My name is Jesper Juul, and I am a Ludologist [researcher of the design, meaning, culture, and politics of games]. This is my blog on game research and other important things.
The Philadelphia Inquirer mentions ludology in a news story on video games and learning. People quoted: James Paul Gee, Henry Jenkins, Justin Hall, Greg Lastowka. (I.e. US-centric, but never mind.)
I guess the use of ludology without any references is an indication that the word is now mainstream. Yup.
I will be posting some more detailed few things about Japan, GDC, and games in general in the following days, but as a quick warmup, here’s a picture of a Japanese women’s magazine:
It’s much like the example of the “narrative” clothing section at Nordstrom, and the question is this: What makes it an attractive idea that your life would be like a story? I guess it is a content-oriented view of story – a story consists of meaningful and interesting events. Buying the Nordstrom clothes or the Story magazine means that your life won’t just be “one damn thing after another”, but a series of interesting and important events.
And it’s true that many games (like life sometimes) consist mostly of not-too-meaningful events, too much drudgery and too few things really interesting. Some of the game/story discussion comes from this.
[March 11th update: OK, I was guessing. I have now read Barry Atkins’ paper, and I did misinterpret a few things. So please read the text below as 1) me going at great lengths to prove that I care about fun, 2) some general comments about why some people shy away from talking about rules in games. The comments below do not strictly relate to Atkin’s paper, his paper just made me think about a few things.
Apparently a few people have interpreted the discussion here, here, here as being very hostile or problematic, but this is not my experience at all.
It’s all in the area of the open exchange of ideas, even if some people (myself being a good example) are a bit more jumpy than need be. Just keep it going, everybody!]
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Nick Montfort has posted his notes from the Form, Culture, and Video Game Criticism conference at Princeton University this Saturday. I can see I should have gone, but instead I’ll just comment a bit on what I guess from Nick’s notes.
Apparently Barry Atkins had some objections to my Utrecht talk about The Game, the Player, the World, because my definition of games (the classic game model) does not include pleasure.
I can see why he is making the point, but I also feel that you can’t talk about everything all the time – fun simply wasn’t the primary focus of the talk. I have written quite a lot on fun/pleasure in games, so it’s very strange to be criticized for ignoring it!
My early 1998 DAC paper work discusses fun.
My 2000 paper on the importance of studying games discusses fun.
I’ve discussed fun in the relation to the experience of time.
At the 2002 Manchester conference I presented a paper on gameplay and fun.
And recently I’ve written a general essay about theorizing fun and the issue of focusing too much on games as being challenges.
Incidentally, the last one criticizes the notion of game quality as hinging on “interesting choices” and challenges. It’s always a weird experience, being criticized for not discussing something that you have discussed, and being criticized for ignoring an argument that you have already proposed in great detail.
But all game definitions have grappled with this problem – it would be really nice to have a point #7 in my model, stating that “games are fun” – but the problem is that not all games are fun; some games are dull; different people enjoy different games or even the same games but for different reasons. You could easily end up with a strange situation where something would flicker between being a game and being a non-game during the course of a game session, etc… The grand point of my game definition obviously is that the negotiable consequences of a game (i.e. the game activity is predominantly harmless) means that it is possible to design a game and play a game for the fun of it.
Atkin’s paper made me think about a general problem I often encounter, an import from literary theory that just turns out not to apply very well to games. Whenever I give talks about games, discuss game definitions or simply mention the fact that games have rules, part of the audience always looks like all the alarms are going off inside their heads. The alarms are going off mostly because much structuralism (say, Propp, Greimas, Levi-Strauss) assumed that all texts really consisted of objective formal structures. The goal of the theorist was then simply to prove that a specific text also had the kind of formal structure that the theory predicted. This of course ignored the small matter of interpretation as well as the pleasures of the reader, and made for some pretty far-fetched readings of literature and film. Very broadly speaking, literary deconstruction and poststructuralism was then a reaction against this, emphasizing the act of reading, the act of interpretation, reader experiences, and the instability of texts.
This is the history that makes a lot of people automatically assume that if anybody talks about rules, structure, or definitions, they must be ignoring the experiences of the user. But the problem is that while this to a large extent is true with literature or film – if you reduce a novel to a semiotic square, almost everything interesting is lost – it is completely wrong when it comes to games.
Games are pleasurable because they are rule-based, because they are well-defined (and definable). It is the formal nature of games that makes them fun. In this case, games are complete reversals of what you may expect if you come from literary theory. If you ignore the rule-based nature of games, their well-definedness, or the kind of formal challenging systems that they are, you will be at loss to understand why games are fun, and you will be completely ignoring the experiences of the player. As I’ve said elsewhere: Games are formal systems that provide informal experiences.
Another assumption in the argument seems to be that work is completely distinct from fun, and that to focus on the challenging aspect of games is to ignore the fun aspect. But again, games are fun because they are challenging, games are fun because they are work.
[Update: I clarified a few arguments on 26-2.]
Now that Associated Press has a story out on the academic study of games that mentions ludology and narratology, and Gonzalo Frasca has posted his version of the story so far, let me post mine.
And this story doesn’t begin with a word, it begins with a discussion.
I think that anybody who designs or discusses games and/or wishes for “deeper” or “more meaningful” game content will inevitably run into a discussion of what the relation is between games and stories. This has been going on for quite some time. So after working on a game called Blackout in 1997, I was as frustrated as anyone with the game vs. story thing, so I started doing theory on it.
But there was a problem: For random historical reasons, video games entered the limelight at a time when the concept of narrative was at the height of vogue. If you wanted to seem clever and deep, easy – simply apply the term narrative/story to everything. His pasta tells a story. I once overheard a guy explaining that Frequency (a music/rhythm game) was interesting because it had a different narrative than other games! This atmosphere meant that much early academic theory was marred by blind assumptions that narrative theory would be the key to understanding games.
Somebody had to respond to this, and I hope I have some claim to fame in being one of the first academics to do this in much detail. So in my early work (A clash between game and narrative, 1998-1999) there are two parallel claims being made:
After a few years, this thread starts overlapping with the thread of ludology – to me the idea that games should be studied as a unique field (borrowing from the appropriate other fields). I thought I heard the word from Gonzalo Frasca, but Lars Konzack has pointed out that he mentioned the word to me a bit before I read Gonzalo’s article on it. The oldest reference I have found is a 1982 article by Mihaly Csikszentmihalyi: “Does Being Human Matter – On Some Interpretive Problems of Comparative Ludology”. Behavioral and Brain Sciences, Volume 5, nr. 1. 1982. (It’s about whether we can compare human and animal play.)
The proclamations of a ludology then became interpreted as a rejection of narrative – this isn’t technically true, but you can see why someone would make the connection. First he say A, then he says B, so you assume the two things are connected.
Gonzalo Frasca does not make strong anti-narrative statements, but I do, and so does Markku Eskelinen. Eskelinen is also pretty close to claiming #2 above, that the representational level (or specifically what it says on the game box) is irrelevant.
Other actors in the story include Espen Aarseth and Aki Järvinen – I spent a lot of time with Aki at the DAC conference in 2000 wondering why all these people were looking at the anemic field of hypertext fiction when there were just so many more interesting things going on in games. Aki was also an early ludologist for that reason. And Espen has obviously written some pieces against narrativism, and has a famous paragraph on games not being stories in Cybertext. And anyone I missed.
Does the game vs. narrative discussion still matter today? Well, it has become quite tiring, mostly because half the people are using “narrative” to mean a fixed sequence of events, and half of the people are using it to mean” interesting stuff”. (The second version is not very useful, by the way.) A major point of my Ph.D. dissertation is to sidestep this mix-up by talking about fiction instead.
Perhaps the discussion is most important on a design level. I think that over-reliance on the concept of narrative remains a very serious problem in the game design experiments done at universities around the world.
Finally, as it happens with popular terms, there are many competing interpretations of it. Here are the five most popular interpretations of ludology for the time being:
Regarding 4 and 5, I know my two colleagues Susana Tosca and Lisbeth Klastrup are really fed up with people randomly assuming they are “ludologists”, and then attacking them for saying things that they haven’t said at all.
You are in reality free to pick your personal favorite from 1-3, but I vote for using ludology in meaning #1: The study of games.
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PS. Both Susana Tosca and Marie-Laure Ryan have recently told me that they thought the ludologists are fighting an imaginary narratological straw man – indeed, that the narratologists do not exist at all. And on some level, I see what they mean – it is very seldom these days that you’ll meet someone who will squarely proclaim that games are stories. But 6 years ago, it was so obvious – everybody academic just instinctively talked about games as narratives. I have explained how games are different to stories to hundreds of people, and they were invariably shocked at the complete radicality of the suggestion. I’ve explained it to so many fellow literature students who thought it sounded completely wild. But I can see why it looks weird now – simply because people started thinking better of it.
PPS. Here are some earlier articles on the game/story thing:
Andy Cameron: Dissimulations. 1995.
Mark Barrett: Irreconcilable Differences: Game vs. Story. 1997.
PPPS. I called this the definitive history because I know the discussion will never die.
I know, we’ve all seen these funny machine translations before, it’s just that the AP story on ludology has reached Japan.
According to Babelfish:
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I couldn’t have said it better myself, especially the title Half-Real: The video game Video Games Between Real Rules and Fictional Worlds (as an actual law and the semi- actuality which is in interim of the overhead world)” exhibits a flamboyant intellectualism that I could never have come up with.
Nick Wadham’s Associated Press article on video games research is making the rounds.
Here’s a list of the places where it was printed.
Of course I wrote pages of brilliant answers to the journalist and only ended up getting a few lines – but that’s just the rules of the game. So yours truly is mentioned as follows:
In Copenhagen, Denmark, the IT University has established the Center of Computer Games Research, which just graduated its first Ph.D., Jesper Juul.
Juul appears to be the first person anywhere to ever get his doctorate exclusively in video game studies. His dissertation “Half-Real: Video Games Between Real Rules and Fictional Worlds” seeks to define what video games are, and how academics ought to go about studying them.
“There is an interesting naughtiness in taking something that many people consider unimportant and frivolous and then creating very detailed theory about it,” Juul said. But, he added: “I would say that video games merit much more analysis than novels or movies simply because they are less understood.”
Terra Nova has a discussion about what I really am the first Ph.D. in.
As Greg Lastowka notes, this really is a defining moment of mainstream awareness of what we are doing.
And we apparently continue to be a good story – the juxtaposition of “taking play seriously” just always has that catchy headline quality. Which is good.
Imagina 2004.
Mostly an industry event which traditionally has focused on graphics but is beginning to have more game stuff. You could tell that a lot of resources had gone into flying in top speakers.
I thought the top event of the conference was the panel on "Video games: Where do we go next", one of those panels with a dangerously big scope but where the 90 minutes of conversation between Doug Church, Jez San (who wrote Starglider for the Amiga!), Peter Molyneux, Ken Perlin, Noah Falstein and Charles Cecil covered a lot of interesting ground. The meta-issue became the question of how to have more interesting emotional content in video games – which isn’t easy, of course. The discussion circling around AI questions and some of Perlin’s charming animation experiments. Charles Cecil was perhaps overselling the comparison between games and the movie industry, but so it goes.
Also of interest was Jordan Mechner’s keynote on Prince of Persia, and panels on MMOGs and AI.
As an academic, I was perhaps slightly marginal but had an enjoyable time talking mostly to game developers. Here’s a pic with Patrice Désilets of Prince of Persia fame, me, Jurie Horneman (Rockstar Vienna), Martin de Ronde (Guerilla Games), Robin Hunicke, off the right edge of the picture is Jordan Mechner (who I got to tell how much I loved Last Express) and to the left is the right arm of organizer Sophie Revillard:
View from outside my hotel along Avenue Princesse Grace towards the Grimaldi Forum which is hidden behind a Japanese garden thrown in for good measure:
It was only the last day I actually saw a supermarket. Until then I’d only seen jewelry stores and Lamborghini sports car dealers. With a technical term, Monaco is "obscene". It’s expensive apartments, bellboys, room service, women in fur coats. I did go to the casino and the heavy late-fifties American man next to me at the roulette placed for €500 chips, 22 came out and he confided to me:"That 22 has cost me a lot of money tonight." Apartment buildings in suitable colors and properly clean facades with spotlights on in the evening, private rooms for playing. The city is set against a background of small mountains with lots of paragliders coming down. It’s all very James Bond, really, and it’s great fun. But this makes sense on another level because there is a feeling that to stay here, you would have to become a spy or an assassin or you’d go crazy from boredom within months.
It turned out that my young researcher award was to be handed over at a ceremony in a big theatre. Lots of music and lights and I got to get called on stage after the opening of an envelope. I had planned a small speech but the slightly, ahem, in-character announcer apparently thought we weren’t quite on par with the other recipients. Here’s the speech:
It is a great honor to receive the Imagina young researcher’s award. And it’s a great honor to be here as a video game theorist at an industry event. Initially, the industry has often regarded video game theorists as conceited backseat drivers … which we are, of course. But there is a lot of synergy to be had between academia and the industry. So let’s have some more of that. Thanks.
And here’s my glass teapot award, shot from the hotel balcony:
Great fun, and it’s not every day your 8-page academic paper earns you the right to parade along other prize winners who had worked on such small matters as Prince of Persia and Lord of The Rings. Prince Albert of Monaco then congratulated each of us. Yep, ludology just is that glamorous.
Doing a bit of quick travelling the next few weeks:
First a general talk at the State of Play conference in Newcastle on January 28th.
Then a 20-minute presentation called “Working with the Player’s Repertoire” at the Imagina trade show /conference in Monaco on February 4th. In addition to presentations by Jordan Mechner and other industry luminaries as well as discussions about the future of video game theory, the movie Blueberry will premiere “in the presence of the actors (Vincent Cassel – Michael Madsen – Juliette Lewis) “. How weird is that?
The Monaco trip is because I submitted a paper and won one of the two “young researchers’ awards”. Incidentally, this includes a prize of 750 euros, and since the event takes place in Monte Carlo, I am awfully tempted to spend it on gambling – does anyone have a foolproof system for winning at the roulette?