Grand Text Auto

the PLAYCUBE is home to a performative sweatshop today as students trace where all of their ‘free campus t-shirts’ come from; taking place on the Dartmouth College campus, 1-3pm today. Next week, on the 26th of August, we will host a locally produced Machinima show in the PLAYCUBE at 8pm in Hanover NH.

netpoetic.com, a rather massively multiposter blog, is now hosting writings, news, and conversations about digital poetry and electronic literature: “On these pages you will find links to new digital poetry/literature, ideas about what the heck that might mean, experiments, calls for work, exhibitions, activities, news, his/herstories and just about anything that the authors feel needed.”

Recently on the site I’ve read Sandy Baldwin’s discussion of permissions (”How does chmod relate to the absent body?”) (part 1, part 2) and have learned that Brian Kim Stefans’s arras.net has been reskinned. I’m going to make whatever contributions I can to the site, too.

[As I wrote on netpoetic.com:] Adam Parrish recently taught a class at NYU in the ITP program: Digital Writing with Python. I was very interested to learn about it and to see documentation of the final reading/performance, with some links to students’ blog entries about their projects. Here at MIT, I teach a class called The Word Made Digital in which students do poetry, fiction, and less classifiable writing projects using Python and other systems and languages. And, I know that Daniel Howe has taught the RISD and Brown class Advanced Programming for Digital Art and Literature.

The first issue of the Journal of Gaming & Virtual Worlds, from earlier this year, sports a nice article by Alf Seegert, “Doing there’ vs. ‘being there’: performing presence in interactive fiction.” In it, Seegert sharpens the existing discussion of reader-response theory and IF to explain how IF may need to balance between boredom and overstrain and how the writerly role allows for new sorts of presence. He then conducts some good discussions of Jon Ingold’s All Roads (highlighting how the body of the player character is indicated) and Paul O’Brian’s Luminous Horizon (looking particularly at the subjective narration).

if (sandWeight != idolWeight) { throw new BoulderException(); }

Geek disclosure: I’ve become fascinated by the different facets of Software Engineering. Not just as a means to an end, but as a practice, as an art and as a historical artifact. I feel like I’m in Indiana Jones and the Java Temple, full of Pythons, with the riches of Perls and Rubies.

My desire for faster, better, stronger code has been spurred on by being bitten one too many times by unchecked exceptions in Python, leading me back to the comfortable blanket of Java, unit testing and a framed photo of Kent Beck on my bedside table.

I created a short game called Rationalization to help me think through some ideas.

The game is very abstract and its message is primarily procedural.  I look forward to hearing any reactions you may have.

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In my last post, I discussed how games are being used to communicate, not just to entertain.  Today, I want to discuss The Great Flu, a game recently released by Erasmus Medical Centre in Rotterdam, the Netherlands.  The game attempts to educate the public about the dangers of and difficulty in containing flu pandemics.

“I had with me many tools, and dug much within the walls of the obliterated edifices; but progress was slow, and nothing significant was revealed.”

– H. P. Lovecraft, “The Nameless City”

Gregory Weir, who fashioned the very nice piece The Majesty of Colors, has a new game with levels built out of existing texts, including “The Nameless City.” The new platformer is called Silent Conversation, a title taken from poet Walter Savage Landor’s description of reading.

Mary just returned from showing the new work [perfect.city] at the Incheon Digital Art Festival. The work is a two channel video installation, projected on a double sided screen. One side features a Sims 3 slowed machinima of everyday life in New Songdo, the new economic freezone city of the east owned by the multinational Gale International. In the future perfect city, it’s, well, a bit boring. The reverse projection features a live action performance of Mary engaged as a member of Gale, dreaming of her own virtual utopian city and hacking the game in ’speed programming’ style. Thanks to Jennifer Jacobs, Peter Ciardelli, Thomas Garbelotti, and Steve Toole for their assistance with the project!

Riddick and his Ulaks (read: sharp knives)

Between being laid out with a kickboxing injury on my foot (not as manly as it sounds, I’m afraid) and food poisoning (which really is as non-manly as it sounds), I’ve had plenty of time to play some more games, without having to write it off to any significant others or advisers as “research”. Gamefly delivered “The Chronicles of Riddick: Assault on Dark Athena”, which has touched a nerve that has been twinging a long time (not in my foot): while technology is a great gameplay enabler, it’s also no panacea when the game design is flawed.

This is the fourth in a series of posts about my interactive fiction system, Curveship.

I was recently asked to elaborate on the difference between nn (the research system I developed during my dissertation work at the University of Pennsylvania) and Curveship.

The most important difference is that nn is a research system that I used for making some advances related to computer science, computational linguistics, and narratology. The system was developed to prove certain points; it was used only by yours truly to implement narrative and text generation ideas and to run demos.

I’m happy to announce the publication of my first monograph, Expressive Processing: Digital Fictions, Computer Games, and Software Studies. As the subtitle suggests, this book is a software studies take on the past and future of digital fictions and games. As of today it’s available in bookstores as well as online — and a PDF of the introduction can be downloaded from the MIT Press site.

This is the third in a series of posts about my interactive fiction system, Curveship.

Before I start descending into detail, I’ll explain why I think Curveship is a big deal.

Curveship does the usual work of an interactive fiction system when it comes to simulating a world: There are discrete rooms that make up the fiction’s locations, actors can inhabit and wander around these rooms, and things can sit in them, be taken and carried off or otherwise moved around. Items can change state, so that a lamp, for instance, can be turned on and off. Items can go into or onto other items, if they allow it. None of this is surprising; plenty of interactive fiction development systems already do all of it very well.

I don’t need to tell this audience about the momentum building behind educational games.  Even when I was an elementary student, going to the computer lab to play Math Blaster, Odell Down Under, or Oregon Trail was a special treat.  These days, kids grow up on video games: game consoles are nearly as common as TVs in households; cell phones are standard issue for kids of all walks of life; the internet is available to everyone, with its countless easily accessible, free games.

The Super Mario Bros. AI Competition is a fantastic competition being run by Sergey Karakovskiy and Julian Togelius in conjunction with the IEEE Symposium on Computational Intelligence and Games (CIG 2009). Were it not for the fact that all members of the EIS lab are terribly busy working on our research (our advisers read this too, you know!), I’m sure we’d be all over this.

The video above is our favorite entry so far, which wins three million EIS bonus points for escaping from a fall.  Amazing!

It looks like we have a bound book date for Critical Play, Mary Flanagan’s new book! The time is now! watch for it.

Eric Zimmerman says, “In Critical Play, Flanagan uncovers a secret history of games buried deep inside folk culture, experimental media, and the world of art. Critical Play should be required reading for anyone who cares about the cultural importance and future potential of games.”

Tiltfactor says, “HURRAY!” and is exited to launch the book.

There’s an interview about interactive fiction with Jimmy Maher that is well worth checking out. It’s on on Adventure Gaming Classic. And, Jimmy also has a new game out: The King of Shreds and Patches. This one’s strange story features connections to Shakespeare and Cthulhu.

This is the second in a series of posts about my interactive fiction system, Curveship. In writing about Curveship in any detail, I’ll have to use terms such as action, event, and order, which sound ordinary but are used in a special way in the system. Furthermore, I’ll have to use terms such as focalization and narratee, which do not sound ordinary, but have a meaning within narratology (a.k.a. narrative theory) and are important to the way Curveship works. I’m going to define a few of these terms – some I’ll save for later. Rather than sort them alphabetically, I’ll group them by how they figure in the system.

How do we understand moments of “agency” with games and other forms of digital media — what Janet Murray characterizes as players’ “satisfying power to take meaningful action and see the results of our decisions and choices”? Last month our DiGRA 2009 abstract on this topic sparked a thoughtful discussion. It pushed the co-authors (Michael Mateas, Steven Dow, Serdar Sali, and yours truly) to take a closer look at what our definition of agency might be — not just what might encourage or diminish it — and how our thinking breaks from the past. As we worked to complete the full version of the paper we decided that our paper would focus on agency as a “phenomenon involving both player and game, one that occurs when the actions players desire are among those they can take (and vice versa) as supported by an underlying computational model.” Anyone interested in reading the version we submitted to DiGRA can do so after the break.

I can’t get enough of games that parody game convention.

Play You Only Live Once at Kongregate.

Look what we’ve done to Hanover!  <the mobile unit PLAYCUBE in action>

The PLAYCUBE, our unique mobile exhibition space, has been home to two events since its arrival on campus last week– and these have been entirely unusual + much fun! We’ve attracted an interesting cross section of students, faculty, staff, and community members; the most compelling aspect of the project thus far for me is the way in which the mobile unit attracts curious passersby to engage with creative ideas– and especially those who might not frequent arts events or a museum.

Poetry and Slashdot collide via XKCD

Slashdot is “News for Nerds, Stuff That Matters”, and one of the most influential news sites in computing circles. Yesterday, appearing in an article titled “Games That Design Themselves” a certain “University of California” professor is named.

Who could this shadowy persona be? With so many campuses to choose from, who could possibly be elevated to such an illustrious status? Why, it’s none other than EIS’s very own Michael Mateas! h+ magazine takes a look at Mateas and Stern’s Façade, and have a look over friend-of-Grand Text Auto’s Jeff Orkin and his Restaurant Game.

I was very interested to learn that Adam Parrish, whose own Interactive Telecommunication Program (ITP) masters project was “New Interfaces for Textual Expression,” is now teaching Digital Writing with Python at NYU’s ITP. The course is concluding; Parrish and his students will mount a final performance on August 5 at 7pm. Parrish eschewed powerful, cryptic Perl for clarity of Python in this course on creating text machines, as I did in putting together The Word Made Digital, which I’ll be teaching again this Fall. His reading list overlaps with mine a bit and includes a nice article on appropriation in writing – I may just rip that right off. I won’t manage to be in New York to hear students read their programs’ output, but I hope the conclusion to the class goes well and that I’ll be able to read and run some things that will give me a sense of the event.

In my recent PhD thesis proposal I described how I am going to tackle game design as a new domain for automated discovery.  A key piece of this is figuring out game design might be explained as the kind of knowledge-seeking effort you might expect from science or mathematics.  With successful systems performing discovery (such as Simon Colton’s HR system which contributed some new and interesting knowledge in pure mathematics) and new projects beginning to automate the process of exploring a space of games (such as Julian Togelius’ Automatic Game Design experiment), the idea of mashing these together into a “game design discovery system” seems quite attractive to me.

Feel Good Hit of the Summer: Battlefield 1943

Battlefield 1943 is one of a number of games hitting Xbox Live Arcade and the Playstation Network this summer, countering the traditional summer lull. For just $15 (or £10 for my UK brethren, or 1200 Microsoft Space Bucks for everyone else), one of the most perfect knockabout multiplayer experiences can be had. Want to fly planes into tanks? How about flying a plane above a tank and parachuting on top of it? How about flying a plane into a tank, jumping out at the last second, and watching debris shower over your head? This is gaming, my friends.

At $15, it is one of the best bank per buck games one can purchase, described by John Davidson as an “evergreen” title, destined to be supported with fresh maps and gameplay for many, many hours.

With such value to be had, where happens to the $60 game (or the criminal £55 game)?