The Game Jam

Creativity and Community

Game jams are not without controversy. Ostensibly a community-based event that fosters enthusiasm and creativity, game jams do not always reflect these ideals in practice. As the lead organizer of two game jams in Waterloo, Ontario, I’ve had the opportunity to develop a perspective on what this event is—and no, it doesn’t live up to its hype, but jamming is not a terrible idea. The enthusiasm, creativity, and community promised by game jams are important and needed in a performance-obsessed society, and although game jams do not always deliver on these ideals in practice, they have the potential to do so. Continue Reading

How to Talk about Videogames

A Book Review

Video games can resemble movies and mountains, novels and the novelty of a trip to France, and even people. However, because playing them evokes commonalities of form and effect with a multitude of other experiences, society largely treats the video game as a patchwork media monster rather than a distinct medium. In How to Talk about Videogames, Ian Bogost puts forward an initially puzzling idea: that to make sense of what video games are, what they do, and how they do it, game critics should treat their subjects like toasters. Continue Reading

Rethinking ∆Flow

in Relation to Narrative Within The Last of Us

Flow is an immediate, task-based construction. Csikszentmihalyi argues that flow exists in a ‘flow channel’ residing between anxiety and boredom, both of which measure challenges as they relate to skill level (ch.4). He believes people experience anxiety if challenges are too great for their skill level, and boredom if their skills are too great for the challenges provided (ch.4). Within the flow channel, however, “the difficulty is just right for [their] [. . .] skills” (Csikszentmihalyi ch.4), and people can become “completely absorbed by the activity” (Csikszentmihalyi ch.3). The exact activity matters very little; all that is required to enter the flow channel is an actionable task that possesses clear goals, adequately matches a person’s skill level, demands a certain level of concentration, and gives immediate feedback (Csikszentmihalyi ch.3). Indeed, flow is simply a task loop – goal, action, feedback – immediately registered by the player, traversing upwards through the flow channel as both skills and challenges increase in tandem. Continue Reading

THE ILLUMINATOR

Games are interesting to us for a few reasons. The first is this idea of Procedural Rhetoric put forth by Ian Bogost. For Bogost, software programs are a unique medium in their procedural rules, a flow of loops and state changes governed by conditional elements. Leveraging this idea for the purposes of employing rhetoric is then “the practice of using processes persuasively.” Our 2014 collaboration with the New York Civil Liberties Union aimed to put this into practice. Continue Reading

Can Computers Be Feminists?

When building systems that share or even entirely adopt the role of a designer for a game, however, the capability to reason about cultural context is entirely lost. At best, it sits implicitly in the code and the data; at worst, it goes entirely ignored and communicates an idea at odds with the maker’s intent. Though the human designer may have their own intent for the kinds of content or games their system should generate, it is challenging to fully express the constraints, rules, and context needed for generating content that is sufficiently varied for the overall game, valid such that it is even playable, and also consistent with the messaging desired by its creator. Designing generative systems can require human designers to deeply confront their own implicit biases and understand how to formally express, in code, the full generative space of acceptable content that the system should create. For example, consider a character generator with names generated from a gender-partitioned list of constituent name parts. This simple act–born from the common method in PCG of specifying the valid subcomponents of what should be built, partitioning them such that their recombination will always be valid, and then randomly piecing those parts together at runtime—communicates the implicit biases of the maker (including a declaration of the gender binary, a statement that names should conform to those genders) and is then cashed out in every character that is generated by the system. Continue Reading

Beyond Elliot Page

The Limits of Agency in the Interactive Storytelling

But ultimately, the interactive elements of Beyond: Two Souls prove to be of inadequate meaningfulness. Your participation as a player has minimal importance on how events unfold throughout the game. While players are given the opportunity to react to events and interact with the world, there is no real in-game penalty for failure, often including failure to act. The game creates numerous Deus ex machina situations to bail players out and reveals the general lack of agency the player has in influencing the game world. In Beyond: Two Souls, telling the story is more important than playing it. Continue Reading

Actually, It’s About Aca-Fandom

in Games Studies

Some people might respond to that last sentence and say that good scholarship requires discomfort. You should have to prove yourself in order to be accepted by the community. To be clear, I’m not arguing that I like fan studies because they have no standards. It’s just that the standards that fan studies sets are actually achievable. Fan scholars understand that you can’t possibly be a fan of everything that anyone is a fan of. Recent scholarship even makes the argument that as a fan of one thing you aren’t even expected to know everything about it. Zubernis and Larsen (and Jenkins) argue that defining a fan as someone who makes or collects things—as being active—denies the ways in which fans can participate by reading, by thinking, by sharing links (Zubernis and Larsen 16). There are as many ways to be a fan as there are fans. Continue Reading