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Lanchester writing about games, from the point of view of a smart person who's actually played the games he described. I certainly don't agree with all his points, but I don't disagree with them all, and he's not mouthing off: he's making smart connections and indicating more than a passing familiarity with the medium. Might write a tad more on this.
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"1352 components driven by a 450 link chain and nickel silver drums, prices range from $275k–$400k." Ignoring the price: do want very much.
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It's basically Outrun 2 SP, but in hi-def, and on XBLA and PSN. And it looks like it has all the music intact. Very exciting!
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The metagame is the game. Use the elephant to earn achievements. Apart from earning slightly /too/ many instantly at the beginning, it's a lot of fun. Don't reach for the hints too early.
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Yes, it's an app about weight loss. But: the UI is superb in its touchability and suitability for task at hand, and the reporting functionality is solid (and looks like it'll get much better).
Is it art?
20 December 2008
John Lanchester has an article in the 1st January 2009 edition of the LRB on games. It shares a title with this post, and I went into it a little apprehensive, with my deflector shields up. I like Lanchester as a writer, but was fearing yet another piece (be it inside or outside the traditional gaming press) touching the old “is it art and can we have a cookie yet?” chestnut. The best responses to that question are not “Yes” or “No” but themselves questions: “Does it matter?”; “Does it have to be?”; “What do you mean by art?”; “What if it is?”
For much of the article, Lanchester avoids that and takes a more interesting tack: he wants to write a smart, balanced piece about gaming for a by-and-large non-gaming audience (the readers of the London Review of Books):
Books, films, TV, dance, theatre, music, painting, photography, sculpture, all have publics which either are or aren’t interested in them, but at least know that these forms exist, that things happen in them in which people who are interested in them are interested. They are all part of our current cultural discourse. Video games aren’t. Video games have people who play them, and a wider public for whom they simply don’t exist. (The exceptions come in the form of occasional tabloid horror stories, always about a disturbed youth who was ‘inspired’ to do something terrible by a video game.) Their invisibility is interesting in itself, and also allows interesting things to happen in games under the cultural radar.
And from that point, he takes a whistle-stop tour of some recent highlights in games – talking about Bioshock’s take on Rand’s Objectivism, Miyamoto’s take on “fun”, the lure of having agency, and what creativity in games now looks like (among other things).
I’m not sure I agree with everything he says, and I think that’s OK – he’s not forcing his opinion onto anyone else. What he is doing is talking about games in a smart, informed, and adult way for an audience that values all of those things except, perhaps, the games themselves. More than that, he writes in a style that is suitably anecdotal in places: he has clearly played the games he writes about, and that, to my mind, is hugely important.
When, at the end, Lanchester says
It seems clear to me that by the time my children are adults, video gaming will be a medium whose importance and cultural ubiquity are at least as great as that of film or television.
he’s not just talking as a cultural critic and father; he’s talking as a gamer himself. At the end, he suggest that we might, if things go right, see a “new art form” emerging. I’m not sure what he thinks it currently is, but given the comparison to Film and TV, he might dismiss it as a “communications medium” or some kind of similar terminology; I don’t know, but I think the word “art” is being used a bit too perjoratively there.
As such, that feels a little reductive to me; scattered throughout the past 30 years of gaming, there are many examples that show we’re already there. There might not be a defining “starting point”; it might become clear long after the fact, but right now, in the middle of it all, it’s much harder to assign dates and times to things.
An article titled “is it art?” was always end up going that way; perhaps that’s as much an editorial pressure as an authorial impulse. I could certainly take or leave some of the conclusions. But a lot of Lanchester’s premise and exposition is really good, solid stuff, and it’s exciting to see this kind of thing in mainstream, critical language in a mainstream, critical publication. On balance, whatever you think of the art discussion being dredged up again, this time into the LRB, or Lanchester’s opinion, the article itself is very much worth your time. Like the best writing, it’s not about what it says; it’s about the ideas you’ll have reading it, the avenues it’ll lead you down.
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"I’d recommend that if you’re considering or actively building Ajax/RIA applications, you should consider the Uncanny Valley of user interface design and recognize that when you build a “desktop in the web browser”-style application, you’re violating users’ unwritten expectations of how a web application should look and behave. This choice may have significant negative impact on learnability, pleasantness of use, and adoption." Yes.
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Video from the side of a solidrocket booster from a shuttle launch – through launch, into the atmosphere, separation, and back down to splashdown. Incredible; hypnotic; magical to think that we made that.
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"The first UK Maker Faire will take place in Newcastle 14-15 March 2009 as part of Newcastle ScienceFest – a 10 day festival celebrating creativity and innovation." Never been to Newcastle. That could be exciting.
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"Don't be stuck staring at the screen! Mightier's unique puzzles are designed to be solved by hand with pencil and paper." You print out the puzzle, solve it with a pen, take a webcam picture of it… and the in-game laser carves the path you drew. Wow.
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Because I've never known how to spell it until now, and it's one of my favourite words.
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Very beautiful, and, so far, very sensible implementation of touch interactions. Looking forward to playing much more of this over the holidays.
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"Tears shouldn’t be our goal. Stories don’t need to be our tools. The majority of art forms don’t rely on narrative for their emotional impact. Stop and think about that for a second. The games industry tends to draw on such an amazingly limited roster of inspirations that it’s easy to forget it. But our obsession with linear, story-based – word-based, even – non-participatory art at the expense of all the other forms makes life so much harder for games, and it makes me crazy."
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"Modern day awesominers know there are actually 118 fundamental "awesoments" that compose all good things. The Periodic table of Awesoments can be a very useful tool. It's designed to show the relationships between awesoments, and often one can even predict how awesoments interact simply by their positions on the table."
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Very good – some good stuff around how the library works, but also lots of basics around how to optimise Javascript.
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Gerard Way reviews Left 4 Dead on My Chemical Romance's (totally excellent) blog.
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"Left 4 Dead is out
Friends kill zombies together
Is it worth getting?"
Yes Gerard, it is. -
"If you want a recipe for restless sleep, I can give you one. Add one part “what will my wife think” with 3,000 parts Benjamin Franklin; stir in a “beer anytime you damn well please” and top with a chance at financial independence."
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"Rails Metal is a thin wrapper around Rails’ new Rack middleware support." Which means you can process requests outside of ActionPack, which is useful for the odd performance boost in certain places. Interesting to see concerns separating out within Rails like this.
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"A modern tale about caring, mending and letting-go, drawn with letters and punctuation marks." Oh! This is just beautiful – a short story about a girl, and a snail, composed entirely out of type.
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"Not what I had in mind at all." George Oates on how her firing from Flickr played out, which was pretty horrific as it turned out – she was on the other side of the world, presenting on behalf of the firm. I am really not sure what Yahoo! hope to gain from many of their recent redundancies, and least of all this one.
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"You want to hear some gluttons eternally force-fed cake and chocolate milk? I don’t know what else XBox Live microtransactions were made for, broseph. " Hardcasual, I love you.
What Left 4 Dead needs: an arrange mode
16 December 2008
Left 4 Dead is a wonderful game, and there is, to be honest, almost nothing in it I’d change. It’s deceptively simple, lots of fun, and brilliantly executed. But it has a big problem: what happens when the players’ competency doesn’t live up to the drama the AI Director wants to portray.
(Quick digression, for those of you who don’t know: the AI Director is the name Valve has given the enemy AI; it’s a smart move, because the magic of the game really is the AI, and personifying highlights the importance of this game system to the players. It decides what to spawn, when to spawn them, and when to take advantage of players’ sloppiness; as such, it appears cruel and sadistic to most players, and it’s nice that the system has a name you can curse).
My friends and I are reasonably competent and we like a challenge, so we tend to start most levels in Advanced difficulty. Normal is a bit too easy in the early stages, and the apocalypse was never meant to be easy. Anyhow, we make good progress on Advanced for quite a while. The problem tends to come between stages 3 and 5 of any campaign, when we start to get wiped out a lot more.
We all die, and we restart, and we remind each other to stick closer and not shoot each other and not get distracted. And we do a bit better, and then we die. But this is OK; it’s a game, and we want to get better, and we like the challenge.
But after nine restarts, the challenge is wearing thin. And here’s where the problem kicks in: we would like to go to bed soon – it’s a school night, after all – and yet our pride reminds us that we would rather finish the scenario than give up. And so we grudgingly take a vote, drop the difficulty to normal, and thoroughly enjoy the challenge of the always-tough grand finales.
I’m ashamed we dropped the difficultly, but I’d be more ashamed if we didn’t finish the campaign. When this happened for the second time at the weekend, I got thinking as to how you could fix this problem, and I came across one possible solution.
What Left 4 Dead needs is an “arrange mode”.
I would like to be able to tell the game “there are X of us, and we should like to play an exciting zombie-slaying adventure for approximately Y minutes on difficulty Z“.
All the AI has to do is keep pace, supplying the appropriate numbers of highs, a really big finish, but backing off the volume of the zombie horde when it looks like we’re not going to make our time limit. As it stands, a decent run-through on Normal usually takes about 40 minutes, but Advanced sessions are taking me and my regular teammates about 1h45. This way, we could peg the session at, say, 75 minutes, and still have a decent evening’s fun.
If possible, the AI shouldn’t be adjusting the difficulty as it goes along. Players pick a particular difficulty for a reason – challenge, bravado, personal reasons – and you shouldn’t then throw easy-level enemies at them just because they’re running out of time; what Left 4 Dead has already proven is that much of the difficulty can come from pacing (how often the big encounters are, how weak the players are when you jump them) just as well as from hit points.
A good example of a game that already does this it the original PSP Ridge Racer; its “Custom Tour” mode lets you choose how long you wish to play for, and then it assembles a series of tracks that ought to take an average player that length of time; perfect for its handheld platform, as you’re often likely to be playing for known periods of time – a commute – rather than any other knowns. And, you know, I think there’s a lot of other games you can apply this model to successfully too, without any significant impact.
Other than that, though, I don’t want anything changed – and this should be in addition to the current gametypes, not instead of. I’m just a bit tired of admitting defeat and dropping the difficulty so we can get to the finale. Maybe that’s pride talking, but I don’t want to think that Louis, Bill, Francis and Zoey died because I wimped out.
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Eric Kaltman is blogging the Cabrinety Collection, and he's doing a great job so far.
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"The Stephen M. Cabrinety Collection in the History of Microcomputing at Stanford University consists of several thousands of pieces of computer hardware and software. Dating primarily from the 1980s and 1990s, the collection chronicles the formative era of personal computing, specifically computer gaming." Amazing.
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"Psychologists know that torture causes, among other horrid things, lasting mental-health problems. But 24's frantically violent fairy tales are typical of what passes for mass-cultural debate about torture. We're not encouraged to think about what happens next, so we don't. It is a massive failure of the public imagination. Which is why we need more torture in videogames." Clive Thompson responds to Richard Bartle's issues with that WoW quest, and he makes some sensible points, although I still have some issues with the Blizzard implementation.
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Lovely – and, amazingly, free – shmup for the iPhone. Move the ship up/down with the direction of your finger; drag over enemies to lock; release to fire. Pretty, fast, and not crippled despite your finger being in the way.
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"The problem I have with the note is not that he was having a party and didn't invite me, it was that he selected a vibrant background of balloons, effectively stating that his party was going to be vibrant and possibly have balloons and that I couldn't come." David Thorne knows how to wind people up.
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Bye, Maggie Greene. You made Kotaku a much, much better place, and you'll be missed. After your sabbatical, please get back to writing about games somewhere.
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This is for real, people. Redwood Shores or not, I'm scared.
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"A dude by the name of Phoebus has posted a collection of his research on Left 4 Dead's infected and weapon damage statistics over on the official Steam forums. I think that it'll be of great interest for any serious player of the game to delve into this information." There's a question over their accuracy, but there's still a decent amount of detail here, and the details on tail-off of weapon damage is useful to know. Also a relief to have the hellacious friendly-fire damage on Expert confirmed.
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Fascinating to watch some of the body shapes – the hunched run, and in particular the the saut du chat – carry through to modern Parkour; that which is practical has always been so. As with all parkour: parts of it are beautiful, parts of it entertaining, and parts of it superhuman.
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"Bourne wraps cities, autobahns, ferries and train terminuses around him as the ultimate body-armour, in ways that Old Etonians could never even dream of." More on this topic from Jones; still think there's something we're not quite hitting yet, but it's all good stuff.
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Stack lets you subscribe to a selection of independent magazines; you choose how many you want a year, and they send you a selection. A really nice idea, although it'll be interesting to see them broaden their horizons a bit.
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"Program recipes should not only generate valid output, but be easy to prepare and delicious." Chef is a programming language where the programs are also valid (if strange) recipes. The syntax description is proper crazy; gives Homespring a run for its money, easily, in the realm of metaphorical programming languages that embrace their metaphor.
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"This recipe prints the immortal words "Hello world!", in a basically brute force way. It also makes a lot of food for one person."