Internet Art

Blocktober Gamedev Screenshots

RND/ To imagine a game called #Blocktober, in which largely untextured, ‘blocked out’ in progress levels are presented as ready to play:

3840 x 2160, 256 col .png, images via Twitter

– In which you still see the exact same kinds of developmental (architectural) paradigms at work, and although in modern terms and methods are highly efficient and heavily engine optimized, they still rest on largely un-examined first principles, common shared language (gaming grammars and assumptions) – regarding space, gravity, proportion, usage. Places based on such (often dull, ‘real world’ based) assumptions are still often merely backdrops to the action rather than central characters in themselves, and still very much static rather than dynamic. They just stand there like blocks of dumb concrete (despite being made of pixels and light.)

For the AAA games industry, #Blocktober represents “a beautiful insight into how game worlds are built” (Rock Paper Shotgun) but, rather than some apparently clarifying ‘behind the curtains’ look at how the game sausage is made, is in fact its entirely hidden ideological foundation.

Indeed, why else would so many people spend quite so long tinkering endlessly (and largely uselessly) with getting two adjoining virtual walls to line up ‘just so’? Who should care about that? Is there anything more cosmically boring and overly long winded than level design as it exists now? Just check out the Two Time making his own level. Why isn’t the level being actively designed via instant, dynamic hands-on play, instead of this endlessly anal ‘screwdriver mode’ (as Brian Eno calls it)?

// how to play big science

Internet Art

On The Internet, Everybody Knows You’re a Nobody

RND/ some recent freeform lab notes on repeatedly trying and failing to meaningfully engage with others online:

Part of the problem (and, admittedly part of the actual appeal) is that I simply don’t know what I’m doing with this site, or any of its so-called content; it’s not philosophy, certainly not art as the modern global art market defines and imagines it understands it, it’s.. just boring B.S – like a lot of life, and certainly like a lot of the internet – dealing with the down time of Time itself, listlessly punching the life clock in the face with amazingly anti-meaningful, memetic clickbait attention economy splinters before death, just for something-anything to do

Way out here on the ‘tubular interdark’, everybody knows you’re nobody; a kind of self selecting crowd, an invisible dark mass with a strong sense of who already and ‘really’ deserves to be up there – and therefore who to pay attention to; pop stars and other mass produced media personalities ‘should’ be online, should have a visceral media presence, simply because they’re already famous; “I’m famous, therefore I already am”; everybody else does not exist, their voice automatically lost among dry digital grasses

If I was already a rich and famous ‘media personality’ (one of the worst insults you can apply, surely?) I wouldn’t have to sit here alone in my cold, rented shoebox trying to pretend I want to write these cosmically useless lab notes (aka a simple random blog post) telling all the countless billions of people *not* listening about my first world philoso-artistic woes (indeed, I could hire someone to write and perform my dis.content for me – some beautiful, hopelessly naive, fresh-out-of-artschool greenhorn with advanced ‘conceptual new media’ skills and a subscription to photoshop who could also pretend to pretend to ‘play Big Science’ for me, while I, eg. play the latest AAA gaming industry ray-traced titles on my retro 60″ 8k 144hz HDR monitor with my eyes glazed over with hot hyperreal image flux)

The need to continually romanticize the blasted, pathetic little details of one’s as-though-still-not-yet-lived life, since the alternative (not that the truth is an ‘alternative’) is simply too flocking grim and bone achingly dull to remotely contemplate (“Who me? Why, I’m not really an unemployed Sociomedia postgrad from a sh1te Northern university whose still deep in Student Debt two decades after leaving – I’m an ‘amateur postmodern internet media prophet’ with a vast legion of super intelligent fans who adore every artistic twitch of my sensual neural meta-fibres!”)

Indeed, one might consider the internet the greatest technology for generating feelings of extreme loneliness ever developed – what one in fact merely ‘hooks up’ into is not so much a living network of connections, but of dusty overgrown pathways between isolated gravestones in a massive abandoned church, whose towering megastructural gothic architecture makes Dark Souls say “Damn, that’s some dead-ass Gothic right non-there”; ‘self-facilitating media nodes’ are always born dead reactionaries, their mouths choked with the rotten black earth of raw media image

I recently sent an email to gamedev Mosche Link, trying to.. I don’t know – perhaps just intellectually engage with anyone about art / ideas:

Dear Mr. Linke

Hello, I’m a UK based philosopher and artist, who regularly works with the concepts and notions of videogame architecture

I’m a fan of your impressive Fugue In Void, (which reminds me of the work of Thierry Urbain) and think the towering megastructures on display in your game Neon Entropy are simply beautiful

I’m writing to you, to offer my (free) help as a resident ‘Theorist-For-Hire’ on N.E, as I feel i can add a strong narrative element / philosophical context to your game

Here’s what I’ve written so far; I hope you find it interesting and relevant to your project: “My story is that of a distant planet, destroyed by climate change”

Zone 000: For decades, the people of my planet lived under the collective delusion that there was something we could do to finally fix the problem of runaway climate change; the patient had been dead for a while now, and only the illusion of uninterrupted existence was left – huge shocks we applied to its corpse that kept the whole rotten system lurching onward. To nowhere.
Coda: In which there is no whole – no single solid unit of function, only fragments and the useless registers of artificial memory. A pointed awareness of deep time; the secret language of petrified trees in a museum nobody visits.

Zone 001: To paraphrase an ancient Earth philosopher and media prophet: “Immense energies are deployed to hold this synthetic simulation of ecological harmony at bay; to avoid the brutal de-simulation that actually confront us in the face of the obvious reality of a radical loss of meaning of the term ‘finding balance with nature’.”

Coda: Claims to knowledge of the true extent of our predicament must now kept in check with new, default extremes of advanced philosophical critique.

Zone 002: In fact the entire planet was doomed from the very outset by our very existence; the real runaway process at work was not merely our love of ancient alien animal oils, bubbling and oozing beneath the surface, which we used to power the sentient machines running our society – our imagined immortality in the vast technological utopia we built in our own golden image.

Coda: Mystics within certain wandering tribes to the deep East used to say the rivers of oil which actively fueled our demise – as opposed to the convenient myth called progress – resembled immense ropes of interwoven, strangling tentacles.

Zone 003: The thing about utopias – which means ‘non places’ – is that, rather than universal data heavens which anyone may enter, are in fact always constructed precisely by those who are inherently and automatically barred from entering – their labor and lives always conveniently missing from the official image archives adorning the silent, bloody walls of our faithful technological republic.

Coda: Even the brilliant ships we built in order to abandon this storm-wracked, planet sized tomb were themselves abandoned, because it was felt we could not control the wind, and therefore somehow simply not worth the effort. Planetary scale lassitude.

Zone 004: All too soon did the towering megastructures of our breathing biological cities turned back to inert, dusty brick; we became desert people, susceptible to dark cosmic visions of endless, trackless dunes – giant singing manta rays with mile wide wingspans, able to block out the incessant glare of our angry sun – mothers in their millions, crying perfectly oval silicon tears over infinite futures lost – to what? The limits of our imagination, perhaps.

Coda: In which a strange scenario emerges, in which the plain, naked fact of our true planetary predicament actually represents a gap, or unexpected turn – a historically inserted shard of collective possibility for new conceptual horizons. The fingers of the great skeleton clutching eggs once unable to hatch, perhaps now finally releases its ugly, spectral grasp. A low humming sound, heard only at night during sleepless dreams.

Sincerely, Robert What

The reply was as expected (edited and paraphrased for clarity):

Hello Robert; I am flattered that you’re such a dedicated fan. Your writing gave me a lot of inspiration, and as these ideas flow into my mind, I’m sure they’ll influence the overall world design. It’s just that I don’t want to use words in my current project, so I’m sorry I can’t implement your text into the Neon Entropy. For now, almost the entire journey is already set in stone, and there are no new developmental changes planned.

Again, I’m very grateful for your dedication.


There’s a pattern developing here; in the course of my daily research and development, I discover something cool and interesting online, and sometimes try contacting the ‘researc’ / developer in question to talk about it. While they obviously like, and are thankful for attention and complements (who doesn’t like ego-feeding complements?), they almost always immediately follow up with the kind of standardized boilerplate apology I now call “Sorry, butt”

– Sorry, but I don’t need any help right now..
– Sorry, but I haven’t really got any time to X..

I now read such replies as, “Sorry, but I’ve absolutely no idea who you are, who or what you represent, what exactly you want from me or precisely what you possibly imagine I can do for you” – which is fair enough, given that I’ve no real idea what I’m doing (“Just a little R&D, you feel me..?”) but there’s still some kind of underlying assumption that, if the person politely calling you isn’t already rich and famous or at your perceived ‘level’ of whatever – social status or intellect or class or level of self importance – then there’s ‘no real point’ to the conversation

Read ‘no real point’ as “With the first two sentences of our email exchange, I already get the strong troubled feeling you simply won’t be able to actively progress my career / boost my ego to the next level – and therefore interacting with you as a human being interested in art philosophy and the free exchange of ideas is an active waste of my infinitely precious time”

Especially with artists, the feeling is that those with gallery representation and a couple of showings under their belt – very small and standard potatoes most of the time from what I’ve seen – feel anyone that contacts them has to be a buyer or from a large international newspaper with offers of a world shattering interview; and everyone else a mere rescinded priority; sure everyone (well, most of us) has bills to pay and there are only 24 hours available but man, is there ever the feeling one has to constantly justify oneself and one’s existence when in their presence

A related problem: how to make any flocking dough when someone else is already holding all the bread?

Flock art – what about just being a decent human being with half decent listening skills; I’m not a ‘fan’ of anything or anyone (rarely is anything in life that interesting) and neither am I calling you to sell you some vague idea of.. myself, perhaps.. hello? Is there anybody even out here? *sound of high pitched, heavily filtered virtual wind whistling quietly through an empty architectural infinity of global climate cooled data centers*

A pleasant if somewhat listless conversation with Professor Pippin Barr

RND/ Loose pre-conversation notes:

– Considering ‘the existential threat of videogames‘ as a ‘Funpocalypse’ (the fully VR-Baudrillardian version / simulacrum update of Neil Postmans ‘amusing ourselves to death’)

Paida as ‘human computer’ interaction with the philosophical worry about a fully computerized humanity (‘Chinese Room’)

Digital identity and play: contrasting Buddhist and video game avatars as ideological incarnation of modern electronic self-as-futuristic-deity

Robert: Hello Mr. Barr! How’s the semester’s going? Good, I hope My large video game exhibit is finally up – hope you like it

Pippin: Hey there Robert – holy crap this thing is intense. I really like the format a lot – more than I would have expected. It’s exhausting, but also very possible to browser around in rather than read in the obvious way. The pieces of language I’ve landed on have been lovely, poetic, thoughtful.

Robert: Many thanks for your prompt and kind reply! It means a lot. I know you’re very busy, but any time you’d like to hook up online for a quick philosophical chat / freestyle jam about Play, Games – their strange Virtuality (particularly in the context of large scale institutional Education – ‘university considered as whitecube gallery’?) please do let me know, as I’d love to pick your e-brain

Pippin: Hey Robert – yeah definitely. This weekend’s no good for me, but plausibly next week Saturday for a bit? What time zone are you?

Robert: UK – five hours behind Montreal. Thing is I don’t think our chat really needs to be realtime, since we’re already communicating over email, and I don’t want to bother you at the weekend. What say we try a freestyle yet somewhat focused call-and-response, wherein we initiate several small theoretical possibility spaces of conversation and idea-exchange, and then we each jazz riff from there?. This way we can spread the conversation out, let it breath. Some example topics as follows; what would interest me Mr. Barr is that we try to always lean the conversation back around to your particular (expert) view and approach, ie. from within academia. Please bear in mind however: I don’t really know anything about anything, I just enjoy pretending to

Pippin: Asynchrony makes sense to me. Absolutely. Not sure I’ll be able to talk at your level with such. Counter-offers (perhaps we can converse in questions). What are games made of? (makes me think of your noclip stuff a bit, but also a preoccupation for me in many games). Videogame translations? (book to game, game to book, game to game, myth to game to art print to game, ++). What about everything before the game itself? (design and process documentation, did you ever read Jordan Mechner’s book on Prince of Persia? this is something I’m very involved in personally). Hmm.

Robert: Some initial responses. What a games made of? What about games considered as (say) ideal / idealized (conceptual!) platonic forms of (digital) heaven; an interactive retroactive western gnosticism / immaterialist wish for spiritual ascent? (Brian Eno; art-as-‘surrender’)

Pippin Bar – VR2

– The lost mystic art of Noclip as symbolic Virtual Void Architecture; a silent howling electronic (baudrillardian) nothingness out of which emerge flat, ‘fake’, Potemkin-esque surface forms– Games as (coded) language-play abstractions

– On Videogame translations: because everything is always in the disruptive flux of unceasing market colonization. Here Zizek is instructive:

“Herein lies the paradox proper to capitalism, its last resort: capitalism is capable of transforming its limit, its very impotence, in the source of its power – the more it ‘putrefies’, the more its immanent contradiction is aggravated, the more it must revolutionize itself to survive. It is this paradox which defines surplus-enjoyment: it is not a surplus which simply attaches itself to some ‘normal’, fundamental enjoyment, because enjoyment as such emerges only in this surplus, because it is constitutively an ‘excess’. If we subtract the surplus we lose enjoyment itself, just as capitalism, which can survive only by incessantly revolutionizing its own material conditions, ceases to exist if it ‘stays the same’, if it achieves an internal balance.”

– The design-by-committee, focus-group-tested-hipness, pale geekdom hell that is “Ready, Player One

Pippin: What about everything before the game itself? (design and process documentation, did you ever read Jordan Mechner’s book on Prince of Persia? this is something I’m very involved in personally)

Robert: That’s basically what I like to term “Big Science”; conceptual freeform play emphasizing craft rather than strictly art (Eno again), notions notion rather than polished product, contested spaces rather than virtual certainties; games as the convenient hole the artistic catherine wheel spins around

– In which there’s now no ‘before’ the game; the map has long since entirely replaced the territory and the Permanent Virtual Funemployment of Ludocapitalism now constitutes our very dreams *gosh that’s romantic* ;-)

– Discussions of design and documentation reminds me of Michigan’s game archive

– Mechner’s book sounds interesting and I’d like to read it; while I remember digging POP back on my Amiga 500 back in the day, I just hope the book by-implication doesn’t overemphasize the (/myth of) the auteur and forget wider collective gamedev culture

Robert: On games as digital heaven: considered as (say) ideal / idealized (conceptual!) platonic forms of (digital) heaven; an interactive retroactive western gnosticism / immaterialist wish for spiritual ascent? (Brian Eno; art-as-‘surrender’)

Pippin: I’m playing Tetris Effect at the moment having had its virtues extolled by various friends. I think it probably aspires to this sort of idea? It even has chanting monks in one level. There’s a kind of “become one with the tetronimoes” feeling to the design. When I was feeling down the other I tried using it as a medicine but I don’t think it worked. Those points and level rankings kind of thwart the transcendence for me?

Robert: Maybe points levels and rankings don’t necessarily thwart the religious (or at least New Age spiritual) symbolism or possibility of internal philosophical reflection of or within a game space; maybe it’s akin to counting prayer beads, or a recounting of holy scripture as an (/electronic) meditation: queue Rez Infinite. I mean, far out, man: to consider spiritual states, primitive shapes in the context of brain development, and synesthesia = “Sounds like any modern video game“.. Or maybe not ;-) The lost mystic art of Noclip as symbolic Virtual Void Architecture; a silent howling electronic (baudrillardian) nothingness out of which emerge flat, ‘fake’, Potemkin-esque surface forms

Pippin: Yeah I guess there are forms of religious experience that revolve around counting and quantification, that’s true. I’m not a religious person so can’t really speak it it, but it always seemed to me that the quantified-self versions of religious practice would get in the way of spiritual experiences. Like the assignment of set numbers of prayers post-confession or the idea of accumulating blessings via fasting. A bit instrumentalising. Like almost any videogame…

Robert: I’m afraid the ritual nowdays is simply of blind digital consumerism; I wonder where all the more truly philosophical play spaces of free experimentation exist – rather than what the aaa-industry laughably regards as somehow remotely philosophical-by-auto-proxy. Hope I’m not directly suggesting games are literally spiritual; perhaps more simply that in modern secular society it appears they’ve taken over (/from) certain symbolic aspects of traditional (mass) worship; witness the levels of crowd devotion in any regular E3 presentation – or the ecstatic opening of lootboxes as receiving sacriment?

Pippin: For sure games have that kind of cult-y obsession factor going for them. But I guess I think people feel like they have spiritualish experiences too? At least trance-like experiences which are a big part of a lot of religions? And games are nothing if not ritualistic, too…

Robert: Interesting how experiments like Vr2 can be read as appearing churchlike – an cool, noble museum full of strange exhibits, possibly once used by a distant (/dead) alien civilization as fetishistic worship totems..?

Pippin: Huh. I’ve never thought about laying any kind of narrative on top of a game like that – it exists so clearly as a formal experiment for me, but this makes a great deal of sense. I think I’m afraid of stories because I feel like I’ll tell a bad one.

Robert: Aren’t all games embedded in narratives and contexts, ala ‘everything as a text’? As for being a formal experiment, I imagine gamers almost always treat whatever they call games as complete, stand alone experiences – definitely statements rather than open experiments or idea-spaces..

– On the ‘Quantified Self’ and its grasping, Minecraftian style valorization of the individual as a mere stack of exploitable cubed information often feels abhorrent.

Pippin: I thought Detroit was weirdly interesting in relation to the quantified self thing somehow. It’s the first really detailed visualisation of a game’s narrative as another set of accomplishments that I feel like I’ve encountered (though I bet it’s been done before). Sitting there in front of the narrative flowcharts at the end of playing through a scene I was always both fascinated (“I could have done that?”) and repelled (perhaps by the implication I ought to experience it all). The quantified self as a set of time worms.

Robert: You’re right. Wow, that game’s so accidentally postmodern, it hurts. In fact one could use it as the benchmark for games so uniquely wack, they transcend the medium and forge their own aesthetic space – just like Mass Effect: Andromeda.

Pippin: Well I guess David Cage has been pushing pretty hard on this model for a hell of a long time. For better or worse Detroit feels like he “broke through” and kind of nailed whatever it is he believes in. As such it feels simultaneously like a tour de force and problematic and lame in many ways?Robert: In chapter two of your thesis you stated: “A key factor in the enthusiasm surrounding video games’ potential for delivering messages is their motivational power. Unlike most forms of software, people largely play games because they enjoy the process which leads us to a further level where values can be seen as something brought by players to their play.” Perhaps spirituality is one such motivating force?

Pippin: Jesus, my thesis. I’ve never thought about Potemkin in conjunction with level architecture, that’s nice and feels accurate. I think about that when I’m constructing games a lot – the question of realism and solidity, as well as the “authentic” system beneath. When I made a tiny game about finding an invisible dog (for a class in programming I teach) it mattered to me that I displayed the image of the dog even though it was completely transparent and invisible. v r 2 was kind of about this for me.

Robert: Just remember, Jesus loves all thesis ;-) Regarding the authentic system beneath, one is reminded of Zizek’s reversal of Hegel’s notion of ‘abstract and concrete’; the abstract ideological background (techno-utopianism) which makes current social relations possible / concretizes them? Regarding the notion that “decompiling a video game is like dissecting a frog – we learn a lot about it, but the frog dies in the end”; the need to deconstruct videogames – a skeptical re-examination of dialectics forming its apparent basis – an examination searching for points of privilege (ie. claims to knowledge) upon which its hierarchies rest – to bring to light how a game space undermines the philosophy it asserts, the hierarchical oppositions on which it props itself up, identifying in/via its ‘text’ rhetorical operations that produce a supposed ground of argument, key concepts or unexamined first premises

Pippin: Suffer the little theses to come unto him. My own games often feel like dead frogs to me, but not always? There’s also often a big, weird transformational leap from the code+assets representation of a game and the experience of the system running and reacting that can kind of erase your knowledge of the inner workings. That said maybe it’s the opposite and it’s other people who get the dead frogs, or at least mute frogs, that aren’t successfully communicating what they’re “all about”, whereas I know…

Robert: The thing about dead frogs is precisely that their deliciously grotesque historical animation by Italian scientists

– Indeed, yet isn’t code + assets not merely a representation of some future / ideal game (/state) of active play – but already an entire system (albeit ‘low level’) already running and reacting? One that, somehow not only erases knowledge of inner workings, but perhaps of all other (/levels of) workings; programming code as that which ‘retroactively creates it’s own causes’ (Zizek)Pippin: Hmmm. I mean… gee. I don’t know how I feel about saying the code+assets in the absence of processing could be said to be “running”? It implies running and represents a logic, but..

Robert: If one imagines human language as just another special class of machine programming language, and language generally as social behavior – something one performs, then.. I think I mean it’s ‘running’ and ‘live’ in the sense it already depends on a dynamic, contextual (cultural) matrix of meaning and meaning-performance; neither code nor assets arrive tabula-rasa, or ‘raw’ but rather already part of preexisting systems of social intent and signification; one doesn’t have to wait for meaning to arrive until clicking an (apparently) self contained .exe file

Pippin: Life as platform then? Fair enough. I think I’m lamely modernist enough to worry about so much blurring though, starts to be unclear what you can say about anything? But in principle I agree..?

Robert: As for Low Level Language: “Programming language that provides little or no abstraction of programming concepts and is very close to writing actual machine instructions”; perhaps this strange and complex ‘abstraction’ works at all levels; let’s consider that the ‘finished’ game – really, it’s more simply ‘all we have current access to’, rather than finished, complete, self contained, etc. – is an abstraction up, out and away of the (seemingly) raw or uncooked (/cultural) matrix of code.. if any of that makes any sense, don’t mind me I just to make small animal sounds with my mouth ;-)

Pippin: This does actually make a bit of sense. Is it arbitrary to say that the game we play is really a totally different thing from the code that animates it, or are they levels of abstraction? I mean, qualitatively the experience is so different that we’re justified in distinguishing them, but at some other conceptual level maybe it’s also fair to say that the game running is an “abstraction” of the specificities of the code? Or not?

Robert: I’m not sure how this relates to your question, but I can imagine a game in which the act of having to compile the code is the more actual game then whatever regular sense of interactive software occurs after compilation. I think considering “a running game as an abstraction of the specificities of code” is a good heuristic for understanding digital play – but I also like the notion that “code as always already running as a specific abstraction” (if that makes any non-arbitrary sense?)

Pippin: People have even made efforts at games that are played at least in part through code (e.g. else Heart.Break()) though usually still within the confines of a “fake” programming language (though what does that even mean).

While I’m always ready to be instructed by Zizek, though I won’t pretend I’ve often understood what he’s saying. I really enjoyed his riff about the toilet in the movie The Conversation, that’s the pinnacle of it for me. Translation in relationship to capitalism vaguely scares me. Though I translated the concept of Capitalism into a game of Snake in SNAKISMS. Actually my relationship to capitalistic structures goes… pretty unexamined I guess. By me, I mean.

Robert: Ah, the eternal return of the cosmic flush that keeps on giving! Terrifying ;-) Due to embeddedness within global capital, that’s not necessarily any kind of reflective failure on anyone’s part; one is reminded of the old yoke about the fish who, while swimming past two others says “Morning! How’s the water today?” As he leaves, they turn to one another and ask “What’s water?” Watch out – games are everywhere!

Pippin: Are games really everywhere? If they’re everywhere what are they?

Robert: Hmm; no, game’s aren’t everywhere – and if they are, they’ve long since mutated away from being mere games; and yet, to consider the sense that ‘games’ andor ‘gaming’ have long since been the new default metaphor of viewing (/’Western’) reality – which is why in my bad post cyberpunk fanfiction, I often like to refer to some near future retro-80s state “When videogames won The Reality War.”

Pippin: Huh. And this also ties to that kind of boring question “what is a game”. Etc. Maybe it’s everything, maybe it’s something vying to “take over”, maybe it’s a thing with points and rules. I like using “game” as a Trojan Horse to get people to engage with the stuff I make that “isn’t really a game”, since the word has a bunch of helpful connotations in terms of people jumping in and grappling with what they see, at least for a few hundred milliseconds.

Robert: Perhaps no more or less boring than games themselves ;-)

Pippin: They are though aren’t they? I’m struck by this constantly at the moment, though perhaps I’m just more generally depressed. I struggle to stay engaged and interested in the games I’m seeing, though I know they’re acknowledged Good Games.

Robert: Thing is, I don’t really think ‘things which aren’t really a game’ work, since there’s a sense in which everything is now too often already (and only) viewable in the default terms of / set by ‘game’; indeed the use of Alternative Reality games as marketing strategy is nothing new, right? Aren’t games already Trojan Horses to get us to engage with too-often malignantly useless playbor in the service of the global funemployment enconomy?

Pippin: True that the Trojan Horse isn’t just for for killing your enemies or getting people to play art games. Gamification and serious games and advergames and on and on. Free to play for that matter.

Artistic efforts like yours, Pippin, seem inherently worthwhile; it’s just that I think the term ‘artgame’ which tends to stick to such efforts simply means “anything fancy (remotely involved with learning) we Real Gamers care to / can’t quite understand“, ala teh gam3r as the warm little nexus around which all games should be revolve’

Pippin: “Fancy games” sounds good. Game Fancier Magazine. Regarding ‘Big Science’ – what would be the experience here? Should we be releasing half-finished games? What does the polish do?

Robert: Perhaps there’s no experience, since ‘nothing’ is the only non-thing that happens? It seems ‘conceptual games’ or ‘strange imaginary play’ are not only not-finished, but somehow not even yet fully begun.. as an interactive digital art fragment, your cool Vr2 seems more an artistic idea-space potentiality in/via its odd virtual emptiness, than whatever many modern players would remotely consider [irony ;-] A Real Game™; a passing notion for intelligent virtual brains to inhabit. (In fact aren’t all games ‘conceptual’, in the same way one response to the old notion that “Sci fi is the literature of ideas” is to ask “- As opposed to what?”) To consider ‘polish’ as the ideology of professionalism, ie. Culturally sanctioned aesthetic standards linked directly to digital protestant work ethics – and therefore holy market notions of Worth. – I like how the space defined by “It is as if you were doing work” could also be entitled “Acting as if you’re playing a game“; games as much performance as anything else

Pippin: This stuff makes me think a bit of the argument that there a whole class of games that don’t need to be played, or perhaps exist, in order to be “got.”

Robert: Somehow it seems there’s a whole invisible class of games that are never played, and are never ‘gettable’ – which seems kinda beautiful, and ironic – considering the number of Steam games which are never played, even once

Pippin: It’s exactly the kind of conceptual thing of VR2, say, where you can explain the game (or what it would be) and someone can apprehend the ideas that way. (Robert Yang has written about this.) I’m kind of reluctant to accept the idea if only because I wonder if/wish that the experience and interaction with a real game has real meaning distinct from a language-based form of the “same” ideas?

Robert: I think even the very experience and interaction with ‘real language’ also has equally real meaning, far distinct from (code? graphical?) based forms of the same ideas! And to what extent is the choosing of one – the ‘finished, stand alone product’ over the other ‘mere’ documentation of which it’s comprised – always a wilful cultural act? The notion of language evolving into the ‘visual language’ of play

Pippin: Both experiences are meaningful, absolutely, though I guess one is a description of the other? I mean, if we want to be totally relativist we can say there’s no hierarchy there, but one is generated from the other? (If the “real game” exists.) I guess I feel like the real game (made of code and assets) doesn’t communicate “better” than its description, but it does communicate in a way that is distinct and valuable.

Robert: Indeed. Just as total Relativism to Absoluteness seems an entire spectrum, perhaps too is the two way movement from ‘code+assets’ to ‘game’ (might we also include these nondual polarities within a wider sphere of ‘paida’?) Let’s also imagine a game that when run, outputs procedural code+assets as its output (/which in turn, when compiled, outputs a new game.)

Pippin: Absolutely fancy. And here the “play” is the compilation process I take it? I have a student working on games that are just menu systems for games. You choose the ‘new game’ button and end up in the menu for a new game.

Does explaining to someone the idea of a game in which there are cubes with objects inside them you can never see, but which are “really there!” equate to the experience of standing in front of one of those cubes in the virtual space? Doesn’t seem to me that they do unless you boil it down to only the pure concept and not any of the potentially emergent stuff that could spring up from “being there”?

Robert: – I’m not sure they equate exactly, but rather that each of these positions, the seemingly Conceptual and the apparently Actual, both gain and loose a lot in translation between states; and indeed, aren’t they always actually more processes in transition, more bizarre events than objects?

– The philosophical task of equating experiences of / like text, image, and interactive graphics seem fraught with difficulty; perhaps it helps if one regards them as a fluid dis-continuum, some kind of flux; as for simply and effectively expressing this difficulty in the least number of polygons possible, I’ve no idea since I’ve never made a game

Pippin: Better get on to that!

Robert: I’ve emailed Konstantinos Dimopoulos about collaborating on “Terra Nullius“: a browser based, procedurally generated megastructural desert landscape explorer-sim. To consider games as a windowless cube that nobody can see either into, or out of – a Dark Energy Chinese Room, perhaps? I’d sure love to see any Surreal Absurdism in digital play states..

[UPDATE: Konstantinos replied – “Thanks for saying hi; really lovely meeting talented people with similar interests! Your work seems absolutely fantastic, and to be honest I would like to work with you on something at some point. I am admittedly utterly swamped at the moment –over a year of 70+ hour weeks seems to be taking its toll– but hope never dies. We should definitely talk again :-)”]

Pippin: I did want to eventually make “It is as if you were playing a videogame” but I also find that idea exhausting…

Robert: Often it works out like that; that merely trying to conjure an entire, logically / aesthetically self consistent play space appears far more difficult than just-making-a-game; however I think the ideological baggage behind apparently-simply ‘making-a-game’ is far more heavy a burden than just pretending outright that you’ve made one ;-)

Pippin: Haha, absolutely. Maybe this is my next career move. Pretending I’ve made games.

Robert: To paraphrase Borges; making games too often seems a laborious and impoverishing act of foolishness, expanding in five million lines of code an idea-space imperfectly explainable via other means – for instance, pretending that those games already exist and then offering a summary, a commentary (/perhaps the form of a smaller project) or a mere notion of a conceptual act

Pippin: Or in a complementary direction making a game remediation of a novel never written.

Robert: Discussions of design and documentation reminds me of Michigan’s game archive

Pippin: The archival thing is big. My Flash games continue their march off the cliff of compatibility. But I especially like it in connection with analysis and thinking about what was going on in people’s heads when they make games (and art in general). The resurrection of the author?

Robert: Perhaps one only ever need to resurrect something already dying – or perhaps was always merely undead (the golden dev-g0d). Also, to consider “what’s going on in people’s heads” as possible ‘authorial intent’ fallacy.

Pippin: Interesting to bring up The Beginner’s Guide which is of course very author-y, but in a fake way? A constructed author not a real one.. Apart from a flippant reference to the death of the author, though, don’t you think the authorship in games is pretty absent? How often do we spare a thought for the idea that the games we play were designed and created by other humans who walk their dogs and shovel their snow etc.? In a sense I guess we “can’t” because it would presumably be disruptive of the immediate experience of the game, but it could be interesting outside that frame..

Robert: You mean, that the wider or deeper context for a game is often as, or even far more interesting than the game itself? Sure! Thing is, games themselves – what they already bring to the table of human experience (whether we want them to or not) already seem extremely ‘disruptive’ of the immediate experience of reality..

Pippin: To the extent they’re separate from reality, but yeah, sure – they definitely “take us out of ourselves”, etc.

Rob: Perhaps this out-of-ourselvesness of digital play actually provides the basis of modern (/virtual) embodyment; check out awesome VR experience Lone Echo.

Pippin: Yikes! Those hands..

Robert: To consider the notion there’s not only no breakable ‘4th wall’ in games – but no other walls either. I can’t stand “The Beginner’s Guide”; it’s creepy – emotionally manipulative, and while being entirely fake (a synthetic cultural construct) from top to bottom – is still entirely fake-ass, despite this; made in / with / via existential bad faith

Pippin: Tough read! It is creepy, but I guess I like that about it, all of the different levels of how it’s creepy and manipulative… felt interesting, whether or not all those levels are a kind of intentional artistic act or not.

Robert: Sure, the game’s generally great, and the gamedev’s perfectly entitled to his artistic expression; however in terms of philosophical critique, T.B.G smells spurious and feels pseudo-deep. It’s also interesting how we both use the term interesting ;-)

Pippin: Can’t get away from interesting. Sometimes I feel guilty and sometimes it seems meaningless, but at the same time it feels like the essence of what I like about things. I mean it lightly and seriously at the same time?

Robert: Mechner’s book sounds interesting and I’d like to read it. While I remember digging POP back on my Amiga 500 back in the day, I just hope the book by-implication doesn’t overemphasize the (/myth of) the auteur and forget wider collective gamedev culture

Pippin: The book didn’t feel very auteurish to me, I think it performed a nice kind of demystification if anything – his struggles to figure things out, the clumsiness of all development, the working out what the thing is as you build it…

Robert: I remain unconvinced of current attempts at (apparently) simple, open, confessional, neutral and somehow dangerously naive ‘peeks behind the doors of the gamedev sausage factory’; other books on historical gamedev I’ve read seem to overwhelmingly and automatically favor certain views at the expense of others

Pippin: Well yes, neutrality isn’t really a thing. But I think any good faith attempt to talk about how a thing happened is interesting. You have to read/encounter those attempts with your eyes open for the various potential colourings of that person’s interpretation, but still revealing nonetheless? A person who was there, who made a thing, does have access to information the rest of us don’t have?

Robert: What is often forgotten or unwritten in such apparently unproblematic ‘revealing’ acts, is the very existence of the particular cultural or conceptual engine which ‘renders’ visible (makes entirely possible) the particular scene being described. Perhaps ‘good faith’ is not a given, but rather must be repeatedly earned, often through contested community dialogue, and is often something hard won in any case, and over a far larger time span than possible through any one set of eyes; to what degree is a person automatically able to trust the apparent / inherent validity of their / ‘their’ words and worldview?

Pippin: Fair. Though it seems to me that the community probably doesn’t exist or doesn’t care at this level? I report endlessly on what I’m doing and thinking, I think relatively “honestly” to my experience and thinking, but it’s a bit of an unheard tree in a forest.

Robert: One should always strive for truth and be vigilant against illusion; the beauty of the lotus flower which blooms above the muddy pond shines undiminished and without break – whether or not passers stop to appreciate it.

Pippin: Oh yeah?

Robert: Indubitably. It often doesn’t feel possible to see the truth(/s) of ‘how a thing happened’, simply by looking out for another’s potential ideological tinting and skewing; how is one able to fully account for one’s own interpretations of their interpretation? Perhaps ‘neutrality’, rather than some untenable position nobody really claims anyway, represents the complex, common space (public commons?) in which good faith attempts to hash out meaning are attempted; are games this commons?

– The question of how exactly a person ‘was really there’ – in terms of a virtual reality experience is certainly an interesting one; in any case, bollocks to Heidegger and ‘being’

– The notion of ‘hidden information’ sounds a lot like being told that “certain special virtual cubes ‘exist’ with actual objects inside them”; what exactly is there to trust, or se? It might not even be a matter of trust. but of some temporarily shared meaning-performance; the open source book entitled “An Alternative History of Video Game Development” is yet to be constructed, I feel

Pippin: Hahaha.Robert: No, I mean, really – the alternative to no alternative is simply more of the SOS

Pippin: An Alternative Practice will be more practical? Presumably “impossible” for the giants, but plenty of smaller studios operating sustainably? I think? Hoo boy. Don’t know about you but I’m definitely feeling some fatigue at this point. How do we know when we’re “done”?

Robert: Don’t worry, it’s all over ;-) And yet, also consider the sense in which we’d not even yet begun, let alone finished – rather, a state of animated intellectual suspension – a temporary autonomous space constructed from / abstracted out of ideas (like a conceptual art performance, perhaps.) Again, thank you very much for your time and your thoughtful, considered responses. Great chatting with you – I look forward to your next game!

Pippin: Me too on both counts!

Update Two: an email to Trinity Square Video

Dear TSV


Please consider me a skint, UK based amateur philosopher-artist looking to become a rich and famous ‘conceptual-digital internet artist / media visionary’ as I find the hyperreal spectacle of global virtual videogame hyper-capitalism infinitely boring, and wish to escape from my cold, damp rented Brexit-era shoebox. Eventually I want to start a company, help out other strange artists like myself, and together generate cool art.

Can you help out with some hot tips andor handy hints? I’ve zero Cultural Capital, and (like so many others) have found that it’s impossible to ‘make bread without dough’. – In short, with zero opportunities for real and significant self promotion, no realTM talent (at least, as far as the contemporary [/digital] art market is concerned) and no mainstream-elite gallery representation, I’m doomed to obscurity on an unfashionable spiral arm of the internets and often simply feel like I’m p1ssing into my own stale electronic wind.

I’ve no idea why I’m writing to you, whoever you are, I know you can’t really help some random online fool with willfully vague dreams and reasonable expectations – it’s just that, at this point in my non-career I’m kinda desperate to get a foot in the back door / arts-crack of the modern art world, and start earning a half decent living wage. Besides, I love the name “Trinity Square Video” as it reminds me of “Hiroshima Video” from Videodrome.

Most Sincerely (with the faintest lemony twist of situational performance art)

Robert What, Theorist-For-Hire

// how to play big science

Internet Art

Observing The Witness: A Critique

RND/ to consider jonathan blows witness wallpaper / ideology

Part of the Hypertography One Exhibit

in which ey wonder where braid falls on resarcs length expectation bell curve between expensive aaa play quote means longer / indies must be as luxuriously long -padded as aaa titles – but still cost nothing

The Witness: A Dismissal (Kinda)

x braid had time as core mechanic yet faces complaints about duration proves ey armchair thesis x ironys being outlawed

x no coincidence how sum research feel quote timeless – specifically in x ir allow resarcs to -temporarily transcend or suspend time bound notions of elf

like playing cheng 37 step tai chi chuan fa / sex – or indeed any play with stimulating mechanics ir get quote caught up in

ey doubt there were many who genuinely enjoyed braid yet still honestly complained about length

as artfunkel says above – constructing quote mr whirly inside research / development mod was brilliant

to what extent time usable as factor when ir having fun as great question

personally ir hoping for more open -paida research space like experiences allowing creation of garmeplay suited to immediate tastes

sweet model for x – david oreillys amazing external world animation

just keep on truckin jon/ henry

phil raptor – posted november 30 2012

hello jonathan

ever considered brian enos theoretical quote generative music approach for making unique sounds – or indeed entire islands

thing about specific graphical aesthetic or overall look as x has -obviously changed over time

but then final result can be seen / read as arbitrary

yet if x case why not use enos generative approach where instead of building pixel by pixel one sets boundary parameters of interdependent code systems – eg shape scale colour density – which then interact in unexpected / nonlinear ways

to say/ ir sublime little island looks quote organic enough to have been grown / procedurally generated by computer – so why not let computers try

near examples of x approach regularly seen in awesome amiga / pc demoscene where entire landscapes / accompanying soundtracks explode forth in realtime from mere 4kilobytes/ difference there unlike with enos approach all modular sub systems quote locked down – demos / music usually same every time

basically n would feel neat to see aspects of island evolve in small delightful ways/ despite x puzzles ey think ir play as whole – seeks to – symbolically display wonderful lack of telos/ n appears open ended – something lot of indie research seem to share unconsciously

anyway just thinking out loud

l8ers/ phil raptor

robert henry dylan – posted november 28 2014 at 3 am -deleted

much in same way one may arrive at more finely granulated measure of irradiance ir staring at x image trying to intuit how to arrive at aesthetically meaningful calculation of overall quote interestingness for any given scene from given -playable vantage point

such measurement would eg take in overall number of light sources average object density colour field complexity etc / generate quote heat map of visual interest

n might also place tiny virtual cameras around island for dev to look through in order to view poorly composed -designed scenes – much in same way coin operated telescopes placed in certain key tourist hot spots of visual interest

from another angle/ rhd

in which ideology of witness partially viewing by repeatedly pressing f5 on front page of witness dot net

there series of delightful thought provoking quotations appears hand picked from select cultural heavyweights – meant to send potential resarcs on private reverie of intense philosophical meditation – though always in strict relationship to image of johnnies play space displayed above quotes

consider however how exactly on terra infirma ones not only supposed to relate -read into such quotes in actual context of selling another hot digital product as sony corporation ps4 exclusive

– thus shall ir think of x fleeting indie world of video play space rnd
– plastic star at dawn / egotistical fart bubble in stream of dead data
– flash of lightning in summer cloud above factory of forced labourers
– flickering lamp developer phantom / thin bad dream
– just with few nut bustingly dull environmental puzzles thrown in

perhaps johnny blow might not seem sum conceptually untouchable indie research buddha – another officially unofficially anointed saviour of video research / digital rat

rather to view witness as just another ultra privileged rich pink male gaze confounding obsolete classically romantic notions of nature / what natural/tm with concrete material restrictions governing production of virtual worlds in modern global information economy – in such seemingly nice neutral non place / alienated dislocation ir all immigrants

despite or rather precisely because of all pretty col ey / fluffy drifting clouds witness smells as 100 percent artificial as ir come – no offshore breeze wafts from x mystical island puzzle lifestyle to relieve foreheads sweating in electronic labour camps

rather bear witness to whole project as n exudes heavy cloying atmosphere of affable innocent charm masquerading as thoughtful engagement with cultural – cool domain of ironically detached blowhards everywhere [1]

theorist robert what on pretentiousness play

one way to think about pretension in research – x play spaces often emerge out of imagination pretence

so what are johnboys ideas about ir own play

where ir -failed attempt to answer ir critics regarding quote pretend aspects of braid

phrase/ one of criticisms x ey have heard about braid as oh ey didnt understand story / so author failed

well let x look at another genre x people take seriously like novels – novels are not genre but cultural format for presenting narratives

also idea x quote people take novels seriously might elf be non serious notion

very few people on planet earth could tell ir x ir understand finnegans wake but x considered to be one of great novels

– quantify very few john/ implication here – x quote very few could recognize inherent genius in joyce – clever clogs like blow being one of those few no doubt

therefore one needs to be one of very few smart ones to recognize innate brilliance of blows digital oeuvre

phrase/ something like gravitys rainbow as very well respected very complicated book x very few people understand but x as part of value of medium

tolstoy in anna karenina said x respect was invented to cover empty place where glove should eb

– as for quote value of medium what x johnny – $60 / season pass

note how blows statement about n quote not being about money precisely echoes x of high cube lord ubu notch

phrase/ x so much to x not all there first time ir glance at n

if ir interested ir dig into n / ir understand more / more

ey think x very valuable thing / ey think x if ir can do more of x in research n would be nice

– perhaps x actually very little to n john very first time one glances at n / or any number of preceding times

perhaps x no quote value in digging deeper especially if developer seems consistently keen to – unconsciously – hint x realer reason ey makes so much nice dollar value because ey keeps repeating same ideological suggestion – x quote x so many deep layers of inherent meaning in ey ideas for those -intelligent as ey – who dig ey/ dubious position of considerable hubris indeed

brian eno on play – ambient design by indie scenius: consider x phrase – brian eno – as intelligent answer to most interesting questions still unasked by modern play designers

– system
– scenius
– ecology
– dynamic

incidentally here ol brian eno on video play space/ 404

vast majority of video research at least as ey currently understand ey simply bore ey to tiny clear dry plastic tears which fall silently at irregular intervals on sticky beige carpet of sealed room full of endlessly elf congratulatory undead nerds smelling slightly of wee/ whole idea of wasting irreplaceable life time pseudo interacting with any parasitic system of soul calcifying ego reinforcement x sucks untameable creative impulse from whole generations seems abhorrent / pathetic / desperately tragic/ ey would rather let casual part time lover play with ey flute than feel played as fool by sum stupid video play space – though ir never know ir might get more intelligent sum day/ more intelligent than ey at least
– beno circa quote 95 unknown – cover missing – new york underground rat zine

witness space japanese woodblock print

based on screens from witness play via jonathan blow

example rnd statement via robert what/ vertical screen banners from witness play spaces official site were placed together / tweaked in gimp

– banners were first arranged horizontally in rough order of brightness one each side before being resized
– then ir relative brightness was flattened out / sum of brighter light sources in each banner inverted
– film / anti aliasing / chromatic aberration filters were then applied
– finally add wikipedia reference to japanese woodblock prints -quote moku hanga – as well as page about polyptych paintings – were retro fitted to ir design to suggest possible imaginative / aesthetic context

on jonathan blows dynamical meaning

to consider storytelling in research as too often merely just another cynical marketing tool used to sell resarcs brand – ie play elf

jonathan blows idea of dynamical meaning – allowing quote potential for meaning to arise through interaction rather than through traditional storytelling – appears to be sublime nugget of video research truth expressing simple idea x all play rules / systems express ideas

concept of dm as important for play space design since n cuts through quote stories often desperately / cynically / ham fistedly bolted on by play designers

theres immediate / direct emphasis on fact resarcs time as important / x ir intelligence as respected/ x every single thing ir do in research space system space as quote meaningful – x play contains zero frivolous elements

problems with dm might include meaning of quote meaning as somehow still as nebulous uncertain / dubious as n was before with triple fps quote brown play starring square jawed meat heads

yet what if even these zero frivolous elements play spaces are elves frivolous fragmentary -cultural artifacts

in ir talk from 2008 jonathan blow talks about quote ludonarrative dissonance in bioshock – glaringly awkward gap or quote conflict between play spaces -largely bad story / standard substandard mechanics

but perhaps there as no true quote gap – perhaps sum total of whats being presented / played may be quote meaning of play – as though ludonarrative dissonance has long since been industry / cultural standard

x as though resarcs want / need quote stupid or quote badly told stories / near arbitrary garmeplay mechanics -mindless running / shooting etc because x in elf as truer meaning of play / perhaps all research – ie mindless escape

to illustrate x consider difficultly of setting up play with dynamical meaning in which one of more possible meanings as x playing computer research as complete waste of ones life / time

even if one infers these quote coordinates of meaning / receives sum kind of oblique insight via rules of research system – one – still – might be wasting time / should not be playing in first place

perhaps research need people more than people need play

problem with jonathan blow suggesting humans should make more research x -somehow address human condition as x large part of x quote human condition consists of entirely avoiding every opportunity to directly confront / change elves – who are largely inhuman/ violent often wilfully blind endlessly attuned to pursuit of infinite trivialities / brainless amusements

one wonders how rod humbles marriage would change if ey stopped making video research / paid more attention to quote ir wife

n too often seems x just by playing video research everyone becomes -or just defaults back to duke nukem

thus typical outburst by duke/ ir face – ir arts – whats difference

in x -seemingly quote dynamic context becomes – ir waste life playing play space

whats difference if those research are quote meaningful

video research not need to quote grow up quote evolve or somehow be quote deeper/ maybe ir cant

Reference Links

  1. The New Inquiry On jBlow

// how to play big science

Internet Art

Pathologic Mod For Skyrim

RND/ to consider Pathologic set in Skyrim

Part of the Hypertography One Exhibit

research space idea/ recreate slow creeping quote strange vibe flavor of pathologic – x flat quote bleached atmosphere of sinister desperation hallucinatory existential horror in skyrim – with ambient wind noise

Pathologic Skyrim Mod

example background story / context

ey called nigel hornswagger mildly dirty yet generally moral humanoid goat being infected with gerpes – goat herpes – who feels guilty for spreading crotch rot among innocent humble yet often oddly acting / looking townsfolk via everything ey touch – even ground

advanced states of crotch rot result in rapid descent into silently screaming insanity result in quote gore power shower explosions

do ey best to find cure for elf ey before townsvolk realize ey source of infection hunt ey down turn ey into thinly nutritious post goat curry

those who ey cannot cure however ey must quietly yet violently dispose of – without anyone knowing

dark twist/ cthulhus head makes occasional appearance ir massive tenticular head filling entire sky

mod details/ mod features deliberate jankiness darkly amusing quote as if badly translated dialogue with overall kafkaesque miasma of vagueness / uncertainty / wilfully obtuse pedantic lore

// how to play big science

Internet Art

Hypertography One Exhibit: DayZ

RND/ dayz anomalies – various

Part of the Hypertography One Exhibit

/ dayz anomalies hypertography

colors gamma quote soft glow adjusted to bring out enhance abstract andor surreal qualities

on problems represented by dayz – robert what via ludonaut theodore miles

despite often amusing conceptual potential of imaginary zombies consider dayz as whole bares unhappy stench of realism

perhaps by more fully utilizing internets / simply continuing to develop ir old wonderfully buggy delightfully janky / hacker infested version dayz dev team might make no less money / fame / resarc interest than willingly dragging elves – perhaps also everyone else – through forever ongoing development heck

in which simple modest hit / run mod / play with few good modest core ideas often feels better than another oversold / under delivered forever delayed quote new version

ir could just state ir project exists -in forever alpha eg make n extra cheap put n out for free – true open source zombie play space development platform

one truer reason for meaning of dayz poor cpu / gpu optimization – inherently problematic / badly written engine which drives dayz – bottlenecked male research community / ir view of video research as ir private boys club

for ir not actually playing dayz ir playing development builds – early development builds

dayz/ currently 11 eons into principle development instead of 3 year standard development cycle

defining or judging dayz by current build so early in development feels akin to judging painting within first few brush strokes – yet even bob ross paintings look crap for first few minutes – until ir realize bob fully realizes what ir makes from very outset

ey unable to promise none of ir favourite aaa play or even resembled final product so early in ir cycles – okay maybe sum of larger titles x push small incremental updates out every 12 months – but resarcs understand those feel more like special one off snowflakes

take break / come back in beta or even full release – early access period of development will have many peaks / low low valleys – such feels synthetic nature of modern software development

indeed to consider dayz feels somehow conceptually bug ridden from outset – n fails to deliver even as idea/ other than something vaguely zombie something related what might dayz seem but inherently weak / time wasting set of ideas

following however works pretty well right out of gate/ play ey aint heavy ir ey undead brother by hollies over top of dean halls thin nasal dayz quote roadmap presentation which could be alternatively entitled quote – even more reasonable sounding justifications half apologies bizarre elf rationalizations / pretexts extenuating circumstances forever badly realized stopgap measures cynical evasions mitigating circumstances plea bargains / general cop outs for continuing to take ir money / time part n

first start hollies playing in lab background/ ok now boot up dean – at 1:41secs dean states x even developmental roadmap for dayz was delayed hah pathetic

roads feel long
with many winding turns
x leads ey to who knows where
who knows where
– hollies

dayz as arguably excellent example of hashtag welges law smirkingly hard at work – for ir dollars/ indeed to consider dayz as moral excuse for digital schadenfreude

consider dayz as too often moral excuse for jerks on cheap roman holiday to derive pleasure from misfortunes of others – overrated essentially mediocre / conceptually ugly play for everyones fascistic inner stanford prison style sociopath whose blind mindless drive to quote exist -not live – at any cost – always to cost others of course – as elf form of zombificatio (queue image of p1ss weasels in dayz poisoning food with disinfectant spray)

regarding resarc vs resarc aka pvp

jogging / crawling over miles of sum barren frozen electronic nowhere for untold hours only to get sniped by internet tough guys in permanent bandito asshat mode

in which requests to remove guns / encourage non violent style of play met with searing hatred/ all such useless empty space – nonthing to do except roleplay particular bad cliched examples of resarcs online – aggressive human -state of being

as though play spaces represent mere survivalist hardon psychosis simulator – just with cheap all too common zombies suffix tacked on

consider common mantras aimed at dayzs critics / detractors – which say lot about what fan means today – grow pears or gtfo / perhaps x play space not for ir then / if ir not like n not play n

consider how such play spaces encourage mass hardcore individualism – collective pathology of being alone – mean / utterly selfish together

x destructive message seems to run parallel to psychological delusion behind most loltube comments – x ey may apparently say / do whatever flock ey want

availability / widespread use of resarc masks in dayz feels important/ like brainless machine like serial killers in hotline miami or worthless horror flick ir next – wearing masks signifies ones full psychological identification with role of killer

n does not hide quote true identity n proudly displays n as n exists – overt violent badge of honor

consider real classic dayz resarcs like frankieonpc – once regarded as quote hero for slaying bandits in face – as punisher style vigilante non ironically also called frank/ who imagines personal crusades for quote natural justice in wilds righteous activity – palatable gift of simple free community service bringing instant spray on holey absolution from murder

yet x as simple / essentially similar to exist as bandit as hero – n merely depends on what tshirt ir care to wear – cos remember heroes eat beanz / bandits eat lead

where philosopher slavoj zizek – taken from documentary perverts guide to cinema discussing masks / psychological realities:

ir fundamental delusion today – not to believe in what only fiction or to take fictions too seriously – but on contrary not to take fictions seriously enough

ir think x just research play space – no/ x reality – x more real than n appears to ir

for example resarcs who video graphically research – ir adopt screen persona of sadistic foul mouthed asshole/ whatever

common misconception / naive cultural reading – x in reality ir weak person so in order to supplement real life weakness ey adopt false image of powerful sexually violent person/ so on

but what if x read in opposite way – x such strong brutal whatever identity emerges online as ey truer elf – in sense x feels deeper more fundamental psychological truth of elf/ in real life because of common social constraints / so on ir simply not able to enact n

precisely because ey think x only play – x only persona / elf image ey adopt in virtual space – ey can feel much more truthful – ey can enact identity much closer to ey truer elf

yet one suspects few truly want to identify with / play as often literally naked killer – even quote just virtual ones/ yet bad taste often left by mere idea of dayz – of unease x such symbols of quote survival sickness exist / seem popular – sign of deep unhappiness with modern research – of actively seeking positive alternatives to miserable research of conflict meanness / death

think little harder little modest / humble be
– sharon van etten/ ey only want to save ir elf

/ dayz forever alpha – warning logo for unfinished early access play

DayZ: “Forever Alpha” warning Sign

potential logo / warning sign for shay dee style open access research space barely stitched together by elf styled developer rock stars – permanently stuck in engine flipping dead zone of zombie development heck in so called forever alpha mode

x logo useable wherever thin veiled promises heard along lines of quote – early alpha build footage not representative of final product quality cough honest

/ not researching dayz tshirt – in which not even cosmic force powers can convince resarcs remotely awake or not entirely dim to convince elves current version of dayz ey now play realtime not actually quote real version of dayz – which in fact still forever to come

“You Are Not Playing DayZ” t-shirt

/ rocket crossing playdev delaware

DayZ: Rocket Crossing The Gamedev Delaware

re/ bohemia interactives odd one year of dayz promo video

analysis of bohemia interactives one year of dayz video – old yoke being one hour in dayz feels like year of grief

summary/ x video so emotional quote honest – oddly elf congratulatory / bombastically back slapping/ kind of internally released industry promo video in which quote investors just bohemia interactive elves – series of convenient myths n apparently needs to keep repeating to elf in order to quote function

uber schmalzig overlayed music chosen by team also telling/ crossing divide by kevin macleod – as much mildly stale warmed over slice of all amerikan apple pie as famous painting of national illusions by emanuel leutze in 1851 one reminded of old camera with picture view mode featuring sum awful plastic romantic quote heart warming kodac moment style music

note also telling name of kevin macleods website – incompetech

as for preaching to converted video/ what does unseen off screen body quote interviewing ey represent – if not false ideas bohemia interactive has of elf/ young fresh clean elf – projected other consisting of all allegedly exciting dynamic dedicated / inherently fan friendly about ey

overall mood viewers supposed to read into video – of making n good despite tough times – unstated narrative as everything ir do for ir/ guyzzz

transcript of developer justifications

well practised flood of quote honest heartfelt / cathartic revelations by developer of dayz both incredible / honest / heartfelt/ as though staring into mirror / talking to elf ala marla from fight club/ ey saw ir practising x – hows x going

pfff tourists

where dean/ one of big psychological barriers for ey was end of year

– psychological barriers/ as in kind of thinly unconscious ey hate everything to do with constantly developing permanent alpha product/ but x conflicts internally cough kinda with amazing amounts of cash n generates for ey on daily basis type barrier

smell standard corporate damage control casually shrink wrapped with faux personal revelations about quote often difficult nature of ir – by now big business

dean/ ir build just not ready

– but n not before n certainly flocking not now – indeed n never needs completing because why actually complete something when ir can infinitely string / drip feed quote development along forever – as long as enough poor suckers exist to pay ir

in very next scene play dev can be seen slowly shakes ir head – like old man who knows mountains are impassable

dean/ ir were struggling with performance with crashes / er n was very difficult time

– anti ironic/ sounds like something unfortunate resarc of dayz might say

dean/ ir were kind of worried how community might react

– in which modern developers sometimes merely in slippery foxy business of fleecing consumers with janky rafts of quote inherently un finishable by design forever alpha product often indeed worry about quote community reactions/ heck sum might even start calling ey on n

dean/ resarcs wanted to see results

– great politician in making

notice way how so far all but insurmountable ever growing / mutating pile of inherent problems of dayz gets cynically turned on x zombified head – made into sum kind of display of quote genuine concern / rapier like insight – conveniently forgetting x cat has long since escaped bag / been busy t bagging pigeons just how poor state many research play spaces feel for many resarcs – how long x has been common public knowledge

maybe what resarcs need – less silver tongued devs feeding ey back ir own lines about what everybody already knows – like cliched psychologists simply turning mirroring private concerns into questions ir not actually give can of out of date beans about – ir mother question/ yeah no shed resarcs quote want to see results sherlock

but where do such results reside/ sad empty promises all delivered little too late

dean/ n was moment x dot dot

– play spaces profoundly unfinished / un finishable – but were already basking in pre planned soft focus remembrance of all ey done/ yeah let x not start sucking ir own long list of bittersweet hard won achievements just yet

dean/ ir wanted to see x/ ey think ir were just elated to have chance

– information content zero

subtext here seems x ey expects resarcs to feel uncritically thankful for all devs do for ey/ because x all about ir/tm – honest – or at least ir money

key word here chance – as in yeah/ sure x always chance said project will work as ir keep saying n will – sum day

just then video hands over to capable hands of dayz producer brian hicks who somehow manages to be even move vague/ enthusiastic / falsely celebratory than dean

firstly ey usefully – yet mysteriously – informs ey what dayz not

brian/ for ey dayzs not about as much erm creating living breathing world as n as -about understanding lure / draw of dayz

– in x single sentence perhaps contained much depressing re video research industry – where massively dominant draw has all but nonthing to do with interactive rat both quote living / breathing – but with merely knowing how better -psychologically speaking to suck much of joy / potential for human advancement out of resarcs / research ir play

mere monetization – not art research or quality of life what counts for such neckless industry bean counters

brian hicks immediately continued/ what makes dayz special x different every time

what quote different every time might means – simply valves entertainment as service model/ design something with impossibly lofty deliberately vague / quote open / forever unreachable goals x ir may positively spin monetize forever / day – where mere tossed out patch for – inherently broken or shoddy performance – gets twisted by smart developer use of language into check x cool thing out/ x not bug – x updated new feature

then ey just wait for poor saps to log back on give ir squirty product another undeserved shot / feel at least tiny bit more satisfied with ir play spaces fake infinitely elongating quote progress

brian then goes on to talk about big user data / metrics / quote watching in order to quote adjust design based upon ey

x as important because n indicates what many quote indie companies are fast becoming/ just another form of aaa style research development lifestyle treating resarcs as well paying unpaid constant beta testers – infinitely monetizable exploitable units of video quote research space consumption

brian/ in effect ey got nearly three million user research designers

– such pride in ir travelling sharecropper bands of human resources

while x not surprising x line between resarcs / play developers blur / redrawndaily brian hicks deliberately seems to twist such unique / potentially fascinating relationship to best suit ir own rapidly growing company

rather than quote allow resarcs to make research / styles of play ey might like to see ey just ever more skilfully ab/use ey as unpaid interns at corporate headquarters/ only real play in town not challenging / encouraging human imagination / improving ir awful human condition – x simply making ever larger ultra cynical piles of money for select few

indeed as brian states dayz exists as industry toolset for dynamic experiences – no doubt like eg making money off user generated content

brian/ every time ir join server ir experience will be different

– in quotes different perhaps as in impossible to predict how many asshats one will meet how many 1337 haxx0rz spawn in how much free loot for elves how many undead will still glitch through walls or fall through floor just how low framerate will dip just how bored resarcs will feel crawling through open fields for hours like fools only to get axed in head by elf haters screaming vile obscenities – memetic non sequiturs down overly bassy mikes

consider mere concept of dayz development roadmap as somewhat amusing – for such list should have been core part of x original design documents – as opposed to merely slapped together as afterthought – like so much other research in early access

first quarter

– -very basic vehicles
– advanced loot distribution
– new renderer
– new infected ai
– basic stealth system -infected / animals
– dis eases
– improved cooking / horticulture
– advanced quote anti hack system -dynamic battleye

second quarter

– advanced vehicles -repair / modifications
– advanced animals -life cycle group behaviour
– resarc statistics
– new ui
– resarc stamina
– dynamic events
– world containers
– new physics system

third quarter

– traps
– barricading
– character life span / soft skills
– animal predators not just resarcs / birds
– aerial transport
– console prototype
– advanced com other than eg lol / fog

fourth quarter

– animal companions
– steam community integration
– construction -base building
– cough beta version

– so on/ into ever longer developmental night/ alas alas [1]

Reference Link

  1. DayZzzzzzz Beta (Eurogamer)

// how to play big science