Come out and Play in New York City

I am fortunate enough to be in New York for the very exciting Come out and Play festival of street games, so will be spending much of the weekend running around Manhattan.

I will also be participating in a panel with Frank Lantz, Jane McGonigal, Jesper Juul, Roy Kozlovsky, Franz Aliquo, and Nick Fortugno (this is sitting down, I presume) at 7PM on Saturday @ Eyebeam, What are street/big/pervasive games anyway?“.

Critics tough on new Bomberman Zero (Compare: New Super Mario Bros)

Understatement: The game ranking for Bomberman Zero is 33%.

The reviewers more or less agree that Bomberman Zero removes all the good parts from the series:

  • Top-down view.
  • The characters
  • Dying instantly when being hit
  • Multiplayer on one console/screen.

While adding new unwelcome features:

  • New “futuristic” characters.
  • First person view (most of the time).
  • Health bar.
  • 99-level single player with no continue option.

Compare this to, say, New Super Mario Bros (89%), which has managed to take an existing series and genuinely update it (it is absolutely great).

My take is that it is about how you deal with technology and game style changes:

  • Bomberman Zero seems to follow the ca. 1999 laundry list of “new cool things”: First person view, vague futurism with murky textures, online multiplayer and follow that slavishly. (Single player without continue is more 1986 than 2006 though, retro in the bad way.)
  • New Super Mario Bros sticks with the 2D format (retro in the good way), but mostly builds on advances in character animation tools and game physics: The game feels modern due to the great animations and the exquisite physics – it is all about a sense of bodily presence in the game. Modernized, but not by way of a laundry list, and without destroying the game’s core.

There you have it: This is how to make a modern version of an old game. Ok, so it is not that simple. New Super Mario Bros is probably easier to modernize because a slightly open game of exploration and travel is quite contemporary, whereas single-screen 2d action games are hardly made anymore.

Still, I could imagine a 2D top-down Bomberman modernized like New Super Mario Bros: Better animations, better physics. I would play that.

Ludology All Over

Wired’s jargon watch lists ludology as on of the four featured terms this month:

LUDOLOGY
n. The academic study of videogames. Taking its name from the Latin word for game, and deriving techniques from literary and film theory, ludology analyzes EverQuest as art and Grand Theft Auto as cultural artifact.

Via Gonzalo at, eh. ludology.org.

I think this means we’re mainstream now.

We will Stop All Manifestations of Formalism and Decadence!

If you’ve followed this blog, you will know that I obsess a bit over being called a “formalist”. (Digra 2005, matching tile games.)

As a one-liner, formalism is probably supposed to mean privileging the formal properties of the medium over user experiences, contexts, cultural codes, and so on. (I.e. just thinking about the rules, but refusing to discuss players.)

But I really experience it as simple name-calling: Being a “formalist” is 100% wrong, and you are a formalist.

I had just about forgotten the history of anti-formalism, but I stumbled across this article on Soviet composer Shostakovich. Basically, in 1948 Stalin struck down on “formalist” composers (those without much melody) in favor of “socialist realist” composition:

Khrennikov reported that people “all over the USSR” had “voted unanimously” to condemn the so-called formalists and let it be known that those named in the decree were now officially regarded as little better than traitors: “Enough of these pseudo-philosophic symphonies! Armed with clear party directives, we will stop all manifestations of formalism and decadence.”

This is not to say that any criticism of formalism is “Stalinist” nor to say that I am a persecuted Soviet composer, just that it is always a good thing to think about the historical roots of your theories.