Video games are currently facing a slew of legislation attempting to ban or criminalize the representation or discussion of some topics within video games — effectively censoring what can be made in games, or even what can be defined as a game. This is hardly the first time this sort of action has come up, however, if you look back to other contemporary forms of media. In the early 20th century, photography had split into factions on the nature of photography as an art form. The division was between a style known as pictorialism, which allowed and encouraged image manipulation and pre-composition, and straight photography, which disallowed any pre or post-processing manipulation of the image. About the extent that was allowed in straight photography was some dodging and burning applied during the printing process. These two factions each had an advocate in the public fora, notably William Mortensen on the side of pictorialism, and Ansel Adams on the side of straight photography. The debates often became heated between the two, with Adams becoming the winner by default after Mortensen passed away. There was also some dirty pool played on the part of the straight photographers, who deliberately removed any but the most cursory mention of pictorialism as a photographic movement in Beaumont Newhall’s work, The History of Photography from 1839 to the Present.
My personal contention is that this turn of events has significantly marred the public view of photography as an artform, encouraging the mindset that photography is simply an objective view of what is or was (which is not the case even within straight photography). It has taken decades and a fundamental paradigm shift in the realm of photography (ie digital manipulation; Photoshop, Painter, et cetera) to even make a dent in this perception, with considerable inroads still needing to be made. This denial of the more expressive, authorial form of the medium encourages the public view of the medium as a sort of stepchild to more accepted forms of art.
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