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.
Join us on Thursday, March 7th at 7PM for a conversation on the pain of playing video games!
We tend to talk of video games as being “fun,” but in his new book The Art of Failure, Jesper Juul claims 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?
At this book launch event, Jesper Juul will discuss game failure with Doug Wilson, PhD graduate from the IT University of Copenhagen andindie game designer at Die Guten Fabrik of Johann Sebastian Joust fame, and Frank Lantz, veteran game designer and Director of the NYU Game Center.
During the talk, the panelists will play painfully challenging games, and the audience will be invited to share the pain.
Jesper Juul is an assistant professor at the NYU Game Center. He has been working with video game theory since the early 1990′s. His previous book are Half-Real and A Casual Revolution, also on MIT Press. Jesper is a sore loser.
This event is free and open to the public. Seats are limited, RSVP here: http://bit.ly/YsnWK1
Copies of The Art of Failure will be available for purchase following the lecture.
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.
“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
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:
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.
(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.)
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 isnot 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.
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/
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.
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.
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.
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.
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).