Typically produced on a smaller budget and with less technical (coding) knowledge than art games emerging from the game scene itself, "artist games" are often more explicit in terms of their artistic ambitions and commonly occupy "the grey area between modification and original game" because they are frequently based on classic arcade titles from the 1980s. Early examples of this kind of game include Thompson and Craighead's "Trigger Happy" (1998), Esc to Begin's "Font Asteroids" (1999), and Natalie Bookchin's "The Intruder" (1999). As video games became increasingly common as a form of media throughout the 2000s, video games that deemphasized the game portion of the medium (such as serious games, non-games and art games) saw a rise in production. This in turn led to recognition of the game as a vehicle for ideas instead of simply an entertaining diversion. The term "art game" was first used in the scholarly setting by Professor Tiffany Holmes in her 2002 paper, "Art games and Breakout: New media meets the American arcade". Holmes presented this paper at the Computer Games and Digital Cultures conference in Tampere, Finland, and at Siggraph 2002, later expanding it by defining the term in a 2003 paper for the Melbourne DAC Conference. Further refinements to the definition were made by theorist Rebecca Cannon in her late 2003 paper, "Introduction to Artistic Computer Game Modification." Beginning in the early to mid-2000s with games such as "Samorost" (2003) and "The Endless Forest" (2005), a strong overlap developed between art games and indie games. This meeting of the art game movement and the indie game movement brought art games to the attention of the video game culture at large, and sparked large debates regarding whether or not video games can be fairly considered as works of art, as well as a backlash against use of the term. These debates have in turn led to the retrospective determination of numerous older commercial video games (prior to the use of the term "art game") as art games. As indie art games have seen a dramatic rise in production in the late 2000s (especially from 2008 and onwards), indie game developers like Jenova Chen, Molleindustria, Jason Nelson, Jason Rohrer, and Tale of Tales have become established and "artist games" have become relatively less common. Discussions over the commercial viability of art games have led to speculation concerning the potential for the commercial video game industry to fund the development of "prestige games" (games that are unlikely to be commercially successful but whose artistic vision marks them as important to the development of the medium).