Arthouse cinema thrives on breaking conventions — crafting experiences that prioritize subversion andexperimentation, evoking emotions viewers never anticipated. Fortunately for gamers, this avant-garde spirit occasionally spills over into the video game landscape.
Yes, ranking arthouse video games is a fool’s errand — like trying to rank shapes, or the weird colors people see when they rub their eyes. But that doesn’t mean it’s not a worthwhile exercise. To quote David Cronenberg: “Everybody’s a mad scientist, and life is their lab. We’re all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.” So, it’s time to journey through the Game Rant laboratory of the surreal to explore games that push the boundaries of what gaming can be.
Players know they’re in for something offbeat when a game’s developer goes by “Cosmo D.” The man behind this intriguing moniker is Greg Heffernan, a classically trained cellist and former composer for TV commercials.
It wasn’t until a leg injury kept him indoors that Heffernan set out on his dev journey. His sophomore title,Off-Peak, is anadventure gamedescribed as “satisfying and unsettling at the same time.” It’s an experience that’s incredibly hard to pin down thanks to it being a hellish mix of music video and fever dream. To call it simply weird would be dismissive, but it certainly is unusual. Building on its cult success, Heffernan releasedThe Norwood Suite, a surreal sequel that dials up the previous game’s nightmarish charm to 11.
Impossible objects are essentially optical illusions that mess with perception. So, how does someone build an entire game around that concept?Antichamberis the mind-boggling answer. Developed by Australian creator Alexander “Demruth” Bruce, thiscerebral puzzlerchallenges players to solve problems that defy the laws of geometry and traditional gaming logic.
WhereAntichambertruly shines is in its minimalist yet striking art design, which perfectly complements its clever and imaginative puzzles. Navigating its surreal and disorienting world feels like stepping inside an Escher painting brought to life. It’s a rare, unforgettable experience for puzzle enthusiasts and art lovers alike.
The game stands out for its quirky mechanics and unique execution, focusing more on gameplay than visual fidelity. Its experimental design and catchy tunes made it a cult classic, even earning it a spot in New York City’s Museum of Modern Art.
To mark the 21st anniversary of Radiohead’sKid AandAmnesiac, Radiohead released the spliced-togetherKid A Mnesia, finally realizing the band’s original plan to present both albums as a single cohesive experience. But that wasn’t all — the band also treated fans toKid A Mnesia Exhibition, aninteractive audiovisual experience.
While most would describe it as a walking sim, the game’s promotional material calls it “an upside-down digital/analogue universe created from original artwork and recordings.” Essentially, it’s a living, breathing museum of sight and sound for players to ponder and get lost in. For diehard Radiohead fans, it’s a must-try experience. As for those who can’t stand the band? Well, Thom Yorke himself might suggest they go suck a lemon.
Whenever David O’Reilly gets his hands on a project, players can always expect a wild ride (depending on their definition of wild). And, in 2014, O’Reilly really tested the definition of a video game with the release ofMountain.
The game begins by asking players to draw answers to abstract, almost Rorschach-like questions. Based on the inputs, the game generates a zen-like, solitary mountain floating in space. From there, players are free to simply stare at it or rotate it. That’s it. No climbing it or even slapping a nifty little flag atop it. It might offer occasional thoughts or be struck by random objects that become permanent fixtures on the landscape. Some players may come away considering it aglorified screensaver, others as a thought experiment, or even an elaborate prank. And that’s the beauty ofMountain— its meaning is entirely down to the player.
LSD: Dream Emulatoris one of thoserare gamesthat completely baffles players. Created by Japanese artist Osamu Sato, the game was designed as a piece of art for those who found conventional games too rigid or limiting.
The content of the game is based on a 10-year-long dream diary written by game designer Hiroko Nishikawa that provides the surreal and fragmented foundation for the strange worlds players wander through. The result is a deeply unique exploration game that throws players into kaleidoscopic environments, filled with bizarre and often unsettling characters. It’s not about solving puzzles or completing objectives — it’s about drifting aimlessly through an ever-shifting, dream-inspired landscape, much like the wandering thoughts people might have in their sleep.
The game is as elusive as it is intriguing — an experience that lingers in players’ minds long after they’ve put the controller down.
Now, this game is literally amuseum simulator. But, rather than offer up a feast for the eyes,Monuments to Guiltopts to challenge players mentally rather than aesthetically. And, in a way, it mirrors the goal of any museum: to provoke thought and reflection.
So, what heavy subject matter does this inventive game tackle? Chairs. But not just any chairs — these are real public chairs that have been specifically designed to prevent people experiencing homelessness from being able to sleep on them. In exploring these functional yet exclusionary objects, players are invited to reflect on the uncomfortable truths of society — how something as basic as a chair can potentially become a symbol of societal neglect and inequality.
