Game Research 2.0 (work in progress)



I’m tweaking WordPress to work as a CMS for www.game-research.com. Updating the old thing has been just too difficult – and so nothing will stand in the way of new content (of which various things are planned).

If you wish to contribute to the site – in the form of a book review etc. – let me know.
The new version is visible at www.game-research.com/2.

Comments? Suggestions? (Put ’em here).

Stories from the Sandbox

Date posted: May 14, 2006
Updated: Oct 29, 2007

Stories are the key to understanding the world. We love stories and we understand things by placing them in the framework of stories. Thus, to be enjoyable, games must tell stories and it is the responsibility of designers to think in terms of stories. Right? Wrong!

MMORPGs suck, I wrote some time ago putting it slightly more mildly, because their worlds are static. The choices players have are inconsequential and basically players can’t do anything important.

After giving it a little thought everybody agreed with me and the world became a better place.

Well, that’s not quite what happened. In fact, quite a few people felt that I was sadly mistaken, some of them voicing their disagreement in our forum. There were at least three main arguments.

* The designer overload argument: Doing away with re-doable quests and designing individual quests for every player would be practically impossible.
My answer to this: Yes, of course. I’m advocating forgetting central quest construction altogether.

* The you-have-no-idea argument: Constructing a dynamic world in which players could actually affect objects would be outrageously difficult.
My answer: Really? Would it be more difficult, say, than thinking up so many silly quests for each character class?

* The players-are-not-designers argument: Players want to have fun, they don’t want to work at creating worlds.
My answer: Well, first of all I’m not talking about giving them small Dungeon Master Editor Kits. I’m talking about letting them create their own stories by creative interaction with the game universe. Secondly, I’m just not so sure – it seems to me that people DO want to create all sorts of things. At least that is the case in many old-school MUDs (for some players, at least).

Now, why am I bringing all this up once again? Basically, because I think The Other Side – that is, those who do not see why I’m so obviously right – have just taken the trouble to publish an actual manifesto. Or rather, Chris Klug, over at Gamasutra has written an article on that most respectable site explaining why game designers should focus on stories. It’s a fine article but the very fact that it’s thoughtful makes it so much more fun to take issue with.

Let’s have a look at the arguments.

Klug starts by playing the stories-are-everywhere card. There is some truth to this claim (yes, we do make sense of the world by using various narrative templates) but it’s also rather problematic. Mostly because it seems to take the analytic edge out of the very concept by reducing (?) everything to stories.

Anyway, there is absolutely no link between the fact that people think in stories and the normative claim that game designers should tell stories. Klug, however, claims that “Game developers need to also be expert story tellers, because we are telling stories even when we think we aren’t.” Come again?

Building upon this non sequitur, Klug says some clever things which I shall pass over in silence (read the article, yourself) and goes on to label people who think like me (anyone?) “sandbox theorists”. Ha! Not a bad metaphor, I shall wear the label proudly, even if it does come from a Daytime Soap designer.

Anyway, I think Klug then tries to jump on board a ship that has already sunk. He goes on to claim that designers should deliver the content since players want to be entertained if they are to show up. Now, how’s that for counterfactuality. If the history of computer networks tells us anything, it’s that centrally produces content is entirely overrated as a means of attracting visitors.

On the World Wide Web, content heavy sites have been a stepping stone not to commercial success but to scary bottom lines. Many websites which only provide frameworks for human interaction (webmail, discussion sites, online groupware etc.) have been far more successful. Sure, having an army of designer/storytellers provide interesting narrative entertainment would be great. But it remains �- I believe – a perfect-world argument. It’s just not feasible in the real world of economical constraints.

No, I remain convinced that game designers considering themselves story-tellers in anything approaching the normal sense is a sure recipe for disaster. Gamers do not want sit-coms (or if they do, why not just watch the real thing?) � they want open-ended worlds in which they can participate in the spontaneous drama of narratively interesting variables. Worlds in which their choices make a difference.

In my humble opinion.

Looking for help: Statistical question

UPDATE: This is no longer the problem – the real problem is outlined here.

No use trying to hide it: I need to look everything up when doing simple statistics.

Perhaps you can help me with a simple question?
Here goes:

Let’s say you are convinced that Mondays, Tuesdays and Wednesdays differ as to the amount of rainfall. To test this, you measure the amount of rainfall (in millimeters) on these three days over a period of six weeks.

You get (averages):
Monday: 10mm
Tuesday: 30mm
Wednesday: 15mm

I suppose the null hypothesis must be that the rainfall did not differ.
How do you express the strength of the difference in these three cases? That is: How certain are you that the measured difference is non-coincidental?

Help would be appreciated!

Trusting those trusted by someone I trust


In my master’s thesis on The Architectures of Trust (2MB) I discussed techniques for establishing trust among strangers in online communities such as virtual worlds (around page 61). I said things like:

Another possibility is to give users access to the implicit verdicts of friends. Systems that employ buddy lists (see Figure 3) may let users see the verdicts of their ‘buddies’. For instance, Bob is wondering whether to trust Alice, but being on the buddy list of Eve, he is entitled to the information that Alice is also on the list. Since Bob trusts Eve and Eve trusts Alice, Bob can trust Alice. Such features provide internal verification.

Although the topic of reputation systems in game worlds has been discussed since the dawn of code, implementations have been rare. One reason is that gamers often have an interest in undermining the system (an incentive far more modest in systems like eBay). But recently MonkeyModulator announced the near-future arrival of an interesting WoW add-on enabling players to evaluate each other and to share these evaluations.

I’d be quite interested in news on how that works out for you WoW die-hards.

Via TerraNova

TL Taylor: Play Between Worlds

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I’m late to the party, but let it be widely known among all readers of this blog that my supervisor, TL Taylor’s book Play Between Worlds is out in the wild. I’m sure it’s excellent and I’m looking forward to reading it.

From the description:

In Play Between Worlds, T. L. Taylor examines multiplayer gaming life as it is lived on the borders, in the gaps–as players slip in and out of complex social networks that cross online and offline space. Taylor questions the common assumption that playing computer games is an isolating and alienating activity indulged in by solitary teenage boys. Massively multiplayer online games (MMOGs), in which thousands of players participate in a virtual game world in real time, are in fact actively designed for sociability. Games like the popular Everquest, she argues, are fundamentally social spaces.

Taylor’s detailed look at Everquest offers a snapshot of multiplayer culture. Drawing on her own experience as an Everquest player (as a female Gnome Necromancer)–including her attendance at an Everquest Fan Faire, with its blurring of online-and offline life–and extensive research, Taylor not only shows us something about games but raises broader cultural issues. She considers “power gamers,” who play in ways that seem closer to work, and examines our underlying notions of what constitutes play–and why play sometimes feels like work and may even be painful, repetitive, and boring. She looks at the women who play Everquest and finds they don’t fit the narrow stereotype of women gamers, which may cast into doubt our standardized and preconceived ideas of femininity. And she explores the questions of who owns game space–what happens when emergent player culture confronts the major corporation behind the game.

Digra 2007 in Tokyo

Full papers, no abstracts this time. This is quite an interesting development as it will include fields in which only full papers count as worthy (the case for many computer scientists).

The announcement:

DiGRA 2007 First Circular
We, the DiGRA 2007 Local Organizing Committee, are happy to announce
that the third DiGRA (Digital Games Research Association)
international conference will be held in Tokyo, Japan in September
2007. Scholars of digital games from around the world are encouraged
to submit a paper and to participate in the conference. Held in the
world capital of videogames, this conference will be an event that no
game studies scholar can afford to miss. We are working hard for
DiGRA 2007 to be truly special.
The theme of this conference is “Situated Play.” Game play does not
take place in vacuum. For play to be possible, certain social,
cultural, economic, and technological conditions need to converge.
Digital games, therefore, require truly diverse approaches to
illuminate their extremely multi-faceted nature. The goal of this
conference is to shed more light on these various kinds of
situatedness of games. In particular, the conference aims to bridge
professionally and geographically diverse scholars and practitioners.
We therefore welcome panel proposals and papers that describe various
facets regarding the situatedness of digital games and attempt to
combine a range of approaches in innovative ways.
For our participants’ convenience, the dates of the conference will be
set close to the Tokyo Game Show so that participants can take
advantage of both events. The selection of papers will be based on
full papers instead of abstracts, and the deadline will be in February
2007. A second circular revealing more details about DiGRA 2007 will
be issued in late May or early July.
We hope to see you in Tokyo!
– DiGRA 2007 Local Organizing Committee
Akira Baba (Chair), Kiyoshi Shin, Akinori Nakamura, Kenji Ito

Advice for ITU project writers

The web is awash with writing guidelines. And as I’ve mentioned before the Danish book “Den gode opgave” cannot be recommended enough. But here are a few tips which I have found relevant for ITU students in particular:

  • Be more critical. Theories and research cited and used must be evaulated critically. Even the grandest old men/women of whatever field are not above critique. Particularly if coupled to modesty towards your own contribution (and a clear eye for your own problems) such criticism is a good idea (if it’s relevant, of course).
  • Consider the role of theory. Understand the relationship between theory and data in your project. Using theory as a framework for understanding (as opposed to something which is specifically tested etc. in a study) is fine but you risk leaving a gap between a long theory chapter and a much more concrete study.
  • Avoid circular arguments. Be careful of arguments and motivation statements without any content. E.g. “I’ll use X’s theory because I find it relevant”. For Danish writhers this can mean considering carefully each “fordi” and “derfor”.
  • Emphasize important stuff. If you find interesting results or reach surprising conclusions consider placing these at the fore of the project. Avoid placing every observation on the same level without emphasis. Why not put your most important finding in the very title?
  • Novelty is not relevance. You don’t need to write about newly born technologies (although there’s nothing wrong in doing so). And you certainly don’t need to use only recent literature. Don’t believe the hype – check the library. (And it can often be quite impressive to show relationships between classical thinkers and new communication phenomena, it demonstrates a breadth of knowledge).
  • Use examples. Please. It’s so obviously illustrative, so please use screenshots. Also note that by using examples you display your ability to see the abstract in the concrete and vice versa
  • Turn weakness into strength (to be used in small doses). Often students worry about “problems” which may as well be considered advantages. Two leading theoreticians disagree? Well, that’s their problem not yours. And you may well have discovered something crucial
  • Choose a reference style. Unless you have very strong opinions about how to make references use one of the hundreds of existing systematic styles such as the MLA style (http://owl.english.purdue.edu/handouts/research/r_mla.html). You need not follow their specifications about manuscript formatting (although you may want to ask your supervisor)
  • Never walk the reader through theories. Okay, that may a bit strong. How about: Never spend more than 5 lines describing a theory on its own terms. It’s much better to describe the implications of a theory or to contrast/compare it to other theories. In general, use your time on your results/conclusions and cut down theory chapters (based on the average ITU approach – doesn’t apply to everybody)
  • Don’t overestimate the user perspective. You don’t have to engage in qualitative user studies. There are other, legitimate approaches. Numbers can be fun.
  • Take a stand (and stop worrying). This is closely related to coming up with a sensible problem statement (covered in-depth in “Den gode opgave”). Avoid writing about a topic. Instead try answering specific questions. Examining specific hypotheses/questions means ignoring a multitude of interesting aspects of your topic, but this is generally preferable to lists of observations or characterizations which only stop when you run out of space. Also, don’t worry too much about being too close-minded and not open enough towards the complexities of reality. Spend your energy on sharpening your methodology and describing your approach in detail. If your methodology is strong, you can (as a general rule) be as biased as you want to in your assumptions – the results will prove you wrong. And interesting things might come of it.
  • Mention implications of the seemingly important. Within limits you’re free to base your argument on non-obvious assumptions. Economists are particular good at this, often noting how the argument to come is based on the assumption of Perfect Competition (for instance). When you do so, you must specify the character of the assumption and what’s at stake. For instance, how realistic is the assumption? And what would mean for your argument if you had chosen a different assumption? If you do not, the reader will be left with the feeling that something important is happening, but unable to identify the implications. For instance, if you state that “Phenomenology is based on the assumption that people’s subjective perceptions are interesting in themselves and this thesis is based on that same assumption” you need to explain why and to what extent your argument is invalid to someone who doesn’t share your assumption.
  • Review the literature. All projects must, in some form, discuss previous work. This means using a library to uncover the state of the field. Your review of previous research should focus on results, i.e. what we know at this point.
  • Back up your claims. Any claim which is not protected by clear consensus must be backed up by A) citing literature or by B) arguing/showing why it is correct. There’s no exact recipe for what constitutes “clear consensus” but check research articles within the same topic to see what kind of claims the authors allow to pass without backup. Also, if you’re in doubt, you probable do need a reference.
  • Find a problem. A project or master thesis sets out to answer a research question (“problem statement”). This research question should be thought of as a “problem” – if there is no problem for anybody then there is no reason to conduct the study in question. A topic (“I want to write about political games”) is not a research question. Variations of “I want to apply Model X to Phenomenon Y” may under some circumstances lead to a worthwhile project, but it is a much safer bet to find a genuine problem.

More to come…

Back North



Diverse 430, originally uploaded by Agent Smith.

I’ve just returned from a 2 month research stay with Macquarie University‘s Dept. of Computing (Sydney). It’s been most productive and inspiring being around Anders Tychsen, Michael Hitchens, Manolia Kavakli and others.
Time to adapt to the so-called climate here and for trying not to miss the Manly sunsets too much.