I was asked by my colleague Jesse Stiles to give a talk about video games, interactive music videos and other playthings specifically created to promote music. What follows is an incomplete list of projects I found, thematically sorted. Thank you tweeple for all the recommendations, let me know if I missed any good ones.
In a world of self-driving cars, what’s going to happen to the art and tradition of bumper stickers? Will our gaze be ever drawn to these cheeky statements while traveling automatically? Is the car going to be less of extension of the self and more of a family member, with its own personality, affiliation and trite jokes? And what about the possibly long and turbulent period of coexistence between human drivers and AI?
Made on a whim, down the street from CMUber.
The library is built with accessibility – not performance – in mind and tries to not be “opinionated” in terms of how a video game is supposed to work, something that is easier to say than to implement.
P5.play is an add-on to p5.js, which is in turn a spin-off / spiritual successor of Processing, a popular tool among creative coders and educators. I’m looking forward to adopt p5.js in my courses at CMU and happy to be finally contributing to an open source project.
This talk was delivered as keynote for the Art History of Games conference, that took place during DiGRA 2013. While the infamous Can Games Be Art? question is now being carefully avoided like an inappropriate text you sent while drunk, some references and questions may still be valuable to the world beyond the small group of scholars that gathered in that hotel basement in Atlanta. It’s a minimally edited transcript/note dump, please forgive the informal tone.
2014 has been another great year for indie games, with the long awaited releases of Nidhogg and Broken Age (part 1); the genre-defining Threes (and its unfortunate clones); the outrageously polished Monument Valley and Hohokum; the new chapter of Kentucky Route Zero. What follows is a list of my personal favorites, among the ones I managed to play, in random order, with special attention to social commentary and more overlooked titles:
This year’s installment of my undergraduate course Experimental Game Design went really well. Students designed non-digital games (outdoor and tabletop) for the first half of the semester and worked on digital projects for the second half. You can find course materials here, and downloadable final projects in the student area, mostly Mac only.
I took Tristan Tzara’s DADA manifesto from 1921 and replaced every instance of DADA with BIG DATA.
Big Data Manifesto
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.
This is the introduction and the printable materials for a workshop I gave at the Allied Media Conference 2014 in Detroit. The workshop was centered around MultipliCITY, a basic framework for a city planning board game designed to be expanded and modified by the participants.
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?
These are the slides and the edited notes from a talk I gave at the Games for Change Festival in New York. The talk was targeted to that specific audience (bureaucrats from the nonprofit industrial complex, TED-style technopositivists, game advocates…). Certain parts such as my take on metrics and social change, which may seem obvious to most people, were actually quite inflammatory in that context.
You can find a video of the talk here plus Q&A.
Continue reading “Making Games in a Fucked Up World – G4C 2014”
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.
This is the transcript of a minitalk I gave at Lost Levels 2014, an “unconference” happening during the Game Developers Conference (maybe a bit too square and academic for that casual environment). It’s a topic I’ve addressed in every single talk in the last 10 years or so, but I thought it could benefit from a bit of framing and some nice pictures.
This is a talk I gave at Indiecade East 2014 (remotely due to snow-related flight cancellation). It’s based on an text I wrote for the catalog of Time & Motion: Redefining Working Life, an exhibition at FACT gallery in Liverpool. It’s also meant to be a companion piece for the game To Build a Better Mousetrap.
You can read the original text below which, being targeted to a different crowd, explains games a little bit more and the problem with capitalism a little bit less.
Last week I put together an exhibition of indie/DIY games together with all-around amazing people Caitlin Boyle, Tim Sherman, and Tenley Schmida (aka Crushed Screen Collective). Pixel Punks showcases rough around the edge, confrontational, homemade games in the context of an historical punk venue in Pittsburgh, PA. It’s in part inspired by new arcade experiences like BabyCastles circa 2010, and in part a response to the museification/institutionalization of artsy videogames.
“Arcades are not dead! Skip school and waste your time at Pixel Punks, a showcase of deranged independent games. In the depths of the Internet a brave new movement of DIY game makers is producing rough, cheap, and brilliant digital entertainment. Their budget is zero. Their deadlines are whenever they want. Their games are fast and direct like a three-chord-song or visceral and political like a photocopied zine. Pixel Punks is an homage and a gateway drug to this exciting phenomenon.”
A fanzine/catalog was produced for the event. You can download it from here.
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.
2013 has been not only a great year for independent games but possibly the first year in which many excellent independent titles have been recognized by mainstream gamers and press. Mature and meaningful works like Kentucky Route Zero, Papers please, the Stanley Parable and Gone Home are in many “Games of the Year” lists along with oddities for game connoisseurs like Michael Brough’s Corrypt and 898 Hack.
Instead of reiterating the critical consensus, I’d like to highlight some more overlooked works from this year, of course paying special attention to social commentary.
In no particular order: