New paper: The Magic Circle and the Puzzle Piece

My keynote presentation from the 2008 Philosophy of Computer Games conference can now be downloaded here: The Magic Circle and the Puzzle Piece.

This is my attempt at giving some nuance to recent discussions about the magic circle of games. Abstract:

In a common description, to play a game is to step inside a concrete or metaphorical magic circle where special rules apply. In video game studies, this description has received an inordinate amount of criticism which the paper argues has two primary sources: 1. a misreading of the basic concept of the magic circle and 2. a somewhat rushed application of traditional theoretical concerns onto games. The paper argues that games studies must move beyond conventional criticisms of binary distinctions and rather look at the details of how games are played. Finally, the paper proposes an alternative metaphor for game-playing, the puzzle piece.

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Postscript

With The Magic Circle and the Puzzle Piece I had been hoping to create a paper as balanced as my old Games Telling Stories? paper, wherein I would elaborate the merits of pro and con arguments concerning the magic circle.

What I found was that in hindsight, the games vs. stories discussion was the easy one: The participants agree that there exists something called games, and that we can discuss whether or not these can be considered stories.

The discussion of the magic circle is much harder because the participants fundamentally disagree about the terms of the discussion: Proponents of the magic circle metaphor consider it interesting to examine to what extent a game session is or isn’t separate from something outside that game session. Critics of the magic circle, on the other hand, have objections to the question itself because they assume that the metaphor is fundamentally problematic for various historical and theoretical reasons that I mention in the paper.

In other words, the magic circle discussion has not happened so far. In the paper, I hope to have opened a tiny hole in the wall through which future conversations can take place.

On the Game Studies Download 3.0 Shadow List

My article Swap Adjacent Gems to Make Sets of Three: A History of Matching Tile Games made it to the “shadow list” of this year’s Game Studies Download session at the Game Developers Conference.

I’ll quote the shadow list description of the paper:

Juul, Jesper. “Swap Adjacent Gems to Make Sets of Three: A History of Matching Tile Games.” Artifact journal, Volume 2, 2007. Also available at http://www.jesperjuul.net/text/swapadjacent/.

Games discussed: Tetris, Centipede, Puzzle Bobble, Zuma, Luxor, many others


Country: Denmark

The casual games marketplace puts conflicting pressures on game developers: Innovate enough to differentiate, but make the game sufficiently like other games that players find it easy to pick up and play. When player picks up a game, they are also using their conception of video game history to understand the new game.

The article presents a history of matching tiles games, including a complex family tree of influence and innovation. Categories in the family tree include timed vs. non-timed, methods of tile manipulation, and criteria for matching.

Innovation in casual games is incremental, and based on combinations of mechanics from existing games. This creates a somewhat schizophrenic environment of cutthroat competition between developers simultaneously trying to out-innovate and out-clone each other.

The basic development method has been analyzing existing games, identifying their basic components, and then creating prototypes that combined elements in new ways in order to create a moderately innovative matching tile game.

Takeaway: The key finding here for our audience is that the actual historical origins and influences of casual games developers are less important than the ones that the players come to the game with. The innovations that will be legible to these players depend strongly on their experience with specific previous games.

The Suicide Game: Player Perception of Self-destruction in a Game

I have put up a conference poster made in collaboration with Albert Dang and Kan Yang Li when I visited Design & Technology at Parson’s School of Design in the fall 0f 2006.

The poster documents an experiment in identifying a basic convention of video games, in this case that players always fight for their own survival, and exploring the ramifications of breaking the convention.

Albert Dang and Kan Yang Li built a two-player game in which the object of the players is to commit suicide by drinking poison and stabbing yourself.

Yes, it is somewhat uncomfortable and perhaps controversial, but we wanted to explore that space by way of a prototype and user testing. The poster was presented at the DiGRA conference in Tokyo September 2007.

Play the game here:  http://www.jesperjuul.net/text/suicidegame/

Read the poster here: http://www.jesperjuul.net/text/suicidegame.pdf

From the poster:

Video games do not necessarily present the player with a positive role to play: The player character may be a villain, be morally corrupt. Yet it is almost universally the case that
video games make players fight for the survival of their character. In a discussion of tragedy in interactive media, Marie-Laure Ryan has noted the seeming impossibility of an
Anne Karenina game, a game where the player’s ultimate goal is to commit suicide by throwing herself in front of a train:

Interactors would have to be out of their mind-literally and metaphorically–to want to submit themselves to the fate of a heroine who commits suicide as the result of a love affair turned bad, like Emma Bovary or Anna Karenina. Any attempt to turn empathy, which relies on mental simulation, into first-person, genuinely felt emotion would in the vast majority of cases trespass the fragile boundary that separates pleasure from pain.
(Ryan 2001)

While Ryan identifies a clear game convention of players fighting for the survival of their character, we know little about what would happen were this convention to be broken:
How would players perceive the controversial or uncomfortable game content in a game where the player had to seek self-destruction?

The Suicide Game