Play as Life

Digital games as a form of play. Play as a part of life.

The serious cr** of serious games

I am all about games being used as an educational tool. I am all about games being used to increase awareness or instigate action. I am NOT about games that are designed for the sake of proving that games can be used for this purpose.

I see how it’s useful to prove that video games can have a positive effect, but I don’t see how it’s useful to spend a ton of money on developing a game that only tests hypotheses that could be tested using existing games. I especially look down on the games that have spent government grants developing games that have little potential of being adapted in a classroom environment. I disapprove of giving federal funds to people who want to test empirical questions that dismiss flaws that would surface once you take a look beyond a specific empirical result.

The fundamental problem of a lot of the serious games is that they point out a significant outcome in the experiments, but have no significance outside of an experiment situation. For instance, one study looks at how doing an activity during gameplay  (such as walking on a treadmill) was more helpful for obese people than lean people in terms of burning calories. You may think, ‘Wow!’ but then I would ask: How do you motivate an obese person to do the treadmill in a naturalistic setting? It’s like forcing a kid to clean his room. Once the room is clean, you could say ’see? Cleaning the room made the room clean!’ Well yes, but that still doesn’t solve the problem of motivating the kid to clean the room in the first place. I’m sure there are situations in which someone could force people to play the games (schools or the military, perhaps?), but then we would expect to see that forced game-play has different effects compared to voluntary game-play.

I feel the biggest flaw in the design of serious games is that the people working on them are more interested in the positive effects of the game, rather than a design that would be fun to play. To a large extent, I believe that it comes down to education style and impacts of learning. For instance, I remember more about ancient Greeks in trying to put together a short video in 5th grade about the similarities and differences of Sparta and Athens. Taking a curtain to make a greek costume made me research how people dressed and taught me about climate, lifestyle, etc. that went beyond what was in the textbook.

I feel all of that could be implemented in a game. For instance, if we wanted to teach students about ancient Greece, a Civilization-type game would be excellent. The key would be, however, to add more details to the gameplay. For instance, when constructing a building, players could be given the choice to make the columns of the building ionian, doric or corinthian. Being able to choose one of the designs and look at the results would be an interesting way of learning about ancient Greek architecture. I think serious games designers should look at popular existing games and think of how we could tweak those to have an educational/prosocial outcome.

Filed under: research ,

Hacking: Unfair or an upgrade?

Guest writers Ryan Rogers, Shawn Stormo, Brett McDowell, and Jesse Hacker discuss the fairness of hacking:

Ryan Rogers: Hacking. We all heard about it in some way, shape, or form. We’ve heard stories, I’m sure, and chances are many of us gamers look down on the concept entirely. Apparently, hacking really has developed a bad reputation, but it seems to me that this is only because of the amount of power that the hacker achieves through the knowledge of coding.

Many consider it cheap, of course–depending on the situation.  It’s understandable that someone would get really ticked off if he were in an online Halo death match, only to find that he was fighting a losing battle because his opponent’s shields just wouldn’t go down. I can’t say how often this happens, however, since I’m not a hardcore Halo fan to start with, but given the right tools, I’m sure that there would be one persistent programmer out there willing to make his opponent’s online life a living hell.

Some even consider it unethical. It’s easy to see why–depending on the situation. Would you really want to go to a small Pokémon tournament and fight someone with a pesky Charizard with IVs and EVs upped past defined game limits? With money on the line, that would just suck.

But what about hacking for the sake of making the experience even more enjoyable, maybe even making the game itself better? It’s not that hard to see that uninformed people would think of it as cheap and unethical, too, given the bad rep that the word hacking has developed for years. I myself have seen debates about it in the Smash community over talks about Brawl+, a community hack project that I’m proud to support and share. I’ve often heard people say, “People want to hack Brawl because they’re just scrubs who can’t get good at the game, so they want to hack it to make themselves better,” and, “Why don’t you just play Melee?” Some people have asserted that it’s simply unethical to hack it because “that’s just not how the game was meant to be played” or whatever nonsense.

But what is hacking? From a programming standpoint, it’s merely the amendment of variables and algorithms in a game’s logic that the original creator didn’t intend.  That’s it: manipulating data. Sure, it may not have been what a game’s director, who likely toiled endless hours on the game, had wanted exactly, but it’s your copy. You can do whatever the heck you want with it. After all, you spent the $50 or whatever. If you want to get Mew on  your game without having to trade a ridiculously-rare critter or go to Japan for a Nintendo event that isn’t covered anywhere else.

Yeah, I know that you can do a lot of bad things with hacking, but come on, it’s only bad if you use it to do bad things. People can say that guns are bad, too, but why? Because of what you can do with them? Are they still bad if you’re only using it for leisurely target practice?

So what’s evil here? Hacking someone’s console and bricking it? Or altering the game so that you can see Cloud and Link fight to the death on Final Destination–a battle that everyone’s wanted to see for years? I don’t know about you, but I think the choice is obvious.

Jesse Hacker: To be fair, I think both of those options at the end of your post are evil. Granted for completely different reasons, and based on different definitions of evil. Given perception of something as evil relies on what one would perceive as good, I am going to transition to the words “right” and “wrong” and take a morality stance.

I doubt many will argue that using online game services as a medium to transfer malicious code is wrong. The same idea with spoofing data in a game, online or otherwise assuming it effects someone in some way. This is precisely why you will see programs that attempt to detect any form of hacking in any sort of game with a competitive side. To cite your example of Pokémon, many people that hack Pokémon are very novice about it. From what I’ve been told (I’ve not actually rooted around in the data myself), there is a large amount of “junk” data that some programs can use as parity bits to check the legitimacy of a creature. (ie. some people have made programs that can detect a hack 99% of the time, and those that can fool the program don’t really let on how they do it). The same sort of protection exists in most online game services such as Halo, a very notable one is called Punkbuster.

The other issue you’ve raised, modifying a game without the authors consent to achieve a number of ends, is also morally wrong. There are quite a large amount of games that ship with development kits, or instructions on how to create add-ons/mods, the authors of these games welcome the creative communities attempts to better their game. World of Warcraft is a prime example. For those unfamiliar, users can program add-ons to change literally every function of the user interface to whatever they want, Blizzard simply limits the data these add-ons can access as to make it impossible for an add-on to be game-breaking.

However, buying a game, modifying it and distributing your modified version as you see fit when the author has not provided tools or guidelines on doing so is very wrong. It is assumed that in doing this, the modders must bypass some protection on the game itself to obtain access to the code in question. Ignoring numerous laws brought into question by this activity, the morals alone justify not doing this. The best metaphor I can think of would be to buy some newly released book, taking a thesaurus and changing words you don’t like to synonyms, or rewriting sentences without changing their meaning. Then taking your version of the book and passing it out near bookstores with a name akin to “Jurassic-er Park.” While one may think that they have paid for their copy and it is theirs to do with as they wish, in reality the existence of this new version alone will hurt the original and possibly it’s chances at squeals, which is especially depressing if this new version was meant as a slightly tuned homage to the original.

I’m all for creativity, but copyright law exists for a reason, as do developers release modding kits for a reason.

Rogers: Oh, no, I think you misunderstood. I’m not talking about changing the game and distributing it for profit. I, too, agree that that’s morally wrong and violates copyright law.

However, with mods like Brawl+, all that’s really done is changing the value of variables in the RAM to change what the game does regarding physics and loading files–but to do that, you still need an original copy of the game, so really, no one loses any money in the deal. In essence, it’s no different from using a GameShark or an Action Replay. If it’s illegal to do that to your own game, then MadCatz and Datel should’ve been sued by now for distributing hardware that lets you do that.

Have these devices hurt sales for games? Not that I know of. But you’d think someone would’ve said something by now if that’s the case.

Brett McDowell: I may possibly be mistaken, but what you’re describing sounds more like modding than hacking. Modding involves the modification of an existing games source code either taking the existing game and tweaking it, or building a new game from the engine up. Even though it’s really not malicious per se, the morality of it is still questionable. Technically when you buy a game, you are not buying the game itself, but the rights to play the game in your home. Typically when you do buy the game you are not legally given the right to examine the source code, much less modify it. Of course quite a few developers allow and support the modification of game code, typically through the use of developer’s kits released to the public. A great example of this would be Valve, who’s support for Half-life mods has gone so far that they’ve even commercially backed a very sizeable number of mods built off their engine (The Team Fortress and Counter-Strike franchises being perhaps the most successful of these).

Still, if the developer does not support modding of the content they’ve produced, the modder is violating the will of the people who worked very hard to produce a quality piece of software. Is it too much to ask that gamers have a little respect for the people who work their fingers to the bone to bring them entertainment?

Rogers: Yeah, the source code thing is a no-no. The programmers who are hacking the games merely apply codes that modify the game’s RAM after the variables have already been declared and initialized. Your definition of modding makes it sound like a modder needs to read the source code, edit it, and recompile it; but that’s not the case I’m studying here. Amazingly, as it turns out, programmers are given a lot of freedom with Wii homebrew without actually looking at the source code at all. All they need is a buffer overflow, and bam, they have access.

So I guess you’re right about the modding thing, but it can be considered hacking, too, I think.

Shawn Stormo: I don’t find hacking or modding a game to be immoral or unethical until that modified or hacked version comes into contact with an unmodified, vanilla version.

Now I’m not a huge fan of hacking games–I like to play them in the way the developer designed them to be played–but it’s not wrong to do it to your own, personal version.

When you come into contact with other versions, though, then it becomes a problem. Because some people play games for competition, and that competition aspect is a core part of the fun, when a person hacks or mods the game to give himself an unfair advantage, that destroys the fair competition and the fun. When players aren’t having fun, they stop playing, complain, or don’t trust the developer anymore. All those things mean less money. That’s why developers crack down on hackers, and invest in anti-hacking software and tools to detect mods. Hacking breaks the rules of the game, but a game isn’t a game without rules–it’s chaos. If too many rules are broken, there’s no fun to the game, no point to playing it. When hacking reaches this territory, and breaks the rules of play that everybody else agrees on, and makes them null–that’s when hacking becomes cheating, and wrong.

If everyone agrees to change the rules–no problem. Hack as much as you want.

As far as hacking game’s source code–that’s more situational. Some games are meant to be modded–Fallout 3, Morrowind, Oblivion, Neverwinter Nights etc. They come with development kits to allow you to expand your game and share your content. That’s obviously not wrong, because it’s embraced. Similarly, one of my favorite games, Baldur’s Gate, has mods for it because people hacked the engine and source code. However, there aren’t any bad mods for it–all of them improve game play or story, and do so while keeping the spirit of the original game. In that case, even though it wasn’t intended, I would say it’s still not wrong, because it’s enriching the experience.

As far as hacking a game’s source code and then reprogramming it–doing that for money or fame (by claiming it’s your own work) is extremely unethical and immoral, and breaks copyright laws. However, making your own game or mod and then passing it to your friends is fine, as long as you realize exactly what you’ve done. You’ve made something based off of someone else’s work, so don’t take more credit for your achievement than it’s worth.

About our guest writers: Ryan Rogers and Brett McDowell are undergraduates at Michigan State University; they are taking a class on the History of Videogames this semester. Shawn Stormo is an aspiring game designer and ex-English major whom wants to use his imagination for a living, and hopefully get rich enough so he can fund or personally undertake crazy or creative projects. Jesse Hacker is a senior at Michigan State University studying Computer Science, specialized in game design and Japanese.

Filed under: [discussion] , , , ,

Interview with Justin Karpel, composer of Time Fcuk

Play As Life caught up with Justin Karpel, composer for the indie game Time Fcuk.

Q. First of all, congratulations on the new soundtrack! What was the process of composing for Time Fcuk like?

A. It all happened within the span of a few months, from June thru September of 2009. I was having a chat with long-time friend and graphic artist, Edmund McMillen (blog link, interview link), when he mentioned that he was working on a new flash game called “Time Fcuk” with programmer, William Good. During that same conversation, Edmund proposed that I join their team and create the soundtrack for the game, and I took the commission for the soundtrack to Time Fcuk on the spot.

From that point forward, creating the sound design for Time Fcuk was certainly a collaborative affair. I submitted a handful of initial sketches within a week, most of which were rejected; so it was ‘back to the drawing board,’ so to speak. All I can remember is that a moment of true inspiration struck, about two weeks into signing on the project, I spent all evening working on a track and I put together the music that would become the cue for the opening sequence and title screen of Time Fcuk.

Feeling that we were moving in the right direction now, I took the raw vocal samples for the “voice” in Time Fcuk, and transformed them into the eerie, robotic syllables you hear in the final version of the game. Time Fcuk is a game with many layers and many things happening at once. The result can be somewhat chaotic and dissonant at times. With the vocal bits complete, I turned back to the main theme for the levels of Time Fcuk, and came up with a track that conveys the repetitive and uneasy flow of time and motion in the perplexing world of the game.

Later on, as the design of the game became even more user-driven, the concept of a “level editor” came into play, and another track was born — a more ambient, blurred, slow and distant version of the main theme. Also, a very simple track came out of these later sessions, and we all liked it so much that we decided to use it on the early levels of the game as the player is learning the basic controls and how to navigate through the puzzling world of Time Fcuk.

At every point, the music was tested in-game and I was constantly supplied feedback by Edmund and William on ways to shape and master the final cuts for optimum use in the game. As the release date drew near, I was literally working 10 hrs at the “day job” and coming home to work another 6-8 hrs on the soundtrack for the game. I didn’t get much sleep on those nights, but the final product was a mix of inspiration, imagination, improvisation, persistence, and pure fun.

Q. Would you say that Time Fcuk represents your musical preferences, or is it more catered to the storyline of the game?

A. The music for Time Fcuk is definitely more catered to the storyline of the game, as you say. The first thing I always ask for when embarking on the task of a video game soundtrack is to have a copy of any artwork, or any working versions from the game as the primary source for my musical imagination. I like to become as immersed as possible in the world of the game in order to create a sound which feels original and true to the game. The strange and multidimensional quality of Time Fcuk was the driving force for the sound design.

Q. What kind of equipment did you use for Time Fcuk? What instruments do you play?

A. I recorded everything for Time Fcuk in my home studio on my MacBook Pro. I used M-Audio’s “Fast Track Pro” as my audio interface, a couple of Shure and AKG microphones, with Apple’s signature Logic Studio featuring Logic Pro 9 and MainStage 2 to produce the entire project. The Korg TR with expanded sampling capabilities is a staple in most of my work. I’ve been fascinated with pianos and keyboards since a young age. I just added a Yamaha oak console piano into the mix, and the hardwood floors in my home add a nice flavor to the acoustic environment for the instrument as well.  You will notice the Melodica (a widely underused keyboard instrument, in my opinion) figures a large part in the score to Time Fcuk. I also sampled an old Emenee reed organ in the score to the level editor of Time Fcuk (I found this particular organ for $5.00 at a secondhand store–what a bargain!). I have an assortment of pedals and sound modules. I’ll sample and record just about anything if it might have a musical application one day.

Q. You have so many creative talents. How do you introduce yourself to others?

A. Hi, I’m Justin. I’m 28 years-old. I have a degree in creative writing and electronic music. Sometimes I like to think of myself as a student of the Universe. I imagine I’ll always continue to study art, philosophy, religion, psychology, writing, and music. I like to watch movies, read books, attend symphonies, play video games, and a lot of other things too. I attend as many cultural and artistic events and time and money allow. More than anything, I love to write books and compose music. I’ve worked as a librarian, a video-store manager, and an English teacher. I’m currently employed as a corporate trainer. But really, I’m just another human being on the look-out for a little truth, beauty, and happiness in this lifetime.

Q. Pick five words that you would use to describe your music.

A. Experimental, Electroacoustic, Atmospheric, Organic, Meditative

Q. What influences your music the most?

A.  The writers, the musicians, the philosophers, the painters, and the poets of the world–these are my Muses. For this reason, I always try to attend live concerts, theater, and displays of culture and art whenever possible. I can spend a whole day reading a good book or strolling through a museum of modern art. I have a huge library of CD’s, DVD’s, and MP3′s. In college, I think it was Stravinsky that opened my ear up the most, and I have been listening to the pioneers of 20th and 21st century music ever since. The music of composers like Philip Glass and Harry Partch have made a definite impression on my style, not to mention the free jazz experiments of Sun Ra and Don Cherry. The progressive sound of The Beatles, Pink Floyd, and ELO. The Residents and Radiohead always satisfy. From Leonard Cohen to Laurie Anderson, Bela Bartok to Stockhausen, there are just too many personal influences for me to name here. As far as video game music goes, Koji Kondo‘s soundtracks are legendary in my mind.

Q. There’s a lot of dispute about whether or not music should be free. How do you feel about making your music available to people online?

A. All the music that I’ve written is available for free online. That’s been my own choice so far. My books are not free. I just happen to be a big fan of sharing free downloads of my music and collaborating with other artists online. There are whole communities of artists working together and doing some spectacular stuff online. I would like to mention a site where I participate and donate time and money to called iCompositions.com. There are many great musicians and artists collaborating there. My own page, with many free downloadable tracks (including the complete soundtrack to Time Fcuk) is located at: http://www.icompositions.com/artists/Justin_Case/

On the flip side, I’m also fine working with contracts, concert venues, copyrights, royalties, etc. I believe that “the laborer is worthy of his hire” and that you just have to find the right balance between your artwork and your pocketbook. I’ll admit that I’m not happy when I hear that multi-million dollar artists are suing people for sharing digital copies of their art. I think that digital reproduction in the postmodern age is simply a way of life. Nevertheless, I believe that if you put on a good show, or sell a CD or DVD that features your artwork, or contribute work to a project that is financially successful, it’s only fair to come away with a share of the profits for your efforts.

Q. Being a writer/musician is hard in any economy. If you could turn back the clock 10 years, would you do things differently?

A. Absolutely not! I create art first and foremost because it makes my soul happy to do so. I simply cannot imagine not creating art! Money and recognition have always been a secondary benefit of the process. I write stories, poems, and music because it is through these acts that I feel more intensely alive!

After all is said and done, I still require a “day job” to pay the bills. I don’t regret this fact, but I hope that in another 10 years, perhaps the art will be the centerpiece of my financial well-being.

Q. Do you think video games can be a form of art?

A. Without a doubt, video games belong to the realm of the arts. Perhaps the closest cousin to video games is cinema. It takes the efforts of graphic designers, animators, writers, and musicians — all artists in their own right — to create a truly interactive and immersive video game experience. When all the pieces come together in a way that transcends the individual parts, that’s the sign of true art! Art is simply that creative territory where effort meets imagination, and video games certainly fall into that category. Video games represent the triumph of art, entertainment, and computer technology.

Q. What type of games do you enjoy playing?

A. Role playing games, strategy games, puzzle games, fighting games and side-scrollers are my favorites. I have enjoyed everything from Super Mario Brothers, to the Zelda games, Metroid and Mario RPG, Final Fantasy and Sega’s Phantasy Star series, to PC releases like Blizzard’s Warcraft and Diablo series. And then there’s the classic fighting games like Street Fighter, Mortal Kombat, and Super Smash Bros. I’ve always enjoyed the adventure game genre as well, with games like Sierra’s King’s Quest series, and LucasArts’ Monkey Island and Maniac Mansion titles. Those were some great games!  As much as I enjoy RPG’s, I haven’t found an MMORPG that truly satisfies me yet, and you’ll more often find me playing an old console or PC game instead of one the recent console and online releases.

Q. How do you feel about mainstream games versus indie games?

A. I’ve been a fan of both mainstream and indie games for a long time; I don’t think they are truly at odds. I have friends working with companies like Nintendo, PlayStation, and XBOX. I’ll admit that the mainstream has a reputation for playing it safe, going with the tradition, sticking with the tried and true. Indie artists and indie gamers have been consistently pushing the boundaries and taking risks. There’s a great amount of freedom with indie projects. It’s great to play outside of the box! It seems to me that the best-ranked indie games will eventually get their shot at becoming mainstream hits. Having not been signed to work for any major label or company, I can speak from working extensively as an independent artist. It’s an alright road. I still believe it’s not worth sacrificing your artistic integrity for a shot at the mainstream. No way! On the other hand, I wouldn’t refuse a shot at working with a mainstream company, if the final product was consistent with my original vision for the project. I think most independent artists would welcome the opportunity to share their work with a larger, mainstream audience.

Mainstream games versus Indie games? I don’t have to choose, really. Both have their share of flops and successes. I just keep on playing the games that I like.

Q. Are you working on any new video game music projects?

A. I’ve been working two more indie game music projects since the release of the Time Fcuk soundtrack. I’m also in the process of submitting the manuscript to my third novel. Many exciting things to come in 2010!

Filed under: [interviews], industry , , , ,

Twitter Musings

  • Dear Metroid Other M, why can I not play you in 1080p on the console? I think Japan hates me. 1 week ago
  • Am I the only human on the planet who played and finished the Atari 2600 version of Megaforce (yes, a movie tie-in) when it was out? 2 weeks ago
  • DC Universe trailer is completely underwhelming. 3 weeks ago
  • 8 Year old impressions of Adventure for the 2600. http://bit.ly/bg6XgZ 3 weeks ago
  • Played around with League of Legends a bit last night. Pretty solid. DotA for the RTS Win. 3 weeks ago
  • Guild Wars 2 has some steampunky elements so maybe that will satisfy me. 3 weeks ago
  • Anyone have any feelings on the Bioshock Infinite CG trailer from yesterday? Made me feel like we need a steampunk MMO pretty badly. 3 weeks ago

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