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…

Talk on games+film at ITU

Jack Bauer: From TV2 to PS2
09/03-2006 kl. 4PM-6PM i Auditorium 1

Come to a Master Class about media convergence: Jack Bauer: From TV2 to PS2

TV, movies and computer games are merging. Games are being made into movies, entire TV series are released as interactive computer games, and in the near future we will see a total media convergence.

The latest example is the large scaled PlayStation 2 game 24: The game, which in every detail is an interactive version of the TV series “24” that is currently being shown on Danish TV2 and stars Kiefer Sutherland as the main character agent Jack Bauer.

On March 9th Rob Hill, the lead game designer of the game, and Mark Green from Sony’s Cambridge studio will be in Copenhagen to give a Master Class for Danish IT companies and students of the IT University and the National Academy of Digital, Interactive Entertainment, which focus on the interaction between movies, TV, IT and interactivity. The meeting takes place:

Thursday the 9th of March in auditorium 1 from 4PM to 6PM

Sign up by sending an email to Malene de Bruin bruin@itu.dk

History of soccer rules

Kasper wisely informed me that soccer tournament rules regarding points awarded (to defeat, draw, and victory) were revised some 20 years ago creating stronger incentives for aggressive play (3 points for victory instead of 2). That’s a wonderful example, which certainly managed to make the thesis section I’m writing on game sum types even more confusing.

But does anyone have a reference to this rule change? Someone know a good history of soccer rules? Or a few more details to help me google? 

Update (July 2006): Ah! I got it. With the help of resident soccer sage Olli Sotamaa. It’s all here.