The Meaning of Colors is a tiny “game” about connecting the dots and thinking like a right-wing nut. It was made with flickgame, a tool by Stephen “increpare” Lavelle for the creation of quick, MS painterly, visual hypertexts. The peculiarity (and brilliance) of flickgame is that it forces you to define specific colors as active areas, as opposed to objects or shapes, so I decided to make a piece around it.
The Ills of Woman is a faux Victorian-era board game imagined as a precursor of Hasbro’s Operation. It was co-designed by Molleindustria and Tenley Schmida who came up with the idea after reading about the “wandering womb”, an ancient belief that the uterus could freely move around the body of a woman causing all sorts of afflictions. Some variations of the wandering womb persisted until modernity, whereas other discredited illnesses referenced in the game have been well within the realm of official medicine until the 20th century.
More than simply making fun of obsolete science we wanted to create a game about how psychiatry, medicine, and even fashion was (and still can be) used to justify the oppression of women and marginalize “sinful” or deviant individuals. There’s plenty of literature on how conditions like hysteria or melancholia were used to pathologize a wide range of behaviors in women.
Victorian board games were permeated by the morality of the time, and often conceived as educational tools, so it’s not a stretch to envision a proto-Operation game along the lines of The Checkered Game of Life, using the then novel electric technology as a gimmick.
The cards’ descriptions heavily draw from British and American writings from the 19th century, making the game somewhat accurate in its wrongness. Still, The Ills of Woman builds upon a caricature of a bigot and oppressive Victorian society. On closer examination, most of the conditions in the game were subject to fierce debates, defying simplistic narratives. While corsets were certainly popular until the 1920s, the practice of tight lacing may have not been as common or extreme as we think, its condemnation may have spun from moral prudishness rather than genuine health concerns; the treatment of Melancholy, which roughly maps to today’s depression, included many common sense practices, and the use of leeches is mostly documented within insane asylums; the notion that the vibrator was invented to cure hysteria may be more of a contemporary fantasy than a historically uncontested fact; even the infamous bicycle face, occasionally resurfacing as a feminist meme, existed only within conservative circles and was quickly replaced by the now common-sense idea of cycling as a healthy and liberatory practice – even for women.
I made a short documentary/Let’s Play about one of the first artgame makers: John O’Neill who, in the early ’80s, created strange videogames about the meaning of life and dolphin communication. It contains material that has never been recorded or put together before.
I was doing some research for one of my classes when I stumbled upon O’Neill’s wikipedia page. It was well documented, and his tabletop game company is active, but I could find very little information about his early digital games, except for a couple of screenshots and two incomplete videos. So I went down a retrogaming rabbit hole and I even ended up interviewing him.
The great game industry crash of 1983 pretty much wiped out all the opportunities for game experimentation in North America, and several of John’s personal projects were cancelled or obtained limited release; but it’s remarkable how despite everything, both Lifespan and The Dolphin’s Rune are still playable today via emulators.
The games are quite cryptic but if you feel like trying them, in this zip you’ll find everything you need to emulate them on Windows, plus a scan of The Dolphin’s Rune manual:
In this zip you can find the interviews quoted in the video and a very detailed account of John O’Neill’s involvement with the video game industry. It was written by the man himself a few years ago in response to an inquiry from a game historian:
A Short History of the Gaze is finally available for free to the few privileged people with access to Oculus Rift and the required high end computing equipment. The piece premiered at the conference WEIRD REALITY: Head-Mounted Art && Code in October 2016 and has been shown at a couple of festivals since then.
It’s the first molleindustria project that employs a first person view and immersive 3D environments, mainly because they are the subject of the piece. A Short History of the Gaze is conceived as an experiential essay, in analogy to the film essay genre; instead of exploring a theme though text and images, it tries to do so though a series of scenarios and micro interactions, mostly looking and not looking at things.
All the scenes examine the act of looking and its relationship with violence. From the evolution of sight in a pre-cambrian sea creature to the dominance display of a primate, from a landscape of billboards begging for attention to an infinite panopticon.
The gaze is central to any Virtual Reality experience and yet rarely problematized. I wanted to create an artifact that is immersive while fighting against the suspension of disbelief, in which the player/viewer is encouraged to fill the conceptual gaps between dramatically different scenario. A Short History of the Gaze is my response to the many oversimplifications that afflict the discourse surrounding virtual reality: VR as presence and embodiment, VR as empathy amplifier, VR as the liberation from a despotic directorial gaze etc.
If you tried it and you want to know more, you can watch this (spoilery) 5min playthrough with commentary.
I teamed up with poet, performer, and activist Harry Josephine Giles to put together a collection of games to be played during protests. Casual Games for Protesters is a kind of response to the daunting question “What can game makers do in the age of Trump”. It’s a gesture but also a serious proposition, a way to see protests as experiences that can and should be crafted. We are soliciting guest contributions and we’ll be adding more games in the days to come. This is the project statement:
Casual Games for Protesters is an ongoing collection of games to be played in the context of marches, rallies, occupations and other protests. They require very little preparation and equipment.
Protests can often be alienating or difficult to access for some people — whether that’s because of safety concerns, lack of physical accessibility, burn-out or just not knowing how to get involved. And rallies and marches can be overwhelming, formulaic in their structure, unnecessarily grave, or even boring to attend.
We believe it doesn’t have to be that way. Participating in social change should be exhilarating, social, intellectually and physically stimulating, liberatory and fun. Games can help craft those collective experiences.
Of course, context is crucial, and not all games make sense in all situations. The dignity and rage of the Ferguson uprisings involved mourning victims, expressing anger and campaigning for better lives. The blockade of the Dakota Access Pipeline at Standing Rock is shaped by the traditions and beliefs of the Native American tribes that lead the protests. Such situations may not always leave room for playfulness — or they may call for a different kind of play.
We have tried to compile a wide variety of games from many different sources and imaginations. We’ve remixed folk and parlor games, added a political twist to acting and training, borrowed liberally from our precursors, and made up new things entirely. We are indebted to a long tradition, from the experimental theater of Augusto Boal and the New Games Movement, from the creative protests of C.I.R.C.A. to the world of modern live-action games. Direct inspirations were the Tiny Games format popularized by Hide & Seek, Metakettle by Terrorbull games, and the playable poetry of Harry Josephine Giles.
What we haven’t included yet are less casual and more pre-prepared games for specific events. Such games could be deeply integrated with the theme and the tactics of a protest, complement its theatrics, and inform actions of civil disobedience. We hope that some of our games might inspire such inventive, radical and effective tactics.
We will see an escalation of unrest and mass participation in the coming years, in opposition to the resurgence of the extreme right in Europe and North America, as part of global responses to climate change and floundering neoliberalism, and in both local and international movements. Countering protest fatigue and making activism more approachable and stimulating must be a priority for everyone.
This is the selection, based on a variety of parameters (themes, diversity, available controllers, accessibility…):
Love Punks by Yijala Yala project
10 Seconds in Hell by Amy Dentata
Nothing to hide by Nicky Case
Cyborg Goddess by Kara Stone and Kayte McKnight
Love is zero by Porpentine
To Build a Better Mousetrap by Molleindustria
How do you Do It? by Nina Freeman, Emmett Butler, art by Jonathan Kittaka, audio by Deckman Coss
The Cat and the Coup by Peter Brinson and Kurosh ValaNejad
Perfect Woman by Peter Lu & Lea Schönfelder
Porpentine also edited a mixape of Twine games you can download from here.
To Build a Better Mousetrap, a long-awaited management game about innovation and labor, is finally out!
The game premiered last December at FACT gallery in Liverpool along with the article/talk Videogames and the spirit of capitalism.
I tried to describe To Build a Better Mousetrap as “Richard Scarry meets Karl Marx” or “Information visualization without information” but it’s really a development of the idea of “playable theory” I explored before with the Free Culture Game or Leaky World: using games and simulations as cognitive maps, as objects to think about systems and about broad social dynamics in abstract. This time however, I tried to avoid text and labeling in favor of transparent flows of resources and iconic elements.
The result is somewhat cryptic, dry, and against the current trend of narrative indie games, but some players may recognize a cast of classic characters: the Surplus Value, the Reserve army of labor, the Fordist class compromise, the alienation resulting from division of labor, and one of today’s hottest capitalist contradictions: the decline of employment as result of labor saving technologies a.k.a. “the tendency of the rate of profit to fall”.
To build a better mousetrap can end in bankruptcy, retirement, and insurrection/post-scarcity socialism.
Can you save capitalism from itself?
Two years ago the first profits from Phone Story were sent to Tian Yu, one of the Foxconn employees who attempted suicide after enduring illegal overtime and abusive working conditions.
Due to the infamous ban from the App Store the game is available only on the web and on the Android Market for $1, which yields around 66 cents of per unit (Google keeps 30% of the revenues). After the initial spike, the sales slowed down to a dribble, but it is still selling nonetheless.
Adding an exceptional exhibition fee from the Next Level conference I managed to collect $2000 which have been donated to these two amazing organizations:
The Electronics Take Back Coalition‘s goal is to require electronics manufacturers and brands to take full responsibility for the life cycle of their products.
China Labor Watch collaborates with unions, labor organizations and the media to conduct in-depth assessments of the Chinese factories producing goods for US companies. They recently co-run a campaign to protect Apple’s workers from dangerous chemicals.
*Images from the The Story of Electronics
Support a good cause and fashionably declare your belief that videogame culture is funded on an economic basis and reflects class relations and struggles!
Historical Materialism is less scary than Marxism and can be worn ironically!
Started as a joke on Venus Patrol’s We Are Videogame Romantics, this T-Shirt is a fundraising effort for the annual game and simulations track at the Allied Media Conference I help to organize.
I’ll post the line up soon, meanwhile you can find some information on the previous editions here and here.
For each T-Shirt we make about $10 which will fund or subsidize travel and accommodation for speakers.
Around 2010 I noticed the emergence of an iconography tied to the buzzword monetization. Zynga and the Appstore were blowing up and a new parasitical industry began to promise shortcuts to commercial success. Their offers involve selling users, proposing bizantine revenue sharing systems, manufacturing ratings and other sketchy marketing services. One visual trope was dominating their promotional material: cash. Piles of cash. Computer and smartphones vomiting Benjamins like possessed ATMs.
I started collecting these images, then forgot about it until now. As we know, commercial success in these saturated markets is extremely rare and usually very brief, like in the gangsta rap dreams sold to disenfranchised minorities.
Play with sound.
Selected students’ works from my experimental game design class at Carnegie Mellon’s School of Art.
A hands-on game design course focused on innovative and expressive forms of gameplay.
In this installment of Experimental Game Design the emphasis is placed on the interface: inputs beyond mouse/keyboard/joystick/touch, outputs beyond screen/speakers, playing contexts beyond the suburban living room (alternative arcade, gallery museum spaces, urban environments etc…).
Unfortunately I couldn’t include some Windows-only works.
Project descriptions and downloads here:
This is a transcript of a workshop I conducted together with Liam Burke at the Allied Media Conference in June 2013. The workshop is meant to be a very basic introduction to system thinking via games targeted toward grassroots activists. It uses a simple fishery simulation available here as example.
The unimaginatively called “Fishing game” was designed for the 2013 Allied Media Conference. It’s meant to be played, discussed and modded in a interactive workshop context. The companion presentation can be found here.
In order to play the game you need:
.Exactly 4 players
.About 30 money bits – decorative marbles will work
.About 30 fish bits – Swedish fish candies work perfectly
.The printable materials below:
Fishing Game materials to be printed on 4 Letter sized card stock sheets (black and white).
Next week I’ll be in Detroit at the Allied Media Conference. The conference track “Imagining Better Futures Through Play” looks dense and exciting, with a strong focus around DIY gamemaking and inclusivity.
Here are some session highlights, the full schedule is here here.
Animation in Art & Digital Storytelling
SATURDAY – JUNE 22, 9:00am – 10:30am
The tools to create games and stories on the computer are more accessible than ever before, but this technological method of creative expression can seem challenging. This workshop aims to demystify a powerful element of digital storytelling: Animation. Through simple, effective examples using inexpensive, easy-to-use software, participants will learn a technical skill that they can use in their own projects and even teach to others. By lowering the barriers of entry to digital storytelling, we will begin to see more thematic, cultural and aesthetic diversity in games, media and audiences.
Sagan Yee – Dames Making Games
Effective Games for Outreach & Education
SATURDAY – JUNE 22, 9:00am – 10:30am
We will explore ways play and games can be a tool to change a group’s basic understanding of a topic. We will give a brief overview of effective and not-so-effective techniques to create your own group games, and emphasize making simple, physical games to use for outreach and or education. A brief discussion will empower participants with the basic skills needed to start making their own games, followed by a fun session of game playing. Participants walk away with game creation guidelines applicable in their own communities.
Ben Norskov, Ida Bennedetto, Mohini Dutta – Antidote Games
Video Games & Cartoons With Scratch!
SATURDAY – JUNE 22, 2013: 2:00pm – 3:30pm
We’ll use Scratch, the drag-and-drop programming environment developed by MIT for kids. We’ll show you how to get started making your own games and animated cartoons. As kids we don’t have to be just consumers: we can be creators, too!
Lisa Williams – Data for Radicals
Making Games for Social Change
SATURDAY – JUNE 22, 2013 4:00pm – 5:30pm
This session will be a quick and dirty game design intensive. Participants will be broken into small teams organized around social issues and target audiences they care about. They will be taken through a four-part co-design process, which will result in a game concept and paper prototype. The four-part process will entail the following steps: 1) getting at core values, 2) cracking the “culture code,” 3) unearthing systems thinking, and 4) designing a board game. Participants will pitch their final concepts Pecha Kutcha-style, and vote on the best game.
Heidi Boisvert – futurePerfect lab
The Beautiful Game: SJ Soccer
SATURDAY – JUNE 22, 2013. 4:00pm – 5:30pm
In today’s world, where sports are often hyper-aggressive and stress winning at all costs, is it possible to honor cooperation and inclusivity over competition and elitism? Is it possible to inject principles of social justice into “the beautiful game”? We will examine alternative models for healthier, more inclusive, socially just sports through a soccer framework. Participants will walk away with a framework for implementing community-based social justice sports programs and tactics for engaging youth in conscious sports. Workshop will be followed by a game reflective of the values discussed
Dania Cabello – Left Wing FC, Guerilla Educator
Antonio Crisostomo-Romo – L.A. Futbolistas, California State University Long Beach
Emmanuel Ortiz – Left Wing TC
Martin Macias Jr. – Chicago Fair Trade, University of Illinois at Chicago
Making Your Game for Free or Less
SUNDAY – JUNE 23, 2013: SUN 3:00PM – 4:30pm
It’s one thing to design a game that challenges and reshapes narratives, but it’s another task to actually make that game available to people. In this session, we’ll discuss techniques for producing a game on a shoestring budget, including crowdsourcing funds and doing your own publishing and distribution. Participants will come away with the knowledge necessary to become their own publishers and take their games from concept to production.
Liam Burke – Liwanag Press
Greg Austic – Austic Labs
Make Your First Videogame!
FRIDAY – JUNE 21, 2013: FRI 9:00am – 10:30am
Have you ever wanted to make a video game but didn’t know where to start or how to code? This hands-on workshop is dedicated to giving you an introduction to the world of game making. We’ll be using Stencyl – an easy-to-learn, free, drag & drop software – to literally snap the blocks of your first game together! Programming skills or previous games experience are not required for this workshop.
Rebecca Cohen Palacios – Pixelles
Making Personal Videogames With Twine
FRIDAY – JUNE 21, 2013: FRI 2:00pm – 3:30pm
Digital games have a unique capacity for telling personal stories and challenging systems of oppression. But the skills to make videogames are notoriously gatekept. In this workshop, we’ll explain how to use a software called Twine. Twine is a free program for making branching hypertext stories, sort of like the “Choose Your Own Adventure” books of the nineties. By the end of the workshop, everyone will have made a videogame from their personal experience.
Designing Games to Understand Complexity
FRIDAY – JUNE 21, 2013: 4:00pm – 5:30pm
How can we tell the story of a dysfunctional food system? How can we understand the roots of a rich-getting-richer class dynamic? How can we grasp the nuances and the shared responsibilities of an energy crisis? Some issues seem to have way too many “moving parts” to be reduced to personal stories or linear cause-and-effect relationships. That’s where games and simulations can help! By playing and making games we can take a step out of the social systems we inhabit, conceptualize them as a whole, identify the conflicting forces in play, and envision better systems.
Paolo Pedercini – Molleindustria
Liam Burke – Liwanag Press
*Top image stolen from Dames Making Games.
I’ve been asked to design and develop a small game for a Space Invaders-themed campaign against corporate tax evasion. The result is Tax Evaders, an iteration of the original arcade classic with excellent Amiga-era pixel art by James Biddulph and sound design by Ashton Morris.
The week before Tax Day (April 15) the game has been projected guerrilla-style against corporate offices and banks in various cities around the States, together with other light interventions by groups in the post-Occupy Wall Street galaxy.
The campaign, coordinated with a Twitter bombing against the main evaders’ accounts, was quite successful. I’d love to see more games (digital or not) in public spaces as enablers of playful protest.
However, the game itself leaves a lot to be desired.
Changing the narrative surface of classic arcade games has been the default strategy for “games with an agenda” since they existed. Take a well known gameplay and simply replace text and graphic elements to reference some “real world” relationships.
In fact Tax Evaders could be seen as the latest example of a tax-themed Space Invaders genre:
John Kerry: Tax invaders an official game by the GOP from 2004.
The complementary John McCain Pork invaders from 2008.
This is a straightforward gameplay-as-metaphor approach I always cautioned against, not only because it’s unlikely to produce a compelling game (the game will probably be as interesting as the original, only 20 or 30 years later) but also because it doesn’t take into account that the meaning of a game emerges from the complex, often ambiguous, interplay between the narrative/visual “surface” and the underlying game mechanics.
Rule systems are meaningful or have, at least, certain biases. There are aspects of the Space Invaders’ gameplay that can’t be changed by simply replacing sprites: the conflict is a Manichean good vs evil one, the enemy is foreign, and the only way to confront the invasion is by using military force. In his book Persuasive Games Ian Bogost notes how these specific characteristics are consistent with the conservative ideological frame (taxation as theft, government as external entity…), but they can hardly support a progressive, non militaristic, non reductionist argument. Different ideas require different forms.
Tax Evaders has a few twists: corporations move upwards from the city, metaphorically avoiding their responsibilities toward society; buildings representing social services are not destroyed by direct attacks like the green shields in the original game and are instead restored by tax revenues, and so on.
But the military metaphor is still there and it’s a lousy representation of collective action.
Moreover, the game does something I always tried to avoid in molleindustria games, which is proposing a fantasy of power for disempowered subjects.
Images of struggle have always been a part of the iconography of social movements: they can be galvanizing and they can support the idea that it’s ok to see certain people and organizations as opponents with interests that are incompatible with yours.
But I fear that playing a virtual revolution may have a cathartic, soothing effect. Especially in a moment in which the issue of economic inequality has been raised, the problems have been identified by a large part of the population and the frustration from not being able to translate this sentiment into political change is widespread.
SO I MADE A LITTLE THING ABOUT GUN CONTROL CALLED:
IT’S AN UNOFFICIAL NRA GAME THAT INVOLVES TACTICAL SHOOTING AND FOUR DIMENSIONAL THINKING.
- CUTE GRAPHICS!
- REALISTIC BLOOD!
- FIVE DIFFERENT WEAPONS!
- WILD BLUEGRASS MUSIC!
- INFINITE LEVELS!
- MORAL RELATIVISM!
- UNIQUE MASSIVELY SINGLE PLAYER GAMEPLAY!
USUALLY MOLLEINDUSTRIA GAMES ARE FREE.
FREE AS IN FREE BEER AND FREEDOM, NOT AS IN FREEMIUM.
BUT THIS TIME I’M ASKING FOR MONEY BECAUSE I’M RAISING FUNDS FOR A SERIES OF WORKSHOPS AMBITIOUSLY NAMED:
THIS INITIATIVE IS MEANT TO HELP ACTIVISTS AND GRASSROOTS ORGANIZATIONS MAKE GAMES FOR SOCIAL CHANGE AND PERSONAL EMPOWERMENT.
YOU CAN FIND MORE INFORMATION HERE AND HERE.
THE PROGRAM IS CURRENTLY BEING DEFINED.
ANYWAY… THIS IS WHAT THE BEST AMENDMENT LOOKS LIKE:
HELL IS OTHER PEOPLE.
BUT WHAT IF OTHER PEOPLE ARE YOU?
HOW MUCH DOES IT COST? I HAVE NO IDEA. YOU DECIDE!
THANK YOU! AND FEEL FREE TO CONTACT ME.
This is my second post on Empyre, a longstanding discussion list for artists, programmers, and curators of new media art. The theme of the month is “Videogames and Art: Incite/Insight”. You can check the March archive here.
Here I talk about Molleindustria in relation to the context in which it started (almost 10 years ago) and the current trend of gamification. This is meant to be a conversation starter, not an essay.
Molleindustria is a project about games and ideology, it’s a bit of art, media activism, research, and agitp[r]op.
The idea is to apply the culture jamming/tactical media (remember tactical media?) treatment to videogames: speading radical memes and, in the process, challenging the language of power, the infrastructures, the modes, genres and tropes of the dominant discourse which was omnipresent in videogame culture.
The half joke is that I came up with Molleindustria because I failed at starting my own television. In the early zerozero – mid Berlusconian age – we had pirate TV stations popping up in all the major Italian cities in what came to be known as the Telestreet movement. It wasn’t just television with radical content, but a radically different way of making television.
There was a nice medium-is-the-message / form-follows-content thing going on, resonating with software, net.art and hacker culture as well.
There was this idea that the political sphere was boundless: something we do, and we are subject to, every day and every moment. The half-naked show girls on prime time television, the charming millionaires of the soap opera Dallas, the software, the protocols, the fantasies coming from the booming-and-busting Silicon Valley were no less political than the occasional vote or the sanctioned spaces for political debate.
And, of course, the demonstrations in the streets, the boycotts, the occupations, the strikes…
I am very familiar with Gonzalo Frasca’s work which was previously mentioned on this list and from which I borrow the title of this post. I launched the project in 2003, the same year September 12th came out and he started to write about videogames with an agenda with Ian Bogost.
One thing I share with both of them is the idea that videogames are representational media. They are always about things. There is, of course, a gradient of abstraction in that a game like SimCity is unquestionably about cities (or gardening) while a game like Tetris is about more general themes such as order vs disorder, control & optimization, or the tragicomical limits of human cognition.
The less abstract are the games, the more they tend to be problematic and fall under scrutiny. There is a lot of literature discussing the urbanist ideas advanced by SimCity or the portrayal of contemporary and historical conflicts in first person shooters or strategy games.
To interpret a game and to make games that mean something, people use a variety of approaches.
Some aspects can be tackled with traditional storytelling and narratology. For example, later this week, pop-feminist Anita Sarkeesian will launch the first installment of “Tropes vs women in games”, an online video series dissecting the representation of women in videogames (edit: now released).
However, there are aspects of games that can’t be fully understood by simply breaking down characters and plots. Games, simulations and interactive media are systems of rules, and these rules produce meaning as well: they define the relationships between the purely representational bits (images, sounds, text…) and the agency of the players within the system.
To be honest, we are still trying to figure out how this procedural rhetoric actually works and how people interpret these “texts” with so many moving parts. But that’s the fascinating part.
I’m interested in promoting this kind of procedural literacy through my games. I believe games can get people used to “think in systems” and that a holistic, ecological, non-reductionist way of thinking is desperately needed in our [cliche' alert] increasingly interconnected world ravaged by global crisis.
Part of this literacy consists in understanding that digital and non digital models are informed by ideologies and systems of values (when it comes to scientific simulations the story is a bit more complicated). They are artful depictions of reality, and as such, we should describe them not in terms of how “realistic” they are, but in terms of the arguments they deploy and the narratives they support within the larger context. This is, by the way, the reason I often use satire, cartoonish styles, and a rather overt authorial “presence”: to defuse the temptation of interpreting these games as objective.
I feel like I have to mention the issue of representation because there is another trend, another way to conceive and use games that has more to do with behavioral change. The marketing power fantasy referred as “gamification” is part of this trend, but also slightly more legitimized endeavors like the many exercise games pretending to fight obesity.
This approach is less concerned about the semiotics and the aesthetics of games, and more focused on games as systems of incentives to produce actual, quantifiable change in the way players behave outside of the game (if there is an outside). If you are not familiar with gamification and the like, imagine attributing arbitrary points and rewards to certain behaviors, pushing people to voluntary monitor these behaviors, and then creating the conditions for competition/self-evaluation based on the score system.
Commentators like Ian Bogost have called bullshit on gamification and I largely agree. But having worked in marketing in the past, I’m quite familiar with the structural hype cycles of the field. You have people overselling techniques meant to oversell services and products. Everybody is lying to everybody else on multiple levels, intra- and extra-corporate. But as a whole the advertising system works because it succeeds at pervading every corner of the mindscape with the discourse of consumption.
To me it is not too crucial to find out whether or not you can control people through game-like systems. What’s more important is that this fantasy is out there, strong and loud. Governments and corporations are investing lots of money in this idea.
Feasible or not, this is the object of desire of contemporary capitalism and as such it’s worth investigating.
Is the fantasy of gamification a testament to the decline of money as the general, all-encompassing incentive to regulate human relations?
Could it be a premonition of the next power paradigm? We went from a disciplinary society (the stick) to a society of control (mass surveillance). Is the society of the incentive (the customized carrot) next?
Is gamification a tension toward the measurement of the unmeasurable (lifestyle, affects, activism, reputation, self esteem…), being measurement the precondition of commodification?
Don’t expect a political punchline: there’s none.
Arcade Bike Polo was created for Fuck This Jam, a friendly game making competition organized by Vlambeer‘s Rami Ismail & Panoramical creator Fernando Ramallo. Gameplay and graphics were completed by the end of the week-long jam but I decided to take some extra time to add sound, menus and other non-core features.
Fuck This Jam challenged creators around the world to make a new game in a genre they hated. From the call:
Through utter ignorance for conventions and hate for the established rules of a genre, beautiful things will happen.
Although beauty has never been and will never be a priority a for Molleindustria, parodying/subverting the most obnoxious game genres (management sims, fighting games…) has been a recurring strategy since the inception of the project.
This time around I wanted to try a more direct approach and make a straightforward sport game. Not a stylized, natively digital multiplayer game like the Sportsfriends ones (that’s definitely not a genre I hate) but instead a digital translation of an existing sport.
The main inspiration for Arcade Bike Polo is Sensible Soccer, a frantic, streamlined and rather hardcore Amiga title from 1992. Sensible Soccer was a product of that awkward period of gaming history suspended between the symbolic/iconic age (i.e. pong) and the forced march toward photo-realism starting from the mid-nineties.
The choice of Hardcourt Bike Polo was obvious since it’s pretty much the only sport I’ve ever liked (full disclosure: I’m a terrible player). Moreover, Bike Polo is still not contaminated by rampant commercialization, exploited by cool hunting marketers, nor dominated by jock culture. On the opposite, it’s strongly connected with bicycle advocates, it’s decentralized and permeated by a DIY/punk(ish) attitude.
The beauty of Bike Polo is in being both elegant and messy at the same time. At first it may appear as a dangerous, clanging wreck of wheels and ski poles, but then comes the realization that hitting a small ball with a section of ABS pipe while riding a bike is not any more absurd than running around bouncing a basketball: it’s just a series of artificial constraints from which patterns, tactics and strategies emerge.
I wanted to create a videogame that, without any pretense of simulation and “realism”, captured some of the core dynamics of the sports. Namely: the fluidity of action resulting from the lack of fixed roles and from the bikes’ affordances (you can’t instantly stop and change direction), and the asymmetry created by players with one strong side (the one with the mallet).
Some crucial aspects like collisions, wrecks, and “dabs” are intentionally downplayed or removed to produce a more fluid gameplay. A real-life polo game tends to have a hobbling kind of flow, with frequent pauses charged with tension, and sudden breakaways; mallet-to-mallet contact (sword fight) is common and frenzied; players get constantly cornered to the side of the court. These are characteristics you won’t find in the game.
Those familiar with bike polo will notice some other artistic licenses: the court is over-sized, there’s no distinction between “hit” and “shuffle”, it’s possible to ride through the goal backward and then score, and so on… each of them would require a justification I’d rather spare you.
I hope this silly videogame will introduce Bike Polo to a few uninitiated.
If you are one of them, trust me: the real deal is much more fun.
Chances are there is already a bike polo club in your own town!