Category Archives: First Readers

Videogames: The (Hidden) Yoda to our Luke Skywalker

In Ian Bogost’s book “How to Do Things with Videogames,” he writes at one point that in music games, like Guitar Hero and Rock Band, mastering levels of higher and higher difficulty in the game “does not lead the player to a greater state of mastery as a musician, but to a greater depth of understanding as a listener.” And although Bogost is really only referring to these two musical interaction videogames and their relation to musical literacy as a result, I think that the idea that he presents here can be teased apart to represent a larger applicable argument to videogames and their ability to teach the player. One of the arguments that many parents and videogame critics present is that videogames are (gasp!) brain-rotting. However, I believe that if we use Bogost’s argument about the aforementioned games on a grander scale, we can in fact find greater benefit to the playing of videogames and to our mastery of certain skills. Take for example a first person shooter game like Call of Duty. Most parents would look at this game and think that it is nothing but a violence-promoting waste of time. Perhaps however, if we looked at the game and its intricacy and depth, we would be able to agree that although the game does not make one a better shooter or soldier, it does sharpen reflexes, promote critical problem solving, and an increase an aptitude for spontaneous strategy adjustment (ie. “Crap, we should probably take a different route since this one appears to be chock-full of zombies.”) I’d like to think that many videogames can promote this process of deeper understanding of something, and in fact teach the player something, even if it isn’t that which the game is mimicking or necessarily representing. After playing most games, even simple ones such as Words with Friends or Temple Run, we walk away having absorbed some sort of benefit. All of the chapters in Bogost’s book emphasize this idea of deeper content to videogames than meets the eye, and this statement and these reasons demonstrate the teaching ability of videogames that tends to get lost in the noise (since this specific chapter was about music after all).

Art and Music

In a previous Honors course, we were told not to ask what art ‘is’, but rather what art ‘does’.  Applied to videogames (a new material for artists to work with), they are not the graphics or the aesthetics themselves that make up the artwork, but rather the actions and gameplay that must be performed by the players.  Ian Bogost refers to this as procedural rhetoric, a term that we are familiar with, to emphasize that in videogames, ‘how’ the player does an action in the game is what causes this new artwork to speak to us, to tell us something new, or to force us to think differently.  Let’s talk about Braid.  Braid is a game about time and regret and forces its players to explore these motifs through innovative and challenging puzzles.   These puzzles build on these themes to force its players to think about a bigger picture outside the game and to make each player paint their own interpretations in their minds.  That is, the videogame causes the player to think less of what the game is actually about and more of the player’s own life based on his/her own personal experiences.  It sounds confusing, but if you’ve played Braid then you might understand.  At first, the game feels like it has a solid, yet mysterious plot that only needs to be solved.  [Spoiler alert]At the end, however, you realize that there is no plot; you realize that your interpretations of the storyline and gameplay all came from your own personal experiences [/Spoiler alert].  As my previous Honors professor would then say is: We do not ask what Braid is; we ask what Braid does.

I wanted to talk about the music chapter but I’ve run out of words.  I would like to just point out the line on page 34: “Playing a song… at higher and higher levels and toward greater and greater mastery does not lead the player to a greater state of mastery as a musician, but to a greater depth of understanding as a listener.”  Just had to quote this for its truth about listening to music.

Undermining the Multi-use of Videogames

It did not really sink in to me that videogames have such a wide variety of uses until Ian Bogost introduced specific examples of how videogames can portray art, empathy, reverence, music and prank. I had the same assumption as many people that videogames are only a source of entertainment. I believe it is a medium that provides temporal distraction from real life and therefore my perception and importance of videogames do not compare to that of film, art, and literature. To me, videogames do not belong to the same rank as the three mentioned above and saying it has the same reverence to film seems comical. However, my perception has changed and I realize my belief that videogames are only for entertainment is plain stereotypical

While playing “Passage” created Jason Rohrer, I was confused of what to do. I start out as a young man who soon picks up a lady companion to begin my journey. As I continue to walk to the right, the landscape changes and time progresses. The vibrant blond hair my character dons begins to change to a muter brunette color, and soon after a grey color. The fast walking movement progresses to slower paces and finally I see the old couple feebly walk with crooked backs. Towards the end, my wife dies and I continue the journey alone until I pass away too. A 5 minute game play of “Passage” shows more than the simple goal of moving towards the right hand side, it also evokes deep emotions. The reflection that time does not stop, and everyone will inevitably age and die is really what struck me in the game. It mirrors the scene from the Disney Movie “Up”, when the main character Carl and his wife Ellie began as children who grew up, fell in love, and married. As the female character in the game, Ellie dies due to an illness and Carl continues to live alone. I was extremely sad when I saw this scene and had the same emotion as I played the game. Bogost mentions that theses artgames simply do not provide a decorative visual depiction, but allow the audience to reflect on a theme or two. Some themes I see in “Passage” are life, death, marriage, time and making decisions. I soon realize that the game is a complete metaphor that life is a journey. The characters start at the left hand side and ends at the right, which symbolizes birth and death. Unlike the game “Braid” where one can go back in time, time in Passage is linear and does not stop, which reflects the reality the man cannot control time. After seeing the powerful effect of such a simple game, I realize that videogames do not have the credit that they deserve because they are infants compared to veterans such as film, literature and music. I am sure that the uses of videogames in society will be diverse as those of film.

How Popular are Casual Games?

http://casualgamesassociation.org/press.php

The idea of hardcore versus casual gaming motivated me to find out just how popular “casual” games are. Of course, I see people waiting in line or sitting in class playing Angry Birds or Temple Runner all the time. However, are there more than just bored college students that play these games? The answer is definitely yes. I stumbled upon an organizational website designed to help casual game developers. The site also lists a few interesting facts: budgets for internet casual games are usually around %100,000 to $500,000, more than 200 million people in the world play “casual” games, and in 2009, casual games made over $3 billion dollars in revenue.

Cold Stone Creamery, a Brewing Company and…the DOD?

The article “Video Games can be Highly Effective Training Tools“, published by Science Daily, incorporates both conversations about casual gaming and games as a representation of reality. Galloway categorizes video games into “fantasy world” games and realistic games. The article published in Science Daily is about realistic games because the purpose of the study is to determine the effectiveness of video games as a training mechanism. Interactive games have been used by Cold Stone Creamery, a Brewing Company, and the Department of Defense as a way to enhance the workers’ performance and ingrain a particular task into the employees’ brains. Nevertheless, the games for each company or agency differed greatly, but there was a common element within each training game. For example, the game for Cold Stone taught its employees the correct amount of ice cream that should be used in each scoop; the Department of Defense used video games to teach soldiers and sailors how to react to disaster scenarios. Each of these games were created with reality in mind because the information one learns within the games were going to be applied to real life scenarios. Also, the Cold Stone and Brewing Company games were meant to be casual games because the level of difficulty is significant in the repetitive play by employees. One of the study’s results found that the game as a training tool is more effective if the game is primarily interactive, rather than instructional. This study demonstrates the realistic application of video games, for it was found that “organizations using video games to train employees end up with smarter, more motivated workers who learn more and forget less”.

Music as a Game-Changer (better late than never)

Music in video games can not only enhance and a game’s experience and the player’s level of involvement, they can also change it entirely. In the recent 3rd person adventure/combat game Dark Souls, music is used mostly in the traditional lets-be-epic-as-we-kill-stuff manner with choirs, orchestras, etc. See the below video for an example:

(Spoiler Alert) But there is an unexpected twist in the final combat sequence. The mood of the music is completely different–a solitary piano carrying an almost wistful theme throughout the combat. In the game’s story, this final boss is one who’s once good (I think) power has become corrupted, necessitating his defeat and perhaps even the re-ordering of the world (player’s choice). The music seems to denote sadness over the magic that is being lost in the death of this boss–almost as if it were saying “we wish we could have saved it…” See the clip here:

Taking a Look Deeper into Gameplay

While reading the chapter by Juul, I couldn’t help but ask myself, by Juul’s definition, what kind of gamer I actually am.  Although the elements outlined in the chapter (Positive/Negative fiction preference, game knowledge, time investment, and attitude towards difficulty) definitely affect gameplay and the overall experience of the player, I do not believe that one can generalize players into two categories, that of “casual” and “hardcore”.  Personally, as a gamer, I hold no preference for negative/positive fiction, game knowledge, or difficulty.  Although time is certainly an element (some games I can play for a few minutes, while others I won’t play unless I have 20+ minutes) which dictates what kind of game I play, it does not dictate me as a gamer, as I play games of both shorter and lengthier time requirements.

When it comes to games, I believe the game knowledge and level of difficulty are dictated by the time investment factor.  Games that are designed to be used in shorter amounts of time intervals typically do not require vast game knowledge or complex controls to learn, thus the difficulty comes from advancement through levels rather than complexity within the core coding of the game.  Games designed for longer intervals of time typically can expand and require greater game knowledge, and present challenges outside of the basic game motive, thus creating a more complex game with more options and controls.

Within game design, it is important to consider to whom you are marketing a game, but perhaps it is of greater value to know and fully understand what you hope to achieve through the game and the player’s reaction itself (e.g. a tool for relaxation or stress relief, a game to stimulate certain emotions (fear, excitement, happiness, etc.), a puzzle to stimulate thought or to challenge oneself, etc.).  It all comes back to the question, “why do people play video games?”  For some of us, it might be a way to pass time while waiting in line to pick up a package, for others, it might be a way of life; to relieve the stress and have fun at the end of the day (used as a hobby), or to just stop thinking about one or more aspects of one’s life.  For many of us, however, it may a mixture of the two, depending on an individual’s priorities in life.

 

Keeping it Casual

While reading Juul’s article I couldn’t help but agree with a majority of his ideas about the casual gamer. Most importantly, I believe that his idea about the difficulty of a game is key to the casual gamer’s experience. As I consider myself a casual gamer, the difficulty and time spent playing a game are the fundamental problem I have with many videogames. I dislike spending hours trying to unlock the new level, mission, item, or world and become frustrated and eventually quit playing the game

Expanding on this issue, I believe casual gamers despise the stress and time spent playing the game that “hardcore” games require. The reason for this may be that stress and time use parallel real life feelings that people experience in the workplace and classroom. I personally experience the exact same stress and pressure level while playing a “hardcore” game as I do while writing a paper before a deadline or studying for a big test.

This could certainly be similar for adults in the workplace. The demands they face throughout the day may feel the same as those involved in game play and the reward they receive by being able to go home is similar to that of beating a level in a “hardcore” game. When a game parallels the stress to reward ratio of real life I think casual gamers do not enjoy it. Instead, casual gamers want to achieve a feeling of accomplishment quickly without the long term sense of being weighed down.

Defining Hardcore and Casual Gamers

I found it interesting that Juul starts by describing games as being casual or hardcore.  I disagree with this, in the matter that it is the players that are either hardcore or casual.  I do agree with some of the examples he gave as being “games for the rest of us,” which are even more common today.  These games include name brands or games from movies, but I don’t think we can categorize them as casual games.  Even if they are played mostly by casual players, it doesn’t mean that hardcore players might invest a lot of time into the game.  Juul then in facts shifts his focus to casual and hardcore players.  He quotes a line from Fils-Amie that I do not agree with, “casual players are not so interested in graphics and they desire quick fun.”  I think that this is a typical stereotype which Juul goes on to later disprove in the chapter.

Juul later goes on to describe interruptability, which  I think is really important in defining the difference between hardcore and casual players.  I have always thought of casual players as ones who can put the game down at any time and do something else.  They are people who enjoy the game, but are not deeply invested in how well they play it, unlike hardcore players.  A good example of a game that is for hardcore players in terms of interruptability is League of Legends.  Normal games can last anywhere from 20 to 90 minutes.  While playing, you have to offer your complete attention, or else your team will suffer.  There is not really a point where you can pause or stop playing to do something like check a text message or other activity.  League of Legends is not a game for casual players solely because of it is unable to be interrupted.  Juul has a graphic that shows that the phone is players’ number one distraction during games.  Hardcore players are the ones who can block out those distractions while gaming, even something simple like a text message.

Are Casual Games Really What One Would Call “Juicy”?

In the second chapter of his book, A Casual Revolution, Jesper Juul describes five major traits that are prominent in casual games—fiction, usability, interruptibility, difficulty and punishment, and juiciness. He argues that casual games contain positive fiction, are generally easy to use and play, are capable of being interrupted, have lenient punishment for mistakes, and contain very juicy gameplay. I agree with the first four arguments, but his opinion about the fifth point sharply contrasts with mine.

Juul mentions that hardcore games like Gears of War have a large amount of juicy content, including massive gunfights and explosions. As a frequent player of the Gears of War games, I believe that it is necessary to mention that the game includes obscene amounts of evisceration and disembowelment—two things which one could arguably call “juicy.” I agree wholeheartedly that such games are quite juicy.

However, the description of casual games, such as Pacman or Bejeweled, as “juicy” is something with which I disagree. Perhaps this is because my definition of “juiciness” differs from that of Juul. While his definition of “juicy” is “giving excessive amounts of positive feedback to the player in response to user input,” my definition is simply “evoking exorbitant amounts of emotion, including—but not limited to— excitement or pleasure.” Being the huge fan of first-person shooters that I am, I believe that games like Gears of War (which is actually a third-person shooter—minor details can be ignored) and Call of Duty are very juicy. Intense games such as these fit my definition very well, because they stimulate strong feelings of excitement and exhilaration.

On the other hand, casual games like Pacman are not exactly what I would call “juicy.” While Juul may view them as such, I certainly do not. Whenever I play casual games that aren’t particularly exciting or adrenaline-pumping, I don’t receive nearly the same emotional stimulation that I receive from playing a shooter game. In my opinion, Pacman or Bejeweled are both fun, quick games that offer the player a bit of a challenge, but they lack substance. This lack of substance is directly responsible for the failure of these games to be classified under my definition of “juicy.”

I’m not denying that casual games are fun; on the contrary, I frequently play sports games on the Wii very competitively. The problem is that the simplicity of such games is simply incapable of arousing the same feelings of fervor that more intense games are capable of delivering.