“I am looking forward to seeing what the future holds for us and I am considering how much it will affect my pocket to buy a graphics card.”

The other day I was watching The Spirit of the Hive, because of course. “The other day” I also saw Trolls: World Tour, but if I say it I can not wield myhipster card. The question, The Spirit of the Hive. Say what you want from that movie, but visually it is a gem. Erice does not make elaborate shots or impossible camera games; the quality of these images is pictorial, a mastery of composition, light and color that give the impression that this has not been done with a camera, that someone has built this from scratch because you cannot have such a good eye. This is not a plane:it’s a picture. With this realization comes a similar one: you cannot get these same images today. The Spirit of the Beehive was made in 1973 and the cameras of that time have a certain texture. The cinema of the 70s and 80s looks different even if you are watching it on Blu Ray just as the painting looks different if you make it analog or digital. I do not wantcondemn us to oblivion: “Good heavens, the cinema is dead, we can never recover this.” The Reborn is there, but with each era comes an aesthetic marked not by ideas or talent but by technology. The other day I was talking about what this “new generation” means and now I want to go back to that Unreal Engine 5 demo once again to ask another question: How will we remember the aesthetics of now?

There are aesthetics to which we can no longer return unless we force themNow that I’m discovering theclassic video gameI find that I want to preserve his image and be faithful to him. To play the first PlayStation, I bought a pileup, the OSSC, which imitates the interlacing of a tube television and returns the quality lost with the change from analog to digital. Those fat pixels have never looked so good; Sometimes when I play a PSOne title live, I admire the result: “But it looks great!”. The others comment that yes, if you look from a certain distance with squinted eyes, those blocks of color are, in effect, Final Fantasy IX. But every time I see a game from the era exported to the new generation, I feel sorry, because yes, the Final Fantasy VII models are truly polished inFull HD 1080p, but that is not the aesthetics of PlayStation. Looking at the pre-rendered backgrounds, how they resemble the setting of a pocho theater, I feel that it is an attack on the achievements of the time.

There are aesthetics to which we can no longer return unless we force them. A Short Hike looks like a game out of the Nintendo DS, with that mix of roundness and sawtooth, but when Super Mario Galaxy comes out on the Switch I wonder if it will keep the Wii grain. It will surely look great, and it was already colorful in its day, but in the transfer it will lose the essence of the technology that allowed it to exist. Ace Attorney doesn’t look the same on DS and Switch.

What is the aesthetics of PS4 and Xbox One? New technologies bring a loss of identity for consoles

The technology is fascinating, and I love to see simulations of soft bodies colliding with each other, to see compilations of cars stamping on Beamng, but this obsession with the new, hyperrealism, high definition, disconnects us from the charm that the imperfect brings. PlayStation and Nintendo 64 games look different, not just because of the difference in technical power but how they interpret the pixel. Dreamcast does not look like Xbox. Even in more recent years there is a certain charm in games like Oblivion or Overlord, so obsessed with the Bloom effect. I look fondly at Prey, F.E.A.R. or Far Cry and its models made with simpler textures, its lights in real time that lead to chiaroscuro, its colors so polished that even the skin seems chrome.

The only current console with a firm aesthetic is Nintendo SwitchI look forward to seeing what the future holds for us and I am seriously considering how much it will affect my pocket to buy me oneGraphic cardwhen NVIDIA announces its new 3000 series, but at the same time I wonder what today’s aesthetic is beyond the constant attempts to be real. Cadence of Hyrule looks like a GameBoy Advance game because the laptop had an aesthetic, technology-imposed limitations that led to a certain way of looking. Even the crappiest game on PlayStation continues to sport that same pixel, and today so many developers are unsuccessfully trying to mimic the shapes of the console that is sad. It is all too defined, concrete. In any case, the only current console with a firm aesthetic is Switch; Nintendo’s treatment of light in Super Smash Bros, in Luigiā€™s Mansion, is different from that of other times. But that is nothing more than an aesthetic choice, not an imposition of the console. If you want, Switch can look good, just like PlayStation 4, just like Xbox One.

The grace of these aesthetics was born precisely from that, from imperfection. GameBoy Advance couldn’t play the Lord of the Rings images, but boy was I going to try. They were machines making an effort and failing along the way, yes, but they left their mark. Were. Today’s console comparisons are measured in a few pixels, where sometimes the light is a little more yellow and other times more orange. We have reached the goal and everything looks great. It is beautiful, but at the same time it is all the same. Those who have lost are left behind, and worst of all, it doesn’t seem to matter if their identities are erased by being brought into the present. Final Fantasy VIII Remaster looks great, but that’s not PlayStation. IsHigh Definition.

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