Cyberculture: September 2007 Archive Page

Rumors of Google's plans to create a virtual world that rivals that of Second Life have popped up once again over the weekend. The company could now be collaborating with Arizona State University to test the 3D social network, which may be tied into Google's current applications of Google Earth and Google Maps.

If games are to become more than mere entertainment, they will need to use the fundamentals of gameplay -- giving players challenges to work through and choices to make -- in entirely new ways. The formula followed by virtually all games is a steady progression toward victory: you accomplish tasks until you win. Halo 3, for all its flawless polish, does not aspire to anything more. It does not succeed as a work of art because it does not even try.

Like cinema, games will need to embrace the dynamics of failure, tragedy, comedy and romance. They will need to stop pandering to the player's desire for mastery in favor of enhancing the player's emotional and intellectual life.

There is no reason that gorgeous graphics can't play a role in this task, but the games with the deepest narratives were the text adventures that were developed for personal computers in the 1980s. Using only words, these "interactive fictions" gave players the experience of genuinely living inside a story. The steps required to advance the plot, though often devilishly perplexing, felt like natural behavior rather than arbitrary puzzle-solving. Today's game designers should study this history as a starting point for an artistic revolution of the future.

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The air smelled like toast. Toast is quite nice, but when you realize it's steel, and it's probably particles, it's not very good. Crossing the footbridge at night, you'd be walking above the steel mill, crossing through the smoke, dirt, and crap, looking down into the fire.

The structure of social networking sites also encourages the bureaucratization of friendship. Each site has its own terminology, but among the words that users employ most often is "managing." The Pew survey mentioned earlier found that "teens say social networking sites help them manage their friendships." There is something Orwellian about the management-speak on social networking sites: "Change My Top Friends," "View All of My Friends" and, for those times when our inner Stalins sense the need for a virtual purge, "Edit Friends." With a few mouse clicks one can elevate or downgrade (or entirely eliminate) a relationship.

To be sure, we all rank our friends, albeit in unspoken and intuitive ways. One friend might be a good companion for outings to movies or concerts; another might be someone with whom you socialize in professional settings; another might be the kind of person for whom you would drop everything if he needed help. But social networking sites allow us to rank our friends publicly. And not only can we publicize our own preferences in people, but we can also peruse the favorites among our other acquaintances. We can learn all about the friends of our friends--often without having ever met them in person.

The irrational fear of palindromes (words that read the same forwards and backwards).

Dude 1: Hey, what's your name?
Dude 2: Bob.
Dude 1: AAAAAAAAAAH! *Runs and hides behind sofa*
Bob: Wow.
Dude 1: AAAAAAAAAAH! *Runs away and falls down stairs*

Before seeing the Google Books page image, I had thought that Bierce's suggested punctuation looked like this: \___/. That's how it appears in a footnote to Andrew Graham's online essay, "Forked Tongue: The Language of Serpent in the Enlarged Devil's Dictionary of Ambrose Bierce," as well as the Wikipedia entry on emoticons. It's interesting to discover that the parenthesis-as-smile representation actually goes back 120 years. (In Ambrose Bierce's Civilians and Soldiers in Context: A Critical Study, Donald T. Blume dates this essay to September 25, 1887, but the version published in the 1912 collection may have been subsequently revised.)

Just two days after it was yelled out in a University of Florida lecture hall, "Don't Tase Me, Bro!" has become the newest cultural touchstone of our pop-cultural lexicon.

Fahlman posted the emoticon in a message to an online electronic bulletin board at 11:44 a.m. on Sept. 19, 1982, during a discussion about the limits of online humor and how to denote comments meant to be taken lightly. "I propose the following character sequence for joke markers: :-)," wrote Fahlman. "Read it sideways."

From JONATHAN BETUEL's screenplay for the beloved 1980s sci-fi film comes the cosmically entertaining romantic musical fantasy THE LAST STARFIGHTER. It's Spring 1983 in a Sierra Nevada trailer park. High school senior Alex Rogan's hardworking, unrewarded life takes an unexpected turn when he breaks a video game record and is spirited away by the game's inventor, the alien huckster Centauri, to fight for the Star League in a faraway galaxy. Centauri leaves behind Beta, a body double droid of Alex, to cover Alex's absence with his mother, brother and beloved girlfriend Maggie while Alex is off fighting the evil Zur and the Ko-dan Armada. Beta's comic mishaps on Earth with Maggie and the neighbors in the trailer park, and shape-shifting alien assassins in pursuit of Alex on his home turf, alternate with Alex's heroic starfighter achievements. Alex must reach inside himself to discover his true potential - the universe and his life depend on it!

One of the reasons IF is so fascinating is that you have this junction of programming, game design, and writing. It's great to toy around with all three of those aspects and try to merge them into something beautiful.

The reality is that most of us have one, possibly two of those capabilities at a reasonably high level, but statistically very few people have all three of them at a high level (Andrew Plotkin, Emily Short, Graham Nelson, Michael Gentry, Paul O'Brian, Eric Eve, Adam Cadre, and more). I would even argue that some of these people have been able to overcome a lesser ability with sheer determination and free time.

I don't think you can build a business from this dichotomy. I do believe that if you offer someone a task that they're good at and give them a template to work towards, they will succeed. From there it was a matter of developing that template, which we've already done. The process is being duplicated for a second design and writing team and there seems to be a consensus that we've developed the right processes.

So technology's utility in the classroom comes down to how it is used. The question, then, is: How can educators adapt their teaching methods to emerging technologies? And should they? Skeptics might point out that even students themselves are ambivalent when it comes to using the Internet and other digital tools for class, as the survey highlights. But the study's introduction, written by Chris Dede of the Harvard Graduate School of Education, suggests what professors can expect from digital natives' evolving modes of learning, what he calls "neomillennial learning styles." As new methods of interacting with information become more ubiquitous, he suggests, citing Second Life-type virtual immersion environments as an example, students will grow up with different expectations and preferences for acquiring knowledge and skills. The implication is less of an emphasis on the "sage on the stage" and a linear acquisition process focusing on a "single best source," focusing instead on "active learning" that comes from synthesizing information from multiple types of media. Noting that traditional ways of thinking and learning are undergoing a "sea change," Dede encourages a fusion of new and old. But what form that will take, exactly, is not addressed directly in the report.

In addition to opening the entire site to all readers, The Times will also make available its archives from 1987 to the present without charge, as well as those from 1851 to 1922, which are in the public domain. There will be charges for some material from the period 1923 to 1986, and some will be free.

We at DHQ hope that we will eventually reach a wider audience (and trust our readers will help us do so), introducing the type and range of activities the digital humanities community is interested in, and featuring energetic, novel, and interesting articles on a variety of research, making use of all the Internet technologies at our disposal.

One of the papers in this, our second issue, has already done just that. Dennis G. Jerz's Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original Adventure in Code and in Kentucky, was posted on the test site for proofreading a few weeks before launch, when one of our editors featured an advance mention of it on his blog. A few days later, it was picked up by the gaming community on a popular discussion list (rec.arts.int-fiction), garnering comments such as "HOLY MOLY!" and "It is clear on a single reading that this is the most important single paper ever written on the history of interactive fiction" before it had even been formally published. It doesn't stop there: the paper went on to be featured on Boing Boing (a "directory of wonderful things" which is read by hundreds of thousands of readers), then being mentioned on Slashdot, the popular technology-related news site. (We are pleased to report our servers survived being "slashdotted" so far, which is perhaps the best load test we could wish for). Shortly after, it featured on Metafilter, a community weblog that anyone can edit with a vast readership, where comments included "What academic research should aspire to be" and "I can feel a new LOLCATS meme coming on. (I can haz mint-cake?)." On the eve of publication, we have had a request from a local Kentucky newspaper wishing to republish the paper (which our publication terms willingly permit). This paper has legs.

In addition, publication on DHQ has made the original game available again for a new audience. When the preprint version of this article became available on the internet in August 2007, Matthew Russoto modified Crowther's source code so that it will compile for today's computers. David Kinder made a Windows executable version. The colossal cave lives again.

Google's recent big social effort is called Mocha-Mocha (or Mocka-Mocka?), and will become the infrastructure for all social stuff across all of their applications. As a part of this, a new feature called Activity Streams will be introduced or at least implemented in Reader this quarter. This will be comparable to Facebook's News Feed (Minifeed?) feature, and integrate Gmail's addressbook and contact list.

Thirty-six hours? How in god's name had I managed to spend almost four hours a day inside this game? I should point out that this was not the only game I'd been playing during that time. I'd also been hip-deep in BioShock and Space Giraffe, so I'd been planted like a weed in front of my consoles for hours more. This is a missing-time experience so vast one would normally require a UFO abduction to achieve it. So the question of the column, and possibly the question of my eternal soul, is: Is this good thing? How much does it change the architecture of your life to spend that much time playing games? The dirty secret of gamers is that we wrestle with this dilemma all the time. We're often gripped by what I call "gamer regret" -- a sudden, horrifying sense of emptiness when we muse on all the other things we could have done with our game time.

A trio of vandals are facing trouble after posting a video of themselves smashing up a Lotus Elise on the internet. The three filmed themselves leaping and jumping on the bonnet and roof of the £20,000 sports car, parked in Marylebone, Central London. After originally posting the video on their MySpace pages, the group quickly withdrew it after learning of a witchhunt by angry internet Lotus fans.

High school and college students on football teams regularly die during practice (1, 2, 3), but their deaths are dealt with by the media with a very holistic perspective. The media questions whether the coach set an unreasonably exhausting regimen. The media questions whether the parents saw warning signs. They ask whether the school reviewed the coach's history thoroughly when the hiring was made. They wonder why the school mandates year-round practice that necessitates training in the hot summers. They ask whether the team physicians condoned the exhausting practices despite the individual's particular health idiosyncrasies. And in no time during all this does anyone suggest that football is addictive and caused the deaths. This is because that statement would be naïve and simplistic. When people die during or after playing an MMO however, it is typically "caused by an online gaming addiction". The wikipedia entry on "game addiction" lists several of these "notable cases". Even in cases where the person suffered from depression and other mood disorders, an "addiction" to the game itself is primarily blamed for the deaths. As another example, Kimberley Young's discussion of Internet Addiction Disorder implies that marital affairs that occur online are primarily the fault of the Internet, rather than having to do with personal choices. Why is it that explanations are complicated and holistic when it comes to football, and so simplistic when we talk about online games? Part of the reason is that football is too mainstream and too low-tech to be a tool for the media to instill paranoia with. No one is afraid of a leather ball.