Wednesday, August 26
Enacting Experience on Gamasutra
I recently compiled the three Enacting Experience articles into one long article, with editing of course, and posted it on Gamasutra Member blogs. Someone at Gamasutra has decided to consider it a "Feature Post" which is pretty cool. Check it out.
Sunday, August 23
Tetris: Your New BFF
Bitmob is a website started by that 1up guy, Dan Hsu, which promotes community blogging about video games. The other day, I posted my Don't Look Back article, which was one of six featured in their weekly spotlight. Today, however, I've posted an article exclusive to Bitmob, because I simply don't like double posting. So, if you're interested in reading about my opinion on the fantastic Tetris Friends, then check it out, called Tetris: Your new BFF.
Wednesday, August 19
Enacting Experience Part 3: Don't Look Back
This is the third part and final part in a series on Enacting Experience. The first part, on It's a Nice Day Today, may be read here. The second part, on Don't Shoot the Puppy!, may be read here.
People debate whether or not video games are art. Honestly, it's a ridiculous question. I define art as anything that evokes emotion or provokes thought from the audience. Whether or not the creation of video games is an art form is equally debated. I believe that an art form is any medium in which artists, through inspiration, subconscious feeling, and a series of decisions, create works which can offer the evoking of emotion or provoking of thought from an audience.
As an aside, I will note that art is definitely not always intended to affect others; many people create things for themselves or at least lack any intent to evoke emotion/provoke thought. Art is also highly subjective. What may not affect one person may, to another, present a paradigm shift in life values. Who's to say? Artists can control the effect of their works only so much. Because of the inherent subjectivity of art, an artists intention with his or her work is difficult to define, excepting specific statement from the him or her. Art will be perceived as it will.
I think I've finally discovered the reason for all of the questioning behind the "are video games art" debate. There is an important distinction between what a medium does achieve and what it can achieve. Just because video games as they are commonly offered often do not evoke emotion does not mean the medium cannot evoke emotion.
The established ultimatum that games need to be fun has blinded us to the other emotions that games can evoke and the other qualities they can possess. So we look at games and ask, "on a scale of 1 to 10, how fun is this here video game?" And this question almost always comes first, before we ever ask "how is this game affecting me emotionally?" or "what is this game teaching me?"
It's a matter of status-quo. Publishers are trying to please the media and to make money, the media is trying to please the gamers, and the gamers are trying to please. . .themselves? What is for sure is that professional developers have a budget and have to please everyone, and if everyone thinks that fun and graphics are what makes a game "good" and what makes a game sell, then really, what choice do they have? With every layer of the video game strata preoccupied with pleasing the norms, not many have the luxury nor time to worry about the other potential emotional qualities of games, that is, save for the independent developers.
Terry Cavanagh of Distractionware brings us a beautiful game called Don't Look Back, a game that I feel is an ideal exemplifier of gameplay as a means of evoking emotion and, for that matter, provoking thought.
As an aside, I will note that art is definitely not always intended to affect others; many people create things for themselves or at least lack any intent to evoke emotion/provoke thought. Art is also highly subjective. What may not affect one person may, to another, present a paradigm shift in life values. Who's to say? Artists can control the effect of their works only so much. Because of the inherent subjectivity of art, an artists intention with his or her work is difficult to define, excepting specific statement from the him or her. Art will be perceived as it will.
I think I've finally discovered the reason for all of the questioning behind the "are video games art" debate. There is an important distinction between what a medium does achieve and what it can achieve. Just because video games as they are commonly offered often do not evoke emotion does not mean the medium cannot evoke emotion.
The established ultimatum that games need to be fun has blinded us to the other emotions that games can evoke and the other qualities they can possess. So we look at games and ask, "on a scale of 1 to 10, how fun is this here video game?" And this question almost always comes first, before we ever ask "how is this game affecting me emotionally?" or "what is this game teaching me?"
It's a matter of status-quo. Publishers are trying to please the media and to make money, the media is trying to please the gamers, and the gamers are trying to please. . .themselves? What is for sure is that professional developers have a budget and have to please everyone, and if everyone thinks that fun and graphics are what makes a game "good" and what makes a game sell, then really, what choice do they have? With every layer of the video game strata preoccupied with pleasing the norms, not many have the luxury nor time to worry about the other potential emotional qualities of games, that is, save for the independent developers.
Terry Cavanagh of Distractionware brings us a beautiful game called Don't Look Back, a game that I feel is an ideal exemplifier of gameplay as a means of evoking emotion and, for that matter, provoking thought.
Before you read on, I highly recommended you play through the game, which can be played online or downloaded.
Like the brilliant You Have to Burn the Rope before it, or more similarly, Don't Shoot the Puppy!, Don't Look Back gives instruction in its title. If Metal Gear Solid is considered to be the cinema of video games, Don't Look Back must be its poetry. Titles in poetry are often pivotal to the understanding of a poem, even at the most basic level explaining the subject of the poem or cuing in readers on the setting or location. Neversoft's Gun is one example of an effective video game title that comes to mind . The title says it all, giving players a hint of not only the game's subject-matter but also what the gameplay might involve. Gun as a title may additionally imply the player-character's situation in the game world and the necessity of resorting to lethal action.
The title Don't Look Back has multiple meanings, explaining not only the game's rules but also, metaphorically, its messages. In an interview with GameCritics, Cavanagh explains that partial inspiration for Don't Look Back came from the greek mythological story of Orpheus, who traveled to the underworld to rescue and revive his deceased wife, Eurydice, but broke the rule of doing so and caused her to disappear forever by turning to look back at her before he was allowed. Similarly, once players retreive their wife in Don't Look Back, turning back will cause her to disappear. When players return to the grave, they find themselves already standing there, and both the player-character (who we'll call Orpheus for simplicity) and his wife disappear together.
To enact experience is to meld the content of something with the experiencing of it. The concept of "not looking back" functions in two ways: one, as a rule of the game, and two, metaphorically, a message about moving on. To me, the game symbolizes moving forward. Orpheus's descent into the abyss is a journey of mourning. As Cavanagh explains, Orpheus never physically leaves the grave, but has taken a fantastical journey, mentally and emotionally. His return trip to the grave, his wife following along, is a passage of reconcilement, of moving onward. The difficult descent, however, was first necessary to mourn his loss. When the player and the wife return to the grave, Orpheus's journey-self and his wife disappear, leaving the new Orpheus standing, having grieved and moved onward from his wife's passing. In this way, the game is a mourning process for Orpheus, allowing Orpheus to free his wife and to free himself.
What is so beautiful about this game is that its title, rules, and meaning all function as a single whole, each point reinforcing the others. Only in a video game does a person or audience have the opportunity to look back, and not only look back, but have that action support a message and theme of moving onward. The game's message is strong and impactful via the very simple gameplay rule mirroring it.
Like the brilliant You Have to Burn the Rope before it, or more similarly, Don't Shoot the Puppy!, Don't Look Back gives instruction in its title. If Metal Gear Solid is considered to be the cinema of video games, Don't Look Back must be its poetry. Titles in poetry are often pivotal to the understanding of a poem, even at the most basic level explaining the subject of the poem or cuing in readers on the setting or location. Neversoft's Gun is one example of an effective video game title that comes to mind . The title says it all, giving players a hint of not only the game's subject-matter but also what the gameplay might involve. Gun as a title may additionally imply the player-character's situation in the game world and the necessity of resorting to lethal action.
The title Don't Look Back has multiple meanings, explaining not only the game's rules but also, metaphorically, its messages. In an interview with GameCritics, Cavanagh explains that partial inspiration for Don't Look Back came from the greek mythological story of Orpheus, who traveled to the underworld to rescue and revive his deceased wife, Eurydice, but broke the rule of doing so and caused her to disappear forever by turning to look back at her before he was allowed. Similarly, once players retreive their wife in Don't Look Back, turning back will cause her to disappear. When players return to the grave, they find themselves already standing there, and both the player-character (who we'll call Orpheus for simplicity) and his wife disappear together.
To enact experience is to meld the content of something with the experiencing of it. The concept of "not looking back" functions in two ways: one, as a rule of the game, and two, metaphorically, a message about moving on. To me, the game symbolizes moving forward. Orpheus's descent into the abyss is a journey of mourning. As Cavanagh explains, Orpheus never physically leaves the grave, but has taken a fantastical journey, mentally and emotionally. His return trip to the grave, his wife following along, is a passage of reconcilement, of moving onward. The difficult descent, however, was first necessary to mourn his loss. When the player and the wife return to the grave, Orpheus's journey-self and his wife disappear, leaving the new Orpheus standing, having grieved and moved onward from his wife's passing. In this way, the game is a mourning process for Orpheus, allowing Orpheus to free his wife and to free himself.
What is so beautiful about this game is that its title, rules, and meaning all function as a single whole, each point reinforcing the others. Only in a video game does a person or audience have the opportunity to look back, and not only look back, but have that action support a message and theme of moving onward. The game's message is strong and impactful via the very simple gameplay rule mirroring it.
Tuesday, August 18
Enacting Experience Part 2: Don't Shoot the Puppy!
This is the second article in my three part series on Enacting Experience. Read the first article, on It's a Nice Day Today, here.
Don't Shoot the Puppy!, by Aragagg, is an exercise in either frustration or patience, depending upon your temperament. Fifteen levels of puppy-hopping molasses await players in their quest to not shoot the puppy. With its twitch-triggered Anti-Air Cannon and myriad of trickery, Don't Shoot the Puppy! aims to test players' patience and maybe show them something a little different of game design as well.
The gameplay concept of "non-interaction" isn't entirely new; not to mention others, the brilliant Warcraft III mod, Don't Move the Tauren, had previously explored this "do nothing" reversal of gameplay, albeit in a psychologically-driven multiplayer setting. Regardless, Aragagg experiments admirably with non-interactivity. By employing clever (evil) tricks and toying with the patience of players, Aragagg creates an interesting emotional experience.
Players have two options in Don't Shoot the Puppy!:
- Shoot the Puppy.
- Don't Shoot the Puppy.
Caution and patience are the name of the game. Which is interesting when you think about it. Perhaps non-interactivity is a mislabel. Though players do not interact physically using controls (except when they do shoot the puppy), they are required to interact mentally and emotionally. The game responds to their patience via the reward of completion.
Aside from simply waiting, Don't Shoot the Puppy! tries several tricks on players to get them to lose. Each time the puppy is shot, players are returned to the first level. One of my favorite levels is 5, where the normally smiley-face marked signpost now reads "Eternal Suffering," pointing to the left in the direction the puppy is walking. This psychological trick is extremely simple, not to mention hilarious, but it also has great potential for actual emotional impact. What's more important: yhat you win the game, or that you save the puppy from endless turmoil?
Levels 3 and 12 trick players in another way: logically. In level 3, when players click play, an Ad pops-up, covering the game. Naturally, players move their mouse to the big X button to close the Ad, only to found they've been duped. Or at least I did. It was a good laugh, too. Level 12 is even more devious. After players press play, the level delays starting for a good while. Worst of all, the play button remains, leaving players to believe they either missed the button or something glitched. They thought wrong.
Restarting the game from the beginning can be trying. Don't Shoot the Puppy! is an opportunity for either patience or aggression. In this way, the game emulates life, offering the practice of a real and necessary life skill, waiting, and a real emotion, patience. It is up to players to decide how they're going to react to the game. Like a consequence-less microcosm for life events, players can either become angry or they can remain calm. The game shows how easy it can be to twitch-react according to frustration, like snapping your fingers, revealing to players just how quickly they can become angry. For those of you who own dogs, this may sound familiar.
Oppositely, players may wait. They may wait and watch and be patient with the puppy. It's not the puppy's fault it has narcolepsy. The game does go to lengths to aggravate players, attempting to trick them several times aside from simply waiting for the puppy to leave the screen. But all this does is push the point further; how patient can you be?
This is where enacting experience comes in. The gameplay mechanics, one being shooting the puppy, the other being not, match the emotions derived from the experience. To beat the game, players must wait, act upon nothing. But to lose, players must only tap the mouse. There is an implicit message that Don't Shoot the Puppy! is sending: it is better to be patient, to practice waiting, than it is to act violently.
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