My new book: The Art of Failure: An Essay on the Pain of Playing Video Games

artoffailure_cover_180x264[1]My name is Jesper, and I am a sore loser.

And my new book The Art of Failure: An Essay on the Pain of Playing Video Games is fresh out on MIT Press!
(On Amazon.com. UK.)

To wit: I hate to fail in games. I think I enjoy playing video games, but why does this enjoyment contain at its core something that I most certainly do not enjoy?

We tend to talk of video games as being fun, but in The Art of Failure, I claim that this is almost entirely mistaken. When we play video games, we frown, grimace, and shout in frustration. So why do we play video games even though they often make us unhappy?

In the book I compare game failure to tragic literature, theater, and cinema. Where stories concern the inadequacies of others, game failure is special in that it concerns our personal inadequacies

The book covers the philosophy and psychology of failure, as well as the problem of interactive tragedy, and it shows how different types of game design makes failure personal.

Finally, I argue for our right to be just a little angry, and more than a little frustrated, when we fail.

Where to get it

Get The Art of Failure from your neighborhood bookstore, your favorite online retailer, or from the book’s companion website: http://www.jesperjuul.net/artoffailure/

The book is available in both paper and ebook formats.

Official MIT Press page: http://mitpress.mit.edu/books/art-failure

Thanks to everybody who made this book possible!

-Jesper

Endorsements

  • “Frankly, I hadn’t expected to enjoy a book about failure nearly as much as I did. Jesper Juul brings many different fields of study to the table and provides an engaging learning experience.”
    Brenda Brathwaite Romero, game designer, COO and Co-Founder of Loot Drop
  • “I can think of no other medium that so constantly forces its participant to contemplate their own demise. The act of playing games is one dotted with near-endless failure. Yet we plow on. Jesper Juul’s new book is exactly the sharp examination of failure I need to keep myself from stabbing my eyes out when I get frustrated.”
    Jamin Warren, Founder, Kill Screen
  • “In The Art of Failure, Jesper Juul explores an interesting idea and asks provocative questions. This book will be of interest to developers, players, scholars, journalists, and readers with related interests, such as chess players or athletes.”
    Henry Lowood, Curator for History of Science & Technology Collections, Stanford University

Notes on Running an Online World for 15 years

You know about that online world that launched in September 1997 and is still running? No, not Ultima Online, the other one.

I was reading Raph Koster’s notes on the launch of Ultima Online back in 1997, and it made me realize that the online world that I programmed also launched just over 15 years ago, nearly at the same time as UO. If you didn’t grow up in Denmark, you have certainly not heard about it, but it’s called Højhuset (literally high-rise, from the metaphor that it was a series of stacked rooms). It’s still running at www.n.dk (only go there if you speak Danish).

This is what it looks like: It’s made up of non-scrolling rooms in a diagonal grid. Users can dress up, chat, and so on as expected. Users have their own apartments which they can decorate. Here is a screen shot with a celebrity visiting:

Højhuset

And most importantly: You can have nice things. The world was always a bit of a compromise between a chat system and game-like elements such as inventories and a currency, but it turned out that this was quite a feature. There have historically been long-running feuds between users who think of it as a chat system, and those who think of it as a game with the goal of amassing the most items. I initially thought that this would be a problem, but in practice this created social cohesion in each group – this was a valuable lesson for a game designer, that an external enemy does give users reason to come back.

As someone who is into game definitions, the height of the “is-it-a-game-or-not” feud was when a user had found a “Player” class in my program, and used this as proof that yes, this was a game. (New game definition: A game is a piece of software that declares itself to be a game.)

My role in this was always as a subcontractor, but I have been providing support and updates for 15 years now. One of the things I did learn as a programmer was to document my code and avoid any quick & dirty fixes which could come back to bite me. The main program (in Java) has always run on a single server. At the height of popularity, there were 2000 simultaneous users, but the improving speed of servers always just always made it unnecessary to spread across multiple machines.

Of course, there were also numerous attempts at hacking the system, which always is a point of pride for a programmer. People still try, here is even someone posting some debug output from such an attempt on Pastebin.

There were also microtransactions going back to the late 1990’s (this mostly paid via text messages).

Having read & written so much about video games since, it is hard to remember what thoughts went into my head when I was first starting out on this project, but I had played MUDs at the time, and I am sure I had read an article about the need for artificial scarcity in virtual worlds. And the strength of scarcity was one of the things that made the biggest impression on me. In the very early versions, there was no automatic dropping of items – this had to be done manually by a superuser referred to as the “superintendent” (“vice”). When going online, that user would always be met with cries encouraging the dropping of items (“smid!” in Danish). I leave you with a bit of user art, in which the superintendent gets fed up with being asked to drop items.

 

Smid!

(There was actually a brief period of time in which a new chat system was introduced on the site to replace the one I made, but users demanded the old one back. Warms your heart.)

International Journal of Role-Playing Issue 3:

International Journal of Role-Playing Issue 3:

  • Editorial: The state of our art.
  • Karl Bergström: Creativity Rules. How rules impact player creativity in three tabletop role-playing games.
  • Petri Lankoski and Simo Järvelä: An embodied cognition approach for understanding role-playing.
  • Mikael Hellstrom: A tale of two cities: Symbolic capital and larp community formation in Canada and Sweden.
  • Mikko Meriläinen: The self-perceived effects of the role-playing hobby on personal development – a survey report.

http://www.ijrp.subcultures.nl/wp-content/issue3/IJRPissue3.pdf

Ring a Ring o’ Roses as a Game

If you recall the history of game definitions, you remember how Wittgenstein discounted the possibility that the things that we call “games” (or rather Spiele in German) have anything in common, and argued that they rather have family resemblances. Wittgenstein’s argument is basically to say that naive people/philosophers assume that words have definite meanings, but that if we consider his range of examples, from board, to card, to ball games, to Ring a Ring o’ Roses, it will be clear that the things we call games have nothing in common. My response to this has usually been to say that Ring a Ring o’ Roses is not a game since it does not have quantifiable, variable outcomes to which the game assigns values (also discussed in Half-Real), so that’s that – Ring a Ring o’ Roses is not a problem for the definition of games, since a game definition doesn’t need to include Ring a Ring o’ Roses in the first place.

But lately I have been thinking that Ring a Ring o’ Roses is (or can be) more of a game than I thought. For those of you who haven’t played in a while, here is a video of some children playing it:

And this is what Wittgenstein has to say – I have to quote it all, §66-67 of Philosophical Investigations:

Consider for example the proceedings that we call “games”. I mean board-games, card-games, ball-games, Olympic games, and so on. What is common to them all? — Don’t say: “There must be something common, or they would not be called ‘games’ “-but look and see whether there is anything common to all. — For if you look at them you will not see something that is common to all, but similarities, relationships, and a whole series of them at that. To repeat: don’t think, but look! — Look for example at board-games, with their multifarious relationships.

Now pass to card-games; here you find many correspondences with the first group, but many common features drop out, and others appear.

When we pass next to ball-games, much that is common is retained, but much is lost.– Are they all ‘amusing’? Compare chess with noughts and crosses. Or is there always winning and losing, or competition between players? Think of patience. In ball games there is winning and losing; but when a child throws his ball at the wall and catches it again, this feature has disappeared. Look at the parts played by skill and luck; and at the difference between skill in chess and skill in tennis.

Think now of games like ring-a-ring-a-roses; here is the element of amusement, but how many other characteristic features have disappeared!

I can think of no better expression to characterize these similarities than “family resemblances”; for the various resemblances between members of a family: build, features, colour of eyes, gait, temperament, etc. etc. overlap and cries-cross in the same way.-And I shall say: ‘games’ form a family.

The strange thing always was how easy it is to come up with any number of things that all of Wittgenstein’s examples have in common – they all involve humans participating in a socially defined activity at the very least. That’s the thing with family resemblances – they are within a family, and families usually have shared traits, such as being carbon-based lifeforms and so on. In The Grasshopper Bernard Suits makes the snide remark that Wittgenstein didn’t follow his own advice of looking and seeing – “He looked, to be sure, but because he had decided beforehand that games are indefinable, his look was fleeting, and he saw very little.”

Perhaps that is a little hard on Wittgenstein, but the truth obviously is that he was a theorist of language, not games, and he doesn’t look very hard. This doesn’t detract from his value as a philosopher, I think.

Lately I have played a lot of Ring a Ring o’ Roses (or rather “Ring round the Rosie”) with my toddler son, and I suddenly remembered that Brian Sutton-Smith had once told me that Ring a Ring o’ Roses could be considered a game because it has variable outcome if you are 2-3 years old. At that age, it is really challenging to coordinate all the dancing and falling down as a group. It is a goal that all participants should fall at the same time (the valorization of the outcome), and the group sometimes succeeds and sometimes fails (variable outcome). This is very visible in the video above.

Seen that way, Ring a Ring o’ Roses is akin to tic-tac-toe which is also challenging and interesting up to a certain age, but ceases to work as a game once we understand the strategy. The reason we don’t remember the challenge of Ring a Ring o’ Roses is that we played it mostly before our earliest memories. At the other end of the spectrum, I guess old age will make Ring a Ring o’ Roses into a game for us again.

Game Studies Volume 12, Issue 2

And just in time for the new year, Game Studies: The International Journal of Computer Game Research has just published its latest issue (Volume 12, Issue 2, December 2012). All articles are available at http://gamestudies.org/1202/

Contents

The Algorithmic Experience: Portal as Art
by Michael Burden, Sean Gouglas
http://gamestudies.org/1202/articles/the_algorithmic_experience

Art requires criticism. Portal transcends videogame tropes: it explores the human struggle against algorithmic processes through complex parallels between the player, Chell, the companion cube, and GLaDOS. Increasingly complex frustrations are experienced directly through the game’s aesthetic of play – a freedom bounded by algorithmic control.

In the Double Grip of the Game: Challenge and Fallout 3
by Sara Mosberg Iversen
http://gamestudies.org/1202/articles/in_the_double_grip_of_the_game

A broad notion of challenge, conceptualized as both demanding and stimulating situations, is here proposed as a basis for holistic analysis of digital games which takes both the games’ mechanic and semiotic dimensions into equal account. The offered framework is demonstrated through application in an analysis of Fallout 3.

Death Loop as a Feature
by Olli Tapio Leino
http://gamestudies.org/1202/articles/death_loop_as_a_feature

This essay is a critical examination of the paradigmatic approach of interpreting computer games as games accessible for analysis and critique through ‘research-play’. The essay justifies a differentiation between game design research and game studies, and explores the avenues of analysis and critique of single-player computer games for the latter.

A Study of User Interface Modifications in World of Warcraft
by Sean Targett, Victoria Verlysdonk, Howard J. Hamilton, Daryl Hepting
http://gamestudies.org/1202/articles/ui_mod_in_wow

This paper studies the effect that user created interfaces have had on WoW and its community of users through an online survey issued to WoW players. The survey results illustrate the varied nature of this community and provide information that may aid in the creation of communities dedicated to modifying the interfaces of other software packages.

Best Before: The Red Queen Dilemma of Preserving Video Games?
by Staffan Björk
http://gamestudies.org/1202/articles/bjork_book_review

Review of Best Before: videogames, supersession and obsolescence. James Newman, 2012. Routledge, Taylor & Francis Group, New York.

Circles tend to return
by David Myers
http://gamestudies.org/1202/articles/myers_book_review

Review of The magic circle: Principles of gaming & simulation. Jan H. G. Klabbers, 2009. Rotterdam, The Netherlands: Sense Publishers.

Forever a moral subject
by Torill Mortensen
http://gamestudies.org/1202/articles/mortensen_book_review

Review of The Ethics of Computer Games. Miguel Sicart, 2009. Cambridge, Massachusetts: The MIT Press.

Well Played 2.1

By the way, Well Played 2.1 is out:

Well Played: a journal on video games, value and meaning
http://www.etc.cmu.edu/etcpress/content/volume-2-number-1

Stories from the Seats of Power: Chopper versus Chopper as dueling Travelogues
Matthew Thomas Payne, Michael Fleisch

Unbroken Immersion: The Skyrim Experience
David Simkins, Seann Dikkers, Elizabeth Owen

Super Meat Boy Special Bonus Pack
Caro Williams

Well Suffered
Moses Wolfenstein

Super Meat Boy: A Love Letter
Matthew Thomas Payne, Stephen Campbell

Response to Matthew Thomas Payne and Stephen Campbell’s “Super Meat Boy”
Moses Wolfenstein

Response to Moses Wolfenstein’s “Well Suffered”
Matthew Thomas Payne, Stephen Campbell

A Visual History of Genres and Platforms

Only the other day we were discussing the possibility of creating a history of game genres by parsing data.

And here, NcikVGG has posted such a history on Reddit. This is scraped from Videogamegeek. The top part concerns genres, and the bottom part concerns platforms.

Looking at it, the truth is that the platform part is more useful since the data it concerns is less prone to changing interpretations: a SNES is still a SNES after all these years. But the genre chart really shows how genre labels change over time: “arcade” is no longer a useful category, “action” and “scrolling” even less so.

 

As a supplementary chart, NcikVGG has posted a platform release history with an absolute vertical axis (counting # of releases). This one shows just how many games are being released these days compared to earlier days. It also shows us how important mobile platforms have become (though Android seems to be missing).

 

NYU Video Game Theory Seminar XVI: The History of Video Games begins in Europe in the 1980’s

You are hereby invited to the sixteenth installment of the NYU Game Center’s video game theory seminar series.

“The History of Video Games begins in Europe in the 1980’s”. Friday November 16 at 4-6pm.

Location: NYU, 721 Broadway, New York NY 10003, 9th floor conference room.
Please RSVP, see below!

If there is one thing that video game historians can agree on, it is the pivotal importance of the 1983 crash of the video game market. Yet, the crash went largely unnoticed in Europe where consoles were few and the industry only nascent. The history of European video games in 1980’s is better described as a period of unbroken growth and unprecedented experimentation in game design. In this session, our two speakers will discuss the history of early European experimental and independent games, and show how they prefigured much of what is happening in the video games today.

The two speakers of the day are Jaroslav Švelch from Charles University (Prague) and Jesper Juul from the NYU Game Center.

 

The Talks

Švelch: The Unintended Avant-garde – Two stories from 1980’s European game development

The talk discusses two separate stories from the history of computer games, united by the fact that the games at the center of these stories broke new grounds without much impact or commercial success. First, we will discuss the British game “Deus Ex Machina”, probably the first commercially released art game, designed  in 1984 by Mel Croucher, whose mission to express abstract human experiences in many ways resembles today’s indie and art games. Secondly, we will talk about the text adventure game “The Adventures of Indiana Jones on Wenceslas Square in Prague on January 16, 1989”, which preceded editorial game design of games like Raid Gaza in being a response to contemporary events – in this case, the violently suppressed anti-regime demonstration in Czechoslovakia.

 

Juul: Indie Games are from Europe

In this talk, I will return to some of the most influential European games of the mid-1980’s and show how they contain both forgotten possibilities that we have yet to bring to fruition, as well as the seeds of many of the current themes in video games, such as the independent developer, games as experiment and personal expression, and the kind of short-turnaround cloning that we find in mobile distribution channels. At the same time, the discussion of video games in the especially the UK gaming press at the time was decidedly un-romantic, avoiding any discussion of games as an art form, vehicle of expression, or indeed as anything more than utility.

 

Speaker bios

Jaroslav Švelch is a Ph.D. candidate, lecturer and researcher at Charles University, and currently also a research intern at Microsoft Research New England. He holds a Bachelor’s degree in Journalism and Master’s degrees in Media Studies, and Linguistics and Phonetics/Translation Studies, all from Charles University in Prague. His research focuses on social uses of entertainment technology, history of computer games, language management online and the concepts of monstrosity and adversity in virtual spaces.

Jesper Juul has been working with the development of video game theory since the late 1990’s. He is a visiting arts professor at the NYU Game Center, and has previously worked at the Singapore-MIT GAMBIT Lab at MIT, the Danish Design School, and at the IT University of Copenhagen. His book Half-Real on video game theory was published by MIT press in 2005. His book A Casual Revolution examines how puzzle games, music games, and the Nintendo Wii brought video games to a new audience. His upcoming book The Art of Failure will be published in spring 2013. He maintains the blog The Ludologist on “game research and other important things”. Jesper Juul co-edits the Playful Thinking book series for MIT Press.


The theory seminars are aimed at researchers, industry professionals and students. Please RSVP so you can get into the building! jesper.juul (at) nyu.edu