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Todd Bryant

Fate of the World - 2 views

shared by Todd Bryant on 05 Sep 11 - No Cached
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    Climate Change Sim
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    I've been playing it for a while. Very interesting on several levels. First, it's very media-intensive. Lots of art, sound, big-screen design, many media assets. Second, the interface is... odd. It's anchored on cards, which might work better offline. Third, it's not easy! Things fall apart quickly.
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    What are the principal factors under your control? Is it more of an environmental science or political science game?
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    Grand strategy, with several domains at a very macro-level: economics, energy, organization.
Ed Webb

The Fallout Out of Our Choices - 3 views

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    Student blog - note seamlessness of experience between movie and game story lines.
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    Say more, Ed. Do you think that seamlessness is part of the global imaginary now?
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    I think it is becoming less remarkable to treat game worlds and storylines as similar to/comparable to/continuous with longer-established media such as movies, novels etc. I don't know whether it's generational, or just longevity of the medium. Maybe the technology has grown to allow more complex/complete world depictions.
Ed Webb

The Life-Changing $20 Rightward-Facing Cow - 4 views

  • The A Slow Year limited sets include the poetry book and the game on Atari cartridge, all set in black velvet and red leather, gold foil stamping, all hand-numbered, hand-made. While a manic counter was screaming the end of Bogost's journey to challenge social gaming norms, the creator was quietly, manually, assembling a physical art object. Only 25 will ever be made; they will sell for $500 apiece. Most have already been sold. To Bogost, like the poetry book that accompanies the Atari game, the handcraft and limited nature of A Slow Year's special edition help establish the project uncompromisingly as an art object, a creation bigger than "video game."
    • Ed Webb
       
      Sounds like something in a Wm Gibson or Bruce Sterling story
  • "I never expected that would happen," reflects Bogost. "A lot of the serious players… just like clicking a cow sometimes. It's very innocent; they just like clicking a cow."
  • Cow Clicker was never supposed to be fun. It was supposed to be silly, insultingly simple, a vacuous waste of time, and a manipulative joke at the expense of its players-–in other words, everything Bogost thought that Facebook games like the Zynga-made hit FarmVille are. In Cow Clicker, players get a cow, they click it, and then they must either pay to click it again or wait six hours; an embarrassing, joyless labor that to him represented the quintessential aspects of the games that were flourishing all over the social network.
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  • the story of a person whose joke project became more successful than the one on which he lavished love and intellect, the climate that caused that to happen and how ultimately he decided to learn from it instead of becoming upset
  • Then came the Gamification movement, the shiny new idea that if people were assigned goals and extrinsic "rewards," they'd be more motivated to engage with tasks-–and brands-–than they would have otherwise been
  • Cow Clicker developed an active player base–-people who missed the humor and attached to it as if it were a "real" game. These players unquestioningly spent real-money Facebook credits to enjoy their cows and sent Bogost innocent player feedback in the hopes of improving their experience. It subverted every expectation that he had, even as it reaffirmed his worst fears about the exploitive sadism of Facebook game design. Its success also became something to dread.
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