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1: Purple Keys Anna Anthropy running the program, installing the thing, booting into booting thing, the installing program, the running computer.my in Probablyit put and home it to C:\ZZT ner and more easily broken than the fat cartridge What was in the package was a 3.5 inch floppy disk, a flat, square thing, much thin- games. What wasinthepackagenotSuper ZZT,norwasitMonster Zoo. was card the on picture the and sequel, a actually, was This Computer Systems.” ZZT “Super said label The center. the from beaming face smiley white plump a purple, on crimson bright of lines blues, and greens polka-dotted of rings I went home with the plastic package that leapt out as the most colorful: concentric right buttonIcouldmakeitspeaktome,too. But Inever foundthebutton. dad’smy on played I had the vague sense that the computer spoke the same language as the games around. I blocks pushing wasn’tby that cats trap to tries mouse a where one the cardgame, a installed. 3.1 Windowswith desktop a So they were games. For the computer? My parents had bought a computer recently, language. magical arcane, some weren’tin they characters suggested icons; but images merely rio, Having already encountered already Having name ofthegameanditspublisher, noneofthemrecognizable. weird pixel alongwithabunchoftextforwhichIhadnocontext—the elseworld, some of image still single a with card a held each plastic, the Beneath wings. beetle His display bristled with little plastic packages, squat rectangular envelopes, shiny as sake ofthematicconnection. , but since but Heaven, to 1: P 1: white-haired. He probably was not humming the lyrics to lyrics the humming not was probably He white-haired. and white, old, was booth software the tending man with The booths. packed tables, gymnasium vendors, cavernous — the school my at market flea a was There I musthave beennineorten. u could recognize them as being games: they had that blocky abstraction that abstraction blocky that had they games: being as them recognize could I r p l f you give acatsingleopening,you‘re fucked. . e K e y s would learn much later, a mislabel: a later, much learn would I A don‘t remember, let’s agree that the possibility exists, for the for exists, don‘tremember,possibility I let’sthe that agree tari and Nintendo (later My Nintendo); that if that Nintendo);My (later Nintendo and tari Ms. Pac-man, Ms. was awful at the one game one the at awful was I , one of the three the of one Zoo, Monster Missile Command, Missile negotiated a lot of confusion about confusion of lot a negotiated I Missile Command came on. was a spin-off, a was ZZT Super S, and pointing and DOS, ed Zeppelin’sLed Asteroids, I’dit on found pressed the pressed I Super ZZT Super Super Ma- Super , Potomac , Stairway I took DOS I had does Zee Zee How doyou pronounce “ZZT”anyway? I wasalready enthralled. there, invitingmetowonderwhattheycouldpossiblybe. ingly,“O I newsletter. official, short-lived But no, that name was actually suggested later by a dude named John Beck in Zero “Lions,” flat blue tables shifting restlessly in a box called “ Under the title, a weird bestiary: little red things dancing around inside a box marked Soon Iwaslookingatthetitlescreen for screech. machine terrible this you’dwas all hear house, the in phone any up picked you if Prodigy,into logged was computer the receiver.on phone someone the When into up climbing finally doorway,and kitchen the across crawling room, dining the of wall back the along sneaking room, living the in computer the from descending — computer had a cable that ran to the house’s phone line, all the way across the house 1 family’s computer came with something called Prodigy. called something with came computer family’s wasn’tMy available. least widely at or 1990s, early the didn’t in internet exist The Tomorrow theworld Shareware? would always filter to the very bottom“ of alphabetical listings on BBSesI and shareware CDs. sound ofaBatman villaingettingshockedwithelectricity. “ZZT!” written, Aardvark n an interview in 2009, in interview an n n actuality, the name was chosen for almost the same reason that my town of stand for? stand ZZT T olerance,” and that made enough sense, what with the with what sense, enough made olerance,”that and T thers,” a collection of weird shapes in different neon colors that simply sat simply that thers,” colors different neon weirdin of shapes collection a http://gamasutra.com/view/feature/4035/from_the_past_to_the_future_tim_.php Laser Engraving” had chosen its name. Sweeney named the game “ZZT” so it ee, a phonetic reading of the characters? So it’s an acronym then? What then? acronym it’san So characters? the of reading phonetic a ee, ! The Ka-pow! ZZT! effect.” Bam! Vronk! sound “the cartoon Like

remember hearing at some point that it stood for “Zoo of “Zoo for stood it that point some at hearing remember I A Potomac ComputerSystems Production 1

T Game World #1: Town ofZZT im Sweeney said it was supposed to be pronounced as pronounced be to supposed was it said Sweeney im Developed by Tim Sweeney T I igers.” t worked like this: like worked t ions and the and Lions And then, promis- O akland’s T ZZT’s igers. O ur

There were BBSes — different than Prodigy, but similarly dependent on the phone So help us out! If you do nothing else, please see that this software gets CIRCULATED! line — “Bulletin Board Systems” that you could dial into if you knew the number. We would like to see copies of ZZT reach all of the 50 states, and then the rest of the It was like calling any phone number — which at this time meant that calling any world! number outside of your own area code counted as “long distance,” and cost a lot of Potomac Computer Systems money. Consequently, BBSes were mostly localized communities. Many BBSes hosted downloads of games. Downloads were slow through phone “Potomac Computer Systems” is a name Sweeney came up with before computer lines, but it was a place to put your game and have people download it — maybe games had blipped his radar, when he thought he was founding a computer consult- upload it somewhere else, if they thought it was worth sharing. Games that were ing firm that would set up databases for clients. That never panned out. When the popular enough could cross an entire region, could creep across the country. time came to give ZZT to the world, though, he had the name. It was natural that some authors would want to hear back from some of the strangers Sweeney made ZZT while attending University of Maryland’s engineering school. on the other side of the country who had discovered their games. Send me a post- During the day he’d go to class; by night, in his parents’ house, he’d build his little card of your town, they’d say, I collect them. Naturally, some people thought to ask game world. He operated Potomac Computer Systems out of his bedroom: Orders for money: a tip, if you like the game. But then developers realized they could offer went to his parents’ address, and he’d copy his games onto floppy disks and mail incentives for “registering” shareware. them. Send me fifteen bucks, and I’ll mail you a code to remove the five-second-long In the 2009 interview, Tim said that his father, Paul Sweeney, still got an order for screen that asks you for money each time you start the game. Or one that unlocks ZZT every few weeks at Potomac Computer Systems. extra features, like the two-player version! See past level three! Maybe I’ll send you After publishing ZZT, Sweeney decided to change the name of his fledgling com- an updated version of this new game I’ve been working on. pany to something that sounded more like a video games publisher. He christened it In 1987, Scott Miller founded Apogee. Their scheme: They would develop episodic “Epic MegaGames: The New Name in Computer Entertainment.” The “Mega” re- games. The first episode in a series was free:Y ou were invited to download it from a ally sold it: It suggested, at once, everything digital (like MegaBytes) and everything BBS, upload it to other BBSes, give copies to friends. If you or any of your friends big, vibrant, neon, glowing. Video games. wanted the rest of the series, though, you’d have to pay: for Episode 2, 3, or 4, $9.95 ZZT made Sweeney enough money to keep making and selling games. Soon Epic each. Or buy the complete series for $20 and save! MegaGames could take on more designers and more projects. , When Tim Sweeney decided to sell the little game he’d been working on after school, known to bro-dude games culture as “Cliffy B,” was hired at age 17 on the strength it was this model he emulated. The first game in theZZT series was Town of ZZT — of a point-and-click called The Palace of Deceit: Dragon‘s Plight. In that’s the “shareware” episode. If you sent some money — $8 per volume or $24 for his first game for Epic Mega, Dare to Dream, the player has to unlock a door with all three — you could buy Caves of ZZT, Dungeons of ZZT, and City of ZZT (and, a fish. later, once ZZT was a success: Best of ZZT, ZZT‘s Revenge, and Super ZZT). He sent I had an Epic MegaGames print catalog as a kid. Its main selling point: the possibil- out hand-drawn maps and a hint guide with each order. ity of a Nintendo-like experience on your computer! The catalog pushed something Version 2.0 of ZZT by Potomac Computer Systems ends with the following message called a “Gravis Gamepad,” a PC peripheral that looked like a Super Nintendo from Tim, replaced in later releases with a sales pitch and ordering information: controller. (In the Epic MegaGame , the protagonist collects Gravis Gamepads for points.) We’re trying to distribute ZZT as widely as possible, but without your help, we won’t be able to reach the: Some shareware developers made a single game and vanished; Tim Sweeney was able to spin the games label he operated out of his parents’ house into a full-fledged - More than 400 independent shareware vendors in the world. publisher. - Over 600 User Groups across the country. - More than 15,000 Bulletin Board Systems (BBSs) available to the public. Today, following another name change, his company is known as : - Total of 30 Million Personal Computer Users in the world. creators of Unreal and . Cretins There’s a “Stock room” full of supplies — ammunition, gems, and torches, the sacred trinity of ZZT resource scarcity — locked behind a Green Door. The first thing one sees upon pressing the P (for “Play”) key and starting Town of ZZT is the town in question: big, bold-colored buildings, each of them labelled. An Nearby, a booth labelled “Guardian of the Key.” Inside, a black and white “Armory,” probably the first time I’d ever seen this word, bright red in the upper smiley face, a skeletonized version of the player‘s own avatar, moves slowly left. The “Bank of ZZT,” green and white, this mundane commercial establishment left to right — patrolling, sure — behind a green object that, yeah, looks sitting side-by-side with the bright cerulean “Palace.” The streets are paved in stark key-like enough. black. In the center of the screen are two objects: a tall white smiley face on a navy- blue rectangle — that’s me, it turns out — and a weird white thing that looks to You can’t get in and grab the key: There’s an opening, but it’s bookended by adult me like a brass lantern, but probably to nine-or-ten-year-old me it just looked these revolving turnstiles that push you away from the entrance. Beside the like a weird white thing. entrance, though: a small red circle. You touch it, and it reveals itself to be a doorbell. The guard stops and stomps across the room toward the door- When I bring the two objects into contact — that is, when I move my smiley face bell. Then the words “Go away, cretin!” flash on the bottom of the screen next to the white thing and press against it — a big blue window unfolds on the in rainbow letters. “Cretin” is another word I had never seen before, at age screen like a paper scroll: nine or ten.

Welcome to the Town of ZZT! This sequence of events sets a weirdly vernacular tone that was like no game I had ever played before and few I played after, and was — to my kid self Your task is to find the five purple keys that are hidden throughout the Town. — completely mesmerizing. No one in a Nintendo game ever called Mario These keys unlock the doors leading into the Palace, your destination. a cretin, and if someone did it’d probably be a Bad Guy, not an anonymous Your search for the keys will lead you through the town in all four directions. On working stiff at the local Armory. the way, you will battle ferrocious creatures and solve intricate puzzles. Here’s the puzzle: If you ring the doorbell at the right moment in the guard’s This town square is the bright central midway of a carnival of Fuck Yous. To the patrol, when they’re right next to the key, they’ll push the Key along with south, a maze of twisting, rainbow-colored walls, swarming with Centipedes — they them on their journey over to curse at you, knocking it through the revolv- work like the kind in the arcade game that bears their name, monsters that split into ing turnstiles to the outside of the booth, where you can grab it and use it two when you shoot them in the middle. Better to carefully whittle them down, to unlock and loot the stock room. When I solved this puzzle by accident, I segment by segment, from the head or tail. A sign on the wall — or is it graffiti? — remember feeling like I had cheated somehow — I considered starting the reads “Ecch! Bugs!” game over. To the west, “The ThreeL akes,” an impossible screen where the player tries to weave The only other skeleton keeping shop in the Armory is the “Vendor.” When between three flashing grey bodies of water while acres of little white bullets fly at you approach, you’re offered a list of options: you can buy three rounds of her like an army of cheerios. If a single cheerio hits, you’re zapped back to the edge Ammunition for one Gem, a single Torch — also for a Gem — or “advice.” of the screen where you started. Advice is free. To the north of town, an obstacle course of lasers and guns leads toward a Castle If you ask for advice, what you get is this: where the player wanders a lightless labyrinth until she’s consumed by Lions. To “It is whispered that soon the east, a lone doorway invitingly labelled “Cave,” and past it, a forest thick with if we all call the tune, monsters. then the piper will lead us to reason. But it’s the Armory that first and lastingly flavored my impression of the And a new day will dawn game and hooked me into a twenty-year study of its beautiful eccentrici- for those who stand long ties. The Armory is a cavernous red room, broken up into three smaller booths. and the forests will echo with laughter.” Led Zeppelin Pawns Karin Lingnau Phone story Molleindustria, Paolo Pedercini us who consume hardware. The constant, The hardware. consume who us of all about also but industry, hardware the about it’s So consumerism. nological tech- of frame larger the in them present weand aspects all these connect to wanted Story Phone with But waste. electronic of issue the about or suicides Foxconn the of story the about heard people tech-aware of lot A barbaric. consider would we that conditions away,under far manufactured are objects our of most that some- aware what are world Western the in adults the of Now,most point. the was Yes,that ware industry? hard- the on commentary a as game a Was there a specific intention to develop educational game. straightforwarda for went I so hoped had I didn’t as engine work flesh tunately,the willful submission to consumerism. Unfor- and lust technological about monologuing vagina, virtual-pet multi-touchable a was them of One concepts. similar of couple a on working already was I point that At er by media pranksters group The Yes Men. togeth- put organization creativeactivism the of context the in YesLab(yeslab.org), a happened conversation The Affairs. tional Interna- in student graduated recently Pineschi, a Michael from came idea The game. What motivated it? the of nature basic the understood and although pulled, was I didn’t get to play Phone Story before it P hone Story saw screenshots saw I intentionally? esr oehn ta ws rtcl of it? critical was that something to censor reason a for looking company the D Apple usedtojustifyremoving thegame. that violations the read did starter.I tion around and maybe show off as a conversa- carry can you that something sticker, per bum- a or tattoo way-less-permanent a like you, with keep can you that minder re- of sort a make to was idea The user. the to speaking was itself device the like that constituted the subject of the game. Almost devices same very the on available it make to important was it thought We that to decision? leading thoughts your were What itself. platform that using while I with iPads. can’tcan’tI it SUVs. why and see happen before with fur coats, diamonds, cigarettes, happened This not-that-cool. to cool from shifting the perception of technological lust of terms in contribution little a make can people but buying maybe smartphones, we culturala level, too. Wedon’t stop to want on act to is it counter to way one believe I validation. reciprocal by and marketing els. This desire is culturally produced — by supply chain to extreme, unsustainable lev- gets is what pushes all these practices in the exponentially growing “need” for new gad- t’s powerful to be critical of a platform a of critical t’sbe to powerful o you think they’re legitimate, or was they’reor think legitimate, you o D id you provide them with a reason a with them provide you id

precious ore. the mine to children, often war, of prisoners enslaved Mili- groups tary DRC. in massacres and violence of wave a produced tan for col- demand increasing The civilwar.by abrutal torn country a Congo, of Republic of coltan are located in Democratic world’sThe devices. largest reserves electronic most in found is coltan, Earth.the One ores,these of called of bowels the were in resting there minerals time, a upon Once

desperation. extreme of out suicide committed few months, more than twenty a workers of space the In overtime. illegal do to forcedare and ditions tion. They work in inhumane con- subjected to abuse and discrimina- people working there are constantly inside a factory as big as a city. China, The in assembled was phone this gadgets, electronic most Like I’m very familiar with the App Store policy non-crude and non-objectionable way. and the game is designed to be compliant But it will be a difficult task. This morn- with it. If you check the guidelines, Phone ing a dry and polite Apple employee called Story doesn’t really violate any rule except me personally to talk about the specific for the generic “excessively objectionable violations of Phone Story. When I asked and crude content,” and maybe the “depic- if I can submit a new version there was a tion of abuse of children”. Yes, there’s dark moment of silence and then he answered humor and violence but it’s cartoonish and “Yes, if you can make it compliant to the stylized — way more mellow than a lot of guidelines.” But the truth is that there is other games on the App Store. What makes no way to know what’s “excessive” and “ob- these depictions disturbing is the connec- jectionable” in Cupertino, California. tion the player makes with the real-world situation. Of course the goal was to sneak What do you want other developers to an embarrassingly ugly gnome into Apple’s take away from your experience of mak- walled garden, but not to provoke the re- ing and releasing Phone Story? jection; if it was just a matter of provoca- Here’s the problem: the unanimous reac- tion I would have gone way further. tion from the developers community has Did you expect that Apple wouldn’t al- been “Wow, it’s incredible — Phone Story low the game to remain in the Store? In made it through Apple’s review process.” To a way, Apple’s decision makes the mes- me this signals full acceptance of a regime sage of the game even more impactful. of censorship; the equivalent, for develop- Was this intentional? ers, of what journalists call the “chilling ef- When you purchased this phone, This phone is designed to break eas- fect.” I’m sure that Apple doesn’t spend that it was new and sexy. You’d been ily and to quickly become obsolete. I’m not sure about that. I feel Apple’s deci- much time in policing its marketplace be- waiting for it for months. No Soon, we’ll introduce a new model sion is moving the conversation toward the cause the developers are already censoring evidence of its troubling past was that will make this one look an- already controversial app store and other themselves. The problem is the acceptance visible. Did you really need it? Of tiquated — and you will discard techy topics such as Apple vs. Android of Apple’s view about the cultural status of course you did. A lot of money was it. It will join tons of highly toxic market. I’d be much happier if the game the “App.” For them, games and applica- invested to instill this desire in you. electronic waste. They say they was actually available to everybody and tions are not part of culture like books or You were looking for something will recycle it, but it will prob- possibly generating discussions around the music. As they say in their guidelines: “If that could signal your status, your ably be shipped abroad. To places issues it clumsily addresses. you want to criticize a religion, write a dynamic lifestyle, your unique per- like Ghana, Pakistan or back to book. If you want to describe sex, write a sonality. Just like everyone else. China. There, its materials will Do you plan to edit the game or contest book or a song, or create a medical app.” the removal? be salvaged using methods that For them Apps are not culture, they are are harmful to both human health We are thinking about a new version of more like screwdrivers or toys. Try to imag- and the environment. Parts of this Phone Story that depicts the violence and ine what kind of reaction iTunes would phone will contaminate air and abuse of children involved in the elec- provoke if they banned all the songs with water; others will reincarnate into tronic manufacturing supply chain in a “excessive objectionable” content. new products. Beijing Accelerator Marnix De Nijs

Editors of Play Pablo Abend, Benjamin Beil software that is used to take part in game design and content creation.Butwhereascontent and design game in part take to used is softwarethat editor in roots their have themselves games the since scene, modding game wider and emerged from the “community-based creative design” (Sotamaa 2005, 2) of the to related are practices These 2006). Jenkins 1992; Jenkins (cf. culture media tive - participa of forms “classic” transcend even and alter to potential the with place, tices to a wide circle of users. recently most O and hobby developers oftenseemtodisappear. professional between boundaries the communities, modding of support enhanced through developers the by counteracted partly is complexity increasing this though teams modding development. game video commercial growing of complexity increasing the reflects that inside specialization for need a example, for modding, O Editors n the other side, editor games like games editor side, other the n n the one side, there appears to be an increase in professionalization of video game requires specificprogramming skills.” (Wenz 2006, 45) tered, since that means performing an intervention in the al- source code, easily and thus so it not are games video in Rules appealing. more game well-known a make to order in players, other the with agreement in game, (social) a of rules “Games were always open for modifications just as we all have surely changed the of Disney’sInfinity Play A process of popularizing co-creative practices is taking (2013) open up action spaces for participatory prac- participatory for spaces action up open (2013) (2011), Minecraft (2008), or, (2008), LittleBigPlanet

Al- compared tothenarratively complexrepresentatives ofothergaminggenres. titles. Even the open, rather rudimentary gaming mechanic seems odd in its dramaturgy when setting is to altogether the contrary photorealistic and cinematic aesthetics of current triple-A this inanimate, relatively empty,and Sparse, action. of user’sspace the to according size its adjusts that sandbox a in place takes action The games. latest the of graphics photorealistic often the with comparison in dated looks world “pixelated”game the industry,because ing A mechanics. editing latter,on the strongly“classic”even relies moreBut, mode, night. gameplay at world purpose of building a shelter to protect him/herself from the monsters that populate the game the with resources manage and acquire to player the compels which Mode,Survival the and of complex structures by providing the player with an unlimited amount of blocks (resources), Minecraft offers two different game modes: the Creative Mode, which focuses on the creation These game. blocks are new made of different every materials which the playerof has to start “mine”the in order toat “craft”random items. at generated landscapes 3D blocky through open-world an as described be can Minecraft game. unusual quite a also but phenomenon, game indie an only not is which Minecraft— I Digital LEGO confronts gamersandresearchers andcontingency. level withanew ofuncertainty world, or the narration, seems to dissolve. to seems narration, the or world, game the set, rule the via visible becomes usually game the of agency material the While it. within playing than rather world game the building of consists that gameplay a of appeal the and motivation(s) player’s the regarding questions new pose sandboxes or playboxes These sets(e.g.,Billearly construction Budge’s Pinball Set Construction from 1983). the like editors level in root another have and editors modding sophisticated of descendants sense). The genre of sandbox games like sense), in editor games modding found its way into the gameplay itself (modding in a broader narrow the in (modding knowledge programming sophisticated demand even and software, modelling and editing image of use the require practices modding sophisticated numerous n the following sections, we will focus on the most influential editor game of the last years — t first sight, first t hte sottr o ln tr. o cm Mncat s o a ee ee editor?” level objective, mere a story a not is have Minecraft not come How(Léja-Six do 2012) term. They long do. or to short-term what whether players the tells never “Minecraft - gam the in trends current to counterdraft a like look almost may Minecraft Garry’s Mod (2004) are ready to use and easy to handle kind of new game genre — editor games — games editor — genre game new of kind A building set in which the players move players the which in set building LEGO

The action in Minecraft is neither structured through an obvious gameplay nor prescribed “[I]n art we might have to configure in order to be able to interpret, whereas in games we through narrative paths. Rules exist, but are unclear, and the player has to uncover them have to interpret in order to be able to configure, and proceed from the beginning to the by experimenting, learn them through observation, or acquire them by reading information winning or some other situation.” (Eskelinen 2004, 38) pages (like Wikis). If nothing else, it is this “unmarkedness” that raises new questions for game studies regarding a player’s motivation and action. From this it follows that games are neither reducible to rules alone nor to the narrative paths that they offer. Gaming seems to be located in between the subject’s actions and the affor- dances of the objects. Madeline Akrich states: Editor Games and the Scripts of Participation “Thus, if we are interested in technical objects and not in chimerae, we cannot be satis- fied methodologically with the designer’s or user’s point of view alone. Instead, we have to Editor games follow a similar path as the overall networked media economy as summarized by go back and forth continually between the designer and the user, between the designer’s the Web 2.0 evangelist Tim O’Reilly in his much-cited paper “What Is Web 2.0?” (O’Reilly projected user and the real user, between the world inscribed in the object and the world 2005). For one thing, many editor games remain perpetual beta versions: The game never described by its displacement.” (Akrich 1992, 208–209) becomes a finished, delimited media object, and therefore never provides a panoramic over- view over its affordances.I nstead, the players can keep exploring and altering the game world Thus playing produces a recursive quality that reveals itself in the processuality of play, which in a co-creative way. This involves mashing-up existing content, combining provided build- is subject to emergent changes. In phenomenological terms, it is a fundamental experience in ing blocks, or even internalizing external content. The content can be provided by the users human life that we inhabit an uncertain world which was not built by us (cf. Malaby 2007, themselves as well, and can be included in their own game world or a shared one. In the case 107). Especially in editor games, players can overcome this uncertainty to some extent, which of Minecraft, users build their structures with the relatively simple objects (blocks) provided. then becomes challenging for game studies. These environments or action spaces serve as The Web 2.0 factor comes in later since users share their finished objects as downloads and in bridges between ready-made game worlds and the user’s own creativity that connects gaming video captures on YouTube, with results that range from a true to scale Starship Enterprise1 to with other aspects of life: In Minecraft participation and creativity are not optional but neces- a working computer that can be fed with algorithms.2 sary modes of interaction in order to overcome the emptiness and uncertainty in the player’s experience. Due to these characteristics of editor games — the openness, unmarkedness, and Minecraft represents an archetypical editor game. It takes some of the innovations of games processuality — there is a need for fresh thinking and new methods of research that take on a like LittleBigPlanet, especially the “editor aesthetic” (albeit graphically different), which allows praxeological perspective to investigate games “in the making.” the direct editing of the level using an avatar. However, Minecraft goes a decisive step further by completely erasing the boundaries between editor and game, and thus transforming the constant editing of the game world into gameplay. To Be Continued…

Editors are becoming more and more accessible. They constitute a central feature in many New Methodological Challenges video games — prototypically represented by Minecraft — and taps into an audience that has little or no experience with level design or game programming. Such a new direction for Following Espen Aaarseth, Markku Eskelinen argues that the main change in terms of user modding introduces participatory media practices into the gaming mainstream. reception that games introduce, as compared to traditional media, is a shift from interpreta- tion to configuration of the contents: This essay is but a fraction of a work in progress. There are no definite answers to the overall question “What is participation?” However, research into the scripts and practices of editor games offers interesting starting points.A praxeological approach that includes the affordances 1 “New Tour of the Minecraft Enterprise”, https://www.youtube.com/watch?v=lXUkdrcey-w and scripts of the media in question, while at the same time takes the actual implementation 2 “DEMO Program of my Redstone Computer in Minecraft ‘BlueStone’” https://www.youtube.com/ by the users into account, can prove valuable to mark out the terrain of contemporary partici- watch?v=_kSnrT75uyk patory gaming culture. Literature Sotamaa, Olli: Computer Game Modding, Intermediality and Participatory Culture, 2003, Akrich, Madeleine: TheD e-Scription of Technical Objects, In: Wiebe E. Bijker & John Law, eds., Shaping http://people.uta.fi/~olli.sotamaa/documents/sotamaa_participatory_culture.pdf Technology/Building Society. Studies in Sociotechnical Change. Cambridge, 1992, pp. 205–224 Wenz, Karin: Game Art, In: Britta Neitzel & Rolf F. Nohr, eds., Das Spiel mit dem Medium. Partizipation – Eskelinen, Markku: The Gaming Situation, In: Game Studies, 1/1, 2001, Immersion – Interaktion. Zur Teilhabe an den Medien von Kunst bis Computerspiel, Marburg, pp. 39–48 http://gamestudies.org/0101/eskelinen

Jenkins, Henry: Textual Poachers. Television Fans & Participatory Culture, New York, 1992

Jenkins, Henry: Convergence Culture: Where Old and New Media Collide, New York, 2006

Léja-Six, Eddy: How Can Gameplay Allow Players to Get Creative?, In: Gamasutra, 2012, http://www.gamasutra.com/view/feature/181915/how_can_gameplay_allow_players_to_.php

Malaby, Thomas: Beyond Play – A New Approach to Games, In: Games and Culture, 2/2, 2007, pp. 95–113

O’Reilly, Tim: What Is Web 2.0, 2005, http://www.oreillynet.com/pub/a/oreilly/tim/news/2005/09/30/what-is-web-20.html Verstärker II Olaf Val Paidia Laboratory Feedback Paidia Institute (16), 1996 with interview an in Gibson William through thevideogame. moving electrons and bodies, their through moving eyes, the neurons kids’ into screens the off coming photons with loop feedback a novel: Pynchon a of out systems closed those of one like was were.It inside kids raptthe howpostures their of sity inten- physical the in see could arcades.I video the of one into looking was I and […] StreetGranville down walking was I . McCaffery, Mississippi McCaffery, L. R eview eview All purposeful behavior may be considered to require negative feedback.

A. Rosenblueth, N. Wiener and J. Bigelow: Behavior, Purpose and Teleology, in: Philosophy of Science (10), 1943, p. 18–24

It seems that cybernetics is many different things to many differ- ent people. […] However, all of those perspectives arise from one central theme; that of circularity.

H. von Foerster: Ethics and Second-Order Cybernetics, in: Understanding Understanding, Springer, 2003, p. 288

We need to develop, experience, understand and culturally inte- grate cybernetic perspectives and interface perception in order to experience the changing conditions that the interface sets up for perception, experience and culture.

S. B. Pold: Interface Perception: The Cybernetic Mentality and Its Critics: Ubermorgen.com, in: C. U. Andersen and S. B. Pold (eds.), Interface Criti- cism: Aesthetics Beyond Buttons, Aarhus University Press, 2011, p. 91

The block diagram is heavily used to determine transfer functions of composite systems. An ex- act description of the behavior of the internal system dynamics is not needed for classical de- sign; that is, only the input/output behavior of the system is of importance.

F. L. Lewis: A Brief History of Feedback Control, in: Applied Optimal Control and Estimation, Prentice- Hall, 1992 //generated by restart, do not modify unbindall bind UPARROW “+forward”

bind DOWNARROW “+back”

bind LEFTARROW “+left” bind RIGHTARROW “+right” bind MOUSE1 “+attack”

bind MOUSE2 “+zoom”

bind MWHEELDOWN “weapnext” bind MWHEELUP “weapprev” seta timelimit “0”

seta fraglimit “0”

exec restart em d Po e Cod A tart: tart: Res Feng Mengbo Feng Kill Screen: Transparency Turns into Opacity Stephan Schwingeler game modifications is to work to is modifications game world. game transparent a see to tion — should remain as invisible as possible. Gamers are supposed media- and computation of processes the — rely games which on media and apparatus The suppress. or of unaware remain should users the ideally that something is materialise, to images technical mouse, keyboard andscreen onwhichcomputationprocesses cause computer,a of example, for consisting, apparatus of array complex a within operate possible players gaming of act greatest the immediacy. during That the achieve to strive games video medium, a As games forthispurpose. original the subvert and distort, alienate, artists The code. and dia, me- apparatus, technological on dependent and by determined are games the that aware user the making of goal the have They games. commercial of forms original the of - artis mods”) (“art modifications tic develop games computer and video with work who Artists betweenGame I Art a b ms acrtl dsrbd s cbrei febc loop feedback cybernetic a as described accurately most be can interactivity by demonstrating that it is an illusory technique, which of concept controversial the about statements general make artists purpose. intended its byof context it changed stripping Forstate. uncertain of kind a in a into put been has game video the suspended albeit — games video still are but form, media linear of kind other any or videos not are They users. the of inputs the to all by definition, do not react in an expected way or sometimes even at interactive although that, artefacts audiovisual are they than intended: other purposes for used games are games Unplayable game. an of paradox the in result can cases extreme in which intervene, to users and players of possibilities me- the limit interactive they dium, explicitly an of use make they although that fact the in lies however, often artworks, these of aspect ambivalent The structures. games’ the into insights enables this and games, the of interfaces user visual smooth the or apparatus the of shell hermetic the open break interventions These errors. graphics integrating or abstract them making by simulations physical the and figurations, con- spatial the graphics, the destroying even or altering through game: video the of techniques illusionist the unmask mods art way of media theory to turn to theory media of terms (in world game the of visibility cloud to and games, video of Kill S Kill c r een : T ra mmediacy andNonimmediacy nsp into a state of state a transparencyinto ar enc this against basic approach of artistic video artistic of approach basic A y y Tu r striving for transparency for striving ns i n to opacity). Op I unplayable n this way this n a I c n this n it Y

split-screen_kill_screen.png Screenshot, the gamecrashes. the last image of any classic arcade game: the software of images. digital the with together terface in- user the on appears code like looks that something visible; becomes images digital game’s the underneath . 1: Kill screen in http://en.wikipedia.org/wiki/File:Pac-Man_ Pac-Man (Namco, 1980). The layer with the new materialofvideogamesandgaming. with thenew determinative artistic strategy is involved, which seeks to get to grips used. From the point of view of history,art this demonstrates that a are they how and computers to humans of relationship general the about also but film, and photography emulates that hyperrealism a to regard with games video of design the about only not questions fundamental raise artists Thus, programs. its and computer the of constantly switching between the actions of the user and the reaction kill screen is screen kill A 2006. outside thediegesisofgame;cf. Galloway the independentbehaviourofmachine 1 act. machine diegetic visible to the player because of a non- become and surface letters and bols sym- disruptive game: the and ages im- the underneath lies what reveals last screen of the game, the kill screen visible. not usually therefore cal background of the images, and are techni- the to belong actually which in screen the of side righthand the on appear denly pens: letters and strange symbols sud- hap- unexpected something tended, in- not actually is design game the to reaches 1980. from Pac-Man game the of end the shows 1 Figure The Example ofPac-Man Opacity: and Transparency in the intended way. The symbols The way. intended the in function to ceases it because play to it renders the game almost impossible game: the on effect direct a has This game’simages. the of part a case this in becomes and revealed is hidden, normally is which game, the of layer vl 5, hc according which 256, Level The non-diegeticmachineactis Pac-Man’slabyrinth, 1 The technical The I te player the f I this n block the paths of the characters, and ultimately immobilise them. Literature Characters are no longer able to move around within the game en- Galloway, Alexander R.: Gamic Action, Four Moments, In: Alexander R. Galloway, ed., Gaming. Essays on Algorithmic Culture, Minneapolis, 2006, pp. 1–39 vironment. The kill screen reveals — at the moment it circumvents the functionality of the computer game — the hidden underly- Nake, Frieder: Das doppelte Bild, In: Margarete Pratschke, ed., Digitale Form. ing layer of a double image2 that is not intended to be seen by the Kunsthistorisches Jahrbuch für Bildkritik 3,2, Berlin, 2005, pp. 40–50 user. This visualises the media and technology conditionality of the Video Games Cited gaming experience. Pac-Man, video game (Namco, 1980) Quake, video game (, 1996) The example of the kill screen demonstrates how something invisi- Untitled Game, Quake modifications (JODI: Joan Heemskerk and Dirk Paesmans, ble becomes visible. These processes can be more precisely character- 1998–2001) ised by the pair of terms transparency and opacity. Here, two (ideal) conditions of a medium are identified: in a state of transparency the medium is invisible, and in a state of opacity it is visible. In the state of transparency, when the medium is hidden and disappears, the reception of a medium’s content and behaviour can be described as immediate or direct. And when, for example, the hidden techni- cal side of a double image comes through to the surface and thus propels the medium into the foreground, the immediate experience is transformed into a state of nonimmediacy. Immediacy is in media theory an ideal state. Accordingly, the kill screen in Pac-Man is an exceptional case — a system error — which shifts the “successful” uninterrupted functioning of the medium from a state of imme- diacy into one of hypermediacy (See Bolter and Grusin’s concept of remediation). To analyse artistically this fluctuation back and forth between trans- parency and opacity is a strategy that is essential for engaging with video games as artistic material.

2 Cf. Nake 2005, p. 47

Fig. 2: A reprogrammed Quake: The Level Ctrl-Space from JODI’s series Untitled Game (1998–2001). The modifi- cation of the game’s source code has radically changed its appearance and therefore the gameplay as well. The game has shifted into opacity, and as a result the medium is now sus- pended in a paradoxical state of nonplayability.

Screenshot, http://untitled- game.org/ug5.html A Dialogue Between Art And Society Sebastian Blank history andtheirquestformeaning. history the value ofculture oftheirown interms for whattheydoseemtorealizeartists And societiesthatare willingtopay interest legitimate. Thisisperfectly inart. isasignofcommercialchain, Artmart, Sebastian Blank: interested in art? Can’tcollect art. we assumetheyare quite R extremely tolerant? Isness forart? itextremely indifferent or bridge? Does thissocietyhave anaware- whentheyfalloffa ofaperformance part doing there? Do theyreally know theyare what extentdotheyknow whattheyare worldants ofthevirtual themselves. To all. You wouldhave toasktheinhabit- between andsocietyisnotadialogat art Sebastian Blank: Maybe thedialog Where isthefriction? R belonging tosociety. thelifeofthose significantly determines seem toimpactsociety, even thoughit editor’s note],butthisworld doesnot performance, [monument, destruction, have created gives alotofspacetoart meant thatabitcynically. Theworld I utopia. But now Isuspectthatalways Sebastian Blank: Ihave always calledit project? R eporter: Buteporter: peopleseemtobuyand Buteporter: where isthecontroversy? Whatisthemaintopicofyour eporter: Sure. The biggest gallery improve, itmustdosoitself. that ishopefullyinteresting. If societywantsto (laughs) No. andthendosomething Iobserve Sebastian Blank: Whichonedoyou mean? world. R eporter: Soundslikeyou wanttoimproveeporter: the R eporter: Thank you fortalkingtous. eporter: anarchotopia Karen Eliot Me: “Yep. Exactly. The bestprotection isbeingnicetoothers…” Some avatar: “But thenitcanbedeleted!?” Me: “No, sorry.” Some avatar: “Ok, I’m Ifuckeditup. sorry Me: “There isno undo button.” undo buttonforterraforming?” avatar: Some island. whole the deformed and one deleted the house of the other had avatar Some picture. the in it yousee as just island the Second O delete anyobjectsorejectotheravatars. can everyone and limited is space The aware: be But gift. great a be to seems this they like, in any style or size they wish. Since land in Second Second in island I … I I sie b John by nspired magine there’s nocountries,…possessions,needforgreed orhunger ne hour later hour ne magine allthepeoplesharingworld. Life again and Wee s the is “Where logged into logged I ife, providing free space for anybody. Users can build whatever build anybody.can Usersfor space free providing Life, no, e r gig o et hs “ this. test to going are we Lennon, Now, canyou helpmetoprotect mylittlehome?” I found ut mgn i mgt also work..!” might it imagine just hey, But it. on penises flying of ugly,lots with land wasted be to going is this know, “I and watching it,Isaid: afriend with drinking coffee While left. and avatar arrived, built an a house, moment that public. at the Right to and it island opened the started I DAY narchotopia” is a virtual virtual a is Anarchotopia” 1 Life is expensive,very out onyour own :-)” Me: thanks”warning reasonwithout a and without respectthings without see way this in behaving is person the house this morning when I came in I found everything from returnato […] why put this I and region, this in group the took I yesterday you bother to sorry “hello like thisallthetime: And smaller. vanish are houses new the and slowly sions I DAY 4 I DAY 3 ses ie h man- the like seems t t works! I “Sorry, I can’t help you. Don’t ask ‘ “authorities.” You can find a way to work it work to way a “authorities.”find Don’t‘ You can’tcan you. ask I “Sorry,help eev messages receive I t really works! Anditdoesn’t even lookbad… wild. I the in Settling cabin. little a in horse their with together sleep They arrived. native A sn’t thisjustawesome?! merican and a trapper have trapper a and American Day 5 Day 24 A griefer bothers people on the I was scared of logging into Second Life island and asks them for money and being yelled at. ARed, threatened, for not deleting their homes. asked dumb questions as every day… Also threatens me and tells me And then I did log in and what I found to “step down from my god was an exciting place! I was hunted by status.” zombies, I whispered a prayer in a tem- ple, washed my dirty laundry in the Griefer: “Karen… as of this very “Lost Sock,” met Jewbama, and wan- second... you have given up con- dered the Mount SLmore. And I dehu- trol to me... or I will detonate manized myself. Anarchists had finally the thermonuclear device in the arrived on the island. Each head of the nether reaches of this island and it will cease to exist.” Mount SLmore was added by a differ- Me: “Sure, please do. I’ll take a photo.” ent person — a collaborative piece. I was sitting at the campfire and chat- ting for a quite while, and I laughed as much as I hadn’t done during the last Day 12 3 weeks! [...] Those people convinced A new resident, “the Doctor,” has me to UNBAN EVERYONE I had created a sandbox in the sky for pub- banned from the island before. lic use. Sandboxes in Second Life are used to learn and practice building or for scripting experiments. Day 25 “Hello all. I have rez a sandbox in We have a new welcome sign: the sim. So if anyone in the group is a builder, it may be useful to “Have as much fun as you would like, while helping others have as much fun as you’re having!” them. Anyway, it’s open for every- When I arrived at the island I had one to use! I’ve attached the LM. messages from people, who claimed Best wishes, Doc” my help against bullying. I didn’t re- act for a while, just sat down at the campfire and ignored them. There were 2 female avatars, who wanted to rez houses, and I guess others Day 19 found houses just boring. So they Nice island. The people told me, they were arguing about what’s anarchy have finally managed to organize as a and what’s not. And about art, and group. Superheroes patrol on the island what’s not. [...] While they were sit- and await unfriendly intruders. Now ting and arguing, Wasabi (one of they even have a coastguard and — the “griefers”) shot flowers on the nananananananana — Batman! island with a gun. It reminded me of Banksy’s famous stencil… Day 32 There are those famous big red buttons, which destroy everything, and I have now learned, there also exist big red buttons for creating whole new worlds. Just a couple of weeks ago I was about to take the island down, just because I couldn’t take the complaints of the citizens anymore. Now it turned into something completely dif- ferent. People don’t ask me for restrictions or for banning people anymore — now they ask me to change the terrain texture, the wind light settings or for making the safe zone smaller (more space to build on). Today we collaboratively created a tip jar to finance the island in the future.I start to not feel like “the landowner” anymore. Not because *I* am getting rid of this status — no, it’s because *they* take over. The very best outcome of this experiment would be an island, which is able to run autonomously. An open space, where all responsibilities and all gains are shared. You may say I’m a dreamer… source: http://freelandblog.tumblr.com Can I Leave Now? 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schalter auf ihre Abfertigung warten, kennen das schon. Vor allem bei Ge- case: Kopfschmerztablette{ schäftsleuten ist die Abendmaschine sehr beliebt. Doch dieser Abend sollte anders werden als viele das erwartet hatten. Ganz am Anfang hatte man überlegt, gar keinen Raumanzug zu bauen, ); sondern den Menschen selber so umzubauen, dass er im Nichts überle- } ben kann. Wussten sie das? switch (audience_decision){ Das war so, als würde man den Weltraum als eine Art Krankheit sehen, also medizinisch. Damals hat man allerhand als Krankheit angesehen. case: Aufstehen{ Auch das soziale Miteinander — wenn es zu seltsam wurde, hat man Raumanzüge sind wie Architektur für den Körper. Wussten sie das? das auch durch Medikamente wieder in den Griff gekriegt. Wieso also Sie schaffen eine eigene kleine Umwelt um den Körper herum. Damit nicht einfach auch den Weltraum als Krankheit sehen. Man braucht kann man dann auch im Weltraum klarkommen, oder in anderen ext- einfach nur ein Gegenmittel, das die Haut verändert, damit sie den remen Situationen, es ist eigentlich ganz egal wo. Also eigentlich ist es inneren Druck aushält. überall sicher mit so einem Raumanzug. Man kann die Temperatur so einstellen, dass sie sich der Körpertemperatur angleicht. Man hat sozu- } sagen sein eigenes kleines Klima dabei. case: Helm{

} Es ist schon lustig, sich vorzustellen, dass ich eigentlich andauernd zer- platzen will, wenn nichts um mich herum ist. Und nur die Umgebung case: Sensoren{ hilft, dass ich nicht auseinanderfalle. Und außerdem noch toll an so einem Raumanzug ist: er hat unglaub- So ein Raumanzug hilft mir, in lebensfeindlichen Situationen zu über- lich viele Sensoren dran, mit denen ich zu jeder Zeit sehen kann, wie es leben. meinem Körper geht. Ich spüre mich ja nicht mehr so wirklich, wenn ich in so einem Raumanzug bin. Da ist das ganz gut, wenn ich weiß } wie schnell das Herz klopft, oder wieviel Adrenalin man grade in den Blutbahnen hat. }

} } case: Helmkappe{ Der Raumanzug für die Mondmission wurde damals von einer Frauen- unterwäschefirma angefertig. Wussten sie das? Er sollte eigentlich hart sein, der Raumanzug. Eine harte Schale, die sich ein bisschen bewegen kann. Nicht wie Kleidung, sondern wie ein Zimmer. Ein kleines Zimmer um einen herum, aus dem man nicht raus kann. Oder, man kann schon, aber man sollte nicht, weil außerhalb des Zimmers ist nichts mehr und das bekommt einem nicht.

} Best Flamewar Ever Eddo Stern ligent question orupostinganything atall. I'm wondering which is more stupid, myself asking an intel- 1000 raids) doesnot. done has (who sir could u myself when as is, Brael such who SK) know 56 possibly lvl a is who main a and play of year one (only n00b professed self a how on amazed am I u dontknowiteither. vide me that formula I would be greatful. Unless of course, Even the link I was given doesnt show it. If you could pro- mitigation. AC and avoidance AC down breaks that formula a posts). I thanked Shuiken for the link, fact but I The have (Knowing who yet EQ. Brael to is is in see easy if expert u research of read lot a the do an I Shadowknight.org because is is Brael be who know I that to claim not did I Second, First ofall,ushouldntgonethere... by leegatenby,KingofBards Posted: Jun14th200411:05am about who orwhatyouknow? BSing just you or Brael who's know really you do So is norhowitworks?Dude,doyouknowBartSimpson? Let's see, leegattenby knows who Brael is but dunno what AC by SquireRexz Posted: Jun14th20045:17am this works? how of explanation or link, a me for post anyone Can sure what itdoesexceptmakemehardertokillviamelee. not am I But unbuffed). (1.3k has he that AC the for It SEEMS to me that my Iksar enjoys decent damage mitigation tricacies ofthegamethatIhaven'tworkedoutyet. in- some are there so year, a about for played only have I OK, not to sound like a total n00b, how exactly does AC work? by leegatenby,KingofBards Posted: Jun4th20046:57pm onthe online transpired events following The 1 during thesummerof2004… Ho w does http://everquest.allakhazam.com/db/classes.html?class=5&mid=1086379030136692755

Armorss Cla

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lkaa Eeqet forums Everquest Allakhazam 1

Posted: Jun 20th 2004 5:12am As for giving it out and taking crap. Note that I never took by Squire Rexz a side until u went into ur tirades of inappropriate posts. Thats when I drew the line. I poke fun at every everyone, Leegattenby, STFU dude. Youre only level 56 and you certain- Luna, u, havent gotten to Shruiken yet (he's on my server ly dunno squat about what youre talking about. Getting all and would probably kick my ass). your info from this board and shadowknight.org dont mean you know chit. There's a difference between hands on experience EQ and other MMPG's are social games. I play them with my and reading other's opinions. Until you have at least one sons because its something that we can do together. If Im level 65 with at least 300 AAs, I suggest you just STFU for at a restraunt and I hear something highly inappropriate, good cause alot of the stuffs you said on other posts are I will say something. When I see crap that people post or meaningly except just opinions from a n00b. tell, expect me to stand up and say something. You need an example? Big whoopie if you know who Brael is. I have 3 (going on 4 btw) kids, served 15 years in the mili- Knowing him dont make you a uba SHD as you think. Thinking tary and now work for Law Enforcement. I have kicked more it does is as retarded as your opinions. ass (in RL) and seen more things (some good, some really bad) then most people in two lifetimes. I have led men in combat, some of who never made it back btw. If u think that ur punk ass can keep up with me, war of words or otherwise, Posted: Jun 20th 2004 10:56am bring it. by leegatenby, King of Bards Freedom of speech is a wonderful thing. Just remember next According to the recent posting for SOE, the majority of time when u flame me punk, its because of me and my brothers players are lvl 30-lvl 50. What I have posted IS relevant. in arms that u have that right. However, thanks for cleaning it up (post wise). Every board [...] needs a good troll. Btw, whats up with your fetish with Bael. You sound almost as bad as Luna and his rantings about stun. Its like every post. Who friggen cares if I know who Bael is. Ive never met his toon in RL. R U suffering for Bael inadaquacies or what?

Posted: Jun 22th 2004 4:13am by Squire Rexz Quote: Btw, whats up with your fetish with Bael. You sound almost as bad as Luna and his rantings about stun. Its like every post. Who friggen cares if I know who Bael is. Ive never met his toon in RL. R U suffering for Bael inadaqua- cies or what? Thats exactly my point retard. Who gives you the right to critize and blast someone for not knowing who a board troll is on shadowknight.org? If you dont like the way I get on your case for knowing who he is, you better STFU next time when someone ask who another person is. If you wanna be a smartass and flame others, you better be able to take back the criticisms otherwise shut up and sit down.

Posted: Jun 22th 2004 10:51am by leegatenby, King of Bards haha, Bael a board troll? Naw, more like the king of parsing and logarithms.

Music PC Mind Fuck The Night Journey Best Flamewar Ever Music Machine, 2013 Video Game, 2009 Video Game, 2007 (work in progress) Two Channel Digital Video, 2007

Alexander Gurko Anna Anthropy Bill Viola and USC Game Innovation Lab Eddo Stern //auntiepixelante.com //thenightjourney.com //eddostern.com

Triad A Mesmerizing Game Of Snake [gif] Restart: A Coded Poem Golden Calf Video Game, 2013 Found Footage (Animated GIF), 2013 Digital Prints, Typeface: Vector Feng and Game Sculpture, 2012 Monaco, 2013 Anna Anthropy Author unknown Feng Mengbo //////////fur//// //auntiepixelante.com //reddit.com/r/woahdude/comments/ //fursr.com 1bycra/a_mesmerizing_game_of_snake_gif In d ex The Afk Friend Max Payne Cheats Only Beijing Accelerator [borders] Holographic Digital Print, Light, 2013 Two Channel Digital Video, 2005 Interactive Installation, 2006 Single Channel Digital Video, 2010

Guillermo Federico Heinze JODI Marnix de Nijs Mary Flanagan //amuke.de //jodi.org //marnixdenijs.nl //maryflanagan.com

Welcome To Anarchotopia! Pawns Hacker hits Stormwind (exploit) Verstärker II Experiment in Second Life, 2013 Sculpture, 2013 Found Footage (youtube video), 2012 Interactive Installation, 2013

Karen Eliot Karin Lingnau MMORPGHispano Olaf Val //www.thing.de/projekte/7:9%23 //karinlingnau.com //youtube.com/watch?v=eZWafpAuRSk //olafval.de /eliot_index.html Paidia Laboratory: feedback #1 Unmanned Pokemon Yellow Total Control Hack A Dialogue between Art and Scociety, I, II, III Video Game Installation, 2011/2013 Video Game, 2012 Found Footage (youtube video), 2012 Machinima Videos, 2008

Paidia Institute Paolo Pedercini and Jim Munroe Robert McIntyre Sebastian Blank //paidia-institute.org //molleindustria.org //youtube.com/watch?v=p5T81yHkHtI //sebastian-blank.com

Ergon/Logos Phone Story Auto Can I Leave Now? Unidentified Game Object, 2009/2013 Smartphone Game, 2011 Interactive Installation, 2012 Multimedia Theatre Performance, 2013

Paolo Pedercini Paolo Pedercini weAREmedienkuenstler Alina Weber, Janne Kummer, Viviane //molleindustria.org //molleindustria.org Moritz Schell and Frederic Seybicke Podlich, Caspar Bankert, Hannes Kapsch //wearemedienkuenstler.com Stage: Lena Fay Technical assistant: Stefano Trambusti Supervised by: Prof. Friedrich Kirschner, Ernst Busch University of Performing Arts Imprint d Supported by I Curated by Concept by An exhibitionby Kunsthochschule fürMedien Köln (KHM)/A D Exhibition C nitiated by omputerspielen ecember 6th,2013–January 3rd, 2014,D ZKM_Gameplay, andMedia ZKM,CenterforArt Karlsruhe U2 –Centre forCultural Education, D Museum O Ernst Busch A Minister for Family, Children, Mischa Kuball, KHM Christian Esch,NR Jonas Hansen andThomas Hawranke Jonas Hansen, Thomas Hawranke, andLasseScherffig ortmund I ortmund

– perspectives ofplay stwall, D nstitute ofA cademy ofD W KULTURsekretariat ortmund ortmunder U,D ortmunder dvanced Moving I rt, Berlin ramatic Art, Y outh, Culture and Sport of the State of North ortmund ortmund cademy ofMedia Cologne Arts mage Studies, D ortmund R hine-Westphalia

y Thanks to Exhibition photographyD T Layout Verlag derKunsthochschule fürMedien Köln, Peter-Welter-Platz 2,50676Köln, http://verlag.khm.de Edited by Publication ranslation /Copy-editingGloria Custance, I Wettengl, A Janet Schlickum, Sabine Schulz, Johanna Steindorf, Sebastian Thewes, Bernd Voss, Ovis Wende, Kurt Gorski, Bärbel Große-Endebrock, Thomas Hauch, Maren Heyn, Werner Hielscher, D Mechthild Eickhoff, Thomas Ezold, D Heike Ander, O Jonas Hansen Jonas Hansen, Thomas Hawranke, Mischa Kuball, andLasseScherffig oungjik Jung, Juliane Kuhn, KarinLingnau,Martin Maruschka, AnnekaMetzger, Rikisaburo Sato, dolf ourproject. whosupported Winkelmann, andeverybody aniel Helbig livier Arcioli, Janika Berns, Thomas Eichhorn, Eichler,Kurt LeonieEickenbusch, saac Custance irk Fortmann, D enise Gühnemann, Jairo Gutiérrez Feut, Uwe aniela I hrig, Printed by LASERLINE, Berlin, on recycling paper, offset, edition of 1000

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