You might have noticed a little game came out recently called No Man’s Sky. If you didn’t, you must be trawling a different part of the internet from me because I have been invaded, cajoled, frustrated, and panhandled by No Man’s Sky ads so much at this point that I’m pretty committed to not buying it. Mind you, I had already swayed against since it’s not at all what I wanted – which is just a slightly more polished Noctis. For those of you looking to read something about No Man’s Sky, however, here’s the roundup:
Heard about its technical problems? Well the developers say that “Less than one percent” of players have reported issues. They mean ‘have raised a support ticket’. Most players report issues by bitching into Twitter.
Lewie Procter, on the other hand, complains about the “lack of multiplayer”, which was at least (he says) implied, if not outright promised.
Brendan Caldwell skips straight to ballistic and wades in with accusations of “broken promises”.
Brendan Keogh offers a counter-Brendan, trying to drum up sanity from the internet.
…and the same kind of “seriously you guys?” with a lot more amusing swearing can be found in Rob’s rambling retort.
Lastly, if (like me) you just wish No Man’s Sky was actually a buffed-up Noctis, there’s Dylan Roberts’ piece, Before No Man’s Sky there was Noctis, which might explain why that was what I personally wanted.
Is the opening image from No Man’s Sky or Noctis? Actually, neither, it’s Frig’s mock ups of Noctis V, the sequel that doesn’t exist, as posted to Anynowhere. If you’re making a Noctis-style game, please do let me know, because No Man’s Sky just isn’t Noctis enough for my tastes.
As part of my work on the lineages of player practices, I’m beavering away on a five part serial looking at game inventories. It was originally going to be just one post entitled The Joy of Sets, but it has predictably spun out of control and has turned into a bigger project. I will be taking pairs of games and looking at the lineage connections between them, which is not simply a matter of saying what influenced what directly. For instance, Notch never played Dungeon Master to my knowledge – but the design of Minecraft inherits almost the entirety of its inventory practices from it. This will be my big serial for this year, and I hope to kick it off soon. Stay tuned!
For those of you who have brought a suitable device to DiGRA-FDG (and for those not able to make the conference), here's my Prezi for No-one Plays Alone:
The timeline in particularly has a lot to offer an errant explorer... go take a look!
Looking for research partners!
I'm always looking for people with similar research interests for possible collaboration on papers, contributions to edited volumes, or possible formation of new sub-disciplines. Please get in touch using the Contact link if your research interests are in any of the following areas:
Player Practices: my main Game Studies research subject right now, and I'm interested in allying with anyone who broadly agrees with the following statements, regardless of how they choose to describe their research: "no player can play or design a game in complete isolation from the practices of others" "an artefactual reading of a game is always an incomplete reading" "the history of games is the history of the way players engaged with them" or equivalently "emulation is at-best reincarnation"
Philosophy of Imagination: also interested in anyone applying Walton's make-believe theory (or another theory of representation) to any and all aspects of human life. This was the background to my 'imaginative investigations' i.e. the trilogy Imaginary Games, The Mythology of Evolution, and Chaos Ethics. If your work crosses over anywhere near mine here, I'm interested in talking to you.
Multiverse/Pluriverse/Ecology of Practices: related to the above, I'd love to hook up with researchers who are pursuing Stengers' ecology of practices, William James' pluriverse/multiverse, or anything similar to my adaptation of Moorcock's multiverse to ethics and politics. If you are working on ways to understand our diversity of being as a manifold of practices or an inclusive set of mythos, please get in touch.
In some sense, ignorance might be an appropriate word for what I’m advocating: for creators to intentionally ignore with greater diligence the pressures to be similar, to follow fashion or money or power, pressures to use objective, scientific methods of art production. And similarly, I think part of what I’m advocating for could be called dogmatism: for creators to hold firm in their values and goals in order to create works that are more distinct, more filled with themselves, more honest and interesting and worth talking about.
The original firestarter makes one of its targets the kind of self-focussed indie game design method Kevin defends here. Yet I cannot do anything but respect Kevin’s commitment to exploring his own creative vision in games. For me, what Kevin is doing is making what I call artgames, and the moment you’re committed to art you are no longer practicing a commercial craft. You’ve gone down a marvellous rabbit hole, one where money may be tight but that worthwhile things get made. Almost everything I’ve thought worthwhile in games in the past five years has been an artgame… This is largely what I choose to play these days.
Why sell out artists in The Craft of Game Design Cannot Be Measured By Any Metric, then? When I look at Kevin’s output, which includes Eidolonand The Absence of Is, I see someone pursuing their vision for its own sake, which is the mark of an artist – a way of life I greatly respect, not least because it now feels closed to me. But when I look at the indie market, I see people pursuing a similar kind of self-focussed process and making yet more-of-the-same violent, repetitive ordinariness. Such indies are, I presume, trying to make a living – and they’re doing it badly. It was these indies I wanted to lambast.
If my piece in any way discourages someone from accepting the role of the starving artist, with all that entails, I apologise unreservedly. Art is one of the greatest ways to add value to life beyond money. But most indies aren’t making art. They’re masturbating into a codebase and thinking they’ll hit big doing so. Maybe I should respect that as a kind of art, but I just see it as bad commercial practice.
With my philosopher-hat on (I wear many, conflicting hats), I can only smile with an inner warmth at this line:
I think that often, the non-mechanical components of a game are more important than the mechanical ones, and so I tend to work on visuals and writing at least as early as mechanics.
I wrote Imaginary Games in part to defend this philosophy, and next week I’ll present to a hundred game academics about how games are more than their merely artefactual machinery. Kevin describes himself as willingly ‘ignorant’… his ignorance, though, is closer to the kind praised in Jacques Rancière’s The Ignorant Schoolmaster – it is a freedom from stultifying conformity. I could never oppose this, especially not when it is done in the pursuit of art. Everyone must discover who they are, sometimes over and over again… and never let someone like me tell you otherwise.