30.1.14

Breathing Machine(s)

Reading early responses to Leigh Alexander’s Breathing Machine, it looks like a lot of folks couldn’t help but reminisce.

It’s the mark of a particularly powerful work, like a dish whose heady spices remind you of childhood.

Invoking things like HyperCard, and mazes of twisty passages, she mentions a “primitive voice program” on an old powerbook. That certainly shakes the rust off the old memory machine. I think of 7th grade typing class where I fed some boxy school mac a spontaneously-concocted and hugely offensive story, then set it to play during “quiet typing time.” I remember Mr. Frank (with his horrible lisp) infuriated, demanding to know “Whosse responssible for thiss?” And everyone shamelessly points to me.

I laughed most of the way to the principal's office.

In places, Breathing Machine feels like a book typed in a haze, when suddenly out of the mist Alexander’s surreal half-memories give way to vividly-painted “cool” disc jockeys and porn site promoters. It's part of what makes the book evocative. For me, that adolescent internet fog blends together like so many nights in bars. It is, I suspect, a mix of fog and memory that defines childhood for so many of us.

Too few books talk about that, let alone capture it.

Back then they really were breathing machines, for some of us.

AOL had a button to randomly contact any other user. And it was not completely unexpected or unwelcome to get such a message. One night you could be telling flirtatious Australian ladies that you were a 24 year old hunk (with a monstrous and efficacious… pickup truck) the next a New York poker champion just rarin’ to give a 15-year-old The Lady Advice. It was in that atmosphere, and on the clunky Mirabilis chat program “I seek you” that I fell in love for the very first time.

And so, because of Leigh’s book, I thought I would share that story with you now.

Then I thought again. 

I was struck by the imagery, from her book, of sushi being served from the torso of a vivisected woman, who blushes. We're handing out our stories like so many ice-bathed kidneys, and I already plan to put plenty of my life on the rotating sushi bar of this new internet.

So I'll keep that one to myself. 

But thank the book, for a healthy little stroll down memory lane. 

13.1.14

This is happening

Why, hello!

I'm Neils.

Over the last three or so years, I have been quietly writing a second book. It's about videogames: weird adventures inside, and little conversations about what those taught me. I'm calling it In Play: Tales of the Gaming Netherworld. 

I sort of wish that I could just write blogs, and articles, and sell those like a normal games journalist. That's hard for me. Like, my brain literally doesn't function that way. I need to see the whole system. Writing one part of this book fundamentally changed other parts, for instance taking a few months to study oppression, or having studied compulsive gaming for the last decade.

This ultimately became a sort of letter, to my younger self. Things I wish I'd known, and stories that I hope will resonate and entertain.

I've had an interesting time trying to sell it. While I'd love to find an agent, for The Future, right now my plan is to release most of it on my blog over the coming months. This also lets me offer a print version, maybe with a few exclusive choice bits, for the price of inexpensive (something Game Addiction's publisher would never even dialogue about). But for whatever reason, I'm really excited about putting most of it up for free, at least for a good while.

I'm also semi-tempted to - at some point soon - make a pdf available for a few hours. Mostly for the friends who've snuck me into expensive conferences, given me places to stay, and generally make this book worth writing.

So, yeah!

Dear God I need some kind of elevator pitch!

4.1.14

Let's Talk Balance

(here's the slides PDF: Tools to Keep Play Balanced!)


At this last PAX I got to sit next to a clinician who I have tremendous respect for, (the very soon-to-be-Dr.) Anna DiNoto, and we got to tell a room of gamers some of our tools for balancing play. I thought that I would share that talk with you here.

We forward the whole thing by making it clear our talk isn’t about addiction, or “Internet Gaming Disorder,” as it’s labeled in an appendix of the DSM-V. We just wanted to cover tools, simple things people could do, if they were playing and/or internetting a little more than they’d like.

step one: assess

The first thing you’ll want to do is assess your play (or internet use, if that’s your deal) as accurately as possible. It’s not easy. In going back and forth about this, we talked about some tools we could use, and I made a handout which basically tracked the duration of your stay in these places. I think it’s slide 8/37. It lists maybe “facebook from 5:55 to 7pm,” then “Skyrim from 10pm to 1:13am,” and so on. Then we mark how intense it was on a scale of one to ten, one being that you were mostly focused on something else, cooking dinner, some paperwork, scintillating television drama. Ten would be that you were so focused that you left a pizza in the oven for roughly two hours.

I have some funny stories about burnt pizzas.

This is a good place to mention (again, I know) none of this piece is clinical advice. In person, Anna is extremely good, really professional about making that clear when she speaks. And I’m not a mental health professional; I’m just a gamer. I co-wrote a book on gaming addictions, but don't have treatment experience.

Back to tracking your play, and tracking that every day. Keyloggers might help, roommates might help (though some of us get defensive). You need to figure out where you’re at, so you have an accurate idea of what you’re trying to balance.

Next, before doing anything else, figure out where your stress is. If we notice that arguments with the husband usually lead to longer sessions of play, useful info. Sometimes games stress us out. The point here is to figure out what our “triggers” are. Figuring out what cues us off is essential to “hacking” those patterns, and being able to eventually redirect those to something we’d rather be doing.


(to jump ahead here: Post it notes are Anna’s go-to. If you interrupt your usual patterns with post-it notes, say one near the hook where you set your keys, or on the kitchen counter, you can stop your usual routines. Put one on your laptop, on your bedroom door.)

step two: plan

After assessing play, the second step is to make a plan. There are three kinds of plan, in general. Abstinence is breaking from games, temporarily or permanently. Harm reduction is switching to games or behaviors that might be less problematic. Play reduction is taking a favorite game – say League of Legends – and playing it less.

I actually do enjoy the occasional abstinence from games, altogether. Sometimes, when I have a big project or just need a break, I’ll drop games voluntarily for awhile. Hilarie Cash mentioned that at ReSTART, she typically sees even the worst withdrawal symptoms wash off of hardcore gamers after a few weeks. Abstinence can be useful, but Anna was quick to point out the number of times a parent would decide it was time to simply remove a game (without understanding why they’re playing it – it’s just a game after all). The graphic descriptions she’s given me of the consequences are startling even for me (she changed identifying patient details, exactingly, every time – she’s a pro). But we’re talking hundreds of thousands in dramatic property damage, and some pretty tragic self-damage. Just throwing that in there.

Harm reduction is pretty easy. If you like the vast landscapes of Warcraft, try playing Proteus, or maybe Dear Esther. If you’re a hardcore raider, try switching to anything else. Convince your raid friends to come with you, if you can. Raiding – in my research – held one of the few statistically significant connections to patterns we didn’t actually enjoy very much, the job loss, sleep loss, depression, etc. Addiction, in other words.

Some games have play reduction tools built in. Warcraft’s parental controls have it. The Xbox has it.

As you start to plan, make a boredom list. A list of things – besides just the games that make you stumble – you like doing. Creating nontoxic food and getting sleep were on mine, though Anna rightly reminded me that at that point I’m going past “simple balance.” Still, taking walks and cooking well, shopping for good food, that sort of thing, I’d say that they fit. When you do start to decrease how much you’re playing, there’ll be a void in your schedule. There are a lot of good basics to fill that time with, and there are some great ones.


Writing, drawing, and the myriad forms of making art. Getting involved in city government. Designing your own games. Taking college courses on topics that interest you, be they marine biology, architecture, or (yay!) games.

We can use timers – whether it’s an egg timer, alarm clocks that shower the room with puzzle pieces, or the color-coded Time Timers – to make ourselves more mindful of how much we’ve played. To become aware. In general, following the plan should help you get to be more aware of how you’re using your time. The point is to build a general mindfulness. I’ve learned a lot of good things in all this time gaming, but mindfulness was one of the most important.

step three: maintain

The third step is maintainance. To hold your progress in the long term, you need to reinforce your progress in the short term. In other words, don’t forget to treat yourself.

You want to give yourself “dings” for your real progress at keeping things balanced. Even better if you can apply meaningful fun and engagement, to keep yourself to the plan you want. You can also take cheat days. Like, with most successful diets, there’s usually a day out of the week where you can have pizza and beer with some good company.

I do, anyway. I’m still working on all this, but I still enjoy games for longer than three hours at a time. I just – far more often than I used to – get meaningful things done at work, at home, or for my bad self before those mini-binges. Those sometimes turn into missed bedtimes and some mild regret, especially when I’m not with my good gaming buddies, so I have to be careful. Still it’s been awhile since I’ve vanished for a month straight. So that’s good.

step four: revise

Finally, remember that you’re human. This shit is a challenge if you haven’t exactly been the balance king, in the past. If that’s the case, some professional help, with a solid local therapist? Highly recommended.

You’ll need to reassess your plan, as life changes, and having someone whose job is to help you, is sort of like having a professional gamer coaching your gamerly prowresses. Most clinicians just charge a lot less than, say, the pros at Curse Gaming.

Anyway, those were a few suggestions we threw out, to deal with keeping things sane to begin with. I’m not a therapist, and I don’t know what you’re going through, but I do want you to be able to keep play balanced with everything else. Hope it helps.

24.11.13

The Secret World is not entirely grindy

It is still possible to play this game a lot. To binge it, even. Though in Secret World this feels much less about compulsion, gilt carrots or maliciously labyrinthine design. I'd compare it to Skyrim before I would Warcraft, in that the content feels like content.

One example I've been throwing around is of Sam Krieg, a bestselling New England author who's holed up in a lighthouse while zombies ravage the little island. I found this guy, my favorite character, after saying,

"Cool lighthouse. I wonder if anything's going on there."




Then braving the weird horrors in the fog, which take inspiration from Lovecraft, Poe, and pulpier American authors. Then being rewarded with a quest I'd describe as anti-grind.


All repetitive behavior as "destructive and unreasonable"? This guy is cool. He lambastes my sexy Illuminati superheroine, saying that as a writer he's got a damn good excuse to repeat himself: it makes him millions. But what's my excuse? What's the player's excuse?



The quest takes typical grindy mechanics, then adds little twists. For instance, we kill a set number of zombies by impaling rotting corpses (irresistible zombie bait, as we all know) at the edge of a bluff. The animations aren't perfect (especially clear in the more lightly funded Egypt and Transylvania expansions) but we get to watch zombies goofily launch themselves off cliffs. The game, sometimes by adding extra little flourishes of programming, sometimes by creating riddles which require Latin Vulgate dictionaries and thoughtful deduction, pokes fun at MMOs in general. 

The combat is made interesting by a mix-n-match system. It's one of the first times I've enjoyed being the mage sort of character.



The fun of designing your own weird combat is, tragically or wonderfully (I'm really not sure), mostly a creative fun. Some of the animations get ridiculous to the point of pure comic gold, as one swirling pistol attack which should probably involve a half-empty bottle of vodka. It's just not gripping. 

The cutscenes have their share of charming moments. I get the sense the writers had carte blanche to be the best possible kind of weird. 


Hitting the paywalls in TSW isn't fun, but I didn't until about 20 hours in. Their in-game store is super basic, and not very usable. Almost like the wacky quest writers also got to label their DLC so as to make it nigh-impossible to buy anything. 

Their store is also restrictive. You can't gift DLC (like, wtf? You guys don't like money?).

Like most MMOs, once the content runs dry, what's left appears to be grindy endgame for gears (destructive and unreasonable, much?). That made a sad panda, since in so many other parts of the MMO oeuvre they'd found innovative solutions. For most sane human beings, this is going to be an awesome treat of content (actual content!), on most logins. For anyone with a history of problematic use, I don't recommend playing alone. I'm conflicted myself since the questing phase was so delightful and easy to take-or-leave. It's worth seeing, but only if you can do it strictly with friends. 

That said, right now I'm staring off the edge of a gear precipice. I look, and wonder if I've finally learned not to jump. 

19.11.13

Humble Paleontology

Yeah, yeah. A few months later I crawl back here, to drop a few unceremonious words.

PAX was fun. One gentleman took this picture with his Google Glass.

neils at pax. with coffee, but probably not enough coffee.

Apparently there was also Much Video. That particularly unimpressed look is probably me telling him to, like, kindly quit with the ninjalike lifecapture.

Then I got to wear his specs. He activated this easter egg whereby I could turn 360, and everywhere around me were the developers for Glass. Here's one brusquely-grabbed shot to illustrate, courtesy google images.



The point was that I felt like I was right there, and all it took was a tiny screen next to one eye. If they ever release this, it's going to multiply everything we've been saying about games by 100x. Maybe that's exaggerating. It's also probably untrue, in that Google Glass will add altogether new elements to those conversations.

I also spoke at PAX, for the first time. Once with the delightful, brilliant Anna DiNoto, on how to keep play in balance with everything else in life. And then again, with James Portnow, about how games are art, and why that matters. I loved both, but have to admit that the art one felt a lot more powerful and impassioned (probably a fair comparison when the other is a finely tuned one on "balance"). There were also roughly 10 times as many people at the art talk (many there to catch James, before he rode off into the pixelated sunset). Still, on day three, I saw the line building up and said aloud,

"We're gonna need a bigger latte."

When the talks were said and done, it was good to see the friends I mostly only catch up with at things like PAX and GDC. They're good folk.


So, only one more thing to announce. A few weeks ago I wrapped up the first draft of a book I've been plugging away at. It mixes my collected games research from the last decade or so, with all the weird stories I have from growing up around games. I think it could make for a good context to help non-gamers get what we're doing, but more I wrote it for the miscreants I've played with all these years. One in particular, a guy who's been my friend for years, who we all call Squatch.

And maybe also myself. It feels good to have a chunk of words that I'm happier with than anything else I've done.

While it's good to have something to show for all that work, the finding-agents and selling-books phase has never been my favorite thing. But then again, I like what I've done. I think that should help. It's exciting.





29.7.13

Teamwork 101: Or How I Escaped Bronze in the League of Legends

For those that read this blog for game studies, psych research, or because (apparently) there's a page that's a top google hit for "sweet ass pictures," sorry! Today I'm just posting a quick guide that I wrote after getting out of the time-out corner in the League of Legends: Bronze Division.



Since it's at the bottom, you often deal with the worst kind of gamerly element: trolls, misogynists, racists, the employed. You can win, in despite of all that, with a mix of compromise and communication.

(More after the break)

---

7.5.13

How Games are Art: A Very Slightly Extended Version

Note: This version includes a few minor selections from Dutton's book, as well as higher-res images. The version I plan to cross-post to Gamasutra, a bit later, I want to keep at or close to 100 words. I say only very slightly extended, because this topic is insanely huge

In 2009, aesthetician Denis Dutton wrote The Art Instinct. There, aiming for something inclusive and objective, he outlined twelve cross-cultural criteria for art. I like Dutton for his mix of accessibility and intellect, so use his criteria as a starting line in the search for a language of the aesthetic experience.

1. Direct Pleasure


“The art object – narrative story, crafted artifact, or visual and aural performance – is valued as a source of immediate experiential pleasure in itself, and not essentially for its utility in producing something else that is either useful or pleasurable.”




2. Skill & Virtuosity

“The admiration of skill is not just intellectual; skill exercised by writers, carvers, dancers, potters, composers, painters, pianists, singers, etc. can cause jaws to drop, hair to stand up on the back of the neck, and eyes to flood with tears.”


Some creators:


Levine
Blow
Anthropy
Chung

3. Style
 
“Style provides a stable, predictable, “normal” background…”




“…against which artists may create elements of novelty and expressive surprise.”




4. Novelty & Creativity

“The unpredictability of creative art, its newness, plays against the predictability of conventional style or formal type (sonata, novel, tragedy, and so forth).”




5. Criticism
 
“Professional criticism, including academic scholarship applied to the arts where it is evaluative, is a performance itself and subject to evaluation by its larger audience; critics routinely criticize each other.”


Some critics: 

Bissell
McGonigal
Hernandez
Ebert
Bogost

6. Representation

“…a realistic painting of the folds in a red satin dress, a detailed model of a steam engine, or the tiny plates, silverware, goblets, and lattice-crust cherry pie on the dinner table of a doll’s house. But we can also enjoy representation for two other reasons: we can take pleasure in how well a representation is accomplished, and we can take pleasure in the object or scene represented…”




7. Special Focus

“A gold-curtained stage, a plinth in a museum, spotlights, ornate picture frames, illuminated showcases, book jackets and typography, ceremonial aspects of public concerts and plays, an audience’s expensive clothes, the performer’s black tie, the presence of the czar in his royal box, even the high price of tickets…”




8. Expressive Individuality



9. Emotional Saturation
“…emotions provoked or incited by the represented content of art…”




Or, “…the work’s emotional contour, its emotional perspective…”


10. Intellectual Challenge

“…working through a complex plot, putting evidence together to recognize a problem or solution before a character in a story recognizes it, balancing and combining formal and illustrative elements in a complicated painting, and following the transformations of an opening melody recapitulated at the end of a piece of music.”




11. Art Traditions & Institutions

“Art objects and performances, as much in small-scale oral cultures as in literate civilization, are created and to a degree given significance by their place in the history and traditions of their art.”




12. Imaginative Experience

“Finally, and perhaps the most important of all characteristics on this list, objects of art essentially provide an imaginative experience for both producers…”




“…and audiences.”




That’s how some games are already art, and how others might get better.