Games: October 2008 Archive Page

Police say she illegally accessed log-in details of the man playing her husband, and killed off his character.

The woman, a piano teacher, is in jail in Sapporo waiting to learn if she faces charges of illegally accessing a computer and manipulating data. (BBC)

Thanks for the link, Robert.

My provost just sent this link to me and some faculty from computer science and theater, all of whom I've already spoken with, very informally, about some kind of collaboration.

Game design has helped rekindle interest in computer science and become a hot new major at more than 200 schools across the country, according to the Entertainment Software Assn., a trade group. Because making games crosses several disciplines, the diversity of programs that offer such courses is staggering: Fine arts colleges, engineering schools, film schools, music schools and even drama programs are sending graduates into the fast-growing industry.

"Some programs throw a drama guy together with a programming guy to see what they come up with," said Bing Gordon, a venture capitalist and former chief creative officer for industry powerhouse Electronic Arts Inc. "Games is the ultimate interdisciplinary art." (Alex Pham, LA Times)

During play, the screen background was solid black with a white border, with one color line representing each player.  We displayed the game score in a horizontal strip at the bottom of the screen.  It wasn't the most graphically advanced program, but it was simple and fun.  It looked something like this:

[...]

"Both the AI and the humans had three missiles they could use during the course of the game. When a missile hit a wall, it would create a mini 'explosion' that would erase the color on the background back to black as it faded out - thereby eliminating sections of the trail left by previous cycles."

Soon we had players and computers firing missiles to shoot their way out of tight situations. Nonetheless, Tron purists may scoff, since the movie programs didn't have such luxuries as missiles to get them out of a bind.

[...]

One day, when Marco and I were playing against two computer opponents, we forced one of the AI cycles to trap itself between its own walls and the bottom game border.  Sensing an impending crash, it fired a missile, just like it always did whenever it was trapped.  But this time was different - instead of firing at another trail, it fired at the game border, which looked like any other light cycle trail as far as the computer was concerned.  The missile impacted with the border, leaving a cycle-sized hole, and the computer promptly took the exit and left the main playing field.  Puzzled, we watched as the cycle drove through the scoring display at the bottom of the screen.  It easily avoided the score digits and then drove off the screen altogether.

Shortly after, the system crashed.

Our minds reeled as we tried to understand what we had just seen.  The computer had found a way to get out of the game.  When a cycle left the game screen, it escaped into computer memory - just like in the movie.

Our jaws dropped when we realized what had happened.  (Real Life Tron on an Apple IIgs)

Thanks to Nick Montfort for posting this gem:

Posted by Stephen Totilo on 10/8/08 at 12:00 pm.

"Lost" creator J.J. Abrams may not have have felt like explaining the smoke monster to MTV News movies reporter Josh Horowitz during an interview taped a few feet from my desk last week. But he both offered to adopt Horowitz and answered one question about his interest in making video games.

What kind of games would Abrams like to make? "Zork"-style text-adventures.

Seton Hill recently won a multimillion dollar instruction technology grant, part of which includes funding for a new technology specialist (which will become a permanent job when the grant ends). 

In helping to write the job notice, I drafted the "you-attitude" paragraphs, with the references to Bioshock and lolcats.

Our grant will fund the creation of a new instructional technology center, and we're motivated to put our resources to good use. Which is where you come in.

You love talking to people about technology. You have experience encouraging interactive exchanges between students and professor, students and their peers, and students and technology. You can help us eliminate the "sage on the stage" instructional model, and implement the "guide on the side" via multiple teaching points established around the room. You have the technical skills to maintain the latest in PCs/Macs, projection equipment, cameras, video iPods, text-to-speech scanning pens, and assistive technology of many kinds. You have the creativity and the people skills necessary to help us put our resources to good use, as Seton Hill continues to expand its learning environment as part of a globally networked virtual classroom.

You are also sufficiently well-versed in digital culture to maintain and promote the site as a collaborative learning center and recreational gaming lounge, when not needed for classes. (It's a tough job, but hey, someone's got to make sure Bioshock runs on the huge projection screen; u can has lolz!)

The search is currently open and will continue until the successful candidate is identified. (See the full job notice.)

That's the story that's been set up for the player to experience, and he travels along that path like a tourist on a Disneyland ride. However much choice the player seems to have in between these story checkpoints, the overall path of the game is geometrically equivalent to those of film or theater or books. We choose to ignore the fundamental quality that makes games different and so compelling-- their interactivity.

The other approach is to "open up" Moby Dick, to allow the player real, significant choices in the course of events and their outcomes. In this configuration, an especially skillful player might be so good at the game that he does indeed catch and kill Moby Dick, triumphantly achieving Captain Ahab's revenge-- and along with it, destroying the whole point of Melville's story. Allowing such an alternate ending robs the work of its power; the story of Moby Dick is engaging precisely because Captain Ahab cannot find extra lives, rewind time or load an old save for a second chance, and the story of his obsession and undoing is fixed over time, a static sculpture in four dimensions.

The issue of these changeable outcomes is what the critic Roger Ebert infamously identified as the central problem with games-as-art, and despite the emotional flurries and dismissive grumblings from the gaming community, it is actually a good point without a clear answer. If Melville had so much as allowed for any possibility at all where Captain Ahab "wins," no matter how remote, the work's message and its interpretation of the world completely changes. Instead of destiny and fate, we would now speak of probability and chance. Work hard enough, get lucky enough, and anything is possible -- Matthew Wasteland, GameSetWatch

My provost just sent some of my colleagues a link to this article on games and literacy:

But doubtful teachers and literacy experts question how effective it is to use an overwhelmingly visual medium to connect youngsters to the written word. They suggest that while a handful of players might be motivated to pick up a book, many more will skip the text and go straight to the game. Others suggest that video games detract from the experience of being wholly immersed in a book.

Some researchers, though, say that even when children don't read much text, they are picking up skills that can help them thrive in a visually oriented digital world. And some educational experts suggest that video games still stimulate reading in blogs and strategy guides for players.

To be sure, some of the experiments pairing electronic games with books will be little more than marketing gimmicks. But publishers and authors suggest that some projects may push creative boundaries, helping to extend storytelling beyond the traditional covers of a book. (Motoko Rich, NYT)