Author: Marina Cone

Hi again everyone,

This week we looked at the first chapter of “Gaming and the Virtual Sublime: Rhetoric, Awe, Fear, and Death in Contemporary Video Games”, by Matthew Spokes, in which Spokes grapples with broader questions regarding the inherent nature of video games as a definable entity. He examined them from a few different perspectives, but there was a section that was plucked out as being particularly relevant to our group. Spokes says:”research on the impact of games, in terms of their power to offer new ‘possibility spaces’ (Salen & Zimmerman, 2004), socio-political engagement and critical tools for understanding a changing world will begin to show the affective resonance of this form of popular culture, and how far removed it has become from simplistic notions of passively consumed entertainment.”

In the simplest words, games can be (and are) more than just reskinned formulas.

Our reading for next week is Chapter 2 of Spokes’ book, “The Classical Sublime”.

On top of that, we started the semester with Silent Hill 4: The Room’s best level, which showcases the spectacular monster, level and puzzle design of Team Silent at work, the “Water Prison World”. This world works by constructing a layered panopticon with a circular design, meaning that at no moment are you safe or unexposed to danger, and there is always a blind spot around each corner, which means that eerie monsters can ambush you at any time. On top of this, the game is narratively and symbolically engrossing, using any number of fantastically clever tricks to rope you in.

You can purchase the game for yourself here.

Next week we should begin our playthrough of “The Outer Wilds”.

Hope to see you all next week!

Hello everyone,

Another good meeting this week. We discussed the origin of first-person shooters, and how they didn’t necessarily have to have a violent bent to them. We also looked at immersion, and how it can be maintained, broken, or subverted, and looked at how The Dream Machine does this almost imperceptibly when you are sucked into a dream. We also examined the origins of the first-person angle come from film, but how games can build upon it in a better way than film can ever hope to achieve. Games create a sense of place and being when they use the first-person camera, and this can even be considered “confronting” – a stressful, limiting way to experience a game. FPS games often pit the player against hordes of deadly enemies, so these sorts of situations (to a person who doesn’t game as much) can be confronting and feels like an interesting problem to solve. How do you introduce a new player to these kinds of games? Is the ever-popular FPS genre a place to introduce those who haven’t gamed before to gaming?

We are tantalizingly close to finishing The Dream Machine. However, we encountered a game-breaking bug that prevented us from continuing. I messaged the developers, and within the span of about three or four hours, they had fixed the bug, so hopefully next session will be the final session required to cap off The Dream Machine and unravel its final mysteries before we begin to take it apart a bit more.

Next week’s reading is another of Galloway’s “Essays on Algorithmic Culture”, this one entitled “Social Realism”. As always we meet every Tuesday at 1pm in the Digital Humanities Hub.

Hope to see everyone next week!

Hello again everyone!

After a two week absence from the LGG, we managed to have an extremely productive and interesting session of the group today. We discussed Ensslin’s Chapter 8, in which she wrote about poetry games, auteurship in video games, and the financial burden that creates a weight of commercial expectation around video games. Poetry games can influence the way we see and experience the written word. In fact, The Dream Machine had a particularly cool example of this. As the player gazes down into a strange abyss, when they speak into it the dialogue fades away into the bottom of the abyss, bouncing off walls. And when you get a reply, it starts small, and climbs to a crescendo. They do this all without sound.There’s a problem in the modern games industry that arises from the inevitable collision of art, vision, profit, and finance. There’s a tension between these two things; how successful can a game be without a big-name publisher? What even is the measure of a video game’s success? The fact that it can last twenty hours, stuffed to the gills with side quests that you’ll forget in a week’s time, or the fact that it is a tight, focused two-hour experience that haunts you for years to come? We talked about other tensions in games too – particularly in an open-world game with a cutscene driven story. Such large teams create games like Red Dead Redemption 2 and Death Stranding, that the design philosophies of the writing and the gameplay team don’t seem synchronized. This is where we get a disconnect, and not an enjoyable one at that.

We continued with Chapter 5 of The Dream Machine, which is growing into its own at this point. The writing is stronger and more confident, and the puzzles are satisfyingly thought-out (once you find where to start). There are two separate dreams to solve in this chapter, and we’ve dabbled in both, but haven’t discovered the truth to either dream yet.

Next week we will finish up with Ensslin’s book, reading Chapter 9 and Chapter 10 (conclusion). Hope to see you there!

Hi everyone,

This week we went over Chapter 6 of Ensslin’s Literary Gaming. We talked a lot about the antiludicity of games – that is, the way we can challenge how games get us to play them, and how, with that knowledge, we can subvert games as objects to be played. This involved a bit of discussion around pushing the boundaries in games, how we can play them as the developers did not intend them to be played – or if you wanted to push further, you could mod or cheat the game. As we push the boundaries, we find out whether the developers put in safety nets or difficulty barriers to stop people from breaking the game. As we discovered, quite often you can find a way to outsmart games – in this instance, we discussed Pathologic and Skyrim – simply by playing them in an unexpected way – though sometimes the game becomes traditionally unplayable as a result.

We also had a bit of discussion around the idea of griefing, of destroying another player’s works or of pushing past a certain boundary and causing another real person some form of distress through the actions undertaken in a virtual world. This can range from something as simple and “disconnected” from a real person as getting to areas in games that are supposed to be developer-only through exploits and glitches, or something as harmful as the hostile takeover of another person’s avatar and making them perform horrible actions.

Next week’s reading is Chapter 7 from Ensslin’s book. We will meet at the same time – 1pm on a Tuesday (in this instance, the 30th), in room 1W4 in the Arts Building. We are still playing The Dream Machine, though we are also preparing to move on to another game, and discussing possibilities for those games. One of those is The Outer Wilds.

Hope to see you round soon!