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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."

"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.

I discuss his key idea: that systemic thinking is a liberal art, and I explain a corollary idea, that textbooks suck

if you don’t have a category for an idea, it’s very difficult to receive that idea

the story of the last few hundred years is that we’ve quickly developed important ideas, which society needs to have to improve and perhaps even to continue to exist, and for which there are no pre-existing, genetically created categories. So there’s an idea-receiving capacity gap.

Deus Ex: "I was overwhelmed by a feeling of pointlessness very early on, and I felt so cheated that I actually threw the CD in in the bin."

These arn't not classic games. Guardian sort yourself out and get a real games editor!

I have not looked into the particulars of this study nor current issues in neuroplasticity in depth, but this experiment at least draws my attention because of my interest in educational games and simulations (and gaming in general).  I have often wondered, for instance, about violence in video games, and though there is no evidence that violent video games make people more violent, the really interesting question, I think, is whether or not acting out violently in a video game alters the brain differently than acting out violently in real life.  Likewise, what about other behaviors that can be acted out in high fidelity through a game from stealing in Grand Theft Auto to cyber spouses in World of Warcraft.  Do these activities affect one's neural mapping?Obviously, there are other, more curriculum-oriented implications of this study that are probably more pertinent to my field, but I think that generally we tend to view digital experiences in a different way than real life experiences, and if it's all the same to our brains, then it seems like that is something we should be conscious of when designing and consuming digital products.

"When I started crediting myself as writer and director, I saw that as a political act. This is not a game made by 20 people plus 12 marketing guys, trying to find an average of what everyone likes. I'm doing the work of an author and there is no compromise. It's really the story I want to tell."