Zoya Street on Virtual Pets

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In contrast, a virtual pet such as a tamagotchi requires emotional labour of a sort. The skill required has nothing to do with your physical ability to manipulate the keys of the device, but rather is concerned with your ability to hold another being in your mind as you go about your life. It is a care simulator. You have to be aware at all times that there is a simulation of a living thing that at regular intervals will require feeding and cleaning. The information conveyed in the animation of the tiny group of pixels on screen is much more communicative of the creature’s emotional state and relationship to the owner — you watch it hatch from an egg, and then watch it bound around with excitement. You watch it bash its head against the ground in frustration, and bounce up and down when it is happy. A relationship of care is being animated here.

Some early thoughts on miniatures and virtual pets

I’m very interested in where Street goes with this in (presumably) a longer piece or his dissertation. I talked about Jenn Frank’s pieces on Creatures over at Unwinnable in my MA thesis as a way of talking about/getting at the internal relationships of the grand assemblage that we call a video game.

All of that is to say that I’m super interested in how care and virtual pets can be conceived of outside of very linear signification transpositions (like the argument “we care about actual pets, to therefore virtual pets trigger those same emotional effects) and Zoya seems to be onto something super interesting in this miniaturization=>abstraction=>larger-than-perceived line of thought.

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Lack of Access to Water Decimated the Mayans

water

The major city of Chichen Itza, along the coast of the peninsula, thrived for about a century after 1000AD, almost certainly taking in Mayans who arrived from the arid south to build a revised iteration of Mayan culture in the north. Then, the Blue Hole research shows, a second period of droughts drained the peninsula, coinciding with the estimated time that Chichen Itza also quickly declined. Mayans did however continue to live there, albeit in smaller numbers, surviving the fall of their civilization, the arrival of the Spanish conquistadors and the changes of the centuries until the present day.

Great Blue Hole off Belize yields new clues to fall of Mayan civilisation

The historical tragedy provides some really interesting fodder for thinking about non-European models of fantasy world building. The Mayans had a civilization build completely around gathered water in sinkholes and cisterns (rather than waterways) and it creates a completely different way of relating oneself to water. A river is always flowing, always coming from somewhere else, a fundamentally positive relationship with life (unless someone builds a dam upstream).

A sinkhole drains down into nothing, and you can watch that process in real time. The cisterns go dry one by one. The sinkholes no longer produce water. What a horrifying thing.

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The Lord of the Rings: Stephen King Writes Like Tolkien

I’m reading The Lord of the Rings for the first time since I was a child and I’m writing blog posts about the book when I feel like it.

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I’m most of the way through LotR now and what keeps blowing my mind is how much Tolkien ends his chapters with intimations that the future is going to be pretty bleak. There’s more than one instance in which a character is “never again seen by mortal men,” meaning that they are super dead.

“Rohan had come at last” or “All the lands were gray and still; and ever the shadow deepened before them, and hope waned in every heart.” These are classic methods of page-turner writing that border on a thriller, and if you told me that these sorts of lines were in this novel before I actually read it I would have laughed.

Is this something that accounts for the huge fandom that the books have maintained over the years? At some point Tolkien switches from this brutal, overbearing worldbuilding (almost the entirety of The Fellowship of the Ring) and then spirals into a strange Tom Clancy riff that keeps you wondering what is going to happen next.

What’s really surprised me the most from this is that you can really see a lot of Tolkien in Stephen King’s writing. King is a huge fan of the “mythical hint,” the intimation that something is going to happen to a character in the future (which might or might not be in this book). King is also very successful (particularly in The Dark Tower novels) in getting the reader to understand the size and scope of thing without overexplaining, which is also something that Tolkien is successful at during The Return of the King but not so much in the earlier books.

In any case, I keep getting surprised by these books. Do you see the same things in them, or am I just pulling ideas out of nowhere?

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The Wonderful Farting Mudokon

I have a lot of love in my heart for the Oddworld universe, and a lot of love in particular with Abe. After all, he was the chosen one who freed the scrabs and the paramites and, finally, the mudokons while running and throwing switches and hanging out with elum (elum is the best).

The best part about Abe was his willingness to fart with the rest of his species. It is a universal trait amongst mudokons that they find farting funny. Whether a factory-born slave (like Abe) or a free-born (like Big Face), everyone finds farts funny. In the deepest, darkest heart of a factory, Abe can stand with his almost-freed companions and fart.

He just farts, and everyone laughs, and it’s a moment of levity before you inevitably make a mistake and lead your friends into a landmine of the machine gun of a slig.

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Visual Ontography

The practice of ontography–and it is a practice, not merely a theory–describes the many processes of accounting for the various units that strew themselves throughout the universe. To create an ontograph involves cataloging things, but also drawing attention to the couplings of and chasms between them.

– Alien Phenomenology p.50

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On Super Time Force Ultra

Or, Super Time Bumbling Megido

I have completed Super Time Force Ultra and I still don’t understand how the game works.

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From a design perspective, this is a strange combination of positives and negatives. In the “yay” column, despite my confusion about the mechanics and how they operate, I was compelled to work my way all the way through the game. I rewound time and brute forced my way through sections both difficult and frustrating in equal measure, and I did all of that with the pure faith that what was going to scroll onto the screen was going to be always more majestic than what scrolled by previously.

(That, by the way, holds true. There’s a silliness at the heart of STFU that gives it the feeling of a willingly-ridiculous Saturday afternoon play session between four or five creative ten year olds who love wordplay and hate doing the same thing twice.)

On the negative end, I can’t really tell you why Super Time Force Ultra is mechanically interesting other that “time travel whatnot and whodunit.” I’ve tried to explain the game to various people over the past few days when I was playing it, and I get caught. I finally just tell them to watch me play and there’s a 50% chance that they can understand what’s happening or not.

There’s two possible explanations for this. The first, and maybe Occam’s Razor, is that I just don’t have the ability to understand the game. It could be that my systems literacy is weak while my systems empathy is strong–I can’t explain it but I can feel it. It could be that time confuses me.

The second is that the time travel mechanics in Super Time Force Ultra are, against all common sense, totally extraneous to the game. What I mean is that you could play this game without the use of time mechanics at all if not for a couple late-game puzzles that need to be solved with simultaneous action.

The reason for this is that Super Time Force Ultra most often deploys time travel for a single use: damage multiplication. Since you’re always racing against the clock and boss battles are huge damage sponges, you often need to summon your time traveling self in order to shoot a creature with fifteen of your own guns at once. There’s rarely anything tactical or strategic involved. You saunter back and forth to avoid being shot and you power up your shoot moves and blast enemies as much as possible.

You time travel to shoot harder. The type of shot doesn’t matter very often. Sometimes you can rescue your buddies in order to shoot more better, I guess, but that never really seemed to matter what while I was playing.

I don’t understand because time travel is confusing; I don’t understand because time travel is unnecessary.

It leaves me at a weird place. I loved the game, but I never want to play it again. I think you should play it, but I don’t feel so strongly that I would buy it for you. It’s a weird place to be with a game that you find yourself in allegiance to it without really understanding what its brilliance is. The strange violence of a feeling communicated by a media object I guess.

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Released: “unlike molecules” EP

Over the past couple of months I have been fiddling with a MIDI keyboard and long, sustained, Richard Skelton-esque noises. I’ve finally gotten to the point where I’ve made five listenable tracks if you’re into ambient music that hints at something stranger than sound.

The name of the EP is unlike molecules and you can buy it HERE for $3. I’m releasing it under the name THIS NOCTURNAL TOPOGRAPHY in a nod to Dylan Trigg (and, my god, what a lovely phrase.)

unlike molecules EP

 

There’s a lot of Gene Wolfe in this thing.

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Best of This Cage Is Worms 2014

Hello! Thank you so much for reading This Cage Is Worms today and any other day that you so choose. This post is a compilation of (what I think is) the best writing that I’ve done here on this website in 2014. You can see 2013’s list here, and you can read 2012’s list here.

Here at the top I just want to mention a few OTHER THINGS that have been going on in the wide, wide world of CMRN KNZLMN in 2014:

So, without any further delay, The Best of This Cage Is Worms from 2014.

JANUARY
The Necessity of Michael Bay
On Robert Pogue Harrison’s Forests
On Darius Kazemi’s “Zeno of Elea”
A Week in the Life of a Guard in Assassin’s Creed
On Assassin’s Creed Part 1: The Fiction

FEBRUARY
On the Death of Stuart Hall
On the Incredulity of Call of Duty 
On Assassin’s Creed Part 2: The Game
“like a sack with an animal trapped inside”: on the quizzle

MARCH
Social Cybernetics: Stereo (1969)
On He Never Showed Up

APRIL
On Assassin’s Creed 2: Control
Intermedio
On Assassin’s Creed 2: Conspiracy

MAY
On Assassin’s Creed 2: Interface

JUNE
Karateka (2012)
On Assassin’s Creed Revelations: The Animus
On Assassin’s Creed Brotherhood: City

JULY
On Timesplitters 
On Alastor and Ifrit

AUGUST
Tomb RaiderThe Last of Us, and deliberate action

SEPTEMBER
Agent Smith’s Reversal
A Moment in Kitsch Nihilism
On Lyotard and Thebaud’s Just Gaming 
The Matrix and the Nihilistic Impulse
Destiny and Writing
On 100 Bullets
On #Misanthropocene
Ten Minutes in Gamer Culture

OCTOBER
On The Uncle Who Works For Nintendo
My Fascination With Weedopia
On Bernband
Destiny‘s Writing Is Interesting Because It Is A Game

NOVEMBER
On Bluebeard
On Timesplitters 2

DECEMBER
On Carson Wells
The Lord of the Rings: Thoughts on Book 1
The Lord of the Rings: Racial Destiny

 

 

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I’m LPing Grand Theft Auto III

If you’re a frequent reader of this blog or my Twitter, you know that I’m constantly flirting with making video content. I have the capture card, I have the microphone, and so now I’m committing myself to making a Let’s Play of Grand Theft Auto III.

I’ve made three episodes so far, and I’m super interested in what you think of them. I’m trying to balance out general chatter, some design talk, and actual commentary on what is happening in front of me. I’m always excited for feedback, and I’m genuinely interested in what you have to say.

I’m embedding the playlist for the first three videos below. You can find my channel here.

 

 

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On Carson Wells

A few days ago I watched No Country For Old Men, the Coen brothers’ film based on the excellent Cormac McCarthy novel. I spent the runtime fixated, like always, on the strange game played between Llewelyn Moss and Anton Chigurh: Moss is a man attempting to control his own destiny; Chigurh is an agent bend on revealing the pure contingent nature of existence. It’s a classic clash: chaos and order; meaning and nonmeaning; good and evil.

This time something else stuck out: Carson Wells.

Carson Wells is hired by the corporate drug cartel to kill Chigurh, who at this point has killed both Mexican and American cartel members. In the scene where he is hired, Carson sweats confidence. It helps that he’s played by Woody Harrelson, a man who manages to play “smug” with the best of them.

Wells is somewhere between Moss and Chigurh. He’s a Vietnam war veteran. He’s willing to kill; more than that, he’s willing to kill for money. On the other end, he has some kind of code of honor. Late in the film, he offers Moss a deal: if Moss gives Carson the money, then Carson will protect him. We don’t have any way of evaluating if he’s sincere or not, but we have to be open to it.

That openness is precisely how Wells functions in the film. He exists for such a short time (he is killed by Chigurh), but the possibility of his actions haunt the film. He appears, and we ask “what will he do?” He is killed and we think “what could he have done?” His past is alluded to (a military career; a sighting of Chigurh in years past), and we wonder “what did he do?”

Moss’ is unable to shape his destiny. We were told that he wouldn’t be able to, and it was true. Chigurh kills without punishment and reveals the purely contingent nature of existence. Carson comes into existence and leaves. His echo is not felt. He does not linger in the minds of other characters; there is no remnant of him.

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