Posts Tagged: research

Foxeer Predator vs. Arrow Mini

Scoping thesis topics

Trying to visualize all the relevant aspects of my research, where to start and where to go.

My primary motivation for this would be to enable myself to create meaningful video game music, expose myself to a mode of manifesting my creativity through sound design.

Anyone can pick up a DAW and poke around notes and plugins or record themselves play. I however, desire to be able to critically approach game design problems from sonic point of view and explore the necessary theoretical and practical frameworks for sound creation for the medium.

All together, my experience in this field amounts to 8 years of piano school and musical education, 3 years of industry game development and about 8 years of digital visual arts.
In hindsight, all the three fields are coming together to help me on my next step of creative development.

Notes: MDA: A Formal Approach to Game Design

[Article in question]

Swordy MDA?

manipulation of physics, inertia and centrifugal forces.
emergent battles between players.
competition, flow, failure vs. triumph.

Swordy taxonomy per article’s list of terms:

Sensation (flow, chaining hits, swinging vertigo)
Fantasy (ancient tribal setting, faux mythology)
Challenge (through competition with another player agent)
Fellowship (bonding through competition)
Submission (invites players to participate and allows to disengage at will)

Swordy doesn’t facilitate a clear win condition as of yet. There needs to be an overarching goal to each battle, not just the joy of defeating other, but the glory of being the champion.

Swordy, as well as board games like Settlers of Catan and Cut Throat Caverns, allow for a meta game, where players “team up” in real life, outside game mechanics to close the gap in equality by agreeing to stop messing with eachother and in turn destroy the leading player.

Swordy first pass:
two players, one weapon, experiments with the flow of physics based sword fighting.

Swordy second pass:
multiple weapons, 4 player arena based combat with character customization, secondary weapons actions, score keeping and timed play sessions.

Swordy third pass:
Multiple multiplayer modes? Single player storyline?

Notes: Play and Ambiguity

[Article in question]

Rhetorics of play:

Play as progress – child’s development
Play as fate – outdated model due to modern rejection of predeterminism?
Play as power – status boosting tool
Play as identity – community, preservation of cultural values
Play as the imaginary – creativity
Play as the self – hobbies, solitary play activities
Play as frivolous – foolishness

Brian talks mostly about “how we talk about play” and the rhetoric itself, rather their theoretic and practical frameworks. He draws the seven distinctions, but in layman’s terms, what I got out of his text is that “they may overlap, or they may not”, and instead of exploring the rhetorics further and perhaps breaking them down, he goes on to talk about scientific ways of discussing rhetorics, which to me, seemed very disconnected from theory of play that the chapter seemed like it was meant to focus on.

Notes: The Definition of Play: The Classification of Games

[Article in question]

On page 124, Caillios basically claims that if mysterious is transformed into play, play itself destroys the mystery. I find it hard to process his way of justifying such claims. What if a person engages in play in a play space, be it mental or physical, where mystery is involved, yet there is no goal nor desire to “solve” any such mystery, but rather to play for play’s sake. Does it still dissolve the mystery? Even if the person is aware that such mystery is in place?

He later argues Huizinga’s definition of play, having no extrinsic motivators like betting money. I think he wants to differentiate games and play as two separate things, which are aren’t mutually exclusive. Games don’t happen without play, but play can very well be a non-game, like the act of verifiaction of the groceries receipt to avoid double-charging could very well be play, yet not a game by any design.

P. 125, “Play is an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money for the purchase of gambling equipment or eventually to pay the establishment.”
What does this say about play as state of mind as opposed to an activity that is done? Is attitude of play or play thinking a waste of time also?
If I was to propose that in a more literal sense, the energy we expel as humans, in any mental or physical capacity, is not a waste, based on the laws of energy conservation, renders Caillios’s statement false.

He argues that there’s a clear distinction between what is play and what isn’t, and that play is only appropriate in a play-space (p. 125), yet his examples are more of games and don’t take into account play as a state of mind.

P. 126, “The game is ruined by the nihilist who denounces the rules as absurd and conventional, who refuses to play because the game is meaningless”
Makes me think of an example, where a spectator runs out onto a soccer field naked. They engage in their own play with their own rules (run away from the guards, disrupt the game, get on the news, fulfill a dare etc.), but I would argue that the act of thereof is part of the play of soccer culture, where such behavior is somewhat commonplace and maybe even expected. Sure, the game of soccer is interrupted, yet the spectators are not taken out by it, they don’t walk away disappointed that the game is “ruined”, they cheer on, in support of the runner, before the game resumes.

Caillios claims that doubt is a fundamental pillar for play, that when outcomes are known, play stops (p. 126).
Can play still be if the outcomes are known? “journey important, not the end” cliche comes to mind, and engaging in play might do so deliberately for the sake of extracting enjoyment out of an otherwise mundane activity with known outcomes.

A master of a certain game can still extract play out of their own mastery. A chess grandmaster can play multiple boards at a time and know to win, foresee everyone’s moves with clarity, just the game is no longer chess, it is statistics, or race for time or something else, the game transcends, play doesn’t stop.

“An outcome in advance, with no possibility of error or surprise, clearly leading to an inescapable result, is incompatible with the nature of play.”
What about the overarching known and inescapable outcome of death? There is nothing one can do, that would not resolve their life in a death state. Does that then mean life is incompatible with play? I don’t think his argument is sound.

“Search for equality” as he put it, being essential to rivalry is an interesting way of thinking about competition. Who is searching for equality? The game system definitely seeks to provide an equal playing field, but what when it doesn’t? (Discrimination Pong).

He gives an example of Chess, that inequality exists, because white always goes first.
What if you remove turn based aspect of chess? Both players act simultaneously by the means of asynchronous software, where players “lock in” their moves and the game plays out a “phase” when both players moves are exposed (Frozen Synapse)

Is there a way to remove “desire to win”, in a game with winning in mind and a desirable end goal reward?

Makes me think of religions and people’s desire to “win” a ticket to “heaven” by taking on roles of “believers”. There is an extrinsic motivator, whilst atheist movement denounces heaven and embraces life itself as reward – play.

Zen Bound – example of wan, a meditative game. Escapist experience? What about Solitaire? I don’t think about the cards or maths or sequencing when playing Solitaire, I calm my innter discussion and voice, letting my mechanical mind take care of the game, while I let my mind surf free thoughts. Wan?

Agon – competitive games
Alea – games of chance
Mimicry – roleplay
Llinx – getting high on disorientation,change of perception and mental chaos

My glossary:


Notes: Bow Nigger

[Article in Question]

The ritual of bowing your opponent in show of respect, or showing any respect to someone you’re about to kill is an interesting one in history and fiction. Kung Fu movies propagate this, althought I’m not aware of such rituals actually being true in the “battlefield”, yet when I was a practitioner of Wing Chun, the ritual was commonplace, to show respect, to the Sifu (master), the peers at the start/end of interaction or session, or as a simple greeting, so regardless whether it was time to fight or not.
It is interesting how contextual the gesture is. To Sifu, it would be acknowledgement of Sifu’s superiority and show of respect, but to sparring partners, it would be a simple acknowledgement, if not a statement that the other is equal, or a mere greeting or “thank you” at the start/end of sparring or drill.

A quote from Ender’s Game comes to mind to contextualize the more philosophical meaning of showing respect to your opponent:

In the moment when I truly understand my enemy, understand him well enough to defeat him, then in that very moment I also love him. I think it’s impossible to really understand somebody, what they want, what they believe, and not love them the way they love themselves. And then, in that very moment when I love them…. I destroy them.Orson Scott Card, Ender’s Game

Jedi Knight game, has no mechanics in place, or no incentive for the players to perform the ritual, however players do so, is it out of respect for each other, or is it simply a role-play gesture to make the world set out by G. Lucas relivable, to one up the game’s developers at making it that much closer to the fiction?

Similar thought comes about Journey. The game has no ability to communicate with another player apart from the “chirp”, yet players find their way around, communicating with each other through flight, movement, length of and pauses between chirps, scarf play and meditation gesture, to indicate desire for attention, flight recharge, or celebration of each others glory.

Is it the “you and me” / “you vs. me” aspect of desire for binding ritual, that pushes people to act them out despite the limitations of a given system?
Similar to a yong male challenging another to a pretend slow motion fist fight, one would take up a fighting stance, and wait for the other to “clue in” and take up his own stance before engagement in the play, as a way of communicating, within the fictional play-space when one cannot simply say out loud “I’m going to pretend fight you”, which would destroy this Matrix-esque scenario.

My glossary:

Notes: Nature & Significance of Play as a Cultural Phenomenon

[Article in question]

Huizinga and Sutton-Smith assert that play is voluntary, however I’ve personally witnessed a certain fear of play in people. One example would be in an exhibition setting, there would be people standing by, or verbally refusing from participating or engaging with the work (video game), yet when handed a controller / Oculus Rift as a physical gesture, they would submit to that engagment (few haven’t). While in itself a forceful gesture, I believe the play becomes voluntary from that point on, as the observer becomes the player engaging with the work, no longer under the contract or agreement to recieve the controller for such activity. Perhaps the exhibition setting deters people from “messing about” with the work (which defies the purpose thereof), or some psychological aspect of somehow being in the spotlight or under scrutiny by the exhibitors, I’m sure the reasons are as diverse as the people caught in such situations.

Describing different play-spaces, Huizinga mentioned “courthouse”, making me think of the justice system & courthouse as playground in which the prosecution and defense are playing a meta game, whose goal is not to prove the innocense or guilt of the defendant, but rather one up each other at convincing the jury of superiority in their own reasoning, whereafter, release or imprisonment of the defendant stands as proof of one’s superiority among the lawyer players, given the jury have no vested interest in either of the outcomes of defendant’s destiny.

“Spoil-sport”, p 106, integrity of play-world and player’s desire to maintain the illusion, often embraced by people outside of play, for example at a job, where everybody knows that something is wrong, and there is an unspoken consensus of such happenings, however nobody calls that thing out, for the fear of destroying an illusion of a happy life or workplace, as well as fear of being ostricized by the participants for speaking of the unspoken.

I have a personal experience in such scenario, when I was addressed to stop calling out my ex-employer’s upper management’s inadequate behavior and business practices and management malfunctions. I was told to stop, because it destroys the suspense of disbelief that that corporate environment was a great place to work and that it produced amazing product. The management and the workers were aware of all truths with a kind of mutual agreement, evident in confiding with frustrations amongst each other, however the truth was undesired by the “power players” in control of the play world, because it broke that game.

On vulnerabilities during play:
Advertizing seeks to inject itself in the mental space of people when they’re at play, because that’s when they’re most vulnerable to needing props to support their play-world, like beer and manly lifestyle adverts appeal to those that engage in the social play of bar hopping and football game watching, or feminine products targeted at women approaching menopause, seeking to inject into their daily struggle at keeping up the game of make-believe of youth.

Are people always “playing” when they’re in their “play-world”, or can they sit still, disengaged, yet within the mental constructs of that world? ie. When we have a dream of a certain life we desire, we engage in everyday rituals and games that makes us believe, or is aimed at making others believe that that lifestyle is true. What does it mean, when we stop the rituals? Do we break our own game? Is that where depression comes from? When our actions don’t fulfill the mental playspace?

I don’t think play has to proclaim a standstill to ordinary life with clear boundaries where play begins and ends. Playspace can be mental as well as physical, and both can run in parallel and can exist on their own. I can still “play” when I’m driving or going about some mundane task, even now, i’m retroactively posting blog entries, is a kind of mental game to achieve completion, or to discover something within my own mind that I haven’t encountered before.

The description of the tribesmen wearing masks making ghost noises in a ritual with women being fully aware of the play involved, participate willingly in make belief, just like the old women at the Elvis impersonator concert, they know he’s not Elvis, they know they’re not in their 20’s anymore, yet both parties engage in a willful submission to the play-world.

During every reading, I make a note of every word that I have to confirm the definition of online, so I’ll be making a little glossary at the end of each post to help them stick, or have them as some kind of “tag” for future references or starting points for thought.

My glossary:

petitio principii