In this episode of Games Britannia Woolley looks at games that are more modern than the last episode (Dicing with Destiny) starting with a 18th-19th century game and working through to some of the games available today.
The first game that was looked at is 'Mansion of Bliss'; which is the 18th - 19th century game previously mentioned. This was a reasonably standard parlour games, in the same vein as the ones discussed in the previous episode, with a heavy focus on morales and values. The players would move, then read a homily from the square they landed on, which would be a passage detailing a 'good' or 'bad' situation, which would reward or punish the player. This game was brought to America in it's early days as a copy called 'Mansion of Happiness' due to it's popularity.
America's love for board games was born about this time and a lot of the games they played had a 'rags to riches' approach. One of the earliest examples of this is the 'Chequered Game of Life' which looked at wealth, individualism and choice as opposed to the common parlour games before it which taught ethics and morales in a constrained form. The players had more choice in the way that they moved, allowing them to make 'life choices' on the board. During the civil a travel version was made for soldiers which helped spread the game around communities. This game started the 'subtle politics' style of games popularity.
A similar game to the one detailed above (but British) was 'Pank a Squith' which had the players competing against each other in a political struggle towards the Houses of Parliament; it also had images on the board of the darker side of politics, such as police brutality, etc..
In both America and Britain a game came out that was based around land ownership and taxation, it was called 'Brer Fox & Brer Rabbit'. This game allowed players to buy the squares they landed on and tax others that subsequently landed on it; the winner being the one with the most money at the end of the game. This game fell out of the public eye in the reconstruction of Britain after WW1.
Brer Fox & Brer Rabbit was still played in some places, including in universities, where it was adapted and played often. Elizabeth Magie turned it into 'The Landlord's Game' which was designed to show the folly of monopolies, but had the opposite effect. This game led into the creation of Monopoly, whose board was originally Atlantic City, but the British changed the setting to London very soon. The iconic character 'Rich Uncle Pennybags' embodied the classic top hat wearing fat cats of the time, which helped people change their view about these people; rather than viewing them as rich bastards, they were actually taken as people of success, people to aspire to be. The board itself had other applications; many soldiers had it sewn into their uniforms and used them as some sort of navigational tool, even using them to escape from prisons during time of war. Monopoly is commonly known for causing arguments through greed, strengthening the communist attitude of people.
When Cluedo came along there was a detective craze at the time, which helped the games success straight away. Many people instantly feel in love with Cluedo, even before it was released there were play testers who couldn't stop playing it. When the Americans got a hold of it they changed several aspects, such as 'Rev' into 'Mr' and more; even the name changed to 'Clue'.
When TV game shows came about the board game market died down significantly, allowing people to 'take part' (shout at the screen) without having to set up boards, pieces, cards, etc.. But then 'Trivial Pursuit' came out, which was like playing a TV quiz show at home; this helped start a new generation of board games.
Soon indie developers were releasing game of varied success, such as 'Kensington' which is a simple shapes based game where players had to try and successfully make a hexagon on the board. This game was a big hit, but was quickly forgotten.
Computer games started getting popular which had an effect on board game sales and worried many people in the market. But board games survived, especially with the help from the popularity of 'Dungeons and Dragons' which grew massively popular and was adapted from classic wargame mechanics.
Nowadays board games are still popular, and new games come out all the time as it becomes easier and easier to gain fans and publish with the help of the internet and clubs, etc.. We even have some political games being made again such as 'War on Terror' in which the players can liberate the world by dominating the opposing forces. This game is very satirical with it's overt political themes, demonstrating how the 'easy way' to dominate is by funding terror and such.
This episode was as interesting as the last, giving more insight on a lot of the games that I play today, and has shown me how serious the effect some games have on the world is. Soon I will be watching the last episode and I look forward to posting details and my thoughts.
Friday 28 November 2014
Wednesday 12 November 2014
Games Britannia: Dicing with Destiny
Games Britannia is a short BBC series that takes a look at the history of gaming throughout different cultures. In the first episode 'Dicing with Destiny' Benjamin Woolley (the presenter) says that games go beyond the basic perception of 'just a game' and are an important resource to look at our society, culture and even ourselves as individuals.
The episode starts with a look at a recent discovery of a Roman era board game 'the Stanway Game' that is the oldest game found in Britain so far. The type of game is not recognizable but there are theories that it could be a strategy game or even a divination game. This discovery is quite exciting to historians because it challenges their perception of the importance of games in in British history.
Woolley talks about how game types reflect on the people that play them. Such as people preferring the chance systems in dice games and other such games. There are also those who like to play games of skill and wit in order to 'prove themselves' in a sense. But in general most games are a mix of both as this is what most people would prefer to play.
The episode goes through several games and how they have changed and adapted throughout time. The game 9 Man's Morris is a good example because it is most likely the original version of games like Noughts and Crosses and Tic-Tac-Toe.
The game Faro was an extremely popular gambling game played a lot during during the 18th and 19th century in Britain. Mostly played among the upper classes, this game (or rather, it's players) was the cause for several bankruptcies and even a murder! The murder trial caused an uproar against gambling games in Britain which led to the increase in popularity of parlour games.
Because dice were considered 'evil' the parlour games that followed were mostly played with spinners. The game Goose was among the first of it's kind in the Victorian times, teaching the players about virtues and punishments for certain actions. The game became so popular that many companies started to adapt the idea for mass production to get their ideals across and also, obviously, for profit.
The Goose based games were similar to Gyan Chapoor which was an Indian game about knowledge and enlightenment, in which winning wasn't always an option, yet learning was still enabled. This game is actually the original version of Snakes and Ladders, which was simplified into a basic race game.
The episode ends with a look at Chess and how that has developed. The game is now played all around the world in tournaments as well as at home. The level of mastery is it's main attraction and there are world champions constantly battling it out.
Dicing with Destiny was a very insightful episode and I look forward to seeing the rest of Games Britannia to gain new perspectives on the history of games.
The episode starts with a look at a recent discovery of a Roman era board game 'the Stanway Game' that is the oldest game found in Britain so far. The type of game is not recognizable but there are theories that it could be a strategy game or even a divination game. This discovery is quite exciting to historians because it challenges their perception of the importance of games in in British history.
Woolley talks about how game types reflect on the people that play them. Such as people preferring the chance systems in dice games and other such games. There are also those who like to play games of skill and wit in order to 'prove themselves' in a sense. But in general most games are a mix of both as this is what most people would prefer to play.
The episode goes through several games and how they have changed and adapted throughout time. The game 9 Man's Morris is a good example because it is most likely the original version of games like Noughts and Crosses and Tic-Tac-Toe.
The game Faro was an extremely popular gambling game played a lot during during the 18th and 19th century in Britain. Mostly played among the upper classes, this game (or rather, it's players) was the cause for several bankruptcies and even a murder! The murder trial caused an uproar against gambling games in Britain which led to the increase in popularity of parlour games.
Because dice were considered 'evil' the parlour games that followed were mostly played with spinners. The game Goose was among the first of it's kind in the Victorian times, teaching the players about virtues and punishments for certain actions. The game became so popular that many companies started to adapt the idea for mass production to get their ideals across and also, obviously, for profit.
The Goose based games were similar to Gyan Chapoor which was an Indian game about knowledge and enlightenment, in which winning wasn't always an option, yet learning was still enabled. This game is actually the original version of Snakes and Ladders, which was simplified into a basic race game.
The episode ends with a look at Chess and how that has developed. The game is now played all around the world in tournaments as well as at home. The level of mastery is it's main attraction and there are world champions constantly battling it out.
Dicing with Destiny was a very insightful episode and I look forward to seeing the rest of Games Britannia to gain new perspectives on the history of games.
Monday 10 November 2014
Caillois's Terminology
As part of a continued effort to define 'video games' I have been looking into various sources that describe types of games. Rather than looking at genres of games (like RPG, sport, FPS, etc..) I have instead looked into Caillois's explanations of terminology used to describe games.
My understanding of the two words 'Paidea' and 'Ludos' stem from Caillois's conceptions, which are based in the idea of play; though they are more directly references to rule systems within games. Whilst 'play' refers to the free act of decision making and interaction that are separate from 'real life', the word 'game' is more specifically linked to the rules, structure and inclusion of a quantifiable outcome. The differences between 'Paidea' and 'Ludos' can be vast, but can also overlap; meaning the definitions must be clear and understood.
Paidea
This is the act of 'playing for fun'. The idea of 'fun' here could more specifically relate to Lazzaro's definition of 'Easy Fun' based in novelty. Paidea tends to demonstrate less rules imposed upon the player, allowing them to freely enjoy the game without pressure.
Ludos
This is the act of 'playing to win'. To refer to Lazzaro again I can see a link to his idea of 'Hard Fun' that encompasses things such as goals and strategies. Ludos can be identified as games with more rigid rule systems that are designed to push the player into a struggle towards an 'end goal'
As I mentioned above, the two can very often overlap; this is because of the approach of the individual player. For example, whilst playing a game heavily focused on goals (Ludos) the player might take some time to step back and have a look around, taking in the sights, sounds and general activity around them (Paidea). This also works the other way, as with the popular game 'Minecraft', although there are no specific goals for the player to work towards (Paidea) the player might take it upon themselves to use the in game resources to build a large structure of their own design (Ludos).
Whilst most games allow for both Ludos and Paidea, they are often more focussed on one of the two, which will usually influence the player in terms of which they are most likely to play.
The four words 'Agon', 'Alea', 'Ilinx' and 'Mimicry' are forms of game types proposed by Caillois, influenced by Huizinga. As with Paidea and Ludos, the elements of each type can very often overlap, but are definitely separate.
Agon
Agon is the word used to describe the struggle and competition of a game, similar to Lazzaro's 'Hard Fun' dynamic, which often incurs frustration that can lead to relief (fiero). Fighting games are almost all in this category, along with sports and MOBA games.
Alea
Alea describes a game based in chance, coming away from skill and focussing more on hope and luck. With this type of game the player usually has to try and deal with the situation as it happens. A lot of dice dependant games fall under this category, as do other card and board games.
Ilinx
Ilinx is a game in which movement is key, be it the player movement or the movement around the player. This type of game often gives a sense of urgency, meaning the player must react to the flow of the game. Snow sports games tend to be Ilinx games, as do 'infinite runner' type flash games.
Mimicry
Mimicry games are about roleplay and simulation. Lazzaro's 'Serious Fun' can be prominent here, as players are usually allowed to change their character and environment, simulating how the character would act according to the player. Games like Fallout and Baldur's Gate (RPGs) fall under this category, with others such as Train Simulator and Evochron Mercenary.
The mix of types is evident in a lot of games, sometimes making it unclear which type a game might be more focussed on. For example in a racing game like Midnight Club the player is in competition against other racers, struggling sometimes towards their goal of being in front of the other racers; at the same time the player must constantly be aware of the ever changing surroundings caused by the speed at which they are travelling and other traffic on the roads. To me this game is both Agon and Ilinx, with an unclear focus on which one.
By looking at these definitions of types of game I can better analyse the differences between games; this will be helpful to me when writing about and designing games. This will also help me in future posts as I try to narrow down the definition of the term 'video game'.
My understanding of the two words 'Paidea' and 'Ludos' stem from Caillois's conceptions, which are based in the idea of play; though they are more directly references to rule systems within games. Whilst 'play' refers to the free act of decision making and interaction that are separate from 'real life', the word 'game' is more specifically linked to the rules, structure and inclusion of a quantifiable outcome. The differences between 'Paidea' and 'Ludos' can be vast, but can also overlap; meaning the definitions must be clear and understood.
Paidea
This is the act of 'playing for fun'. The idea of 'fun' here could more specifically relate to Lazzaro's definition of 'Easy Fun' based in novelty. Paidea tends to demonstrate less rules imposed upon the player, allowing them to freely enjoy the game without pressure.
Ludos
This is the act of 'playing to win'. To refer to Lazzaro again I can see a link to his idea of 'Hard Fun' that encompasses things such as goals and strategies. Ludos can be identified as games with more rigid rule systems that are designed to push the player into a struggle towards an 'end goal'
As I mentioned above, the two can very often overlap; this is because of the approach of the individual player. For example, whilst playing a game heavily focused on goals (Ludos) the player might take some time to step back and have a look around, taking in the sights, sounds and general activity around them (Paidea). This also works the other way, as with the popular game 'Minecraft', although there are no specific goals for the player to work towards (Paidea) the player might take it upon themselves to use the in game resources to build a large structure of their own design (Ludos).
Whilst most games allow for both Ludos and Paidea, they are often more focussed on one of the two, which will usually influence the player in terms of which they are most likely to play.
The four words 'Agon', 'Alea', 'Ilinx' and 'Mimicry' are forms of game types proposed by Caillois, influenced by Huizinga. As with Paidea and Ludos, the elements of each type can very often overlap, but are definitely separate.
Agon
Agon is the word used to describe the struggle and competition of a game, similar to Lazzaro's 'Hard Fun' dynamic, which often incurs frustration that can lead to relief (fiero). Fighting games are almost all in this category, along with sports and MOBA games.
Alea
Alea describes a game based in chance, coming away from skill and focussing more on hope and luck. With this type of game the player usually has to try and deal with the situation as it happens. A lot of dice dependant games fall under this category, as do other card and board games.
Ilinx
Ilinx is a game in which movement is key, be it the player movement or the movement around the player. This type of game often gives a sense of urgency, meaning the player must react to the flow of the game. Snow sports games tend to be Ilinx games, as do 'infinite runner' type flash games.
Mimicry
Mimicry games are about roleplay and simulation. Lazzaro's 'Serious Fun' can be prominent here, as players are usually allowed to change their character and environment, simulating how the character would act according to the player. Games like Fallout and Baldur's Gate (RPGs) fall under this category, with others such as Train Simulator and Evochron Mercenary.
The mix of types is evident in a lot of games, sometimes making it unclear which type a game might be more focussed on. For example in a racing game like Midnight Club the player is in competition against other racers, struggling sometimes towards their goal of being in front of the other racers; at the same time the player must constantly be aware of the ever changing surroundings caused by the speed at which they are travelling and other traffic on the roads. To me this game is both Agon and Ilinx, with an unclear focus on which one.
By looking at these definitions of types of game I can better analyse the differences between games; this will be helpful to me when writing about and designing games. This will also help me in future posts as I try to narrow down the definition of the term 'video game'.
In the Beginning, There is the Designer
This post will consist of detailed notes on reading I have done.
In Jesse Schell's book 'The Art of Games Design: A Book of Lenses' he describes game design as "the act of deciding what a game should be". In the first chapter 'In the Beginning, There is the Designer' he goes on to say that to be a game designer one must simply design games.
The first chapter (which I am looking at for this post) starts by saying that confidence is key; Schell suggests that "If your confidence wavers, just repeat the magic words again: I am a game designer". This is because without confidence one might not allow themselves to push forward with their ideas, losing them to a thought process made up of worries and insecurities.
On that topic of confidence, Schell also refers to the common belief of failure is learning, stating "If you aren't failing, you aren't trying hard enough, and you aren't really a game designer".
Moving on to skills, Schell suggests that a game designer should use any and all skills available to them. He lists a lot of different skills, ranging from the obvious (animation, brainstorming, etc..) to the more broad but still helpful (architecture, history, etc..). Schell says "the more of these things you are comfortable working with, however imperfectly, the better off you will be", stating that you need not mastery every single skill imaginable, but gaining an understanding and practice are both extremely helpful.
Schell then states that the most important skill to practice is 'listening' and that a game designer must listen to "Team, Audience, Game, Client and Self" because these are the things telling you how to proceed. Listening as a skill is more than 'surface listening', which Schell describes as "hearing what is said", and is more about 'deep listening', which Schell describes as "paying full attention".
In order to listen in this manner Schell suggests you must "constantly ask yourself questions" about what it is you are listening to and "approach everything as a child does, assuming nothing, observing everything"
Schell finishes the chapter by talking about 'The Gifted', explaining that there is a difference between the "innate gift of a given skill" and the "major gift [that is] love of the work". Schell says that whilst you might have the natural ability to, say, design games, it is ultimately not going to get the best results without the passion behind it. He also states that the 'major gift' can allow a person to use and develop their limited skills, likely pushing those skills beyond those of someone with the 'minor gift' in those skills but no love for them.
For now, and for the rest of my game design career, I must constantly tell myself, "I am a game designer".
In Jesse Schell's book 'The Art of Games Design: A Book of Lenses' he describes game design as "the act of deciding what a game should be". In the first chapter 'In the Beginning, There is the Designer' he goes on to say that to be a game designer one must simply design games.
The first chapter (which I am looking at for this post) starts by saying that confidence is key; Schell suggests that "If your confidence wavers, just repeat the magic words again: I am a game designer". This is because without confidence one might not allow themselves to push forward with their ideas, losing them to a thought process made up of worries and insecurities.
On that topic of confidence, Schell also refers to the common belief of failure is learning, stating "If you aren't failing, you aren't trying hard enough, and you aren't really a game designer".
Moving on to skills, Schell suggests that a game designer should use any and all skills available to them. He lists a lot of different skills, ranging from the obvious (animation, brainstorming, etc..) to the more broad but still helpful (architecture, history, etc..). Schell says "the more of these things you are comfortable working with, however imperfectly, the better off you will be", stating that you need not mastery every single skill imaginable, but gaining an understanding and practice are both extremely helpful.
Schell then states that the most important skill to practice is 'listening' and that a game designer must listen to "Team, Audience, Game, Client and Self" because these are the things telling you how to proceed. Listening as a skill is more than 'surface listening', which Schell describes as "hearing what is said", and is more about 'deep listening', which Schell describes as "paying full attention".
In order to listen in this manner Schell suggests you must "constantly ask yourself questions" about what it is you are listening to and "approach everything as a child does, assuming nothing, observing everything"
Schell finishes the chapter by talking about 'The Gifted', explaining that there is a difference between the "innate gift of a given skill" and the "major gift [that is] love of the work". Schell says that whilst you might have the natural ability to, say, design games, it is ultimately not going to get the best results without the passion behind it. He also states that the 'major gift' can allow a person to use and develop their limited skills, likely pushing those skills beyond those of someone with the 'minor gift' in those skills but no love for them.
For now, and for the rest of my game design career, I must constantly tell myself, "I am a game designer".
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