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Lois McMaster Bujold’s Cryoburn is out! 31 October, 2010

Posted by Peter in Books, Speculative Fiction.
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Glancing at my “What I’m Looking Forward To” post from September, I realised that I clean forgot to mention one of the novels that I was keenly anticipating — Cryoburn, the latest entry in Lois McMaster Bujold’s Vorkosigan Saga.

 

Well, the anticipation is almost over, for Cryoburn has been released. But the key word is almost; not only do I need to buy the book (I know what I’ll be doing at lunchtime tomorrow!), but I’m going to save it for the upcoming plane trip. Well, if I waited all these years for Miles Vorkosigan’s latest adventure, what are a few more days

Conquest, Plunder and Tyranny: Explaining Dubious Morality in Strategy Games 30 October, 2010

Posted by Peter in Features, Games, PC Games, Strategy Games.
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Why do we play strategy games in ways that, in real life, would land us in the dock for crimes against humanity?

 

Three Moves Ahead, Troy Goodfellow’s strategy game podcast, recently discussed the ethics of wargames, but to me, wargames have a largely innocuous focus on how to manoeuvre troops within an already-existing war. However, the question remains for the broader strategy game genre – in particular, 4X games in which you decide whether and why to go to war, and how to govern your nation: Civilization, Alpha Centauri, Master of Orion, Master of Magic, Galactic Civilizations, Space Empires, etc. Indeed, the very name of the sub-genre makes it clear that there’s an issue: “4X” is short for “eXplore, eXpand, eXploit and eXterminate”.

 

There is, of course, the historical/human nature explanation. I do not think any empire through history – regardless of religion, skin colour, or geographic origin – ever arose except through conquest. Why should a game that casts you as an emperor be any different? When I send out my Roman legions in Civilization to claim the land of the fellow unlucky enough to start the game next to me, I’m just doing what Caesar and his countrymen did in real life. This explains why brutality makes thematic sense, but we have to look at other factors to explain why it pays off and why it doesn’t repel players in the first place. I can think of three such reasons: the zoomed-out, distant scale of most strategy (including 4X) games; the zero-sum nature of most games; and the economic model used by most 4X games.

 

Firstly, as mentioned in the Three Moves Ahead podcast: at the scale at which 4X games (and probably most other strategy games) take place, you never come face to face with your victims. Nowhere is the saying that “one death is a tragedy, but a million are a statistic” truer than in gaming. Any RPG worth its salt will drive home the consequences of your evil actions, whether they be acts of mass murder such as detonating a nuclear bomb or planting a biological weapon, or “merely” kidnapping a baby. But in Civilization, an atrocity really is just a statistic. In Civilization IV, there’s a civic (social system) named “Slavery” which allows you to speed up a city’s construction by sacrificing population. You can probably imagine what this means in human terms: overseers flogging slaves bloody, monuments rising in the background as exhausted and half-starved labourers breathe their last. In game terms? Your city’s population goes down by a few points. The same goes for wars of aggression and dispossession.

 

Conversely, the squad-level strategy games (X-Com) and tactical RPGs (Valkyria Chronicles, Final Fantasy Tactics) do not have this problem, at least when it comes to your own soldiers. In these games, instead of a vast empire, you only control a few, very distinct characters at one time. As a result, you grow attached to your soldiers. You’ll move heaven and earth to rescue an injured member of your squad, sometimes even at the expense of your objectives (as memorably described here by Rob Zacny). If all else fails, there is always the “reload” button, and I assure you I’m not the only one who abuses that. Feeling bad for leading my soldiers to their deaths in TRPGs resembles agonising over moral choices in RPGs, but is far removed from gleeful conquest sprees in 4X games. And that is a direct consequence of the scale of each of these genres.

 

Secondly, strategy games (and 4X games) are usually zero-sum. The game runs for a finite time before coming to an end, and ultimately there can be only one winning player or team. If my rival in Civilization IV is close to winning the space race, and thus, the game, it is in my interest to unleash a barrage of nuclear missiles to slow down his/her progress. The folly of this approach in real life is obvious. But in Civilization, I don’t care how much suffering I cause so long as I meet my victory conditions, because then the game will be over. This also applies to domestic policy. Because strategy games, unlike real life, are not open-ended, the well-being of my citizens is irrelevant except insofar as I enjoy playing a benevolent ruler, or to the extent that it contributes to my win.

 

Thirdly, crime, in this context, does pay. The size of a national economy in real life is determined by factors including the amount of labour employed (how many people have jobs and how many hours are they working?), the amount of capital employed (what tools, plant and infrastructure are they using?), and, crucially, the productivity of each hour worked and of each dollar of capital (one person with modern machinery can probably do the work of 100 Bronze Age labourers; bridges to nowhere might cost a lot, but they don’t contribute much to productivity). Games, though, tend to make raw population the most important metric, and they tie the population an empire can support to how much territory it controls. This has many consequences for the way in which they model reality, some of which I’ll discuss in future posts. But for current purposes, the key implication is that if a larger nation is richer, more successful, and ultimately more likely to win the game, then I have an incentive to gobble up as many neighbours as I can in a quest for Lebensraum (subject to any checks and balances in the game, such as badboy/infamy in Europa Universalis or corruption/upkeep in Civilization).

 

In conclusion, several things explain why we so often resort to conquest, aggression, slavery, and tyranny in strategy (especially 4X) games. Saying “it’s just a game” is no answer, because it fails to explain why we play other genres that offer moral choice, such as RPGs, more humanely than we play strategy games. And just because these things happened in real life, and they are presented as options in the game, doesn’t itself explain why we then choose those options. But we can point to other factors that do answer that question: we choose them when our victims are depersonalised and reduced to numbers on a map screen; when the game has a definite end, so we don’t have to worry about ongoing or long-term consequences so long as we win; and when aggression does, in fact, make it easier to win because the game’s economic model places territory and population foremost in determining national power.

 

Do these factors set our behaviour in stone, then? Not necessarily. Each can be addressed by other genres, and even by merely changing the way we design grand strategy and 4X games. Depersonalisation is not an issue with squad-level strategy and tactical RPGs, and even when the game takes place at a scale where we never encounter individuals, developers can try to make us aware of the toll of our actions – that is my limited understanding of Introversion Software’s DEFCON. The players don’t care about anything except victory? I would think that ongoing games, such as MMOs, would require a more long-term attitude – and even though most games can’t be ongoing, why not set up a scoring system to give bonus points to happy, well-managed empires (Civilization actually does this), or to players who refrain from wars of aggression? Your economic model encourages territorial expansionism? Play up the role of technology, institutions, governance and human capital to reward players who invest in nation-building as opposed to nation-grabbing. For the player of a strategy game (particularly a 4X game), power often corrupts. But by understanding why, we can design games so as to reduce that temptation, provide players with more interesting choices – and encourage them to build empires that deserve to stand the test of time.

 

 

To quickly find this post, and my other feature articles, click the “features” tab at the top of this page.

Another game joins the backlog: AI War 29 October, 2010

Posted by Peter in Games, PC Games, Strategy Games.
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Since Arcen Games’ AI War, which I’ve previously mentioned, is currently 50% off at Steam and Impulse, I took the plunge and bought a copy. I’m still in the midst of the tutorial, but one look at the game’s very extensive wiki is enough to make me look forward to getting the chance to play.

 

I also really like the game’s conceit: you, the human playing against the computer, are in fact leading the remnants of humanity against a mighty empire of AIs. And while initially your rag-tag forces are simply too small for the AIs to notice, progressing through the game by seizing territory, destroying AI installations or building superweapons will make the AIs progressively more and more alarmed and hence, more and more lethal. Thus, the game becomes about trade-offs: conquer just enough territory to give yourself the resources you need to fight the AIs, but don’t run so wild that the AIs wake up and squash you like a pancake. This seems to me to be a pretty nifty way of fusing gameplay mechanics with the game’s subject matter, and I look forward to seeing how it pans out.

Storytelling in Games: “What’s it all about?” Or, the importance of gameplay mechanics 28 October, 2010

Posted by Peter in Features, Games, PC Games, PS3 Games, RPGs, Storytelling, Strategy Games.
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“What’s the story all about?”

 

At its heart, every story or creative work comes down to that deceptively simple question. Deceptively, because “what a story is about” encompasses many things:

 

  • It includes the capsule summary: “Star Wars is a space opera about a dreamy kid who turns out to be the saviour of the galaxy.” “Yes, Minister is about a British politician who’s constantly thwarted by his chief civil servant.”

 

  • It includes the general feel of the work: “Band of Brothers is about what it would be like to be a US paratrooper in World War 2.” “The Black Company is about what it would be like to be a foot soldier in a world dominated by immortal wizards.”

 

  • And it includes theme, the central ideas that underpin the story: “Fallout 3 is a game about sacrifice.” “Lord of the Rings is about the ability of power to corrupt; and the fading of beauty from the world; and that even after the defeat of evil, the world will never be the same again.” Or, to return to an earlier example, “Yes, Minister is about the grubby little compromises needed in order to stay in power; and what a weak thing human nature is.”

 

Ultimately, “what it’s about” is what the reader, viewer or player takes away from the experience once it’s all over. It is the sum of plot and characterisation and worldbuilding and prose, motifs and messages – and, relevantly, gameplay mechanics. And this is the big strength of games as a storytelling medium: it adds a new layer to the experience.

 

To be sure, gameplay can’t provide plot or dialogue. And it’s not a panacea: sometimes it works at cross-purposes to other aspects of the storytelling experience. In his twopart series, “Theme is Not Meaning”, Soren Johnson gives some examples: while Civilization is ostensibly a game about history, its mechanics are as far removed from history as you can get. Civilisations can instigate a neat revolution on command to shake up their social systems; while rise and fall are replaced by static borders that only change in response to external invasion. The net effect, to quote Soren: “… the games mechanics tell us less about world history than they do about what it would be like to be part of a league of ancient gods, who pit their subjects against each other for fun.

 

But consider what gameplay can do, when it does work together with the rest of the game’s narrative elements:

 

  • Gameplay can be used to flesh out characters: in Valkyria Chronicles, Marina the loner sniper will sometimes take a penalty if she’s too close to fellow squaddies, while ladies’ man Salinas can receive bonuses from being near female comrades. How well would I have remembered those two minor characters had their personality quirks not had in-game effects?

 

  • Gameplay excels at worldbuilding: Mad Max 2: The Road Warrior showed us what a post-apocalyptic world would look like, but it’s even more effective to discover that world for ourselves by wandering around in Fallout 3, being poisoned by radiation with each gulp of water we drink; and reading the journal of a nurse dying from radiation sickness after the bombs fell, or the notes of a man who resorted to slave labour in his hunger to rebuild civilisation.

 

  • Gameplay is, I think, second to none at creating a “feel” or “mood”: we may read epic, high-magic fantasy novels, but to get the experience of being a warlord in one of their worlds, nothing beats playing Dominions 3. Star Control 2 (aka The Ur-Quan Masters) captures the experience of being an space captain, boldly going where no explorer has gone before, in a way that a book or a TV series or a movie can’t.

 

  • Gameplay can even bring across theme: UFO: Enemy Unknown/X-Com: UFO Defense is a game about sacrifice and struggle in the face of an overwhelming foe.

 

In short, gameplay is one of the most powerful storytelling tools around. In response to the original question, “So, what’s the story all about?”, for any other medium, we would point to the experience created by words and images and sounds. When the mechanics of a game are at their best, we should point to the experience created by words and images and sounds… and to what we actually did.

 

To quickly find this, or other posts in my Storytelling in Games series, click the “features” tab at the top of this page.

Calling all wannabe starship bridge officers! Artemis: Starship Bridge Simulator 27 October, 2010

Posted by Peter in Games, PC Games, Simulation Games, Speculative Fiction.
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Artemis: Starship Bridge Simulator is one of the more entertaining game ideas I’ve seen in some time. Six players get together around a LAN, with each player taking on a specific starship bridge officer role: Weapons, Communications, Science (sensors), Engineering, Helm or Captain. You can see gameplay videos here.

 

I also love the developer’s explanation as to why this game was designed for LAN, not internet, play:

 

I always wanted the players to be in one room together, just like a spaceship bridge. I want the captain to be able to push the helmsman aside and shout “Full power, DAMN you!!!”

 

Give it a look if you’re a space opera fan!

One sign that our geeky hobbies have gone mainstream 26 October, 2010

Posted by Peter in Anime, Books, Games, General, Movies, Speculative Fiction, TV.
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How do we know when a favourite, but hitherto niche, hobby has gone mainstream? I’m sure there are many indicators. The most obvious is, have its sales skyrocketed? There are others: has it featured on a talk show? Are our co-workers discussing it?

 

But lately, I’ve noticed one more: How widely is it being advertised? In particular, is it being advertised in public places?

 

Using this litmus test, gaming has definitely gone mainstream. In the last few months, I’ve seen the bearded special operator from Medal of Honor, the scowling cowboy of Red Dead Redemption, and “Super Mario 25th Anniversary – Part of the Family Since 1985” all staring down at me from the sides of buses. A couple of years ago, I remember seeing LittleBigPlanet posters at the train station, in which an adorable-looking Sackboy proclaimed, “On my planet, the stock market isn’t so scary.”  And I could be mistaken here – this was years and years ago – but I seem to recall seeing CivAnon brochures at university, in which case even turn-based strategy can be mainstream..

 

Speculative fiction movies and TV are also mainstream by this definition. Most recently, I’ve seen posters at the train station advertising vampire TV shows, but pretty much any speculative-fiction blockbuster would count.

 

On the other hand, speculative fiction NOVELS are most definitely not mainstream. Neither is anime (well, in Australia, at any rate). No real surprises in either case…

The State of the Matchsticks — October 2010 25 October, 2010

Posted by Peter in Website.
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I’ve been blogging on Matchsticks for my Eyes for about a month and a half, during which time I’ve been updating pretty much daily, usually on games or books but sometimes on anime, movies or TV as well. What’s coming up next for this site?

 

About a week ago, I added indexes of my reviews and features (see the links at the top of this page) – I do plan to do some more posts in those two areas, and in particular, I’m working on my Storytelling in Games series. Hopefully I’ll be able to add at least one more Storytelling in Games entry over the next week or so. And while I will be away travelling for most of November (starting at the end of next week) and as such, won’t be updating daily during that time, I will do my best to post a longer review or feature each week while I’m away.

 

Thanks for your support, all! It’s been very encouraging to see my traffic crawling gradually upwards. 😀

Fallout 3 finished – time to rummage around in the backlog once more! 24 October, 2010

Posted by Peter in Games, PC Games, RPGs.
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After 80 hours, I finished Fallout 3 last night. While I can see why people were angry with the ending in its original state, those flaws didn’t detract from what I liked about it. I’ve put the postgame content added by the Broken Steel DLC to one side, though, as I’m all Fallenout for now. Over the next week or two, I plan to write up why I liked Fallout 3 so much as a storytelling experience; watch this space!

 

Now I’m wondering what to move onto next. I have a bunch of other RPGs in my backlog: I didn’t get very far into either Shin Megami Tensei: Devil Summoner: Raidou Kuzunoha vs the Soulless Army (PS2) or Dragon Age (PS3). And I ran into analysis paralysis during chargen with the last non-Fallout Western RPGs I tried to play: Mass Effect (PC) and Neverwinter Nights 2 (PC). Then there are the non-RPGs (for instance, I still haven’t played the original Bioshock), novels, TV and movies, non-fiction… well, the beauty of a backlog is that it’s better to have too much choice rather than too little!

“The golden age of science fiction is when you’re 12”: when do you have the most fun with a hobby? 23 October, 2010

Posted by Peter in Anime, Books, Games, General, Movies, Speculative Fiction, TV.
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There is a saying, attributed to one Peter Graham, that “the golden age of science fiction is when you’re 12”.

 

Now, assuming “12” is a metaphor for “when you first discover it”, I can understand the argument. I discovered most of my favourite anime in the first couple of years after I came to the hobby: Cowboy Bebop, Crest of the Stars, Ghost in the Shell: Stand Alone Complex, Legend of the Galactic Heroes, etc. I suspect this is due to my relatively narrow tastes in anime – in other words, it didn’t take me long to come close to exhausting the pool of anime that are to my liking.

 

But it’s not true when it comes to the games I’ve played. Oh, I whiled away endless hours playing games when I was a kid. And I was willing to spend more hours on any one game than I am now: the two that first spring to mind are Civilization II, which I played and modded ad infinitum, and the original X-Com, which I never bothered to finish because I was having so much fun stomping around on Earth, but there are undoubtedly many, many others. From an “amount of free time” perspective, any time you don’t have to hold down a job will be your golden age.

 

Yet many of my favourite games, or the games I would consider ‘the greatest’ or in some way the best, or those that had the biggest impact on me, are ones that I only played in the last 3-4 years: Fallout 3, Star Control 2/The Ur-Quan Masters, Okami, etc. And I think coming to them with a grown-up’s eyes is a major reason why. For now I have had the benefit of years and years of reading books and playing games and absorbing stories. And now, I can better recognise originality. I can now dissect games well enough to see how they bring together individual building blocks, analyse them in terms of theme and character arc and worldbuilding. In other words, I can appreciate games on more layers than I could when I was younger.

 

Perhaps, then, the golden age of science fiction, or gaming, or anime, or movies or TV or any hobby, is when you’re sufficiently well-versed to understand why you like it.

Fallout 3: So near and yet so… 22 October, 2010

Posted by Peter in Games, PC Games, RPGs.
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I haven’t yet finished Fallout 3, but I love the game. It is one of my favourite games of all time, and so when I came home today, I was eager to proceed with the main story questline. The ending, I thought, looked tantalisingly close.

 

Imagine my reaction when the game repeatedly crashed to desktop after one story scene. I adjusted my graphics up, I adjusted my graphics down, I turned mods off, and I turned them on again. I reset my key bindings, verified the integrity of local files on Steam, waited in-game, cleared the cache. And each time, the game crashed. Perhaps making matters worse, the game was generally pretty solid for me until now.

 

Now, I was lucky enough to find, via the Google cache, a thread on a dead forum in which someone worked out how to use the console commands to bypass the problematic segments. But I think I understand exactly how Tom Chick felt in this review of Fallout: New Vegas.