"In The Game? Embodied Subjectivity in Gaming Environments"

It really has been ages since I last used this blog. Good news is I have finished the thesis! Viva passed, minor corrections and the final submission due at the start of Sept :-) I will make sure to post a link to it once the final version has been approved.

The last few months have been stupidly busy - I also started a new job at UCLIC - but I have managed to get some game-playing in. There are some thoughts I'd like to get down about those soon but for now I just wanted to post a video of my friend Rob Farrow presenting a paper we wrote together at the Philosophy and Computer Games conference earlier this year. There's some points he makes about meaning and choice that I'd like to think about more - particularly in relation to Skyrim and Mass Effect 3.

But for now, here's "In The Game'? Embodied Subjectivity in Gaming Environments". Thanks Rob :-)

UPDATE: We also had a longer journal article published in Philosophy & Technology, which you can find here.

Critical thinking and The Sims 3

Thanks to Costas again for sending me a link to a fascinating blog that is looking at what happens when you decide to play a homeless family in The Sims 3 (see pic below of Kev and his daughter Alice, created by Robin Burkinsaw).

While it's pretty interesting in itself, it reminded me of some of Gonzalo Frasca's work which discusses Augusto Boal's Theatre of the Oppressed in relation to video game design and how this could be used to encourage critical thinking. In an article on the same topic (based on this thesis) he discusses a hypothetical, open source version of the original Sims that would allow players to have much more control over character creation (which seems to have be part of the latest one). He argues that this control would allow players to create characters with the traits they want and gives an example of someone playing this version of the game and comparing the effects of these different traits. His main argument seems to be that by reducing immersion (in this case, the term seems to refer to attention and the suspension of disbelief, as opposed to the feeling of inhabiting a virtual environment) through allowing players more control, you will encourage critical thinking and reflection. I'm not sure whether providing more control , on its own, automatically leads to a more reflective stance about the game, but Robin Burkinshaw's blog does suggest how this might manifest.

And the link made me think that I should probably get a copy of the game myself...

Portal (PS3)

I finally finished Portal. It's a first person action/puzzle game, where an AI called GLaDOS challenges you to get through each of the test chambers through the use of a portal gun (which allows you to create a connection between two different locations in 3D space). Oh, and you are promised cake when you complete all the trials. I borrowed it ages ago from the library, and meant to complete a lot sooner but kept getting annoyed with certain puzzles and taking weeks off before trying them again. Now I’m well aware that a lot of people out there thought Portal was a piece of cake (pardon the pun…) and it only took them a day or something to get through the game. If anything, that’s an important part of why I just didn't give up on it entirely after the first time I got stuck – I wasn’t going to let this “easy” game beat me. But you see the problem wasn’t that I couldn’t solve the puzzles, it was that I had trouble putting my solutions in practice. I’ve never really played first-person shooters, I tend to panic when being shot at and I find them disorientating – like I never quite know where my feet are. So even though the game wasn’t about shooting, it was still about aiming and it turns out my aim sucks. And that’s a bit of a problem when you have to shoot holes in the ground while hurtling through the air and make sure you land in them. The result was that I had to keep trying what felt like the same thing again and again, till I eventually got it right. I went from getting so frustrated I gave up on the game for weeks to consulting walkthroughs to make sure I wasn’t wasting my time trying the wrong thing.

The whole experience reminded me of a quote I came across ages ago which defined madness as “doing the same thing over and over but expecting different results” (possibly by Albert Einstein or Benjamin Franklin). Games seem to stop being fun when they make you question your own sanity. And who wants to play something that makes you feel inept? This seems to fit in with Michael Abbott’s reasons for not being overly enthusiastic about Braid – frustration can really ruin whatever experience the designer intended you to have.

But why did I keep playing Portal? I think a major part of it is because I’d heard so much about the game and from friends who’d found it relatively easy and fun. Don’t get me wrong, I do think it’s a pretty clever game – I liked how it took a novel approach to the first person genre and the dark sense of humour that came with it. So maybe these things helped me to come back but I really think the main reason I persisted is that I wanted to be able to talk to people about the game without feeling like a failure for not having completed it. Tell you what though, when I finally got to the end, it felt pretty damn good. In that embarrassing punch the air with your fist and shout “Yes!!!” sort of way…

It’s been ages since my last entry because I’ve been pretty busy with my master’s dissertation (which isn’t quite finished yet). In my thesis, I’ve been using Gordon Calleja’s Digital Game Experience Model to talk about instances of play and learning, and I can’t help consider my whole experience with Portal in relation to it. The framework describes involvement along six different frames (affective, narrative, spatial, tactical, performative and shared) that the player engages in on both short and long term levels. Basically, during certain instances of game-play, I was having a lot of trouble actualising my strategies (tactical) which seriously reduced my sense of agency within the performative frame and subsequently decreased my affective involvement (in terms of enjoyment). When this happened I would give up but in the longer term I was motivated to come back by my desire to prove my competence to other players (shared) and, to a lesser extent, to get to the end of the game story (narrative). By looking at walkthroughs I was also engaging in the tactical and shared frames outside of the moment of game-play since I was checking my strategies and using an online resource created by the game playing community – as opposed to cheating ;)

Now these frames can be experienced at the same time, and to a greater or lesser extent at different points within the same game but when they have been internalised to the point where the player no longer has to pay conscious attention to them, it can result in an experience Calleja calls “incorporation”. This is defined as: “the subjective experience of inhabiting a virtual environment facilitated by the potential to act meaningfully within it while being present to others” (p. 219; Calleja, 2007). And that is what I experienced during the final level. After my initial rushed attempts, I was finally familiar enough with the spatial (the setting), tactical (I knew what I had to do) and performative (I could actually carry out what I wanted to do) frames while I was getting the affective (in terms of graphics and sound), narrative (in terms of the story progressing) and shared (in terms of GLaDOS’ reactions) feedback I needed to experience that deep sense of involvement that seems unique to video games. As Calleja rightfully points out, this is more than just feeling like physically “immersed” within the environment, it is also about feeling like your actions have meaningful consequences within an environment that responds to you. It’s a pretty powerful feeling, and that’s my excuse for punching the air and shouting “yes!!!” when it all worked out in the end.

Endless Ocean (Wii)

I've recently had a look at Endless Ocean on the Wii, and it's proved to be an interesting change. First off, it manages to put you into some sort of trance like state by making you feel like you could actually be underwater (whilst somehow managing to keep dry). The graphics are obviously key to this experience (and perhaps playing it on a 32inch TV) but I think the music is quite important too. Tycho from Penny Arcade puts it well when he writes: "The rhythm of the scuba gear itself is sufficiently hypnotic, but they offer up musical selections in parallel: there is a warbling sea witch in this game whose voice can drown men. When we dive, I believe we dive in search of her." As you progress in the game, you can unlock further similar tracks but you can also play music of your own from an SD card you can plug into the Wii. It is probably best to find something more chilled out to swim around too though as the game is so relaxed it might be a bit disconcerting to have Arctic Monkeys or something in the background.

It's also different because I'm not sure what the goal is. You seem to get to dive and swim around and poke fish, a lot. I've also managed to become a freelance photographer, get hold of an underwater pen, and make a dolphin my diving partner, who I have (very originally) called Ecco. This might sound busy, but it's not really. It's all the less stressful because there is no competition, no an enemy to fight, no point system as such or and there's not even a time limit. Of course there is a story line - I've been hired as some sort of researcher/diving guide to work on a boat with this lady called Catherine who can't swim and seems to have some sort of issue with her father (I caught her making apologies to him while staring out to sea), but it doesn't seem very important. At the end of the day I can choose whether to take people on tours or not and I seem to be able to decide where I want to go, with a few hints from Catherine about where might be interesting. There are also hints of legends about caves and the like but at the end of the day I can just sit on the deck and watch the sea.

Admittedly all this relaxing gets a little boring so it is quite nice to go on dives. You can catalog all the sea creatures you find by following them aroun and you seem to be able to find stuff out quicker if you feed, poke or stroke them. That's one of the ways you seem to progress in the game, by discovering new species. The other indicators are: adding more information to existing species, exploring new areas on the map, and feedback concerning you guided dives. For my last diving tour I got an A, I think because I actually managed to find the fish the client wanted to see. But it's still all very relaxed. There is the occasional moment of frustration though when waving the Wiimote doesn't quite get your avatar to do what you were expecting it to do. Plus, I'm not sure whether I've forgotten the controls for looking more closely at something and picking up objects, or if there are just some things I have to wait to be unlocked before I can do so.

You'd think I might have learnt a bit more about different kinds of life underwater but I'm not sure I have. I don't really read the information I gather, and very little of it seems to stick. That said, I never knew there was such a thing as a False Killer Whale but apparently there is. In fact, the information you get is rather like skimming through an article in wikipedia and then forgetting all about it. I'm not sure about this poking and stroking fish thing either. I mean, is that really the best strategy to use when faced with a species you've never encountered before? Especially when it looks like something that might want to bite or poison you. It seems impossible to die in this game as you don't even seem to be able to run out of oxygen. Not that I want to die, but it seems odd there is no element of risk at all. Maybe it's just a result of playing other games, but I can't help expecting something bad to happen at some point.

I find it interesting that I care about things like the feedback I got from a dive, and how many creatures I've found, but that I don't really care about what I've actually found out about them. I also don't care about Catherine's relationship with her father (for all I know she blames him for never teaching her to swim). I do think the game engages me emotionally, but only when I'm actually diving. So when I'm swimming underwater, the music is playing and there are pretty fish and coral to look, it feels good. It's a nice change from trying to kill all the baddies and trying to improve your performance all the time. Though you can get a bit of a shock bumping into a particularly ugly fish, or something large like a manatee. I don't think that feeling of being immersed under water is the same as experiencing of flow though, mainly because the game seems to lack any real sense of challenge. So, I doubt I'm going to be playing much more of it as I'm just not sure what I'm getting out of it, and trying to discover every single species doesn't seem enough to keep me playing on the off chance that something else will happen.