“The goal of critical scholarship and artistic and scientific practices is to make media unstable. To turn not to solving problems, but to imagining new worlds exceeding the demands of war and consumption that kill signification, experience, and time itself.”
“Play does not only include the logics of the game – it also includes the values of the player. Her politics. Her body. Her social being. Play is a part of her expression, guided through rules, but still free, productive, creative. Without the openness of play, the player cannot express or explore their ethics, their politics. The player may be guided by reason, by the instrument of play, but that does not guarantee, as the fall of modernity and the critique of Enlightenment have shown, that rationality is enough to express politics or ethics.”
“A Pepsi commercial on MTV promoting the 1998 MTV music video awards emphasized the fact that the video of the year award would be selected by the viewers through Internet and phone calls live during the show; the commercial dramatized “the power of choice” and reminded us that “you are in charge of your destiny,” equating the ability to vote for an MTV music video award with personal and social power. In such fashion, the interactive spectacle attempts to seduce viewers into playing its game and equates virtual participation with empowerment and destiny.”
“All the snapping and posting of photos, liking, commenting, linking, and clicking is happening without any compensation for this sweat. No wonder Zukerberg’s personal net worth is 34 billion. Youtube is saturated with videos of young people — many in their teens — testing out their skills at contributing to the world, offering tutorials in bow-tie tying, make-up tips, computer application reviews, movie reviews and many, many software tutorials focused on anything from Final Cut Pro to InDesign — high end and complicated applications, which they’ve clearly mastered. The beneficiaries of all of this generous labour are not only those whose lives are made slightly more easy, but, even more so, the companies who create the products that these kids are all helping us to use. The demand on Adobe from customers struggling to sort out Final Cut is much less because of the unpaid labour of young people.”
“Although designers continue to dream of “transparency” – technologies that just do their job without making their presence felt – both creators and audiences actually like technologies with “personality.” A personality is something with which you can have a relationship. Which is why people return to pencils, violins, and the same three guitar chords.”
This Friday, Geoff Long and I will run a collaborative storytelling workshop during Cyberpunk: Past and Future, a special event at USC Visions & Voices co-curated by professors Henry Jenkins, Scott Fisher, and Howard Rodman. Later, we’ll be publishing some of the material created by our participants (a stellar group including seminal cyberpunk figures Rudy Rucker, Nalo Hopkinson, and Bruce Sterling) as a special “Cyberpunk 2.0 Story Sparks Kit.” Stay tuned — and please join us if you can!
The literary and cultural movement known as cyberpunk began in the early 1980s when a confluence of speculative-fiction writers remapped and reinvigorated their genre—and much more. Inspired by a rapidly changing present—the beginnings of the World Wide Web; the proliferation of man/machine interfaces; the global spread of Japanese culture—these writers integrated technology, politics, literature and cultural theory to create a genre that not only predicted the future but also helped shape it.
A day-long event will bring together seminal figures of the cyberpunk movement, including Rudy Rucker (the Ware Tetralogy), Nalo Hopkinson (Brown Girl in the Ring, Midnight Robber) and Bruce Sterling (Bicycle Repairman, Taklamakan, Mirrorshades), along with figures from the worlds of film, music, technology, architecture and cultural theory, to discuss the cultural moment cyberpunk incited.
The afternoon will be devoted to “Cyberpunk 2.0”: small-group world-building and storytelling sessions in which USC students can collaborate with cyberpunk’s founding figures. Teams will [construct] a story and decide on a means of presenting that story to the conference participants. Led by Jeff Watson (School of Cinematic Arts) and Geoff Long (Annenberg School for Communication and Journalism). Participants will include the morning’s panelists, plus Stacey Robinson (Black Kirby Project). (USC Visions & Voices)
Additional information and background, courtesy Henry Jenkins, here.
My paper, “What Hockey Wants: Drama, Narrative, and Sports,” was published this month (just in time for the Stanley Cup playoffs) in Well Played Journal from ETC Press. The paper draws on game studies, literary theory, psychology, and other disciplines to discuss how narrative works in one of my all-time favorite games, hockey. Here are the introductory paragraphs, which summarize the core themes of this project:
Like many sports, ice hockey, or “hockey,” as it is known to its players and fans, generates legend, myth, history, biography, autobiography, and other forms of narrative at a furious pace. In, around, and among instances of gameplay, hockey produces dramatic situations which resolve into a variety of public and private narratives. Some of these narratives, such as the stories of an individual game played late at night on a neighborhood rink, are ephemeral and known only to certain players; others are so widely told and acquire such cultural significance that they are memorialized in statuary, feature films, currency, or novels; and some leave traces in the game itself as strategies, traditions, superstitions, play styles, and written and unwritten rules. Hockey is a creature of narrative – it eats it and excretes it – and yet, somewhat amazingly, it does not require any kind of centralized story department or author to spin its yarns. Rather, like all sports, and to a certain degree like all games, hockey is a set of protocols that propagates and iterates itself by producing the kinds of situations that are worth telling stories about.
Despite this impressive narrative capability, sports like hockey are not frequently mentioned in the discussions game studies and game design communities stage around the topic of narrative. One possible explanation for this relative lack of mention is that the ways narrative manifests in sports may at first glance seem more related to modes of spectatorship than modes of play, and therefore may be considered exterior to the kinds of narrative thought to be more properly “native” to games. It may also be the case that narrative is perceived as simply more central or essential – particularly from a player experience perspective – to things like adventure games, role-playing games, storytelling games, open-world exploration games, and interactive fiction, than it is to sports. Such overtly story-centric games are certainly worthy of consideration. For scholars and designers interested in the poetics, aesthetics, and politics of digital gameplay, it is perhaps understandable that the sweaty world of sports be overlooked. It is also understandable that some researchers will prefer to explore more exclusively digital forms of gameplay insofar as their work may relate more directly to how narrative connects to current trends in technology and communications than to games as a broader category of design. Regardless, eliding sports from the discussion risks depriving us of important ways of speaking about and designing about games and narrative. Understanding the powerful and parsimonious ways in which sports instantiate various forms of narrative, and the ways in which those instantiations can in turn become incorporated into the most basic structures of the games themselves, can provide useful models and metaphors for examining all games as both artifacts and producers of culture.
This paper presents an examination of hockey as a cybernetic system, paying particular attention to the role of narrative. Like all sports, hockey offers opportunities for individuals to take part in dramatic situations that would not otherwise occur. As players, teams, and fans actively engage with these situations, they produce and consume various kinds of public and private narrative. These narratives in turn shape subsequent situations both within and beyond the formal boundaries of the sport. Through a series of examples from hockey and related games, this paper examines how narrative emerges in, around, and among various contexts of hockey gameplay; how this narrative impacts both ludic and paraludic situations; and how it can become encoded in the formal structures of the game itself. (ETC Press: Well Played Journal, Volume 4 Number 1)
Thanks to Drew Davidson and ETC Press, and special thanks to Sean C. Duncan, who served as Guest Editor for this issue alongside Caro Williams.