Category: Games

Writing and links related to games and the game industry.

Got It In One

I’ve always enjoyed Jerry’s writing over at Penny Arcade, so I suppose it should come as no surprise that I think he damn near nailed the game industry metaphor when he said this:

The stakes are high, and getting higher, and publishers who were once merely gun-shy are now officially paranoid, rolling around in a padded cell until the drugs take effect. Part of the reason GDC made me uncomfortable is that I could feel its culture pressing on me from all sides, and I knew it wasn’t mine. But the other part was that I got a sense of how brutal that life is, how unstable it can be, how maddening, and I just wanted to come home and match gems or some shit. I didn’t want to see it anymore. I don’t want to think about a cow’s quiet eyes every time I grip a hamburger.

(Link)

A Step In the Right Direction

Before I get into my own tirade, there’s some recommended reading for you. Don’t worry, I’ll wait:
Braid won’t be at Slamdance after all.
flOw won’t be at Slamdance after all.
Braid Ditches Slamdance in Protest
Slamdance Pulled SCMRPG On Moral Grounds (Referenced from a Rocky Mountain News article.)
Slamdance: SCMRPG removal was personal, not business
Super Columbine Massacre: Artwork or Menace?

Everyone back? Good. As has been raised by several of the more cogent posters, it’s not directly a first amendment issue (which I’m sure regular readers have realized is something of a personal windmill I tilt at), since the Slamdance festival is technically a private organization, and has a right to decide what will or will not be shown at their festival. But there is definitely still some relevance to the battle against censorship and winning over the public mindshare that games are a valid form of creative expression, and deserve the same freedoms afforded to other media towards that end. There is no legal recourse, but that does not mean we should not raise our voices in displeasure at this sort of behavior. As a festival that ostensibly supports the idea of games as art, it is patently unacceptable behavior to remove a valid game from the competition due to a specious claim of moral concern. There is no legal recourse, since it is a private organization, and so the only method of protest that remains to us is to not participate in the festival, to encourage others to withdraw as well, and to express in no uncertain terms exactly why we are doing so. I applaud those developers that have already chosen to make that stand, and hope their other brethren soon follow suit. It is only through community and solidarity that we’ll truly drive home the point that this sort of censorial behavior is not acceptable.

“For Fun” Indeed

To say that games cannot do whatever other media can do, that they are “just for fun” and have no other purpose, is to betray a profound contempt for games. (Raph Koster in response to a comment that games are played for nothing more than fun)

Very succinctly stated and in my opinion spot on.  As is evidenced by the nature of the appeal in Minnesota, there are still quite a few ill-informed and misconceived notions about the medium that need to be addressed.  While there is a fair bit of understanding that video games are the “political tool du jour” in this election year, that doesn’t make their attempts to restrict the rights and freedoms of a fledgling medium any less dangerous.

I’ve discussed this in the past, but I’ll say it again: comics sadly let themselves be pigeonholed back when they first became popular, and have now had to spend decades fighting that image because they didn’t fight it then.  Regardless of whether you like graphic, violent video games, I hope that we can all agree that in order to defend our rights as a whole, we need to defend these now.

The trouble with fighting for human freedom is that one spends most of one’s time defending scoundrels. For it is against scoundrels that oppressive laws are first aimed, and oppression must be stopped at the beginning if it is to be stopped at all. (H.L. Mencken)

RPGs at Gestural Narrative

While I may go back and expand on this in the future, I wanted to mention this post about games, in particular role playing games, as a form of gestural narrative, which I found over at Roll the Bones. Rather than reinventing or reiterating the wheel, I would instead suggest you swing by the site and read it for yourself.

On an unrelated note, please be patient; we’ll be doing more with this site soon.

Improving the Middleware Licensing Model

[Before I get into the specifics of what I’m talking about, I’d like to preface all this by saying that I am not a business analyst, nor an economist. I don’t know the realities of how feasible this is, as I have not run any numbers to check that feasibility. More than anything, I am putting this out there as an idea, in the hopes that someone with the requisite expertise can actually run the numbers and (hopefully) put them into practice. — Nabil]

As I’m sure most of you are already aware, games are generally no longer made in someone’s basement on a shoestring budget. They are developed by teams ranging in size but rarely under a dozen at this point, and for budgets that are quickly rivalling the most expensive Hollywood blockbusters. While the size and scope of game development is now on par with that of movie development, we haven’t bothered to adopt many of the business models that are used within this sister entertainment industry, and not because they couldn’t be successful, but simply because those holding the purse strings are leery of trying something new on a $20 million game. This is only going to become worse as budgets continue to escalate into the $100 million and even $200 million game. Put simply, the financiers of the industry are becoming more risk-averse, and are going to become more conservative as time continues. If we’re going to find alternative models for game development, it needs to be done now if at all. Personally, one avenue I’d like to see pursued is a royalties-based licensing model.
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Virtual Home

This may perhaps be a post better suited for my other blog, but for some reason, I felt it better suited to talk in this one about the notion of virtual spaces as a home, which is a topic recently touched upon over at Terra Nova in Bonnie Ruberg’s recent post: Grounded in Virtual Spaces. Her post broaches the topic that in many ways, blogs serve as a surrogate home on the internet.

But what exactly is “home”? Several Native American tribes believe that home is where you are born (in a geographical sense — I somehow doubt they were referring to the hospital room specifically), and that there is a spiritual connection tied to that area from then onward. This doesn’t mean you have to live there your whole life, but it will still have an effect on you in often subtle ways. Personally, I’m a big fan of this idea, and feel it works well to define a virtual home as well. Blogs (whether it’s a myspace page, friendster, facebook, blogger, or a stand alone site like this one) are often our first real forays into being a creator or participant in the virtual arena. It provides an anchor point where they are free to express themselves however they want (to let their guards down, figuratively speaking). People may move on or away from these blogs or pages, but their time spent with their own space to create and express themselves will continue to have an effect on them throughout their other endeavors.

Forums, however, serve a complementary but separate role, more similar to third spaces (Bowling alleys, pubs, places people gather that are neither home nor work), where it is a peer gathering of people collaborating to form a dialogue. It does not qualify as a home, per se, in that no matter how freeform the structure of the forum is, it is still ultimately governed by someone else. We may even end up spending more time in that third space than we do in our homes (even more true on the internet, where “home” serves as a place to toss links and thoughts before heading back out into browsing, with only the occasional extended period spent cleaning up or redesigning the site), but that does not alter the distinction between the two spaces.

I’m not really going anywhere with this in revelatory terms, but I did want to share. I may expand it later.

Design Metaphors and Philosophies

Much like every other medium, there are really no hard and fast rules to making a good game. “Add nice graphics,” or “Make sure the gameplay is fun” is hardly a schematic for making a good game, and could be roughly equated with back seat driving, telling someone to be sure to remember to use their turn signal when their turn signal is already on. That said, there have certainly been some attempts to give a basic grounding in what design principles work or don’t work in game design, by a great many individuals. There are a fair number of similarities between these authors (which is unsurprising, since they all read each other and come from similar backgrounds in the industry), but what I personally find more interesting is the differences between different authors, and what metaphors different designers have found most effective for them.

One of the earliest books I read this semester was A Theory of Fun by Raph Koster. While not explicitly about game design per se so much as a discussion about the fundamental concepts of fun and play, Koster does also explore the method he finds most effective for game design. His metaphor is based around his theory that games are fun because the brain is constantly seeking patterns to process. With that in mind, he tries to find new patterns for the brain to process by thinking of a verb that would encapsulate an action or series of actions, and then designs the game mechanic around that verb (or if the game is expansive enough, verbs). From a ludological perspective, this is a very appealing method of design, since the game mechanic quite literally designs itself. This does not leave much room for a narrative-centric game, however.
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Narratology vs Ludology; Pictorialism Revisited

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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