by Chris Billowsin Playstates Theory0 commentstags: Active / Passive Media, Active / Passive Senses, Awareness / Understanding, Infographic, Sense: Hearing / Ear, Senses: Seeing / Vision, Senses: Speaking / Communication, Senses: Touch / Nerves
In my earlier post, I outlined the five senses by which we interact with music, books, shows (including movies, television, and cinema), and games. I have created an Infographic to outline how the different Media relate to each other on a continuum of Passivity to Activity. Passive Media need Passive Senses (Seeing & Hearing) while Active Media /Games need Active Senses (Touch & Speech). Both Passive and Active Media need the Bridging Sense of Awareness. Upon further investigation, it becomes apparent that Passive Media can expand to become Active by engaging in the development of Fan Clubs (Speech Sense) and expanding into games as evidenced by popular movies being made into games. These expansions become a way for Passive Media to become Active, deepening a relationship between a fan and a franchise. Active Media / Games have done the same thing. There are novels written on Starcraft, movies set on the Mario Brothers, and game music played live by orchestras. Any franchise can migrate across Passive and Active Media to deepen relationships with its fan base.
by Chris Billowsin Playstates Theory0 commentstags: Active / Passive Media, Active / Passive Senses, Awareness / Understanding, Sense: Hearing / Ear, Senses: Seeing / Vision, Senses: Speaking / Communication, Senses: Touch / Nerves
In an earlier post I listed the seven human senses that interact with games. I also explained that not all of them are essential to engaging with games with Taste & Smell being two of the seven that can be left out. This leaves five essential senses: Seeing, Hearing, Touching, Speaking, and Awareness. The five senses are employed when we use engage with any media, entertainment, or art. We need all five senses when we read a book, watch a movie, or play a game. Yet, the degree that they are used does differ which helps explain why games are unique. There exists a continuum of passivity to activity that marks how games are different from media like books, music, and shows (including movies, television, and cinema). To help explain why games are different, I divide the five senses into Passive and Active categories. Passive Senses are defined by their latent information gathering done through the visual and audio senses. Active Senses differ from Passive Senses because they require action and communication. Let’s begin by discussing the two Passive Senses: P1) Seeing: Games, books, and shows all share the need for the Seeing Sense. A video or computer game cannot […]
by Chris Billowsin Playstates Theory0 commentstags: Awareness / Understanding, Introduction, Sense: Hearing / Ear, Senses: Seeing / Vision, Senses: Smell / Taste, Senses: Speaking / Communication, Senses: Touch / Nerves
It is documented that animals have play behavior, but it is only Humans that play games. In order for all animals to play they do so through their range of senses. There are the obvious ones such as sight, hearing, and touch but there are some that are more subtle or so powerful we tend not to think of them. Using ancient Buddhist psychology’s insight into the human condition, I thought it would be useful to evaluate how this list of senses interacts with games. What follows is a list of seven senses that most human beings have. I will describe each one and then list how it relates to games. (I) Seeing through our Eyes This is the primary sense used when it comes to games. A video or computer game cannot be played unless it can be seen since all games are played on some kind of screen with projected images. I can think of one rare exception, but in this case the exception does not make the rule. (II) Hearing through our Ears The secondary sense used when it comes to games. Some of the earliest games (played on main […]
by Chris Billowsin Playstates Theory0 commentstags: Lords of Midnight, Player v Avatar, Ultima IV
Note: This is an open letter to Jed Pressgrove at Game Bias. All replies are welcome. Dear Jed, I am responding to your article ‘Tutorialization as an Aesthetic Flaw in Games‘ which was in response to Chris Bateman’s article ‘The Aesthetic Flaw of Games.’ Your post got me thinking fondly and with some nostalgia about the role that non-game items like Manuals and Maps played in my past. I remember getting my first copy of Ultima IV: Quest of the Avatar which had a gorgeous cloth map and two manuals. The first manual was about the game, while a second manual posed as a spell book (Book of Mystic Wisdom), giving you the feeling of learning the game without the need for a tutorial. Another great memory, is from 1984 when I received The Lords of Midnight in the mail. A ZX Spectrum game, it came with a manual/story plus a map on the back of the game box. Boy, did I spend many a moment gazing on that map thinking about strategies to implement and places to explore. Enough of my navel gazing, the real reason why I am writing is that I […]
by Chris Billowsin Playstates Theory0 comments
Note: This is an open letter to Chris Bateman at International Hobo. All replies are welcome. Dear Chris Bateman, Thank you for your post on the “The Aesthetic Flaws of Games“. I am writing to provide an exploratory response to the persistent conflict you refer to, noting that this was not the point of your article. In your first point about Aesthetic Ruptures, you explain how narrative and mechanical aesthetic modes can lead to player alienation because of their unskillful use. I agree with you, and believe that it is this very difference in aesthetic modes that is the reason why the conflict you refer to exists. You speak more to this in one of your earlier posts, ‘The Thin Play of Dear Esther“. I have learned through our past discussions on Twitter of your intention to reduce the sectarianism we see in games, particularly the conflict between the narrative vs mechanical tribes, which can be distracting and destructive. As you wisely told me, be careful of trying to own the term ‘Game’. But I am concerned that in seeking a ‘perennial philosophy’ of games we do a disservice to some of the evolutionary traits that games have developed. While […]
by Chris Billowsin Playstates Theory0 commentstags: Introduction
Here is my first blog post on Gamestories, a website devoted to Game Design. Gamestories is a new general game theory written by Chris Billows. Gamestories recognizes that games may not share mechanics or themes, but they all share the need to tap the player’s senses. Games are different from cinema, literature, music, and other forms of entertainment & art because the senses they trigger are more extensive and they invite the practice of transformation. Instead of focusing on whether a game is fun, art, interactive, or challenging, Gamestories says that games are important because at their best they invite players to bring all of their senses to the medium. A player’s senses are triggered through the game’s events, become remembered, and then later shared with other players. The greatest meaning of a game is not that it tells the player a story, but that the player tells a story to others about the game. Player plays Game > Player transforms Game Events > Events resonates with Player > Player tells Stories about Game Gamestories can be summarized thus: “A game succeeds as a game when it taps the player’s full range of senses, triggering integration of game events, and […]
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