(Prepare for the most first worldly of all problems.)
The New York Times Puns and Anagrams puzzles are a national embarrassment. Pardon my bluntness, but I’m a truth teller.
The clues in the British version provide a definition and a clever, hidden way of constructing the word. The NYT version sometimes does but sometimes just has the cleverness.
For example, in yesterday’s NYT Puns and Anagrams puzzle [SPOILERS AHEAD], the clue for 48 Down is “Fill time on stage again.” The answer is “revamp” because to fill time on stage is to vamp, and to do it again is to add “re” to it. But there’s no definition of “revamp” in the clue. In the British style, it might have been “Do over once again to fill time on stage.”
Another example: 57A “Fire starter” is “bon.” For the Brits it could have been something like “Good French fire starter.”
Adding the definition usually makes the clues harder, and thus more satisfying to solve. Sure, the definition is in them, which should make them easier, but that information becomes noise because with a good clue, you can’t tell which is the definition and which is the hint. When you can tell — e.g., when words in the clue seem oddly chosen, they may be there as an anagram — the clue gets easier, but that’s just fun getting even a little more meta.
And while I have your attention, let’s work to slow global climate change. Or, as the Brits might put it, “Climate activist may ogle sun god.” Answer: ogle + ra = Al Gore. See, wasn’t that fun? No. Ok, good point.
I am far from the first person to notice this, but it really pisses me off.
Treyarch, the creators of Call of Duty, in the latest version let’s us decide to play as a woman. Other games have been doing this for a long time. So, have half a yay, Treyarch. Nevertheless, your player’s gender is not reflected in the script. There’s an argument I don’t want to have about whether this makes sense; it really just comes down to bucks.
But what really pisses me, and many other people, off is this character choice screen:
This was an incredibly expensive game to design. The graphics are awesome, the sets are amazingly detailed. In single-player campaign mode, it’s a full length action movie—albeit not a very good one—and is budgeted like one.
But Treyarch couldn’t be bothered to spend $2.50 more to add some non-white faces to the roster. Really?
Here’s a fairly random screen shot I picked up from the Web.
Keep in mind that this is about one sixth the resolution you get on a gaming PC. Treyarch can add intense detail to a gun or piece of shrapnel but can’t be troubled to design a few faces that aren’t white?
We’ve got a word for people who assume that the white race is the “real” race.
It is a long form interview, and basically unedited: I did a little clean-up for clarity, but it’s still got conversational ambiguities, as well as some thematic inconsistencies because David was asking me questions I haven’t thought about.
In the interview I do talk a bit about why I’m embarrassed about being a gamer. “The first step is admitting just how much of a gamer I am”The first step is admitting just how much of a gamer I am. I’m pretty much of one, going back all the way to the original Colossal Cave adventure. I’ve tried most genres but seem to get the most enjoyment from various forms of first person shooters. I’m no good at platformers or other forms of twitch games. RPGs are too slow for me because I don’t get invested in the characters. Most online games are too hard for me, so I feel like I’m slowing down my teammates, although I’ve spent a lot of time in Left 4 Dead 2. Some other favorites: The Bioshock series. Portal 2. The original Doom and Wolfenstein. The Luxor games. Some pinball games. I enjoyed Dead Rising 3 and even Max Payne 3. Far Cry 4, too. I guess it takes at least three tries to get games right. Anyway, I’ve never had a systematic memory, so those are just the beans that fall out when I shake the ol’ pod, but they’re probably representative.
Games are literally a pass-time for me: I tend to play them as a break from work. I would count programming as a hobby, not a pastime because it’s got an outcome, like a crossword puzzle that once you’re finished you can use for something. When programming, I feel like I’m doing something, even though mostly what I work on are utilities that cost me hundreds of hours and by the time I die will have saved me minutes. Games simply fill the gaps in my interest.
So, why is it embarrassing to me? For one thing, many games support values that I detest. The most obvious is violence, but I haven’t found that a lifetime of killing screen-based enemies has inured me to real violence or has led me to favor violence over peaceful solutions.
“The hypermasculinity of action games concerns me more”The hypermasculinity of action games concerns me more because few people are going to be convinced by games that shooting hordes of aliens is normal, but many will be further confirmed that men are the real heroes of life’s narratives. Although games have become less grossly misogynistic and homophobic (e.g., female action leads are now not uncommon), if you have any doubts that they still trade on harmful stereotypes and assumptions — and why would you? — Anita Sarkeesian’s brilliant “Tropes vs. Women” videos will set you straight.
But I’m more embarrassed about playing games than I am about watching action movies about which those same criticisms can be made.
In part it’s because games are associated with children. In the Don’t Die interview, I point to games that are more sophisticated and adult, but many of the games I listed above are no more sophisticated emotionally or narratively than a very bad TV show. So, mainly because I’m interested, here’s what I find appealing about the games I’ve listed:
Left 4 Dead is beautifully designed to encourage genuine collaboration among four players.
The Bioshock series creates imaginative science fiction worlds that would be better termed “political fiction.”
Portal 2 is a great logic game — a few rules and ingenious problems. But it is also an hilarious social commentary with Pixar-quality touches of brilliance. Example: the singing sentry guns.
The original Doom was scary as hell.
The original Wolfenstein let you explore a maze with surprises.
Luxor is an arcade game that is at a good challenge level for me. Also, the balls make a reassuring sound. (I am particularly fond of Luxor Evolved, which is “trippy” and somehow appeals to my lizard-brain-on-acid.)
Max Payne 3 was dumb fun in a well-realized setting.
Dead Rising 3 mocks its genre while indulging in it. It does not require precise control, of which I am lacking.
When I think about it, almost all of these games share some traits. First, they are easy enough that I can succeed at them. Most games are not. Second, they tend to have pushed the graphic envelope when introduced. I remain in awe of what those computer dohickeys can do these days. Third, “many of them are meta about their genres, which is often just an excuse for being retrograde”many of them are meta about their genres, which is often just an excuse for being retrograde in their values. Apparently I fall for that.
I think it comes down to this: If embarrassment is the exposure of something private that doesn’t match one’s public persona, then clearly, the major reason I find gaming embarrassing is because I am publicly a thoughtful person. Or at least I try to be. Or at the least least, I pretend to be. Most of the games I play are not thoughtful. Sure, Portal 2 is. Going Home is. Bioshock is in its way. But Dead Rising is mindless…except for its meta-awareness of its tropes and its own ridiculousness; I completed large chunks of it while dressed in a tutu.
This is not what a semi-academic is supposed to be doing. Or so my embarrassment tells me.
PS: In the Don’t Die interview, the game I’m trying to remember that has the word “dust” in its title is “Spec Ops.” There is dust in the game, but not in the title.
Naomi Alderman makes a compelling case in The Guardian for looking at video games to find the first examples of digital literature.
Authors of articles don’t get to write their own headlines, and the Guardian’s headline goes too far: Naomi doesn’t claim that games yet have turned out “great works of digital literature.” Her own claim is more modest:
…are there video games experimenting with more interesting storytelling than any “digital literature” project I’ve seen? Yes, certainly. And if you want to think of yourself as well read, or well cultured, you need to engage with them.
I agree. There are many video games I enjoyed but am embarrassed about; these are what we mean by “guilty pleasures.” But the best of them deserve to be taken seriously. “Games are where digital art will emerge. And has emerged.”Games are where digital art will emerge. And has emerged.
I don’t know that we have examples of digital “high art” yet. Perhaps we do and I don’t know about them or don’t appreciate them. Perhaps it’s a silly concept. Or perhaps we won’t think we’re playing a game when we experience it. But it’s likely at least to come out of the rhetorical forms games have already created:
It will be a space in which the user dwells, not simply an object or experience unfolding in front of the user.
It will be interactive.
It will require the user to make choices that affect it in significant ways.
It won’t be the same for everyone.
It is a sign of the originality and importance of games that it’s not always clear what to compare them with.
For example, most digital games lend themselves to comparisons with movies. After all, they are composed of sound, flat visuals, and movement. That’s the apt comparison for Portal 2. (Naomi cites Portal, but I think the sequel is a better example.) Portal 2 is loads of fun to play. But it is more than that. The story that unfolds is as clever and well worked out as any movie’s. The characters are broad, yet reveal subtleties. We care about them. Most famously, we care about a particular inanimate cube. The “set design” is stunning. The voice acting is world class, and in fact includes JK Simmons who went on to went a Best Actor Oscar. “…the details are fully imagined, right down to gun turrets that coo.”Perhaps most remarkable is the extent to which the details are fully imagined, right down to gun turrets that coo plaintively. (You can see them rehearsing in this Easter egg.)
Naomi doesn’t mention Bioshock, but I’d count it as a hybrid movie and novella. The premise is original and political. The setting is beautifully done. The science fiction is well-imagined. And the plot contains some meta moments that reflect on its form as a video game. (Those who have played the game will recognize how non-spoilery I’m being :) The third and last in the series, Bioshock Infinite, has a premise, characters, plot, and setting that could make a successful movie, but the movie is unlikely to be as good as the game. For one thing, we get to play the game.
Other games work as reflections on the medium itself, a sign of the forming of an artistic sensibility. Naomi mentions The Stanley Parable and Gone Home. I’d add Spec Ops: The Line and even the Saints Row series. These are all successful, well-known games. All, except the last, can be taken seriously as statements inspired by artistic intentions. (Saints Row is self-aware, bad-taste burlesque.) The ferment in the indie game field is quite spectacular.
If movies can be an art form, then why not digital games? And all this is before virtual reality headsets are common. I have no doubt that digital games as immersive worlds in which users have agency will blow past movies as the locus of popular art. And from this will emerge what we will call serious art as well. We’re already well on our way.
I just received Google’s Oculus Rift emulator. Given that it’s made of cardboard, it’s all kinds of awesome.
Google Cardboard is a poke in Facebook’s eyes. FB bought Oculus Rift, the virtual reality headset, for $2B. Oculus hasn’t yet shipped a product, but its prototypes are mind-melting. My wife and I tried one last year at an Israeli educational tech lab, and we literally had to have people’s hands on our shoulders so we wouldn’t get so disoriented that we’d swoon. The Lab had us on a virtual roller coaster, with the ability to turn our heads to look around. It didn’t matter that it was an early, low-resolution prototype. Swoon.
Oculus is rumored to be priced at around $350 when it ships, and they will sell tons at that price. Basically, anyone who tries one will be a customer or will wish s/he had the money to be a customer. Will it be confined to game players? Not a chance on earth.
So, in the midst of all this justifiable hype about the Oculus Rift, Google announced Cardboard: detailed plans for how to cut out and assemble a holder for your mobile phone that positions it in front of your eyes. The Cardboard software divides the screen in two and creates a parallaxed view so you think you’re seeing in 3D. It uses your mobile phone’s kinetic senses to track the movement of your head as you purview your synthetic domain.
I took a look at the plans for building the holder and gave up. For $15 I instead ordered one from Unofficial Cardboard.
When it arrived this morning, I took it out of its shipping container (made out of cardboard, of course), slipped in my HTC mobile phone, clicked on the Google Cardboard software, chose a demo, and was literally — in the virtual sense — flying over the earth in any direction I looked, watching a cartoon set in a forest that I was in, or choosing YouTube music videos by turning to look at them on a circular wall.
Obviously I’m sold on the concept. But I’m also sold on the pure cheekiness of Google’s replicating the core functionality of the Oculus Rift by using existing technology, including one made of cardboard.
According to an article in PC Games (August 2014, Ben Griffin, p. 12), two people from the Danish Ministry of the Environment “have recreated Denmark on 1:1 scale” in Minecraft. Although the idea came from observing their children playing the game, the construction required non-child-like automation. “By using standard open-source components, it was possible to break this down into a few thousand lines of code, most of which remaps various geospatial objects into Minecraft blocks…In total it took less than a week to calculate all 6437 files,” they said.
Yes, griefers have come, in tanks, blowing up landmarks, and planting their own country’s flags. But, the creators (Simon Kokkendorff and Thorbjørn Nielsen) point out that the vandals only destroyed “a few hectares.”
According to an article in PC Gamer (August 2014, Ben Griffin, p. 10), Epic Games’ Unreal Tournament 2014 will make “Every line of code, evert art asset and animation…available for download.” Users will be able to create their own mods and sell them through a provided marketplace. “Epic, naturally, gets a cut of the profits.”
Steve Polge, project lead and senior programmer, said “I believe this development model gives us the opportunity to build a much better balanced and finely tuned game, which is vital to the long-term success of a competitive shooter.” He points out that players already contribute to design discussions.
At the Tel Aviv headquarters of the Center for Educational Technology, an NGO I’m very fond of because of its simultaneous dedication to improving education and its embrace of innovative technology, I got to try an Oculus Rift.
They put me on a virtual roller coaster. My real knees went weak.
Earlier, I gave a talk at the Israeli Wikimedia conference. I was reminded — not that I actually need reminding — how much I like being around Wikipedians. And what an improbable work of art is Wikipedia.
Is it just me, or are we in a period when new distribution models are burgeoning? For example:
1. Kickstarter, of course, but not just for startups trying to kickstart their business. For example, Amanda Palmer joined the Louis CKclub a couple of days ago by raising more than a million bucks there for her new album. (She got my $5 :) As AFP has explained, she is able to get this type of support from her fans because she treats her fans honestly, frankly, with respect, and most of all, with trust.
2. At VODO, you can get your indie movie distributed via bittorrent. If it starts taking off, VODO may feature it. VODO also works with sponsors to support you. From my point of view as a user, I torrented “E11,” a movie about rock climbing, for free, or I could have paid $5 to stream it for 10 days with the ability to share the deal with two other people. VODO may be thinking that bittorrenting is scary enough to many people that they’ll prefer to get it the easy way by paying $5. VODO tells you where your money is going (70% goes to the artist), and treats us with respect and trust.
3. I love Humble Bundle as a way of distributing indie games. Periodically the site offers a bundled set of five games for as much as you want to pay. When you check out, you’re given sliders so you can divvy up the amount as you want among the game developers, including sending some or all to two designated charities. If you pay more than the average (currently $7.82), you get a sixth game. Each Bundle is available for two weeks. They’ve sold 331,000 bundles in the past three days, which Mr. Calculator says comes to $2,588,420. All the games are all un-copy-protected and run on PCs and Macs. Buying a Humble Bundle is a great experience. You’re treated with respect. You are trusted. You have an opportunity to do some good by buying these games. And that’s very cool, since usually sites trying to sell you stuff act as if buying that stuff is the most important thing in the world.
4. I’m hardly the first to notice that Steam has what may be the best distribution system around for mass market entertainment. They’re getting users to pay for $60 games that they otherwise might have pirated by making it so easy to buy them, and by seeming to be on the customer’s side. You buy your PC game at their site, download it from them, and start it up from there. They frequently run crazy sales on popular games for a couple of days, and the game makers report that there is enough price elasticity that they make out well. If I were Valve (the owners of Steam), I’d be branching out into the delivery of mainstream movies.
There’s of course much much more going on. But that’s my point: We seem to be figuring out how to manage digital distribution in new and successful ways. The common threads seem to be: Treat your customers with respect. Trust them. Make it easy for them to do what they want to do with the content. Have a sense of perspective about what you’re doing. Let the artists and the fans communicate. Be on your customers’ side.
Put them all together and what do you have? Treat us like people who care about the works we’re buying, the artists who made them, about one another, and about the world beyond the sale.
A British game show that I never heard offers a version of the Prisoner’s Dilemma. As the host explains at the beginning, if both contestants agree to split the pot, they split it. If one chooses to split and the other to steal, the stealer gets the whole thing. If they both choose to steal, they get nothing. So, here’s the clip in which one of the players injects a new variable. [SPOILERS IN THE REST OF THIS POST]
SPOILERS SPOILERS SPOILERS
Why does the guy on the right (Mr. Right) finally choose the way he does?
If Mr. Left believes that Mr. Right will Steal, then Mr. Left will Split, so Mr Right might as well Split. If Mr. Left thinks that Mr. Right will Split, then Mr. Left will Steal, so Mr. Right can either Split (so Mr. Left gets the pot) or Steal (so neither gets anything); might as well Split. If Mr. Left believes that Mr. Right will steal and will break his promise to split the pot afterwards, then Mr. Left might Steal just to screw Mr. Right, in which case Mr. Left might as well let Mr. Left get the money rather than foregoing it for both of them, so Mr. Right should Split. No matter how you slice it, Mr. Left should Split.
If that’s right, and if Mr. Left were given time to work it through, then Mr. Left should have Stolen (assuming his aim is to maximize his share). But I’m pretty sure that I’m wrong about that.