just be a result of westerners attempting to emulate the Japanese without having an actual understanding or affinity to how Japanese made games. The shift from PC gaming to console gaming with the advent of multiplatform development killed that original spirit of experimentation.
This is an almost correct explanation of a lot of things but framed very ethnonarcissistically. The
creative drive in western (especially American) gaming was 90% technicians seeing what was
possible. Possible for the accomplishment of what? Nothing. Just technically possible. The rest is incidental and comes later. The history of American innovation is solutions looking for problems. Technical exercises and experiments and toys. The history of Japanese innovations is seeing these American solutions and actually putting them to meaningful use. Also largely true of Europe, who struggled far less with consoles (when they could afford to develop for them, meaning the English were very well off). Europe makes an interesting mix of novel technical exercise and artistic utilisation of existing forms, so I like them a lot.
You want this to be something like a confusion of incompatibility of essences or something. What's actually happening is shartmericans are completely retarded cultureless dirt-eating animals who among younger, further gone generations can do nothing with artistic tools. They are only fit for creating tools (and increasingly less so now). Is there a single notable American artist under the age of 60?
Console gaming enviorment may have been congenial for the Japanese given their natural or cultural proclivities, but it was not so for western developers so all their drive and inspiration was killed in the process.
You want to believe this comes down to circumstances, and to an extent it does. But not as handily as you'd like it to be.
Japan rapes your precious stemniggers first as artists and now as technicians. Your arno breker statues lie in ruins. Heil the Rising Sun.
