Visual Connection – Graphical Perfectionism

March 4th, 2010

I reckon that we need to rethink the way we approach graphics in video games. Rather than increased realism, we need increased perfectionism; visuals which are for all their intents perfect. Creating realistic-looking games only works against the grind of perfect graphics, as the higher the aim for realism, the greater chance there is of landing in the all too familiar uncanny valley.

What do I mean by “perfect graphics” though? Good point. Allow me to illustrate with a list of random games which I personally consider as visually flawless.

Each of the listed games are artistically beautiful, with no (or incredibly little) imposition from technical limitations. None of the above games can benefit greatly from increased graphical fidelity. In fact, better graphics would probably make House of the Dead II less effective, because it’s a game which ravishes in the graphical constraints. The low resolution textures actually serve to make the world more unappealing.

The graphical direction, that of perfection, seen in the above games are what we ought to be striving for, rather than pidgeonholing ourselves towards realism. Marvel at the screenshots below as examples of this perfection:

donkey-kong-country-screens

abe's-oddyssey

wipeout-hd

valkyria-chronicles

resident-evil-remake-cimea

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Good Video Games and Good Learning Overview

March 2nd, 2010

diddie-dixie-gameboy

After reading a Theory of Fun, many of the principles in James Paul Gee’s Good Video Games and Good Learning are likely already apparent: video games are inherently teachers of their rules and mechanics. In which case, Gee’s book, which further analyses how video games are a powerful education tool, is a fantastic continuing point if you’re a newbie to academic games studies (like me!). Gee explores how video games—or rather the situated learning in which video games offer—can be adapted to a classroom environment and provides thorough analysis of all facets of implementation. If you’re remotely interested in education alongside games then I can’t recommend this book enough.

good-video-games-good-learn

It’s actually been maybe 6 months since I first read Good Video Games and Good Learning, so some of the core ideas have have meshed in with the words of other authors, but in any case, here are the more interesting ideas covered with my own ideas leveled in for good measure.

Games are Inherently All About Learning

Gee argues that games are deeply rooted in education. After all, games are simply a system of rules (like the laws of the universe) that create a simulation (reality) in which mastery (education) is the intention. Without learning the basic rules, continual practice and eventual mastery one cannot complete a game, unless that game is too easy and therefore unengaging. Therefore, at the heart of every game is education.

Situated Texts

Games are texts (think textbook) in which the player (student) is situated within and the rules (formula) are externalised. In science, sociology, maths and other subjects you learn about the invisible rules which govern your world, in video games, these rules are no longer invisible, but made explicit (think of how rules are embedded into the design of the game world visually, aurally and through agency).

Schools are Giving Kids a Manual and Asking them to Learn

For this point, Gee often discusses his experiences with the first-person RPG Deus Ex, in which he initially read the game’s manual and thought it was too hard. It was dense with information, just like a text book. A glossary of specific terms which are interlinked, a complicated keyboard layout, multifaceted functions which changed depending on certain situations, variables obeying a set criterion. Gee says that he did what any kid would have done and just started playing. Hours later Gee returned to the manual and understood most of its content because he’d learnt by experience. In which case he only needed to use it for reference; the same way a text book ought to be used.

Schools, Gee argues, are giving kids the manuals (text book) and asking them to learn for themselves, in an environment that doesn’t effectively cater to their personal needs and issues (see next heading) where the rules are unclear. In video game, the rules are easy to learn because they’re a part of your experience and if the rules aren’t taught properly, the game isn’t very successful.

Games Provide a Variety of Information in Different Forms Right When the Player Needs it

Gee makes many claims about video games being effective educators and fortunately he provides a wonderful evaluation of the RTS game Rise of Nations to evidence his argument (as a player though, you’ll likely start think of examples yourself as you read). In Rise of Nations, like any well designed game, information is delivered to the player in different forms. Information is delivered visually, aurally and/or through on-screen text cues as the player approaches the exercise. Information is also given based on agency, if the game notices the player is playing incorrectly, they will advise the player on how to play correctly. Furthermore, the player can also consult the physical manual, look online for a guide or engage with external fan sites. This is all unlike a classroom where help is limited and teacher support enqueued up with other students. Video games provide the player with information right when they need it. Instant feedback results in faster, more effective education.

Games are clearly doing something right

Contrast for a moment your experience of learning in school and your experiences of learning within a video game. Games are fun and engaging for players, school is often disliked and unengaging for students. Education is central to both. With this notion in mind, Gee argues that video games are clearly doing something right in which most schools are not, therefore it’s worthwhile to investigate how video games are successful educators.

Passion Communities are superseding traditional education

You’d think that what Gee is advocating is to replace the pen with a controller and the textbook with a video game, however this isn’t it. Video games create an environment which works well for education, Gee is interested in recreating this environment within the classroom. As also explored by Henry Jenkins of MIT, popular culture and the internet actually provide an already existing framework for this new form of education, it’s call passion communities and its education is already exceeding the institutions.

Passion communities are groups of people who have a shared interest and together participate in activities which nurture their interest. Think of any fan site community which produce fan-related material such as graphics, music, translations, writing, podcasts and you get the idea. Many of these communities reside on the internet and maintain very high standards of production (see Convergence Culture for many examples). This blog is part of a passion community, and unlike in school:

About adopting a role, learning a doctrine

The question of what we learn in a video game is crucially important and Gee answers this surprisingly well. I mean, how can the rules of God of War stack up to the thoughts of Plato? Gee believes that because we co-author video games, that is, we inherit the avatar while maintaining our own identity, we therefore inherit the respective doctrine that comes from the avatar’s occupation/role.

If I remember correctly, Gee references Supreme Commander, where he discusses the way the game’s mechanics force the player to adopt the principles of a soldier by working as a team and obeying a strict set of playing requisites. This doctrine, Gee says, pertains to all parts of the game, from the way your instruction are given and objectives presented, the realistic graphics and even in the wording of the instruction manual. You are constantly forced to act with the responsibilities of a respectful soldier.

Other titles also teach the doctrine of their avatars. By playing Splinter Cell; you see the world in a series of darkness and light, Resident Evil; in conserving ammo and avoiding danger, Guitar Hero; playing a song accurately and titling the guitar head to be a rock star, Tetris; spatial awareness.

Pleasantly Frustrating

I quickly discussed this concept in DP’s Games Crunch 2009 Part #2. Although, if you’ve played games for any amount of time, you’re probably already familiar with the idea: games that are frustrating because they engage our interest and test our abilities in ways just outside of our reach.

The Education Crisis – India and China

This is quite interesting. As China and India out rote-learn western kids in our current industrial revolution-based education system, we’re presented with a crisis. Innovation in education is the antidote which can keep western countries competitive and this is why a new education system is so important and why video games are worth a look.

Parents and Critical Thinking, the teacher takes role as a mentor

With the internet and all this new software which can provide accurate, precise information instantly, the conventional role of teachers as the possessor of all knowledge just doesn’t work. Teachers can’t beat Wikipedia or Google, education wants to become communal but the system doesn’t allow it. In which case, teachers (and parents too) should act as mentors, facilitating the means for kids to critically engage in their learning.

Conclusion

I think that’s most of it covered, albeit pretty quickly. All the points I’ve made here are explored in great depth and with solid justification in Jim Gee’s book, so I strongly urge you to hunt down a copy of Good Video Games and Good Learning and read it yourself. I have quite strong feelings towards education and this book really hits on some important topics which are worth considering.

Additional Readings

Gee whiz – Brainy Gamer

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Questions for Radical Entertainment

February 28th, 2010

Ages ago, I was asked to write a series of questions for an interview with Radical Entertainment for Pixel Hunt (yeah, yeah, I know) which unfortunately never eventuated. This was part of a cover feature scrapped at the last minute because of unresponsive PR people, hence the awkward promise of an interview on the front cover.

Radical Entertainment are the developers behind Prototype, the open world PS3/360 adventure released last year. In case you need a reminder, here’s a trailer:

I’m a huge fan of their sleeper hit Hulk: Ultimate Destruction and at the same time was very cynical towards the mindless violence and brutality which seemed to frontline Prototype. The opportunity fell into my lap and as you can imagine, I was pretty ecstatic. Talking directly to the developers, sharing commentaries and analysis is frankly a dream for me. So rather than settle for the standard template which’d allow the developers to act as pseudo PR folk, spruiking their wares (“Tell me about this patented mechanic..”, “How will this patented mechanic make your game better than similarly derrivative titles?”, “Will you be taking it to ‘the next level’“?), I wrote a list of questions which I felt would benefit the readers as much as possible.

You can find the questions below, for your perusal. Who knows, maybe one day I’ll get some answers.

On the Prototype universe/Trans-media Franchising

Video games and comic books have had a rather fruitful history together. Prototype‘s protagonist Alex Mercer and his story seems like something taken right out of a comic book. In fact much like Dead Space, Prototype has its own comic book series in production. What do you think of the merging of these two mediums, and how do you think Prototype will continue to expand this relationship?

On the comic book, the first issue is already available, does this make Prototype a video game adaption? How do you guys handle both of these properties?

With both the comic and video game, in a sense it seems like you’re creating a universe, rather than say a conventional game property. Do you think the Prototype universe will continue once the game is released?

Downloadable content is all the rage these days, are the team interested in exploring this option and do you think it’s likely Prototype will feature any?

On Radical Entertainment

Radical Entertainment has produced several successful open-world titles in recent years such as The Incredible Hulk: Ultimate Destruction and Scarface: The World is Yours, how does the team go about finding new ground to cover in the open-world genre?

As someone who thoroughly enjoyed Hulk:UD, I was pleasantly surprised to see how similar the two titles are, particularly in terms of ability sets. This is by no means a negative criticism, Hulk was fantastic, but how do you balance new and borrowed gameplay mechanics?

On the game itself

What I personally enjoyed about Hulk:UD was how the game empowered the player, you felt like you were this green wrecking ball of destruction. Prototype carries the same bad-ass mantra. How do you give the player such a strong sense of empowerment and how will Prototype elevate this feeling from Hulk?

Prototype is the first Radical Entertainment title made exclusively for the next-gen systems. What sort of features are we going to see in Prototype that couldn’t have been done on previous systems?

Interactivity and destruction is a trade mark quality of your titles, how much of Prototype‘s world will be destructible?

In the recent story trailer, executive producer Tim Bennison said that the “web of intrigue” narrative system, where players obtain past memories through taking the form of NPCs, plays well to the strengths of interactivity in games. Can you elaborate on this?

In the same trailer, I noticed that the game had this sudden injection of colour, particularly green and red. The original trailers had a very limited colour palette, mostly greys, was this change a conscious design choice or hadn’t we just seen those parts of the game yet?

Violence

Prototype is obviously a very violent, mature-themed title, as developers of adult games are you ever concerned about the implications of markets that haven’t yet adopted an R18+ classification, such as Australia?

On an online podcast, several reporters were airing their concerns about the way Prototype depicts violence and how the people showcasing the game were proud of the glorification of violence. Several of the reporters found it rather distasteful, how do you walk a fine line between cool/disgusting or tasteful/distasteful violence?

Etc.

Prototype has been compared to inFamous (PS3) by Sucker Punch. Coincidentally they’re two open-world, comic-book-inspired titles with parkour elements being released in extremely close proximity. The comparison obviously isn’t fair for either company, but what do you make of their efforts?

—

Do I make a good interviewer folks? >_<

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