• "The point isn't nostalgia, that things were better in simpler times, but that the conditions we create (deliberately or accidentally) for and around the practices we pursue have a tremendous influence on the ways we carry out those practices. In the case of computer programming in particular, the apparent benefits of speed, efficiency, accessibility, and other seemingly "obvious" positive virtues of technical innovation also hide lost virtues, which of course we then fail to see." Culture as a byproduct of conditions.
  • "Type words to interact with Fireplace or just sit back and enjoy. The logs burn down to ashes in about 30 minutes each." Charming, delightful.
  • "I am not naive and I am not a fool. I realize that gamification is the easy answer for deploying a perversion of games as a mod marketing miracle. I realize that using games earnestly would mean changing the very operation of most businesses. For those whose goal is to clock out at 5pm having matched the strategy and performance of your competitors, I understand that mediocrity's lips are seductive because they are willing. For the rest, those of you who would consider that games can offer something different and greater than an affirmation of existing corporate practices, the business world has another name for you: they call you "leaders."" Ian's whole article is great, and the comment thread is eye-opening.
  • "Something terrible has happened in our city (and may yet continue to happen). It's damnable, deplorable, heartbreaking. But it is also extraordinary, unusual, bizarre. Slamming the door on it without studying and understanding it is a dangerous and short-term tactic. Allowing yourself to feel nothing but anger, and doing nothing but lashing out … isn't that a little mindless? It would be nice, and useful, if we could ask London "why" without already having an answer in mind." Excellent, sober, cautious writing from Will Wiles.
  • "In this volume, people of diverse backgrounds — tabletop game designers, digital game designers, and game studies academics — talk about tabletop games, game culture, and the intersection of games with learning, theater, and other forms. Some have chosen to write about their design process, others about games they admire, others about the culture of tabletop games and their fans. The results are various and individual, but all cast some light on what is a multivarious and fascinating set of game styles."
  • Lovely little round-up of games about architecture and the urban environment from Kars.
07
August
2011

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  • "It's not enough to hope that games might be redeemed as fine art or to be played by people of all ages and backgrounds. Instead, video games' cultural future depends on a rich, diverse, magical ecosystem of weird games of all shapes, sizes, and purposes helping multitudes of people pursue a variety of goals and passions. It's not that games need to "rise to the level" of books and films and the like, but that they need to spread like those media into all the nooks and crannies of human activity. The more deliberately creators populate such an ecosystem, the harder it will become for games to become pawns in the debates of others."
31
July
2011

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  • "I want to suggest that there is a utility for procedural literacy that extends far beyond the ability to program computers. Computer processing comprises only one register of procedurality. More generally, I want to suggest that procedural literacy entails the ability to reconfigure basic concepts and rules to understand and solve problems, not just on the computer, but in general."
  • Lovely trailer from BBC America for Law & Order UK. Sadly, it illustrates roughly what the British trying to make American-style procedural drama looks like. Lots of slamming things down. And tea. (Although: they don't know what "knackers" means, clearly.)
    (tags: culture tv bbc )
  • "The iPad is an intensely personal device. In its design intent it is, truly, much more like a "big iPhone" than a "small laptop". The iPad isn't something you pass around. It's not really designed to be a "resource" that many people take advantage of. It's designed to be owned, configured to your taste, invested in and curated." On the assumptions built into devices, and what understanding them requires.
  • "Ships will subscribe to the service through a third party, and receive the latest copy of the book when they dock at port. They tear out each page, and apply the relevant changes to their paper maps with a pencil and transfer paper. They’re paper map diffs, if you like." Awesome. And, as Tom said, it's a beautiful book.
  • "Here at the Cow Clicker ranch, we've learned an important lesson about cow clicking: people don't just want one chance to click a cow every six hours. They want as many opportunities as possible to click a cow every six hours." And then Ian launches the API. And Connect. And everything else. And wins again.
16
January
2011

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  • "And I don't think games are happiness engines, either. They are complex, rusty machines built to show us that the world is so much bigger and weirder than we expected. I play games to remind me of this. I make them for that purpose too." Lots of great stuff in here, especially the stuff about "winning" versus "coming to understandings". As someone whose happiest experiences of media are often the slow, subtle, dawning ones, I think I might be on Bogost's side here. But: I haven't read the book yet.
  • "One succeeds because it leverages the player's motivated, explorative, self-driven experience; the other fails because it relies on a hackneyed, disjointed "epic" plotting (told in 3 separate plot-lines via cutscenes) with incongruous settings and 2-dimensional characters. One succeeds because its formal systems directly feed the player's connection to the world and characters; the other fails because its formal systems bear no discernible relationship to the stories the game wants to tell." This is strong stuff from Michael; I am increasingly fed up of the focus on (poorly-told) stories in games.
  • "Know that there are no "accidents" in this game design. Everything you notice about the game, and every subtle interaction that you experience, is intentionally packed with meaning." (Gravitation, still, being my favourite of Rohrer's games, I think).
  • "Crucially, Goodrich entreats the public to note the following: "this change should not directly affect gamers, as it does not fundamentally alter the gameplay." This one statement should cause considerable distress, as it suggests a troubling conclusion about Medal of Honor as a work of public speech.<br />
    <br />
    To wit: it suggests that the Taliban never had any meaningful representation in the game anyway. If a historically, culturally, and geographically specific enemy can simply be recast in the generic cloth of "opposition," then why was it was called "Taliban" in the first place?<br />
    <br />
    And if the Afghan war in which the new Medal of Honor is set was one explicitly meant to drive the Taliban from their strongholds in Afghanistan, why should it matter that the game is set in that nation in the present day at all? In short, how was this Medal of Honor title meant to be a game about this war in particular?" This is a marvellous, critical piece of writing from Bogost.
  • Nice post on Awk basics – most of which I knew, but the examples are still great, especially those involving variables. The links out to the Hacker News and Reddit threads are also full of good stuff.
10
May
2010
  • "…there is something far more interesting at work in Heavy Rain: its successful rejection of the primary operation of cinema. The game doesn't fully succeed in exploiting this power, but it does demonstrate it in a far more synthetic way than do other games with similar goals. If "edit" is the verb that makes cinema what it is, then perhaps videogames ought to focus on the opposite: extension, addition, prolonging. Heavy Rain does not embrace filmmaking, but rebuffs it by inviting the player to do what Hollywood cinema can never offer: to linger on the mundane instead of cutting to the consequential." Ian Bogost is smart, and this is brilliant (and also provides a citation for "film is editing", which is something I've blathered about before).

Links & notes for this month

Endnotes