not not animals
Does it make any sense to consider virtual animals as animal in any serious way? Both the naturalistically-rendered wolves of Legend of Zelda: the breath of the wild and the chatty anthropomorphised citizens of the Animal Crossing games are inorganic abstractions, assemblages of animated drawings, behavioural algorithms and audio clips. Their material substrates – digital/electronic […] more…
Unbox: The speed and slowness of Lucy, Batman, Batman, Gandalf, and Dumbledore
Microethology of toys-to-life (from proposal for Toy Theory book) – I’m going to build Dumbledore [sings:] Dumbledore, Dumbledore… – Technically, you’re building Gandalf [They rip open the small plastic bags containing LEGO pieces and minfigs] – [In a gruff voice] I only use black and very very very dark grey… Why am I quoting […] more…
game | death | worlds
I compiled this sometime in the mid-2000s, as a curated list for Furtherfield. Riffing on gameworlds and lifeworlds, it resonates nicely with my current writing, but with a morbid twist… a study of the materiality and imaginary of artificial life in which most of the links and projects, and hence their animate entities, are now […] more…
one or several artificial wolves
Link encounters a group of animals on a green, grassy hillside, beautifully animated in the rich landscape. Large birds, and a wild boar, promise meat if successfully hunted. As the player-avatar approaches, carefully, to within range of his bow and arrow he spots a wolf tracking a wide A* path through the immediate environment. Proximity […] more…
AI and the future of play
Placeholder for a position statement on my current research and teaching on the genealogy and emergent dimensions of artificial intelligence in play and technoculture. more…
AI & the achievement of animals
A stork and a wild pig in Breath of the Wild are distinct species only in a decorative sense, as mise-en-scene of the open dynamic world. As prey however they are simply the same: moving targets and soon-to-be raw meat. At first glance, a horse in Breath of the Wild is defined primarily by its vehicular potential. it is […] more…
accursed play
A new article in Games and Culture: Accursed play: the economic imaginary of early game studies. It’s part of the Ludic Economies special issue edited by myself and Alison Harvey – which should be published later this year. Here’s an extract: Play, work, and waste So videogame play in the arcades and the home in […] more…
the semio-economics of Hyrule
The expansive world of The Legend of Zelda: the breath of the wild features a diegetic economic system. From time to time Link meets travelling merchants or visits shops in villages and can buy or sell food, plants, weaponry, minerals and so on, resources that are distributed across the world and foraged for or won […] more…
Ludic Economies I
With the special issue nearing publication, here’s a reminder of the original Ludic Economies: value & exchange in contemporary game cultures event. The site hosts all the presenters’ slide shows. Participants included: Dan Ashton; Patrick Crogan; Seth Giddings; Alison Harvey; Josh Jarret; Helen W Kennedy; Ashok Ranchhod; Vanissa Wanick. more…
ludic economies
Watch this space for details of an upcoming special issue of Games and Culture edited by myself and Alison Harvey. Play and games are at the heart of the new business models of mediatized global capitalism, attracting and sustaining attention, pioneering new techniques of payment and brand loyalty, lubricating the monetary and affective microtransactions […] more…
Pokémon as new mass media
Something I started writing at the end of the last century! From Lister et al 2009, New Media: a critical introduction 2nd ed.), 292-294 CASE STUDY 4.10: Pokémon: videogames as new (mass) media To explore the issues arising from popular new media’s implication within commercial entertainment culture we will return to the multiplatform worlds […] more…
gesture, technology and play
This is the website for a symposium organised by Helen W Kennedy, Patrick Crogan and myself at the Pervasive Media Studio in Bristol in 2010. Its ‘reading room’ has links to presentations and subsequent publications. The body has of course always been central to our playful engagements with games and games technologies. Yet, the embodied player […] more…
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