Weedopia and Everything

Just wanted to crosspost two pieces I wrote that were published today:

  1. I wrote a short essay on the game Everything and what I think it does as a game (and how it is in conversation with the creator’s previous game Mountain). I’m really happy with the piece, so please give it a read.
  2. I was finally able to write something longform about the game-that-isn’t called Weedopia. If you’ve been following this blog for a minute, you’ve probably seen me mention it at some point, but I also really like the essay that I wrote about it for Waypoint. In it, I ask where the How High of games actually is.
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Bad Affect as Game Design, Or It Feels Good For Overwatch To Feel Bad

This was originally written as a monthly essay for my Patreon. If you like it, consider chipping in $3 a month.

There’s a lot of talk in game design about how to make people feel things.

For the Skinner Box people, the ones who are trying to psychologically dial in exactly how good it should feel to win a match of a competitive card game you play on your phone, you do it through stimulus. You click the button, and it lights up just right. When you open your box of loot that you got from winning way too many games, it shakes in just the right way. But if you hold off on that shake-y click, you might be able to upgrade that bronze box into a silver box when you collect enough doodads. It’s all about the design of making things click in your lizard brain.

While most, if not all, massively popular games are trying to go down that route for various (cough, financial) reasons, I think that lots of game designers would still say that they are going for “classic” methods of getting you to feel good about a game. They’re designing levels, skill trees, and open-world environments with those tried-and-true ideas of flow or game feel in mind.

Those theories aren’t the same, but they’re attached to each other in the belief that games are at their best when their mechanics and expectations are clearly communicated to players. Each desires an end-state of consistency, and the optimal gameplay experience is one in which the player seamlessly melds into the experience of playing a game. With that established, you can play with the model, but that initial smooth space of play is critical.

I’ve done some research at my day job on player toxicity in games, and I’ve even written about my experience of toxicity in a game that many claimed had “fixed” the problem of players being rude as hell to each other. The general belief about toxicity is that it interrupts the smooth space of play–that it generates a bad feeling in players, and that bad feelings tend to spread out into everything. Riot, the developers behind League of Legends, promotes a lot of statistics that suggest that toxic players make for a bad time in a quantifiable and repeatable way, and that if you want to have a good time in a game then you should avoid being toxic.

I’ve now put an embarrassing amount of time into Overwatch for the PS4, and I’ve come to a weird conclusion about how I think bad affects, or bad feelings, might impact a seamless state of play. I think that they help generate one. I think negative feelings might be fully incorporated into my seamless and fun experience of play. And that’s weird.

In other words, I think becoming consistently angry about particular things in Overwatch might have a calming effect that generates a smooth space of play. I’m meditative in my being angry.

To be clear, this is probably an edge case. I play a lot of Overwatch, but I never play with a headset unless I’m in a party with friends. I would say that the total percentage of games that I have played in a party with those friends is probably less than 10% of my total games played.

So when I get angry in Overwatch, it’s with that weird little radial communication system. There are no tanks and we’re dying over and over again to Hanzo headshots from across the map? I’m spamming the “Thank You” command. No healer and I’m dying over and over? Spamming the “Need Healing” command. I’ve finally bit the bullet and I’m playing Mercy, but my team is fighting way off the point and is letting every McCree who has ever played the game jump right up into my face with utmost glee? It’s me, on the couch, hitting the “Thanks!” button until I’m locked out of using it.

I’m not proud of any of that, and I’ve tried to cut it down because it helps no one, but at this point it’s automatic. I’m on autopilot when I sarcastically use these commands to signal my unhappiness, and from a personal perspective it’s an entirely neutral thing. While I’m sure that deep in my brain I am feeling some kind of anger, on the top level I am just hitting that button to signal my unhappiness.

My ability to signal that I am having a bad time allows me to process that out within the game itself. It’s rare that I put Overwatch down and have any lingering feelings of anger or frustration, even if I lose several times in a row. That radial dial of bad feelings allows me to put it all out there, and importantly, to leave it there.

It’s probably crucial that it’s (mostly) impossible to target another player with sarcasm using the communication wheel. Short of walking up to a teammate and spamming the emotion right in their face (which I guess I could do), there’s no way for me to say “THANKS!” to a particular Reinhardt after he fails to use his shield for the 50th time in a row. I can only denote that I am unhappy, and that lack of targeting means that I don’t have people messaging me on PSN asking me what my problem is (or why I am so bad at the game).

It feels weird to admit to a kind of passive haterism, but this particular anonymizing and untargetable generation of bad affects sorta works. I get to immediately divest myself of unhappiness, and other players are able to do the same. It’s a way of expressing anger in the game without anyone knowing that they’re to blame or that you’re angry at them. You’re just someone spamming a button, and you can be ignored.

My weird play experience suggests to me that toxicity (and this is, I’m sure, considered toxic play) can be the baseline of that consistent and full game state that generates the “best” or “elegant” gameplay experiences.

[Addendum a little while after original publication:]

I don’t think this is intended behavior in that it is put there by the design team, but I do think this very limited form of button-based communication that can be spammed generates something different from being able to write text with your keyboard or yell with your mouth in voice chat. I also don’t think any of this “working” (in the sense that I’m able to leave these emotions in the game) is really a positive development. After all, for other players, it just looks like I’m being a huge jerk. And I am, to be clear, being a huge jerk. But I think all of this points to some interesting spillover effects from solutions that, at least on a theoretical level, should limit toxic play.

From my experience that I’m trying to lay out here, though, I think it might just morph into a different form that’s qualitatively different for the end user although maybe not different in kind.

I wrote this little addendum after rereading the piece and not thinking that there was a clear conclusion.

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Postscript on Playerunknown’s Battlegrounds

I’m sort of fascinated by Battlegrounds, which is basically Battle Royale: The Video Game but with adults who scream profanity at each other instead of high schoolers.

I’ve been playing it…a lot? More than one might think, maybe, and I think the most interesting part of the game takes place in between the quick-and-brutal firefights that the game is all about.

I wrote about some of those moments over at my weekly column at Waypoint. Go check it out!

Read “A Game Where Your Only Friends Are Patience, Silence, and Murder

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Gombart’s Asset and Material Production in Dishonored 2

Despite only understanding about 50% of what is going on here, I am fascinated with the materials production for Dishonored 2 (as I am with basically any game).

I think it’s fascinating that the heavily-evangelized technology of translating photos to textures in games (“the rock wall…IS A ROCK WALL!”) that we saw so much of a couple years ago has some critics internal to the industry, and I honestly think it shows in the final product. The Dishonored games both have a very painterly and specific quality to them that might not be achievable within the bounds of noisy textures, and I’m glad to see that there was a strong internal effort to avoid that kind of thing.

Anyway, read Yannick Gombart on assets and materials.

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Bernard De Koven on approaching death

If you want to do something for me or because of me, grieving is not what I need. What I need is for you to continue your play/work however you can. Play games. Play the kind of games I like to teach – you know, those “funny games” – harmlessly intimate, vaguely physical games of the semi-planned, spontaneous, just-for-fun ilk, basically without equipment, or goal, or score or reason, even.

Teach those games to everyone. Play them outside, these games. In public. With friends. And strangers. As many as want to play with you.

Make up your own games. Make them up together with the people who play them. Play. Teach. Invent. Play some more.

Hello. My Name Is Bernie. My Friends Call Me ‘Blue.’ I Have Cancer And Maybe A Year To Live. This Is What I’d Like You To Do About It.

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On Dishonored, the Inside, and the Outside

This is a quick post about Dishonored, a game I wrote a lot more about back when it came out. Spoilers abound.

dishonored-whale-slaughterhouse

I’m playing through Dishonored again after a very long time (so that I can play the sequel, finally), and I’m struck by how often the side characters talk about the “mission area” of the game versus the “home hub” of the game. If you don’t remember, the structure of Dishonored is that the protagonist Corvo is assassinating and missioning his way through various tasks that have been set up for him by a group of conspirators. Those conspirators want to put the true heir Empress back on the throne of the Empire of the Isles, and to do their bidding Corvo hops on a boat, gets taken into the city, and then comes back again to discuss whatever he needs to that might make the plot move along.

The characters he’s speaking to are very explicit about the separation between those places. They say “the city” despite the Hounds Pits Pub (their base of operations) being located within, or at least in tight relationship to, that city. Sam, the sidekick who operates the boat for Corvo, helps maintain that, and lots of his dialogue pretends as if he isn’t a few hundred yards from Corvo’s violence/sneaking mission.

The big reveal of Dishonored is, of course, that the conspiracy you’re a part of were villainous the whole time. The Hounds Pits Pub, this place that you’ve been traversing for funsies throughout the game, gets turned into its own level. And it would have been easy for that just be a linguistic and mechanical turn (“these people are now your enemies!”), but the game’s continual statements about the content of the game taking place “out there” and “in the city” means that the reversal of the home base into the “out there” is even more distressing.

In a conspiracy, there’s only one safe harbor, and it’s who and what you trust. Through these throwaway lines, the game spends hours establishing that this place, this pub, is 100% legit. And in a moment, it’s flipped around.

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Consuming Problematic Media

I was re-reading Alexander Galloway’s Protocol: How Control Exists After Decentralization earlier today, and I came across this evocation of Magnus Enzensberger’s theory of the media:

Taking his cue from Marx’s sometimes sarcastic rhetoric, Enzensberger offers readers the following political warning: “Fear of handling shit is a luxury a sewerman cannot necessarily afford,” meaning that those who are oppressed (the “sewerman”) cannot be afraid to engage with the media (the “shit”) that oppresses them later.

I think there’s certainly a more complicated account of this process available (and Galloway does the work of pulling it apart), but I love the “sewerman” phrasing. I immediately thought about Jenn Frank’s “On Consuming Media Responsibly“. Both pieces lay out the necessity of analysis, of pulling  a thing apart to see how it works.

 

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