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Photorealism
I made a video about photorealism. Really, I’m somewhat surprised how strong the response to this as been - I felt the stance I took in the episode was rather milquetoast/middle of the road, not really outright condemning photorealism nor singing its praises. *shrug*
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Update 6/21/2016: Putting the script in here!
The general consensus when looking back at the history of graphical fidelity in videogames is “We’ve come a long way.” Every generation of hardware has opened up entirely new aesthetic possibilities. In eleven years we went from the crudity of Adventure to the colorful cartoon universe of Super Mario World, and in another eleven years we went from Doom to Half-Life 2.
Now, these days most developers and a sizeable subset of players see this progress as a broadening of our potential as a visual medium. Adventure looked like this because it had to look like this, but these days we have a huge and largely untapped palette of potential visual aesthetics. And in that regard, improved hardware power and advanced rendering engines have really opened up what we can do with videogames (at least as far as the video part is concerned).
But as each step has opened up new possibilities, it’s also enabled us to move towards a higher level of fidelity with the real world. And as a result, some people have developed a mistaken idea that photorealistic graphics are the end goal of game engines, and even games themselves. It’s an idea so ingrained in the history of the industry that quote-unquote ‘realistic graphics’ is an unequivocal statement of praise. It’s an idea that has executives at major publishers declaring we won’t have emotion in games until we achieve photorealism. And it’s an idea that has major game developers laughably declaring that they’ve conquered the uncanny valley because of a single animation trick they’ve pinned their entire game on. And again.
But there’s a lot of problems with this fixation on realistic imagery in games - not the least of which is that photorealism is a pipe dream. First of all, the tech just isn’t there. We don’t have engines that can do ray tracing at a consistent 60 FPS at HD resolutions against complicated geometry on commercial grade game hardware. And yes, I’m aware of experiments like Quake Wars: Ray Traced, but Quake Wars was a game early this generation that was likely far less VRAM and post-processing intensive than current games, and even then the highest frame rates were in the mid-thirties on gaming rigs designed specifically for the renderer. Proving that a ray tracing engine is possible is not the same thing as proving that it’s viable or even desirable.
But nevermind rendering technology, as the costs of asset creation alone would be enough to sink photorealism. As graphical fidelity has increased budgets have exploded. Just to go from this (Halo) to this (Halo 3) we’ve needed to balloon game budgets to upwards of sixty million dollars or more. Games today require armies of artists to render the scenes we see, and they’re already so expensive that mass consolidation has only gotten more and more common. We’re at a point where a lot of developers are really really concerned about what the next generation of games is going to cost ot make, and if Epic Games is to be believed, they’ll only look about this good. Remember how EA said that Dead Space 3 has to sell five million copies or more to justify the franchise continuing? This is why. And that’s on this console generation.
The point is that making photorelaistic graphics is simply not financially viable. Improved tools and procedural content generation may help alleviate the cost, but they’ve yet to really find a market in an industry that’s more comfortable hiring 20 more art school grads than changing its entire art asset pipeline around. So even if you had the technology you couldn’t afford to make a game’s worth of content with it at photorealistic levels of fidelity.
But even that doesn’t matter. Once you’ve fixed the technology and cost concerns and have overcome the uncanny valley with true photorealistic imagery… you’ve only just started.
Next you have to tackle all of the problems with animating a photorealistic scene. Things can look absolutely photoreal in stills, but if you’re using canned animations that repeat with mechanical timing you’re still going to be tipping your hand that something is really off and robotic. Imagine if something looked photoreal but used the animation system of Call of Duty. It’d straddle the line somewhere between immersion breaking and creepy as hell. Things like Euphoria or procedurally animated meshes are taking steps to correct this, but they’re only covering the overall meshes. If we’re going to be pedantic about true photorealism, you need to have dynamic mesh deformation on individual strands of hair based on the stresses they receive! Clothes need to fold and bend and flap instead of simply having a texture squished by moving two vertices next to each other! Lip synching needs to be in perfect harmony with the words that are spoken.
And speaking of faces, hey, let’s talk about emoting! The best we’ve done in the photorealistic facial animation space is LA Noire, and while that’s a really neat technical accomplishment it has several weaknesses. First, you need to hire a real actor who can perform his lines in a giant facial recording system, which is neither cheap nor easy. Second, it’s not exactly procedural. Sure, you can capture a character giving a convincing speech, but what happens five minutes later when you’re in the middle of actual gameplay and you start throwing trash at him? Does he have the same canned annoyance response? Does he make no response? How do you handle a photorealistic looking character responding to player stupidity? Dynamically animating a photoreal face in real time with all of the subtlety delivered by an actual actor is absolutely beyond anything we can currently do. If we could do it they’d be replacing actual actors!
Then there’s the problem of fluid dynamics. At our fanciest right now, liquids are treated either as an animation trick like in Bioshock or as a glorified particle effect like in Borderlands 2 that makes the water look all blobby and thick - closer to warm Gogurt than H2O. Look, here’s some CGI footage of water streaming around. It’s not quite photoreal, but it’s pretty impressive! Do you know how long this took to render? 220 HOURS. We do not have anything close to being able to render photoreal, believable liquids in real time on top of all other graphical and gameplay considerations. Not even close.
But, hypothetically, let’s say you’ve solve even those problems. Real time fluid dynamics aren’t a problem, cloth ripples and bends as characters move just like it would in real life, every body part of every character is driven by a complex AI that results in unique animations including lip synching, and the footage from your game is functionally indistinguishable from HD camera footage. This is so far beyond reasonably possible let alone affordable that it’s laughable, but just, stick with me here.
What do you think that means for gameplay? Specifically, what do you think having photorealistic graphics implies about the system of a game? The video part of a video game isn’t just to look pretty, but to convey the state of the game’s system. Consequently how a game looks informs how we interpret that system. Minecraft has a blocky aesthetic, but that presentation gives you a clear picture of both the depth and complexity of its systems as well as for how the world works - that is, that it’s built on blocks. Its graphics inform its gameplay, and the state of its gameplay is reflected in the graphics.
Now picture a genuinely photorealistic Minecraft. You can’t really do it, right? The mechanics and systems are too abstract to support a photorealistic environment. Either it’s a world built out of blocks and therefore plays like Minecraft, or it’s a photorealistic world that plays nothing like Minecraft - you can’t have both. And really, when you think about it games that look more or less identical to live action couldn’t support almost any of the game mechanics we enjoy today! At least not without either looking completely ridiculous or being fundamentally changed to work in a realistic way. Torchlight’s loot system where you can carry a truck’s worth of spears and shields in a backpack, and then have your dog sell them? Call of Duty’s spawn anywhere multiplayer where a graze from a knife instantly kills you? Assassin’s Creed’s generously ignorant townfolk? All would either need to be made realistic or would totally break with the otherwise realistic presentation in ways that would be utterly jarring. Modern games can get away with mechanics that might not make a lot of sense because both their systemization and graphical representation are highly metaphorical. Even games that take a realistic-ish bent to their graphics, allow you to do things that would at best really bizarre and at worst completely awkward if they looked photoreal (Crysis?).
Abstraction gives us freedom to talk about the parts of a system we care about and ignore the rest. If the placement of a camera is how films decide what’s worth observing and discussing, then deciding what to simulate if how games make the same decision. Photorealism isn’t just unobtainable, it would be an effort to remove that abstraction and demand higher fidelity mechanics to match the higher fidelity visuals. And at that point you don’t really have videogames as a form of expression through intentional system design and artful visuals, but instead you’ve achieved world simulations like The Matrix. And that’s cool, I mean, who wouldn’t want to have a Matrix to call their own, but it’s hardly a videogame as we understand it today.
The reality is that as much as some people don’t like to admit it, games aren’t just a visual medium, they’re an animated visual medium. They’re not playable movies, they’re playable cartoons or interactive paintings. We don’t really acknowledge this a lot - games reference live action far more than they reference animation. And game designers who are would-be-film-directors want to be the James Cameron, or Martin Scoresece or Quinten Tarantino of games, not the John Lasseter, Tex Avery, or Miayzaki of games. This sort of mentality got especially bad in the late 90’s and early 2000’s as 3D rendering engines were coming into their own. After the death of silliwood with with developers still desperate to be taken as seriously as film, the mainstream American games industry settled into this awkward compromise, aesthetically speaking. They started making games that looked realistic enough to be taken seriously given the techological limits of the time but stylized just enough to have some artistic cohesion. The result was basically a Poser Porn aesthetic - realistic enough to gte the job done, but still plastic-y and fake. You could dress the models up like Star Wars figures or Space Marines or Elves or even just normal people, but that’s mostly just the setting more than the visual aesthetic. For about a decade there we had almost exclusively plastic, pasty lookin’ people. There were exceptions, but they were almost exclusively from Japan - like your Jet Set Radios, your Vib Ribbons, your Parappa The Rappers, your Wind Wakers, your Viewtiful Joes, your Okamis…. Oh, and Rayman. Even though he’s from France.
But as 2012 draws to a close we’re starting to see western game developers and American developers in particular start to toy with the rendering styles. Games like Borderlands 2, The Walking Dead, Dishonored, Torchlight 2, Darksiders 2, the upcoming Sim City, and even older titles like Team Fortress 2 and that Prince of Persia reboot all show publishers and therefore audiences are increasingly comfortable with the idea of games being as an animated medium as much as an interactive one. They’re not as experimental as the Japanese in the early 2000’s, but this is a region where Call of Duty is still the number one selling game every year, so… baby steps.
My point isn’t that realistic graphics are bad - lots of my favorite games have realistic-ish graphics. My point is that we have this awesome palette of the modern computer screen to work with, complete with HD resolutions, half a gig to two gigs of video ram to play with, and full 32 bit color…. yet this obsession with photorealism has led us to taking advantage of very little of that power in an artistic sense if not an engineering sense. I mean, indie games have experimented with art styles for years, if only out necessity. And the results, I think, span a much more thorough and enjoyable cross section of what a computer is capable of displaying. I mean, if computers can do this…. and this…. and this… and this… why do so many games look like this?
So I guess my plea is as follows: If you haven’t yet, give up on photorealism. It’s a pipe dream, it’ll never happen, and even if it does it won’t result in anything that looks or plays like a videogame as you know it. Instead, encourage developers to embrace all aesthetics, from the realistic to the completely abstract, from Salvador Dali to the Fleisher brothers, from cohesive and lush to minimalist programmer art. The medium will be richer for it, and it’s a far less tragic thought than an entire industry chasing after a
53 Comments
Infinitron
October 21, 2012 at 1:31 PM
I would say this video isn’t really about photorealism as such. It’s about “photo”-realistic, life-like 3D environments.
HBOrrgg
October 21, 2012 at 4:30 PM
Maybe I’m just to used to the “representative” nature of most games, but I’ve never really encountered much of an “uncanny valley” feeling from most “realistic looking” games. Whenever I see things getting crisper or interacting with each other in a more realistic way it’s almost always come across as a positive. “Wow! What a nice little touch!” never “Ugh, this dog looks too realistic and now it’s breaking my immersion!”
Games like the Total War series, Battlefield, even the Elder Scrolls (while not without problems of their own) really have benefited from improved graphics and really do feel way more alive then their predecessors just on visuals alone.
But if you’re talking about “metaphorical representation” vs “actual depiction” then I agree that graphics will probably never fully get away from metaphor unless we get some sort of full-body, virtual reality device. A jump animation preceded by a long wind-up might look better than the “toe flick/sudden levitation” games normally use, but in practice when your only input is a single jump button the delay would be atrocious and probably wouldn’t even feel too realistic in the first place.
If everything is metaphor then, I think the big question then when it comes to realistic graphics has to be “Does this add to the one we are presenting?” The games I mentioned above do a pretty good job at this. A bad example might be some issues with the Civ series. I know a lot of people really hated how cavemen with axes could occasionally destroy a tank but even back in Civ III that never really bothered me. It was easy enough to rationalize that seeing a “warrior” unit in the 21st century didn’t really mean a caveman in a loincloth but rather some sort of cheap, ill-trained and ill-equipped militia like the taliban. But in Civ V the mechanics combined with the visuals meant that every two fights you had to watch those guys destroy one of your tanks with a spectacular explosion, even if the game treated the damage as entirely superficial and you had the capability to get it “healed” within a single turn. There was just no purpose there.
Digibro
October 22, 2012 at 3:29 AM
Excellent video as usual. I think that when you talked about all the games from the early 2000s, though, there were some major oversights in games that came out here which did treat games more as animation. Those would be the PS3 exclusive trio of Jak and Daxter, Ratchet and Clank, and Sly Cooper.
Obviously the use of animal characters has a lot to do with the visuals feeling cartoony, and just like most cartoony games, they’ve aged exceedingly well for early PS2 games.
Of those, Jak and Daxter moved closer, weirdly, towards photorealism, before Naughty Dog up and made Uncharted, which is one of the biggest try-hards in the industry now at achieving photorealism. Sucker Punch went onto make the more realistic Infamous games, though now they’re apparently finally making Sly 4.
Then there’s Insomniac who recently made the realistic Resistance games while still making Ratchet and Clank games. My friend told me at one point that they’d announced they were going to stop making games at 60FPS and go back to 30, because the cost was not worth the effect or something. I say good for them.
Narratorway
October 29, 2012 at 3:12 AM
Man this was a disappointing video to watch.
Most disappointing was the topic of photorealism’s impact on game mechanics if only for how much of a missed opportunity it was. Frankly, the entire video should have revolved around this as it offered a lot of meat to chew on that you only tease at. You mention how photorealism would require altering mechanics in order remove abstraction inappropriate to that level of fidelity, but don’t acknowledge how that’s exactly what videogames have BEEN doing since…EVAR. Hell, you can probably make an entire video that revolves exclusively around detailing both the history and design of balancing interactive abstraction against visual fidelity. What happens when it goes wrong (QTE’s) or right (uh…the analog stick I guess?) etc. Like I said, there’s meat there to chew on.
Instead you spent over five damn minutes pointing out that the sky is blue and I was just sitting there going, “No shit Sherlock!”
*le sigh*
Look, I get it. It’s frustrating to see people (or studios) approach the topic of visual fidelity in such a juvenile manner, but pretending that it’s not just hack-market pandering to the douche-bro gamer base; pretending that they’re being sincere; that people who make games as technically complicated as our AAA market demands don’t have a grasp of the most basic level of logic…that’s not going to solve the problem. I said it on Youtube and I’ll say it here, this is an issue of marketing and perspectives. Logic has no place in those dark waters…
Paul Spooner
October 29, 2012 at 1:37 PM
Hmm, see, I get this feeling all the time. The thing is, it’s not immediate.
The great (and terrible) thing about graphics is that it has an immediate effect. This is why good graphics sells games. Like you said, the impact is “Wow! What a nice little touch!”
But that’s just at first. Have you ever been playing Skyrim and wanted to just settle down and have a good conversation with one of the characters? You can’t. They look like they might be able to do that, but the mechanics don’t support it. Ever longed to just drop the main quest in Dragon Age, build a castle on a hill with your vast wealth and become the local Lord? Can’t do that either. How about just chopping down a tree with your massive sword. The world LOOKS like you could do this kind of thing (I mean, there are castle and hills and vast wealth and trees right?) but it doesn’t support it. The visuals bring up possibilities that are not supported by the engine.
This is why Minecraft is such a great example of visuals supporting gameplay, and also one of the reasons it is so immersive. Have you ever wanted to have a good conversation with a Testificate? Probably not, they don’t really look like people, and conversations aren’t really a part of Minecraft. Ever want to engage in court intrigue in Minecraft? Eh, probably not. The visuals don’t promise anything (or very much) that the game can’t deliver.
So, I’d say the point is very well taken that high fidelity visuals are fun to look at, but can be dissapointing if the game can’t deliver on the presented world.
Paul Spooner
October 29, 2012 at 1:43 PM
They are also good examples of the widely held “animation is for kids” mindset. Coupled with the (apparent) deep desire of game designers to be “taken seriously” you can easily imagine why designers of “serious games” flee from such concepts. They are mistaken of course, but still.
Paul Spooner
October 29, 2012 at 1:51 PM
Of course, assuming bad faith on everyone’s part won’t get you very far either. Sure, we could say that they’re all out to get us… and build a bomb shelter… but where would you get your internet service?
Also, games have not historically been very good at exploding abstraction. The best merely re-induce from experience to a lesser height (I trust you perceive the difference).
You have a good point about the importance of matching and tightly coupling presentation, mechanics, interface, setting, and narrative. I’d be interested in a video (perhaps a blip?) elaborating this very topic.
Good Graphics are Bad | Project Fledgeling
October 29, 2012 at 6:32 PM
[…] An excellent video on this topic can be found here: http://www.errantsignal.com/blog/?p=399 This entry was posted in Game Philosophy by dudecon. Bookmark the […]
Narratorway
October 30, 2012 at 2:23 PM
“Of course, assuming bad faith on everyone’s part won’t get you very far either.”
I don’t WANT to be cynical about it, but it’s the only logical explanation. The information he spent over half that video expositing is bread-dead level obvious to anyone with even the slightest understanding of computer graphics. To think that the modern day videogame studio lead designers/programmers/etc. that mouthed the ‘photorealz fo life yo!” articles this video pointed to actually don’t understand that is way beyond my threshold for suspension of disbelief.
This leaves two explanations in my mind:
1) They’re shilling for cred with the aforementioned douche-bro market that’s responsible for the brown-out in videogames or…
2) They are using the term ‘photoreal’ as a sort of catch all to refer a higher level of fidelity than modern videogames are currently capable of, but don’t actually mean ‘can’t tell between real-life and simulation’. This is obviously the less inflammatory of the two options and may even be the more likely, but it IS still a level pandering to the modern gaming culture, if only less exploitative, because it’s using an inappropriate term simply because it’s what gamers respond to.
In either case, this is a problem that isn’t going to be solved by saying, “This won’t work.” That part’s obvious and Chris didn’t need to waste half the video explaining why in every minute detail. Being succinct in this matter would have been entirely appropriate and would have allowed for more time to deal with material that was more substantive. But he didn’t, so it was an opportunity lost in my eyes, hence my only-slightly-tweeked level of ire.
Korolev
October 31, 2012 at 12:47 PM
I wouldn’t say that photorealistic graphics will “never” happen. They might be (probably will be) impractical, but I do think that in 50 years time they will be technically possible, even if only for one or two incredibly expensive movies or simulations. Quantum computing is closer than you’d think.
Other than that, I agree with most of your points. Photorealism certainly shouldn’t be the focus of all graphical development - although it always will be A goal because humans love to challenge the limits of what they can do. I want Photorealistic graphics simply because it would be a spectacular technical achievement.
Photorealism In Video Games - A Worthy Goal « liveware.problem
November 5, 2012 at 9:18 AM
[…] response to Errant Signal - […]
Anonymous Poster
November 6, 2012 at 8:53 PM
Narratorway:
“In either case, this is a problem that isn’t going to be solved by saying, “This won’t work.” That part’s obvious and Chris didn’t need to waste half the video explaining why in every minute detail.”
This is error. Chris didn’t waste his time with the description of the state of graphical fidelity available because there are many who have no idea what engines are capable of. NONE. You do understand that the vast majority of consumers of video games aren’t in software or hardware fields and have no particular insight into the trends of the same, correct? Good information needs to be repeated, over and over, especially in the face of a culture that ignores the truth for silly or self-interested reasons.
Narratorway
November 10, 2012 at 4:51 AM
“You do understand that the vast majority of consumers of video games aren’t in software or hardware fields and have no particular insight into the trends of the same, correct?”
You do understand they’re not who this video is directed towards, correct? Unless you believe the such people also know what a procedurally animated mesh or vertices are, Ignoring that, he never mentions consumers or their perspectives in the video (which MIGHT have made for interesting analysis, but I won’t knock him for avoiding it) and any outside references are all developers/studios/publishers.
Regardless, it’s still over half the time spent on the video that gets no closer to a solution to the stated problem than when it started. That’s a waste no matter which way ya view it.
The Occupant
November 14, 2012 at 2:44 AM
I don’t always agree with you, but this, by god this, this I agree with.
Seriously, the notion you mentioned early on that we won’t achieve emotional fidelity until we get visual fidelity is pretty ludicrous in my view. It’s a slap in the face of every film animator ever. Many of my most emotional reactions and connections to film and television were for animation.
Narratur
November 14, 2012 at 2:20 PM
While I agree with your assessment of how this would affect gameplay, and how there are a lot of potentially great games that don’t need “realistic” graphics, I do think you’re clinging too much to the idea that current gameplay needs to be protected. While I’ll be happy if games like we have today are always made, I think you’re too quickly dismissing the “world simulation” aspect of striving for photorealism. Is something like that not just as worthy of being advanced toward than other games? It likely won’t be anywhere near close to happening for many, many, many years, but it’s still exciting. We may not call something like that a “video game”. Maybe virtual reality. Maybe something else. But just as at first we had a sequence of related pictures flashing on a screen, and we can now record and display our world and the events in it just as we seem them on that same screen, I think simulated photorealistic worlds would be just as great a breakthrough, if not much greater, and is definitely worth working toward.
Tank Made of Paint | Project Fledgeling
December 10, 2012 at 4:33 PM
[…] high fidelity mechanics, interface, and characters. There’s a good overview of the problem over there. I’d like to add a few […]
Travis Bickle
January 25, 2013 at 11:37 AM
I don’t agree with what you said about how photorealism would limit the possible worlds in games.
That’s like saying we can’t have movies such as Narnia because Dragons don’t exist.
But yeah, I do agree what what you said about how there’s too much focus on photorealism instead of original games. My favorite game from this generation was Braid. An intelligent 2D indie game.
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Photorealism in Games: Is Seeing Believing? | Games Archives
August 16, 2013 at 4:32 AM
[…] Franklin spoke about the mass desire for photorealism on his blog Errant Signal, in a video called “Photorealism”. He points out that despite what some may think, photorealism is a pipe dream. Even if we managed […]
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