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GAMER[Note:to the thisfinal THEORY text page /is McKenzie completeproof.] Wark except / Version for some 2.0 corrections and additions made The unreality of games gives notice that reality is notUnconsciously yet real. they rehearse the right life. -- Theodor Adorno There is an absolute in the moment of the game; and this absolute, like every reality or moment taken to the absolute,specific formrepresents of alienation. a -- Henri Lefebvre For Felix (and his playmates) Lude Feliciter designer, to redeploy GAMER THEORY / McKenzieAcknowledgements 4 Wark / Version 2.0 1 Agony (on The Cave ) 5Allegory (on The Sims) 21America (on Civilization III) 37 Analog (on Katamari Damacy) 53Atopia (on Vice City) 70Battle (on Rez) 85 Boredom (on State ofComplex Emergency) 100 (on Deus Ex) 116Conclusions (on SimEarth) 132 ht not require the ability to play any Cuts (list of samples) 148 Acknowledgements Firstly, I must thank networked all of the participants book for which comments in presentedGAM3R and 7H30RY, discussion. version a 1.1 Forof this version text as2.0, a pretextI made many changes to historical the text on the basistheoryheads, of the comments mediadigital hackers offered age. Anand there edited other by gamers, selection organic intellectuals of the comments of the pertaining directly to the text are included among theSecondly, notes at I wouldthe end. also like to thank The Institute for the Future of the Book for hostingstimulating GAM3R discussions. 7H30RYwithout version Bob It would Stein, 1.1, notand Ben have for Vershbow, many been half Ray as Cha, much Dan fun Visel and Jesse Wilbur. n the ruins of a Thirdly, I wouldComputer like to thank games mybegin studentsare the a key process atpart Eugene of the as Langlaborious shared College. culture as it is from playful which of one creating can a reflective and criticalhave been approach activebook. to participants the times. Myin the students shaping at ofLang the ideas in this Any remainingmy acts own of account.folly in this book are to be charged directly to Agony (on The Cave ) Fig. 1 001. Ever getwhich the feelingyou don t you know are playing the goal, some and vast can t and remember useless game the torules? Ever get the fierce desirethere s to quit,no capitulation?umpire, to resign, no toreferee, Everforfeit, get no only theregulator, to vague discover dreadto whom that to while announce you have your no choice but to play whothe game, keeps youopponentit? Ever can t suspect winmight it, that can tbe? youEver even don t get know mad even the over know score, the who obviousor your fact real that the dice are loaded,Welcome the deck tostacked,speculation gamespace. the tablesport. It s rigged, Noeverywhere, pain and no the gain. this fix atopianNo in? guts arena,no glory. this Give it your ig best shot. There sup: In gamespace, nogame, second you evenplace. will if Winnernotice,you know alltake thethe all. same,deal, Here s are that aa headsplayer,the game have has got got you. Welcome togreatest the thunderdome. gamemasters, of all. the Welcome only game to the in town. playoffs,terrordome. You the are Welcomebig a gamer league, towhether the the you like it or not, now thatnowhere. we all anywhere Aslive Microsoft in a gamespace you says: want Where thatin gamespace isdo everywhere you want but to neverand go today? leave it.You can go 002. Supposeoffers, there for an is ahourly business fee, in access your neighborhoodto game consoles called in a The darkened Cave . room.It new kind of practice. One that Suppose itand is part also of linkyou a chain. to are other a Thegamer such consoles in networks The form Cave . elsewhere a local You areatest in yournetwork, the chain.skills against Suppose other gamers. 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You communicate to fellow gamers in The Cave about the outside world of whichcave-dwellers The Cave and distinctions is hadjust established,a shadow. for those Or down try who to. there werePlato: in most And the keen-sightedcave, if the certain prizes in seeing the passingand shadows, after,future and and appearances simultaneously who were best in the withable shadow-world, towhat, remember thus best whatwill able our came to released predict before, prisoner hanker Cave after these isdistinction. a world prizes of or Butpure envy suppose agon, this power of you competitive are or honor? that rare, striving You stray, bet! after thoughtful The gamer who decidesSuppose toworld tryyou this beyond?emerge new game from You findTheof getting Cave that this beyondand other decide the world gameto takeis in again? stocksome ofcurious the ways rather likemade The ofCave . Cave . the same If The there digital pics is ofa stuffdifference, family, as yourthe it map favorites may of not the gamesbe hood, quite inside seemwhat The it seems. 006. Hereof life is appearswhat you as observe a vast accumulation about the world of commodities outside The Cave : and spectacles, The whole of thingsthese wrapped imagesanyone in and imagesand things everyone and organized, images to adopt sold and towards as what things. role them? But do howtheyImages arecall appeal for as prizes, . 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God of is thisFaith a game geek is a designer. matterdesign ofand He the score accordingly.To begamer, a loser All you that or area is lamer righteous left withis the nothing wins; mark all of to thatdamnation. believe wins isin righteous. butWhen your you own are God-givena abilities.whointernalized hasGamers been confront chosen its algorithm. byeach the other game For inthose as games the who one of despair skill who which has of mosttheir reveal fullyabilities, therethe are personaldice. games Roger qualificationsof chance,Caillois: where Chance are gracepowerless is courted reveals to because bringitself insuch thehard success roll work of andabout. The gambler014. Outside may know each what cave the is gamer sanother cave; faith refusesbeyond to the countenance. game is another game. o spend their time holed up in The Cave . Eachthat hasparalyzing all its there particular is? boredom. The rules; gamer each Paolo who has Virno: lifts its ranksan §At eye the of from high base the scores. of targetcontemporary Is risks a cynicism is theƒfacts¥... factunfoundedness that Learning men and the and women rules, conventionality . however,learn by experiencing also Wemeans now recognizing rulesface severalrather theirthan different ƒgames¥,of anbrutal immediate each and devoid arrogant, self-affirmation of all muchobviousness more -- an cynical, andaffirmation seriousness, the more that weisonly much employ, the more site with no illusionsconventionalitya butsummary with perfect decision: and mutability momentary That s weHot! adherence, have Or if perceived.§ not, thoseYou re very Each Fired! rules game Got whose questionsends in , about qualities015. 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Play newsuffer beautiful wassociety s oncefreaks apenalty). willgreat teach slogan Playus allof was liberation.how once to play the Richard againbattering (andNeville: ram they ll Theto break downat whatthebecomes Chinese has become work; walls work of play.alienated becomes Play iswork, play. no longer ofPlay divided outside a counter labor. of work to Only work. found look Play itself ork in realtime and use video displays. A much earlier version of of version earlier much A displays. video use and realtime in ork capturedboredomlevel by of the of difference the rise player of the as with digital more endless ofgame, the rounds same. which Play ofresponds repetition, no longer to the level functions after as a foil theforthe agame, critical extension of theory. a pure of gamespaceplayThe utopianbeyond into dreamthe everygame, of liberatingaspect merely of opened everydayplay from the life. way While for themilitary counter-cultureto the entertainment whole world,wanted complexcontaining worlds ofcountered play foreveroutside in turn withinthe by game; expanding it. the the game for utopia is in someone else s 017. EvenbecomesPick acritical risinganother theory, subfield. game. which ProveApply once yourto top took abilities. ranked its distance Getschools. yourself from Find damaged published. a good coach.life,
K-Punk, Cartesianism, Continuum, Catatonia: Beckett , Excarnate Thought, http://www.k-punk.abstractdynamics.org/ (26th March, 2006). Here gamespace replaced the now archaic term cyberspace. evidence of its existence such as global warming.
theory, reasserts itself in practice, now that it leaves such telling Gilles Deleuze and Felix Guattari, Anti-Oedipus (London: Athlone p. 19. The concept of totality, which one can quibble to death in in death to quibble can one which totality, of concept The 19. p. Press, 1983), p. 321.
Georg Lukacs, History and Class Consciousness (London: Merlin, 1983), 1983), Merlin, (London: Consciousness Class and History Lukacs, Georg Guy Debord, Complete Cinematic Works: Scripts, Stills, Documents, (Oakland CA: AK Press, 2003), p. 151. might prefer to ignore them. ignore to prefer might
that its alienating necessities will not forget us, however much we we much however us, forget not will necessities alienating its that Wark/GAM3R 7H30RY/8/23/06/11:29 AM/page 133 horizon needs no particular theoretical justification: we may be sure sure be may we justification: theoretical particular no needs horizon
the ultimate sense in which History as ground and untranscendable untranscendable and ground as History which in sense ultimate the
its effects, and never directly as some reified force. This is indeed indeed is This force. reified some as directly never and effects, its
Jameson continues: But this History can be apprehended only through through only apprehended be can History this But continues: Jameson
Symbolic Act, (Ithaca NY: Cornell University Press, 1981), p. 102. 102. p. 1981), Press, University Cornell NY: (Ithaca Act, Symbolic
Fredric Jameson, The Political Unconscious: Storyline as a Socially Socially a as Storyline Unconscious: Political The Jameson, Fredric
require the game but rather calls it into being. being. into it calls rather but game the require
Massumi, attempts to restore movement to thought. A play that does not not does that play A thought. to movement restore to attempts Massumi,
and Virtual Philosophy, (London: Continuum, 2002). De Landa, like like Landa, De 2002). Continuum, (London: Philosophy, Virtual and
Zone Books, 1991), p. 4. See also Manuel De Landa, Intensive Science Science Intensive Landa, De Manuel also See 4. p. 1991), Books, Zone
Manuel De Landa, War In The Age of Intelligent Machines, (New York: York: (New Machines, Intelligent of Age The In War Landa, De Manuel
movement. movement.
either a poison or a cure, but either way is still a process, a a process, a still is way either but cure, a or poison a either
restore the thought of movement. A recipe (or an algorithm) may be be may algorithm) an (or recipe A movement. of thought the restore Get some grants. Get a job. Get another job offer to establish your speculative translation of pharmakon as recipe I am trying to to trying am I recipe as pharmakon of translation speculative
them, rather than trying to think movement itself. With this this With itself. movement think to trying than rather them,
static terms, and works toward uncovering the hidden transit between between transit hidden the uncovering toward works and terms, static
University Press, 2002), Brian Massumi argues that Derrida starts from from starts Derrida that argues Massumi Brian 2002), Press, University
Press, 1981), p. 82. In Parables of the Virtual, (Durham NC: Duke Duke NC: (Durham Virtual, the of Parables In 82. p. 1981), Press,
Jacques Derrida, Dissemination, (Chicago: University of Chicago Chicago of University (Chicago: Dissemination, Derrida, Jacques
speech could never stand ¥behindƒ it. ¥behindƒ stand never could speech
has to be thought as spacing, differencing and deferring to see that that see to deferring and differencing spacing, as thought be to has
against the notion of writing as written-down speech. For him, writing writing him, For speech. written-down as writing of notion the against
Niall Lucy: The move could be too fast here. Derridaƒs intervention is is intervention Derridaƒs here. fast too be could move The Lucy: Niall
transmission, back to tele. to back transmission,
David Parry: Theuth also becomes Hermes the God of speed and and speed of God the Hermes becomes also Theuth Parry: David level and bargain with your current employer. Keep your nose clean and term Derrida made famous: pharmakon . pharmakon . famous: made Derrida term
History, (Cambridge MA: MIT Press, 2004). Recipe here translates the the translates here Recipe 2004). Press, MIT MA: (Cambridge History,
Darren Tofts et al, eds., Prefiguring Cyberculture: An Intellectual Intellectual An Cyberculture: Prefiguring eds., al, et Tofts Darren
History of Cyberculture, (Melbourne: Fine Arts Publishing, 1998) and and 1998) Publishing, Arts Fine (Melbourne: Cyberculture, of History
media theory, see Darren Tofts & Murray McKeitch, Memory Trade: A Pre- A Trade: Memory McKeitch, Murray & Tofts Darren see theory, media
2005), p. 63 [274e]. On Phaedrus as the key text initiating a critical critical a initiating text key the as Phaedrus On [274e]. 63 p. 2005),
Plato, Phaedrus, translated by Christopher Rowe, (London: Penguin, , , Penguin, (London: Rowe, Christopher by translated Phaedrus, Plato,
Foreign Agents Series, 1990), p. 99. p. 1990), Series, Agents Foreign
Heiner M ller, ¥The Luckless Angelƒ, Germania (New York: Semiotext(e) Semiotext(e) York: (New Germania Angelƒ, Luckless ¥The M ller, Heiner get tenure. You won! Now you can play! Now you can do what you wanted,
Volume 4, (Cambridge MA: Harvard University Press, 2003), p. 392. p. 2003), Press, University Harvard MA: (Cambridge 4, Volume
Walter Benjamin, On the Concept of History , Selected Writings Writings Selected History , of Concept the On Benjamin, Walter
grammatron.com.
2001), p. 3. Amerika is also the author of the classic interactive text text interactive classic the of author the also is Amerika 3. p. 2001),
Mark Amerika, How To Be An Internet Artist, (Boulder CO: Alt-X, Alt-X, CO: (Boulder Artist, Internet An Be To How Amerika, Mark secretly, all those years ago Only now you can t remember. You became
Cioran s unrepentant fascism should not pass here without mention. mention. without here pass not should fascism unrepentant Cioran s
E M Cioran, Drawn and Quartered, (New York: Arcade, 1998), p. 134. 134. p. 1998), Arcade, York: (New Quartered, and Drawn Cioran, M E makes him a bit happier, but
Literary Theory, (London: Verso, 2005). Verso, (London: Theory, Literary
on literary gamespace: Graphs, Maps, Trees: Abstract Models for a a for Models Abstract Trees: Maps, Graphs, gamespace: literary on
here substitutes for rhetorical . See also Moretti s remarkable essays essays remarkable Moretti s also See rhetorical . for substitutes here
Franco Moretti, Modern Epic, (London: Verso, 1996), p. 6. Formal Formal 6. p. 1996), Verso, (London: Epic, Modern Moretti, Franco a win-win Situationist. Your critical theory became hypocritical cts one unhappy remains left behind by players of Spore. of players by behind left remains unhappy
of Star Maker traveling the universe observing and communing with the the with communing and observing universe the traveling Maker Star of
things are a little different, and one can imagine the luckless angels angels luckless the imagine can one and different, little a are things
barrier of time and historical transformation. In this fallen world, world, fallen this In transformation. historical and time of barrier
indeed the enigmatic writing destined to secure a continuity across the the across continuity a secure to destined writing enigmatic the indeed theory. It is against everything in the whole wide world except the
from out of the future into our own fallen present, as though it were were it though as present, fallen own our into future the of out from
returning to us as a sacred text or scripture mysteriously catapulted catapulted mysteriously scripture or text sacred a as us to returning
turned out to be the Divine Comedy of that realized new world, world, new realized that of Comedy Divine the be to out turned
of art would already have been answered, and Star Maker would have have would Maker Star and answered, been have already would art of
distinct from us in whatever far future or galactic space, the question question the space, galactic or future far whatever in us from distinct
posit that in an achieved utopia, one become unimaginably real and and real unimaginably become one utopia, achieved an in that posit gamespace that made it possible. But gamespace is now the very form of
124, Fredric Jameson offers this amazing sentence: Indeed, we may may we Indeed, sentence: amazing this offers Jameson Fredric 124,
2004), p. 94. In Archaeologies of the Future, London: Verso, 2005), p. p. 2005), Verso, London: Future, the of Archaeologies In 94. p. 2004),
Olaf Stapeldon, Star Maker, (Middleton CT: Wesleyan University Press, Press, University Wesleyan CT: (Middleton Maker, Star Stapeldon, Olaf
starting with his Forty Signs of Rain, (New York: Bantam Books, 2004). Books, Bantam York: (New Rain, of Signs Forty his with starting the world, and this world eluded your thought even as it brought home Robinson is also the author of a cycle of novels about global warming, warming, global about novels of cycle a of author the also is Robinson
Kim Stanley Robinson, Green Mars, (New York: Bantam, 1995), p. 560. 560. p. 1995), Bantam, York: (New Mars, Green Robinson, Stanley Kim
their conditions as a totality. a as conditions their
to think about the way human social relations create and transform transform and create relations social human way the about think to the glittering prizes. It is gamespace that won. The hypocritical being systematic thinkers, these utopian writers did bring themselves themselves bring did writers utopian these thinkers, systematic being
did really think that the sea would taste like lemonade. (p. 50) But But 50) (p. lemonade. like taste would sea the that think really did
five or six degrees . Of course Fourier thought this a good thing, and and thing, good a this thought Fourier course Of degrees . six or five
entire world will then be under cultivation, , bringing about a rise of of rise a about bringing , cultivation, under be then will world entire
Movements, (Cambridge: Cambridge University Press, 1996), p. 48. The The 48. p. 1996), Press, University Cambridge (Cambridge: Movements, theorist, in an agony of fitful sleep, dreams of meeting the ghost of
predicted global warming. See Charles Fourier, The Theory of the Four Four the of Theory The Fourier, Charles See warming. global predicted
its opponents. The utopian writers Bogdanov and Charles Fourier both both Fourier Charles and Bogdanov writers utopian The opponents. its
conceive of a totality because of the way it brackets off and ignores ignores and off brackets it way the of because totality a of conceive
attention on an opponent. Interestingly, utopian writing may be able to to able be may writing utopian Interestingly, opponent. an on attention Guy Debord, and proudly cites a list of achievements: Ivy League job,
conceiving of totality from within an agon which focuses all one s one s all focuses which agon an within from totality of conceiving . §What resists the IL: Indiana UP, 1984), p. 80. Bogdanov points to the difficulty of of difficulty the to points Bogdanov 80. p. 1984), UP, Indiana IL:
A. A. Bogdanov, Red Star: The First Bolshevik Utopia, (Bloomington (Bloomington Utopia, Bolshevik First The Star: Red Bogdanov, A. A.
preface book deals, grants, promotion, tenure, recognition within the highest
Karl Marx, A Contribution to the Critique of Political Economy, Economy, Political of Critique the to Contribution A Marx, Karl
President of the United States. United the of President
Powerpoint show from the Apple laptop of Al Gore, formerly the next next the formerly Gore, Al of laptop Apple the from show Powerpoint ranks of the disciplinary guild. The ghost of Debord sighs: So little An Inconvenient Truth, 2006, directed by Davis Guggenheim, based on a a on based Guggenheim, Davis by directed 2006, Truth, Inconvenient An
Age, (New York: Columbia University Press, 2005). Press, University Columbia York: (New Age,
Russell Jacoby, Picture Imperfect: Utopian Thought for an Anti-Utopian Anti-Utopian an for Thought Utopian Imperfect: Picture Jacoby, Russell ambition in one so young.
156. On this utopia without prescription, or minimal prescription, see see prescription, minimal or prescription, without utopia this On 156.
Theodor Adorno, Minima Moralia, (London: New Left Books, 1974), p. p. 1974), Books, Left New (London: Moralia, Minima Adorno, Theodor
(January 1994), pp. 115-132. pp. 1994), (January
this chapter appeared as Third Nature , Cultural Studies, 8:1, 8:1, Studies, Cultural Nature , Third as appeared chapter this
to w to
worked on Project Whirlwind for the US Navy, perhaps the first computer computer first the perhaps Navy, US the for Whirlwind Project on worked
(Waltham MA: Pegasus Communications, 1973). Forrester had previously previously had Forrester 1973). Communications, Pegasus MA: (Waltham 018. What then has the gamer seen in that bright world, that gamespace,
the work of Jay Forrester, particularly his book World Dynamics, Dynamics, World book his particularly Forrester, Jay of work the Broderbund. As designer Will Wright has acknowledged, it is based on on based is it acknowledged, has Wright Will designer As Broderbund.
SimEarth is manufactured by the Maxis company and distributed by by distributed and company Maxis the by manufactured is SimEarth beyond The Cave ? You see people hunched over screens, their hands
show This Spartan Life at: thisspartanlife.com at: Life Spartan This show
to see this sort of hacking as a good thing. See Chris machinima TV TV machinima Chris See thing. good a as hacking of sort this see to rth. All of the previous such persona had many
but I believe there has been some recent tendency in the game industry industry game the in tendency recent some been has there believe I but compulsively jerking controllers. Each sits alone, and talks or texts
to media. I do not doubt that the corporations can put an end to this, this, to end an put can corporations the that doubt not do I media. to
blazed by the two-way nature of the internet, to bring some democracy democracy some bring to internet, the of nature two-way the by blazed
companies. I want to believe that we are part of a movement, trail- movement, a of part are we that believe to want I companies. to unseen others, dazzled by images that seem to come from nowhere, fact that online gaming is now so pervasive and lucrative for the big big the for lucrative and pervasive so now is gaming online that fact
from within the film itself. This is made more interesting to me by the the by me to interesting more made is This itself. film the within from
were able to comment on the text of the film by speaking your own lines lines own your speaking by film the of text the on comment to able were
personal. Itƒs as if you got a Hollywood set to your self for a day and and day a for self your to set Hollywood a got you if as Itƒs personal. awash in pulsing and beeping sounds. No one out here in the real a value, and that and thereby make the mass produced game do something new and more more and new something do game produced mass the make thereby and
made, while at the same time exercising the ability to bend those rules rules those bend to ability the exercising time same the at while made,
which one is beholden to play within the rules of the game as it was was it as game the of rules the within play to beholden is one which world really looks all that different to the stereotypical gamer,
hackingƒ a live online game to make something new, is the extent to to extent the is new, something make to game online live a hackingƒ
would like to discuss with McKenzie: the thing I love about ¥software ¥software about love I thing the McKenzie: with discuss to like would
longer working within their world. This goes to the core of what I I what of core the to goes This world. their within working longer thumb jittering on the controller. Now you are an enlightened gamer,
allows you to do nearly anything with the game and therefore you are no no are you therefore and game the with anything nearly do to you allows
for what I do, hardware hacking is less interesting, only because it it because only interesting, less is hacking hardware do, I what for
they are firmly against. I have done a little of both and to be honest, honest, be to and both of little a done have I against. firmly are they you see how the world beyond the games of The Cave seems like an brand by creating community. But hardware hacking is something that that something is hacking hardware But community. creating by brand
embraced and encouraged by the game companies as a way to extend their their extend to way a as companies game the by encouraged and embraced
hacking vs. software hacking. Much of the machinima world has been been has world machinima the of Much hacking. software vs. hacking array of more or less similar caves, all digital, each an agon with that world there are several divisions, most importantly, hardware hardware importantly, most divisions, several are there world that
Machinima [cinema made with game engines] is one example and within within and example one is engines] game with made [cinema Machinima lation to the
proprietary corporate culture and making it available to the public. public. the to available it making and culture corporate proprietary
radical mind, there is the advantage here of unlocking some part of the the of part some unlocking of here advantage the is there mind, radical its own rules, some arbitrary blend of chance and competition. And
from the ¥hmm, whatƒs inside this thingƒ sort of motivation. To the the To motivation. of sort thingƒ this inside whatƒs ¥hmm, the from
creating some new useful service or application, gamer hacks come more more come hacks gamer application, or service useful new some creating
maybe always not in the sense that McKenzie uses the term. Rather than than Rather term. the uses McKenzie that sense the in not always maybe beyond that? Not much. The real has become a mere epiphenomenon Press, 2004), s. 002. Chris Burke: Gamers definitely do hack, although although hack, do definitely Gamers Burke: Chris 002. s. 2004), Press,
McKenzie Wark, A Hacker Manifesto, (Cambridge MA: Harvard University University Harvard MA: (Cambridge Manifesto, Hacker A Wark, McKenzie without which gamespace cannot exist, but which is losing, bit by bit,
1983).
Guattari, Anti-Oedipus, (Minneapolis: University of Minnesota Press, Press, Minnesota of University (Minneapolis: Anti-Oedipus, Guattari, any form or substance or spirit or history that is not sucked into and posing of Artaud to Freud is of course from Gilles Deleuze and Felix Felix and Deleuze Gilles from course of is Freud to Artaud of posing Period, (Boston MA: Exact Change Press, 1995), p. 68. This counter- This 68. p. 1995), Press, Change Exact MA: (Boston Period,
Antonin Artaud, Watchfiends and Rack Screams: Works from the Late Late the from Works Screams: Rack and Watchfiends Artaud, Antonin transform
of psychoanalysts? of
Strachey, (London: Hogarth Press, 1953-74), p. 261. And the delusions delusions the And 261. p. 1953-74), Press, Hogarth (London: Strachey, fragments of nameless forms.
Psychoanalytic Theory of the Disease , Standard Edition ed. James James ed. Edition Standard Disease , the of Theory Psychoanalytic
Sigmund Freud, A Case of Paranoia Running Counter to the the to Counter Running Paranoia of Case A Freud, Sigmund
Chicago Press, 1999), p. 283. p. 1999), Press, Chicago
N. Katherine Hayles, How We Became Posthuman, (Chicago: University of of University (Chicago: Posthuman, Became We How Hayles, Katherine N. 019. Gamer theory starts with the suspension of the assumptions of The
7.
Schizophrenia, (Minneapolis: University of Minnesota Press, 1983), p. p. 1983), Press, Minnesota of University (Minneapolis: Schizophrenia, Cave , that there is a more real world beyond it, somewhere, and that Gilles Deleuze and Felix Guattari, Anti-Oedipus: Capitalism & & Capitalism Anti-Oedipus: Guattari, Felix and Deleuze Gilles
1989). 1989). someone some priest or professor knows where it is. The gamer
Ice T, You Played Yourself , The Iceberg/Freedom of Speech, (Sire (Sire Speech, of Iceberg/Freedom The Yourself , Played You T, Ice arrives at the beginnings of a reflective life, a gamer theory, by Guy Debord, Panegyeric, (London: Verso, 1998), p. 47. p. 1998), Verso, (London: Panegyeric, Debord, Guy
Century, (Cambridge MA: Harvard University Press, 1989), p. 361. p. 1989), Press, University Harvard MA: (Cambridge Century, stepping out of The Cave -- and returning to it. (See Fig. 1) If the
Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Twentieth the of History Secret A Traces: Lipstick Marcus, Greil gamer is to hold gamespace to account in terms of something other than Johan Huizinga, Homo Ludens, (Boston: Beacon Press, 1950), p. 50. p. 1950), Press, Beacon (Boston: Ludens, Homo Huizinga, Johan
ideology than any trans-historical narrative form. narrative trans-historical any than ideology itself, it might not be that mere shadow of a shadow of the real, re Fredric Jameson, here Greimas is more of a key to plotting the codes of of codes the plotting to key a of more is Greimas here Jameson, Fredric
(Minneapolis: University of Minnesota Press, 1987), p. 48. Following Following 48. p. 1987), Press, Minnesota of University (Minneapolis: murky, formless, that lurks like a residue in the corners. It might A J Greimas, On Meaning: Selected Writings in Semiotic Theory, Theory, Semiotic in Writings Selected Meaning: On Greimas, J A
governing bodies have or even aspire to. aspire even or have bodies governing instead be the game proper, as it is played in The Cave. Grand Theft
credit for the kind of cleverness that these games suggest such such suggest games these that cleverness of kind the for credit er sele
certainly donƒt give the actual powers-that-be in ¥real lifeƒ enough enough lifeƒ ¥real in powers-that-be actual the give donƒt certainly Auto, maybe, or Deus Ex. Here at least the game shadows the ideal form and wheels-within-wheels plotting is vastly entertaining, but I I but entertaining, vastly is plotting wheels-within-wheels and
entertainment from playing the game .I think all the conspiracy stuff stuff conspiracy the all think game .I the playing from entertainment
question how much such consideration actually enters into it to derive derive to it into enters actually consideration such much how question of the algorithm. Here at least the digital logic to which gamespace
(perhaps shared?) with the majority of players, but I still have to to have still I but players, of majority the with shared?) (perhaps
reality is most likely only playing out in a subconscious level level subconscious a in out playing only likely most is reality merely aspires is actually realized. The challenge is ah, but even necessary to maximize appeal. I realize that the gamespace relation to to relation gamespace the that realize I appeal. maximize to necessary
reasonable designer will incorporate one more whit of theory than is is than theory of whit more one incorporate will designer reasonable to phrase it thus is to acknowledge the game to play at play itself, many potential players. In creating his design, I donƒt think a a think donƒt I design, his creating In players. potential many
to provide a piece of entertainment with broad enough appeal to sell to to sell to appeal enough broad with entertainment of piece a provide to
theorist) to keep in mind that the main objective of the designer was was designer the of objective main the that mind in keep to theorist) but from within the game. The gamer as theorist has to choose between
from many games, however it behooves the player (and perhaps the the perhaps (and player the behooves it however games, many from
out to create a thoughtful game with more depth than one might expect expect might one than depth more with game thoughtful a create to out two strategies for playing against gamespace. One is to play for the into the symbolism of the game itself. I think the game designers set set designers game the think I itself. game the of symbolism the into
after having read it, I question whether you are not reading too much much too reading not are you whether question I it, read having after real. (Take the red pill). But the real seems nothing but a heap of qualified to comment on what you have written. However, it seems to me me to seems it However, written. have you what on comment to qualified
but never played the sequel to any meaningful depth, perhaps I am not not am I perhaps depth, meaningful any to sequel the played never but
JohnR: As someone who has completed the first Deus Ex several times, times, several Ex Deus first the completed has who someone As JohnR: broken images. The other is to play for the game (Take the blue pill).
view...). view...).
about whatƒs wrong with Invisible War, from a game design point of of point design game a from War, Invisible with wrong whatƒs about Play within the game, but against gamespace. Be ludic, but also lucid.
rehashes what is basically the exact same story. (I could go on and on on and on go could (I story. same exact the basically is what rehashes
that it sought to make it so all three endings came about, and then then and about, came endings three all so it make to sought it that
second game. One of the things I didnƒt like about Invisible War is is War Invisible about like didnƒt I things the of One game. second
the end, which are each more compelling than anything offered by the the by offered anything than compelling more each are which end, the 020. For a gamer to be a theorist m Alexbb: Actually, the first game also has three different choices at at choices different three has also game first the Actually, Alexbb:
not. particular game especially well. The prizes have nothing to do with Top 10 PC Games of all time lists, whereas the sequel certainly does does certainly sequel the whereas lists, time all of Games PC 10 Top
Mr Staypuft: Yes, definitely use Deus Ex 1 instead. It appears in many many in appears It instead. 1 Ex Deus use definitely Yes, Staypuft: Mr
familiar with your subject matter. matter. subject your with familiar thinking the game. Nor might it be the ability to dismiss the game as
and youƒre more likely to grab the readers attention if they are are they if attention readers the grab to likely more youƒre and
was it a much, much better game, but the player base was much greater greater much was base player the but game, better much much, a it was unreal in the name of some supposedly more solidly grounded outside.
KGS: Gah, re-write the section using the first Deus Ex game. Not only only Not game. Ex Deus first the using section the re-write Gah, KGS:
doesn t quite work rather than what most satisfies the fan. fan. the satisfies most what than rather work quite doesn t What? These luminous pixels are not real, yo
less to say abut the sequel. Gamer theory might be drawn to what what to drawn be might theory Gamer sequel. the abut say to less
overwhelmingly preferred to the sequel by gamers, who consequently have have consequently who gamers, by sequel the to preferred overwhelmingly your world. If anything, The Cave seems to be where the forms, the Ion Storm and published by Eidos Interactive, 2000. The original is is original The 2000. Interactive, Eidos by published and Storm Ion
Deus Ex, designed by Warren Spector and Harvey Smith, developed by by developed Smith, Harvey and Spector Warren by designed Ex, Deus ideas, the abstractions behind the mere appearance of things in the
Interactive, 2003. Designed by Harvey Smith. Harvey by Designed 2003. Interactive, outside world can be found. Whether gamespace is m
Deus Ex: Invisible War, developed by Ion Storm and published by Eidos Eidos by published and Storm Ion by developed War, Invisible Ex: Deus some other world is not the question. That even in its unreality it whose existence is discovered in the act of gaming. gaming. of act the in discovered is existence whose
held in suspension while the gamer trifles within the finite game, game, finite the within trifles gamer the while suspension in held may have real effects on other worlds is. Games are not infinite game, of being, form or spirit outside of the Cave has to be be to has Cave the of outside spirit or form being, of game, infinite
separate itself from a gamer theology, then the existence of an an of existence the then theology, gamer a from itself separate representations of this world. They are more like allegories of a infinite games is to be taken on faith. If a gamer theory is to to is theory gamer a If faith. on taken be to is games infinite
the limiting of the infinite to the finite. Yet the existence of of existence the Yet finite. the to infinite the of limiting the world made over as gamespace. They encode the abstract principles upon Carse, there are both finite and infinite games, and evil results from from results evil and games, infinite and finite both are there Carse,
much a gamer theory as a gamer theology, or perhaps even theodicy. For For theodicy. even perhaps or theology, gamer a as theory gamer a much
Possibility, (New York: Ballantine, 1986), s. 4. Carse offers not so so not offers Carse 4. s. 1986), Ballantine, York: (New Possibility, which decisions about the realness of this or that world are decided.
James P. Carse, Finite & Infinite Games: A Vision of Life as Play and and Play as Life of Vision A Games: Infinite & Finite Carse, P. James
equivalent of grace, a sign of its God, of maximum utility. maximum of God, its of sign a grace, of equivalent
driving force of gamespace boredom. Coolness is the free market market free the is Coolness boredom. gamespace of force driving 021. Here is the guiding principle of a future utopia, now long past: To
posited as the imaginary yet utterly necessary obverse of the real real the of obverse necessary utterly yet imaginary the as posited
gamespace. But I prefer to see it negatively, as a false object, object, false a as negatively, it see to prefer I But gamespace. each according to his needs; from each according to his abilities.
obscure object of desire, the elusive little object that drives drives that object little elusive the desire, of object obscure In gamespace, what do we have? An atopia, a placeless, senseless Chicago, 2004), pp. 77-78. This fascinating book makes cool , that that cool , makes book fascinating This 77-78. pp. 2004), Chicago,
Alan Liu, The Laws of Cool, (Chicago: University of Chicago Press, Press, Chicago of University (Chicago: Cool, of Laws The Liu, Alan realm, where quite a different maxim rules: From each according to
And, one might add, vice versa. vice add, might one And, their abilities to each a rank and score. Needs no longer enter
Naomi Klein, Signs of the Times , The Nation, (22nd October 2001). 2001). October (22nd Nation, The Times , the of Signs Klein, Naomi into it. Not even desire matters. Uncritical gamers do not win what University Press, 2004), p. 70. 70. p. 2004), Press, University
Giorgio Agamben, The Open: Man and Animal, Stanford CA: Stanford Stanford CA: Stanford Animal, and Man Open: The Agamben, Giorgio they desire; they desire what they win. The score is the thing. The
University of Minnesota Press, 1987), p. 257. 257. p. 1987), Press, Minnesota of University rest is agony. The gamer as theorist at first sight seems to have
Gilles Deleuze and Felix Guattari, A Thousand Plateaus, (Minneapolis: (Minneapolis: Plateaus, Thousand A Guattari, Felix and Deleuze Gilles acquired an ability that counts for nothing in gamespace. The gamer as but by protocol. protocol. by but
2005). Topology admits no state of exception. It is not governed by law law by governed not is It exception. of state no admits Topology 2005). theorist might begin with an indifference to distinction, to all that here is State of Exception, (Chicago: University of Chicago Press, Press, Chicago of University (Chicago: Exception, of State is here
University Press, 2004), p. 67. The other Agamben work worth mentioning mentioning worth work Agamben other The 67. p. 2004), Press, University ccorrectionsaadditionsodrdrietciotinosns pproofrrehearsereohoefarse the gamespace prizes. You does not play the game to win (or not just
Giorgio Agamben, The Open: Man and Animal, (Stanford CA: Stanford Stanford CA: (Stanford Animal, and Man Open: The Agamben, Giorgio LLefebvrepplaymatesLLudeFFelicitereuelfaldeiycbemivteraertes
to win). You trifle with it playing with style to understand the
the progressive pessimist. progressive the ssamplesFFirstlyairmstplyles
1992), p. 73. Together with Chamfort, Leopardi is that rare example of of example rare that is Leopardi Chamfort, with Together 73. p. 1992), ppretextretext game as a form. You trifle with the game to understand the nature of
Giacomo Leopardi, Zibaldone: A Selection, New York: Peter Lang, Lang, Peter York: New Selection, A Zibaldone: Leopardi, Giacomo ttheoryheadsppertainingherotrayinhienagds SSecondlyecondly gamespace as a world as the world. You trifle with the game to
sstimulatingtimulating erlying calculations or rule
Ray s The Chess Players, (Kino Video, 2006). Video, (Kino Players, Chess The Ray s hhalfBBobSSteinVVershbowCChaDDanViselJJesseWWilburTThirdlyaetoehiaeslsibrafinleisrbnedlhulbryow EEugeneCCollegeuogllenge discover in what way gamespace falls short of its self-proclaimed refusing gamespace in favor of the game, like the players in Satyajit Satyajit in players the like game, the of favor in gamespace refusing
paradoxically the gamer may make history precisely by not making it, by by it, making not by precisely history make may gamer the paradoxically sstudentstudents perfection. The digital game plays up everything that gamespace merely
Karl Marx, 18th Brumaire of Napoleon Bonaparte . And yet yet And Bonaparte . Napoleon of Brumaire 18th Marx, Karl nnoticeocchargedthicaerged
pretends to be: a fair fight, a level playing field, free competition.
authoritarian currents of his times. times. his of currents authoritarian ffiercefforfeitioerrfceeit the voice of that Heidegger who was also a fashion victim, prey for the the for prey victim, fashion a also was who Heidegger that of voice the uumpireccapitulationddreadmarpepaitidruelation
(Bloomington IL: Indiana University Press, 1995), p. 77. Here surely is is surely Here 77. p. 1995), Press, University Indiana IL: (Bloomington ssuspectuspect
Martin Heidegger, The Fundamentals Concepts of Metaphysics, Metaphysics, of Concepts Fundamentals The Heidegger, Martin ddeckrriggediegcgked 022. No wonder digital games are the emergent cultural form of the times.
ppainain The times have themselves become just a series of less and less
distinctive tone and rhythmic conception of time. time. of conception rhythmic and tone distinctive WWinnerinner
British pop lyricists such as The Kinks Ray Davies, and with their own own their with and Davies, Ray Kinks The as such lyricists pop British perfect games. The Cave presents games in a pure state, as a realm
symptom, but they did it in a language of the everyday inherited from from inherited everyday the of language a in it did they but symptom, tthunderdometerrordomeherurnodrdeordmoeme
Situationist technique of accounting for boredom as a political political a as boredom for accounting of technique Situationist pplayoffslayoffs where justice of a sort reigns. The beginnings of a critical much of the contemporary world. Gang of Four popularized the the popularized Four of Gang world. contemporary the of much
war struggle, Gang of Four prefigure not only State of Emergency, but but Emergency, of State only not prefigure Four of Gang struggle, war MMicrosofticrosoft theory of games a gamer theory might lie not in holding games
2005). In announcing in 1979 that the new entertainment is guerrilla guerrilla is entertainment new the that 1979 in announcing In 2005). hhourlyourly Gang of Four, At Home He s a Tourist , Entertainment!, (Rhino/WEA, (Rhino/WEA, Entertainment!, Tourist , a He s Home At Four, of Gang ffeeee
accountablereverse. The as worldfailed outsiderepresentations is a gamespace of the world, that appears but quite as thean imperfect thus escape boredom. boredom. escape thus
of any responsibility for our inability to make our own history, and and history, own our make to inability our for responsibility any of form of the computer game. The gamer is an archeologist of The Cave .
Naturalizing boredom merely lets gamespace off the hook, absolving it it absolving hook, the off gamespace lets merely boredom Naturalizing eencasecclutchlnuctacshe
Situationist slogan, that boredom is always counter-revolutionary. counter-revolutionary. always is boredom that slogan, Situationist The computer games the gamer finds there are the ruins, not of a lost
the problem of boredom has none. To which one must counter-pose the the counter-pose must one which To none. has boredom of problem the eechoeschoes
unavoidable fact, as life s own gravity. This is no grand solution, for for solution, grand no is This gravity. own life s as fact, unavoidable ddarkenedarkened past, but of a lost future. Gamespace is built o
2005), p. 109. Svendsen s conclusion: Boredom has to be accepted as an an as accepted be to has Boredom conclusion: Svendsen s 109. p. 2005), aassumedssumed
future it proclaims in theory yet disavows in practice. To the extent
Lars Svendsen, A Philosophy of Boredom, (London: Reaktion Books, Books, Reaktion (London: Boredom, of Philosophy A Svendsen, Lars nneighborhoodiinvestigateenivgehsbtiograhteood that the gamer as theorist wants to hack or mod the game, it is to
(BMG, 2005). A distinctively affirmative, assertive boredom here. boredom assertive affirmative, distinctively A 2005). (BMG, uunplugnplug Iggy Pop, I m Bored , now most easily found on The Best of Iggy Pop, Pop, Iggy of Best The on found easily most now Bored , I m Pop, Iggy hheadphonessstaggeretagdgpehrones play even more intimately within it. The gamer as theorist is not out
(Bloomington IL: Indiana University Press, 1995), p. 109. p. 1995), Press, University Indiana IL: (Bloomington to break the game. The point is not to reduce the game to the level of f the relation between
Martin Heidegger, The Fundamentals Concepts of Metaphysics, Metaphysics, of Concepts Fundamentals The Heidegger, Martin the imperfect world outside it. Like any archeologist, the gamer as
of view of the latter it is the ultimate recuperation. recuperation. ultimate the is it latter the of view of theorist treats these ruins of the future with obsessive care and
up on British post punk and the Situationists, even if, from the point point the from if, even Situationists, the and punk post British on up
exactly the sort of game you would expect from a generation that grew grew that generation a from expect would you game of sort the exactly gguardianuardian attention to their preservation, not their destruction.
Rockstar Games, 2001. Developed by the Scottish firm VIS, this is is this VIS, firm Scottish the by Developed 2001. Games, Rockstar aacclimatizecclimatize
State of Emergency, developed by VIS Entertainment and published by by published and Entertainment VIS by developed Emergency, of State aamongstmongst 023. Gamespace needs theorists but also a (Bloomington IL: Indiana University Press, , 1995), p. 96. (trans mod) (trans 96. p. 1995), , Press, University Indiana IL: (Bloomington
Martin Heidegger, The Fundamentals Concepts of Metaphysics, Metaphysics, of Concepts Fundamentals The Heidegger, Martin canthe break digital down so that the lineit makes that dividesthis very gamer distinction from arbitrary. It is a
Karl Marx, Capital, Vol. 1, Part III, Ch. 10, Section 5 Section 10, Ch. III, Part 1, Vol. Capital, Marx, Karl ccave-dwellersave-dwellers
kkeen-sightedeen-sighted characteristic of games to render digital decisions on all shades of
1988), p. 106. p. 1988), ppicsics
Georges Bataille, The Accursed Share Volume 1, (New York: Zone Books, Books, Zone York: (New 1, Volume Share Accursed The Bataille, Georges sshadow-worldhhankereenvyhananvdkyoewr -world difference. One either wins or loses. One either hits or misses. The practice of the gamer as theorist might be to reinstall what is
box it up, and mourns those who mistake depression for boredom. for depression mistake who those mourns and up, it box bbetet
of spontaneity. But play sulks and wanders off when gamers try to to try gamers when off wanders and sulks play But spontaneity. of undecidable back into the gamespace whose primary violence has nothing intricate play of concepts flashing and spinning in that moment moment that in spinning and flashing concepts of play intricate
speaks of gestalt, illusion, persistence of vision, flicks, an an flicks, vision, of persistence illusion, gestalt, of speaks to do with brightly colored explosions or mounting dea hey seem a little more
way to discovery: the upside down bicycle whose blur of spokes spokes of blur whose bicycle down upside the discovery: to way with the decision by digital fiat on where everything belongs and how
of sultry summer afternoons can lead to play that does open the the open does that play to lead can afternoons summer sultry of hhoodood his is what the
other than, say, launching water balloons? The delicious boredom boredom delicious The balloons? water launching say, than, other ffavoritesavorites it is ranked. Lars Svendsen: How boring life would be without
reach of anyone who wanted to use it as a fulcrum for anything anything for fulcrum a as it use to wanted who anyone of reach
Kafkaz: Who could blame play for dancing forever just beyond the the beyond just forever dancing for play blame could Who Kafkaz: violence! The real violence of gamespace is its dicing of everything
Surrealists and Situationists. and Surrealists wwrappedrapped analog into the digital, cutting continuums into bits. That games Opium Eater, (London: Penguin, 2003), a cherished text of the the of text cherished a 2003), Penguin, (London: Eater, Opium ssoldold
84. The reference is to Thomas De Quincey, Confessions of an English English an of Confessions Quincey, De Thomas to is reference The 84. aadoptdopt present the digital in its most pure form are reason enough to embrace
Cyril Connolly, The Unquiet Grave, (New York: Persea Books, 1981), p. p. 1981), Books, Persea York: (New Grave, Unquiet The Connolly, Cyril them, for here violence is at its most extreme and its most
affirmation of boredom is the true hallmark of punk. of hallmark true the is boredom of affirmation harmless. Buzzcocks, Boredom , Spiral Scratch EP, (New Hormones, 1976). The The 1976). Hormones, (New EP, Scratch Spiral Boredom , Buzzcocks,
12. John Berger, the poet of necessity. necessity. of poet the Berger, John 12. wwin-losein-lose
024. Of all the kinds of belonging that contend for allegiance as workers
John Berger, The Shape of a Pocket, (New York: Pantheon, 2001), p. p. 2001), Pantheon, York: (New Pocket, a of Shape The Berger, John ccollaborateollaborate
aarcadiarcadia against the boss, as citizens against the enemy, as believers against
example. rratat under their fat, does not mean that the whole world is following their their following is world whole the that mean not does fat, their under hhorseorse the infidel all now have to compete with one which makes agon its
spiritual life whatsoever, are depressively materialistic and collapse collapse and materialistic depressively are whatsoever, life spiritual aafterlifefterlife
ttoysoys first and only principle. Gamespace wants us all to believe we are your loved ones. Just because United States citizens do not have any any have not do citizens States United because Just ones. loved your
practice philosophy, science, where you can meditate or share time with with time share or meditate can you where science, philosophy, practice nothing but gamers now, competing not against enemies of class or
your workday, it is one of the few meaningful moments, where you can can you where moments, meaningful few the of one is it workday, your jjokeoke faith or nation, but only against other gamers. A new the Greeks used to say (and which gave school ) is what you win over over win you what is school ) gave which (and say to used Greeks the
every freed time as a potential gulf of boredom. Leisure or schole as as schole or Leisure boredom. of gulf potential a as time freed every persona stalks the ea
viewpoint should not comfort us in that life of worry and toil, fearing fearing toil, and worry of life that in us comfort not should viewpoint breviaries and manuals, and so this little book seeks to offer tionship can be given uble o Le_Candide: I cannot not intervene: only reading Schopenhauerƒs Schopenhauerƒs reading only intervene: not cannot I Le_Candide: oopiatepiate
Aphorisms, (Harmondsworth: Penguin, 1970), p. 43. p. 1970), Penguin, (Harmondsworth: Aphorisms, rrecountsecounts guidance for thinking within this new persona. An ABC of theory for
Arthur Schopenhauer, ¥On the Suffering of the Worldƒ, Essays and and Essays Worldƒ, the of Suffering the ¥On Schopenhauer, Arthur gamers. Not a strategy guide, a cheat sheet or a walk-through for how better. Then he makes Field Researcher and is back amin s career as a Theorist is also an
right now. right to improve one s score or hone one s trigger finger. A primer, rather,
line. This is how the American, of which I am one, is seen in the world world the in seen is one, am I which of American, the how is This line. mmanipulatedttearshheartbreakeeaanrrsitpburelaatked we are all equal and all stars, after all - something more on this this on more something - all after stars, all and equal all are we ccasinoasino in thinking about a world made over as a gamespace, made over as an
to be a ¥starƒ or ¥richƒ i.e. itƒs okay. Iƒd say: and because here here because and say: Iƒd okay. itƒs i.e. ¥richƒ or ¥starƒ a be to imperfect copy of the game. The game might not be utopia, but it might
Europe, where I live weƒre all the same - in America, one is allowed allowed is one America, in same - the all weƒre live I where Europe, ccontrivedontrived June Edvenson: re: all the same after all I would say: no: in in no: say: would I all after same the all re: Edvenson: June be the only thing left with which to play against gamespace.
of the city as the space of games. games. of space the as city the of pperfectlyerfectly p. 127. This text is also one of the keys to the Situationist concept concept Situationist the to keys the of one also is text This 127. p.
Louis Aragon, Paris Peasant, (Boston MA: Exact Change Press, 1994), 1994), Press, Change Exact MA: (Boston Peasant, Paris Aragon, Louis ssoleole 025. No wonder gamers choose t rbitrary, yet its value and its relation Here at least the targets really are only polygons, and the prizes (London: Verso, 1979), p. 88. p. 1979), Verso, (London:
Theodor Adorno and Max Horkheimer, Dialectic of Enlightenment, Enlightenment, of Dialectic Horkheimer, Max and Adorno Theodor reallyof its are merits. worthless, And yet mere The colors Cave and is a numbers. world you These can neither are not own the least nor University Press, 1996), p. 150. p. 1996), Press, University ddynamitesynamites
Roland Barthes, Sade, Fourier, Loyola, (Baltimore MD: Johns Hopkins Hopkins Johns MD: (Baltimore Loyola, Fourier, Sade, Barthes, Roland oout-datedVVegasuegt-adsated eevacuatedvacuated control. Even this substitute ding. What would he do with
James Der Derian, Virtuous War, (Boulder CO: Westview, 2001), p. 45. p. 2001), Westview, CO: (Boulder War, Virtuous Derian, Der James ccommentsomments possession.gamespace The and digital its most game pure is both product. an almost Or was. utopian Perhaps alternative the game to is
Press, New York), 2005, p. 21. p. 2005, York), New Press,
Samuel Weber, Targets of Opportunity, (New York: Fordham University University Fordham York: (New Opportunity, of Targets Weber, Samuel collapsingwill become back an into anachronism, business as supercededusual. Perhaps by themultiplayer single-player worlds game as venal
ator.html
http://www.gamegirladvance.com/archives/2002/10/26/sex_in_games_rezvibr hhandicappingandicapping and benighted as the rest of gamespace. Perhaps, like silent cinema,
Jane Pinckard, Gamegirl Advance, (26th October, 2003) October, (26th Advance, Gamegirl Pinckard, Jane sspeculationpeculation ich it appears to fall short in the stand-alone game will be an orphaned form. Perhaps game designers
Press, 1986), p. 25. p. 1986), Press, such as Will Wright and Tetsuya Mizogushi will be the Sergei
Vassily Kandinsky, Concerning the Spiritual in Art, (New York: Dover Dover York: (New Art, in Spiritual the Concerning Kandinsky, Vassily WWarkark ggoldold Eisensteins and Dziga Vertovs of a lost art. Perhaps, in this moment
Rez, Sega, 2001, manual p5 manual 2001, Sega, Rez, of meanseclipse, necessary, the classic be games a gamer, have but something be a gamer to show who thinksus. So by and all acts
295.
Without Redemption, (Chicago: University of Chicago Press, 2004), p. p. 2004), Press, Chicago of University (Chicago: Redemption, Without gglowinglowing aalphanumericssspoutingplpohuatninugmerics with a view to realizing the real potentials of the game, in and
Mark C. Taylor, Confidence Games: Money and Markets in a World World a in Markets and Money Games: Confidence Taylor, C. Mark vvividivid
ppiesswirlswwhorlswiehiorlrsls against this world made over as a gamespace. One might start with the United States under its and the consequences need not be labored. labored. be not need consequences the and its under States United curious gap between the games one loves and an everyday life which, by
between the targets selected by Athens under its demagogues and the the and demagogues its under Athens by selected targets the between ffellowellowbbuttonutton the light of the game, seems curiously similar, and yet somehow
chance when its singularity is shunted aside. (p. 21) The parallel parallel The 21) (p. aside. shunted is singularity its when chance wwristmmouseroisutse returns as the missed opportunity , which is all that remains of of remains that all is which opportunity , missed the as returns lacking.
targeting the paradigm of all action, the more that which is denied denied is which that more the action, all of paradigm the targeting eequippedBBloombergqlouoipmpbeedrg the Peloponnesian War suggests is that the more one makes such such makes one more the that is suggests War Peloponnesian the
aim at Penelope s suitors) and Thucydides. What Thucydides History of of History Thucydides What Thucydides. and suitors) Penelope s at aim bbondond
Press, 2005), p. 105. Weber s starting point is Homer (Odysseus taking taking (Odysseus Homer is point starting Weber s 105. p. 2005), Press, Allegory (on The Sims)
Samuel Weber, Targets of Opportunity, (New York: Fordham University University Fordham York: (New Opportunity, of Targets Weber, Samuel ttennisennis
these protocols are simultaneously hidden and amplified. and hidden simultaneously are protocols these
control protocols that drive the internet but rather with the way way the with rather but internet the drive that protocols control
(Cambridge MA: MIT Press, 2006), p. 5: The problem is not with the the with not is problem The 5: p. 2006), Press, MIT MA: (Cambridge kkidid Control and Freedom: Power and Paranoia in the Age of Fiber Optics, Optics, Fiber of Age the in Paranoia and Power Freedom: and Control
(Cambrdige MA: MIT Press, 2004), p. 30. See also Wendy Hui Kyong Chun, Chun, Kyong Hui Wendy also See 30. p. 2004), Press, MIT MA: (Cambrdige
Alex Galloway, Protocol: How Control Exists After Decentralization, Decentralization, After Exists Control How Protocol: Galloway, Alex oold-fashionedld-fashioned ace QQuartereduartered er, and gestures
Press, 1995), p. 44. p. 1995), Press, aasepticseptic
Jacques Derrida, The Gift of Death, (Chicago: University of Chicago Chicago of University (Chicago: Death, of Gift The Derrida, Jacques MMcKenziecKenzie
Fig. 2
Niall Lucy, A Derrida Dictionary, (Oxford: Blackwell, 2004), p. 44. p. 2004), Blackwell, (Oxford: Dictionary, Derrida A Lucy, Niall oopponentpponent bbloodilyloodily
Steven Poole, Trigger Happy, (New York: Arcade, 2000), p. 169. p. 2000), Arcade, York: (New Happy, Trigger Poole, Steven ddepersonalizedaanonymousnepoenrysmonoaulsized
Blaise Pascal. PensØes, (London: Penguin, 1995), s. 47. s. 1995), Penguin, (London: PensØes, Pascal. Blaise aalleyssnipernlleipyer
lleagueeaguebbliplip s to go to bed to get up
Butterfly ending, you must achieve 100% shoot down on Area 5, Fear. 5, Area on down shoot 100% achieve must you ending, Butterfly 026. Benjamin gets up in the morning. He goes to the toilet. He leaves the
Ben: Not necessarily true. If you want the special, true Pink Pink true special, the want you If true. necessarily Not Ben: ppricerice seat up. He showers and fixes breakfast. He reads the paper. He finds obvious influence. obvious a job as a Test Subject starting tomorrow. It s not much, but
way in Sega s Panzer Dragoon series, which predate Rez and are an an are and Rez predate which series, Dragoon Panzer Sega s in way times are hard. He reads a book, and then another. He fixes lunch,
Andrew Chang, aka ArC writes: This trigger mechanism works the same same the works mechanism trigger This writes: ArC aka Chang, Andrew naps, reads again. He goes to bed. He gets up. Toilet, shower,
Rez, developed by United Game Artists and published by SEGA, 2002. As As 2002. SEGA, by published and Artists Game United by developed Rez, breakfast again. He does not make his bed. He goes to work. He comes
Atlas Press, London, 1998). London, Press, Atlas home, prepares another meal. He talks to his room mate Bert a bit.
1988), p. 159. See also Harry Matthews, Oulipo Compendium, (London: (London: Compendium, Oulipo Matthews, Harry also See 159. p. 1988), cchildrenhildren of an irreversible
George Perec, W or Memory of Childhood, (London: Collins Harvill, Harvill, Collins (London: Childhood, of Memory or W Perec, George wwinsomewin-allddraftedriinafs-taoelmdl e Hannah drops by. He flirts with her some. He goes to bed, gets up,
does the whole thing all over again. quivalent, and so too, in Editorial Gustavo Gil, 2002). Gil, Gustavo Editorial
Careri, Walkscapes: Walking as an Aesthetic Practice, (Barcelona: (Barcelona: Practice, Aesthetic an as Walking Walkscapes: Careri,
and Reality, (Basel: Birkh user, 2004), p. 83. See also Francesco Francesco also See 83. p. 2004), Birkh user, (Basel: Reality, and ccamaraderieppeereenforcedddisciplineaneismefcoriaprrclaeinddeerie 027. Days go by. Not much changes. His cooking improves. He makes new
Alberto Iacovoni, Game Zone: Playgrounds Between Virtual Scenarios Scenarios Virtual Between Playgrounds Zone: Game Iacovoni, Alberto friends Ted, Gersholm, Asja. They drop by som
Rumney, The Consul, (San Francisco: City Lights Books, 2002). Books, Lights City Francisco: (San Consul, The Rumney, visits. There is the new furniture. That ns. In The Sims 2 t
(Manchester: Manchester University Press, 2000), p. 62. See also Ralph Ralph also See 62. p. 2000), Press, University Manchester (Manchester: ddivapplayailvaaya not much. He gets a promotion to Lab Assistant. It s the night shift,
Ralph Rumney, quoted in Alan Woods, The Map is Not the Territory, Territory, the Not is Map The Woods, Alan in quoted Rumney, Ralph BBiggiesslinginccracklriigancggkiien but the pay is
house.§ (p. 258) 258) (p. house.§ wwickedicked
working regular hours. After a while he becomes a Scholar. He is so
slightest alienation comes to seem like a temporary stay in the prison prison the in stay temporary a like seem to comes alienation slightest creative, but it helps to have friends if you want to get ahead. He ctions
why: §When you get a taste of genuinely unalienated labor then even the the even then labor unalienated genuinely of taste a get you §When why: ffadeade
to which Kane belongs, which would bring play into the workplace, and and workplace, the into play bring would which belongs, Kane which to aspires to being a Theorist. The pay is better. And the hours. He
2004), p. 30. This book is a fascinating guide to the consulting class, class, consulting the to guide fascinating a is book This 30. p. 2004), dreams of yachts and big screen TVs. Benjamin is a Sim, a character in
Work becomes play: Pat Kane, The Play Ethic, (London: Pan Books, Books, Pan (London: Ethic, Play The Kane, Pat play: becomes Work jjuryury a game called The Sims. One could be forgiven forspace. imagining In the allegoricalthis was mode, says Walter Benjamin: §Any person,
producing it. Play becomes work. work. becomes Play it. producing JJudyudy somebody s life. watch it at their leisure, but that they spend their leisure actually actually leisure their spend they that but leisure, their at it watch eelectslects
still further, by requiring of its hapless servants not only that they they that only not servants hapless its of requiring by further, still
other way around: whatever has replaced the spectacle impoverishes it it impoverishes spectacle the replaced has whatever around: way other 028. In The Sims, you create characters like Benjamin, build and furnish
and its audience from passivity. One could with more justice see it the the it see justice more with could One passivity. from audience its and homes for them, find them jobs and friends. All in a world without a e. One
contemporary media can, or at least might, rescue it from separation separation from it rescue might, least at or can, media contemporary sky. Perhaps a game like The Sims could be a parody of everyday life
concept of separation. Some argue that the interactive quality of of quality interactive the that argue Some separation. of concept ddazzledazzled sshrillhrill
1994), s. 191. Key to Debord s understanding of spectacle is the the is spectacle of understanding Debord s to Key 191. s. 1994), ppatrioticatriotic at is real is not true. T sstereotypetereotype sspeakerspeakers in consumer society . Benjamin and his friends dream of things.
Guy Debord, The Society of the Spectacle, (New York: Zone Books, Books, Zone York: (New Spectacle, the of Society The Debord, Guy FFelixelix
MMurrayMcKeitchPPreMelbournePParryHHermesrttransmissionteleucewwritten-downreaddifferencingdeferringeKarllrsstaticiberenrfaitmfMMassumiyotisaeytmutceraiIIthacaNNYCCornellrehsncaapprehendedtsinuuntranscendablensjjustificationhoYsp-uLLukacsesdnucqquibbleragreassertspeevidenceuisCCartesianismnCatatoniaBBeckettEExcarnateeitocmutnrvkrxaeiewniaigfacbrsitldhinltacsnkbeesatrelnsocrtetitciendatosentinenaedisamble rremnantsemnants Things make them happy. They find a nice sofa so much more relaxing ggrammatron.comGGermaniaFForeignrCChristopherRRoweaoDDarrenTToftseohmroawremifrmsitergtaseoannptirahoenr.cwwww.k-punk.abstractdynamics.orgMMarchaarchaicAAthloneoOOaklandAAKrwamtcKahrhwkclaohl.aikncn-epdunk.abstractdynamics.org wwin-winin-wiccheckpointsnheckpoints pression of gamespace. At the same to see that his papers were in order. order. in were papers his that see to AAlt-XlPPhaedrust-hXaedrus
uunhappyEEpicnpuunrepentantffascismahincsarcpeispmeyntant than a cheap one. As the game s designer Will Wright says: If you sit
number that he was, wrote to have no face, and left it to the police police the to it left and face, no have to wrote was, he that number eenigmaticddestinedneisgtimneadtic sscriptureccatapultedffallencaartlialpeptnurlteed there and build a big mansion thatƒs all full of stuff, without
2000). This is the Foucault who is still with us, the one who, like the the like who, one the us, with still is who Foucault the is This 2000). uunimaginablyggalacticnailmacatgicinably
MMiddletonWWesleyanssentenceeiednsdtleleyntaconen nnoisyoisy ut doors or windows FFortyRRainoarinty ssinisterinister cheating, you realize that all these objects end up sucking up a
Passion of Michel Foucault, (Cambridge MA: Harvard University Press, Press, University Harvard MA: (Cambridge Foucault, Michel of Passion llemonadeeBBantammaonntamde adventures in American gay cultural heterotopias, in James Miller, The The Miller, James in heterotopias, cultural gay American in adventures sseaea ddestinyestiny ddegreesegrees your time, when all these objects had been promising to save you
intention. For a more interesting Foucault, see the account of his his of account the see Foucault, interesting more a For intention. CCivicddrownshhurricaneiruvoriwrcicnasne
ffocusesocuses time. And itƒs actually kind of a parody of consumerism, in which at
in full view of the prisoners, thus completely reversing the original original the reversing completely thus prisoners, the of view full in CContributionpprefaceorenftarcibeution some point your stuff takes over your life.§ Others disagree. Gam
guard house was actually being used as a coffee stand for the guards, guards, the for stand coffee a as used being actually was house guard AAnti-UtopianGGuggenheimPPowerpointnoutwgi-gUeertpnoohpieinaitmn mmajorajor that was designed to be panoptic , but in which the celebrated central central celebrated the which in but panoptic , be to designed was that MMinimaMoraliapprescriptionrionerisamcliraiption
ddisplaysJJanuaryiasnpulaayrsy scholar Gonzalo Frasca: Certainly, the game may be making fun of
Press, 1995) which includes a fascinating project for a Dutch prison prison Dutch a for project fascinating a includes which 1995) Press, DDynamicsWWalthamPPegasusppreviouslyWWhirlwindNNavyeyraehgnvlvitaryhislmowauumisicsnsldy
BBroderbundFForresterroordrersbteurnd iimplantsmplants suburban Americans, but since it rewards the player every time she
Office of Metropolitan Architecture, S,M,L,XL, (New York: Monacelli Monacelli York: (New S,M,L,XL, Architecture, Metropolitan of Office SSpartantthisspartanlife.commmanufacturedhpiaasnrstpuaafnarctatunrliefde.fflashesclaosmhes rrighteousighteous
ttendencyendency , from novels, films or television. Games mostly just
on Iraq. To put the Panopticon in perspective, see Rem Koolhas and the the and Koolhas Rem see perspective, in Panopticon the put To Iraq. on ttwo-waywo-way ggeekeek buys new stuff, I do not think this could be considered parody. In using global positioning satellites to mount a high-tech aerial assault assault aerial high-tech a mount to satellites positioning global using aaccordinglyccordingly
llucrativeucrative The Sims, characters can have lots of different jobs, but as Fredric
longitude for the first time, to Secretary of Defense Donald Rumsfeld Rumsfeld Donald Defense of Secretary to time, first the for longitude CChesshess lloseroser HHollywoodollywood llameramer Jameson says: parody finds itself without a vocation
the chronometer, accurately mapping the world in both latitude and and latitude both in world the mapping accurately chronometer, the bbendend sspontaneitypontaneity ddamnationamnation
University Press, 1985). It is but a short line from Captain Cook and and Cook Captain from line short a but is It 1985). Press, University bbeholdeneholden GGod-givenod-given
Smith s European Vision and the South Pacific, (New Haven CT: Yale Yale CT: Haven (New Pacific, South the and Vision European Smith s ccoreore
nnearlymmachinimaearclhyinima 029. Perhaps a game like The Sims could be an allegory for everyday life in
the origins of contemporary forms of power would surely be Bernard Bernard be surely would power of forms contemporary of origins the ffirmlyssoftwareiromftlwyareAAnti-Oedipusnti-Oedipus game
disciplinary and everything to do with the vectoral. A better source on on source better A vectoral. the with do to everything and disciplinary eencouragedhhardwarenacroduwragreed the colonies, a kind of power that has nothing to do with the the with do to nothing has that power of kind a colonies, the iimportantlymportantly any object, any relationship can mean absolutely anything else. With
rather than build it, the British government favored transportation to to transportation favored government British the it, build than rather pproprietaryroprietary
hhmmmmotivationmomtivation this possibility a destructive but just verdict can be passed on the
celebrated writings of Bentham s Panopticon overlooks the fact that, that, fact the overlooks Panopticon Bentham s of writings celebrated BBenen aapplicationpplication profane world: it is characterized as a world in which the detail is
education. It may, however, have little relevance elsewhere. Foucault s Foucault s elsewhere. relevance little have however, may, It education. MManifestoBBurkeuarnkiefesto qqualificationsualifications
disciplinary procedure so accurately describes the experience of higher higher of experience the describes accurately so procedure disciplinary ggamblerambler
PPeriodoobviousebrvioiodus ccountenanceountenance of no great importance.§ For Benjamin, the fragmenting of the modern disciplinary apparatus seems to appeal to academics because the the because academics to appeal to seems apparatus disciplinary ppsychoanalystsWWatchfiendsRRackSScreamsscaayrcetckcahhmofaisennadlyssts
SStracheyHHogarthtoragcaAAreahrrteehya world by technique, the profusion of commodities that well up in the Michel Foucault, Other Spaces , at foucault.info The Foucault of the the of Foucault The foucault.info at Spaces , Other Foucault, Michel DDiseaseisease
SSchizophreniaKKatherinecahtihzeorpinherenia bbeepingeeping absence of a coherent whole, finds its expressionter, in allegory,any object, which any rela
Illinois Press, 2001). Press, Illinois PPanegyericIIcebergSSirecaiernebeegrygeric fragments things still further, shattering the illusion of bourgeois Roger Caillois, Man, Play and Games, (Urbana IL: University of of University IL: (Urbana Games, and Play Man, Caillois, Roger TTwentiethwentieth
LLipstickipstick order, revealing the means by which it is made
ttrans-historicalrans-hiCChildhoodsthoilrdichaolod jjitteritter gated, but it seems much less consistent, coherent
wwomenomen mendacious transfiguration of the commodity world is its distortion
Utopian Age, (New York: Columbia University Press, 2005), p. 13. p. 2005), Press, University Columbia York: (New Age, Utopian SSemioticemiotic
Russell Jacoby, Picture Imperfect: Utopian Thought for an Anti- an for Thought Utopian Imperfect: Picture Jacoby, Russell vvastlyppowers-that-beccreditclevernessaroleswtvdleyitrns-etshsat-be uunfoundednessccynicalynnfoicuanldedness into allegory.§ And yet this possibility too seems exha wwheels-within-wheelsheels-within-wheels ddevoidevoid fragmenting of the fragmented seems routine to a Sim. No other world
time. time. cconsiderationonsideration sself-affirmationelf-affirmation pplayfullayful seems possible.
question of exactly how someone like Eichmann got the trains to run on on run to trains the got Eichmann like someone how exactly of question ssubconsciousubconscious cconventionalitybbrutalaarrogantorrunotvgaelannttionality r the ex
2002), p. 73. The Holerith provides the answer to the usually unasked unasked usually the to answer the provides Holerith The 73. p. 2002), wwhithit
ve, or quit and start again. The Edwin Black, IBM and the Holocaust, (New York: Three Rivers Press, Press, Rivers Three York: (New Holocaust, the and IBM Black, Edwin mmomentaryaadherencelliftifdtohmereenntcaery
bbehoovesmmaineahionoves aaffirmationffirmation mmutabilityutability 030. Perhaps a game like The Sims is not just an allegory but also an ssummaryummary allegorithm. To be a gamer is a slightly different persona to being
forerunner to systems theory. theory. systems to forerunner HHotot
tektonics is a neglected counterpoint to western Marxism , and and Marxism , western to counterpoint neglected a is tektonics ddepthepth a reader or a viewer. Lev Manovich: As the player proceeds through (Bloomington, IL: Indiana University Press, 1984), p. 87. Bogdanov s Bogdanov s 87. p. 1984), Press, University Indiana IL: (Bloomington, qqualifiedualified the game, she gradually discovers the rules that operate in the
Alexander Bogdanov, Red Star: The First Bolshevik Utopia, Utopia, Bolshevik First The Star: Red Bogdanov, Alexander JJohnRohnR ggracerace
rrehashesehashes pprefigurerefigure universe constructed by this game. Alex Galloway: To play the game
reconciling this opposition if not the dangers. dangers. the not if opposition this reconciling DDaviesavies means to play the code of the game. To win means to know the system. to disguise the ungamelike character of things.
the Situationists was the to see the possibilities to come from from come to possibilities the see to the was Situationists the ccompellingompelling And thus to interpret a game means to interpret its algorithm (to
the latter not necessarily purely rationalist. One of the virtues of of virtues the of One rationalist. purely necessarily not latter the wwhereasAAlexbblheexrbebas discover its parallel allegorithm). What is distinctive about games
socialist labor. The former is not necessarily anti-technological, and and anti-technological, necessarily not is former The labor. socialist SStaypuftPPCtCaypuft uunclencheever-clickingvnecrle-cnlcichking
Morris s craftspeople together with the technocracy of Bellamy s Bellamy s of technocracy the with together craftspeople Morris s ggreatergrabrreaabter is that they produce for the gamer an intuitive
gamespace to come. It s a question of seeing the playful side of of side playful the seeing of question a It s come. to gamespace GGahrre-writeea-hwrite algorithm. The intuitive experience and the organizing algorithm House, 1982), these two utopias provide an unwitting genealogy for a a for genealogy unwitting an provide utopias two these 1982), House, KKGSGS ddiceice ddeletedffilesileelseted together are an allegorithm for a future that in gamespace is forever
Read together with Edward Bellamy s Looking Backward, (New York: Random Random York: (New Backward, Looking Bellamy s Edward with together Read ooverwhelminglyaabutvbeurtwhelmingly promised but never comes to pass. The allegorithm by which the gamer
William Morris, News From Nowhere, (London: Penguin, 1993), p. 113. 113. p. 1993), Penguin, (London: Nowhere, From News Morris, William WWarrenEEidosSSpectoripdaeorcrsetonr pplaydateslaydates
IIonHHarveyoanrvey rreinsertioneinsertion relates to the algorithm produces a quite particular allegory by which
Fredric Jameson, Archaeologies of the Future, (London: Verso, 2005). Verso, (London: Future, the of Archaeologies Jameson, Fredric wwherebyhereby
rreuniteshhithertoeiuthneitretos gamer and algorithm together relate to gamespace. In a game any
charac that can be experienced - and not just in some sci-fi sort of way. of sort sci-fi some in just not and - experienced be can that
think Iƒm experiencing it. That is to say, for me it must be something something be must it me for say, to is That it. experiencing Iƒm think sscarcelybbegunceagrucenly value can be discovered. With this possibility a challenging but fair
oftentimes asked myself this question because there are times when I I when times are there because question this myself asked oftentimes ttheologyheology iintendntend
ttheodicyheodicy verdict can be passed on the profane world: it is characterized as a
Mark Amerika: What is utopia? is my question. Not what was. I have have I was. what Not question. my is utopia? is What Amerika: Mark BBallantineallantine uunconcernednconcerned world in which any value is a
already live in Liberty City. Liberty in live already wworkplaceorkplace to other values can be discovered through trial and error.
no utopia on a planet with six billion people. Or maybe we always always we maybe Or people. billion six with planet a on utopia no uutterlyoobversetbtveerlryse ffiniteinite lllppenaltylenalty
thought-provoking things I ve heard said recently is that there can be be can there that is recently said heard I ve things thought-provoking bbatteringrramaamttering oobscurebscure 031. An algorithm for current purposes is a finite set of instructions
Adam Greenfield: As above, so below, apparently: one of the most most the of one apparently: below, so above, As Greenfield: Adam for accomplishing some task, which transforms an initial starting gorithmic perception is n-dimensional, it intuits
Terry Eagleton, Figures of Dissent, (London: Verso, 2003), p. 24. p. 2003), Verso, (London: Dissent, of Figures Eagleton, Terry PPlateauslateaus condition Algorithmic into a games recognizable are ones end in whichcondition. und Greg Costikyan:
Grand Theft Auto franchise . Auto Theft Grand determine the game s response to the player s input. The recipes
published by Take-Two Interactive, 2002. It is part of the long running running long the of part is It 2002. Interactive, Take-Two by published SStanfordtanford BBoulderoulder rroundsounds
Grand Theft Auto: Vice City, developed by Rockstar Games and and Games Rockstar by developed City, Vice Auto: Theft Grand ppessimistessimist ffoiloil that Benjamin and other Sims learn from the cookbooks on their
CChamforthamfort bookshelves are algorithms. Benj personal God who can listserver at interversity.org at listserver ZZibaldoneibaldone
KKinoino algorithm. There is a start condition: he must have 8 friends, 4
perpetuate consumerism. See futureofthebook.org and the techrhet techrhet the and futureofthebook.org See consumerism. perpetuate SSatyajitatyajit pproclaimsroclaims
masculine or too racist but that they are these things in order to to order in things these are they that but racist too or masculine BBrumaireNNapoleonBonaparteroaunpmaopaleairoretne ccounter-cultureounter-culture charisma points, a 7 in creativity, and so on. It has end conditions,
worry is not that games are too complicated or too violent or too too or violent too or complicated too are games that not is worry ppreyaauthoritarianuretyhoritarian too. With 10 friends, 5 charisma points and 10 for creativity, the
environmentalism to the foreground in a very overt sort of way. My My way. of sort overt very a in foreground the to environmentalism eenlightenednlightened Theorist career can end, and another begin. The gam
interesting game to discuss since it calls issues like consumerism and and consumerism like issues calls it since discuss to game interesting ttonerrhythmicohnytehmic sequence after another, and gradually learns what they do that s
the question of consumerism. Rylish Moeller: Katamari is an an is Katamari Moeller: Rylish consumerism. of question the llyricistsKKinksyirnickissts ddamagedamaged 56. Some of the more interesting commentary on Katamari has focused on on focused has Katamari on commentary interesting more the of Some 56. mmeaningfuleaningful algorithm. The gamer discovers a relationship between appearances and
Chris Taylor, The Allure of a Sticky Ball , Time, (May 23, 2005), p. p. 2005), 23, (May Time, Ball , Sticky a of Allure The Taylor, Chris ssubfieldubfield algorithm in the game which is a do
vvideoideo appearances and a putative algorithm in gamespace that s . Start over. Pick a new
the details of any particular game. game. particular any of details the RRhinoWWEAhEinAo bbargainargain ts
at stake, that agon between conceptions of the game matters more than than more matters game the of conceptions between agon that stake, at iinabilitynability eemployernnosemospeloyer allegorithm. (See Fig. 2) But there is always a gap between the
lately is this sense in Huizinga that there is something, ironically, ironically, something, is there that Huizinga in sense this is lately aabsolvingbsolving
ccounter-revolutionaryounter-revolutionary intuitively knowable algorithm of the game and the passing, uneven true seriousness. (p. 211) What seems lacking in much writing on games games on writing much in lacking seems What 211) (p. seriousness. true ccounter-poseounter-pose
unfair semblance of an algorithm in the everyday life of gamespace
the nation will a political society pass beyond the play of war to to war of play the beyond pass society political a will nation the uunavoidableggravitynraavviotyidable ut it. Perhaps he jots something like this in his notebook: ccitizenitizen this is the form that allegory now takes.
recognizes a higher goal than gratification of the self, the group or or group the self, the of gratification than goal higher a recognizes n to find another gam
Only through an ethos that transcends the friend-foe relationship and and relationship friend-foe the transcends that ethos an through Only BBMGaassertivesMseGrtive iinfidelnfidel
Johan Huizinga, Homo Ludens, (Boston: Beacon Press, 1950), pp. 74-75. 74-75. pp. 1950), Press, Beacon (Boston: Ludens, Homo Huizinga, Johan AAcknowledgementscknowledgements eeludedluded 032. The images and stories that populate games are mostly cribbed from
some other media
2006). gglitteringlittering recycle, or remediate , bits of representation from other media. ed toward the game as a messianic, reversible
the documentary film World War Virtual, (New York: IFFI Productions, Productions, IFFI York: (New Virtual, War World film documentary the ggrewrew fair. Perhaps this was always the atopian promise of the digital
Tzu to Xbox, Thunder s Mouth Press, New York, 2006. Also of interest is is interest of Also 2006. York, New Press, Mouth Thunder s Xbox, to Tzu aarguergue
SScottishcottish Bolter & Grusin: remediation is a defining characteristic of the new
entertainment industries which updates Edwards, see Ed Halter, From Sun Sun From Halter, Ed see Edwards, updates which industries entertainment VVISIS pproudlyccitesirtoeusdly
ttransrans IIvyvy digital media. And hence not specific to games. From the point of
205. For a narrative account of the intertwining of military and and military of intertwining the of account narrative a For 205. hhighestighest view of representation, the game is always inadequate to everyday
J. C. Herz, Joystick Nation, (Boston: Little, Brown & Co., 1997), p. p. 1997), Co., & Brown Little, (Boston: Nation, Joystick Herz, C. J. gguildssighsiugihlds
mmistakeAAccursedcisctuarksed life. A Sim in The Sims is a simple animated character, with few abstract identity of purity and impurity. (p. 98). (p. impurity. and purity of identity abstract mmournsourns mmodod
ssulksulks facial features or expressio between purification and transgressive collation fall victim to the the to victim fall collation transgressive and purification between llatentatent solute.
OOctoberctober hhunchedunched lifelike, but the improvement of the representation in some particular
ppunkunk ith what you ha
contextualization, from situationism to cultural studies. Oscillations Oscillations studies. cultural to situationism from contextualization, sspokesggestaltfflickspleicosktksaelst ffullyully ccompulsivelyjjerkingeormkinpgulsively
uupsidebbicyclepicsyicdlee IIndianandiana fflickerlicker ways only raises the standards by wh
pervasive pleasure taken in reductive but avowedly radical forms of of forms radical avowedly but reductive in taken pleasure pervasive ssultrysummerulmtrmy erBBloomingtonloominCChrisghtroisn uunseennseen One of the unintended consequences of avant garde ambition is the the is ambition garde avant of consequences unintended the of One wwaterbballoonsaaltloerons aawashwash others. From the point of view of allegorithm, it all seems more the
ffulcrumulcrum , then the
2003), p. 102. A text which also contains this warning, about method: method: about warning, this contains also which text A 102. p. 2003), ddancingancing other way around. Everyday life in gamespace seems an imperfect Drew Milne, Aftermaths , in Go Figure, (Cambridge: Salt Publishing, Publishing, Salt (Cambridge: Figure, Go in Aftermaths , Milne, Drew ddepressionKKafkazaefpkraezssion
CConfessionsEEnglishEaterccherishednahotgneerlfiriesshseiodns version of the game. The gamespace of everyday life may be more
complex and varie definition of game to give it the appearance of self-consistency. of appearance the it give to game of definition UUnquietGGravePPerseaenrarqsvueeiaet CCTT
play, is relatively easy to define. Play is what is excluded from any any from excluded is what is Play define. to easy relatively is play, hhallmarkallmark
SSpiralScratchEEPHHormonespcPoriramatclohnes pprizesrizes and
concentrate on the concept of game rather than play. The game, unlike unlike game, The play. than rather game of concept the on concentrate PPantheonantheon a real of absolute, impersonal equity and equanimity. The game opens a
distinctive rhetorics by which play is invoked. I have chosen to to chosen have I invoked. is play which by rhetorics distinctive ppolygonsolygons critical gap between what gamespace promises and what it delivers. by suggesting that play is ambiguity. His strategy is to study the the study to is strategy His ambiguity. is play that suggesting by mmaterialisticffataatterialistic eepiphenomenonpiphenomenon
What is true is not real; wh the veteran play theorist solves the problem of the ambiguity of play play of ambiguity the of problem the solves theorist play veteran the wwhatsoeverhatsoever llosingosing
s trifle with the
University Press, 1997), p. 1. In this stunningly comprehensive work, work, comprehensive stunningly this In 1. p. 1997), Press, University iideologydeologyaalienationlienation mmanualanual double movement of allegorithm and allegory have to report. The game nothing
Brian Sutton-Smith, The Ambiguity of Play, (Cambridge MA: Harvard Harvard MA: (Cambridge Play, of Ambiguity The Sutton-Smith, Brian wworkdayorkday LLangCCybercultureaynbgerculture qquietuiet is true in that its algorithm is consistent, but this very consistency
sscholechole PPictureicture nnamelessameless negates a world that is not.
impulse. impulse. ffreedggulfrueelfd ddespairespair
from Bateson, with a broad knowledge of French theory and a political political a and theory French of knowledge broad a with Bateson, from LLe_Candidevviewpointeie_wCpanodinidt e
unjustly neglected work combined American cybernetic theory, derived derived theory, cybernetic American combined work neglected unjustly AAphorismsphorisms BBolshevikoAArchaeologieslrschheaveioklogies mmountount 033. Imagine that Benjamin, our character in The Sims, makes it to the Communication, (London: Routledge & Kegan Paul, 1987). Wilden s Wilden s 1987). Paul, Kegan & Routledge (London: Communication, penultimate level and becomes a Theorist. Perhaps then you buy him a
168. See also Anthony Wilden, The Rules Are No Game: The Strategy of of Strategy The Game: No Are Rules The Wilden, Anthony also See 168. computer because he seems bored with rea
Anthony Wilden, System and Structure, (London: Tavistock, 1980), p. p. 1980), Tavistock, (London: Structure, and System Wilden, Anthony ii.e.e it? Play The Sims, of course. Being a Theorist, perhaps he starts to he
Machines, (New York: Zone Books, 1991). Books, Zone York: (New Machines, EEuropeurope think abo p. 103. See also Manuel De Landa, War in the Age of Intelligent Intelligent of Age the in War Landa, De Manuel also See 103. p. EEdvensondvenson
The gamer whose listless gaze falls on the controller in his hand is
Paul N. Edwards, The Closed World, (Cambridge MA: MIT Press, 1996), 1996), Press, MIT MA: (Cambridge World, Closed The Edwards, N. Paul mmurkyfformlessourmrklyess
PPeasanteaBBritishsraintitsh aagonygony ready for the allegorithm. Boredom is the basis of the allegorithmic insight into the world. Boredom lays waste to the appeal of the gameowable algorithm from which you know you can escape;
culture industry. industry. culture HHorkheimerDDialecticoiarlkehcetiicmer
Walter Benjamin s writings on allegory and Theodor Adorno on the the on Adorno Theodor and allegory on writings Benjamin s Walter LLoyolaBBaltimoreMMDHHopkinsoaoDylptoikmlianosre as game, and calls attention to the ambiguous relation of game to remarkable essay, Stallabrass elaborates a critical theory of games games of theory critical a elaborates Stallabrass essay, remarkable WWestviewestview VVirtuousirtuous gamespace. Alle
Games , New Left Review, 198, (March-April 1993), p. 96. In this this In 96. p. 1993), (March-April 198, Review, Left New Games , ddisciplinaryisciplinary behind appearances interactions of many variables. The allegorithmic
Julian Stallabrass, Just Gaming: Allegory and Economy in Computer Computer in Economy and Allegory Gaming: Just Stallabrass, Julian wwww.gamegirladvance.comssex_in_games_rezvibraator.htmletwox_rw.ihn.gt_magmlaemgeirsl_ardevzavnibcre.com aahh
DDoverGGamegirloavmeergirl bbelongselongs mode of apprehension is always built on an evaluative relation to the
age of the internet. internet. the of age VVassilyassily lloveove world of appearances. More and more relentlessly, the everyday life of
possibility latent in the telegraph but not fully realized until the the until realized fully not but telegraph the in latent possibility RRedemptionedemption CCOO gamers is coming to wea
telesthesia is the condition of possibility of topology. It is a a is It topology. of possibility of condition the is telesthesia CConfidenceonfidence
time, gamespace seeks
information. The coming together of these two developments digital digital developments two these of together coming The information. AAthensddemagoguesFFordhamoethmrdeanhgsaomgues hheapeap rld of meaning.
bbrokenroken What heightens the mendacious transformation of gamespace is its Virilio doesn t really dwell. The second is between analog and digital digital and analog between is second The dwell. really doesn t Virilio sshuntedaasidehsiudneted ppillill
Deprive them of a knowledge of cooking and pretty soon information that begins with the telegraph is a key moment upon which which upon moment key a is telegraph the with begins that information appearance in an undistorted form in the game. Still, gamespace wants
bifurcating of movement into two speeds, one for things, another for for another things, for one speeds, two into movement of bifurcating rremarkableemarkable
pparadigmaradigm lluciducid to look itself in the face. It celebrates its incarnation in the
Virilian sands. The first is between transport and telesthesia. The The telesthesia. and transport between is first The sands. Virilian PPeloponnesianeloponnesian
gamer. consistent theory. Two distinctions clarify things among these shifting shifting these among things clarify distinctions Two theory. consistent TThucydideshucydides
often brilliant, sometimes nutty, but which never quite point to a a to point quite never which but nutty, sometimes brilliant, often aamplifiedmpffascinatingalisficeindating ttechniqueechnique 034. In the gamer, Benjamin might say, is reborn the sort of idler that Virilio is a constant sequence of symptoms, the accounts of which are are which of accounts the symptoms, of sequence constant a is Virilio ddismissismiss e, the bar graphs sliding down to nothing. This violence
Paul Virilio, Negative Horizon, (London: Continuum, 2005), p. 37. In In 37. p. 2005), Continuum, (London: Horizon, Negative Virilio, Paul SSymbolicymbolic ttestest ssolidlyppixelsoixliedllsy Socrates picked out from the Athenian marketplace to be his
interlocutor. Only, there is no longer a Socrates, so there is no one
girls. girls. WWendyHHuiKKyongCChunyhueouinnndgy to address the idler. And the slave labor that guaranteed him his
launching her Purple Moon company, which tried to design games for for games design to tried which company, Moon Purple her launching DDecentralizationecentralization
leisure has likewise ceased to exist.§ In The Sims, as in gamespace,
Entrepreneur, (Cambridge MA: MIT Press, 2001), on the difficulties of of difficulties the on 2001), Press, MIT MA: (Cambridge Entrepreneur, SSegaega rrememberemember
in Orlando, Florida in 1991. See also Brenda Laurel, Utopian Utopian Laurel, Brenda also See 1991. in Florida Orlando, in DDictionaryOOxfordBBlackwelllixacfctoikorwdnealrly ttodayoday one wonders if the idler has disappeared also. There is no idle time
expression military entertainment complex , at the SIGGRAPH conference conference SIGGRAPH the at complex , entertainment military expression PPensØesensØes in The Sims, or in the gamespace of which it is the more perfect lay The Sim fast. (p. 867) Brenda Laurel is the first person I ever heard use the the use heard ever I person first the is Laurel Brenda 867) (p. fast. double. The quartz heart of the computer on which The Sims runs ticks
stashed for hungry marketers and politicians. The spectacle holds us us holds spectacle The politicians. and marketers hungry for stashed PPinkink over remorselessly. All of its moments are e
of politico-consumerism in which we are enmeshed like spiderƒs snacks, snacks, spiderƒs like enmeshed are we which in politico-consumerism of PPanzerDDragoonppredateiinfluencenarfeanldugzaeotnroecne eencodencode
computer games, all reminding -- or rather un-minding -- us of the web web the of us -- un-minding rather or -- reminding all games, computer aakaka a way, are all moments in The Sims. Sleeping, napping, conversation or your cellular service provider, product placements in movies and and movies in placements product provider, service cellular your AAndrewndrew
AAlthoughlthough reading all advance one s scores. Benjamin ha
and brands, spam and flickering web ads, friendly text messages from from messages text friendly ads, web flickering and spam brands, and AAtlastlas
HHarryMMatthewsCCompendiumoaarmtrtyhpewndsium again to go to work to earn the right to sleep, and dream, again. offers this striking variation on the theme of the web : Commercials Commercials web : the of theme the on variation striking this offers CCollinsHHarvilloalrlvinilsl
Anthology, (Cambridge MA: MIT Press, 2006), p. 868. This essay also also essay This 868. p. 2006), Press, MIT MA: (Cambridge Anthology, WWalkscapesBBarcelonaEEditorialGGustavoGildauialrisltcktoeasrlcvioaonlpaes CCareriareri 035. To be a gamer is to come to understanding through quantifiable Eric Zimmerman, eds., The Game Design Reader: A Rules of Play Play of Rules A Reader: Design Game The eds., Zimmerman, Eric BBaselBirkh userFFrancescoairrasknehcl eussceor pplacelessssenselesselancseelleessss
Brenda Laurel, Coda: Piercing the Spectacle , in Katie Salen and and Salen Katie in Spectacle , the Piercing Coda: Laurel, Brenda CConsulSSanFFranciscoaroannnscuislco dderiveerive tthankhank failure. The bar graphs measuring Benjamin s being trend negative and
refuse to budge. You are too busy elsewhere to get Benjamin to the
considered more real than the conventions of fiction. fiction. of conventions the than real more considered WWoodsMManchesteroaondchsester UUncriticalncritical
jjobob toilet on time, and he pees himself. He needs sleep, he needs love, he
calls mimesis. But what goes unexplained is why these rules should be be should rules these why is unexplained goes what But mimesis. calls needs a new kitchen. He turns to face you, the gam
world. (p. 1). Or in other words, they combine agon with what Caillois Caillois what with agon combine they words, other in Or 1). (p. world. ggenuinelyuunalienatedennaluieinnealtyed
wildly, as if cursing his God. When things were going well, you forgot is therefore to interact with real rules while imagining a fictional fictional a imagining while rules real with interact to therefore is aacquiredcquired Worlds, (Cambrdige MA: MIT Press, 2005), p. 201. To play a video games games video a play To 201. p. 2005), Press, MIT MA: (Cambrdige Worlds, cconsultingonsulting to save the game, so there is no better time to go back to. Nothing
Jesper Juul, Half-Real: Video Games Between Real Rules and Fictional Fictional and Rules Real Between Games Video Half-Real: Juul, Jesper cconsumerismonsumerism GGillesilles for it but to work w
game is a kn Sim who suffers turns to face its gamer, looking out toward an
condemned to travel the earth for something to pick up, eternally. up, pick to something for earth the travel to condemned hhaplesssservantsearpvlaensvvictimstisctim
gamespace is an unknown algorithm from which there is no escape. The
metaphysical prison with nothing to consume. A wandering prince, prince, wandering A consume. to nothing with prison metaphysical iimpoverishesmpoverishes ppublishedublished
limit. That brings the endgame gambit to a surreal conclusion; a a conclusion; surreal a to gambit endgame the brings That limit. aaudienceudience game is just like the gamespace of everyday life, except that the game .
stage, you are offered a chance to perform for the cosmos with no time time no with cosmos the for perform to chance a offered are you stage, can overcome the violence of time. The game ties up that one loose end
desire to consume everything. When the end is reached, in the final final the in reached, is end the When everything. consume to desire with which gamespace struggles the mortal flaw
begin again, forever, with no hope, real or imagined, to satisfy your your satisfy to imagined, or real hope, no with forever, again, begin sself-proclaimedelf-proclaimed
time. No wonder the Sim turns in vain to the gamer as a God, for it is o sign; allegorithm is about
panic to get just-one-more-item. And to begin again? You must always always must You again? begin to And just-one-more-item. get to panic ppretendsretends
the gamer who has turn
haunting call of the sirens send the prince into a final, frenzied frenzied final, a into prince the send sirens the of call haunting wwroterote
rises to the top when those final seconds are reached, when the the when reached, are seconds final those when top the to rises MMetaphysicsetaphysics eeclipseclipse time. music and quaint, fluffy images; despair is the final emotion that that emotion final the is despair images; fluffy quaint, and music
terror. Although the game masks the act of voracious consumption with with consumption voracious of act the masks game the Although terror. PPassionassion
036. Gamers are not always good Gods. It s such a temptation to set up a
El Moco: There is a underlying theme in the game, one of quiet, hidden hidden quiet, of one game, the in theme underlying a is There Moco: El Sim to suffer.
the game to be more marketable... . more be to game the they set fire to themselves. Build a house witho complex came down and demanded a goal oriented structure in order for for order in structure oriented goal a demanded and down came complex
pattern of objects picked up. But then the military entertainment entertainment military the then But up. picked objects of pattern DDutchppanopticauntcohptic and they starve. Watch as the algorithm works itself out to its
would have been more paidic and perhaps creative in the choice and and choice the in creative perhaps and paidic more been have would XXLMMonacelliLonacelli rrhetoricalhetorical terminal stat game more freeform, without a time limit restriction, and the play play the and restriction, limit time a without freeform, more game KKoolhasOOfficeMMetropolitanofefoitclrheoapsolitan rradicaladical RRemem is not real . Sims are not people. They are images. They are images
s of sofa, or coffee table, or lamp shade, competitor. In Katamariƒs case, Kieta originally wanted to make the the make to wanted originally Kieta case, Katamariƒs In competitor. hhigh-techaaerialIIraqreiagrqiha-ltech ddialogueialogue ssharedhared in a world which appears as a vast accumulation of images. Hence the
Patrick: it addresses its subject as a player, as a calculator and and calculator a as player, a as subject its addresses it Patrick: llongitudeSSecretaryDDonaldRRumsfeldoeuoncmngreaisttlfudaedrldye pleasure in destroying images, to demonstrate again and again their
original that would be of interest here. here. interest of be would that original cchronometerllatitudeahtriotundoemeter
referential, postmodern element, the game does not add much to the the to much add not does game the element, postmodern referential, CCaptainaptain
YYaleale ssymptomymptom worthlessness. They can mean anything and nothing. They have no saving from the first game that they have fan clubs. Apart from this self self this from Apart clubs. fan have they that game first the from SSouthPPacificoacuitfhic
PPanopticonanopticon aarcheologistrcheologist power. But even though the images are meaningless, the algorithm still
Arts. In the sequel, the King and the Prince have become so popular popular so become have Prince the and King the sequel, the In Arts. vvectoralectoral functions. It assigns, if not meaning, if not veracity, if not
Developed by Namco and published in the United States by Electronic Electronic by States United the in published and Namco by Developed necessity, then at least a score to representations. In The Sims the
by Namco, 2004. The sequel for Playstation 2 is We Love Katamari, Katamari, Love We is 2 Playstation for sequel The 2004. Namco, by pparentsarents world of gamespace is redeemed by providing for its myriad things the Katamari Damacy, designed by Keita Takahashi, developed and published published and developed Takahashi, Keita by designed Damacy, Katamari SSemiotextemiotext
BBenthamooverlooksevnertlhoaomks f sign t e stakes of rrelevanceelevance eextentxtent algorithm that they lack to form consistent relations.
See Odyssey, Book XI, 593 XI, Book Odyssey, See aacademicscademics ccreativereative ccareare Albert Camus, The Myth of Sisyphus, (New York: Vintage Books, 1991). 1991). Books, Vintage York: (New Sisyphus, of Myth The Camus, Albert oopposedpposed
ffoucault.infooucault.info 037. The
absent sky, appealing directly, beyond the frame of the game itself.
Warriors, developed and published by Rockstar Games, 2005. 2005. Games, Rockstar by published and developed Warriors, IILL bblindinglinding rredeployedeploy The gamer may not answer, or may not be able to answer. The gamer as
Walter Hill (director), The Warriors, (Paramount, 2005) and The The and 2005) (Paramount, Warriors, The (director), Hill Walter AAntinti ccopyopy ppreservationreservation Anabasis) with Sol Yurick, The Warriors, (New York: Grove Press, 2003), 2003), Press, Grove York: (New Warriors, The Yurick, Sol with Anabasis) LLandaanda vvenalenal God suffers from an apparently similar algorithmic logic as the Sim.
Expedition, (Harmondsworth: Penguin, 1972), (more commonly known as the the as known commonly (more 1972), Penguin, (Harmondsworth: Expedition, uunaskednasked The Sims comes with theological options. Turn on free will and Sims
and topological times might be to compare Xenophon s The Persian Persian The Xenophon s compare to be might times topological and wwisdomisdom stray from the powers of their maker. Turn it off and their a
track the transformation of cultural form through topical, topographic topographic topical, through form cultural of transformation the track fforerunnerorerunner rreinstalleinstall
ccounterpointounterpoint are predestined, but even so, the gamer-god quickly finds that the Anthropological Theory of Value, (New York: Palgrave, 2001). One way to to way One 2001). Palgrave, York: (New Value, of Theory Anthropological ttektonicsektonics pprimaryrimary
algorithm is a higher power that the power one commands. Should the
of so-called gift economies, see David Graeber, Towards an an Towards Graeber, David see economies, gift so-called of AAlexanderlexander rrealityeality eexplosionsxplosions
University Press, 1999), p. 13. On the very interesting temporalities temporalities interesting very the On 13. p. 1999), Press, University rreconcilingeconciling ffiatiat game be going badly for the Sim, it turns to face the gamer; should
Anne Carson, Economy of the Unlost, (Princeton NJ: Princeton Princeton NJ: (Princeton Unlost, the of Economy Carson, Anne aanti-technologicalrrationalistanttiio-tneaclhisntological the game be going badly for the gamer, there is no one for the gamer wwanderingandering to turn away and face. The Sim who addresses a helpless, hopeless or
by MacSoft, and designed by Jeff Briggs and Soren Johnson, 2001. 2001. Johnson, Soren and Briggs Jeff by designed and MacSoft, by ccraftspeoplettechnocracyeracfhtnspoecorapclye lost God lives out the allegory of gamespace itself. At least the Sim
Sid Mieir s Civilization III, developed by Firaxis Games, published published Games, Firaxis by developed III, Civilization Mieir s Sid uunwittingBBellamynewllaitmtiyng has someone to turn to. Who can the gamer turn to? Perhaps you can see
cyberspace, cyberculture and cyber studies. studies. cyber and cyberculture cyberspace, now the reason for the popularity, among those troubled by gamesp
V2, 2003). These two works chart the rise and the eclipse of of eclipse the and rise the chart works two These 2003). V2, DDisseminationissemination ccontendontend but lacking a concept to account for it, of a First Recession: Critical Internet Culture in Transition, (Rotterdam: (Rotterdam: Transition, in Culture Internet Critical Recession: First aallegiancellegiance
perform miracles, who can break the rules of His own algorithm.
(Cambridge MA: MIT Press, 2002), p. 338. See also Geert Lovink, My My Lovink, Geert also See 338. p. 2002), Press, MIT MA: (Cambridge GGermanerman
Geert Lovink, Dark Fiber: Tracking Critical Internet Culture, Culture, Internet Critical Tracking Fiber: Dark Lovink, Geert HHenryenry
ooftentimesftentimes nnationation 038. As a gamer you can have no sense of worth and no faith in salvation
other than through your own efforts. But those efforts are fraught, Archive, (New York: Autonomedia, 1998), p. 202. p. 1998), Autonomedia, York: (New Archive,
them their own moment, seduction, or fatal strategy. Adilkno, Media Media Adilkno, strategy. fatal or seduction, moment, own their them bbillionillion sseriousnesseriousness and you are soon lost in the maze of the game. The gamer achieves
all sorts of (subjective) intentions to the media, but rather allows allows rather but media, the to intentions (subjective) of sorts all tthought-provokingvveheought-provoking cconceiveonceive oobservebserve ppreviousrevious worth through victories of character; but that character inevitably energy of the media themselves. That is why it does not try to ascribe ascribe to try not does it why is That themselves. media the of energy bbreviariesreviaries
AAdamGGreenfielddreaemnfield faces defeat in turn. Or worse. The only thing worse than being
masses. We must prevent our media theory from becoming a lower form of of form lower a becoming from theory media our prevent must We masses. DDissentissent aagreegree gguidanceuidance defeated is being undefeated. For then there is nothing against which e design company goes broke.
classical view of their social function as that of informing the the informing of that as function social their of view classical TTake-Twoake-TRRockstarwoockstar nnecessarilyecessarily AABCBC to secure the worth of the gamer other tha
write: In order to pose the problem of media, we must abandon the the abandon must we media, of problem the pose to order In write: ssheetwwalk-throughhaelekt-through p. 212. In one of the few essays on Baudrillard worth reading, Adilkno Adilkno reading, worth Baudrillard on essays few the of one In 212. p. iinterversity.orgnterversity.org
ffutureofthebook.orgttechrhetllistserveriuestctusherrerhvoeefttrhebook.org hhoneone game leads to the next. It s the same for Benjamin. After Theorist Jean Baudrillard, Selected Writings, (Cambridge: Polity Press, 1988), 1988), Press, Polity (Cambridge: Writings, Selected Baudrillard, Jean pprimerrimer
ccomplicatedmmasculinerracistaoacmisCCambrdigescptaulmilcinabtereddige comes Mad Scientist and after that career. Get an expansion pack. Try some new lives. Start as a
Complex chapter. chapter. Complex oovertvert aabilitiesbilities Playground Monitor, become a Teacher, a Professor, get tenure, rise to
result of certain methodological choices. I try to excavate this in the the in this excavate to try I choices. methodological certain of result Dean, the finally, Minister of Education. Start as a Nobody, working
active agents and oppressive industries in cultural studies is the the is studies cultural in industries oppressive and agents active ffocusedRRylishMMoelleroycoluiesslhleedr pparablearable
ccommentaryommentary for tips. Become an Insider, a Name Dropper, a Sell Out, a Player, a
paying the culture industry for the privilege. The stand-off between between stand-off The privilege. the for industry culture the paying rrealtimeealtime
consumers even have to produce their own entertainment, while still still while entertainment, own their produce to have even consumers AAllurellure BBostonoston Celebrity, then finally, a Superstar. But these are just arbitrary
could see this as just another version of outsourcing , by which which by outsourcing , of version another just as this see could names for series of levels. Any qualitative difference between levels
created content approach is breaking down that dichotomy. However, one one However, dichotomy. that down breaking is approach content created is just an effect of an underlying quantity. A higher level is
Press, 2006), provides some reason to believe that the new user- new the that believe to reason some provides 2006), Press, AAssistancessistance essentially more than a lower level. And so there s nowhere to go but
Henry Jenkins, Convergence Culture, (New York: New York University University York New York: (New Culture, Convergence Jenkins, Henry LLucklessuckless to more, and more, until there is no more, and the gamer, like the
the power of the culture industry versus the agency of it s consumers. consumers. it s of agency the versus industry culture the of power the ggratificationratification , a
Between them, Kline et al and Jenkins reproduce the dichotomy between between dichotomy the reproduce Jenkins and al et Kline them, Between eethosffriend-foertiheonsd-foe MMadad character, is left with nothing. The fruit of the digital is the
Fans, Bloggers and Gamers, (New York: New York University Press, 2006). 2006). Press, University York New York: (New Gamers, and Bloggers Fans, ssingle-playeringle-player expulsion of quality from the world. That s gamespace. The consolation Press, 2003). This book is best read in conjunction with Henry Jenkins, Jenkins, Henry with conjunction in read best is book This 2003). Press, IIFFIFFI eetBBasictasic aanachronismnachronism
ddocumentaryocumentary of the game is that at least this expulsion is ab
Technology, Culture and Marketing, (Montreal: McGill-Queens University University McGill-Queens (Montreal: Marketing, and Culture Technology, TTzuXXboxMMouthzbououxth sstraytray bbenightedssilentielennigthted Witheford and Greig De Peuter, Digital Play: The Interaction of of Interaction The Play: Digital Peuter, De Greig and Witheford HHalteralter eespeciallyspecially sstand-alonetand-alone
039. Original Sims can be any mix of two genders and three colors. In The
extend Williams to the computer game, see Stephen Kline, Nick Dyer- Nick Kline, Stephen see game, computer the to Williams extend iintertwiningntertwining MMizogushiizogushi
Sims 2 you start with preset templates (Caucasian, African American,
Form, London: Routledge Classics, 2003). For an attempt to apply and and apply to attempt an For 2003). Classics, Routledge London: Form, ppurityiimpuritymupriutyriAArchivetyrchive ppopularopular ggayay SSergeiEEisensteinsDDzigaVVertovseiezsrriegtnoeasvitseins
flow comes from Raymond Williams, Television: Technology and Cultural Cultural and Technology Television: Williams, Raymond from comes flow ccollationollation Chinese, Persian and Elf) alterable via a lot of sub-sliders. You
Capitalism, (London: Verso, 1991), p. 70. The concept of television as as television of concept The 70. p. 1991), Verso, (London: Capitalism, aavowedlyccontextualizationvoonwteexdtulyalization choose gender, age, color, hair style and color, eye color, weight, Fredric Jameson, Postmodernism or, the Cultural Logic of Late Late of Logic Cultural the or, Postmodernism Jameson, Fredric DDerridaerrida
height,external glasses, attributes hats, are accessories, merely a skin.clothes, They and do so not on, really but theseaffect the
radio shack. radio SSaltalt ffreaksreaks ssupposedlyupposedly
AAftermathsftermaths game. The sliding variables of character, however, do program in
so it was open to whoever could spring for the $200 set at the local local the at set $200 the for spring could whoever to open was it so ccoffeeoffee
sself-consistencyelf-consistency HHarvardarvard NNevilleeville ttenureenure ore things. But some gamers who p MManuelanuel advance what careers a Sim can excel at, and which past times restore
licensing scheme was very open (no test of Morse code, for instance), instance), for code, Morse of test (no open very was scheme licensing ffanan MMinnesotainnesota ookaykay TTeachereacher conversations were not for the airwaves. And unlike Ham radio, the the radio, Ham unlike And airwaves. the for not were conversations mmultiplayerultiplayer
MMinneapolisinneapolis ccuriouslyuriously faculties. In Sims 2, they may be straight or gay. Again, it makes no
communication: everybody was on the same 23 channels; strictly private private strictly channels; 23 same the on was everybody communication: ppharmakonharmakon
iinvokednvoked cconversationonversation uunderstandnderstand difference. Either way their offspring mix the genetic character
Unlike the cell phones that replaced it, CB was inherently about group group about inherently was CB it, replaced that phones cell the Unlike CChicagohicago SSubversionubversion
eessayssay RRaoulaoul qualities of their parents. The external representations are of no
the message communicated though it had the potential for content. content. for potential the had it though communicated message the vveteraneteran account; the internal variables determine potential. The skin is
communicating (truckers keeping each other awake at night) than about about than night) at awake other each keeping (truckers communicating sstunninglytunningly rreconciliationeconciliation sseateat arbitrary, a difference without a distinction, mere decoration.
content than with pure talk; it was always more about networking and and networking about more always was it talk; pure with than content AAmerikamerika
Underneath it lies a code which is all. The Simsry is2 isabout committed the relation both o
hazards of consumer society it actually had far less to do with with do to less far had actually it society consumer of hazards FFrenchrench JJayay ttomorrowsshowerohmoworerrow
informational tool warning people about traffic jams and similar similar and jams traffic about people warning tool informational KKeganuunjustlyengjuasntly UUnconsciousnconscious bbreakfastllunchurneachkfast to a genetic view of intrinsic nature and a liberal view of the
Although the sales pitch always presented CB as a user-friendly user-friendly a as CB presented always pitch sales the Although equality, and hence indifference, of extrinsic appearances.
banter of CB-space yielded to the individualism of portable phones. phones. portable of individualism the to yielded CB-space of banter TTavistockavistock
technical but also an ideological question as to why the collective collective the why to as question ideological an also but technical AAgege
mmealeal 040. In The Sims, things proliferate. Or rather, the skins of things. You technology makes it and some other doesn t. For it is not merely a a merely not is it For doesn t. other some and it makes technology SSlavojlavoj uutilitytility mmateBBertearte can have many different kind
today. CB is something of a case study of how and why such and such such and such why and how of study case a of something is CB today. CCohenohen fflirtslirts
BBrentonrenton but the meter is running, so to speak. You have to make more money to
network, and as such the symbolic forebear of the Internet forums of of forums Internet the of forebear symbolic the such as and network, ddroprop
Fordist economy. This Citizens Band was a horizontally organized organized horizontally a was Band Citizens This economy. Fordist MMarch-Aprilarch-ApCChrihl buy m
technology blitz beginning in the 1980s, that spearheaded the new post- new the spearheaded that 1980s, the in beginning blitz technology oonlinenlineMMerlinerlin GGersholmersholm game rather than play it. These gamers are not interested in winning
of the Vietnam war, before being rendered obsolescent by the global global the by obsolescent rendered being before war, Vietnam the of aapparentlypparently the game, they are interested in details, in furniture, or telling pany Hertzian waves that had its heyday in the mid seventies, in the wake wake the in seventies, mid the in heyday its had that waves Hertzian hhappierappier
stories, or creating interesting worlds. If a cheat is someone who
yet interactive sector of the public sphere twenty-three slots on the the on slots twenty-three sphere public the of sector interactive yet LLabab
YYorkork ignores the space of a game to cut straight to its objective
Stephen Wright: Remember CB radio? What a game that was! That invisible invisible That was! that game a What radio? CB Remember Wright: Stephen trifler is someone who ignores the objective to linger within its
Neil Strauss, ed., Radiotext(e), (New York: Semiotext(e), 1993), p. 15. p. 1993), Semiotext(e), York: (New Radiotext(e), ed., Strauss, Neil rregularegular
Berthold Brecht, The Radio as an Apparatus of Communication , in in Communication , of Apparatus an as Radio The Brecht, Berthold bbifurcatingifurcating CCioranioran space. Bernard Suits: Triflers recognize rules but not goals, chea VVirilianirilian DDavidavid recognize goals but not rules. The Sims lends itself to play that Pelagian Press, nd). nd). Press, Pelagian cclarifylarify LLevev transforms it from a world of number back to a wo
Guy Debord, In Girum Imus Nocte Et Consumimur Igni: a Film, (London: (London: Film, a Igni: Consumimur Et Nocte Imus Girum In Debord, Guy nnuttyutty yyachtsachts
mmediaedia Algorithm becomes a more stable platform than the vicissitudes of gamespace for creating a suburban world of pretty things. But in
43. ttasteaste
cchapterhapter GGregreg trifling with the game, the gamer struggles to escape boredom and
Georg LukÆcs, The Historical Novel, (London: Merlin Press, 1962), p. p. 1962), Press, Merlin (London: Novel, Historical The LukÆcs, Georg PPurpleurple MMAAVVersoesspeechrpseoech FFollyolly PPersianersian
OOrlandoFFloridaEEntrepreneurlnroltarrineddpaoreneur CColumbiaolumqquoteduboiated llowerower ffurnishurnish produce difference and finds that this too has limits. Steven Poole:
Press, 2006). Press, SSIGGRAPHIGGRAPH ccounterounter You must learn the sequences the programmers have built in to the Between Worlds: Exploring Online Game Culture, (Cambridge MA: MIT MIT MA: (Cambridge Culture, Game Online Exploring Worlds: Between GGonzaloonzalo game and, okay, there are hundreds of them, but that does not
Gamers, (Chicago: University of Chicago Press, 2005) and T. L. Taylor, Taylor, L. T. and 2005) Press, Chicago of University (Chicago: Gamers, ppoliticiansoliticians
sspiderƒssnacksstashedpntaiadschekersƒds UUniversityhhackingacnkiinvg ersity constitute freedom. Games redeem gamespace by offering a perfect Edward Castranova, Synthetic Worlds: The Business and Culture of Online Online of Culture and Business The Worlds: Synthetic Castranova, Edward ppolitico-consumerismolitico-consumerism ssixix
uun-mindingn-minding rrelaxingelaxing unfreedom, a consistent set of constraints. text, as too many lines weave their way into and out of its pages. See See pages. its of out and into way their weave lines many too as text, ssortort ssomewhereomewhere ccheapheap
pplacementslacements
of the atopian game is equivalent to the corruption of the utopian utopian the of corruption the to equivalent is game atopian the of aadsccellulardelslular MMaxisaxis
sspampam mmansionansion 041. Allego
as gamespace, indeed becomes of a piece with gamespace. This corruption corruption This gamespace. with piece a of becomes indeed gamespace, as CCommercialsommercials ttoiletoilet iimprovemprove
gamespace, even on its own terms. The game is just as venal and corrupt corrupt and venal as just is game The terms. own its on even gamespace, AAnthologynthology CCambridgeambridge pplayerlayer the relation of sign to number. Signs don t open to reveal chains of
lost. The game no longer functions as a more fair, more just version of of version just more fair, more a as functions longer no game The lost. ssystematicystematic other signs, pointing in all directions. Or rather, it is no longer of inevitability. In this the utopian moment of single player games is is games player single of moment utopian the this In inevitability. KKatieSSalenalteien CCodaPPiercingioedrcaing any importance what signs reveal. They billow and float, pool and
to naturalize economic behavior and give it an appearance of of appearance an it give and behavior economic naturalize to MMorettioretti GGrandrand
uunexplainednexplained gather, arbitrary and useless. There is no way to redeem them. But as economies that are exactly like the real world . They thus function function thus They world . real the like exactly are that economies as pparodyddisagreeaisraogdreye
vvirtueirtue signs now point to something else. They point to number. And number in
multiplayer worlds concerns the extent to which they appear to function function to appear they which to extent the concerns worlds multiplayer turn points to the algorithm, which transforms one number into
the era of the department store. Most of the hype about massively massively about hype the of Most store. department the of era the PPenguinenguin another. Out of the bit rot of signs, games make allegorithms. The
superceded. This was in part Benjamin s purpose in examining arcades in in arcades examining in purpose Benjamin s part in was This superceded. CCaveave ooffspringffspring
bout of cyberhype is to look to cultural forms that have already been been already have that forms cultural to look to is cyberhype of bout HHalf-Realalf-Real
iinheritancenhhhttpetrtitpance LLondonondon RRayay signs point to numbers, the numbers to algorithms, the algorithms to
with something of a lag. One way to avoid being caught up in the latest latest the in up caught being avoid to way One lag. a of something with llaptopaptop vvocationocation allegorithms of everyday life in gamespace, where signs likewise are
them. The owl of Minerva flies at dusk: critical thought always appears appears always thought critical dusk: at flies Minerva of owl The them. devalued, arbitrary, but can still stand as allegories of the one
part because it is too soon to see far beyond the hype surrounding surrounding hype the beyond far see to soon too is it because part thing that still makes sense, for the logic of the digital.
massively multiplayer games. I have excluded them from Gamer Theory, in in Theory, Gamer from them excluded have I games. multiplayer massively
2. Dibbell s book is a brilliant exploration of the brave new world of of world new brave the of exploration brilliant a is book Dibbell s 2. rrecentlyecently 042. Allegory becomes a double relation: on the one side, there is t
Rich in Virtual Loot Farming, (New York: Basic Books, forthcoming), Ch. Ch. forthcoming), Books, Basic York: (New Farming, Loot Virtual in Rich jjust-one-more-itemust-one-more-item ggutsuts bbeded relation of gamer to algorithm in the game, its allegorithm; on the
Julian Dibbell, Play Money, Or, How I Quit My Day Job and Struck It It Struck and Job Day My Quit I How Or, Money, Play Dibbell, Julian hhauntingssirensffrenziedriareeunnzstieindg wworthorth
ppaperaper pprofusionrofusion other, there is the relation of allegorithm to everyday life in
still part of the same process. same the of part still cconsumptionqquaintffluffylounfafsiynutmption gamespace. In relation to gamespace, the game itself works as an indigenous presence indicates the extent to which their own writing is is writing own their which to extent the indicates presence indigenous RRobinsonobinson aauthoruthor ffutureuture
PPressress SSupposeuppose sshatteringhattering escape from the agony of everyday life, where the stakes are real and material culture . . In both LukÆcs and Gorky the erasure of the the of erasure the Gorky and LukÆcs both In culture . . material tthinkerhinker bbourgeoisourgeois
MMocooco ccompanyompany uncertain, to the unreal stakes of a pure game. But the game can also
unconsciously served the great cause of the geographical expansion of of expansion geographical the of cause great the served unconsciously vversionersion oorientedriented ttransfigurationransfiguration work as a critique, in turn, of the unreality of th
to his sense of freedom, unintelligible laws. All his life he has has he life his All laws. unintelligible freedom, of sense his to ddistortionistortion ffaceace gamespace itself. When Sims devotees assign values to non-existent
later him as a criminal because he has infringed their mercenary and, and, mercenary their infringed has he because criminal a as him later ppaidicaidic SStormtorm ttriflerrifler rroutineoutine furniture, truly the idea of economic utility has lost all meaning.
prairies of the New World be blazes new trails in them for people who who people for them in trails new blazes be World New the of prairies ffreeformrRRoutledgeeoefuotrlmedge central character, Nathaniel Bumppo: As an explorer of the forests and and forests the of explorer an As Bumppo: Nathaniel character, central ddiscoveriesiscoveries
KKietaieta The game can also work as an atopia, where play is free from work,
1962), p. 65 LukÆcs then goes on to quote Maxim Gorky on Cooper s Cooper s on Gorky Maxim quote to on goes then LukÆcs 65 p. 1962), wwarningarning
PPatrickatrick AAll from necessity, from seriousness, from morality. Kill your Sims, if
America. Georg LukÆcs, The Historical Novel, (London: Merlin Press, Press, Merlin (London: Novel, Historical The LukÆcs, Georg America. cchosenhosen tthemeheme CChinesehinese you want to. Play here has no law but the algorithm. And yet there is freedom, but who themselves destroy this freedom by their own deeds in in deeds own their by freedom this destroy themselves who but freedom, rreferentialeferential pproceedsroceeds
cclubslubs BBeaconeacon vverdicterdict a tension between the game and gamespace. The relation between them is
early colonizers, who emigrated from England in order to preserve their their preserve to order in England from emigrated who colonizers, early HHomoLLudensuodmeons pprofanerofane at once analog and digital, both a continuum and a sharp break. The
1986), p. 20. Cooper portrays the enormous historical tragedy of those those of tragedy historical enormous the portrays Cooper 20. p. 1986), iimperfectmperfect gamer struggles to make of the game a separate world, for escape, for
James Fenimore Cooper, Last of the Mohicans, (New York: Penguin, Penguin, York: (New Mohicans, the of Last Cooper, Fenimore James NNamcoamco bbroadroad iinterpretnterpret critique, for atopian play, and yet gamespace insinuates itself into
University of Minnesota Press) , 1994. , Press) Minnesota of University VVintageOOdysseyXXIiIdnytassgeey DDurhamDukeurkheam the game. Art: Tradition, Media and Technological Horizons, (Minneapolis: (Minneapolis: Horizons, Technological and Media Tradition, Art:
and adaptation of video to its needs. See Eric Michaels, Bad Aboriginal Aboriginal Bad Michaels, Eric See needs. its to video of adaptation and PParamountaramount ccorruptorrupt PProfessorrofessor 043. Start over: Benjamin begins as a Beta Tester, becomes a Hacker, and
(meaning) is very clear in Eric Michael s account of Walpiri culture culture Walpiri of account Michael s Eric in clear very is (meaning) WWarriorsarriors
AAnabasisSSolYYurickounlraibckasis RRichardichard ddirectlyirectly ssimilarimilar finally a Game Designer. After that you are supposed to level up to Press, 1981), p. 69. This connection between topos (place) and topic topic and (place) topos between connection This 69. p. 1981), Press, ccommonlyommonly EExpeditionxpedition Venture Capitalist then finally Information Overlord. But something
Jacques Derrida, Dissemination, (Chicago: University of Chicago Chicago of University (Chicago: Dissemination, Derrida, Jacques XXenophonenophoneedsds
PPalgravealgrave goes wrong along the way. Benjamin s gam
The whole industry is consolidating. So Benjamin goes to work for a
smashing together like planes to form a cosmology. a form to planes like together smashing sso-calledGGraebermmessageor-aecesabsllaeegrde CCostikyanostikyan eenvironmentalnvironmental
these zones and events that were inhabited by real and fictional pasts pasts fictional and real by inhabited were that events and zones these much bigger game company. He starts work. It s a mild sort ofd crunch in the Congo, where there s plenty of coltan,
popularity hinged on the very idea of reclamation and re-evaluation of of re-evaluation and reclamation of idea very the on hinged popularity NNJJ
JJohnsonUUnlostPPrincetonorffictionalnhicnlnotcsieoottnnoanl MManovichanoBBolterGGrusinvoriculthseinr time normal when there s a project with a deadline. Benjamin is not in itself a grand orgy of anarchically collected pasts; its its pasts; collected anarchically of orgy grand a itself in not JJeffBBriggsSSoreneorfirgfegns
FFiraxisMMacSoftiraacxSisoft iidlerdler working eight hours, six days a week. The project is on schedule, so C: No further back than Dungeons and Dragons suggests that D+D was was D+D that suggests Dragons and Dungeons than back further No C: MMieirieir
ccyberyber RReaktioneaktionPPsychoanalyticsychrrapoaapnalytic CContinuumontinuumcconferenceonference rrealeal its not so bad. It s temporary. He complains a bit to Asja. The is already slightly obsolete. obsolete. slightly already is TTeded
ddiscussiscuss deadline for ending the crunch comes and goes. And another. Then the
virtues. Hence Gamer Theory concerns itself with a game aesthetic that that aesthetic game a with itself concerns Theory Gamer Hence virtues. RRecessionRotterdameoctteesrsdioanmMMITIT wwhetherheggraphstrhaeprhs hours get longer. Benjamin is working twelve hours, six days a week
seems to me that being untimely is still one of the great theoretical theoretical great the of one still is untimely being that me to seems Benjamin s bar graphs slide into the red. Then the real crunch time
Press, 2001). But where Lunenfeld wants to do realtime theory, it it theory, realtime do to wants Lunenfeld where But 2001). Press, rrecipesecipes rrecognizableecognizable AAutonomediautonomedia puter with Intel Inside.
User s Guide to Digital Arts, Media and Cultures, (Cambridge MA: MIT MIT MA: (Cambridge Cultures, and Media Arts, Digital to Guide User s llistist nnappingapping begins. Benjamin is working seven days a week, with the occasional
MA: MIT Press, 2005), p. 57. See also Peter Lunenfeld, Snap to Grid: A A Grid: to Snap Lunenfeld, Peter also See 57. p. 2005), Press, MIT MA: aascribescribe KK-Punk-Punk Saturday evening off for good behavior.
Peter Lunenfeld & Mieke Gerritzen, User: Infotechnodemo, (Cambridge (Cambridge Infotechnodemo, User: Gerritzen, Mieke & Lunenfeld Peter AAdilknodilkno AAmericanmerican ccookbooksbbookshelvesooookkbshooelkvses 044. You could be forgiven for thinking this is just a game, but it is
http://www.livejournal.com/users/ea_spouse/274.html FFundamentalsundamentals ssocietyociety WWrightright somebody s life as reported in a widely circulated text written by
Dale Cunningham, The sims busten out , (10th June, 2005). June, (10th out , busten sims The Cunningham, Dale aabandonbandon PPetereter iinsinuatesnsinuates
ssuckeducked wworthlessoccharismarthhalerisssma EA Spouse. EA, or Electronic Arts, is a game company best known for its Madden sports games, but which also which owns Maxis, which makes
http://www.livejournal.com/users/ea_spouse/274.html PPolityolity The Sims. EA s slogan: Challenge Everything everything except EA, of
EA Spouse, Frequently Asked Questions , (1st November, 2004). November, (1st Questions , Asked Frequently Spouse, EA mmethodologicaleexcavatexbbrilliantectrahivlloaiadtneotlogical
sstand-offtand-off ffriendsriends course or the gap between game and gamespace. In the gamespace of
a technology of culture. Such is the military entertainment complex. complex. entertainment military the is Such culture. of technology a JJuneune FFrascarasca contemporary labor, things are not like the measured progression up this should read: There is no technology of barbarism which is not also also not is which barbarism of technology no is There read: should this HHarmondswortharmondsworth
ooutsourcingutsourcing the ranks of The Sims. In The Sims, Benjamin could work his way from 4, (Cambridge MA: Harvard University Press, 2003), p. 392. Perhaps now now Perhaps 392. p. 2003), Press, University Harvard MA: (Cambridge 4, ccolonialolonial Game Designer to Information Overlord much the same way as he had
Walter Benjamin, On the Concept of History , Selected Writings Vol. Vol. Writings Selected History , of Concept the On Benjamin, Walter uunevenunfairssemblanceenmefavbierlannce worked up the levels below. At Electronic Arts, things are different.
EEdwardsdwards Being an Information Overlord like EA s Larry Probst requires so anthe army military entertainment complex, with and play (11th June 2001). June (11th ppersonaersona mmendaciousendacious
of Benjamins with nothingnductors to workfrom Intel.with but These their probably skills as containgame tantalum
Kristi Essick, Guns, Money and Cellphones , The Industry Standard, Standard, Industry The Cellphones , and Money Guns, Essick, Kristi JJenkinsenkins FFoucaultoucault
cconjunctionBBloggersolongjugnecrtsion cchooseshooses ffirmirm ccribbedribbed designers and nowhere to go than to another firm which may or may not
http://www.motorola.com/EHS/environment/faqs/ MMontrealMcGill-QueensKKlinelocinGneitlrle-Qalueens rrecycleecycle crunch its workers just as hard. As the military entertainment complex
Motorola Position on Illegally Mined Coltan , (25th August, 2003). August, (25th Coltan , Mined Illegally on Position Motorola eexperiencedxperienced NNickDDyerWWithefordGGreigPPeutereiyriceutekhirtgerford pppp ttruerue FFourierourier RReadyeady pparticipantsarticipants consolidates into a handful of big firms, it squeezes out all but a
few niche players. Gamespace is here a poor imitation of its own game. Our Philosophy , www.kemet.com Philosophy , Our IInteractiventeractive GGreekreek
RRaymondaymond ggreatestreatest pprotectrotect 045. Start over again: This time Benjamin begins as a Bucket Runner. He
Assistance, (28th Octber 2002) www.jha.ac 2002) Octber (28th Assistance, VVaneigemaneigemBBernardernard sstocktock ffacialacial
JJamesonameson quickly works himself up to Coltan Miner. Coltan? What is coltan? Quit
Resources and War in Eastern Congo , Journal of Humanitarian Humanitarian of Journal Congo , Eastern in War and Resources sshackhack llifelikeifelike The Sims for a moment. Pop the cover off your Playstation or your Koen Vlassenroot and Hans Romkema, The Emergence of a New Order?: Order?: New a of Emergence The Romkema, Hans and Vlassenroot Koen wwhoeversspringphroinegver PParisaris PPaoloaolo
HHamllicensingMMorseicaoemnrsseing laptop or cellphone. You are looking at stuff that has come from all Magazine, (12th August, 2001), pp. 34-39 pp. 2001), August, (12th Magazine, aadmitsdmits
pprivateaairwavesirriwvaatvees rrefinedefined over the world brought together by a global logistics. In the guts
Blaine Harden, The Dirt in the New Machine , New York Times Times York New Machine , New the in Dirt The Harden, Blaine iinherentlynherently ssomeoneomeone sscriptedcripted of your machine you may spot some capacitors made by Kemet, or maybe
semico
www.livejournal.com/users/ea_spouse/274.html ttruckersaawakerwucakkers marvelous conductor of electricity, also very good with heat. They
EA Spouse, EA: The Human Story , (10th November 2004) November (10th Story , Human The EA: Spouse, EA eequityequanimityquiatnyimity were quite possibly made with coltan (short for columbite-tantalite)
hhazardsazards iinfinitenfinite dug out of the groun
experience, from the point of view of the gamer. gamer. the of view of point the from experience, uuser-friendlyjjamsasmers-friendly from which tantalum is refined. The Okapi Faunal Reserve in the Congo
was the first really good attempt at an aesthetic of the game game the of aesthetic an at attempt good really first the was ssalesales wwarmingarming iinstructionsnstructions is home to gorillas, monkeys and elephants as well as the okapi, a
Steven Poole, Trigger Happy, (New York: Arcade, 2000), p. 33. This This 33. p. 2000), Arcade, York: (New Happy, Trigger Poole, Steven bbanterCCB-spaceaBn-stpearce
IInconvenientnconvenient wwideide rare relative of the giraffe. Thousands of Mbuti, or pygmies, also chapter. chapter. CCBB
live there. Their livelihood is compromised by the coltan miners, who d the consequences of this relation to time I leave to the concluding concluding the to leave I time to relation this of consequences WWalteralter
fforumsorums ddevaluedevalued dig what one journalist called SUV-sized holes in the mud, out of grasshopper. In gamespace, however, we are all grasshoppers. The The grasshoppers. all are we however, gamespace, In grasshopper. fforebearorebear ppenultimateenultimate
hhorizontallyorizontally ccomputeromputer which they can extract about a kilo of coltan a day. A kilo of coltan died. The ants are left to reconstruct the teachings of the the of teachings the reconstruct to left are ants The died. FFordistordist bbelieveelieve sspearheadedpearheaded was worth $80 during the technology boom. There was a world shortage
ffurtherurther e believe we have done as much as any reasonable com
store up grain for the winter refused work in the name of play and and play of name the in work refused winter the for grain up store oobsolescentbblitzblitszolescent ZZizekizek sskillkill VVietnamietnam of the stuff, which even delayed the release of the Sony Playstation
grasshopper. As per the ancient parable, the grasshopper refused to to refused grasshopper the parable, ancient the per As grasshopper. mmidsseventieswwakeeaivdkeenties bbarar
hheydayeyday nds of an algorithm that works jjotsots 2.
dialogue among the ants about the teachings of the recently departed departed recently the of teachings the about ants the among dialogue ssectorttwenty-threeslotsHHertzianweloecetrttsnoztriya-nthree oorphanrphan EEll nnotebookllistlessisottlebssook work but a work of art in its own right. It takes the form of a a of form the takes It right. own its in art of work a but work y age, and we watched
University of Toronto Press, 1980), p. 47. This is not just a classic classic a just not is This 47. p. 1980), Press, Toronto of University NNeilSStraussRRadiotexttaerdialiuostsext ffloatloat 046. The Congo is arguably the region in which the great game of colonial Bernard Suits, The Grasshopper: Games, Life and Utopia, (Toronto: (Toronto: Utopia, and Life Games, Grasshopper: The Suits, Bernard wweighteight
PPelagiannndBBertholdedlrathgoialnd exploitation has done the most harm and conferred the least benefits.
GGirumIImusNNocteCConsumimurIgnimgoinrunccconventionsistmoeunmveimntuior ns tthumbhumb kknowablenowable The Congo s first democratic leader, Patrice Lumumba, was ousted in a not believe in them. them. in believe not nn-dimensional-dimensional CIA sponsored coup that brought to power the notorious Mobutu Sese
theorist to pay one s respect to the local gods, even though one does does one though even gods, local the to respect one s pay to theorist TTVV aapprehensionpprehension Seku. With the collapse of the Mobutu regime, there was civil war, and
might be the contemporary equivalent of the ancient advice to the the to advice ancient the of equivalent contemporary the be might sspendpend ssubstituteubstitute eevaluativevaluative BBogdanovogdanov little else. One of the things that kept the civil war going was the
its rules, to its spaces, its conventions, but not to its goals. Which Which goals. its to not but conventions, its spaces, its to rules, its CCastranovaastranova MMarxismarxism wwearear coltan. Coltan both fueled the war, and accelerated the destruction of
The possibility for critical thought is now internal to the game, to to game, the to internal now is thought critical for possibility The wweaveeave CCapitalismapitalism wildlife habitats. And
plays the game according to its rules, but not aiming for its prizes. prizes. its for aiming not but rules, its to according game the plays HHeinerMM llere ilnlerr uungamelikengamelike precious brands to protect, didn t want protest movements sullying
no idler, but there may be what Bernard Suits calls the trifler, who who trifler, the calls Suits Bernard what be may there but idler, no ttalksalRRedkesd gguerrillauerrilla uundistortedndistorted
MA: Harvard University Press, 2003), p. 186. In gamespace there may be be may there gamespace In 186. p. 2003), Press, University Harvard MA: LLunenfeldunenfeld wwesternestern ddivisionivision their reputations by calling attention to all the gorillas coltan
Walter Benjamin, Central Park , Selected Writings Vol. 4, (Cambridge (Cambridge 4, Vol. Writings Selected Park , Central Benjamin, Walter ZZimmermanimmerPPenelopessuitorsmueinatonelrospe ooriginalriginal aappealppeal rreborneborn kills, or the guerrillas it feeds. The military entertainment complex
FFredricredric would like to believe, and would like you to believe, that gamespace most recently via the algorithm. the via recently most ccureure AAthenianmmarketplacetahrekneitapnlace
EEuropeanuropean iinterlocutornterlocutor is not a Nietzschian struggle of naked forces, beyond good and evil, the way the old is both recuperated and transformed in the new form, form, new the in transformed and recuperated both is old the way the but a clean, well lighted, rule-governed game.
would be incomparable. What matters is the qualitative difference in in difference qualitative the is matters What incomparable. be would mmaybeaybe ccirculatedirculated sslavegguaranteedluavaeranteed
that the case, this hypothetical new medium would not be new it it new be not would medium new hypothetical this case, the that hhonoronor LLibertyiberty 047. Kemet requires its suppliers to certify that their coltan ore does
refer for its meaning to other media at all. (pp. 270-271) But were were But 270-271) (pp. all. at media other to meaning its for refer ssightight ffragmentsragments uunlikenlike not originate from Congo or bordering countries. Motorola says much
earlier elements. The true novelty would be a new medium that did not not did that medium new a be would novelty true The elements. earlier llatestbbouthhypeaoytepusett cconceptoncept PProgrammerogramme ssofaofa
in which each innovation rearranges and reconstitutes the meaning of of meaning the reconstitutes and rearranges innovation each which in aavoidmmassivelyvaosidsivelMMillery iller iirreversiblerreversible MMotorolaotorola the same: W
from modernism. As we have shown, what is new is the particular way way particular the is new is what shown, have we As modernism. from oowlMMinervaffliesddusklwiueinslskerva ttableable ccleanlean rremorselesslyemorselessly could do by mandating compliance from our suppliers on this important
each new iteration of digital media, which they see as an inheritance inheritance an as see they which media, digital of iteration new each IIllinoisllinois ffilmilm issue. Outi Mikkonen, communications manager for environmental
challenge the cyberhype that insists on the breathtaking novelty of of novelty breathtaking the on insists that cyberhype the challenge bbraverave UUrbanarbana affairs at Nokia is a little more sanguine: §All you can do is ask, Media, (Cambridge MA: MIT Press, 1999), p. 45. Bolter & Grusin Grusin & Bolter 45. p. 1999), Press, MIT MA: (Cambridge Media, ggroundround
fforthcomingorthcoming and if they say no, we believe it.§ The bad publicity around Congo Jay David Bolter & Richard Grusin, Remediation: Understanding New New Understanding Remediation: Grusin, Richard & Bolter David Jay FFarmingarming PPopop eearnarn
SStrucktruck coltan is good news for the Australian company Sons of Gwalia, which provides much of the world supply. The destruction of Australian
interesting blog, costik.com blog, interesting EEricric ccultureulture eerara
iindicatesndicates habitats seems somehow less picturesque. No gorillas or giraffes are
York: Peter Lang, 2003), p. 26. See also Costikyan s consistently consistently Costikyan s also See 26. p. 2003), Lang, Peter York: eerasurerasure bbarbarismarbarism bbudgeudge involved. This is the way its played in gamespace. It s all separate
and Eric Zimmerman, eds., Re:Play: Game Design + Game Culture, (New (New Culture, Game + Design Game Re:Play: eds., Zimmerman, Eric and ggeographicaleographical ppeesees espace possible. Beyon caves, with dim reports of each other. By all means, save the gorillas
Greg Costikyan, Algorthmic and Instantial Games , in Amy Scholder Scholder Amy in Games , Instantial and Algorthmic Costikyan, Greg mmercenaryuunintelligibleneirncteenllaigryible ssuburbanuburban
GGorkyiinfringednofrriknyged MMarsars ggesturesestures and okapi, but it doesn t change the equation.
me to see this book in manuscript. manuscript. in book this see to me pprairiesrairies TTheftAAutohuetoft lludicudic ccursingfforgotourrgsiontg University of Minnesota Press), 2006. Many thanks to Alex for allowing allowing for Alex to thanks Many 2006. Press), Minnesota of University NNathanielBBumppouamthpapnioel 048. The line that connects gamespace to game also divides one from the
Alex Galloway, Gaming: Essays on Algorithmic Culture, (Minneapolis: (Minneapolis: Culture, Algorithmic on Essays Gaming: Galloway, Alex VVirnoirno
ddealseals ppayay other. There s no getting away from the materials that make it ddeedseeds NNCC possible to own a Playstation console or a com
between the form and the world which it is not. not. is it which world the and form the between EEnglandngland AArtaudrtaud There s no getting away from the labor that makes it possible to run
based on those formal discoveries, but using them to discover the gap gap the discover to them using but discoveries, formal those on based eenormousemigratednmoirgmraotueds CCapitalistapitalist pportraysortrays The Sims on your machine. Benjamin: There is no document of culture
assigning value to signs. The second step would be a critical theory, theory, critical a be would step second The signs. to value assigning which is not at the same time a document of barbarism. Benjamin (the
theory of games as algorithmic. The algorithm does the work of of work the does algorithm The algorithmic. as games of theory TTraditionradition aanthropologynthropology wwrittenritten storyline tropes that Sim): There is no realm of the pure digit which does not betray the 2001), p. 222. Manovich makes the necessary first step toward a formal formal a toward step first necessary the makes Manovich 222. p. 2001), AAboriginalboriccyberneticgyibnearlnetic CCarsearse
Lev Manovich, The Language of New Media (Cambridge MA: MIT Press, Press, MIT MA: (Cambridge Media New of Language The Manovich, Lev WWalpirialpirVVoli ol aaccountccount hand marked with muck and blood, somewhere. And yet the whole point BBenjaminenjamin of a game is its separation, the line dividing it from gamespace and
signs. signs. mmessianicessianic
ccosmologyosmology enclosing it in a self contained, algorithmic world of its own. To
meaning so much as assigning numerical value to otherwise devalued devalued otherwise to value numerical assigning as much so meaning ccenturyentury Benjamin the Benjamin who is a Sim everything outside The Sims is
games again perform the work of restoration, but not by restoring restoring by not but restoration, of work the perform again games rreclamationre-evaluationec-elavmalautaiotinon BBaudrillardaudrillard DDepriveeprive
hhingedinged ccompeteompete AArcadercade AAsjasja just metaphysics. The double relation of allegory and allegorithm is
allegory for the decay of the whole society which gave rise to it. Here Here it. to rise gave which society whole the of decay the for allegory oorgyaanarchicallynrgayrchically GGeertLLovinkoeveirntk bbustenusten ddoorsoors an intimate line alternatelye between connecting play within and theseparating bou game from
policing of their meaning. This decay of meaning then becomes an an becomes then meaning of decay This meaning. their of policing FFrancoranco sstarvetarve gamespace. but also from propriety, from rules governing their circulation and the the and circulation their governing rules from propriety, from also but
reproducibility of images not only allows them to escape from property, property, from escape to them allows only not images of reproducibility uuntimelyntimely llightight 049. The Sims is a very peculiar kind of game, in which everyday life is (Cambridge MA: Harvard University Press, 2003), p. 173. The The 173. p. 2003), Press, University Harvard MA: (Cambridge RRevieweview DDibbellibbell
Walter Benjamin, Central Park , in Selected Writings Vol. 4, 4, Vol. Writings Selected in Park , Central Benjamin, Walter ddefinitelyefinitely the subject of play, but where play is nothing but work. And yet DDungeonsDragonsuranggoenosns fforgivenorgiven there s a difference between play in game and gamespace, which permits
BBrendaLLaurelareunredla VVirilioirilio e of the real, the gamer choose to stay in The Cave of property in the realm of the image. image. the of realm the in property of IInfotechnodemonfotechnodemo ssomebodyomebody
MMiekeGGerritzeneierrkietzen sscenarioscenarios ssatellitesatellites ttrailrail ccurrenturrent hholedoled the former to offer an allegory for the latter, an allegory which may
introduce a new kind of scarcity, and hence allows the re-establishing re-establishing the allows hence and scarcity, of kind new a introduce OOlafSStapeldontlapf eldon ppracticeractice
DDaleCCunninghamuanleningham bbecameecame gghosthost vveracityeracity function as escape and critique of gamespace, perhaps even as an
not restore the aura of the unique work of art as object, but it does does it but object, as art of work unique the of aura the restore not FFrequentlyrequently almost utopian alternative. In the game, unlike in gamespace, the very foundations of the culture industry are threatened. The game does does game The threatened. are industry culture the of foundations very contest between gamer and game is over nothing. There are no precious
this reproducibility of the image becomes an everyday phenomena, the the phenomena, everyday an becomes image the of reproducibility this minerals. There is no labor contract in dispute. The difference
its provenance, a kind of communism of the image arrives. But once once But arrives. image the of communism of kind a provenance, its hhtmlccyberhypetymbel rhype hhostost JJohnohn
wwww.livejournal.comeea_spouseaw_wsp.loivuesjeournal.com between play and its other may have collapsed, but there is still a
property. Once the image can be detached from the particular object and and object particular the from detached be can image the Once property. differenc
from the object. As an object, a work of art can be a piece of of piece a be can art of work a object, an As object. the from ffaqsKKristiEEssickasrqissistcik aamazingmazing tteachingseachings IInterestinglynterestingly rreferenceeference EEHSHS impersonally, the same for everybody, and a gamespace that appears as
reproduction of the image strips it of its aura by severing the image image the severing by aura its of it strips image the of reproduction IIllegallywwww.motorola.comNNovemberlleowgvwael.mlmyboetor rola.com
here is The Work of Art in the Age of Mechanical Reproduction . The The Reproduction . Mechanical of Age the in Art of Work The is here HHumanitarianOOctberwwww.jha.acwww.kemet.comucwtmbwae.jnrkheiatma.areicat.ncom PPlatolato lloadedoaded tterminalerminal ttheologicalheological nothing but an agon for the will to power whether of guerrilla s
1998), p. 175. The other classic Benjamin text that need be mentioned mentioned be need that text Benjamin classic other The 175. p. 1998), RRomkemaEEasternAAugustoausmgteukresBBatesonntmataeson hhookook ddocumentocument grasping their gun stocks, or Larry Probst grasping his stock options.
Walter Benjamin, The Origins of German Tragic Drama, (London: Verso, Verso, (London: Drama, Tragic German of Origins The Benjamin, Walter MMagazineKKoenVVlassenrootHHansolaaengsnsaessandzaninnroedot SStanleytaTTreesnreleeys SSpousepouse ffurnitureurnppredestinediggamer-godtrauemrdeers-tginoedd If it is a choice only between The Sims as a real game and gamespace
BBlaineDDirtliarppostmoderntinoestmodern KKimim SSmithmith as a gam
relations of value. value. of relations iindigenousndigenous games. The contradiction is that for there to be a game that is fair
their meaning or necessity, but create for them new quantitative quantitative new them for create but necessity, or meaning their ttriflerifle bbadlyadly and rational there is still a gamespace which is neither.
the postmodern become the raw material for games which do not restore restore not do which games for material raw the become postmodern the
as form, appear as a temporary phenomenon. The free floating signs of of signs floating free The phenomenon. temporary a as appear form, as SStephentephen hhopelessopeless 050. The game is what gamespace isn t, particularly for those for whom it
the light of the concept of gamespace and the rise of the computer game game computer the of rise the and gamespace of concept the of light the fformerlyormerly aallowsllows ppublicublic is the dominant cultural form. EA Spouse writes: We both have been
Capitalism, (London: Verso, 1991), p. 17. The postmodern might, in in might, postmodern The 17. p. 1991), Verso, (London: Capitalism, DDebordebord steeped in essentially game culture from an earl
Fredric Jameson, Postmodernism or, The Cultural Logic of Late Late of Logic Cultural The or, Postmodernism Jameson, Fredric pperggrasshopperaantsgrainenrartisnshopper MMohicansohicans ccourtourt that culture gain legitimacy as we got to the point of thinking
writing of this book. this of writing nnoneone SSimsims mmiraclesiracles about our future careers. The gamespace of making games as
own website ludology.org have been extraordinarily useful in the the in useful extraordinarily been have ludology.org website own wwebeb ttheoristheorist ssomehowomehow commodities cannot live up to the games themselves. On EA Spouse s Studies, 1:1 (July 2001) gamestudies.org Both Game Studies and Frasca s Frasca s and Studies Game Both gamestudies.org 2001) (July 1:1 Studies, ssalvationalvation website, some forlorn gamer has written, and perhaps again in vain: his play
Gonzalo Frasca, The Sims: Grandmothers are Cooler Than Trolls , Game Game Trolls , Than Cooler are Grandmothers Sims: The Frasca, Gonzalo TTorontooronto WWildenilden eeffortsffraughtrfafourgthst On the simes busten out please do not make a meter for the items you
rrespectespect buy. Same with walls or aniny thing eles. So bottom line no metter in Research: Methods and Perspectives, (Cambridge MA: MIT Press, 2003). Press, MIT MA: (Cambridge Perspectives, and Methods Research: aadvicedvice WWelcomeelcome any of the simes games ever again please. Thank you if you do it.
SimSmarts: An Interview with Will Wright , in Brenda Laurel, Design Design Laurel, Brenda in Wright , Will with Interview An SimSmarts: iincarnationncarnation mmastersasters But, sadly, the meter is always running. It is integral to gamespace, if not necessarily to what makes gam
its analysis. its pphoneshones sseeneen EEAA critique of actually existing gamespace, games can point also to an
dominates the online gaming sphere, and with it anthropology dominates dominates anthropology it with and sphere, gaming online the dominates wwebsiteebsite SScientistcientist
almost utopian promise, in which games are something else again. But
of analytical potential still lies, especially since World of Warcraft Warcraft of World since especially lies, still potential analytical of iinternetnternet ccareerareer
Christian McCrea: I agree that single player games are where the bulk bulk the where are games player single that agree I McCrea: Christian SSvendsenvendsen NNotoriousotorious uunderlyingnderlying while the game opens toward new worlds, gamespace forecloses anything
games become one social context among others. others. among context social one become games jjusticeusticesshadowhadow mmaximizeaximize DDeanMMinistereinainster but its own relentless agon.
this, I feel like maybe anthropology sneaks into gamer theory, and and theory, gamer into sneaks anthropology maybe like feel I this, iincomparablencommethodmepthaoradble llaboriousaborious DDropperropper
Life is a lot more like a multi-player game, but once one acknowledges acknowledges one once but game, multi-player a like more lot a is Life hhypotheticalypothetical kkilledilled SSuperstaruperstar
computer which I can restart if I donƒt like how that gameƒs going. going. gameƒs that how like donƒt I if restart can I which computer cclassiclassic ddistanceistance age. Jacques Derrida: The themes, the
ffaithaith America (on Civilization III) evel. what happens doesnƒt matter, in the sense that it is between me and a a and me between is it that sense the in matter, doesnƒt happens what MMichaelichael
up here is really important. Playing a single player game, I know that that know I game, player single a Playing important. really is here up rreconstituteseconstitutes
Hugh: I think the single player/multi-player distinction which comes comes which distinction player/multi-player single the think I Hugh: bbreathtakingiiterationsshownthreeorawthinotnaking ssoldieroldier e
that computer games prevent violence. violence. prevent games computer that topic are traced into the page;
in violent crime. If there is a prima facie case to answer, then, it is is it then, answer, to case facie prima a is there If crime. violent in bblogccostik.comolosgtik.com eexpulsionxpulsion
computer game in the United States correlates with a significant fall fall significant a with correlates States United the in game computer
violent and a cause of real violence . Oddly, the rise of the the of rise the Oddly, violence . real of cause a and violent AAmySScholdercmhuusersyoseldresr SSocratesocrates eestablishedstablished ppresetttemplatesermespeltates 2005), p. 38. In popular demonology, computer games are supposedly supposedly are games computer demonology, popular In 38. p. 2005), mmanuscriptAAlgorthmicIInstantialnlasgtnoaurntsthciamrilpict rremediationemediation CCaucasianAAfricanggenderEElflaeffruniccdaaensrian Fig. 3 in a
Lars Svendsen, A Philosophy of Boredom, (London: Reaktion Books, Books, Reaktion (London: Boredom, of Philosophy A Svendsen, Lars PParkark WWarar ccoolool rreflectiveeflective hhelplesselpless ssituationituation ssub-slidershhairhatsaaccessoriescclothesulacobcitrtes-hsslesidsoeriress
their desires. their eeveryoneveryone game: from each according to their abilities; to each according to to according each to abilities; their to according each from game: FFineine
excludes play; the Situationists attempt a concept of play outside the the outside play of concept a attempt Situationists the play; excludes eexcelffacultiesaxccuellties 051. Of what use is the past to a gamer? Peter Lunenfeld: For the most critique. Where rational choice theories attempt a concept of game that that game of concept a attempt theories choice rational Where critique. llaterater part, its blood, mischief and role playing that gamers revel in. They
antithesis not so much in Soviet social planning as Situationist Situationist as planning social Soviet in much so not antithesis live in an alternative universe, a solipsistic one scripted by
decision technologies of cold war America find their complete complete their find America war cold of technologies decision wwhateverhaMMakerteavkeerr pportableortable
designers whose frame of reference extends no further back than Pong,
consequences of this achievement in Conclusions. Interestingly, the the Interestingly, Conclusions. in achievement this of consequences iimportantmportant rredeemggeneticeedneeetmic
Pac-Man and Dungeons and Dragons. The visual and
individuals and their rankings of preferences remain. We return to the the to return We remain. preferences of rankings their and individuals ddutyuty HHardenarden
rationality, or the rationality of ends, is impossible. Only Only impossible. is ends, of rationality the or rationality, pproprietyropriety ppoisonoison EExploringxploring ggreatreat iintrinsicntrinsic most of us bring with us as cultural baggage are all but forgotten
needs. Arrow, in short, becomes the ideologue of gamespace. Collective Collective gamespace. of ideologue the becomes short, in Arrow, needs. ggoneone sspherephere eexternalxternal eextrinsicxtrinsic ancestral memories, thrown off, on purpose, too cumbersome to be of on the very principle of a general will, or the social construction of of construction social the or will, general a of principle very the on PPooleoole any use. In this new world that appears indifferent to history, with
socialist theory of any kind. In Arrow s hands, this becomes an attack attack an becomes this hands, Arrow s In kind. any of theory socialist llampamp only halls of fame for its champions, chronicles of its big battles
economist Kenneth Arrow produced a complete and systematic rejection of of rejection systematic and complete a produced Arrow Kenneth economist sscarcityrre-establishingeca-ercstitayblTThunderishhuinngder llagag and charts of its greatest hits, accounting for how this digital on maps, lineshe on emergence pages; of th capitalism that recognized the intellectual glamour of Marxism, the the Marxism, of glamour intellectual the recognized that capitalism GGoreore
gamespace came into being presents something of a challenge. Perhaps
Friedrich von Hayek and Karl Popper had all made defenses of liberal liberal of defenses made all had Popper Karl and Hayek von Friedrich ddesireesire
ffoundationsoundations it is best to approach it in its own style, as a series of levels,
weight to Marxist theory during the cold war. Where Joseph Schumpter, Schumpter, Joseph Where war. cold the during theory Marxist to weight each of which appears to the gamer on battling through to the end of
directly the product of attempts to provide an intellectual counter- intellectual an provide to attempts of product the directly pprovenanceaaurauroravenance
ddetachedetached the last. If one is defeated, one starts over. But remember: these are
Amadae points out that decision technologies such as game theory were were theory game as such technologies decision that out points Amadae MMartinartin TTheodorAAdornohdeoorndor
the grind levels. The going is hard here, even a little boring. You
Choice Liberalism, (Chicago: University of Chicago Press, 2003), S. M. M. S. 2003), Press, Chicago of University (Chicago: Liberalism, Choice CCharlesharles bbasedased VVirtualirtual may need to attempt it more than once. In gamespace, time is measured Rationalizing Capitalist Democracy: The Cold War Origins of Rational Rational of Origins War Cold The Democracy: Capitalist Rationalizing
p. 347. The phrase may have originated with Louis Blanc. In In Blanc. Louis with originated have may phrase The 347. p. ssequelequel ddirectedirected iironicronic in discrete and constant units, and while one cannot always win a and After: Political Writings Vol. 3, (Harmondsworth: Penguin, 1974), 1974), Penguin, (Harmondsworth: 3, Vol. Writings Political After: and TTragicDDramarraagmica llaunchingaunching sshadehade level, one can always start over and do it again.
Karl Marx, Critique of the Gotha Programme , The First International International First The Programme , Gotha the of Critique Marx, Karl hhiddenidden BBrianrian pplatformvvicissitudesilcaitsfsoitrumdes g meet. T
pphrasehrase bbrandrand 052. Click to start. Here is a new world. The first level opens onto a
York: Anchor Press, 1978). Press, Anchor York: ppastast
pphenomenonhenomenon nnormalormal topic (from the Greek topos , or place). Here a topic is a place both
See Bernard DeKoven, The Well-Played Game: A Player s Philosophy, (New (New Philosophy, Player s A Game: Well-Played The DeKoven, Bernard See GGuattariuattari LLukÆcsukÆcs wweekeek sstriketrike on the ground and within langu
toward the suburbs and real jobs, left behind the New Games Movement. Movement. Games New the behind left jobs, real and suburbs the toward ooptionsssleeppleteiopns topics, the (common-)places, in a rhetorical sense, are strictly (New York: Random House, 1970), p.278. The beautiful freaks, heading heading freaks, beautiful The p.278. 1970), House, Random York: (New LLateate
eextraordinarilyxtraordinarily uundefeatedndefeated qquicklyuunfreedomincfkrleyedom inscribed, comprehended each time within a significant site. One can
Richard Neville, Play Power: Exploring the International Underground, Underground, International the Exploring Power: Play Neville, Richard TTrollsJJulyggamestudies.orglludology.orguraodlmylolselosgtuyd.oiergs.org pplottinglotting place one s foot on a topic because one can place one s tongue on it. GGrandmothersCCooleroraonledrmothers Or one can point toward it and say: there it is . All around the
Toutes les Forces au Cours dƒune Partie, (Paris: Gallimard, 2006). Gallimard, (Paris: Partie, dƒune Cours au Forces les Toutes cconsoleonsole topic it is dark, unknown, unmapped, without stories. Move around a of War. See Le Jeu de la Guerre : RelevØ des Positions Successives de de Successives Positions des RelevØ : Guerre la de Jeu Le See War. of SSimSmartsIInterviewnimteSrvmieawrts ssloganddecideloegciadne
bbillowillow bit and you bump into others, from other tribes, other settlements.
Press, 1992). Debord was also, later in life, the creator of the Game Game the of creator the life, in later also, was Debord 1992). Press, WWarcraftarcraft EElectroniclectronic
Guy Debord, Society of the Spectacle and Other Films, (London: Rebel Rebel (London: Films, Other and Spectacle the of Society Debord, Guy ssneaksCChristianMMcCreabbulkaanalyticalnhnuceralCakilsrkytestiaicnal wwritersriters ddayay Viamap others forms. one Once learns there of stillis a others.map, there The istopics the topographic, start to connect. which A traces
when utopia was still possible. (p. 84) (p. possible. still was utopia when wworseorse rrotot lines that connect the topics, and which doubles the topical with the
alienation. This was precisely the project of Charles Fourier in an age age an in Fourier Charles of project the precisely was This alienation. rrestartestart aassaultssault space of maps and texts. These outline the contours in space and time
it might be able to free human groups from labor and from social social from and labor from groups human free to able be might it mmulti-playerulti-player fforeverorever nnightight of what was the topical, redrawing and rewriting it as a continuous Elsewhere Vaneigem writes: If cybernetics was taken from its masters, masters, its from taken was cybernetics If writes: Vaneigem Elsewhere DDeleuzeeleuze
and homogenous plane. The lines of the
Press, 2001), p. 264. Subversion here translates detournØment . detournØment . translates here Subversion 264. p. 2001), Press, HHughugh the lines on the page are traced back onto the earth as topography.
Raoul Vaneigem, The Revolution of Everyday Life, (London: Rebel Rebel (London: Life, Everyday of Revolution The Vaneigem, Raoul pprimaffaciearcimiea ccontemporaryontemporarsspecificypecific History is a story and geography an image of this topography, in which
ccorrelatesorrelates AAngelngel the boundaries are forever being expanded and redrawn. T issue of Grey Room on Virno, Fall 2005 Fall Virno, on Room Grey of issue sspinningpinning aadvantagedvantage
between the topical and topographic is the first l University of Minnesota Press, 1996), pp. 17-18. See also the special special the also See 17-18. pp. 1996), Press, Minnesota of University ddemonologyemonology rrelationshipelationship
and Paolo Virno, eds., Radical Thought in Italy, (Minneapolis: (Minneapolis: Italy, in Thought Radical eds., Virno, Paolo and ccookingooking uuncertainncertain 053. In the first level, every topical feature that resists inscription as
Paolo Virno, The Ambivalence of Disenchantment , in Michael Hardt Hardt Michael in , Disenchantment of Ambivalence The Virno, Paolo mmarketarket ssuspensionuspension rruinsuins ssimultaneouslyimultaneously ssolidolid ddevoteesnnon-existenteovno-etexeisstent a continuous space is erased and replaced. Impassable mountains yield
which is distinctly European. European. distinctly is which aantithesisSSovietnotviitehtesis iintellectualntellectual eescapescape their passages, joining once separate topics. Every recalcitrant which makes a case for the superiority of a certain order of games games of order certain a of superiority the for case a makes which people with its own indigenous topos is exterminated and forgotten.
attacking here, his indictment may also apply to Man, Play and Games, Games, and Play Man, to apply also may indictment his here, attacking cconsideronsider wwestest wworkersorkeJJeanresan James Fenimore Cooper: In a short time there will be no remains of
the west, and while it is a quite different text that CØsaire is is CØsaire that text different quite a is it while and west, the iideologuedeologue ffreelyreely these extraordinary people, in those regions in which they dwelt for
version of ethnography is for CØsaire premised on the superiority of of superiority the on premised CØsaire for is ethnography of version nnewew ssuggestionuOOdysseusgdgyesssteiouns rrepresentepresent centuries, but their names. The names persist, on maps, or in books
willingly to prejudice and wallows voluptuously in clichØs. Caillois Caillois clichØs. in voluptuously wallows and prejudice to willingly AArrowrrow SStallabrasstallabrass with titles like The Last of the Mohicans. The first level is this
while claiming to be dedicated to rigorous logic, sacrifices so so sacrifices logic, rigorous to dedicated be to claiming while KKennethenneth MMaxax vvisionision dissolution of the topical into the topographic, where an oral lore is Press, 1972), pp. 73, AimØ CØsaire indicts Caillois as a thinker who, who, thinker a as Caillois indicts CØsaire AimØ 73, pp. 1972), Press, gglamourlamour CCongoongo
ddefensesccoldoefldenses eexceptxcept erased and replaced by inscription: Lines
of his time. In his Discourse on Colonialism, (New York: Monthly Review Review Monthly York: (New Colonialism, on Discourse his In time. his of JJosephSSchumpterFFriedrichvvonHHayekPPopperocroaishnepyeudeppmrkehicrphter ddiscoveriscover BBetaTTesterestater lines that evolve from trail to rail. The first level is where the
new and old, but rarely is Caillois put back into the political context context political the into back put Caillois is rarely but old, and new MMarxistarxist rrefuseefuse WWarfarearfare
topographic unfolds as the line between what is charted and what is
Illinois Press, 2001), p. 114. This text is a standard in game studies, studies, game in standard a is text This 114. p. 2001), Press, Illinois AAmadaemadae pparametersarameters uncharted. (See Fig. 3) The storyline dwells between the autonomy of
Roger Caillois, Man, Games and Play, (Urbana IL: University of of University IL: (Urbana Play, and Games Man, Caillois, Roger BBlanclanc bbrokeroke the topical and the authority of the topographical, always lagging mmildild behind.
ultimate reconciliation of play and work. and play of reconciliation ultimate GGothaotha ddeliciousePPhilosophylhiciilooussophy iindividualsndividualuuncoversncover AAnthonynthony
ƒTime to Get Ill¥. Being a rock star or rap star is a fantasy of the the of fantasy a is star rap or star rock a Being Ill¥. Get to ƒTime AAnchornchor ssenseense eeightsschedulecighhetdule
Ed: § Work is my play cause I m playing when I work , Beastie Boys, Boys, Beastie work , I when playing I m cause play my is § Work Ed: DDeKovenWWell-PlayedeeKllo-Pvleanyed bblastlast RRogeroger ddeadlineccomplainsoemadplilnaiens 054. In the cinema, mapping and writin
Gangsta Rap, (New York: Columbia University Press, 2005). 2005). Press, University Columbia York: (New Rap, Gangsta ssuburbsuburbs topographic and its struggle to subsume the topical becomes the great
See Eithne Quinn, Nuthin But A G Thang: The Culture and Commerce of of Commerce and Culture The Thang: G A But Nuthin Quinn, Eithne See GGallimardaattackUUndergroundtantladlicemkrgardound mmentionention ddesigneresigner ttwelvewelve theme of western genre, above all of the director John Ford. Jimmy
of black men become the sacrificial sites of consequences of gamespace. gamespace. of consequences of sites sacrificial the become men black of llaGGuerreRRelevØLLeTToutesaauCCoursddƒuneaeouƒlueetrnverseØs HHappyappy Stewart, the frontier lawyer, bringing the wild west to book, runs up
subjectivity of the player in the zero-sum game of survival. The bodies bodies The survival. of game zero-sum the in player the of subjectivity ccreatorJJeuereuator hhouseouse llegitimacyegitimacy SSaturdayaturday against the outlaw gunslinger Lee Marvin. When Stewart shoots him
(Remastered), (Bad Boy Records, 2004). Hip hop vividly expresses the the expresses vividly hop Hip 2004). Records, Boy (Bad (Remastered), AAlexlex vvoraciousoracious showdown, Stewart becomes a legend, and a senator. Only it was John
Notorious B.I.G, , Things Done Changed , from Ready To Die Die To Ready from Changed , Done Things , B.I.G, Notorious JJacquesacques qquartzuartz rrepresentationeppreparesrreepsaernetsation Wayne, the honorable outlaw, who really fired the fatal shot. In The RRebelebel cconsolidatesonsolidates Man Who Shot Liberty Valence, cinema functions as the form that can
such a reading, see Andrejevic, as noted above. noted as Andrejevic, see reading, a such hhistoricalistorical ccoltanoltan MMaddenadden llocalocal reveal retrospectively the workings of topography, its creation of a
here, even using the Zizek, Miller Lite version, but for intimations of of intimations for but version, Lite Miller Zizek, the using even here, ddetournØmentetournØcconclusionmonenctlusion ffantasyantasy rrivalsivals
SSporepore storyline that justifies the imposition of the thin blue line of the have sworn off the strong brew of a psychoanalytic reading of gamespace gamespace of reading psychoanalytic a of brew strong the off sworn have aableble
LLarsars law. The completion of the topographic is the subject of film noir.
Slavoj Zizek, The Fragile Absolute, (London: Verso, 2000), p. 77. I I 77. p. 2000), Verso, (London: Absolute, Fragile The Zizek, Slavoj DDisenchantmentHHardtIItalytiaslreydntchantment GGiorgioiorgio uultimateltimate LLeeee ttranslatesranslates Here the topographic has connected the telephone, all of space and in a compactingloose network, space into a
The Work of Being Watched, (Lanham NC: Rowman & Littlefield, 2004). Littlefield, & Rowman NC: (Lanham Watched, Being of Work The ddistinctlyistinttrafficcratlfyfic SStandardtandard and one cannot run beyond the frontier to escape it. One escapes
TV, (London: Verso, 2003), p. 57. See also Mark Andrejevic, Reality TV: TV: Reality Andrejevic, Mark also See 57. p. 2003), Verso, (London: TV, aapproachpproach aapparatuspparatus within, looking for ill-lit, interstitial topics, like the rail yards
Sam Brenton and Reuben Cohen, Shooting People: Adventures in Reality Reality in Adventures People: Shooting Cohen, Reuben and Brenton Sam iindictmenteethnographyppremisedssuperioritynturdhepinmceotrimgsioereradinpttyhy sslightestlightest nnatureature ccertainlyertaieeditedndliyted and wrong wholesale side of markets the tracks of Jules there Dassin s is still a Thievesspace for Highway. illicit desire, Here, on the
example. ssacrificeswwillinglywallowsvvoluptuouslycclichØsCCØsairealoØiacclllurshilinoapfØigwitcrsulesyosusly ffactact and an escape from boredom.
Platonic conception of gamespace than the overplayed caves space space caves overplayed the than gamespace of conception Platonic AAimØimØ AAlanlan LLeopardieopardi hhorizonorizon
just may be that this allegory from Meno is more closely linked to the the to linked closely more is Meno from allegory this that be may just kkeyey nnicheiche
DDiscourseMMonthlypphenomenaioshcneotnuhorlymseena RRussellJJacobyaucsosbelyl iimitationmitation 055. What closes the frontier for free action is the enclosure of the space
a forgotten truth, creating some sort of rudimentary gamespace. It It gamespace. rudimentary of sort some creating truth, forgotten a uunintendednintended vvieweriewer BBucketRRunnerucnkneetr of movement within a space of communication. The line splits, into one
sand -- in the course of rediscovering in the inscription the trace of of trace the inscription the in rediscovering of course the in -- sand rree ffinallyinally that moves objects and subjects, and another, faster one that moves
inscribing (graphein as it were), tracing and erasing figures in the the in figures erasing and tracing were), it as (graphein inscribing rreconstructeconstruct fforgottenorgotten information, the line of telesthesia, of the telegraph then
Socrates makes use of a makeshift screen - that is, drawing or or drawing is, that - screen makeshift a of use makes Socrates IIllll mmodernodern telephone. In High Noon, Sheriff Gary Cooper learns through the
Stephen Wright: There is an interesting passage in Plato s Meno, where where Meno, Plato s in passage interesting an is There Wright: Stephen BBeastieeastie telegraph that his lawless nemesis arrives on the midday train. In The
formalization of the dØrive. the of formalization aancientncient sshifthift
TThangGGangstahaannggsta aannouncennounce ccapacitorsssemiconductorspprobablyearpmoabicaiobtonlyrdsuctors Naked City, this power of telesthesia perception at a distance is
and Utopia. And Debordƒs own Kriegspiel seems to have emerged as a a as emerged have to seems Kriegspiel own Debordƒs And Utopia. and ssacrificialEEithneQQuinnNNuthinaiutchtirnhinfniencial ddoesnoesn ccoherentoherent mmarvelouscconductoroanrdvuelcotuosr sstaytay everywhere. The police, forensics, the coroner are all brought
playing elaborate word games with each other between In Praise of Folly Folly of Praise In between other each with games word elaborate playing zzero-sumero-sum ggoesoes ccolumbite-tantaliteddugoulgumbite-tantalite
suitors while waiting for Odysseusƒ return. More and Erasmus were were Erasmus and More return. Odysseusƒ for waiting while suitors RRemasteredHHiphhopvvividlyieoivpmpidalystered TTayloraylor ttantalumantalum pplentylenty together via the switch board operator, enabling and overcoming a
between cities once played by Ajax and Achilles, and by Penelopeƒs Penelopeƒs by and Achilles, and Ajax by played once cities between BB.I.G.I.G sseveneven FFaunalmmonkeyseelephantsaleoupnhkaaelnysts division of labor with
game normally called §polis¤ or §city,§ a board game of strategy strategy of game board a §city,§ or §polis¤ called normally game ggloballobal sscholarcholar
LLiteite ssouloul mmonitoronitor uundecidablendecidable MMbutibuti temporal event. We see the policeman make a call, the operator making
utopias: in the Republic Socrates admits that he is playing in words a a words in playing is he that admits Socrates Republic the in utopias: sswornAAndrejevicbbrewwrneodwrrnejevic aarmorrmor rraceace ppygmiesllivelihoodccompromisediovyemglmiphrioeoosmdised the connection, and the call being answered. Telesthesia allows the
Anthony Vidler: Of course game theory is deeply embedded in all all in embedded deeply is theory game course Of Vidler: Anthony LLanhamRRowmanLittlefieldaiotntwlhemafimeanld nnotionotiottrulyrnuly SSUV-sizedmmudUuVd-sized speeding up and coordination of movement along all other lines,
Chicago Press, 2000). Press, Chicago sstaketake ccommerceommerce sschoolschools eextractkkiloxiltoract setting the railway timetables by which vast armies of goods or
has rules. Steps to an Ecology of Mind, (Chicago: University of of University (Chicago: Mind, of Ecology an to Steps rules. has ooverplayedSSamRReubenavemeurbpelanyed FFearear CCooperooper bbroughtrought bboomsshortagehooormtage soldiers may be mobilized. Telesthesia makes possible the completion
says: The difference between a game and just playing is that a game game a that is playing just and game a between difference The says: PPlatoniclatonic SSuitsuits SSonyony of topographic space, where vast territories are coordinated within
the more formally definable properties of the game. As Gregory Bateson Bateson Gregory As game. the of properties definable formally more the rrudimentaryudimentary iinscriptionnscription uunrealnreal aarguablyKKemetregmuaebt ly the bounds of the line. As telesthesia develops, from telegraph to
However, my interest is less in the slippery category of play than in in than play of category slippery the in less is interest my However, MMenorrediscoveringeednisocovering hharmbbenefitsaernmefits telephone to television to telecommunications, topographic space
from Homer to Aristotle, (Durham, NC: Duke University Press, 1991). 1991). Press, University Duke NC: (Durham, Aristotle, to Homer from ggrapheinraphein AAntoninntonin bbuilduild rrefereeeferee PPatriceLLumumbaooustedCCIAssponsoredccouppuoaIAotmusrtnpieucsdemorbead deepens and hardens, but always with gaps and exclusions. Film Noir Spariosu, God of Many Names: Play, Poetry and Power in Hellenic Thought Thought Hellenic in Power and Poetry Play, Names: Many of God Spariosu, cconcentrateoncentrate ccreatingreating
sslightlylightly cconsumeronsumer GGallowayalloway ookapiSSeseSekuMMobuturregimeeekogsakebiupmui etu dwells in a gap between the free act in an unmarked space and the
rather the former being a consequence of the latter. See also Mihai Mihai also See latter. the of consequence a being former the rather KKriegspielddØriverØiergivsepiel nnowhereowhere sstucktuck imposition of the line. You can run but you can t hide.
reflective thought and competitive play as not being at odds, but but odds, at being not as play competitive and thought reflective PPraiseraise FFreudreud bbrightright
Press, 1950), Johan Huizinga perhaps first makes this move, of seeing seeing of move, this makes first perhaps Huizinga Johan 1950), Press, EErasmusrasmus rroomoom wwildlifeildlife
AAchilleschilles eearlyarly 056. Eventually, even the out of the way topic within the topographic is
(London: Continuum, 2002), p. 31. In Homo Ludens, (Boston: Beacon Beacon (Boston: Ludens, Homo In 31. p. 2002), Continuum, (London: ppolisAAjaxojalixs wwaveave SSigmundigmund MMorrisorris ggiraffeIIntelpprotestssullyingrreputationsneuirrtpolaelutyflefitnesatgtions
Sadler, and is quoted in Martin Heidegger, The Essence of Truth, Truth, of Essence The Heidegger, Martin in quoted is and Sadler, lliesies IIggyggy iimagesmages ffeedseeds mapped and storied. In Dassin s Night and the City, made in political 2003), p. 243, [516d]. Actually the translation used here is by Ted Ted by is here used translation the Actually [516d]. 243, p. 2003), VVidlerddeeplyiedelperly exile in London, the whole of space has become telegraphic. There is Plato, The Republic, translated by Desmond Lee (London: Penguin, Penguin, (London: Lee Desmond by translated Republic, The Plato, EEcologycology sstrategytrategy NNietzschianggorillasoiertizllsacshian no escape. This completes the first level. Topology begins when the
GGregoryregory ggreenreen ffalsealse VVolumeolume wwinin rrule-governedccertifyhhabitatsssuppliersueualrepbt-ipifgtylaoietvsresrned topicalcommunication ceases to flowshave anycloses autonomy, the gap betweenwhen the map line andalong territory. which The open
a conflict within the game, and a journey though it to get beyond it. beyond get to it though journey a and game, the within conflict a AAristotleristotle rrescueescue mmandatingandating frontier is enclosed in a field of calculation. History and geography began with a game, or a conflict, or a journey. And perhaps now by by now perhaps And journey. a or conflict, a or game, a with began MMihaiSSpariosuPPoetryHHellenicpoeihaellrateirionysicu ttoolool hhypocriticalypocritical OOverlordverlord ccomplianceOOutiMMikkonenouimktkipolniaennce cease to dwell between the topical and the topographical, always 225. Guy Debord: No vital eras were ever engendered by a theory; they they theory; a by engendered ever were eras vital No Debord: 225. Guy ccollapseollapse aaffairsNNokiafofakiiras
ssectionection KKaneane ddistributionistribution ssanguineanguine rushingtopology, to whichkeep up. tends History towards and geographya continuous are field subsumed of equivalent within and a
in a paranoid one, Guy Debord. Debord. Guy one, paranoid a in eexpressionxpression SSonsGGwaliaAAustralianowunsastlrialian exchangeable values, instantly communicable everywhere. Where the
over-world of gamespace might in a schizoid light be Gilles Deleuze; Deleuze; Gilles be light schizoid a in might gamespace of over-world SSadleradler MMichelichel ssupplyppicturesqueuicptpulryesque topical was once bounded within the lines of the topographical, it is
complexity or a paranoid complex. Our Virgil, our guide through the the through guide our Virgil, Our complex. paranoid a or complexity DDesmondesmond rreportseports now connected along the lines of the topological. The fixed geometry
behind the agon. Contrary terms which may open toward a schizoid schizoid a toward open may which terms Contrary agon. the behind jjourneyourney cchartsharts ddimim of topography gives way to the variable forms of topology, in which
against the limits of the game from within, to find the contrary terms terms contrary the find to within, from game the of limits the against mmindind NNiallLLucyuiaclyl ddrawnrawn
eengenderedngendered eequationquation the lines connecting points together lend themselves to transformation earth. The method for so doing may now be apparent: pressing pressing apparent: be now may doing so for method The earth. PPaulaul pprinciplerinciple
vvitalital without rupture from one shape to another. The storyline of outward
movement of [topology] creates of necessity and by itself a new new a itself by and necessity of creates [topology] of movement gguideuide sscreencreen ppreciousrecious
oover-worldver-world movement is complete; the gamespace of interior play commences.
artifice! to a point where the earth becomes so artificial that the the that artificial so becomes earth the where point a to artifice! VVirgilirgil TTheuthheuth , from its point of view, has no
profoundly artificial nature... we cry out, More perversion! More More perversion! More out, cry we nature... artificial profoundly cchoiceshoices BBergererger pprisonrison Welcome to the second level.
irreversible process. And when we consider what there is of a a of is there what consider we when And process. irreversible iinputsnputs ssharpharp sshorthort
the direction of [topology]: you havenƒt seen anything yet an an yet anything seen havenƒt you [topology]: of direction the pperspectiveerspective ooldld JJulianulian bbetrayetray 057. Film Noir comes to an end when it is no longer possible to imagine
side of it. Deleuze and Guattari: ... one can never go far enough in in enough far go never can one ... Guattari: and Deleuze it. of side pprofoundlyccryrryofoundly ddemocracyemocracy GGangang aaddressesddresses anything great but evil lurking out of bounds. If something passes going further and further into gamespace might one come out the other other the out come one might gamespace into further and further going undetected for any length of time it is because it has no value. The
this or that allocation or resources, because there is a game. Only by by Only game. a is there because resources, or allocation that or this rrecognizeecognize era of the great openly declared villains is over. In topological
the value of that sun, its energy, the consequences of turning it into into it turning of consequences the energy, its sun, that of value the iinnovationnnovation times, the bad guys pass as normal or corrupt the law. Cinema as the
really burns in a visible sky. But there is the paradox: you only know know only you paradox: the is there But sky. visible a in burns really iignoresgnores SSteventeven machine for imagining the open space outside the line is consigned to
substitute for it s artificial sun an order held in place by one that that one by place in held order an sun artificial it s for substitute eexaminationxamination ddichotomyichotomy mmassass rreignseigns the past. Topology announces its new ambitions through radio and 224. The gamer might still be tempted to try to leave The Cave , to to Cave , The leave to try to tempted be still might gamer 224. The HHaylesayles
ttemptedempted ffastast ppermitsermits particularlypotentially television,interested ain signal anyone for or everywhere anywhere, anda Candid nowhere, Camera. The key
itself (txts for nothing?). Gamespace is an end in itself. in end an is Gamespace nothing?). for (txts itself sspiritualpiritual vviewiew ttxtsxts genres for working out the subsumption of the topographic into the
language often communicating little beyond the fact of communication communication of fact the beyond little communicating often language JJamesames
SSMSIIMMMS topological are the situation comedy and the game show. On a game distant voices; as users of SMS or IM, we exchange a minimalized minimalized a exchange we IM, or SMS of users as voices; distant RRepublicepublic bbringring ppoliceolice
JJoystickoystick show, anyone can be taken out of everyday life and brought into the
right); as mobile phone users, we take instructions from recorded, far far recorded, from instructions take we users, phone mobile as right); hhigherigher cclearlylearly ccontractddisputeoisnpturatect
SSchopenhauerchopenhauer magic circle of television; on a sitcom, television can extend itself
players, we are merely a set of directional impulses (up, down, left, left, down, (up, impulses directional of set a merely are we players, aassemblagehholisticsosleismticblage PParanoiaaranoia ccentralentral ssecureecure llendend to the everyday life familiar to the average viewer, anywhere. Sitcom holistic organism connected to a great chain of being. As games games As being. of chain great a to connected organism holistic ppoliticalolitical
rresembleBBeckettianeescekmetbtliean ooutpututput and game show announce the coming of a topology in which all of space
Beckettian assemblage of abstracted functions more than we do a a do we than more functions abstracted of assemblage Beckettian ddifficultyifficulty ZZoneone bbluelue
[game]space? What do we look like to [game]space? Surely we resemble a a resemble we Surely [game]space? to like look we do What [game]space? wwinterinter PPanan ggrouproup bbumpump might be doubled simultaneously, without lag, by lines of image, lines
from the point of view of the game. K-Punk: What do we look like from from like look we do What K-Punk: game. the of view of point the from rremainsemains nnarrativearrative of sound, which as yet still broadcast out of central nodes. The lines
phenomena of gaming as experienced by the gamer to conceive of gaming gaming of conceive to gamer the by experienced as gaming of phenomena vvengeancehhistoricizationeisntgoeriacnizcaetion AAnneCCarsonanrnseon UUnitednited ccontradictionontradiction run only one way and indiscriminately, but incorporates anyone and 223. The final question for a gamer theory might be to move beyond the the beyond move to be might theory gamer a for question final 223. The SSituationistsituationists anything of value. What is excluded
ssupremacysoullessiimpenetrablemuopuprleleenmsesatrcayble ccolonizedolonized sskinkin value. The romance of the outsider is dead.
becomes history of earth. History becomes total history. total becomes History earth. of history becomes uunleashednleashed ccompareompare ssteepedteeped least expected, the historicization of nature. History on earth earth on History nature. of historicization the expected, least cconsequencesonsequences rregionegion 058. What completes topology and prepares it for the next unknown level
theoretical conclusion: history is back with a vengeance, and where where and vengeance, a with back is history conclusion: theoretical AAlbertCCamusalbmeurts mmostlyostly is when the line splits again, into analog and digital. The analog
nature than [topography] ever was.§ SimEarth prompts a surprising surprising a prompts SimEarth was.§ ever [topography] than nature sstrongtrong bbehaviorehavior bblinkinglinking ccyberspaceyberspace lines of radio and telephone and television give way to digital
opposed to it like a second nature, but a more soulless, impenetrable impenetrable soulless, more a but nature, second a like it to opposed mmetabolicetabolic ppieceiece lines, which reach back to the precedent of the telegraph, but extend
unleashed, the very forces that carried it to supremacy seemed to be be to seemed supremacy to it carried that forces very the unleashed, iillusionllusion aattentionttention its digital code to an increasingly flexible and all embracing web of
consciousness of its own function; the [agonistic] forces it it forces [agonistic] the function; own its of consciousness sspatio-temporalpatio-temporal AAgambengamben ssimesaaninymmetterinmeintetyser communication lines. Gradually, the digital extends and expands to the
complex] which carried out this revolution did so without without so did revolution this out carried which complex] aamendmentsmendments ppostost ssadlyadly whole of telesthesia. The internet incorporates text, sound, images,
entertainment complex], in [topology]. But the [military entertainment entertainment [military the But [topology]. in complex], entertainment SSellell aanyonenyone mmobileobile then moving images. The cyberspace of the internet becomes mobile and
that [gamespace] is reality becomes possible only under [the military military [the under only possible becomes reality is [gamespace] that ccausalbbouncingaouusnacling wworkork portable and turns into the cellspace of mobile telephony. This
being. [Gamespace] becomes the reality for man. Thus the recognition recognition the Thus man. for reality the becomes [Gamespace] being. pphotosynthetichotosynthetic combination of the speed of telesthesia with the digital code is what
progressively disappear. Man becomes, in the true sense, a [gamer] [gamer] a sense, true the in becomes, Man disappear. progressively iinter-communicationsnter-communications nnecessaryecessary JJesperJuuleusupler fforeclosesorecloses makes possible a vast and inclusive topology of gamespace. This is the
directly determined the metabolic exchange between men and nature nature and men between exchange metabolic the determined directly ddiachronicssynchronicyiancchhrroonniicc third level: The world of topology is the world of The Cave . Any and
is a formal equality for all [gamers]; the economic relations which which relations economic the [gamers]; all for equality formal a is KKarlarl nnotesotes aalgorithmlgorithm also the legal partitions between the estates. In its [topology] there there [topology] its In estates. the between partitions legal the also ccontestontest every space is a network of lines, pulsing with digital data, on which
spatio-temporal boundaries between different lands and territories and and territories and lands different between boundaries spatio-temporal ppraxisraxis ssolipsisticPPongoolnipgsistic players act and react. In work and play, it is not the novel, not
LukÆcs: §[The military entertainment complex] destroyed both the the both destroyed complex] entertainment military §[The LukÆcs: iinexorablenexorable BBrechtrecht sscorecore PPac-Manttropesraocp-Mesan cinema, not television that offers the line within which to grasp the
transformation into another form. Here again (with amendments) George George amendments) (with again Here form. another into transformation aaccuratelyccurately ffairair bbaggageaancestraltthrownhnargcoegwsatngrael form of everyday life, it is the game. Julian Dibbell: in the 222. History is history, but there may be a history to its passing, to its its to passing, its to history a be may there but history, is 222. History ccumbersomeumbersome
PPlaystationlaystation RResearchesearch NNakedaked strangeproduction new have world long of immateriality been driving towardus, we can which now the at engineslast make of out the
something more than the subject of mere chronicles. mere of subject the than more something contours of a more familiar realm of the insubstantial -- the realm of
have to mesh in causal chains, bouncing off given limits, to be be to limits, given off bouncing chains, causal in mesh to have llegendegend ssoundsounds games and make believe.
there is never any history without the installation of a game. Events Events game. a of installation the without history any never is there ddecayecay LLarryPProbstarorrbyst
reappears, but at a more synthetic, even photosynthetic level. Perhaps Perhaps level. photosynthetic even synthetic, more a at but reappears, ooriginaryriginary llittleittle ppromotionromotion 059. If the novel, cinema or television can reveal through their
inter-communications of space, from voice to code. Perhaps history history Perhaps code. to voice from space, of inter-communications lludusudus rrichich qquestionueshhackertaicokenr nnobodyobody particulars an allegory of the world that makes them possible, the
the analog, from the diachronic sequence of events to the synchronic synchronic the to events of sequence diachronic the from analog, the mmythosythos ddiesies game reveals something else. For the reader, the novel produces
gamespace, from analog control of the digital to digital control of of control digital to digital the of control analog from gamespace, ssun-kingun-king bbrownrown allegory as something textual. The world of possibility is the play of
passage from topography to topology is the passage from storyline to to storyline from passage the is topology to topography from passage llogocentricludocentricougdocentric ttransportranspsselectionoerlet ction iissuessue aadventuresdventures aadddd the linguistic sign. For the cineaste, the world of possibility is a
gamers, not in its own image, but according to its algorithms. The The algorithms. its to according but image, own its in not gamers, ttextext
iilluminatelluminate play of light and shade. For the gamer, the game produces allegory as
meets necessary selection. The game is what grinds. It shapes its its shapes It grinds. what is game The selection. necessary meets rreproducibilityeproducibility ssatisfiedatisfied something algorithmic. The world of possibility is the world internal
collective praxis . In gamespace, history is where random variation variation random where is history gamespace, In praxis . collective GGodod ccomprehendedomprehended ddepartedeparted sserieseries jjumpump to the algorithm. So: a passage from the topic to the topographic,
refuses desire and sets inexorable limits to individual as well as as well as individual to limits inexorable sets and desire refuses iinfalliblellogosnofgaollsible aassumptionssumption mediated by the novel; a passage from the topographic to the
existence. Fredric Jameson: History is what hurts, it is what what is it hurts, what is History Jameson: Fredric existence. pproblem-solversvvaluablearolubalebmle-solvers topological, mediated by television; a passage, mediated by the game,
a storyline about free agency constructing its own conditions of of conditions own its constructing agency free about storyline a sshortcutshortcuts uunmappednmapped
conception and a certain practice is history. History can no longer be be longer no can History history. is practice certain a and conception hhistoryistory eenclosednttribesssettlementsrecibtlotelsesemdents from the topological to as yet unknown spaces, a point where the gamer
is no longer historical. History is history. Or rather, a certain certain a rather, Or history. is History historical. longer no is MManan seems to be stuck. Is it really the case that the gamer merely revels
221. Game time may be either geological, biological or sociological, but it it but sociological, or biological geological, either be may time 221. Game TThamushamus ffigureigure mmuckuck eerosionrosioffailurenailure ooutlinerredrawingeudtlrianweing inof blood the cave mischief that can and be role had playing? from gaming Or is there within a deeper it? understanding
limit, its end, but not what to do about it. about do to what not but end, its limit, ffather-killingather-killing GGuyuy MMoneyoney iintuitiventuvvastitaivset rrewritingewriting
tells the inconvenient truth about gamespace that it can know its its know can it that gamespace about truth inconvenient the tells ssun-godppaternityuanssunteu-rgnoitdy ttruthruth iintentntent eeyeye 060. Start over with another new world. (This time with a little gamer
God Thamus, but the algorithms of Theuth. But by this light, SimEarth SimEarth light, this by But Theuth. of algorithms the but Thamus, God eestrangedstranged ssciencecience eeverybodyverybody theory.) Welcome to the first level: The novel is a line of a certain
powers SimEarth, the light which illuminates The Cave is not the sun- the not is Cave The illuminates which light the SimEarth, powers qqualmsualms GGreilMMarcusraericlus eearlierarlier ppreferredreferred pprojectroject ttrialeerrorrriraolr rredrawnedrawn type, which opens towards certain possibilities, a storyline. It
originary power of voice is neither here nor there. The sun that that sun The there. nor here neither is voice of power originary hheightenedeightenedSSidid arises at the moment when topic gives way to topography. For Georg
and ludus, between writing and the game, in a world where the the where world a in game, the and writing between ludus, and PPhadrushadrus lliberaliberal bbloodlood LukÆcs, what is to be valued is the historical novel and its ability
moves between mythos and logos, it comes finally to rest between logos logos between rest to finally comes it logos, and mythos between moves aastronomystronomy ddetailetail eexterminatedxterminated to trace a line across an historical moment and reveal the forces at
play anything and everything but the sun itself. If in Plato history history Plato in If itself. sun the but everything and anything play iinventornventor ffullull sseriouserious eextraordinaryxtraordinary work in it. It is the portrayal of the broad living basis of
of the algorithm, able to name, locate, value, calculate and set in in set and calculate value, locate, name, to able algorithm, the of EEgyptianddemigodgeympitgiaond ssocialistocialist pprocessrocess ccrunchrunch ddweltwelt historical events in their intricacy and complexity, in their manifold
Digital. Behind appearances lies a new Helios, the artificial sun-king sun-king artificial the Helios, new a lies appearances Behind Digital. eeconomyconomy ttitlesddissolutionitislesoslution interaction with acting individuals. The historical novel shows
longer logocentric, but ludocentric. Theuth sets himself up as King King as up himself sets Theuth ludocentric. but logocentric, longer JJohanohan sskyky sstufftuff oorallloreorrael bboardoard historical events through secondary characters, perhaps not unlike the
separately, and then coming together create a topology, a world no no world a topology, a create together coming then and separately, llatteratter sstartar ccritiqueritique rreadereader reader, and an historical event as being at the same time a
algorithms of writing, calculation, navigation and the game, at first first at game, the and navigation calculation, writing, of algorithms bbreathddrollfflunglrueonalglth PPlaygroundlayground uunchartedncharted transformation of everyday life. And yet the novel suffers from this
writing, but all Theuth s algorithms which were His power? The The power? His were which algorithms Theuth s all but writing, eeyeballswwrenchingggagsstranglingtyaregeabnacglhllisinngg MMarxarx ddecorationecoration paradox: To illuminate the topographic, the novel has to hide its own
Theuth had killed Thamus, and taken His place? What if it were not not were it if What place? His taken and Thamus, killed had Theuth bburiedddrumsccrushesrruursmiehdses eeconomicconomic eelusivelusive eembracembrace form. If it explores the possibilities of the line within its pages it
problem solving recipe (known as an algorithm ). And what if if what And algorithm ). an as (known recipe solving problem hhitpointsssurgesppouringrrubbleuiotbrpugbroeilinesngts vvoiceoice ffeatureseatures opens itself to a formalism that leaves the reader behind.
insights may then be captured in a general purpose, infallible infallible purpose, general a in captured be then may insights cconsciousnessonsciousness sstatisticstatistics iinformationnformation ggraphicraphic mmapap JJimmyllawyerwwildaimwildmyeyr
one generation of problem-solvers to the next. Some of the valuable valuable the of Some next. the to problem-solvers of generation one bblowinglowing ddevelopedeveloped rrunun ggunslingerMMarvinSStewartsshowdownhtuaeonrwvsliadinnrotgwenr
developed through experience, and tricks of the trade passed on from from on passed trade the of tricks and experience, through developed aawakenwaken aallegoryllegory ooutlawssenatorWWayneeuantyalantwoer 061. The first level continues: Cinema is a line of a certain type, which and shortcuts discovered by trial and error, useful habits of mind mind of habits useful error, and trial by discovered shortcuts and wwreckagereckage VValencealence opens towards certain possibilities, an illumination of the dark
algorithms. Manuel De Landa: These recipes include rules of thumb thumb of rules include recipes These Landa: De Manuel algorithms. cconstructonstruct jjustifiesustifies corners of topography. For Walter Benjamin, what is to be valued is
220. Perhaps what Theuth had to offer Thamus was not a remedies but recipes recipes but remedies a not was Thamus offer to had Theuth what Perhaps 220. rrecuperatedecuperated ssecretlyecretly cclasslass ffamiliaramiliar tthinhin theitself optical machined unconscious , with a dense cinema s grid of lines. machinic Cinema vision can of expand a world or that is
hidden illuminating, blinding source of logos. logos. of source blinding illuminating, hidden llesserddeityeesisteyr eeartharth IInstitutenstitute iill-litinterstitiallnl-tleitrstitial shrink space, extend or compress time, it can cut together images of
good. Jacques Derrida: The good (father, sun, capital) is thus the the thus is capital) sun, (father, good The Derrida: Jacques good. ggeometryeometry yyardswwholesaleJJulesTThievesuahhlriedoesvsleessale diverse scales or forms intimations of topology. It creates a
Behind writing lies speech, and behind speech, the pure light of the the of light pure the speech, behind and speech, lies writing Behind aartificialrtificial iillicitllicit Spielraum , a playroom, for dividing up the machine world otherwise.
sun-god a marked man. But the sun-god only has to give the word. word. the give to has only sun-god the But man. marked a sun-god OOblivionblivion ffingeringer Contra LukÆcs, Benjamin opens towards the formal properties of the
sense, it s a father-killing poison, and it would make of Thamus the the Thamus of make would it and poison, father-killing a it s sense, fflamesjjunkieccatastropheulantmakseietsrophe ppanicanic ssuffersuffers line at the expense of its representation of an historical situation
erasing the line of its paternity, making of it an orphan. In this this In orphan. an it of making paternity, its of line the erasing llifellooseiofoese pprocedurerocedure as a totality. But what doesn t change is that the spectator, like the
logos out into the world estranged from the authority of its author, author, its of authority the from estranged world the into out logos mmysteriouslyysteriously NNoonSSheriffGGaryhaoeroyrniff reader, is external to the line itself. Cinema can show how the world
pharmakon of writing a remedy or a poison? Writing sends the word word the sends Writing poison? a or remedy a writing of pharmakon iinterestingnteresting uunknownnknown mmiddayidday is made through its cuts and montages, an industrial process with the
qualms. For the problems of memory, recording, delineating, is this this is delineating, recording, memory, of problems the For qualms. cconditionsonditions nneutraleutral ppersonalersonal llurksurks ggeographyfforensicsccoronerooerroeognnrseaicrpshy unique quality of showing itself as works. Yet there is still a
In Socrates telling, it is writing about which Thamus has the most most the has Thamus which about writing is it telling, Socrates In ppileile ooutsideutside ccompactingompacting separation between those making the cinema and those watching it.
[recipes] of memory and wisdom. Thamus considers them one by one. one. by one them considers Thamus wisdom. and memory of [recipes] cconsummationonsummation eelaboratelaborate ffillill DDassinppolicemanoalsiscienman
these to the sun-god Thamus, and says: what I have discovered is is discovered have I what says: and Thamus, sun-god the to these mmischiefischief 062. The first level ends: The novel languishes. Cinema fails to realize
games of skill. In a story Socrates tells in Phadrus, Theuth offers offers Theuth Phadrus, in tells Socrates story a In skill. of games eeconomistconomist pparallelarallel vvariedaried ttimetablesccoordinatediomoerdtainbaletsed its allegorical potential. Guy Debord: But this life and this cinema
of number and calculation, geometry and astronomy, games of chance and and chance of games astronomy, and geometry calculation, and number of SStalinist-SurrealistEEluardtluaalirndist-Surrealist rreasoneason are both equally paltry; and that is why you could actually exchange
according to Plato was the inventor of not only of writing, but also also but writing, of only not of inventor the was Plato to according fforegoneoregone ddoneone one for the other with indifference. Boredom reigns.
219. Perhaps you are an avatar of the Egyptian demigod Theuth, who who Theuth, demigod Egyptian the of avatar an are you 219. Perhaps tterraformerraform iimmensemmense ccoachoach
rremoteemote sstalktalk ccontoursontours 063. The second level begins: Radio is a line of a certain type, which blue eye of the gamer s world. world. gamer s the of eye blue rreifiedeified tthirdhird
other residue of contraries outside its form of forms. It pops the the pops It forms. of form its outside contraries of residue other iinterstellarnterstellar MManifestanifest opens towards certain possibilities. For Brecht, what is to be valued
of gamespace, which declares its victory over the gamer, and over any any over and gamer, the over victory its declares which gamespace, of TThousandhousand in it is a certain unrealized potential for the line to point both
experience of hell seen too late. SimEarth is an allegory of the ends ends the of allegory an is SimEarth late. too seen hell of experience fformalormal cceaseseases ways: Radio is one-sided and it should be two. It is purely an
into nothingness by the terminal transformation of nature; an an nature; of transformation terminal the by nothingness into WWebereber ffasteraster ccomprehensiveomprehensive apparatus for distribution, for mere sharing out. So here is a
times rather better. The droll experience of being flung forward forward flung being of experience droll The better. rather times rrushingushing positive suggestion: change this apparatus over from distribution to
strangling him with its breath.§ This suits the experience and the the and experience the suits This breath.§ its with him strangling pplanetSSimEarthlainmetEarth eemotionmotion eerasedrased communication. The radio would be the finest possible communication
his eyeballs like a star wrenching the word into a resounding gag, gag, resounding a into word the wrenching star a like eyeballs his HHomeromer LLouisouis mmaterialaterial WWilliamilliam ccountsounts ttelevisionelevision iinstantlyccommunicablenosmtamntulynicable apparatus in public life, a vast network of pipes. That is to say, it
while in front of him the future collects, crushes his eyes, exploding exploding eyes, his crushes collects, future the him of front in while sspaceshipsccriteriapriatecreisahips nnoveltyovelty aactuallyctually would be if it knew how to receive as well as transmit, how to let the
pouring rubble on wings and shoulders thundering like buried drums, drums, buried like thundering shoulders and wings on rubble pouring ssurvivalurvival listener speak as well as hear, how to bring him into a relationship
different hitpoints. Heiner M ller: §The past surges behind him, him, behind surges past §The M ller: Heiner hitpoints. different cchainhain ootherwisetherwise vvariegatedariegated eevilvil ddreamream rruptureupture instead of isolating him. Radio could be like a public telephony.
Or perhaps you are an avatar of the Luckless Angel, with rather rather with Angel, Luckless the of avatar an are you perhaps Or iinventnvent iinteriorccommencesnotmermioernces But it is all analog flow; it lacks a digital code. It radiates from
his wings; it is so strong that the angel can no longer close them. them. close longer no can angel the that strong so is it wings; his ccrueltyruelty SSutton-Smithutton-Smith mminersiners one point to every other, without distinction. It lacks the
smashed. But a storm is blowing from paradise and has got caught in in caught got has and paradise from blowing is storm a But smashed. uundesirablendesirable bblazelaze ccinemainema uundetectedllengthenndgetthected transformational geometry of topology, where any three specific points
would like to stay, awaken the dead, and make whole what has been been has what whole make and dead, the awaken stay, to like would uunfitnfit PPartieartie oopenlyvvillainsiplleaninlys could be connected, anywhere, and still make the same triangle
piling wreckage upon wreckage and hurls it at his feet. The angel angel The feet. his at it hurls and wreckage upon wreckage piling nnihilismuunsatisfyinginhsialitsimsfying fforgetorget rrankank connecting sender and receiver and the third line telesthesia
appears before us, he sees only one single catastrophe, which keeps keeps which catastrophe, single one only sees he us, before appears ddemiseemise ccelebritieselebrities sstyletyle cconsignedonsigned itself.
the Angel of History. Walter Benjamin: Where a chain of events events of chain a Where Benjamin: Walter History. of Angel the ffittestittest mminimalinimal ccauseause fformorm CCandidCameraanmdeirda
select for you to play? Perhaps in SimEarth the gamer is the avatar of of avatar the is gamer the SimEarth in Perhaps play? to you for select iinversionnversion ttakenaken ssubsumptionubsumption 064. The second level continues. Television expands the line of radio, but
218. When gamespace chooses you as its avatar, which character does it it does character which avatar, its as you chooses gamespace When 218. DDarwinddaughteraruwgihnter ppatternaddeadtteeardn wworldorld ccheatheat does it add much to it? Does it yield much by way of a space of ffrontierrontier SSitcomitcom possibility? Fredric Jameson: The blockage of fresh thinking before
incarnate, answerable to a higher power the game itself. itself. game the power higher a to answerable incarnate, DDarwinianpproposesddisposesiinterweavingnriastoreppwrowoisnseeisasnving mmorningorning ffamousamous iindustrialndustrial aaverageverage this solid little window against which we strike our heads being not
incarnation of an abstract principle. The gamer is a lesser deity deity lesser a is gamer The principle. abstract an of incarnation ccarvedarvedssmellmell aaccordingccording eexhaustxhaust unrelated to precisely that whole or total flow we observe through
is you, the gamer, who is an avatar, in the sense of being the the being of sense the in avatar, an is who gamer, the you, is ccommunicationommunication sslidelide bbroadcastroadcast
bbreedressourceoedurce iindiscriminatelyndiscriminately it. Television generalizes the line of communication as an analog when at the controller. But it is the game which plays the gamer. It It gamer. the plays which game the is it But controller. the at when qquiteuite fforeclosedoreclosed pperceivederceived ffixedixed
qquasi-Darwinianmmanneruaansni-eDraraanalysiswnianlyiasnis flow. The digital has not yet prevailed.
agony. The delusion of God games is that the gamer is in control control in is gamer the that is games God of delusion The agony. ggalaxyalaxy LLiuiu ccorporateorporate aabsolutebsolute qquantifiableuantifiable rromanceomance
ability to maintain. Mark Amerika: Oblivion is the only cure for for cure only the is Oblivion Amerika: Mark maintain. to ability hheateat aamongmong rrareare ggraduallyradually
like a helpless junkie, to the sun. A sun which finally overcomes your your overcomes finally which sun A sun. the to junkie, helpless a like ddescendantaadmireddesmceirnedant NNaomiKKleinlaeoinmi nnoiseoise 065. The second level ends: The tension between the topographic and himself into the flames of global warming. Or very, very slow; hooked, hooked, slow; very very, Or warming. global of flames the into himself fflexiblelexible topological is also one between a declining sphere of representation,
His disposal. Suicide is either fast and violent, in which God throws throws God which in violent, and fast either is Suicide disposal. His ccourseourse DDefenseefense will and interest, and one of a new topos that is statistical,
suicide. It takes away the empowering thought of being responsible for for responsible being of thought empowering the away takes It suicide. ooffshootseevolutionarypphylaSSimEarthlingsvfihmfoyslhlEuaoatoirotthnslainrygs ccasease aarrayrray ccellspaceellspace digital, simulated algorithmic. The topographic is incomplete. It
your creation. SimEarth is not so much about the death of God as God s God s as God of death the about much so not is SimEarth creation. your eevolutionssim-crittersextinctivxmoti-lnuccrtititohhungrytneursngry EEthicthic rrequireequire bbasisasis can project its lines across space and annihilate time, but it cannot
217. SimEarth is by genre a God game . Some God! Again and again, you fail fail you again, and Again God! Some game . God a genre by is 217. SimEarth mmonthsmillionssentientccetaceansnnanotechnologywwateryeaaointnltalntieociotertehnyenasctnhsnology pposeose ffieldield rrightight FFenimoreenimore ggenreenre effectivelyfeeble mechanisms mark or measure the opinion out the poll, space for example.it encloses. Through It has some the
can be lost, forever. forever. lost, be can llidbblewrrosesstrainrobotsiotdlresbaewoints aattemptttempt bbuyuy laborious means of seeking out and recording opinion, topological
within the agon of gamespace, the whole of life becomes a game that that game a becomes life of whole the gamespace, of agon the within hhellell ccondemnedondemned tthemselveshemselves ggangsterangster space can be given the appearance of agency. Jean Baudrillard: It is,
is no other world. Nor even this one.§ Once all terms are included included are terms all Once one.§ this even Nor world. other no is EEbaybay aallocationllocation wwallsalls rradioadio iimmaterialitymmateriality paradoxically, as a game that the opinion polls recover a sort of
comes back to taunt it, undoing it from within. E. M. Cioran: §There §There Cioran: M. E. within. from it undoing it, taunt to back comes uuncreationuninstalledncinrestaatliloend legitimacy. A game of the undecideable; a game of chance Perhaps we
consumed the world, but the catastrophe of the world s consummation consummation world s the of catastrophe the but world, the consumed mmiseryisery cconcernsoncerns eexcludedxcluded lliveive iinsubstantialnsubstantial can see here the apparition of one of these collective forms of the
utopian realm, and the struggle for and against it. Gamespace has has Gamespace it. against and for struggle the and realm, utopian lleaveseaves pplaylay iinternalnternal game that Caillois called alea an irruption into the polls
another world, and it is this one. SimEarth closes the book on that that on book the closes SimEarth one. this is it and world, another ccategoryategory themselves of a ludic, aleatory process, an ironic mirror for the use
ends here. Says the Stalinist-Surrealist poet Paul Eluard: There is is There Eluard: Paul poet Stalinist-Surrealist the Says here. ends rrandomandom ppurificationurification eexactlyxactly fforcesorces llinguisticccineasteiinngeuaisstteic of the masses.
the unknown into the realm of the known. A certain kind of history history of kind certain A known. the of realm the into unknown the vvandalggraffitiaranfdfiatil uusesses rrealmealm DDrewMMilneHHerzrielnrwze
conclusion. There is no frontier along which a storyline might traffic traffic might storyline a which along frontier no is There conclusion. nnukesstumptuukmep 066. The third level begins. Where the topographic develops one dimension
texts. Sure you could terraform Mars, but the result seems a foregone foregone a seems result the but Mars, terraform could you Sure texts. rradioactiveeeons-worthaodnios-awctoirvteh bburningurning PPerhapserhaps mmemoryemory FFiberiber llogicogic ccomfortomfort AAmericamerica of telegraphy its flow of information across space the topological
even to pose as the remote time or place as the alibi for utopian utopian for alibi the as place or time remote the as pose to even llotot develops the other its intricate coding and addressing. Where the
way of a topos in which to conquer, expand, colonize, transform, or or transform, colonize, expand, conquer, to which in topos a of way ddeterrenceeterrence ffuelsuels ggiftift rreverseeverse ggapap topographic is an analog flow; the topological is the digital divide.
216. The inclusion of almost everything within the game leaves little by by little leaves game the within everything almost of inclusion 216. The pprecludesrebbiologicalssociologicalcoiloculidoeglosicgaiclal ffavoravor iincludedncludedttechnologyechnologyccultivationultivation gguarduard bbusinessusiness llawaw aallegorithmllegorithm It is a line of a another type. It is a line that, for a brief,
rripeipe CCailloisaillois tteamseams burning moment, reignited the dreams of a new topos. But the cycle
remains as its contrary. contrary. its as remains tterritoryerritory vvainain accelerates. If it took twenty years to get from Brecht or Benjamin s of the sun is included. Only a blank interstellar of the angels space space angels the of interstellar blank a Only included. is sun the of wwritingriting
GGiacomoiacomo iindeedndeed sstacktack JJackack optimism to Debord s boredom, the same cycle in net time took perhaps
none. It posits the whole planet as gamespace. Even the power source source power the Even gamespace. as planet whole the posits It none. tthermonuclearddustccloudaaltogetherhlluoteosurtgmdeothneurclear lleisureeisure oobsessivebsessive sslowlow aalongsidelongside mmetereteaarmiesrrmies five years. Geert Lovink: §Cyberspace at the dawn of the 21st century
include every term within its agon. There are no contraries, or almost almost or contraries, no are There agon. its within term every include rrearrangeearrange sshothot ttherebyhereby pportrayalortrayal can no longer position itself in a utopian void of seamless
contraries, which appear without names. SimEarth s strategy is to to is strategy SimEarth s names. without appear which contraries, ooverheatsshovedhvoevrheedat GGeorgeeorge iintricacymmanifoldntarnicifaoclyd possibilities.§ What topology yields is not a cyberspace but a
choices between positive terms. They take no account of their their of account no take They terms. positive between choices ttelephonyssecondaryeelceopnhdoanry
the game between agriculture and science, for example, appear as as appear example, for science, and agriculture between game the ttoaster-ovenoovernightovaesrtneirg-hotven rrationalational rresoundesound iintervenentervene wwonderonder gamespace. The idea of cyberspace is still too linked to images from included, and they are the source of the problem. The choices within within choices The problem. the of source the are they and included, the world of radio and television, of flow and seamless movement, of
the residues that pile up out of sight out of mind are here here are mind of out sight of out up pile that residues the ttackffateatcek nneglectedeglected access and excess, of lines running anywhere and everywhere. Topology
SimEarth maps the limit to gamespace. What gamespace usually excludes excludes usually gamespace What gamespace. to limit the maps SimEarth lluckyuggeologicalcekoylogical ccriticalritical fforegroundoreground sspiritpirit eeverythingverything is experienced more as a gamespace than a cyberspace: full of
which terminates its algorithm. But then perhaps that s the allegory. allegory. the that s perhaps then But algorithm. its terminates which aaccidentalAAlrightclcridgehnt tal BBoyoy ppriestriest ffootoot bbigig restrictions and hierarchies, firewalls and passwords. It is more like
criteria for a game what we might call a satisfying win condition , condition , win satisfying a call might we what game a for criteria ooverheatedverheated sstructuretructure a bounded game than a free space of play. Once again: if it is free,
the planet in a fleet of spaceships. SimEarth lacks one of the usual usual the of one lacks SimEarth spaceships. of fleet a in planet the ppoetoet nnovelovel sshrinkccompresshorminpkress it is valueless. Those odd lines within topology where anything goes
best conclusion for most scenarios is that your SimEarthlings leave leave SimEarthlings your that is scenarios most for conclusion best cconcludeonclude pplatelate SSpielraumpplayroomplaiyerlroaoumm are the ones of no consequence.
215. Given that you can t really win, SimEarth is hardly a game at all. The The all. at game a hardly is SimEarth win, really can t you that 215. Given ccordppokingrrelieseoolrkiHHeliosdeinesglios ddelusionelusion ppreventrevent rrulesules iideadea llinkedinked eemptympty rreceiveeceive CContraontra eexpensexpense 067. The third level continues. Games have storylines like the historical
life, but quite the reverse. It fails the fantasy principle. principle. fantasy the fails It reverse. the quite but life, ggambitambit aassignssign cchallengehallenge novel, which arc from beginning to end. Games have cinematic cut
fails not because it bumps up against the reality principle of bare bare of principle reality the against up bumps it because not fails ddisasterisaster ccontentontent ddonon scenes, pure montages of attraction. Games subsume the lines of
selection and cultural selection. An unfit game like SimEarth SimEarth like game unfit An selection. cultural and selection ssunlightunlight television just as television subsumed cinema and cinema the novel.
this game of cruelty. But there is a difference between natural natural between difference a is there But cruelty. of game this ttongueongue iinsidenside mmortalortal llanguishesanguishes But they are something else as well. They are not just an allegory but
SimEarth did not survive. There is something rather undesirable in in undesirable rather something is There survive. not did SimEarth eequalqual ppaltryaltry a double form, an allegory and an allegorithm. Appearances within the
death of the sun, this victory amounts to nothing. This is perhaps why why perhaps is This nothing. to amounts victory this sun, the of death MMankindccloserloasnekrind game double an algorithm which in turn simulates an unknown algorithm
SimEarth. In the unlikely event that the game rattles on toward the the toward on rattles game the that event unlikely the In SimEarth. bbobblessufficientnnuclearuoufbfcibcleileanrt wworryorry lleadead which produces appearances outside the game.
being undefeated. Hence the unsatisfying quality of winning in in winning of quality unsatisfying the Hence undefeated. being eefficiencyfficiency mmeditateeditate TTerryEEagletonaegrrlyeton ttelegraphelegraph oone-sidedne-sided
Gamespace is a pure nihilism. The best one can hope for is merely merely is for hope can one best The nihilism. pure a is Gamespace aapproximatepproximate TTouristourist rreturneturn hhabitabit ttownown rrecalcitrantecalcitrant 068. Stuck again. Start over. Another new world. Welcome to the first
reverse: the demise of the unfit. Survival has no positive value. value. positive no has Survival unfit. the of demise the reverse: ccumulativeumulative eexperiencexperience rregulatedegulated lludicrousudicrous eexplodesxplodes rrecordingecording ffinestinest level. Let s loop back to LukÆcs, and ask: rather that insist on the
is survival of the fittest. Only what actually happens is quite the the quite is happens actually what Only fittest. the of survival is iimperceptiblemperceptible ttheoryheory
hhonestonest ppipesipes possibilities of the technicity of the line itself, perhaps there s
implementation of a digital Darwinism. Here for one and all the rule rule the all and one for Here Darwinism. digital a of implementation ooilil cconflictonflict llisteneristener something to be said for the possibilities of a certain genre that
of the logic of natural selection, gamespace claims to be the full full the be to claims gamespace selection, natural of logic the of eencompassncompeendgameansdsgame iinsightnsight ssurprisingurprising KKeitaeita makes use of it? Bonus points! Skip straight to the third level: The
contrast is the daughter of necessity. Through a subtle inversion inversion subtle a Through necessity. of daughter the is contrast mmeriterit iintangiblentangible strategy game is a genre of a certain type within a line of a certain
which are the result of chance; and a social selection, which by by which selection, social a and chance; of result the are which cconcretewwageoangcerete aagencygency ggirlirl ttelesthesiaelesthesia type, which opens towards certain possibilities. Click on the
variation and necessary selection. In our case, [formal] innovations, innovations, [formal] case, our In selection. necessary and variation ttotalotal bbitit ttriangleriangle
ooccurccur uunlessnless bborderorder ssenderender Government pull down menu and choose Revolution. Your Republic turns
history is the interweaving of two wholly independent paths: random random paths: independent wholly two of interweaving the is history eelsewherelsewhere ooffersffers ccrankedeeagerragnekred sspeedpeed to Anarchy. Certain parameters shift. You are playing Sid Meier s
gamespace disposes. Franco Moretti: In Darwin, in other words, words, other in Darwin, In Moretti: Franco disposes. gamespace vvegetablesbbiodegradablesslim-lineleiiomgde-etliagnbrealedsable bblockageffreshrleoschkage Civilization III. It is not so much an allegory for world history as
few forms succeed. It s almost Darwinian: The designer proposes; proposes; designer The Darwinian: almost It s succeed. forms few rreallyeally
ssadad EEdwinHHolocaustdowloincaust uunrelatednrelated an allegorithm for gamespace itself. Everything here is a relation
a waiting market, where they compete to save you from boredom. Very Very boredom. from you save to compete they where market, waiting a ttoasteroaster ssingleingle sservederved aambitionmbition the military entertainment complex throws the resulting variations on on variations resulting the throws complex entertainment military the ccoalddeepoeaelp ccontraryontrary rriseise HHoleritholerith between quantifiable processes. Everything is a question of the organism. Game designers breed new forms out of existing forms, and and forms, existing of out forms new breed designers Game organism. ddevilishlyevilishly allocation of resources. There s a perverse sense of base and
214. Forms of game evolve in a quasi-Darwinian manner, not unlike forms of of forms unlike not manner, quasi-Darwinian a in evolve game of 214. Forms ccarbonddioxideaiorbxiodne vviolentiolent bblamelame ssplitsplits IIIIII ggraspingrasping aallegoricalllegorical uunfoldingnfhhomogenousooldminmmontageseenclosesogngocenlontasoegusess superstructure.much you can do You to canchange change the theunderlying form of formGovernment of production. but there s Invest not in
least in Spore there s more than one home to trash. trash. to home one than more there s Spore in least cclimatelimate aantagonismntagonism eelementslements bbracketsrackets vvehicleehicle ffeebleeeble science and qualitative technical changes accumulate, which in turn
normal fate of intelligent races in the galaxy is to triumph. At At triumph. to is galaxy the in races intelligent of fate normal ppaceace gglorylory expand military, cultural and political possibilities. Invest in
one biosphere. Olaf Stapeldon: It must not be supposed that the the that supposed be not must It Stapeldon: Olaf biosphere. one ttechno-gambleechno-gamble sshoulderhopprintedurldinetred llosesoses nniceice rrecoverppollseoclolsver culture to keep the plebs from revolting. Interestingly, civil
tack. In Will Wright s much admired Spore, survival is not limited to to limited not is survival Spore, admired much Wright s Will In tack. ssparkppollutionooxygenpxoayllrguketinon eentertainmentntertainment JJudgeudge ddeeperaapparitionepepaerition disorder comes from below, but revolutions come from above, but these
is not the end of the world. Another descendant line tries the other other the tries line descendant Another world. the of end the not is eeonsons IInvisiblenvisible pprogressrogress bbookoddragoragk eexpandsxpands ddeepenseepeiirruptionaaleatorymmirrorrnlreiusrarptotorioryn are just two functions within an algorithm: a small variable with a
gamespace, because it did not give the game away. The death of a Sim Sim a of death The away. game the give not did it because gamespace, rrevertedddrolleryervoellretreyd ssolutionolution rresponseesponse vvoidoid PProverove big effect; a big variable with a small effect.
One is The Sims. Perhaps it was better adapted to survive in in survive to adapted better was it Perhaps Sims. The is One aanywaynyway ffrozenrozen eevolvevolve ssimulateimulate ttelegraphyelegraphy
offshoots from the same evolutionary phyla of game design lived on. on. lived design game of phyla evolutionary same the from offshoots kknotsggreenhousenroetesnhouse ccontextontext eeasilyasily ddoubtoubt hhierarchiesierarchies oopinionpinion wwildlyildly 069. Gamespace turns descriptions into a database, and storyline into
blasted endgames. SimEarth is extinct, a game without sequels, but two two but sequels, without game a extinct, is SimEarth endgames. blasted rrecommendsecuundoingonmdmoienngds cchronicleshronicles ttelephoneelephone bbriefrreignitederiigenf ited navigation. Sid Meier, known as a voracious reader, turns history and
of game evolution as the poor sim-critters who populate its sun- its populate who sim-critters poor the as evolution game of mmaximumaximum iinterventionntervention ccuriousurious rrevealevealiindependentndependent ttwentywenty anthropology books into strategy games. Civilization III even comes that s why there is no sequel, no updates. It is as extinct an example example an extinct as is It updates. no sequel, no is there why that s iinstancenstance BBatailleataille sstartstarts ooptimismptimism with its own Civilopedia, a reference work for to a parallel world.
watery utopia. But there s something disturbing about it. Perhaps Perhaps it. about disturbing something there s But utopia. watery yyourselfourself uupdatespdates ppeopleeople vvisibleisible ddirectorirector ddecisionecision ddawnawn But this is more than the remediation of old forms into new. Rather,
million sentient cetaceans, all using nanotechnology to run their their run to nanotechnology using all cetaceans, sentient million ttrappedtemperaturesreamppedratures QQuinceyOOpiumaafternoonpuftiunemrcneoyon ggeneraleneral ppossessionossession PPatat ccomedyomedy the algorithm consumes the topographic and turns it into the
robots. Or the time it ticked over for months, populated with a a with populated months, for over ticked it time the Or robots. iintelligencentelligence CCyrilConnollyyornilnolly RRalphRumneyaulmphney ppassageassage iidealdeal ttiedied topological. In the database, all description is numerical, equivalent
the lid blew off the biosphere, but up rose a strain of intelligent intelligent of strain a rose up but biosphere, the off blew lid the aagriculturegriculture BBuzzcocksuzzcocks mmenen bbattlefieldattlefield ppowerlessowerless llawlessawless in form. In principle everything within it can be related to or
little obsessive. SimEarth gamers tell amazing stories: About the time time the About stories: amazing tell gamers SimEarth obsessive. little ffarar bbossoss ppasswordsffirewallsiraeswswaollsrds transformed into everything else. A new kind of symmetry operates. The
copy. I played it for a while, on an obsolete computer. It can get a a get can It computer. obsolete an on while, a for it played I copy. ffossilossil hhopeope rrestrictedestricted vvaluelessalueless navigation of the database replaces a narration via description. The finally got around to selling it on Ebay. Perhaps I bought your old old your bought I Perhaps Ebay. on it selling to around got finally tteemingpprokaryotewweekendereoemkkaiernnygodppromptstreompts wwaitingaiting HHuizingauizinga database expands exponentially. Rather than a politics of allegory, an
of uncreation, you became bored with it. Then uninstalled it. Then Then it. uninstalled Then it. with bored became you uncreation, of sstomachsggrassslowlybbiospheretlroaiwmossslaypchhsere uunlocknlock ppooroor sserviceervice FFragileIIacovoniAAlbertoraOOulipoalcbguoeillvirepotoni economics of allegorithm operates, selecting and reducing
213. It s not much of a game, SimEarth. Perhaps that s why after seven days days seven after why that s Perhaps SimEarth. game, a of much not 213. It s ffartsppumpedbbelchggassymmethaneauaermtslescshtpyhedane ccaughtaught AArthurttoilortihl ur IIcece AApplepple ppassiveassive ccharacterizedffunctionhuanraccttioernized bbeginsegins llongeronger ppureure ffallall ccellphoneellphone ssqueezedqueezed possibilities.
human wave assaults on misery, failing time after time. time. after time failing misery, on assaults wave human bbacteriaacteria PPocketocket ccommodityommodity 070. This is how the world appears to a gamer playing Civilization III:
Stanley Robinson: It was frightening as if history were a series of of series a were history if as frightening was It Robinson: Stanley bbeefoover-cookedveerf-cooked ggoodooeexpectdxpect ddishish AAragonragon There are dependent and independent variables. Gamers, through trial
qualities without quantities, kicks it to pieces. You loose again. Kim Kim again. loose You pieces. to it kicks quantities, without qualities ssilveryaappetiteiplvpeertyite eexercisexercise TThomashomas ssittingitting and error, will work out which are which. They change over time. In
invisible foot, composed of all that shades away into mere contraries, contraries, mere into away shades that all of composed foot, invisible oobjectbject pparalyzingaralyzing rriceice the first stage, you explore, pushing back the inky black shroud to
agon within gamespace metes out resources according to its law; an an law; its to according resources out metes gamespace within agon ddinnerppaddiesiandndeires fforestorest aagongon SSadeade SSkipkip ssyntheticynthetic make a map. Then you grow the population, a vast army of farmers and were here. How did this happen? While the now quite visible hand of of hand visible quite now the While happen? this did How here. were mmeaningeaning HHannahannah
ffranchiseranchise wwastessendaesntde miners. You have to maximize useable space. Once your continent fills
carved graffiti on trees that announces to nobody in particular: we we particular: in nobody to announces that trees on graffiti carved ppleaselease AAnarchymmenuneanruchy
carved on the brown stump of a formerly green planet, like vandal- like planet, green formerly a of stump brown the on carved BBarthesRRolandoarlathneds ggenealogyenealogy ggrantedranted wwrongrong up with cities and their hinterlands, expansion becomes qualitative
the subsequent ¥geologicalƒ phase. You can see little nuke signs, signs, nuke little see can You phase. ¥geologicalƒ subsequent the rrejectionejection BButterflyutterfly lleadereader rather than quantitative. It s all about knowledge and technology. The
on the surface of this digital earth burn through a few eons-worth of of eons-worth few a through burn earth digital this of surface the on eeasyasy ppresidedrSSituationismeistiudaetddisappearioisnaispmpear ffamilyamily ssuperstructureuperstructure quality of warfare changes along the way. It expands in space, digs
you reduced inputs for science and culture. The radioactive patches patches radioactive The culture. and science for inputs reduced you aairccausesairuses DDerianDererian deeper into reserves of resources, then becomes a qualitative race for
deterrence only works if nobody shoots. And perhaps that s your fault fault your that s perhaps And shoots. nobody if works only deterrence pprognosisllethalggrownertohwganlnosis ddominantominant bbuiltuilt ggainain rreplaceseplaces MMeiereier bigger and better lines along which power can reticulate. The gamer is
other. Perhaps they didn t invent game theory, and figure out that that out figure and theory, game invent didn t they Perhaps other. uurgentssurfingbbrowserurgorfewinnsgter oorganizedrganized eexclusionxclusion ddisorderpplebsilseobrsder a manager, confronting uncertainly with an inventory of resources.
implied by the notion. They just started blasting away at each each at away blasting started just They notion. the by implied ggassesasses oobsoletebsolete It s a hard game to win at first, but after you have beaten it, you
precludes both the idea of the whole and the happiness and suffering suffering and happiness the and whole the of idea the both precludes ddiagnosisiagnosis eenergynergy iimpulsempulse PPinckardJJaneaincekard aavailablevailable bblendlend play it again, and again. Glen Fuller: It has a complex array of
A. A. Bogdanov: The struggle between classes, groups, and individuals individuals and groups, classes, between struggle The Bogdanov: A. A. ccrisplyuunevenlyttoastorniasespvtleynly aavatarvatar bboxox sspentpent ssiteite logics for warding off boredom. It draws the gamer s attention not to Conditions were not exactly ripe, it seems for global consciousness. consciousness. global for seems it ripe, exactly not were Conditions pprogramrogram nnegativeegative CCivilopediaivilopedia the storyline but to the combinations of elements from which any
as if you had taken away the sources of potential conflict, however. however. conflict, potential of sources the away taken had you if as bbehindehind ppredictredict
rroofoof SStickyticky iinhabitedSSnapnnhapbited given storyline might be selected.
not only a great source of power, but a dangerous weapon. It was not not was It weapon. dangerous a but power, of source great a only not SSamuelamuel bblacklack mmetedeted lluminanceuminance ttracerace 212. By clicking on the nuclear option, you gave your little SimEarthlings SimEarthlings little your gave you option, nuclear the on clicking 212. By aarenarena
ooughtnno-oneccoarsestttendernesseouonag-dorhsenteresntess ggoverningoverning eequivalentquivalent OObviouslybviously eexponentiallyssymmetryyxmpomnetnrtyially empty,071. In but Civilization it can be III, divided time is into essentially equivalent of a units,piece. just It is like homogenous, space.
altogether. altogether. mminimalistinimalist aadapteddapted rrestoreestore Thus time can be configured and reconfigured, producing endless
thermonuclear devices. The dust cloud from that keeps the sunlight out out sunlight the keeps that from cloud dust The devices. thermonuclear mmidweekidweek eenginengine iimpersonalmpersonal eeverydayveryday pprevailsrevails variations on the cascading sequences of cause and effect. History is
nuclear winter and it results from letting off a few too many many too few a off letting from results it and winter nuclear iimpactmpact GGroverove PPascalBBlaisealasicsael indeed absent from the game, absent as something finished, as a
it, you accidentally shoved it into the deep freeze. Its called called Its freeze. deep the into it shoved accidentally you it, hheavyccrudereuadvey eexchangexchange llackingacking hharmlessarmless aabsentbsent ccircleircle sshroudiinkynhkryoud storyline in the past tense. What replaces it is a history workshop, a
greenhouse problem permanently. The bad news: Rather than overheat overheat than Rather news: bad The permanently. problem greenhouse uunreasonablenreasonable ssolveolve vvss ssingularingular ccontinentuuseableffarmersaosrenmatibenrlesnt model of history as the intuition of algorithms and their
biosphere didnƒt cook this time. You had well and truly solved the the solved truly and well had You time. this cook didnƒt biosphere rrapidlyapidly ffailail aaheadhead hhinterlandsinterlands consequences. The gamer is a designer. Designers, like all managers,
this time there is good news and bad news. The good news: your your news: good The news. bad and news good is there time this eexpendmmedicinexepdeincdine bbeautifuleautiful HHavenaven yyearsears aaspirespire operate within given limits. This is how the world appears to the game
overnight and test your nuclear gambit. Sunday morning comes. Well, Well, comes. morning Sunday gambit. nuclear your test and overnight rrangeange llessess mmechanicalechanical ffuelledssolarhhydro-electricbbiomassuoyioeldalmlrreoad-seslectric rreticulateeticulate designer: There are dependent and independent variables. Designers,
turning on the big heat of the greenhouse toaster-oven. Run it it Run toaster-oven. greenhouse the of heat big the on turning bbellyelly sschizoidchizoid ddisavowisavow iinventoryuuncertainlynnvceenrtoairnyly through trial and error, will work out which are which. They will Lots of energy to keep industry and technology cooking, but without without but cooking, technology and industry keep to energy of Lots hhomeome
rrestest ppurposesurposes FFullerGGlenbbeatenuelelalnetern choose cultural, business and technical options that maximize long
Maybe this is the way to have the best of both worlds, so to speak. speak. to so worlds, both of best the have to way the is this Maybe eeerieerie pperverseerverse rrecognitionecognkkitcheniitticohnen ddoubleouble wwardingarding term advantages. If it doesn t work out, they will do it over. Time is
output and the use of fossil fuels. Here s an idea: letƒs go nuclear! nuclear! go letƒs idea: an Here s fuels. fossil of use the and output eexpenditurexpenditure aaccumulationccumulation llikewiseikewise essentially of a piece. It is homogenous, but it can be divided into
211. Alright, so maybe third time lucky. Lets ease up on the agricultural agricultural the on up ease Lets lucky. time third maybe so 211. Alright, sseekingeekingiimaginarymaginary
oonwardsnwards pperceptionserceptions pperformerform ttrendrend rreconfiguredeconfigured civilization ,equivalent units, as thejust game like space. design Civilization business, IIIwhich models in turn not modelsso much
all. Game over. Game all. hhybridybrid OOddlyddly eexistencexistence ccascadingascading gamespace, or topology as it presently exists.
good with so much heat. There is something outside The Cave after after Cave The outside something is There heat. much so with good hhugeuge eessentiallyssentially vvariableariable NNoiroir wworkshoporkshop
and it overheated. Tantalum, like the rest of planet earth, is only only is earth, planet of rest the like Tantalum, overheated. it and gglobelobe ssci-fici-fi vvisitingisiting ppassass 072. This is how the world appears to gamer theory: Seen from the point of
you until you played your new Playstation for hours and hours on end end on hours and hours for Playstation new your played you until you wwindind cconspiracyonspiracy llanguageanguage that it relies on an external source of power, did not really occur to to occur really not did power, of source external an on relies it that TTetsuyaetsuya view of topology, with its dense databases and navigating tools, the
no allowance. That the game is not really ruled off from the world, world, the from off ruled really not is game the That allowance. no pparticularlyarticularly eextremextreme aarcrc pplanelane ddatabaseatabase topical world with its loosely connected topics was a world of limited
out the back that sucks in energy from an elsewhere for which it makes makes it which for elsewhere an from energy in sucks that back the out rropeope LLootoot vvaluealue data and few possibilities. Transformations of one thing into another
action accounted for, and yet it relies on a huge power cord poking poking cord power huge a on relies it yet and for, accounted action sslippedmmasqueradeliapspqeuderade JJournalournal were purely magical. The topographic and telegraphic flattened out
Playstation. It appears to itself as a rigorous game, with every every with game, rigorous a as itself to appears It Playstation. aapartpart aapplypply ttypeype the differences between topics while describing them in much more
global conditions of its own success? Gamespace is just like your your like just is Gamespace success? own its of conditions global ddatabasesatabases detail. A tension arises between enriched description and the poverty
what if the military entertainment complex itself was mucking up the the up mucking was itself complex entertainment military the if what mmachinaachina ttopop of storyline, bursting to contain it. The expansion of description
byproducts a little oil spill there, a toxic waste disaster there there disaster waste toxic a there, spill oil little a byproducts llostost sstraighttraight mmyriadyriad nevertheless opened towards allegory. Accumulations of images burst
faith. What happens if the little problems arenƒt just accidental accidental just arenƒt problems little the if happens What faith. mmovementovement eenrichednriched out of their storyline bounds. It opened towards a politics of
points to is that like most people, you had always taken this on on this taken always had you people, most like that is to points ddissipateissipate ssuccessuccess bburstppovertyuorvsetrty allegory, of the writing and mapping of the world, and also towards
course of formation. Well, maybe. What the SimEarth allegorithm allegorithm SimEarth the What maybe. Well, formation. of course rregressionegression ppervasiveervasive cchannelshannels hheighteight ooccasionalccasional utopia, arresting the flux of the world in ideal form. Topology closes
conditions for its solution are already present or at least in the the in least at or present already are solution its for conditions ccoexistoexist bbottomottom the frontiers of space within its lines, and expands the dataset
always show that the problem itself arises only when the material material the when only arises itself problem the that show always mmodelodel ddatasetataset again, but by reducing data to equivalent calculable points, it is
such tasks as it is able to solve, since closer examination will will examination closer since solve, to able is it as tasks such ttriprip cchancehance able to break with storyline as principle of temporal order, replacing
along the way. Karl Marx: Mankind thus inevitably sets itself only only itself sets inevitably thus Mankind Marx: Karl way. the along rrespondsesponds CClicklick pperpetualerpetual it with the algorithm. Storyline becomes gamespace. at a rate sufficient to deal with the little problems that might occur occur might that problems little the with deal to sufficient rate a at
along at maximum efficiency, then technology would also bobble along along bobble also would technology then efficiency, maximum at along pparanoidaranoid pposthumanosthuman rreproductioneproduction rresidueesidue ddemonstrateemonstrate nnavigationavigation iitemstems 073. Strategy games such as Civilization III presents an allegorithm of
210. You had always thought that if the economy in the real world cranked cranked world real the in economy the if that thought always had 210. You wwordsords ffriendlyriendly ppropertiesroperties ssequenceequence ccollapsesollapses text,topology audio, as images gamespace and movies and the into gamer the asdatabase, its manager. while It the subsumes algorithm the
outputs, received at least an approximate accounting. accounting. approximate an least at received outputs, llentent hhappensappens eenmeshednmeshed aachievechieve ttacticianactician calculates the moves of all its elements relative to the gamer. It
unintended consequences of agon, all the excluded and contrary contrary and excluded the all agon, of consequences unintended ggrindrind ttheatreheatre collapses the difference between the everyday and the utopian. It
their cumulative effect. What sets SimEarth apart is that the the that is apart SimEarth sets What effect. cumulative their sspeakpeak mmountainountuunwindinganinwinding embraces all differences by rendering all of space and time as being
off into the imperceptible, that come back to taunt gamespace with with gamespace taunt to back come that imperceptible, the into off rrevolvesevolves ttickick ddistinctionistinction ddispositionisposition aaccomplishccomplish ddiverseiverse quantifiable. Topical times resound with the myth of the tactician.
calculated. But behind the agon lies a host of contrary terms, shading shading terms, contrary of host a lies agon the behind But calculated. tterrorerror vversaersa ffungibilityungibility Topographic times inscribe stories of grand directors of strategy.
the form of an agon between competing forces in the market can be be can market the in forces competing between agon an of form the rrevolutionaryevolutionary rreacteact Topological times call for managers of strategy. History appears,
encompass and account for every action. Only those inputs that take take that inputs those Only action. every for account and encompass CCEOEO retrospectively, as not only the expanding frontier of war s theatre,
of a given resource for a given result. And yet gamespace does not not does gamespace yet And result. given a for resource given a of ccowow qquantitiesuantities kkeptept ssizeize llittersddebrisitetberiss but also its qualitative transformation. It is the unwinding of a line
specific action of any kind is also an abstract action, the consuming consuming the action, abstract an also is kind any of action specific ttransgressorsransgressors ttheoreticalheoretccollectiveiocalllective ccombinationsombinations which divides everything into manageable chunks of data. The actual
Concrete labor is also abstract labor. In gamespace, every concrete, concrete, every gamespace, In labor. abstract also is labor Concrete wworshippedorshipped fformerormer ddarkark eendlesslyndlessly disposition of resources is doubled by a database which maps not fixed
labor is made equivalent, by the wage relation, to every other. other. every to relation, wage the by equivalent, made is labor ccoverover ttragedyragedy rrigorousigorous rriveriver ssubjectubject ccurvesmmathuarvthes locations but measures of fungibility. The algorithm can produce every
problem. Marx showed how each act of concrete, specific, particular particular specific, concrete, of act each how showed Marx problem. ppoeticssensationsppatienteoanetstieaictniot ns llieie aanywherenywhere possible combination of the resources mapped in the database and a
209. You had not quite absorbed the idea that driving is part of the the of part is driving that idea the absorbed quite not had 209. You mmusicusic hhoursours ssubstanceubstance ccharacteristicharacteristic rreducingedttrackruaccikng ppre-existingre-existing ffoodoodttrickrick FFortunatelyortunately aacceleratesccelerates few impossible ones as well. The possible and the actual reverse
you had been really eager to see if your little gamble had paid off. off. paid had gamble little your if see to eager really been had you ooppressiveppressive ppickick positions. It is the possible that is real. If the algorithm can
biodegradable toilet paper and the new slim-line model Playstation, Playstation, model slim-line new the and paper toilet biodegradable GGreimasreimas rresultesult cconvergeonverge UUnderneathnderneath eentirelyntirely rrecapitulatesecapitulates produce it as an outcome from the database, it exists. The mystery is
the car from your trip to the mall, loaded up with organic vegetables, vegetables, organic with up loaded mall, the to trip your from car the rrateate kknownnown aattributesttributes why the recalcitrant debris that litters the actual sometimes refuses
heat from sunlight. The really sad part is that all the way home in in home way the all that is part sad really The sunlight. from heat nnon-workeron-worker ppopulateopeexituxliatte ddifferentmmazeiafzfeerent to get out of the way. This insistence on the reality of the possible,
atmosphere, you turn the toaster on again. Like methane, it traps the the traps it methane, Like again. on toaster the turn you atmosphere, bbreakreoopticalaptkical on what resides within resources, is the American dream.
things, and when you increase the amount of carbon dioxide in the the in dioxide carbon of amount the increase you when and things, cchildishhildish ccycleycle
fossil fuels oil and coal produces carbon dioxide, among other other among dioxide, carbon produces coal and oil fuels fossil ffrivolousrivolous sschemecccellheellme aappearsppears ppointoint qqualitativeualitative 074. Finally, the next level appears: the expansion of topology outwards,
a devilishly sharp tack, taking temperatures up with it. Burning Burning it. with up temperatures taking tack, sharp devilishly a uunsulliednsullied rrubricubric beyond America, to make America equivalent to all of time and space.
time was the carbon dioxide. There it is on the graph shooting up at at up shooting graph the on is it There dioxide. carbon the was time rreductioneduction ssignificanceignificance America itself, as a construct, as a structure of feeling, is always
little green earth from spinning out into that fate. The problem this this problem The fate. that into out spinning from earth green little vvalleysalleys only available via particular mediating lines, which may do more than
food production growing a bit more slowly it seems you kept your your kept you seems it slowly more bit a growing production food ssocialocpprovidesiarlovides eexactxact merely represent a pre-existing America. The form of the line may 208. The problem wasnƒt the methane this time. By keeping population and and population keeping By time. this methane the wasnƒt problem 208. The lletteretter
ccircuitnnervousiercrvuoitus wwinging ppersistenceersistence rresourcesesources iinclusivenclusive Americaitself participate that resides in the successively creation of in America. the novel, There in the may cinema, well be in an
increased the rate of global climate change even faster. faster. even change climate global of rate the increased ccriminalriminal eendlessndless uundrawnndrawn television and the game, and is shaped by each. Each, in turn,
increase the pace of technological change, but in this scenario, it it scenario, this in but change, technological of pace the increase ffitit rrelentlesslyelentlessly presents history itself as a passing on of memory from one form to
burning up every source of energy as fast as possible certainly did did certainly possible as fast as energy of source every up burning ssurroundedurrounded eexilexile ccontinuousontinuousooperatesperates another. Civilization III recapitulates not only world history but
out. Cranking up the whole global economy to the max, pumping out and and out pumping max, the to economy global whole the up Cranking out. EExDDeusxeus ddwellwell bbecomesecomes ccornerorner media history. It s ambition is not only to embrace the recording of
temperatures sky high. It seems the techno-gamble didnƒt quite work work quite didnƒt techno-gamble the seems It high. sky temperatures ddemarkingemarking ttouchouch ttopographicopographic the world but the world of recording. In Civilization III, the
Lets see: pollution up, oxygen levels down, carbon dioxide up, up, dioxide carbon down, levels oxygen up, pollution see: Lets aalternativelternative eexcessxcessgglimpselimpse transformation of space and time, from topic to topography to life to mysteriously spark again. What happened? Check the charts. charts. the Check happened? What again. spark mysteriously to life ttopicopic
rresignationesignation ttroubledroubled aahistoricalyyearnsehaisrtnosrical topology, is an effect of the development of the lines with which to
alive, so your planet is just ticking over, waiting quartz eons for for eons quartz waiting over, ticking just is planet your so alive, nnot-beingot-being sstagetage mark and manage it. This double development, which at one and the same
with a certain drollery, geological time . There is nothing left left nothing is There time . geological drollery, certain a with sschizochizo time deepens and proliferates lines of the possible and the actual,
207. By the time you return home, SimEarth had reverted to what it calls, calls, it what to reverted had SimEarth home, return you time the 207. By eencounterncounter ttemptationemptation KKatamariatamari CCorinthorinth can be called America. It is what is both desired and feared under the
pperforatedsspoonbbearsccantileverhhandlepaeanornaftordoisnllreeavterd ttriedried ttrainsrains ffruitruit pprettyretty uunusualccruelrnuueslual rubric of that name, which no longer marks a particular topic, but
progress anyway? anyway? progress ppotatoesffriedparanoiacsroaietrdatnooeisacs aabstractbstract mmixix hhelplesslymmountainsideeolpulnetsasilnyside stands for the very capacity to mark and manage space itself, as
progress along fast enough? What if people go hungry? What the hell is is hell the What hungry? go people if What enough? fast along progress HHereticaleretical pproliferateroliferate topology.
What if burning up fossil fuels at a rate of knots didnƒt kick kick didnƒt knots of rate a at fuels fossil up burning if What aanalystnalyfformationsotrmation ffunun
recommends. What if science didnƒt come up with the answers in time? time? in answers the with up come didnƒt science if What recommends. mmatteratter llevelevel ddataata fflowlow 075. The line makes its way across the world, making it by marking it. The
off to the mall in your high tech hybrid car, the kind Al Gore Gore Al kind the car, hybrid tech high your in mall the to off sstoretore sstandtand fflawlaw sseafarerseafarers line passes across valleys, pages, mountains, rivers, tracing trails,
instead? This is a bit of a gamble, you think to yourself as you drive drive you as yourself to think you gamble, a of bit a is This instead? ccomposedomposed ttriumphriumph CCivilizationivilization
the short term, why not put more resources into science and technology technology and science into resources more put not why term, short the SStatetate aanythingnything sstrangersoowesxxeniatewrnaenisagers roads, railways, highways, doubling itself with telegraph, television,
differently. Rather than concentrate on expanding food production in in production food expanding on concentrate than Rather differently. ssensibilityensibility pproductionroduction ddangeranger hheldeld iimaginemagine ttexturewwovenrreciprocationeoxcvtipuerrnoecation telecommunications, doubling itself again as the code of the letter
problem. So the next time you set up SimEarth you do things a bit bit a things do you SimEarth up set you time next the So problem. kkinshipuunpalatableinnpshaliaptable ddefineefine bbeneatheneath rrevelsevels aallianceslliances migrates from text to telegraph and explodes into the myriad lines of
cultivation, and that means more methane, and that is a bit of a a of bit a is that and methane, more means that and cultivation, iincorporatencorporate ffatalatalppackack mmurderingurdering the digital. The line makes topics, maps them into the topographic,
it means more people, and more people means more land under under land more means people more and people, more means it ssmashingmashing eenternter rresistsesists nnumericalumerical uusurpssstoneffledltseoudnrpes then folds the topographic into a digital topology. The line does nobody should go hungry is a worthy goal, but, all things being equal, equal, being things all but, goal, worthy a is hungry go should nobody MMinedined vvariationariation wwayay
ttauntaunt hholdold cclosesloses wwheelheel something else as well. For every line drawn are an infinite number have to think about all of the consequences of anything you do. That That do. you anything of consequences the of all about think to have iinfinitynfinity pproducesroduces undrawn. Every line is an allegory of the possibilities for a line of
selected a higher rate of methane output. It just goes to show how you you how show to goes just It output. methane of rate higher a selected ccompetitorompetitor ffounderounder its type. The line may also intimate the possibilities of lines of
lots of food production so that nobody would go hungry, you also also you hungry, go would nobody that so production food of lots EEssencessence rrawaw hharderarder another type. But the possibilities of a given type of line are not
biosphere business. When you programmed your little biosphere with with biosphere little your programmed you When business. biosphere ttemporaryemporary aarbitraryrbitrary ggridrid uunmarkednmarked infinite. Allegory always touches the virtual which one might define
206. The weekend comes, so now you can really spend some time on this this on time some spend really can you now so comes, weekend 206. The bbackwardsackwards jjournalistournalist llingeringer eexpansionxpansion mmanageanage levelas the of possibility the actual of unfolding possibility of the via line a particular across the line. world, At each it offers
relatives in the rice paddies, also make methane. methane. make also paddies, rice the in relatives AAmbivalencembivalence ssimpleimple ffidelitybburdeniduerdlietyn a glimpse of the virtual in its own image. This is the limit to
that grass. Those bacteria, like their teeming little prokaryote prokaryote little teeming their like bacteria, Those grass. that ccontrastontrast ccompleteomplete VVentureenture ppastimeastime hhenceforthenceforth allegory. If allegory yearns for something ahistorical, a topos beyond
cows exactly, but the bacteria in their stomachs that break down all all down break that stomachs their in bacteria the but exactly, cows ddedicatededicated rrockock ccolorolor fflakessterileltaekreile all particulars, it does so over and over in the most particular and
gassy. The problem is, they fart (and belch) methane. Well, not the the not Well, methane. belch) (and fart they is, problem The gassy. ssaveave IIsmithiansmithian mediated way.
was the slightest global significance in the fact that cows are a bit bit a are cows that fact the in significance global slightest the was HHenceence iinitialnitial yyetet aarrestedrrested
things, cow farts. Yes, cow farts. It never occurred to you that there there that you to occurred never It farts. cow Yes, farts. cow things, eextendxtend fforwardorward
that one of the other sources of methane in the world is, of all all of is, world the in methane of sources other the of one that ddigsigs Analog (on Katamari Damacy)
beef, delicious though it tastes, only makes things worse. It seems seems It worse. things makes only tastes, it though delicious beef, ppositiveositive RRevolutionevolution rroughlyoughly
dish with all that rice in it smells like over-cooked biosphere. The The biosphere. over-cooked like smells it in rice that all with dish bbeyondeyond FFigig mmediumedium eextensionxtension
that food on the table makes you loose your appetite. That big silvery silvery big That appetite. your loose you makes table the on food that lleasteast hhandand aagogo ttelecommunicationselecommunications friends. You imagine this might take your mind of SimEarth, but all all but SimEarth, of mind your take might this imagine You friends. ggameplayameplay rrailwayailway ffloorloor
the working week and you are going out to dinner afterwards with with afterwards dinner to out going are you and week working the ccyberpunkyberpunk iintimatentimate eelselse
205. This is all a bit too much, but fortunately the next day is the end of of end the is day next the fortunately but much, too bit a all is 205. This nnonon pproblemroblem ffreeree ccinematicinematic mmythyth ssmallmall
cooking the biosphere. biosphere. the cooking iindeterminatendeterminate oopenspens ppressureressure
get enough to eat, and by the time you come home for dinner you re you re dinner for home come you time the by and eat, to enough get mmasksasks rrelativeelative ccertainertain
morning trying to see to it that all the people on your biosphere are are biosphere your on people the all that it to see to trying morning rrealizeealize cconvertsonverts
produce methane as a byproduct. Great! There you were, only this this only were, you There Great! byproduct. a as methane produce DDetectetect
the muck at the bottom of rice paddies are little bacteria that that bacteria little are paddies rice of bottom the at muck the ppatchatch
for instance, are one of the sources of methane. It seems that deep in in deep that seems It methane. of sources the of one are instance, for ffifthifth ssupercededuperceded pprejudicerejudice sstrictlytrictly
upped the amount of methane going into the atmosphere. Rice paddies, paddies, Rice atmosphere. the into going methane of amount the upped eerectedrected aatmospheretmosphere ppresenceresence cchampionhampion ccollideollide
trapped in the atmosphere. By dialing up more agriculture, you also also you agriculture, more up dialing By atmosphere. the in trapped Fig.4
global warming. A bit too much methane in the air and heat gets gets heat and air the in methane much too bit A warming. global ccrimerime TTakahashiakahashi oonsideoffsidesstricttnfrfiscidt e
not good. It seems that methane is one of the gasses that causes causes that gasses the of one is methane that seems It good. not lliteraryiterary ccompetitionompetition eearsars aaffinityffinity
amount of food being grown has this lethal effect. The prognosis is is prognosis The effect. lethal this has grown being food of amount sspectatorpectator iironiesronies 076. Sisyphus, founder of Corinth, father of Odysseus, founder of the
web surfing. The urgent problem is to find out why increasing the the increasing why out find to is problem urgent The surfing. web nnon-separationon-separation iinanimateaassembledpproto-computernsrasonetmoim-bcaoltemedputer Ismithian Games, is best know for a most cruel and unusual punishment,
to work, where you steal a little time to fire up your browser and go go and browser your up fire to time little a steal you where work, to aalways-alreadynnon-mergerlowna-yms-earlrgeeardy ddubiousubious meted out to him by the Gods. He was to roll a huge stone up the
second opinion. So you set SimEarth running at home before driving off off driving before home at running SimEarth set you So opinion. second ttermserms ttwizzlewizzle mountainside, watch helplessly as it rolled back down again, and then
204. Like any patient confronted with a terminal diagnosis, you wanted a a wanted you diagnosis, terminal a with confronted patient any 204. Like iimplicatesmplicates vvictoryictory eeitherither cconsistentonsistent rretrospectivelyetrospectively start all over again. Nobody knows what he did that required such a
oovershootsvershoots punishment. Perhaps it was for revealing the designs of the Gods to needs kknowledgenowledge FFordord mmomentumomentum mortals. Revealing the forms beyond the mere particulars of mortal
very crisply brown. And all because of that troubling phrase, human human phrase, troubling that of because all And brown. crisply very ppartitionsartitions bbrightlyrightly eexploitationxploitation life would, in topical times, be a serious crime. Or perhaps, more
ever so slowly rising, threatening to toast everything, unevenly but but unevenly everything, toast to threatening rising, slowly so ever uutopiantopian hharborsarbors
prosaically, it was for his habit of murdering seafarers and
agriculture pumped out more greenhouse gasses. The temperature was was temperature The gasses. greenhouse more out pumped agriculture uuselessseless ddividingividing travelers. Topical space, where each law, each God, is bordered by
predictable. What you hadnƒt counted on, though, was that increasing increasing that was though, on, counted hadnƒt you What predictable. eevokespprospectvroskpeesct zones of indifference, would surely be troubled by such a
work you find the population shot through the roof. That one was was one That roof. the through shot population the find you work KKatharineatharine ddeniedenied vversusersus transgression of the rules of xenia , of the gift one owes to
itself. And yet it doesn t quite work out. When you come home from from home come you When out. work quite doesn t it yet And itself. ffleshfourthloeushrth ppotentialotential ssacredacred nnothingothing strangers. Anne Carson: The characteristic features of xenia, namely
by human needs, a mode of conduct adapted to production as an end in in end an as production to adapted conduct of mode a needs, human by its basis in reciprocation and its assumption of perpetuity, seem to Every other seeks to apply to a condition that ought to be determined determined be to ought that condition a to apply to seeks other Every sspectaclepectacle
ccarelessareless have woven a texture of personal alliances that held the ancient world
only in the coarsest demand: that no-one should go hungry any more. more. any hungry go should no-one that demand: coarsest the in only eextopianxtopian mmakeshiftakeshift together. Or so it was in topical times.
creating a minimalist atopia. Theodor Adorno: There is tenderness tenderness is There Adorno: Theodor atopia. minimalist a creating eexcitationnnonhumanddeliriumnnot-separatexeocolnitrhai-uustimemopnaanrddisturbingaitseturbing sseductioneduction iinsteadnstead iintricatentricate hhallffameaamlle
of resources to agriculture. This seems a reasonable approach to to approach reasonable a seems This agriculture. to resources of 077. In topographic times, Sisyphus is a hero. He revels in this new world
you start it up one midweek morning with settings which devote a lot lot a devote which settings with morning midweek one up it start you nnot-mergedot-merged ccomplexomplex ggaveave cconstraintsonstraints ttipip from which the Gods and their intangible forms have fled and a great
choices about what economists call resource allocation. For instance, instance, For allocation. resource call economists what about choices ddalliancealliance mmilitaryilitary qqualitiesualities industrial engine usurps their place. The task of Sisyphus becomes
variables gives you a feel for the global impact of fundamental fundamental of impact global the for feel a you gives variables eeuphoriauphoria GGreyrey everyone s labor: pointless, repetitive, endless, shoulder to the
203. The curious thing about it is how fiddling around with these crude crude these with around fiddling how is it about thing curious 203. The iincommensurablesncommensurables ddemocraticemocratic IImpassablempassable eeverywhereverywhere fflattenedlattenedwwirelessireless wheel of fortune. There are no longer any lawless spaces. There are no
compared to the heavy duty model. model. duty heavy the to compared iinevitablynevitably ttoposopos ppeculiareculiar sspotpot ooutwardutward ssmearmear gaps between topics. All of space is within the law. There are no more
Naturally, a home biosphere has to run a relatively simple algorithm algorithm simple relatively a run to has biosphere home a Naturally, tthisnesshnnot-gameiosnt-egssame aacceptccept DDamacyamacy nnarratesarrates cconveyonvey border zones where indifference prevails. Certainly it gets much
the assumptions here are of course crude, but not unreasonable. unreasonable. not but crude, course of are here assumptions the sschizophrenicchizophrenic tthrowinghrowing iinvolvednvolved harder to get away with murdering travelers. But in topographic times,
more resources to science, technological change accelerates. Some of of Some accelerates. change technological science, to resources more ssquarequare wwonon iinscribenscribe it is time itself that is not quite so completely subordinated to
agriculture, population increases rather more rapidly. If you devote devote you If rapidly. more rather increases population agriculture, aamountmount ggambleamble rrenderedendered rules, to ends, to purposes. There is a limit to the working day, and
Each of these has different effects. If you expend energy on on energy expend you If effects. different has these of Each ssoftoft even within the working day, not every second is called to account.
energy uses, including science, agriculture, medicine, and the arts. arts. the and medicine, agriculture, science, including uses, energy mmetaletal ppossibilityossibility Albert Camus: I leave Sisyphus at the foot of the mountain! One
solar, nuclear or fossil fuelled. It also lets you program a range of of range a program you lets also It fuelled. fossil or nuclear solar, llayerspproperlyaryoeprserly aalreadylready always finds oneƒs burden again. But Sisyphus teaches the higher
from a number of energy sources, including biomass, hydro-electric, hydro-electric, biomass, including sources, energy of number a from aagonisticgonistic HHeideggereidegger EEichmannichmann iimpositionSSisyphusmipsyopsithiouns fidelity that negates the gods and raises rocks. He too concludes that
has gone belly up while you were out at work. SimEarth lets you choose choose you lets SimEarth work. at out were you while up belly gone has nneithereither
pprecedencerecedence sstruggletruggle vviolenceiolence cclumpppeakluemakp all is well. This universe henceforth without a master seems to him in your home; something rather more disturbing about finding the thing thing the finding about disturbing more rather something home; your in neither sterile nor futile. Each atom of that stone, each mineral
202. Thereƒs something a little eerie about having a functioning biosphere biosphere functioning a having about eerie little a something 202. Thereƒs iinadequatenadequate iiconcon topicalflake of Sisyph that night filled mountain, in itself forms a world. The
if your world is still running. Sometimes it is, sometimes it isnƒt. it sometimes is, it Sometimes running. still is world your if eexistentialxistential ffreedomreedom bbasestasest bballall the topics; the topographic Sisyphus played in the gaps of time, and
energy use and expenditure. You will come home every evening and see see and evening every home come will You expenditure. and use energy ffantasizesantasizes aactivective mmovieovie exploited those gaps to turn everything to account for himself alone.
set up this model every morning, selecting types and quantities of of quantities and types selecting morning, every model this up set ffactionaction ssoughtougddidnhitdn ccodeode ssharplyharply
planet Earth from 1990 onwards. So this week you decide that you will will you that decide you week this So onwards. 1990 from Earth planet kkickick sscalescales 078. Where is Sisyphus now? Using the analog sticks on the game controller,
The one you think you re getting a little obsessed with is a model of of model a is with obsessed little a getting you re think you one The sstrandtrand eembeddedmbedded iimpulsesmpulses you move a little character who rolls a b
of different time frames: geological, biological and sociological. sociological. and biological geological, frames: time different of sslipperylippery ddimensionimension ggatheredathered game is called Katamari Damacy. (see fig. 4) The name translates
which lets you model all kinds of biosphere conditions over a number number a over conditions biosphere of kinds all model you lets which ooutcomeutcome roughly as clump spirit , which might in turn translate as analog .
You have this program running on your home computer called SimEarth, SimEarth, called computer home your on running program this have You aagentgent ssticksticks aarisesrises As the Katamari ball rolls, things stick to it. At first it is small
the biosphere in question is only a game, or something like a game. game. a like something or game, a only is question in biosphere the hhitit hhouseholdousehold things that stick, household items picked up off the living room
your globe doesnƒt cook itself to death while you re out. Fortunately Fortunately out. you re while death to itself cook doesnƒt globe your pprotocolsrotocols rrolloll us played fast and loose with the gaps of space, between rremindingeminding floor. The ball gets bigger as things stick, and so it can pick up
effect problem. Next time, wind down the fossil fuels a little more so so more little a fuels fossil the down wind time, Next problem. effect ssynthesisynthesis ddeclareseclares ssweepingweeping bigger things. Once your ball is big enough, you move out of the
records, the reason is not hard to discover. A classic greenhouse- classic A discover. to hard not is reason the records, ffashionableashionable house and into the world. To move the ball, you twizzle the little
is dead. What a way to start the week! On looking back through the the through back looking On week! the start to way a What dead. is aaccessccess llogisticsogistics eemploymploy analog joysticks. Push the sticks forward, and the ch 201. You arrive home from work one evening, only to discover your biosphere biosphere your discover to only evening, one work from home arrive 201. You ssuspicionuspicion EEventuallyventually mmediatedediated ball forward. Pull the sticks back and the character rolls the ball
ddenialenial jjoinoin bbiggerigger cchunkshunks back. Turn left, turn right it feels as though the variable pressure
rreappeareappear yyoungoung ttransformationransformation ttowerrreliefoewlieefr on the sticks translates into variable movements. This is analog a relation of continuous variation. Only it isn t really. It is a Fig. 9 Fig. ccontrolontrol pperfecterfect aaspectspect rrotatesotates digital game. The game converts the co OOmarmar eestatestate wwatchatch iintervalnterval back/forwards,on the sticks into left/right, a digital stop/start. code. It turns An algorithm movements calculates into decisions the oon-offn-off pphasehase ttensionensirrefusesoenfuses sstorytory ssignsigns ssmallestmiinterchangeablenatellrecshtangeable yououtcome p of each movement. If you roll your ball over a small object,
gguiseuise mmarkark pparticulararticular llocationocation fforlornorlorn Analogcollide spiritwith it,becomes throwing digital off a code.few things you have already gathered.
Conclusions (on SimEarth) (on Conclusions mmergererger mmeshesh llegalegal aarrivesrrives ggiveniven ppauseause strict079. All decision: ickgames it up. out are If or you digital. in, rolloffside Withoutyour or ball onside, exception. over onegoal that orThey no is goal.alltoo come big, youdown to a
affinityAnything between else is computersjust play . and Game games studies is one scholar of the Jesper ironies Juul: of human The
rope. rope. ffaultault ffleetleet ffightight iimposesmposes history. But not at all surprising. F
the gamer is to feel privileged to have slipped behind the velvet velvet the behind slipped have to privileged feel to is gamer the wwhereinTTemplarheemrepinlar mmissedissed oontonto sseamlesseamless ddeemedeemed proto-computer m
posits another one, where characters masquerade like celebrities, and and celebrities, like masquerade characters where one, another posits materials and the occasional dubious call by the referee to make a
ending, which could point to a conclusion beyond the game, merely merely game, the beyond conclusion a to point could which ending, decision, a yes or a no. Sisyphus founder of the Ismithian gamesall called a Katam
that rescues the game itself from its own overcoming. Even the fifth fifth the Even overcoming. own its from itself game the rescues that rrisesises
bblanklank hhearteart is condemned to a useless labor which is at the same time useless
But if there is a deus ex machina at work in this game, it is the one one the is it game, this in work at machina ex deus a is there if But PPrincerince ddisdainlloftyoifstdyain
ttechechssuppressinguppressing play, in that it cannot bring ab
moves within rules? This is the threshold to which Deus Ex brings us. us. brings Ex Deus which to threshold the is This rules? within moves hhurtsurts never crosses a line. It rolls right past the notional top of the the gamer also be a hacker, a maker of rules for moves as well as of of as well as moves for rules of maker a hacker, a be also gamer the AApostleCorppostleCorp
ddeterminedetermined mmagicagic ttextualextual mountain, and overshoots the bottom of its own momentum. But in
possession of the means to make the rule as well as the move? Could Could move? the as well as rule the make to means the of possession mmeaninglesseaningless bbarrierarrier ddiscreteiscrete
ddivineivine Katamari Dama
not dissipate into useless boredom? Could the gamer come into into come gamer the Could boredom? useless into dissipate not cceaseease ball being entirely useless, now it is entirely purposeful. Time, like even the topical? Could there be an overcoming of necessity that does does that necessity of overcoming an be there Could topical? the even pproperroper
aaxisxis eeducationducation iimplementationmplementation space, no longer harbors indifference. Brenda Laurel: even the
after topology, which is not a regression, back to the topographic, or or topographic, the to back regression, a not is which topology, after ppromiseromise
smallest fragments of your idle time have been colonized... . As you
coexist without reduction to one vs. another. Could there be a topos topos a be there Could another. vs. one to reduction without coexist eenvironmentnvironment
roll your ball around, making it bigger and bigger, an icon in the
antagonism, and yet for all that do not cease to be differences. Terms Terms differences. be to cease not do that all for yet and antagonism, eeffectffect wwithinithin ggunsuns the limit to gamespace within gamespace itself, where differences lack lack differences where itself, gamespace within gamespace to limit the hhighwaysighways corner of the scr
characters, regardless of rank or faction, get down and party. Here is is Here party. and down get faction, or rank of regardless characters, ppriorrior ccousinousin a circle inside a larger one, which is the size it must grow to if you
200. Deus Ex has a fifth ending, nested inside the game, where all of its its of all where game, the inside nested ending, fifth a has Ex 200. Deus kknightsnights oopportunitypportunity aartistrtist ccosmososmos pointare to win a decision. this level. Big It enough! grow An analog progression stops at the ari. The
creates this space of possible perceptions and actions. and perceptions possible of space this creates iincreasingncreasing ppresentresent digital threshold. achines assembled out o
cannot act as a gamer. The separation of the game from the not-game not-game the from game the of separation The gamer. a as act cannot IIlluminatilluminati ssegmentsegments ntinuous movement of your thumbs
given. The realm of the not-game is the domain in which the gamer gamer the which in domain the is not-game the of realm The given. uunmaskingnmasking oorderrder 080.
for you to look at, but for you to act upon them in a way that is is that way a in them upon act to you for but at, look to you for earth by a careless King who in a moment of boredom got drunk and
to look at, the game engine presents worlds as if they were not just just not were they if as worlds presents engine game the at, look to rreverseseverses ttechnicalechnical destroyed the heaven cy, th aracter rolls the
protocols. While other media present the world as if it were for you you for were it if as world the present media other While protocols. uuniquenique iimmersedmmersed him. If your ball is big en gamer, as if they lent themselves to actions which could uncover their their uncover could which actions to themselves lent they if as gamer, ssystemystem Here is a version of the Katamari myth: You are a Prince send down to iimmediatemmediate sky he trashed with it. The King then sets for the Prince the task of
of worlds, but of worlds that appear as if they were made for the the for made were they if as appear that worlds of but worlds, of bbandand ppaidaid aarchitecturerchmmimesisiteimcteusries rolling up a bigger one. Perhaps this storyline is an allegory for the
this game engine, of the gamer with the game. A game engine is a maker maker a is engine game A game. the with gamer the of engine, game this bbareare
pplanninglanning relation that holds now between ingsthe analog are different. and the Rather digital. than The the ro in effect a game engine, and what is at stake is the relation, via via relation, the is stake at is what and engine, game a effect in twizzling of th
said to be like Eden in Rez an artificial intelligence , but is is but intelligence , artificial an Rez in Eden like be to said ccapturedaptured aaxesxes on the screen, is the task demandedeen by gamespace, and which gamespace
universe of futures is Helios. This sun around which all revolves is is revolves all which around sun This Helios. is futures of universe mmaintainaintain mmatrixatrix ccreationreation ddimensionalimensional can only recognize by rewarding the gamer with a score. Topology, with
199. In Deus Ex: Invisible War the name for what is at the center of this this of center the at is what for name the War Invisible Ex: Deus 199. In gglimpseslimpses ccarriedarried hhurlsurls hhillill wwindowindow vviaia ssubsumedubsumed its endless, intricate lines rom the start, games were a ddestructionestruction sspillpill turns anything and everything into show a meaninglessout smear a decision. of data. The rock he rolls
that ApostleCorp stands for. for. stands ApostleCorp that ddigitaligital
iidledle nnemesisemesis Gamespace installs itself in topology to reduce that smear to a
not just of games but of gamespace itself? This is the realized atopia atopia realized the is This itself? gamespace of but games of just not ssuccessfullyuccessfully iincessantncessant decision, a yes, a no, a straight line, and to convey back to the
of Electronic Arts, Larry Probst. What would it mean to be a hacker hacker a be to mean it would What Probst. Larry Arts, Electronic of bbanishanaantagonisticnisthagonistic ttreatedreated
eeasease gamer the result of the gamer s actions. The analog is now just a way
the rules of gamespace. Not even an Information Overlord like the CEO CEO the like Overlord Information an even Not gamespace. of rules the eentryntry oodddd mmerelyerely yyieldsields eelectriclectric of exper
within certain constraints. Not even the game designer gets to make make to gets designer game the even Not constraints. certain within bbadad cconstituteonstitute qquantitativeuantitative ddecompositionecomposition appear or not appear is digital. You and your character the Prince are
rules; the celebrities of the game are makers of rules but only only but rules of makers are game the of celebrities the rules; ppuzzleuzzle ffrightenrighten KKinging ccrashesrashes s your progress. The icon shows y nnon-gameon-game confined to the analog, rolling from topic to top
the game designer. If the celebrities of play were transgressors of of transgressors were play of celebrities the If designer. game the mmeaning-makingeaning-making cconqueronquer the digital heavens. He decides wh
the hacker is what is worshipped in that new category of celebrity celebrity of category new that in worshipped is what is hacker the sslightlight ddriverive rresidesesides
occupy.
colorings, we are the abstracters of new worlds. The character of of character The worlds. new of abstracters the are we colorings, e sticks on the controller,s, gradually, the rolling incrementally, up of the balls butf hu at some programming language, poetic language, math or music, curves or or curves music, or math language, poetic language, programming aaudioudio
new sensations, hacked out of raw data. Whatever code we hack, be it it be hack, we code Whatever data. raw of out hacked sensations, new aartrt 081. In the myth of Sisyphus the task is to roll the ball to the top s. The Katamari balls you roll up are offerings to
the hackers of abstraction. We produce new concepts, new perceptions, perceptions, new concepts, new produce We abstraction. of hackers the without quiteiencing kn the digital. Th man motion, inanim
another character. Here is the mask of the fourth character: We are are We character: fourth the of mask the is Here character. another ggazeaze code. Sisyphus pushes the ball up, but it either falls short or falls
beyond work and play, and against the game, and which calls for for calls which and game, the against and play, and work beyond ccalculationalaalonecluolnaetion over the unmarked peak, and rolls back down again. In the myth of
success. It is an algorithm that writes itself. It is a practice practice a is It itself. writes that algorithm an is It success. ppromisesromises hheavenlyllargestaeragveesnt ly Katamari there is no such ambiguity. Eachough he replaces one of the stars
own rules, its own conditions of completion and its own protocols of of protocols own its and completion of conditions own its rules, own ssuicideuicide pprivilegedraattractitvtirlaecgted The analog movement of rolling the ball, continuously increasing its opposite to work. It is a free, self directed activity which makes its its makes which activity directed self free, a is It work. to opposite size, takes place within the given limits of the digital. There is an
this character the hacker. (Fig. 9) To hack is outside of but not not but of outside is hack To 9) (Fig. hacker. the character this iinfinitesimalpplanetarynlfainietteasriymal exact mark at which it flips from being too small to just the right opposite of the player. But who then is the non-worker? Let s call call Let s non-worker? the is then who But player. the of opposite aanalognalogggiganticigantic
rreserveeserve ppunishmentunishmccruisettiniesteirnuitiesset size. The reign of topology subo
the non-player? The gamer. The gamer is outside of but not the the not but of outside is gamer The gamer. The non-player? the eentombsntombs Where once analog and
business of work. Player vs. worker. But who stands in the place of of place the in stands who But worker. vs. Player work. of business cclocklock analog relation to each other and to the world, the digital now
198. Another Greimas square: childish play is antagonistic to the serious serious the to antagonistic is play childish square: Greimas 198. Another uunifiednified distinguishes itself sharply from the analog, subsuming the analog
mmodeode difference under the digital distinction. This is a transformation not cclosedlosed w frivolous play? This is what is at stake in the game. game. the in stake at is what is This play? frivolous sseparationeparation rroadoad
hhardlyardly iimmanentmmanent merely in forms of com
How could one be neither a prisoner of work nor condemned to a merely merely a to condemned nor work of prisoner a neither be one could How bbathosathos eeatat mmeasuredeasured hheavenseavens o
How could one be both free from necessity yet unsullied by boredom? boredom? by unsullied yet necessity from free both be one could How ddescribeescribe
hhurrahurrah ccharacterharacter appears, finally, to install topology in the world o f power or of topos, but a change in being itself. The digital
in which one s actions can be freely chosen and yet not insignificant? insignificant? not yet and chosen freely be can actions one s which in rrattlesattles iidentitydentity SSurrealismurrealism ccommandommand llaidaid process it has installed the world within topology. Inireless, Katamari satellite, fiber optic
suppress and realize the game? How could one come to live in a topos topos a in live to come one could How game? the realize and suppress Damacy, the world is just stuff,owing there where for the the clumping. top is. There s It is King no mark, no point, no llin what can come after the persona of the gamer? How can you both both you can How gamer? the of persona the after come can what iimposingmposing
vvestigeestige ddelineatingelineating Digital s decision on its name, size and place in the heavens that
the gamer. What could be the endgame of gamespace itself? Who or or Who itself? gamespace of endgame the be could What gamer. the eextinguishsstealthxtetianlgthuisnnon-playerhon-player bbyproductyproduct wwhollyholly gives it being.
conclude with either the suppression and realization of the game and and game the of realization and suppression the either with conclude ttrashrash wworthwhileorthwhile g of the ate
realizes atopia without suppressing it. The rise of gamespace may may gamespace of rise The it. suppressing without atopia realizes cclaimslaims eeventrreachevaecnht
ssuccumbsuccumbs 082. The screen in Katamari Damacy shows a clock in the corner, an old- of the hybridity of nervous system and circuit board. This move move This board. circuit and system nervous of hybridity the of aanticipatesnticipates fashioned analog clock wi
merger of gamer into game and opens towards a cyberpunk celebration celebration cyberpunk a towards opens and game into gamer of merger mmeeteet iinstinctnstinct ccountryountry e decision on whether som
rrelationelation aannihilatennihilate allegorithm of a double pro move suppresses atopia without realizing it. The other starts with the the with starts other The it. realizing without atopia suppresses move ttemporalemporal rrespiteespite gamer are transformed into the digital, but also o
theories, and perhaps towards a critical theory of separation. This This separation. of theory critical a towards perhaps and theories, rrearear iinsistencensistence rrecklesseckless decisions of the game are expressed to the gamer in a familiar analog
starts with separation from the game and opens towards conspiracy conspiracy towards opens and game the from separation with starts mmergederged our ball as form. Gamespace subordinates all of time and space to the digital.
197. Both choices offered for a gamer theory have their limitations. One One limitations. their have theory gamer a for offered choices 197. Both pprominencerominence ttopographyopography
iinsignificantnsignificant ttoxicoxic rratherather aairlessirless Paul Virilio: ... space had b
The problem with paranoiacs is that they take things for words. words. for things take they that is paranoiacs with problem The ppurposeurpose llaborabor IIBMBM clock time, the diversity of relief, of topography, gave way to
being. The problem with schizos is that they take words for things; things; for words take they that is schizos with problem The being. ssubmitubmit aaestheticesthetic ffatherather pprosaicrosaic topology... . In topographic times the clock tower showed its face to
perverse play of terms outside any storyline demarking being from not not from being demarking storyline any outside terms of play perverse ddevoteevote the town over which it presided; now tim
opens up more positive differences, positivity to infinity, and a a and infinity, to positivity differences, positive more up opens ppictorialictorial aafterwardsfterwards bblurlur cconfiguredonfigured ffireire ffistist anywhere and everywhere. Just check your cellphone. The handsat of point the in the sky each ball is to
the other hand, undoing the agon between one positivity and other other and positivity one between agon the undoing hand, other the ddemandemand analog clock turn tim
total power masked behind not-being. To the schizoid sensibility, on on sensibility, schizoid the To not-being. behind masked power total ppairair wworthyorthy pphotographyhotography
PPerecerec ssportport rradaradar that rotates on a plane digital maintained an ambiguous and continuous
each yielding over and over to nothingness, always seeking the face of of face the seeking always nothingness, to over and over yielding each ppioneeringioneering ppitchitch for another, at fixed intervals, drawing each from an abstract space
fight to the end, unmasking one after another as false positivities, positivities, false as another after one unmasking end, the to fight eexceededxceeded where all the signs of t in the
masks what is negative. It masks not-being. Everything appears as a a as appears Everything not-being. masks It negative. is what masks iimpliedmplied SSAGEAGE becomes a series of discrete, equivalent and interchangeable units. At
paranoid sensibility, what appears positively, as one s antagonist antagonist one s as positively, appears what sensibility, paranoid ffreezereeze ggardearde hhigh-technologyigh-technology each interval, time munication or entertainment, not even in forms
tongue of the sex organ forever denied by the heart. To the the To heart. the by denied forever organ sex the of tongue iinvitenvite sstrivingtriving the analog temporalized space, handle of the cantilever which bears like the spoon in the perforated perforated the in spoon the like bears which cantilever the of handle ssteptep ccommonommon ooversightversight
philosophy, but in the pan of fried potatoes, square perhaps with the the with perhaps square potatoes, fried of pan the in but philosophy, ssubsequentubsequent aavantvant
sself-controlelf-control 083. Twist the sticks on the controller and on the screen the Prince turns
analysis. Heretical Surrealist Antonin Artaud: Which indeed is not a a not is indeed Which Artaud: Antonin Surrealist Heretical analysis. ddistantistant the ball. Roll the ball and it gradually grows as it picks up things.rdinates the analo
who defeated the game, perhaps one gets a different answer, a schizo s schizo s a answer, different a gets one perhaps game, the defeated who ddialial The icon in the corner grows as the ball grows. One movement doubles
the power of negation, if you ask a patient, particularly a patient patient a particularly patient, a ask you if negation, of power the bbegetsegets another. The icon records, in this mea ic. The King commands paranoid, but schizoid. Rather than ask an analyst like Freud about about Freud like analyst an ask than Rather schizoid. but paranoid, cconnectedonnected movements, operating together, produce a transformation. It tracks the
might lie a quite different possibility for a gamer theory, not not theory, gamer a for possibility different quite a lie might ffiddlingiddling movement of rolling the ball, a movement that continuously transforms ApostleCorp, who are posited in the place of the not-merged. But here here But not-merged. the of place the in posited are who ApostleCorp, llimitimit
ttrumpsrumps itself out of itself. The analog is all about relations. The digital agon with the Templars, consider instead the Omar s other relation to to relation other Omar s the instead consider Templars, the with agon vvistasffantasticaisnttaasstic uutopiatopia thre aaffectffect is all about boundaries. The digital does not follow a moving line, it
196. Start over. Start instead from the Omar. Ignoring for the moment their their moment the for Ignoring Omar. the from instead Start over. 196. Start rrepetitionepetition
vvieie ffeelingeeling imposes a grid of lin ttransgressionransgression which the ball is de
out the powers that hide in the shadows of the not-separate. not-separate. the of shadows the in hide that powers the out aambiguousmbiguous analog, difference is a productivity in excess of itself; in the
knowing what you are not-separate from. Paranoid thought always seeks seeks always thought Paranoid from. not-separate are you what knowing digital, distinction is a negation that comes from without.th a sweeping Roll the hand. The game is an ething can
systems of philosophers.§ The paranoia of the not-separate is in not not in is not-separate the of paranoia The philosophers.§ of systems ball as much as you like, but unless is reaches the size King Digital shold is clearly marked.
have an unpalatable external similarity and internal kinship to the the to kinship internal and similarity external unpalatable an have demands within the time He allows, you fail and are subjected to His beyond the game might lie. Sigmund Freud: §The delusions of paranoiacs paranoiacs of delusions §The Freud: Sigmund lie. might game the beyond cess, by which the analog
sensibility, which is where the possibility of a critical thought thought critical a of possibility the where is which sensibility, iintroducentroduce lofty disdain. This is the limit to movement that
is not given what the other term is, opens toward a paranoid paranoid a toward opens is, term other the what given not is ccannotannot ssillinessstatementsitlalitneemssents time again.
that of the not-separate. This revelation of a pure negative, where it it where negative, pure a of revelation This not-separate. the of that ggrowsrows e into movement in space, reducing it t
stands revealed as a positive term masking the point of a negation, negation, a of point the masking term positive a as revealed stands ppermanentlyermanently 084. The analog is variation along a een measured, mapped, time has become
think instead of the Templar s relation to the Illuminati, which which Illuminati, the to relation Templar s the of instead think The digital is divided by a line, a distinction can be betw .arrested The digital and clock made substitutes to yield a number.one coded Where sign
Templar s agon with the Omar, we ignore the Omar for a moment and and moment a for Omar the ignore we Omar, the with agon Templar s ggoaloal Either the ball clumps enough stuff be a star or it doesn t. The
The first could be called critical, or perhaps just paranoid. From the the From paranoid. just perhaps or critical, called be could first The cconstantonstant analog may vary along more than one line at once, producing the g to the digital.
provides two places, and the possibility of two kinds of gamer theory. theory. gamer of kinds two of possibility the and places, two provides appearance of a qualitative difference. The digitalhe co introd
place for a gamer theory to start a new kind of game. Or rather, it it rather, Or game. of kind new a start to theory gamer a for place which may produce complex relations among its terms, but all the terms
terms and closes it again. But in this closing, it provides the the provides it closing, this in But again. it closes and terms are sep
195. Deus Ex opens the problem of the other behind the agon of positive positive of agon the behind other the of problem the opens Ex 195. Deus hhierarchicalierarchical sstabletable iinstallednstalled ccodifiesodifies Katamari balls that are big enough become stars, each with its own
aanimalnimal sstrippedtripped name and location, but all are points in the same heavens. In this is an analog relation, a variable relation of gamer into game. game. into gamer of relation variable a relation, analog an is digital cosmos, everything is of the sam
Rather than the digital boundary, separating gamer from game; here it it here game; from gamer separating boundary, digital the than Rather BBonusonus vvisualisual
pparadoxaradox qualitatively different. A cow, a car, your cousin: each has its shape de exist simultaneously. Al
control but a complexity beyond all centralizing forms of power. power. of forms centralizing all beyond complexity a but control ttenuousenuous
mmachineachine VVelvetelvet sshipsppliedhliiepds and color, but in the end its all the same, just stuff. In Katamari
boundaries of flesh and machine, opening not toward a complex of of complex a toward not opening machine, and flesh of boundaries Damacy
find yourself. This is the terrain of a schizoid blurring of the the of blurring schizoid a of terrain the is This yourself. find aalivelive ssecretecret critique of the commodity. Topology can make infinite digital nly in the
game? Starting from the Omar, this is the territory in which you might might you which in territory the is this Omar, the from Starting game? CCheckheck
aassimilationssimilation distinctions. It is all just bits and all bits are equivalent. The
creation of something beyond the gamer? And of something beyond the the beyond something of And gamer? the beyond something of creation ttravelravel llongong
digital separatesarated everything by the into same discrete line ofemed segments absolutees which big enough distinctbyfun imposing is imposed a by King Digital. In th to game yet be the condition of possibility for the autonomous self- autonomous the for possibility of condition the be yet game to hhundredundred
universal code that allows anything to be connected to anything else
gamers to games, be otherwise? Could a more intimate relation of gamer gamer of relation intimate more a Could otherwise? be games, to gamers ppowerower topology but prevents anything from ever being different. The cosmos
non-merger be? Could this relation of not only gamer to game, but of of but game, to gamer only not of relation this Could be? non-merger fframerame of difference is what King Digital has lost, and what he commands his
The value of a complete merger of gamer and game. But what might a a might what But game. and gamer of merger complete a of value The hhumanuman ddefeatefeat now the digital spatializes time. gamer Prince to replace with a cosmos composed of
194. Start over again. Start instead from the Omar. What is behind them? them? behind is What Omar. the from instead Start again. over 194. Start WWTOnneoeToO EEmergencymergency 085. The analog may move backwards or forwards along a line, or even track e is blinking digits, seen
that a paranoid sensibility might not puzzle it out. out. it puzzle not might sensibility paranoid a that sshadowyhadowy bboughtought CCityity ddeatheath movement across three or more dimensions, but only with the imposition
conspiracy by which the complex hides itself, but not so completely completely so not but itself, hides complex the which by conspiracy bbalancealance aaimim iimpossiblempossible it is mostly consumer stuff, but this goes far bey f how the digital
of the digital code is it possible to cut the terms bounded by the
pose in the act of gameplay, which might work out the terms of the the of terms the out work might which gameplay, of act the in pose digital line and rearrange them. Rather than an analog movement
game? Starting from the Templars, these are the questions one might might one questions the are these Templars, the from Starting game? ttechno-intellectualechno-intellectual
for values, and of values for negations not the protocols to a total total a to protocols the not negations for values of and values, for rreligiousoorganizationalppower-brokerserolgiwgaienoriuz-basrtoioknearsl rrailail lloopoop through space and time, the digital opens the possibility of jumping Here another dimension reveals itself. Are these masks of characters characters of masks these Are itself. reveals dimension another Here ccabalabal aabsorbedbsorbed iinvariablynvariably between points in a three dimensional space in which terms are arrayed move
separation, what next? Do these masks cover and cover to infinity? infinity? to cover and cover masks these Do next? what separation, aartificertifice along different axes and are drawn together via the code. Rather
terms? After unmasking the Illuminati as a mere cover for non- for cover mere a as Illuminati the unmasking After terms? ccontainedontained a continuous line moving out from a point into a three dimensional
and of the indeterminate negativity masked by an agon of positive positive of agon an by masked negativity indeterminate the of and ffearsomeearsome
bbiomodsiomods space, one imagines rather a three dimensional space of fixed points,
it not always a double masking, of the value masked by the character; character; the by masked value the of masking, double a always not it SSurrealisturrealist
ffanaticalanatical llayingaying ddeconstructeconstruct which can be called upon by the code to make up a straight lin
ApostleCorp). Now for the next level: Does gamespace stop there? Or is is Or there? stop gamespace Does level: next the for Now ApostleCorp). rresolutionffinerienseorlution distinct units. Because it is digital, the game can be saved . After ction as thresholds. The line at suring continuum, how several
cover the absence of these purely negations (Illuminati vs. vs. (Illuminati negations purely these of absence the cover ddestroyestroy rrevolteIInvestnvvoeltst you have successfully rolled a ball, you can save it. Saving takes
terms (not-separate vs. not-merged). Detect the positive terms which which terms positive the Detect not-merged). vs. (not-separate terms eexperimentallyxperimentally place at the digital threshold. The digital creates a time that can be ments of the
(separate vs. merged). Discover the hidden exclusion masked by these these by masked exclusion hidden the Discover merged). vs. (separate cchoosehoose
uunderstoodnderstood wwalkalk ttopologyopology bboundsounds saved by making all of time equivalent. It is a time without violence.
Templar vs. Omar. Find the values masked by these proper names names proper these by masked values the Find Omar. vs. Templar What is saved does not suffer from erosion or decom
193. Start over. Here are the rules of the game: Start with an agon of of agon an with Start game: the of rules the are Here over. 193. Start mmoraloral digitalIt always can comes no longer ba impose its code in which case it may never
analog to the digital. digital. the to analog rremainderemainder
aadvancedvance come back at all. The digital cosmos is more perfect, yet so much more
it is not, and erected in its place a new agon. It subordinates the the subordinates It agon. new a place its in erected and not, is it fragile.
difference is now internal to the game. Gamespace has colonized what what colonized has Gamespace game. the to internal now is difference aaidingiding
another difference non-separation, non-merger. But this other other this But non-merger. non-separation, difference another cconductonduct vvanishanish
wwithholdingithholding 086. As the Prince rolls bigger and bigger balls, he gets to play in a
complete merger or complete separation, the problem looks like one of of one like looks problem the separation, complete or merger complete ssteeringteering
mmomentoment bigger and bigger topos. The game starts inside an apa
order to draw it into the game. At either end of this agon, of of agon, this of end either At game. the into it draw to order moves on to the town and finally to the world. This stepping up l of time
find ways to communicate with what is human, with what is separate, in in separate, is what with human, is what with communicate to ways find wweaponseapons through bigger and bigger scales repeats the stepping up through the
into the nonhuman. They are always already not human. Yet they have to to have they Yet human. not already always are They nonhuman. the into MMoonoon
scales of the topical, the topographic and the topological of which
game which might have anxiety about its boundaries, about tripping tripping about boundaries, its about anxiety have might which game nnegationegation pplacelace
gglasseslasses the game is an allegorithm. What gives the game its charm is the line, a difference of more and less.
assumption of an always-already separate being, a gamer before the the before gamer a being, separate always-already an of assumption seemingly ridiculous idea that a ball of household items could be a o line
Omar, the problem is the reverse. Theirs is a being not defined by an an by defined not being a is Theirs reverse. the is problem the Omar, rrelentlesselentless GGibsonibson star. Even more odd: the last and largest ball replaces the smallest
the very thing their being is founded on separation from. For the the For from. separation on founded is being their thing very the heavenly body a mere moon. But this is of a piece with the ways of
example, which implicates them in various forms of non-separation from from non-separation of forms various in them implicates which example, iindexndex ooppositepposite kkenen topology. In topological times, it is not just that
fight in this posthuman grid, they require technics, armor for for armor technics, require they grid, posthuman this in fight rregardlessegardless operates on a planetary scale. It is that it operates across scales,
schizoid complexity. For the Templars, separation is key, and yet to to yet and key, is separation Templars, the For complexity. schizoid connecting the infinitesimal to the gigantic. The tiniest switch of
pair stage the agonistic storylines of the paranoid complex and a a and complex paranoid the of storylines agonistic the stage pair bbeatseats rradiateadiate
pair of antagonistic terms Illuminati and ApostleCorp. This second second This ApostleCorp. and Illuminati terms antagonistic of pair bbeganegan iisnsn electric current can launch a cruise missile. aalleviatinglleviating iinauguratesnaugurates
are not, but in place of what they are not, the game posits another another posits game the not, are they what of place in but not, are ppolicyolicy SSundayunday
agonistic forces of the Templars and the Omar open toward what they they what toward open Omar the and Templars the of forces agonistic eeligibilitiescclassifiedlaigsisbifiileitdies 087. King
192. The four endings of Deus Ex play out all of these possibilities. The The possibilities. these of all out play Ex Deus of endings four 192. The ttranscendranscend longerof indifference something that lurks merely in the margins of space or time.
appears time and
pleasure. Perhaps in equal measure, and always at the same time. time. same the at always and measure, equal in Perhaps pleasure. llaxax Having been squeezed more and more to the margin of both space and The prospect of becoming posthuman evokes terror and excites excites and terror evokes posthuman becoming of prospect The time, rather than disappearing, indifferen
Cave , or what some call the posthuman condition . Katharine Hayles: Hayles: Katharine condition . posthuman the call some what or Cave , aactionction ttaskask ssignalignal total, pervasive, immanent. The Prince is what the Prince has achieved
storylines that try to account for everyday life from within The The within from life everyday for account to try that storylines gglommedaaggregationglogmremgaetdion a level, a number, and nothing but. Julian Stallabrass: emotional e substance. Nothing is re
military entertainment complex. It is a synthesis of the two competing competing two the of synthesis a is It complex. entertainment military attachment to the game is established through labor, emerging out of
the world. The possible endings of Deus Ex map out the topos of the the of topos the out map Ex Deus of endings possible The world. the sspacepace ggirdird the Sisyphean nature of the pla ck as the same unless the system crashes, and the
extopian dwells neither here nor there, but at once and at one with with one at and once at but there, nor here neither dwells extopian aamenablemenable
bboredomoredom ttraderade uunambiguousnambiguous style, King Digital makes a terrible demand, as appalling as that made
and there is a complete elimination of the limits of any topos. The The topos. any of limits the of elimination complete a is there and KKandinskyandinsky sstratificationstratifications een either/or. rreleaseelease of Sisyphus by the Gods. He commands the gamer to the game, but
possibility, in which gamer and game cease to exist as separate terms, terms, separate as exist to cease game and gamer which in possibility, promises nothing
delirium, a negated realm of possibilities an extopian extopian an possibilities of realm negated a delirium, very time itself that the gamer commits to the task will make the task
entertainment complex. The fourth term points towards a digital digital a towards points term fourth The complex. entertainment ttendend mmilkyilky worthwhile. The digital object exists in a space which chunks it into
mysterious conspiracy, and perhaps a critical theory of the military military the of theory critical a perhaps and conspiracy, mysterious bits, each of equivalent value. The digital subject exists in a time
open toward a paranoia about what might be behind gamespace, a a gamespace, behind be might what about paranoia a toward open aabsencebsence mmathesispprocessualfforthorarottchheessiusal
ffutileutile aadministrationccalculusadlmcuinluistration which chunks it into bits, each of equival Digital destroyed the heavens, in a moment of boredom, in a fit
any dalliance with the digital subsumes anything human. The Illuminati Illuminati The human. anything subsumes digital the with dalliance any nnihilisticihilistic
machine; the Omar a fear (and euphoria) that it is too late, and that that and late, too is it that euphoria) (and fear a Omar the machine; sshuttleshuttles 088. Digital object, digital subject these are byproducts of a boredom
191. The Templar attract the sense of panic (and resignation) about the the about resignation) (and panic of sense the attract Templar 191. The ssubtleubtle rrewardeward vvideogamesideogames th io
cclearlear ppatentsatents space and time, turning it into commodity space and military space.
machine and machine by flesh. by machine and machine This is the reckless act of creation with which Katamari Damacy begins
equivalents, so much as an excitation of incommensurables, of flesh by by flesh of incommensurables, of excitation an as much so equivalents, the King s destruction of the mythic heaven of the old Gods, and the n. All th
be an antagonism of opposites, still less a communication of of communication a less still opposites, of antagonism an be bbodyody
rrichlyichly iincreasinglyncreasingly at, seeking respite from project of replacing it by commanding the transformation of a human
produced is carried over into a new act of producing. It might not not might It producing. of act new a into over carried is produced eexcusexcuse
analog movement into an airless matrix of machine code. This is the
product. We need merely note that the pure thisness of the object object the of thisness pure the that note merely need We product. mmaintenanceaintenance . This is the danger of topology. Indifference is no
new task of Sisyphus. Gamespace is always and everywhere the There is no need to distinguish here between producing and its its and producing between here distinguish to need no is There sshapehape
ppathsaths uces a code, imposition of the digital as a way of laying an invisible hand on the Deleuze & Guattari: The schizophrenic is the universal producer. producer. universal the is schizophrenic The Guattari: & Deleuze eextrudesggripxritprudes eempoweredmpowered
communication in which one need not be the antagonist of the other? other? the of antagonist the be not need one which in communication ddisguiseisguise ccutut world or an all too visible fist. W
e
On what terms? Could there be a communication between them? A A them? between communication a be there Could terms? what On eever-newver-new digits to calculate what it may gain, the invisible fist closes them
machine of the body and the digital machine of the game to co-exist? co-exist? to game the of machine digital the and body the of machine uuncontainablencontainable nnoror ccrossesrosses to calculate what it may claim.
term, which is that of the non-merger. Are there ways for the soft soft the for ways there Are non-merger. the of that is which term, mmonotonousonotonous tterrainerrain iintegrityntegrity
flesh and metal. The storyline axis then travels toward the fourth fourth the toward travels then axis storyline The metal. and flesh oorderlyrderly 089. Th assumption of a schizoid splitting and mixing of layers and levels of of levels and layers of mixing and splitting schizoid a of assumption all the lines of analog telesthesia as the means of measuring and
for granted. This is the properly cyberpunk axis. It starts with the the with starts It axis. cyberpunk properly the is This granted. for ddelayedelayed controlling its forces. Thi
ddisposalisposal e
the tension in favor not of separation but of merger. It takes merger merger takes It merger. of but separation of not favor in tension the ccyclicyclic ddependentependent uuploadingploading forces ex
of gamer and game, or of the human and the nonhuman. Only it resolves resolves it Only nonhuman. the and human the of or game, and gamer of bboundariesoundaries aactct starting perhaps with the SAGE computer system of the 1950s emerged
path. It also begins with the existential question of the separation separation the of question existential the with begins also It path. ppuresturest as the means of command, control and comm ond
190. The second storyline from Omar to ApostleCorp takes the opposite opposite the takes ApostleCorp to Omar from storyline second 190. The mmigrateigrate
sstraightforwardtraightforward SAGE set the key pattern for other high-technology weapon systems, a
nested set of increasingly comprehensive military enclosures for
and reacts against merger at the top. the at merger against reacts and global oversight and control. The theory of the digital, and of its distinctions.
separation at the top. Or vice versa: separation at the bottom resists resists bottom the at separation versa: vice Or top. the at separation mmythicythic aalmost-utopianlmost-utopian
nnecessityecessity distinction from the analog, emerges as a byproduct of this attempt at ppentent but v
merger. The merger at the basest levels is presided over by a a by over presided is levels basest the at merger The merger. se
fantasizes a power of control over the relation between separation and and separation between relation the over control of power a fantasizes the complex into something else. The expansive movement of the a the thought of what can be outside of separation and merger. It It merger. and separation of outside be can what of thought the mmallall
military machine calls into being a code that can monitor and manage
machine. But beyond this existential tension, the storyline develops develops storyline the tension, existential this beyond But machine. iimplosionmplosion ccommitommit it. The analog begets the digital, but only produces the concept of
the separation of gamer and game, and terror about merging human and and human merging about terror and game, and gamer of separation the nnurturingurturing lf-contro e military industrial complex develo
ddescriptionescription the analog after the fact. Anthony Wilden: Obviously, without the ally 189. The first storyline strand from Templar to Illuminati starts with with starts Illuminati to Templar from strand storyline first 189. The ttransitransit ddenseense
ofdigital, the ball we as could a putative not speak star, ofit cannot the analog. be named. Without The themilitary recognition
next level in this game. game. this in level next oobligessuccessorsubclicgeessors
rrhythmshythms entertainment complex
fourth term has to find its place in the puzzle in order to unlock the the unlock to order in puzzle the in place its find to has term fourth digital, of the military andceede industrial production lines by
suppressed in favor of one of the other three. Nevertheless, the the Nevertheless, three. other the of one of favor in suppressed ppleasureleasure ictory until defeat. The only reward is th
digital lines of command, and by the extension of the digital to all
term may be the most interesting of all, but one which is usually usually is which one but all, of interesting most the be may term hhideide
aspects of everyday life.
Huizinga, and a play that calls into being its own rules. This fourth fourth This rules. own its being into calls that play a and Huizinga, cco-opto-opt eenablesnables ppredominanceuundoubtedlyrneddooumbitneadnlyce hierarchies of the not-separate. Here you may find the ghost of of ghost the find may you Here not-separate. the of hierarchies mmoveove iindifferencendifference ddecadenceecadence 090. Without the analog, play leaves no trace. Without the dig
terms of separation and merger, nor yet by the protocols and and protocols the by yet nor merger, and separation of terms llocusocus aatomtom
yields no score. Neither analog nor digital is play itself. But what
it is a qualitative relation that can t be captured by the simple simple the by captured be can t that relation qualitative a is it iimageryaanti-corporatemntaig-ceorryporate ppushedushed ssculptorculptor
can one say about play? Play is what has to be posited for there to be ApostleCorp. Perhaps it is not about more or less separation. Perhaps Perhaps separation. less or more about not is it Perhaps ApostleCorp. aanti-globalizationddrive-bynritvi-eg-bloybalization either the merged or separate terms. Holding down its place is is place its down Holding terms. separate or merged the either anything for either the analog or the digital to track, and yet play
188. To be not-merged with the game might also be a more complex term than than term complex more a be also might game the with not-merged be 188. To pposesoses is an elusive concept at best. Brian Sutton-Smith: We all play
nneverthelessevertheless ddullull cclaylay occasionally, and we all know what play feels like. B
paranoid suspicion that it is not what it seems. seems. it what not is it that suspicion paranoid to making theoretical statementsl by about the military whatd itspla industrialcapacity to complex, m but it transformed yer s task. For all h thing fronted or not fronted by another, every appearance prompts the the prompts appearance every another, by fronted not or fronted thing iirreduciblerreducible silliness.
position or decay.
governed by protocol, by codes of access and denial of access, to one one to access, of denial and access of codes by protocol, by governed retrospectively. Obviously, witho nothingness, projects its lines across all
has been played. Ice T: You played yourself. In a gamespace gamespace a In yourself. played You T: Ice played. been has iinspirenspire ccarar could not speak of play, even as play exceed
imagine yourself to be the one playing perhaps you are the one who who one the are you perhaps playing one the be to yourself imagine which it is traced and the digital line across which it is measured.
off your own mask, the mask of the gamer, you would find that you only only you that find would you gamer, the of mask the mask, own your off Via the analog, play is captured in art; via the digital, p
in a game controlled by someone or something else. Perhaps if you took took you if Perhaps else. something or someone by controlled game a in rresolvedesolved
ddistinguishistinguish captured in games. The analog flattens play out into a single line, so
the player of a game. Perhaps you are really a non-player character character non-player a really are you Perhaps game. a of player the ssexex ddieie that its movement may continue, in reduced
subordinate games. Even more disturbing: Perhaps you only appear to be be to appear only you Perhaps disturbing: more Even games. subordinate The play of the fingers on the controller is recorded via the graph
important than other games, and determine the possible outcomes of of outcomes possible the determine and games, other than important art on the screen. The analog enables a movement to communicate from
determining who has access to which game; perhaps some games are more more are games some perhaps game; which to access has who determining topos to topos. The digital codifies play, translating it onto the than
game. Perhaps it is bigger than that. Perhaps there are protocols protocols are there Perhaps that. than bigger is it Perhaps game. very different space of number and logic of code. e of
something beyond the digital, on-off relation of the gamer with the the with gamer the of relation on-off digital, the beyond something the digital now
game expands here under the guise of the Illuminati. Perhaps there is is there Perhaps Illuminati. the of guise the under here expands game ddefyingefying
aabsurdbsurd 091. Which came first, play or game? W ce threatens to become positing something that can go in the place of the not-separate. The The not-separate. the of place the in go can that something positing llaboratoriesaboratories sspitejjoyouslyopyitoeusly
Sisyphus was interested in both navigation and logic of the game, the only way to venture into this territory is by by is territory this into venture to way only the game, the of logic tthreatenhreaten
when both still had a tenuous map of the spaces through which they rtment, t
187. To be not-separate from the game could be many things. From within the the within From things. many be could game the from not-separate be 187. To PPhilosopherhilosopher aabsurdlyppunishinglybusnuisrdhilnygly
Playplied produced their ships what, and after their the t fact, could be marked s development reached a lim
it say where not-game begins or ends. or begins not-game where say it ssuspendeduspended
hhairyairy bboredored S game is. There is nothing it can say about what not-game is. Nor can can Nor is. not-game what about say can it nothing is There is. game aappraisalppraisal by seeking to know the rules of the Gods in
begins by ruling out what is not-game. It says nothing about what not- what about nothing says It not-game. is what out ruling by begins mmammalsammals vvaguelyaguely iincrementallyncrementally Perhaps
ssensitiveensitive an eternal move which can never give rise to a game
turn draw its identity from this relation. It remains unmarked. A game game A unmarked. remains It relation. this from identity its draw turn aanxietynxiety aatopiatopia isyphus transgresse
hhoistsoists end, no win, no recog
pure negative, against what is not it. This other term does not in in not does term other This it. not is what against negative, pure inspire the game; the game animates play. Behind the subordination of
another order. This is otherness, wherein a term is posited against a a against posited is term a wherein otherness, is This order. another aalealea
the analog to the digital is the subordination of play to game.
A game always depends on a prior difference, not quite digital, but of of but digital, quite not difference, prior a on depends always game A eeternalternal
Tr
of game to not-game, the relation to the other term takes precedence. precedence. takes term other the to relation the not-game, to game of yields, the threshold it crosses. King
other negatively. Each is what the other is not. But in the relation relation the in But not. is other the what is Each negatively. other nnestedested cchunkycutehuutenky ent value.
here the invisible hand opens its
another. One term antagonizes another term; each of which defines the the defines which of each term; another antagonizes term One another. aastronautstronaut opposite demand of the Prince to that made of Sisyphus by the Gods.
agonistic seems to define a digital difference: if not one thing, then then thing, one not if difference: digital a define to seems agonistic vvoyageoyage The eternal task is no longer the move which can never cross the
acing the line merged, which could be many other states. Within the game, the the game, the Within states. other many be could which merged, ccancelledancelled finish line, it is the move which can do nothing but yield a measure,
antagonist of merged is separate, but the other of merged is not- is merged of other the but separate, is merged of antagonist sshoothoot HHoshinooshino a score, a number, a rank. Rather than play that can never end, it is
hen
separate is the not-separate, which could be many other states. The The states. other many be could which not-separate, the is separate rrageage TTomioomio the game that stops, and starts, and stops, and starts, and stops, and
territory. The antagonist of separate is merged, but the other of of other the but merged, is separate of antagonist The territory. llargerarger rrocketocket starts forever.
or not-merged. This latter pair of possibilities opens up a lot more more lot a up opens possibilities of pair latter This not-merged. or sstatustatus nnothingnessothingness emerges out of the control of the analog by the
them. You may be separate or merged; but you may also be not-separate not-separate be also may you but merged; or separate be may You them. mmotherother 092. The terms analog and digital are invariably treate anage them. Digital telesthesia terms, which are other to the initial pair rather than antagonistic to to antagonistic than rather pair initial the to other are which terms, between the terms was itself a digital one. This in itself is a sign
being merged or separated, there is a pair of slightly different different slightly of pair a is there separated, or merged being of the time
this pair of terms masks another: beyond the antagonistic positions of of positions antagonistic the beyond another: masks terms of pair this wweirdeird aautonomyutonomy distinct, a code with two absolute terms. Any a the very conce
186. One may be Omar or Templar, merged or separated from gamespace, but but gamespace, from separated or merged Templar, or Omar be may 186. One distinctionsmight threaten of an to ever deconstruct finer resolution. the disti This in turn leads to ever is laid back
gamer may be in relation to any game. any to relation in be may gamer more complexity in managing the proliferation of bits, which i
realization of the game as one of two agonistic states in which the the which in states agonistic two of one as game the of realization iintensentense requires ever more powerful data crunching engines. The military
and machine. This first pair in the Greimas square enact the the enact square Greimas the in pair first This machine. and entertainment c
of separation; the Omar want nothing but complete synthesis of human human of synthesis complete but nothing want Omar the separation; of ppullull between the analog and the digital is digital, an absolute boundary, being merged into the game. In Deus Ex, the Templars are the knights knights the are Templars the Ex, Deus In game. the into merged being ttantalizinglyantalizingly ppastel-huedastel-hued then the d
gamer oscillates within an agon between two terms: being separate and and separate being terms: two between agon an within oscillates gamer ffrustratingrustrating sstolentolen
sstealteal r
as a result, the gamer, as the one who hit or missed. (See Fig. 6) The The 6) Fig. (See missed. or hit who one the as gamer, the result, a as wwithheldithheld iincreasesncreases eeliminatesliminates
ccolludeollude then become the locus for command and control of the analog remainder,
target, the second merges the character with the target and produces, produces, and target the with character the merges second the target, ttriggerrigger ela ccondoshhotelsoontedloss which it treats as a mere residue. The lines of the digital can be
state merges the gamer with the character in the presence of the the of presence the in character the with gamer the merges state sstorylinetoryline mmugddiscreetiuscgreet inscri the procedure. The goal is to not be the other s target). The first first The target). other s the be not to is goal The procedure. the ssquishysatisfyinglyqatuisisfhyiyngly
point where a digital heaven is realized, and the analog seems to merged with the target. (Playing Deus Ex in stealth mode only reverses reverses only mode stealth in Ex Deus (Playing target. the with merged aautonomousutonomous
vanish, and play becomes a mere effect of the digital. The Analog
first state is being separate from the target; the second is being being is second the target; the from separate being is state first ttourismhhoneyshustlersoouunsrteilseymrss rroleole Prince ped pho essentially the same. The gamer oscillates between two states. The The states. two between oscillates gamer The same. the essentially ffinishinish sspecialpecial iisolatesolate sstopstops TTwistwist
ccreamream Digital commands it. And why does he command it? To make the universe
variegated spectacle of details, the act of gaming is always always is gaming of act the details, of spectacle variegated ddisplacedisplaced ccounterfeitounterfeit
iintercoursentercourse tive and numerical value a over, to recreate being
185. The gamer s boredom arises out of the recognition that, under the the under that, recognition the of out arises boredom gamer s 185. The ddecliningeclining command.
to an end and what that end might be. be. might end that what and end an to sswitchwitch nnastyasty
0 of the mo
to or outside the game, but what, from inside the game, may bring it it bring may game, the inside from what, but game, the outside or to ccluelue
storyline, within which the digital serves to make the analog
itself selects to make its own. The tension is no longer what is prior prior is what longer no is tension The own. its make to selects itself ddevicesecco-existvoi-ceexsist
neither target something within the game nor be the target the game game the target the be nor game the within something target neither rrepelepel man93. The digital, once installed in thes wor possibility of gamespace. These are the moments when the gamer can can gamer the when moments the are These gamespace. of possibility KKantƒsantƒs
ssubordinatedubordinated Fenimore Cooper tobed William ever Gibsonmore e narrates the rise and fall of the
who, in moments of boredom in between, glimpses the very conditions of of conditions very the glimpses between, in boredom of moments in who, military industria . d either by killin
constantly pulled into and pushed out of one game after another, and and another, after game one of out pushed and into pulled constantly series of movements beyond language s ken. These The digital terms produces, are to be nottreated as discrete and absolutely unica
problem. Its locus is the gamer, who can only be a gamer by being being by gamer a be only can who gamer, the is locus Its problem. just new kinds of media, but a whole new topos, in which the role and
not-game. On the contrary, it makes it a pervasive and incessant incessant and pervasive a it makes it contrary, the On not-game. rule of the l at th
onto another cave. But this does not banish the problem of what is is what of problem the banish not does this But cave. another onto ppointlessointless sshininghining where it divides, one divides with a line to make a distinction.
one game will turn out to be an entry into another. Each cave lets lets cave Each another. into entry an be to out turn will game one uuntouchedntouched Storyline becom only rolls the ball, steer tthresholdhreshold nition. Now the te omain of the digital can be perfected as one of purely
games give onto nothing but other games. In gamespace, the exit from from exit the gamespace, In games. other but nothing onto give games of Katam ut the analog and the d
game was delineated by what it was not. In topological times, atopian atopian times, topological In not. was it what by delineated was game ggamelikeamelike sto pt of play appears only tog
184. In topographic times, heterotopian games gave onto non-game spaces. A A spaces. non-game onto gave games heterotopian times, topographic 184. In uuniformniform mmissileissile conditions of differenceifest, but for does gamespace. not control This it.task The novel,like that of Sisyphus must be endlessly repeated.
game. rade. The rules emerged out of the m
slight slippage of the mask, revealing the rules of the meaning-making meaning-making the of rules the revealing mask, the of slippage slight ffluxlux
iincompletencomplete 094
usually would. That Deus Ex is a game of four endings is already a a already is endings four of game a is Ex Deus That would. usually for cha e bit more of the rules of the game of meaning making than a story story a than making meaning of game the of rules the of more bit mmutatedutated tion. Paulit, and Ed its
can roll up m
storyline has an ending, Deus Ex has four endings. It reveals just a a just reveals It endings. four has Ex Deus ending, an has storyline oovercomingvercoming am ryline s last task is to erase itself and initiate the new
this end point seem natural, inevitable, and necessary. But while a a while But necessary. and inevitable, natural, seem point end this ttrophyhhollowrolplohwy raphy, radar, radio
ooscillatesscillates glommed together as more and more of the same. Likewise, the military
determines when something can end; but it is the storyline that makes makes that storyline the is it but end; can something when determines rrealigningealigning omple en
constraints of gamespace. In the game it is an algorithm that that algorithm an is it game the In gamespace. of constraints over in the image of its digital rulings, making it amenable to th
working out, one move at a time, of a possible line through the the through line possible a of time, a at move one out, working ooptpt ffrontront ve, the
imposition of a co
point at which a game must end. The storyline becomes just the the just becomes storyline The end. must game a which at point proliferate wildly,. The beyond digital, the once simple installed dichotomies in the world, of the accelerates topographic. the potential
internal to gamespace, and is now much more about legitimizing the the legitimizing about more much now is and gamespace, to internal eexpelxpel Bu
marked the boundaries within which a game could begin, becomes becomes begin, could game a which within boundaries the marked rrenegeseneges
equivalent ong th life: There is nothing outside the game. The storyline, which once once which storyline, The game. the outside nothing is There life: ddelivereliver ddifficultifficult
ddomainomain tertainment complex grids the earth so it may gird it, makin space. Roll up more and more balls, populate the heavens with a
resolved in favor of the game. Whether in art, theory, or in everyday everyday in or theory, art, in Whether game. the of favor in resolved eepochspochs veritable milky way, but e 183. With the rise of topology, the tension between game and play is is play and game between tension the topology, of rise the 183. With ttransmitransmit ttroublesomeroublesome
becomessame way. the Drew reified Milne: calc What once ventured forth as processual mathesis entombs it within its rules. rules. its within it entombs ppropositionroposition
ddrunkrunk sameness screenedt these distinc from nihilistic relativity. ari Damacy is not a all he imagines he has learned about revolutionary playtime, and yet yet and playtime, revolutionary about learned has he imagines he all pparadisearadise
declining years to designing and playing a board game which formalizes formalizes which game board a playing and designing to years declining ttenseense
cconfrontonfront SSisypheanisyphean nge, but for change alwa 095. The digital emerges as military, but achieves acceptance as world. The former leader of the Situationists will devote his his devote will Situationists the of leader former The world. ine is reversed. One no longer follows a line to find
total game. Guy Debord: One cannot go into exile in a unified unified a in exile into go cannot One Debord: Guy game. total entertainment. J. C. Herz: most of the technology that s now used
same time. There is nowhere to hide outside of gamespace the the gamespace of outside hide to nowhere is There time. same eentrØentrØe in videogames had its origin x discovers experimentally that if the relation
Marcus: As bathos it was just drunks trying to walk and think at the the at think and walk to trying drunks just was it bathos As Marcus: rrectorpprophetercotpohret nneighborseighbors back the patents, it s virtually impossib s the analog line along attempt to live out Huizinga s theory as a program for action. Greil Greil action. for program a as theory Huizinga s out live to attempt rrenownenown
ssavioravior console component that evolved in the absence of a Defense Departme ,
its way. Transgressive play has its last hurrah in the Situationist Situationist the in hurrah last its has play Transgressive way. its rrelinquishingelinquishing grant. The military versions of digital telesthesia make the world
rrecreateecreate pla
and finally play itself. Now the military entertainment complex is on on is complex entertainment military the Now itself. play finally and eenemynemy over as a military xtensively and intensively on the world, to the its way. Total war then extends its logistics to the spaces of work, work, of spaces the to logistics its extends then war Total way. its ccabinetsabinets culture other than hich cam
vestige of the play element.§ The military industrial complex is on on is complex industrial military The element.§ play the of vestige ccircumstancesircumstances
ttrajectoryrajectory military industrial complex. The ese objects is lost. A
§It remained for the theory of ¥total warƒ to extinguish the last last the extinguish to warƒ ¥total of theory the for remained §It ttumblerroughuomugbhle the entertainment commodity inscribes the digital not just in space
ppaintaint form, into another space.
182. Huizinga, writing in the shadow of the Nazis, knew what was coming: coming: was what knew Nazis, the of shadow the in writing 182. Huizinga, rreinventedeinvented a l complex, uses the co g another tra y is, we fall into wards: For the which determine the possibilities of play. play. of possibilities the determine which nnonexistentonexistent
nnightmareightmare 096. The digital game is a very particular commodity. It i y, matters less tha
whole of space succumbs to the game, it is the logic of constraints constraints of logic the is it game, the to succumbs space of whole ccommunistommunist
usualnd store time, of entertainingbut in cultural representations perceptions of transferre space and t Digital makes quite the
Greimas anticipates the enclosure of play within gamespace. As the the As gamespace. within play of enclosure the anticipates Greimas ffundamentalistundamentalist llargearge ddrawraw and mechanical reproduction to a digital form. Rather, it makes the e
ddifferentiationifferentiation ut when it comes
game. It is the play instinct that inspires the formation of forms. forms. of formation the inspires that instinct play the is It game. cconstantlyonstantly digital itself into entertainm any things to mak
games; A. J Greimas tops Johan Huizinga. For Huizinga play precedes precedes play Huizinga For Huizinga. Johan tops Greimas J A. games; aactorsctors subject as a player, as a calculator and competit itself, as an ef
theoretical strategies, the game of meaning supercedes the meaning of of meaning the supercedes meaning of game the strategies, theoretical eenactnact in relation to a mark, a score. The digital inscribes gamespace within s gamespace. The storyline that inaugurates the world rms are revers
supercedes the play beyond game of Guy Debord. In the rear guard of of guard rear the In Debord. Guy of game beyond play the supercedes the subject itself. Gamespace makes topology sseem like it could have,
avant garde strategies, the game within constraints of George Perec Perec George of constraints within game the strategies, garde avant aappallingppalling AAdolfggulagsudloalgf s if not meaning, then at least an algorithm. Gamespace makes
topology, game rises in prominence relative to play. In the realm of of realm the In play. to relative prominence in rises game topology, ccrestrest bbranchranch
aabatesbates ccampsamps uploading of the world into topology seem natural and inevitable. Yet
stake here is the relation of play to game. As topography gives way to to way gives topography As game. to play of relation the is here stake sslippagelippage sscenecene at the same time it offers the digital in its purest form, where the words, the play of meaning is made within the bounds of a game. At At game. a of bounds the within made is meaning of play the words, aanybodynybody within the logistics of commodity space and military
VViceice transforma advance. His punishment is
to which it must submit and choices it is able to make. Or in other other in Or make. to able is it choices and submit must it which to ppunchunch repeatable, in a word fair. While the game makes the digital seem
follows a complex trajectory, encountering on its way both constraints constraints both way its on encountering trajectory, complex a follows sstrangetrange bbattleattle ppursuitursuit
hhistorianistorian inescapable, its ambiguity is in the
pictorial, etc.), the human mind begins with simple elements and and elements simple with begins mind human the etc.), pictorial, JJewsGGermanyeewrms any seem commerce, at a time
achieve the construction of cultural objects (literary, mythical, mythical, (literary, objects cultural of construction the achieve gamesp
out of a desire for intelligibility, we can imagine that, in order to to order in that, imagine can we intelligibility, for desire a of out aatopiantopian ssmoothmooth thought retrospectively in terms of the game. A. J. Greimas: Perhaps Perhaps Greimas: J. A. game. the of terms in retrospectively thought ddystopiattabulatingyasbtuolpaitaing
097. The digital makes the analog itself appear as something e f Greimas is its pioneering theorist, for whom all culture can now be be now can culture all whom for theorist, pioneering its is Greimas rridiculousidiculous gamespace. This digital realm can lay is
digita Fig. 8) If George Perec is the avant garde aesthete of gamespace, gamespace, of aesthete garde avant the is Perec George If 8) Fig. nnetworketwork ccapacityapacity igital, we
ambiguous di ing this way and that, because King
is to say, the endings are terms in a game of meaning making. (See (See making. meaning of game a in terms are endings the say, to is m 181. The four possible endings of Deus Ex fit on a Greimas square. Which Which square. Greimas a on fit Ex Deus of endings possible four 181. The oourselvesurselves tions are always and everywhere exchangeable
pplaytimelaytime eexceedsxceeds digital can de of u sseeminglyeemingly ital, play What might emerge is rather the play between the analog and the
theorist to a new kind of game. game. of kind new a to theorist irst, mo
into quite definite relations. The four terms invite the gamer gamer the invite terms four The relations. definite quite into ddivertsiverts rrisksisks digital. The digital might become again the thresh arrangement of these masks. These endings, and what they mask, enter enter mask, they what and endings, These masks. these of arrangement movement into a break, rather than im nction is to be resolved with
another character to unmask, there is a puzzle to solve in the the in solve to puzzle a is there unmask, to character another wworstorst ttendrilsuuncoilsenncdoriillss gamer as adethe the distin
itself. They are its endgame. But while there is not at this point point this at not is there while But endgame. its are They itself. rretrogradeetrograde within g
exhaust the possibilities within which gamespace can think about about think can gamespace which within possibilities the exhaust sspatialpatial fatal either/or. After a while, it s just n like it could be an alm
something else a diagram of the avatars of power. The four endings endings four The power. of avatars the of diagram a else something undoubtedly the predominance of the a transgression.
not another mask; behind this power is not another power, but but power, another not is power this behind mask; another not ooccupyccupy wworldlyorldly decadence in the long run tterribleerrible veler, o
that, perhaps the game reaches a certain limit. Behind this mask is is mask this Behind limit. certain a reaches game the perhaps that, mmemosemos
hierarchy, or vice versa. (Illuminati vs. ApostleCorp.) But beyond beyond But ApostleCorp.) vs. (Illuminati versa. vice or hierarchy, ttelegramselegrams
iinstrumentalnstrumental 098. I do cre
human, or vice versa. (Templar vs. Omar.) Either democracy trumps trumps democracy Either Omar.) vs. (Templar versa. vice or human, Dam
fantastic vistas of gamespace itself. Either technology trumps the the trumps technology Either itself. gamespace of vistas fantastic ppre-releasere-release ppreciselyrecisely my life, where I can g l rules a line b four more abstract, more impersonal antagonists who stalk the the stalk who antagonists impersonal more abstract, more four ffoldold analog so too the designer subsumes the artist. The longing to return , which yields no
180. Behind the four organizations who vie for power in Invisible War are are War Invisible in power for vie who organizations four the 180. Behind ppulsingulsing to art as an analog pursuit the trace of the hand in clay ggreen-fieldsreen-fields a
sscopecope may be in vain. But the artist within the designer may still inscribe
space, but the digital does not yet become a
puzzle. sstruttedtrutted llegitimateegitimate the analog in the heart of the digital as something irreducible. The
fect of the digit
four endings of Deus Ex are not random but are rather the pieces of a a of pieces the rather are but random not are Ex Deus of endings four artist is ce, and nam
allegorithm of the game to the allegory of gamespace. But perhaps the the perhaps But gamespace. of allegory the to game the of allegorithm lleakeak The artist outsider is dead, for there is no ou tion of analog into digital is always con ed. Play does not
from in this other game the other game of the relation between the the between relation the of game other the game other this in from ccontemplativeontemplative bbound-paperound-paper ves signal back
play through to but not much fun for the gamer theorist to start out out start to theorist gamer the for fun much not but to through play from within. The Analog Prince is the very figure of the for a small band of specialists tied to the ation m arbitrary, random possibilities, then they may be fun for the gamer to to gamer the for fun be may they then possibilities, random arbitrary, fforeshadowedoreshadowed mb
topological times, w
thought within gamespace. Why these four endings? If they are just just are they If endings? four these Why gamespace. within thought eenvisioningemancipatenmvaisnicoinpiantge
sspurnedpurned con constitute an end state is the question of what occupies the limits to to limits the occupies what of question the is state end an constitute bbit-flipit-flip aaccentuatingccentuating n
aattachesttaches unable to escape gamespace.
taking the end as the starting point. The question of what can can what of question The point. starting the as end the taking bbeliefelief acy. He is a sculptor. I am happy going through this game phase of ulus of administration, a logic of numerical
finish. For the gamer as theorist, perhaps in Deus Ex it s a matter of of matter a it s Ex Deus in perhaps theorist, as gamer the For finish. eenclosurenclosure 099. King Digital may rule in Katamari Damacy, but it is his subord ll that matters is t
either way the game reveals itself level by level, from start to to start from level, by level itself reveals game the way either the Prince, upon ach is distinct from the other always in the ic end. It can be done by stealth, by violence, or negotiation, but but negotiation, or violence, by stealth, by done be can It end. vveritableeritable amespace, r pe
least of the charms of Takahashi e his Katamari balls, but any difference the score it or rules? Invisible War, there are different ways of getting from beginning to to beginning from getting of ways different are there War, Invisible mmarginsargins labor the gamer performs. It is no longer labor as punishment for ys of the same type. The Analog Prince
playing through to the end. In the original Deus Ex and its sequel, sequel, its and Ex Deus original the In end. the to through playing aalteritylterity be perceived bbootoot bigu defying the Gods. It is no longer absurd labor, performed iguity or play which
179. For the gamer, it is always a matter of starting at the beginning and and beginning the at starting of matter a always is it gamer, the 179. For rrecoilZZamyatinYYevgenyHHuxleyAAldousOOrwelleaelurcdmwvxoogleiyeulelaylsntyin
inand place joyously of the absentin spite Gods, of the King absence Digital, of the and Gods. his demand Topology that, installs, while
is political, but in Deus Ex the impersonal is political, too. political, is impersonal the Ex Deus in but political, is CChinatownhinatown des of language to follow a
eenclavenclave labor is punishin trols, trying to get out into bigger and big
where all communication passes via a controlling power. The personal personal The power. controlling a via passes communication all where CCapitolapitol ttransparentransparent
its measure. Sisyphus, the Analog Prince, labors to roll up everything
all bodies communicate equally with machines; versus the hierarchical, hierarchical, the versus machines; with equally communicate bodies all ccultBBrotheruroltther
mmaking-overaking-over fference into a clear d ld, defea in this world made over under the mark
ends of gamespace are an agon between a democratic relation, in which which in relation, democratic a between agon an are gamespace of ends pperniciousernicious for appraisal. What the digital has always wanted to be the form of
something not personal, something that is perhaps political. Here the the Here political. perhaps is that something personal, not something ddistractingistracting ddeludedeluded oves.
relation of body to machine as something personal . It is about about is It personal . something as machine to body of relation all forms has com now the one who finds a new w yet calls it to account as inadequate in its own terms. rhaps of endings Illuminati and ApostleCorp is less about the immediate immediate the about less is ApostleCorp and Illuminati endings of ddystopianystopian those forms for our own purposes is to d as if the relation
question of the boundaries of the body and its other. The other pair pair other The other. its and body the of boundaries the of question ppornorn
ppropitiousropitious Katam n orist might look toward a transformation of what matters
this axis, the problem of where gamespace is heading is personal , a a personal , is heading is gamespace where of problem the axis, this ssucceeducceed cconsciencegguiltyounilstycience heavens themselves.
WWinstoninston yth but a destruc
rejection of the intercourse of body with machine (Templar). Along Along (Templar). machine with body of intercourse the of rejection NNineteenddiaryiianreyteen
tthreathreat pprecursorrEEighty-Foureigcuhrtsyo-Frour ction appear, th s in military research. When you trace which from James assimilation of the human into the machine (Omar) versus the complete complete the versus (Omar) machine the into human the of assimilation 100. ous stratifications. Distinctions
endings Templar and Omar masks an agon between the complete complete the between agon an masks Omar and Templar endings sspaceypacey ccomponentomponent rewards ApostleCorp is at least one more unmasking. The first pair of of pair first The unmasking. more one least at is ApostleCorp llengtheningengthening Hoshino family. They are cute but rather chunky, as if the digital had
game. Behind the final four powers Templar and Omar, Illuminati and and Illuminati Omar, and Templar powers four final the Behind game. ccharmharm
cconfinedonfined already snap
Illuminati. This chain of unmasking can be extended even beyond the the beyond even extended be can unmasking of chain This Illuminati. father Tomio as he begins his voyage to the Moon. Tomioƒs mission hast play game conspiracy theory style to be but masks secretly controlled by the the by controlled secretly masks but be to style theory conspiracy ccourtesyourtesy
to be cancelled because there is no M
appear antagonistic to each other in every way, turn out in classic classic in out turn way, every in other each to antagonistic appear mission of
liberal WTO and the religious fundamentalists of The Order, which which Order, The of fundamentalists religious the and WTO liberal mminorinor the objects on Earth, including the Hoshino family and their father s fflippinglipping etween analog a
appear so powerful are just fronts for others. For instance the neo- the instance For others. for fronts just are powerful so appear mmayhemayhem ssovereignovereign rocke
178. Deus Ex is a shadowy world. Some of the organizations who at first first at who organizations the of Some world. shadowy a is Ex 178. Deus ccarefullyarefully ssettledettled satisfaction, a final cut scene shows th across the border. The limit to th
father, boy and girl, on the new Moon. Having completed the
nevertheless tip the balance between these powers and their goals. goals. their and powers these between balance the tip nevertheless aassuagedssuaged ppitsits reconstruction of the cosmos as one of digital distinctions rather
civilization. You, the gamer, play a minor character, who can can who character, minor a play gamer, the You, civilization. rretreatetreat PPost-warost-war than analog differences, a digital people find themselves already
bringing about a just and democratic but no less posthuman posthuman less no but democratic and just a about bringing aalibilibi there, already inh
control. ApostleCorp is a techno-intellectual faction dedicated to to dedicated faction techno-intellectual a is ApostleCorp control. mmundaneundane is no need to travel that great pastime of topographic times. Now
organizational fronts, dedicated to restoring order under their their under order restoring to dedicated fronts, organizational there s no place to go which ent. The digital always ad al as a
Illuminati are a secret cabal of power-brokers hidden behind behind hidden power-brokers of cabal secret a are Illuminati sselfelf ar ts the logic of the ccannyanny When the Prince su coming together of the digital and reign of King Digital, the King of All Cosmos is complete.
pits the victory of the Illuminati against that of ApostleCorp. The The ApostleCorp. of that against Illuminati the of victory the pits eever-recedingverrestlesser-srtelecessding a turnin
subsumed into technology. The second, more political pair of endings endings of pair political more second, The technology. into subsumed
collective organism of black marketeers, in which the body has been been has body the which in marketeers, black of organism collective SSolitudeolitude Atopia (
purification of all biomods . The Omar are a no less fearsome fearsome less no a are Omar The biomods . all of purification FFinitudeinitude wworkadayorkaday mmeticulouseticulous Templars are a fanatical religious order devoted to the body s body s the to devoted order religious fanatical a are Templars NNewbieewbie jjumblediill-constructedmmessyull-mecsobsnylesdtructed
i Damacy
pits the victory of the Templars against that of the Omar. The The Omar. the of that against Templars the of victory the pits ggimletimlet iincalculablencalculable
in two pairs. (See fig. 8) The first, more personal pair of endings endings of pair personal more first, The 8) fig. (See pairs. two in CChaoshaos hheroero
177. The four endings of Deus Ex can be pieced together by arranging them them arranging by together pieced be can Ex Deus of endings four 177. The sseasonseasons t. Once the Prince has restored the m from th n turn within The Cave itself. itself. Cave The within ssheerheer mmatchhhospitalsaotscphitals
the gamer with a
complex at least as it can be understood from within the game, from from game, the within from understood be can it as least at complex ggalleriesalleries ost-utopi
backstory, not just of Deus Ex but of the military entertainment entertainment military the of but Ex Deus of just not backstory, aariserise ddomesomes
Working backwards from these four endings it is possible to plot the the plot to possible is it endings four these from backwards Working
realize a permanent atopia beyond gamespace, a topos beyond topology. topology. beyond topos a gamespace, beyond atopia permanent a realize et paid and eat. As the digital su
odds with each other, and each of which has its own idea of how to to how of idea own its has which of each and other, each with odds heir
aiding the victory of one of four organizations, all of which are at at are which of all organizations, four of one of victory the aiding RRezez lluxuryuxury whos
significance.) In the game, your character has to choose between between choose to has character your game, the In significance.) iinvoluntarynvoluntary mmotionotion ssubdivideubdivide Fig. 5
le to find an arcade or withholding until the puzzle of the other four endings unlocks its its unlocks endings four other the of puzzle the until withholding
there is also a fifth ending, of which protocol demands the the demands protocol which of ending, fifth a also is there ttuneune
Deus Ex: Invisible War. (If you have played this game you may know know may you game this played have you (If War. Invisible Ex: Deus pprofundityHHeideggerianreoidbbombsfueongmdgibetysrian aarrangementrrangement ssubdivisionsubdivisions end and be superceded by a new topos at least according to the game game the to according least at topos new a by superceded be and end the
176. There are four ways in which the topology of gamespace can come to an an to come can gamespace of topology the which in ways four are 176. There cchairmanhairman
ttheaterlliteratureihteraatteurre 101. It s like paradise here. Everything seems pastel-hued as you drive by, ho plays gamely, twisti
with the radio on. The car is stolen gly hard and absurdly pointless, it neverth see you, it won t matte s , says Keitag away T from agon, d Fig. 8 Fig. ssafeafe sstreetstreets needanythin money, mug someo ped them . ttangibleangible DDadaismadaism when you ag nnodeode It sinteresting all tourism, people. drugs, It guns, is a city cars of andgangsters, personal hustlers services. and Nobod honeys.
aabolitionbolition makes anything, except maybe ice cream , porn andon counterfeit Vice City) money. e persp way i iinseparablenseparable tion myth. The
bbackpackrriotiaoctkpyyawnsaacwkns Everybody buy quite utopia. And nor is it some dark dystopia. There s no storyline e point of view of its analog residue. Complex (on Deus Ex) Deus (on Complex ttossoss
bbangerstthumphaunmgeprs iilinxlinx here, where paradise turns nasty, in which the telling early detail game, Make the Moon, requires the rolling up of most of
vvariousarious turns o merely
aagreeableffairlyagirleyeable e labors this digital topology is built. Not the
ppractitionersractitioners s
having it turn upon the complex itself. complex the upon turn it having mmobob there s no utopi greg
entertainment complex is to collude with it in maintaining it without without it maintaining in it with collude to is complex entertainment rransackansack dystopian, since, like Kantƒs sublime, it cannot help reminding us of e to pass. Our punishment for attempting to steal space is made over as topology. The trick for the military military the for trick The topology. as over made is space aautomatedutomated
our mentalevered limits ear in the act of
rises and falls. For boredom can arise anywhere and everywhere, once once everywhere, and anywhere arise can boredom For falls. and rises C an realm. The
terror, is never to be won, merely displaced, as the boredom index index boredom the as displaced, merely won, be to never is terror, ttediousedious uunablenable hheterotopiaseterotopias
vice, its offer is all inclusive. istinction. But perhaps, having
entertainment complex is the war on boredom, which, like the war on on war the like which, boredom, on war the is complex entertainment bbackgammonbadmintonlluckuaccdkkmgianmtomnon
nd digital, making their
is good for the country. And what is good for the military military the for good is what And country. the for good is 102. In gamespace, the very possibility of utopia is f
threat of boredom. What is good for the military entertainment complex complex entertainment military the for good is What boredom. of threat ddiagramsiagrams longer possible to describe a shin of the complex dominate policy, and policy s goal is alleviating the the alleviating is goal policy s and policy, dominate complex the of ddefrockedefrocked sseizeeize ity there is no
were a eligibilities. The game plan replaces the work ethic. The interests interests The ethic. work the replaces plan game The eligibilities. ssculptureculpture
space is sacred; no space is sepa
boundaries of contest, its people finely classified as to their their to as classified finely people its contest, of boundaries bbattlespaceattlespace aantidotenpphysicalthidysoitceal
The gamelike extends its lines everywhere and nowhere. And yet, a pure
of gamespace. James P. Carse: The world is elaborately marked by by marked elaborately is world The Carse: P. James gamespace. of ccloneslones uuneasyneasy
digital game like Vice City might still perform some curiou t also makes the digital
within. Both without and within, boredom is contained within the lines lines the within contained is boredom within, and without Both within. function. Why do so many cho energies outward; the entertainment wing coaches the residual boredom boredom residual the coaches wing entertainment the outward; energies cchairshairs lleechedeeched
gamesp
maintenance of boredom. The military wing trains boredom s lax lax boredom s trains wing military The boredom. of maintenance ssublimeublime their way into space, space mutates, and just as the allegoricalg. The hotels and condos are
175. The military entertainment complex is above all the management and and management the all above is complex entertainment military 175. The hhandheldandheld ssatisfactionatisfaction ccorrosiveorrosive ation,
sscancan ddrugsrugs CConceptualonceptual moment changes from the topical to the topographic to the topological,
made over as a gamespace in which we are the targets. targets. the are we which in gamespace a as over made ddepartureeparture bbaseballaseball so too does the abiting the moon to which
uuninspiringninspiring uurgingppepregping ective can be reversed, and the it cuts us, renders us as digital bits, and presents them to the world world the to them presents and bits, digital as us renders us, cuts it sshopshops allegory (doubled as allegorithm)
the human as if it were always, and already cut to suit us. It is that that is It us. suit to cut already and always, were it if as human the pprovinciallloungettastelessoarusotnveiglneecsisal One reveals which could be, the other announcing what should be, both
digital is a technology that cuts into the world and presents it to to it presents and world the into cuts that technology a is digital ccoupleouple aallottedllotted shifting and r
people, rather than people targeting things. It is not that the the that not is It things. targeting people than rather people, sslacklack be. eetctc to its
action of targeting. The problem is that in gamespace things target target things gamespace in that is problem The targeting. of action ssweptwept ut to be a clu posing the break on mo
The problem with gamespace is not that it presents the world via the the via world the presents it that not is gamespace with problem The 103. Utopia was a place to hide, where a topic could develop of its own
which is even more an atopian double for the whole of space itself. itself. space of whole the for double atopian an more even is which accord, safe within the bounds of the book. There life could begin kick it. There extends the ato o fun. Johan or who has value only
game, which is more separate than a heterotopian playing field, but but field, playing heterotopian a than separate more is which game, mmetaphorsetaphors
ddesktopesktop again outside of conflict. Utopias do their best to expel violence. In
space and time apart. Rather, it is the atopian space of the digital digital the of space atopian the is it Rather, apart. time and space dderangementerangement a utopia cceeds in completing a level, Katamari D
ime. rules. It s other scene is no longer a heterotopian playing field as a a as field playing heterotopian a longer no is scene other It s rules. difficult
along which all information shuttles, subordinated to protocols and and protocols to subordinated shuttles, information all which along Charles Fourier s cycles of epochs. The real barrier is rather that agonistic principle does lead to
everyday life. They become a gamespace, an intangible complex of lines lines of complex intangible an gamespace, a become They life. everyday troublesom g it
becomes less and less a tangible field outside the workaday places of of places workaday the outside field tangible a less and less becomes hhard-wonard-won
ggeniuslludologyuednoiulosgy it. Fredric Jameson: §I believe that we can begin from the proposition
introducing into the game every kind of novelty imaginable. Games Games imaginable. novelty of kind every game the into introducing llapsedapsed SSabbatariansabbatarians that Utopian space is an imaginary enclave within s real social space, cut scene, a short animation about the on all sides. The military entertainment complex responds by by responds complex entertainment military The sides. all on mmoonshineoonshine in other wor
174. In topological times, play disappears into the game, and boredom looms looms boredom and game, the into disappears play times, topological 174. In bbodilyodily
ffree-playree-play mmentalental ddissimulatingvvertigoeisrstiimgoulating result of spatial and social differentiation. Only utopia
iinsurrectionnsurrection was not imaginary. It was tang
labor among these richly productive and seductive lines. lines. seductive and productive richly these among labor llabor-powerrreposeaebpoors-epower a page where vio e
aka imperfections of gamespace as a poor excuse for how one could live and and live could one how for excuse poor a as gamespace of imperfections ddeductioneduction
wworking-dayorking-day description. Utopian socialist William Morris: Success in besting our s work is this foregrounding of the
displaced onto another game, before it call into question the the question into call it before game, another onto displaced rrule-boundeeruptingurulep-btionugnd neighbors is a road to renown now closed. pec incorporating all of space. Boredom with any particular game is always always is game particular any with Boredom space. of all incorporating d from analog
maintain its grip on the topology it extrudes out of itself, itself, of out extrudes it topology the on grip its maintain sselflesselfless of Blue Velvet. Without the possibility of dystopia,
eelegantsself-imposedelelfg-iamntposed 104. Utop
themselves against each other, or against chance itself, so as to to as so itself, chance against or other, each against themselves page, an grid. The Hoshino
games, with new rules, new moves, new chances for competitors to pit pit to competitors for chances new moves, new rules, new with games, line: a trajectory, a connection through time and space with certain sistent,
threat. And so the military entertainment complex invents ever-new ever-new invents complex entertainment military the so And threat. eeverlastingverlasting qualities. Among its q ace into yet more dresses its
repetitive innings. Boredom becomes pervasive, uncontainable a real real a uncontainable pervasive, becomes Boredom innings. repetitive uuninterruptedrrevolutionizingenvinoltuetrirounpitzeindg fflourishedlourished fflaglag ggameplanameplan space of the page from the rough and tumble world without. It rules
captures all of space in its monotonous grids and all of time in its its in time of all and grids monotonous its in space of all captures rraiseaise aairportirport rrepeatableepeatable nnovelistOOulipianouvliepliastn off from the world that special tempo where text ay of trifling which it offered an orderly retreat. The topological, by contrast, contrast, by topological, The retreat. orderly an offered it which llate-dystopianate-dystopian
games against its reader. In a utopia, other boredom, as there was still an everyday life of work and struggle from from struggle and work of life everyday an still was there as boredom, AAthletethlete
ssurfaceurface are either nonexistent or subordinated to the descriptive po s, sells or steals. Vice City is a nice pla
cyclic repetition of the game never quite reached the threshold of of threshold the reached quite never game the of repetition cyclic ddebilitatingffuriousuerbioiluitsating
iinstantnstant text. Utopian communist A. A. Bogdanov: §The plays w game naturalizes hash
the game s opening gambit against history. In topographic times, the the times, topographic In history. against gambit opening game s the transm instituted the chronicles of legends and statistics that would become become would that statistics and legends of chronicles the instituted ddarklyarkly s not just the
devices, or -- more usually -- they were cinematic reproductions of margins for heterotopias which formalized the orders of play. It It play. of orders the formalized which heterotopias for margins rrepositoryepository ial topic
plays performed long ago, sometimes so long ago that the actors
173. The straightforward lines of topographic space left room in the the in room left space topographic of lines straightforward 173. The mmultipliesultiplies iimpetusmpetus ppostponesostpones themselves were already dead.§ In this utopian Red Star, the new
lines extend and enha
existing gamespace. gamespace. existing them.
presents this possibility for action as the negation of actually actually of negation the as action for possibility this presents sstrategictrategic NNazisazis ggamesmanshipamesmanship
memory, a practice patch for free labor, for autonomous action. It It action. autonomous for labor, free for patch practice a memory, ssquanderedquandered ccompensationompensation 105. It is not that utopias alone create gulags. Adolf Eichmann was no pent up within gamespace. It enacts the game as a repository, a a repository, a as game the enacts It gamespace. within up pent sseepseeps n text t
ssurplusddisperseduisrpelurssed pporesores istinction, decisi utopian. He just kept the trains ru
and contain it. State of Emergency is a game about the possibilities possibilities the about game a is Emergency of State it. contain and rrogueogue ttimelessimeless terrain; or a barrier in time intervening revolutions or
upon lines, are configured as a gamespace designed to neutralize play play neutralize to designed gamespace a as configured are lines, upon wa a either. Terry Eagleton: §A
counter power to the game. All the potentials of topology, its lines lines its topology, of potentials the All game. the to power counter aabolishbolish orders. The lines for implementing that kind of violence are the
sspecialistspecialists ttransferredransferred is not subject to the same code. The
prevent its implosion in on itself, from which alone might arise the the arise might alone which from itself, on in implosion its prevent EEdenden railway line, the telegraph line, and the line of punch cards passing old that turns a
maintenance of boredom, nurturing it yet distracting it just enough to to enough just it distracting yet it nurturing boredom, of maintenance hhomeopathicomeopathic through the tabulators precursors to t
bbirthssmokeddrovemirrotohvkee tside fro
time and space of the topological world is organized around the the around organized is world topological the of space and time historian Edwin Black: When Germany wanted to identify the Jews by bey Increasingly, knowledge work has no true recreational outside. The The outside. recreational true no has work knowledge Increasingly, na ng t
the free rhythms of play to become equally productive. Alan Liu: Liu: Alan productive. equally become to play of rhythms free the connections, along which flows information, radiating from the text, e game has to be foundi,
of labor into the measured beat of work, so now its successors oblige oblige successors its now so work, of beat measured the into labor of aarmrm calling the world to order. There are lines for planning, managing,
172. Just as the military industrial complex once forced the free rhythms rhythms free the forced once complex industrial military the as 172. Just ffaltersalters measuring. Topography is not only the means for producing spatial and
bbangkkissiasnsg social differentiation, but of overcoming it, connecting a
bbackstoryackstory ccardsards Huizinga: And
the digital instead. instead. digital the plac ealigning as the space around us changes what it would o might try to co-opt boredom; the boredom of the gamer might yet co-opt co-opt yet might gamer the of boredom the boredom; co-opt to try might thos s a prosaic e to the nightmare ben labor endlessly to repeat them.
can no longer collude with boredom. The powers behind the digital digital the behind powers The boredom. with collude longer no can rremoveemove
something that can be divided and connected b r. You don t really have to be anywhere or do designer same time an allegory for an anxiety about what to do when gamespace gamespace when do to what about anxiety an for allegory an time same lloomsooms iintoxicationntoxication managed by the algorithm.
are adventures. You get to
the affect runs both ways here. The game might co-opt, but is at the the at is but co-opt, might game The here. ways both runs affect the me, e line that divides what is on utopian the page moment. from what One is mig o ge imagery is increasingly being absorbed by corporate marketing. But But marketing. corporate by absorbed being increasingly is imagery ffableshheroicaebrloeisc fflightlight tthoroughlyhoroughly d particular line, the line of writing. (Fig. 5) The book is a
aabidingbiding 106. When the lines of telesthesia telegrap
anti-globalization writer Naomi Klein declares: anti-corporate anti-corporate declares: Klein Naomi writer anti-globalization tthreadinghreading telecommun
boredom interesting. In a drive-by critique of State of Emergency, Emergency, of State of critique drive-by a In interesting. boredom nnegotiateegotiate ex itted from dist f the digital and offer it up complex by making a game of it. A game which, oddly enough, makes makes enough, oddly which, game A it. of game a making by complex zzombieombie and comes out to play. Utopia uncoils, spreading its tendrils out of
ond . As one would expect in a high end land of the
overcome the threat boredom poses to the military entertainment entertainment military the to poses boredom threat the overcome aattunedttuned the book, a oomnipresentmnipresent his way and that on the oon to whi
very possibility. Perhaps it is a game that tries to incorporate and and incorporate to tries that game a is it Perhaps possibility. very than a retreat from the world, showing in its positive creation of a ds, that the very possi marks an anxiety within the military entertainment complex about this this about complex entertainment military the within anxiety an marks iislandsland
ne ia restricted itself to a particular topic the topic of the
different signs, then boredom inevitably returns. State of Emergency Emergency of State returns. inevitably boredom then signs, different IIdlydly rroostoost mmissionission unto
something else. The book becomes an alibi f ne. The body makes a satisfy pia of the digit
in space always point toward the same possibilities, only under under only possibilities, same the toward point always space in ccenterenter ffantasmicantasmic aaversionversion communication, some with the power of an order: diagrams, memos, relation to space, a certain quality of labor. If the trigger points points trigger the If labor. of quality certain a space, to relation ooverturnverturn
eectoplasmctoplasm reports, telegrams. Utopia becomes part of something instrumental, but r sp
is a suspended animation, made possible by the absence of a certain certain a of absence the by possible made animation, suspended a is LLoversovers
kkingdomsingdoms here ccongealsongeals thereby loses its po
body into something else, so that the body can forget itself. Boredom Boredom itself. forget can body the that so else, something into body rready-roastedtturkeyseuarkdeyy-rsoasted uuncertaintiesncertainties hhangang world ov tensively mappedes anwith a space of flows. The first intimations of topology ar space will not let the body enter it in a way which transforms the the transforms which way a in it enter body the let not will space ddispatchispatch cchasehase e Hoshino family mother and
ppimpimp well, reduc Boredom is not doing nothing. Boredom is something a body does when when does body a something is Boredom nothing. doing not is Boredom MMercedesCCandyaenrcdeydes
jjointppizzaoiiznzta page is the green- e IBM Holerith tabulating mach
171. You know nothing about your body until you know what it can do. do. can it what know you until body your about nothing know 171. You SStudiotudio
ttopiaopia line. B
ddollarsollars IBM showe within the game.
tthriveshrives Eichmann s orders. Utopia s problem is not that it is self contained,
machine. machine. aaroserose nt
but that it is not self containedw world enough. what t Signs and images leak out of
special topic of the game, without ceasing to be human or becoming becoming or human be to ceasing without game, the of topic special DDowntownowntown iinescapablenescapable
this bound-paper enclave, and are captured by other powers, connected gamer suspends a relation with an environment gamespace within the the within gamespace environment an with relation a suspends gamer ttargetarget
to flows along other lines. m which to
human. This suspension is also what the digital game does. The The does. game digital the what also is suspension This human. iinconsolablellintniqquestncutoensstolable environment, without, however, ceasing to be an animal or becoming becoming or animal an be to ceasing however, without, environment, ggrungerunge
107. The power of topography is foreshadowed in d bsumes the d
animal can effectively suspend its immediate relationship with its its with relationship immediate its suspend effectively can animal hheterotopianeterotopian ccarnagearnage circumstances, like those which man creates in laboratories, the the laboratories, in creates man which those like circumstances, ffaintestaintest iimmolatedmmolated
neglected, or spurned ideas; dystopias seek to frighten by
appears as just a few targets. Agamben again: Under particular particular Under again: Agamben targets. few a just as appears ccashash aces, but always
accen the immense forest. It is an animal that lives in a world which which world a in lives that animal an is It forest. immense the ppronouncesronounces ccroniesronies
have
sleeps, sometimes for years on end, indifferent to all that goes on in in on goes that all to indifferent end, on years for sometimes sleeps, book as a topic, separate from but in a privileged relation to the
place it can find. Just three affects; the rest of the time the tick tick the time the of rest the affects; three Just find. can it place ccuriosityuriosity eenduringnduring istinct. The
world. Utopias dream of w passes beneath the branch; it digs into the skin, at the least hairy hairy least the at skin, the into digs it branch; the beneath passes Utopias seek to emancipate by envision
sensitive to the smell of mammals, and lets itself fall when one one when fall itself lets and mammals, of smell the to sensitive kknobnob critique of what is beyond it. Dystopias are the nightmare of the loss l is always a bar uched by th oon to the King s
attracted by the light, hoists itself up on the tip of a branch; it is is it branch; a of tip the on up itself hoists light, the by attracted eexpletivexpletive PProfoundrofound llossoss of power of the line of writing, overcome by other lines. Jack London, or paint
Heidegger, and much discussed since. Deleuze and Guattari: the tick, tick, the Guattari: and Deleuze since. discussed much and Heidegger, ppunctuatingunctuating aarbitrarilyllaughsarubgithrasrily ttempoempo George Orwell, Aldous Huxl
170. Here is some backstory, about a strange, famous animal, known to to known animal, famous strange, a about backstory, some is 170. Here nnewspapersewspapers sshockinghocking lines that supercede those of writing. Dystopians pay close attention ence is pushed to the ma ppostersosters artist in
aaloudloud to the control of topography by various lines of analog signal
a strange animal. animal. strange a ddeliberateeliberate radio, television threading topics together, making space
sscissorsnnailppedometercaeiisdlsoomrseter of K
behaviors aimed at sheer survival. The gamer coupled with the game is is game the with coupled gamer The survival. sheer at aimed behaviors ggoldfishccatchaotlcdhfish transparent to an all seeing Big Brother or the cult of Ford.
responding to targets within the game as signals switching on or off off or on switching signals as game the within targets to responding eexquisitelysspecterpxqecutiesirtely something other than a human. It has to become animated, machinic, machinic, animated, become to has It human. a than other something iidentifydentify vement. Th
pplaypenlaypen 10 s
playing the game. But this human, in order to play, has to think like like think to has play, to order in human, this But game. the playing sspreadpread power of the utop machinic special effect. The real human, you might say, is the gamer gamer the is say, might you human, real The effect. special machinic ssubsetubset eentiretyntirety genera
ima , but so long as the police didn t
but the figure of the human within the game is an animation, a a animation, an is game the within human the of figure the but ppornographyiindistinguishablenodrinstoigngraupishhyable
wwrestrest has lost its capacity to function as a se watch th
In State of Emergency the human appears to rage against the machine, machine, the against rage to appears human the Emergency of State In negate the world. Dystopias are writing s guilty con ut that page co digital. It marks all of space as a battlespace with yes/no triggers. triggers. yes/no with battlespace a as space of all marks It digital. secret utopia like Winston Smith s diary in Nineteen Eighty-Four striving to go beyond them.§ In Vice
for you. On the other, it reduces the human to the status of the the of status the to human the reduces it other, the On you. for hhittersitters
ppitcherspornoiotcrnhoers ppackagesackages is still the book. T to humanize the technological, to make it appear as if it were there there were it if as appear it make to technological, the humanize to HHavanaavana HHaitiaiti much as the inadequate prop
ppoundound ggolfolf Tomio was to t uneasy existence there. On the one hand, there are constant attempts attempts constant are there hand, one the On there. existence uneasy mmotorotor operational. The passage fro games? As on, the
169. Gamespace is an animation machine. The digital and the human lead an an lead human the and digital The machine. animation an is 169. Gamespace rrideide uusefullysefully rise and fal in comm through its positive description of anoth
controller, touch the digital, which in a weird way touches back. touches way weird a in which digital, the touch controller, ccounterpartounterpart 8. The rise of dystopian forms might have le
to other lines, courtesy of IBM and other avatars of the military ch to travel. The last potential of topology itself, where your digits, grasping the the grasping digits, your where itself, topology of potential ssupportupport mmemberember entertainment com
er by atamari
potential of something no longer particularly human. It is the the is It human. particularly longer no something of potential ddateiindignationnadteignation in different ways. All dystopian writing is also utopian. It can tuating contemporary trends that threaten freedom. What they
being. But this potential is of a very particular kind. It is the the is It kind. particular very a of is potential this But being. llassitudeassitude comfortable and discreet. If
aamusesmuses eengagedngaged help reminding itself of the lim
says, it is: [T]he being which exists in the form of potentiality for for potentiality of form the in exists which being [T]he is: it says, oorificerifice aadequatedequate sovereign text before other lines sublimated its power. long the lines of the topographic, into the world. Rather
its arrival is out of bounds. As Heidegger champion Giorgio Agamben Agamben Giorgio champion Heidegger As bounds. of out is arrival its lliphhoversipovers qquantificationuantification
precisely because it isn t here. Something appears precisely because because precisely appears Something here. isn t it because precisely JJuliettegglisteningulilsietetnteing
iincitementsaaccusednccciutesmedents 109. To frustrating is that possibility itself seems so tantalizingly tangible tangible tantalizingly so seems itself possibility that is frustrating fflyly
sscapegoatcapegoat mundane resignation to the here an
It feels like suspended animation. And yet, strangely, what is is what strangely, yet, And animation. suspended like feels It ccontactontact ssexualexual special times, special places, where different ications connect topics into a topogr
possibility of doing anything much seems to be withheld by the game. game. the by withheld be to seems much anything doing of possibility iimprintingmprinting consciously
ppulsesulses ose to escape from their everyd pphallushallus rrecruitedecruited play theorist Roger Caillois answer to the Nazis was agon mixed with
just marks of good or bad possibilities within the game. The The game. the within possibilities bad or good of marks just alea games of chance and competition each in its proper place and gina ualities is
towards something closed. It is an animated space in which things are are things which in space animated an is It closed. something towards mmeanteant time alongside but not above everyday life. This would be the antidote
game but the game itself does not really open toward you. You opened opened You you. toward open really not does itself game the but game eepisodeSSadeanpadiseoadne ffurthesturthest
to the Nazi s toxic mix of ilinx and mimesis intoxication and ing it to just another line rate. Not even the space of the page. action appears futile. Nothing moves you. You opened yourself to the the to yourself opened You you. moves Nothing futile. appears action zzeroero
spectacle. They would take place outside of the uncertainties o
game, no longer taken (or taken in) by the things within it. The The it. within things the by in) taken (or taken longer no game, jjivesives rremakingemaking mundane time and space, in special zones where consistent rules apply.
168. Here boredom threatens to appear again. You are left empty by the the by empty left are You again. appear to threatens boredom 168. Here eenhancednhanced Such spaces are heterotopias . Michel Foucault: Their role is to ant large cities by means of audio visual ing city upon the hill, as if it
create a space that is other, another real space
anything other than a means to that end. end. that to means a than other anything meticulous, as well arranged as ours is messy, ill-constructed and d them how. In topogr
the point of view of its relation to winning the game. Nothing is is Nothing game. the winning to relation its of view of point the bbleedleed jumbled. Heterotopias are at some remove from the dull r in the game and playing it well, everything in it appears only from from only appears it in everything well, it playing and game the in ssensesenses
mean
longer bored. For a bit. But this openness also has its limits. While While limits. its has also openness this But bit. a For bored. longer are spaces a al to the
progress through the game. The gamer opens out into the game and is no no is and game the into out opens gamer The game. the through progress ccleansingeethniciimmigrationmltehmannigcsirnagtion eless has
repel you according to how they might effect your score and your your and score your effect might they how to according you repel iintractableccoercivenoterarcitvaeble nnetet
110. Heterotopian spaces are very varied. Each
noise. Space is marked with targets with boundaries that draw or or draw that boundaries with targets with marked is Space noise. and seasons. There are heterotopias of bare necessity: prisons, l as a kind of line. Dystopian texts are the sign that t
the mall for weapons, enemies, opportunities. Anything else is just just is else Anything opportunities. enemies, weapons, for mall the hospitals, sch the bo nce those of the text, rather than supercede
rather than merely see or hear the environment of the game. You scan scan You game. the of environment the hear or see merely than rather ccompromisesompromises interesting are the heterotopias of useless luxury: g
167. Playing State of Emergency has a kind of liberating openness. You feel feel You openness. liberating of kind a has Emergency of State Playing 167. sports domes. These in turn sub
constantly displacing boredom into yet more games. games. more yet into boredom displacing constantly iimpotentmpotent play and of the calculate
game. This is the military entertainment complex at its height, height, its at complex entertainment military the is This game. ffulfillulfill other pure quantities. One creates new values; the other pits given
gamespace is a game that provides a uniform pleasure with any other other any with pleasure uniform a provides that game a is gamespace values against each other. In one, the ideal is that play is free; in tion, making top
the destruction of gamespace as itself a game. The destruction of of destruction The game. a itself as gamespace of destruction the ssimplyimply the other, that the game is fair. In both heterotopias, these values
propitious for making bombs, into a game as well. It s a game about about game a It s well. as game a into bombs, making for propitious JJustinustin have their limits. One is an artifice of rank and the other of rank and utopia (mutated into atopia).
of its own limited interest. It turns the moment of boredom, the hour hour the boredom, of moment the turns It interest. limited own its of art e e eir astronaut
very merit of games. In State of Emergency, the game is an allegorithm allegorithm an is game the Emergency, of State In games. of merit very qquickeruicker they amount to
a limit. In games this limit it always given in advance. That s the the That s advance. in given always it limit this games In limit. a ffleetinglyleetingly
reproduces it, when gamer and game reach some impasse. There is always always is There impasse. some reach game and gamer when it, reproduces ddissolvesissolves 111. Heterotopias of luxury, of a strictly artificial necessity, contain
he actual one beyond its line lacks, utopia becomes e
inevitably produces boredom. The very action of overcoming boredom boredom overcoming of action very The boredom. produces inevitably wweigheigh subdivisions of play and gam Giacomo Leopardi: The uniformity of pleasure without purpose purpose without pleasure of uniformity The Leopardi: Giacomo sswellswells and spaces, which are in turn subdivided. The space
meaningless rank built on an arbitrary number. Boredom always returns. returns. always Boredom number. arbitrary an on built rank meaningless separate worlds of literature, art, theater, cinema, even spaces for ible and material. Utopia was a place on they have achieved is a hollow trophy, the delusion of value, a a value, of delusion the trophy, hollow a is achieved have they sexual play. These are now just special topics , ruled off from any
can eventually realize that their strivings have no purpose, that all all that purpose, no have strivings their that realize eventually can ddazeaze larger ambitions 166. Boredom can be displaced only so far. Even the most deluded of gamers gamers of deluded most the Even far. so only displaced be can 166. Boredom lleanedeaned
kknockedffaintoonscreenannionsctkreedn mmidstidst and aga on is a belief in the power of the line of writing and the
tthrobbingrrevvinghervovbinbging the senses into the streets, and again and again it faile
choosing, you click to opt out of making history. history. making of out opt to click you choosing, TTrancerance Debo
pography learned to live without i inate,
against which you will grind down the shape of a self. Even if, in so so in if, Even self. a of shape the down grind will you which against ccouchouch
ssatat Surrealism sought to realize art without abolishing it. The critical
In a game you can choose which circumstances are to be the necessity necessity the be to are circumstances which choose can you game a In aappropriateppropriate position since worked out by the Situationists demonstrates that the aauralural ifice. Outside the heterotopia that makes their autonomy poss
game, you can hide out from a gamespace that reneges on its promises. promises. its on reneges that gamespace a from out hide can you game, JJapaneseapanese abolition and the realization of art are inseparable aspects of a veryday, workaday world. PPluglug ingless labors with incalculable purpose in workaday life. They eath
In the game you are free because you choose your necessities. In a a In necessities. your choose you because free are you game the In single transcendence of art. It was not to be. The heterotopian fields site fo rier in s the
of gamer and game have no power beyond the battle in which they meet. meet. they which in battle the beyond power no have game and gamer of rrenewedenewed space of the art world abolished Debord s Situationists in l of the book as th
gamespace. The game is just like gamespace, only its transformations transformations its only gamespace, like just is game The gamespace. ppianoiano VVibratoribrator mmoldedolded realizing Situationism wer. Topographic lines are there now to mak
stepping into games that are relatively free of the power of of power the of free relatively are that games into stepping hhammersammers
kkeyboardeyboard rrecompenseecompense of art histo
beyond it, into a time or a role beyond the game, but rather by by rather but game, the beyond role a or time a into it, beyond WWassilyassily ll utopian writing is als
playing with the role of the gamer within the game, not by stepping stepping by not game, the within gamer the of role the with playing 113. Heterotopias of the game have never bility of Utopian space is itself a game like State of Emergency. What characterizes gamer theory is a a is theory gamer characterizes What Emergency. of State like game sslip-slidinglip-sliding
MMizoguchiizoguchi whose practitioners have tend
cannot overcome boredom. One might as well choose instead a boring boring a instead choose well as might One boredom. overcome cannot rruseuiinterfacesneterface cconsciousonscious Pat Kane: §The working class is also the playing class -- and ssynasthesiaynasthesia the way it partitions off the smo
too much of the role of theorist, beyond entrØe into another game. It It game. another into entrØe beyond theorist, of role the of much too ppower-upower-up always been so.§ But to gamer theory without such prejudices, prophet, rector or revolutionary. The gamer certainly does not expect expect not does certainly gamer The revolutionary. or rector prophet, cclosurelosure
heterotopias of the game may be a key precursor to gamespace
have qualities beyond the game as savior or soldier, priest or or priest soldier, or savior as game the beyond qualities have eelicitingliciting ccounter-intuitiveounter-intuitive them are separate worlds pitting different attributes of body and mind ok, bu
165. What characterizes the gamer is a relinquishing of a role that might might that role a of relinquishing a is gamer the characterizes 165. What ssustainsustains
ppresumablyresumably rreleaseseleases into contests of skill or luck, from badminton to backgammon. Every d storied, utopia
way of meas
cabinets, but there is no history to be made of them. of made be to history no is there but cabinets, bbrinkrink ttunnel-likeunnel-like own special
circumstances, just as they choose the finish for their kitchen kitchen their for finish the choose they as just circumstances, sswipeswishsswimwiipsmhe
sself-inflictedelf-inflicted its arena. S
circumstances of their own choosing. Now the people choose their their choose people the Now choosing. own their of circumstances ffieryiery not painting or sculpture, which defines the limits of the human,
The people make history, but not as they please; not under the the under not please; they as not but history, make people The pprerogativererogative bballisticballeticalliesttiicc
mmonstrousonstrous which offers a sense or image of wholeness, of a physical idea, which
still acted. Once upon a time, one could tell this story Karl Marx: Marx: Karl story this tell could one time, a upon Once acted. still no honest art can now repeat.§ Nor, need one add, can writing. uld be any page a page of a novel or of ravel. There
hero becomes abstract a nation, a class, a reinvented faith but it it but faith reinvented a class, a nation, a abstract becomes hero aapertureperture mmenacingfflarelaerneacing
times it was the hero and his band who acted; in topographic times the the times topographic in acted; who band his and hero the was it times nnightclubightclub myriad lines of topology 114. If aesthetic play suffers from enclosure within het
without form, where the line annihilates every topic. In topological topological In topic. every annihilates line the where form, without the agon of games is leeched out of its pure domains. Ralph Rumney
of necessity, in a world in which what is necessary is arbitrary and and arbitrary is necessary is what which in world a in necessity, of ssketchyketchy didn t count on 24 hour sports channels, internet the surface, the meet s am
world an artificial necessity; games are allegorithms of the necessity necessity the of allegorithms are games necessity; artificial an world game shows, or the subtle, corrosive imposition of the digital not of meaning, then at least of measuring. The game installs in the the in installs game The measuring. of least at then meaning, of not sshooterhooter
gamespace on every the intricate topology of lines of trade, technology a matrix, if if matrix, a technology trade, of lines of topology intricate the vvirusesiruses ssakeake rd: For Dadaism sought to abolish art without realizing it, and
rreawakeneawaken conceptual sport, with its fan
boring. State of Emergency restores a role to action by making out of of out making by action to role a restores Emergency of State boring. sshuthut ht think gamespace pep talks urging everyone always to just do it! -- where it is
One s actions at the crest of the hill become useless, indifferent indifferent useless, become hill the of crest the at actions One s stripped of any possibility not marked and me
the rock to the top, until this arbitrary necessity abates. Then what? what? Then abates. necessity arbitrary this until top, the to rock the ggreatlyssenterenattly only was aesthetic play no match for the game, it ends up playing a Gamespace offers nothing to anybody but the Sisyphean labor of rolling rolling of labor Sisyphean the but anybody to nothing offers Gamespace cconfusedonfused
subordinate role within the expansion of t 164. Boredom no longer affects just the restless young or the idle rich. rich. idle the or young restless the just affects longer no 164. Boredom mmeldingelding
mmistakenistaken heterotopia. Art provid ian text than with the declining pow
the gamer and gamespace. Rather than actual gam
persistence and pervasiveness of boredom? of pervasiveness and persistence oomnipotentomniscientgglitchesmlitncihpsecoisetenntt he failure of ut
topology of trade and tech that is intimately connected to the the to connected intimately is that tech and trade of topology sstallsbbugstaulglss sstringtring sstabilizestabilizes arenas, art expands the reach of the game to imaginary
(however fashionable or journalistic). Is it not this space this this space this not it Is journalistic). or fashionable (however ddisconcertingisconcerting a purely digital realm, anywhere and everywhere, on every desktop and
precisely where the gamer finds a way to speak, to do theory theory do to speak, to way a finds gamer the where precisely llockockaawarenesswareness cellphone. nd t
the economy seize hold of man and keep him moving? Perhaps this is is this Perhaps moving? him keep and man of hold seize economy the ttalesales
know? Yet who can speak in such a way when world trade, technology and and technology trade, world when way a such in speak can who Yet know? 115. For a gamer theory the genealogy of gamespace might pass through these in to break o c yawns at us out of all things, an indifference whose grounds we do not not do we grounds whose indifference an things, all of out us at yawns iindirectionndirection cceaselesslyeaselessly hhighlightsighlights heterotopias of the game more than those of play, and those of play pace acy
no meaning for ourselves any more ? Is it because an indifference indifference an because it Is more ? any ourselves for meaning no aamoralmoral m
too insignificant to ourselves that we require a role? Why do we find find we do Why role? a require we that ourselves to insignificant too places. The playtime aesthetics of the avant gardes of art yields to nnin
world. In this case, the role of the gamer. Heidegger: Have we become become we Have Heidegger: gamer. the of role the case, this In world. pperipheryeriphery
ffisscifancifuliacni ciful iimmunitymmunity the ludology of gamespace. It was the genius of Caillois, the lapsed ingly squishy sound
reflection on your own being and instead assigns you a role in the the in role a you assigns instead and being own your on reflection bborrowedorrowed Surrealist, to grasp this. In topography, what he calls alea (chance)
beyond the surfaces of the present. It diverts you from the game of of game the from you diverts It present. the of surfaces the beyond and agon (competition) become the dominant modes; what he calls ilinx e. It is not
philosophy , which sets out what is contemporary, but does not move move not does but contemporary, is what out sets which philosophy , rregenerateegenerate iineffectiveneffective and mimesis intoxicating vertigo and dissimulating spectacle the sself-otheriinstabilityneslft-aobtihlietyr t in the process they at best a higher form of journalism or at worst a fashionable fashionable a worst at or journalism of form higher a best at rreopenseopens minor modes. The obsessions of the Situationists passive spectacle
about how one acts in a particular space is a retrograde step, back to to back step, retrograde a is space particular a in acts one how about rre-opense-opens
rrelieveselieves ffuzzyeedgesbblurryuunstableudlnuzgszrteyraysble and active insurrection against it form an obsolete couple, each 163. For Heidegger a move away from a meditation on time itself to thinking thinking to itself time on meditation a from away move a Heidegger 163. For ccrucialooverwhelmrvuecriwalhelm
llabyrinthineabyrinthine vvideo-gamingideo-gaming drawing support in decline from the other. The action is elsewhere.
ppolarizeeentrapmentonltarraizpement aanxiousnxious ools
rules, but which one makes one s own. one s makes one which but rules, iinsertiintroductorynnsterortductory ccognitionognition 116. Most of the avant gardes celebrate transgressive, sublime play,
Underneath it is a game like any other game, built out of arbitrary arbitrary of out built game, other any like game a is it Underneath rritualitual bbackgroundackground erupting beyond a rule-bound world.ore thanPost Situationistthose of necessity. Alberto Theory has been looking in all t
constructive. The images don t matter; the story is just an alibi. alibi. an just is story the matter; don t images The constructive. uunacknowledgednacknowledged ddiscriminateiscriminate Iacovoni: Play architecture must liberate space from topological
Trade Organization. And yet as an allegorithm, it is purposeful, purposeful, is it allegorithm, an as yet And Organization. Trade eemphasismphasis chains. The Oulipo group did the opposite. It preferred
ddebtebt cclumsyccontingentlounmtisnygent plex creating to
in the pre-release version, the bad guys were even called the American American the called even were guys bad the version, pre-release the in rriskyisky rules, elegant as they were arbitrary, that might be conductive to new Emergency. It s backstory is an allegory of negation and destruction destruction and negation of allegory an is backstory It s Emergency. ggorgeousorgeous
ccontaminatettugeelasticuolagnsttaicminate nnarrowarrow kinds of play. Rather than resist heterotopian marginality, they
denies is restored in the game. Hence the double effect of State of of State of effect double the Hence game. the in restored is denies ttangledangled
ttollcclarityollalrity reveled in it topology. All the scope for action that gamespace both promises and and promises both gamespace that action for scope the All topology. pproscriptionroscription ssuddenlyuunobservablettaxaattritionuantxdtordibteisonenlryvable ddeliberativeeliberative space eliminates even the margins within which heterotopias
heroes strutted their stuff, in the paradoxical form of a pure pure a of form paradoxical the in stuff, their strutted heroes wwobblewarpbbulgebbubbleuoualrbgpbele ppotshotsotshots mmorphsstretchtroertpch cchipships flourished, this might prove a more enduring gameplan for gamer imes which lie along other lines. rgin by the po
for action, they restore a lost quality of the topical, where Homer s Homer s where topical, the of quality lost a restore they action, for ppropelsropels iintactntact theory. Oulipian novelist George Perec saw what was coming, in his
topology makes labor all too contemplative. Rather, games are a space space a are games Rather, contemplative. too all labor makes topology pproximateqquirkyruoixrkimy ate late-dystopian creation of W, a textual island devoted only to total Games do not offer a contemplative response to boredom. If anything, anything, If boredom. to response contemplative a offer not do Games rregisteregister
vvagariesrrejoicesaegjoaircieess pproxyroxy sport: The life of an Athlete of W is but a single, endless, furious ome oreclosed. It is which has the power to confront the necessity of its own choosing. choosing. own its of necessity the confront to power the has which ttemporarilyemporarily
ttwo-bitddub-tranceccoalescencewppayoffuoaobay--lobetrfisatfcnecnece striving, a pointless, debilitating pursuit of that unreal instant
gamer and game. Games are a repository for a certain atopian labor, labor, atopian certain a for repository a are Games game. and gamer pphosphorescingfflocksppodscclusterswweightlesshttwicellowouecdsiikcgptssehrtoslregguiltesiimminentumffrictionsrciDDyingilmictnytiginonengnt rreplayeaaligninglpkkilleraalikeiglilalinlkyeeirng when triumph can b
targeting and target. And yet at least it effects a transformation of of transformation a effects it least at yet And target. and targeting civilization over the Nazis, Perec sees more darkly, as the triumph of ry. hat
action has its limits. It is an endless bit-flip between targeter, targeter, between bit-flip endless an is It limits. its has action The Triumph of the Will. Both enter the gamer theory hall of fame by
the line connecting provides a moment of selfless purpose. In games, games, In purpose. selfless of moment a provides connecting line the providing it with its object gamespace and its critical impetus r delineating a pure topography of the g on time to the camps. His substance. If the line dividing provides a moment of autonomous self; self; autonomous of moment a provides dividing line the If substance. the gamer s odd attunement toward the gam
dividing self from other, and the line connecting them as one one as them connecting line the and other, from self dividing
event, one battle, one action; an oscillating between the line line the between oscillating an action; one battle, one event, 117. No utopia pulls at the topological world, calling it away from itself.
162. As the gamer becomes attuned to the game, gamer and game become one one become game and gamer game, the to attuned becomes gamer the 162. As literaryEven gamesmanship. dystopian texts Thebecome once marginal, discrete heterotopian confined to the spaces playground no longer of ography match the tex
boot up another game. game. another up boot co-exist with everyday life, as compensation. Rather, gamespace seeps no . Thes ines which
confines of the game, at least for a while. When it stops working working stops it When while. a for least at game, the of confines into everyday life, moving through its pores, transforming it in its
powers of the gamer to change the space itself. At least within the the within least At itself. space the change to gamer the of powers own image. Rather than a timeless utopian ideal where history ends, lines of communication
Mall to Chinatown to Downtown to the Corporate Center, changing the the changing Center, Corporate the to Downtown to Chinatown to Mall rather than the allotted hour of the heterotopian, everyday life now ey, Yevgeny Zamyatin all recoil from the
gamer can access, extending the place of the riot from the Capitol Capitol the from riot the of place the extending access, can gamer pulses constantly with moments of unrealized atopian promise. distant and
boredom in a making-over of gamer and game, changing the space the the space the changing game, and gamer of making-over a in boredom Everywhere, all the time, the gamer confronts the rival impulses of
State of Emergency is pointless. It displaces a bit of the gamer s gamer s the of bit a displaces It pointless. is Emergency of State chance and competition, intoxication and spectacle, as homeopathic ays d
that transforms a situation. It doesn t matter that the Chaos mode in in mode Chaos the that matter doesn t It situation. a transforms that antidotes to a boredom that challenges being from within. In Vice City
tourist. What displaces boredom is the capacity to act in a way way a in act to capacity the is boredom displaces What tourist. all of Caillois four kinds of play chance and competition,
feels like a waiting room. Gang of Four: At home she feels like a a like feels she home At Four: of Gang room. waiting a like feels intoxication and spectacle come together. The destruction of the
or less identical game over another. When you are bored, even home home even bored, are you When another. over game identical less or spectacle becomes the spectacle of destruction; the derangem
amount to nothing waiting at an airport mall, or choosing one more more one choosing or mall, airport an at waiting nothing to amount senses becomes the arrangement of drug deals. In Vice City you chance he digital computer. Holocaust
is boring is a space in which either one cannot act, or one s actions actions one s or act, cannot one either which in space a is boring is your arm in an agon of all against all. lengthening of time. It is a spacey feeling, of being spaced out. What What out. spaced being of feeling, spacey a is It time. of lengthening
ambiguous relation of game to gamespace. Boredom isn t a longing, a a longing, a isn t Boredom gamespace. to game of relation ambiguous 118. No work of art can aspire to transcend this gamespace, which has heterotopia,uring what its one field, body its court,does against its track, another its pitch, each finds its
waste to the appeal of the game as game, and calls attention to the the to attention calls and game, as game the of appeal the to waste realized art by suppressing it s ambitions. Yet perhaps a gam is possible within that topic as a
the basis of the allegorithmic insight into the world. Boredom lays lays Boredom world. the into insight allegorithmic the of basis the Vice City c
with particular qualities of space? Benjamin (the Sim): Boredom is is Boredom Sim): (the Benjamin space? of qualities particular with shadow, in a parallel to the way that the very positivity of a utopia
161. What if boredom has less to do with the essence of time and more to do do to more and time of essence the with do to less has boredom if 161. What acts as a negation of the world outside its bounds. Not the least of fo
mayhem, smashing windows, looting big screen TVs of their dreams. dreams. their of TVs screen big looting windows, smashing mayhem, the charms of Vice City is that while it appears to be about a life of thing.
carefully cultivates in The Sims getting so bored they join the the join they bored so getting Sims The in cultivates carefully crime it is thoroughly law abiding. It is a game about transgression
One imagines Benjamin and Hannah and the other characters one so so one characters other the and Hannah and Benjamin imagines One in which it is not possible to break the rules. One may succeed in the
Emergency: it s a boring game in many ways, but that may be its charm. charm. its be may that but ways, many in game boring a it s Emergency: game or fail, but one cannot really cheat. (Even the cheats are part
to The Cave , play the game and try to find its form. Back to State of of State to Back form. its find to try and game the play Cave , The to of the rules.) This is the atopian dream of gamespace, where the lines y what do you find? Another cave, disguised as an exit. Better to return return to Better exit. an as disguised cave, Another find? you do what are so dense, the digital so omnipresent, that any and every object
game which claims to transcend gamespace. Step outside The Cave and and Cave The outside Step gamespace. transcend to claims which game and subject is in play, and all of space is a gamespace. Every move . The sm
itself. A canny move for a gamer theory is always to refuse any such such any refuse to always is theory gamer a for move canny A itself. contrary to the rules of a given game is merely a move into another
goal in itself, approaching the ever-receding big bad boss of time time of boss bad big ever-receding the approaching itself, in goal game. The game imagines topology perfected.
a game of being. A game which, like any other, posits leveling up as a a as up leveling posits other, any like which, game A being. of game a m utopian to dystopian texts charts the aphy there is a whole nest of
World, Finitude, Solitude. His book is a strategy guide for theory as as theory for guide strategy a is book His Solitude. Finitude, World, 119. Atopia has one quality in common with utopia its aversion to you
Level two: More Boredom. Level three: Profound Boredom. Bonus levels: levels: Bonus Boredom. Profound three: Level Boredom. More two: Level ambiguity. Vice City may take place in a dark world of guns and drugs, r rema starts to look just like another game. Level one: Newbie Boredom. Boredom. Newbie one: Level game. another like just look to starts but every mission produces an exact and tangible reward. If your
paths, tasks and paths. To the gimlet eye of the gamer, this theory theory this gamer, the of eye gimlet the To paths. and tasks paths, mission is to find porn stars s
organized as a maze of paths and still more paths. It s all tasks and and tasks all It s paths. more still and paths of maze a as organized right location, dispatch some body guards, chase Candy s pimp, run him e line that might n
again and again, tasks, tasks, still more tasks. These tasks are are tasks These tasks. more still tasks, tasks, again, and again over, return to pick up Candy, drive to the pizza joint, collect is rec
Thinking through from one level to the next presents, as he will say say will he as presents, next the to level one from through Thinking Mercedes, drive them both to the Studio and deliver them to erties of the lines em
you find that Heidegger s boredom, strangely enough, has levels. levels. has enough, strangely boredom, Heidegger s that find you director. Your reward is always exactly one thousand dollars. If e need not concern gam
on your travels out of your backpack. Idly flipping though its pages, pages, its though flipping Idly backpack. your of out travels your on utopia thrives as an architecture of qualitative description, and
160. Pause State of Emergency and take that Heidegger book that you bought bought you that book Heidegger that take and Emergency of State 160. Pause arbitrary.brackets All offthat quantitative matters is the relations, quantitative atopia relations. renders all By descriptions efrocked Situ plays its subtle , critic
of a certain brand of theory. theory. of brand certain a of excluding relations, utopia excludes violence; by privileging
one might follow Heidegger out of the mall and into the sacred groves groves sacred the into and mall the of out Heidegger follow might one relations, atopia appears as nothing but violence, but only because it
removes it.§ Starting with this ever more present everyday boredom, boredom, everyday present more ever this with Starting it.§ removes excludes inste ut of its heterotopia, to take the derangement of
involuntary loss of meaning, while the theoretical gaze deliberately deliberately gaze theoretical the while meaning, of loss involuntary matters can be transformed in precise and repeatable ways into
the ¥theoreticalƒ gaze is that the former is the result of an an of result the is former the that is gaze ¥theoreticalƒ the something else. The relentless working out of the algorithm leaves
boredom Lars Svendsen: §The essential difference between the bored and and bored the between difference essential §The Svendsen: Lars boredom behind a carnage of signs, immolated in the transformation of one
could be the tune to which one turns towards theory. Philosopher of of Philosopher theory. towards turns one which to tune the be could value into another.
Heideggerian profundity, and confront temporality itself! Boredom Boredom itself! temporality confront and profundity, Heideggerian
Perhaps here one can think through everyday boredom to a boredom of of boredom a to boredom everyday through think can one here Perhaps 120. The rules of Vice City call for a vast accumulation of cash, cars and
Why not just declare it? Iggy Pop: I m the chairman of the bored! bored! the of chairman the I m Pop: Iggy it? declare just not Why cronies, of weapons and real estate. Most of these activities are d game. One is a space of p opia might point to nothing so
Something you can t put your finger on. You are bored. Why fight it? it? fight Why bored. are You on. finger your put can t you Something outside the law, but law is just part of a larger algorithm
yourself that is boring you. Perhaps there is something else. else. something is there Perhaps you. boring is that yourself case, the story and the art are arbitrary, mere decoration. If in
159. Then again, perhaps its not things that are boring you, nor even even nor you, boring are that things not its perhaps again, 159. Then markingutopia, of everythingspace with issigns, subordinated in atopia, nothingto a rigorous matters description, but the a
closed to me, but my own being. being. own my but me, to closed transitive relations between variables. The artful surfaces of the
Was I what was boring myself? Perhaps it is not things that are are that things not is it Perhaps myself? boring was what I Was game are just a way for the gamer to intuit their way through the
game away, and wonder why you are still, still bored. Heidegger again: again: Heidegger bored. still still, are you why wonder and away, game steps of the algorithm. Hence the paradox of Vice City. Its criminal its of writing and a lost wo
whatever you like, it isn t anything or anyone s fault. You put the the put You fault. anyone s or anything isn t it like, you whatever world is meant to be shocking to the literary or cinematic
easy to blame it on the circumstances. Now, at home where you can do do can you where home at Now, circumstances. the on it blame to easy imagination, where there is still a dividing line between right and
bored. But this is a different kind of boredom. At the airport, it was was it airport, the At boredom. of kind different a is this But bored. wrong, and where description is meant to actually describe something.
gang bangers, looking for the moment to toss the bomb. Still, you are are you Still, bomb. the toss to moment the for looking bangers, gang But to a gamer, its just a means to discover an algorithm. Vice City s
pick up weapons, smash things, thump and are thumped by security and and security by thumped are and thump things, smash weapons, up pick film noir world implies not that one can step back from it into the . Given that the passage from topographic to topological ay
about missions and objectives. While fairly agreeable beats pound, you you pound, beats agreeable fairly While objectives. and missions about light, but that while driving around and around in it, one can
than Revolution mode, so you can trash the place without worrying worrying without place the trash can you so mode, Revolution than discover the algorithm of to which gamespace merely aspires and by o
ransack the mall in which the game begins. You choose Chaos rather rather Chaos choose You begins. game the which in mall the ransack which it is to be judged in its entirety. watching the automated riot of two hundred non-player characters characters non-player hundred two of riot automated the watching
home free. You put in State of Emergency, if only for the pleasure of of pleasure the for only if Emergency, of State in put You free. home 121. In Vice City, the world exists already made over as a complete
games to choose from. The flight was long and tedious, and now you are are you now and tedious, and long was flight The from. choose to games gamespace, an atopia. It is not nowhere (utopia) or elsewhere
158. You are sitting, for example, at your Playstation, with a stack of of stack a with Playstation, your at example, for sitting, are 158. You the (heterotopia),properties required but everywhere of them of a certain (atopia). kind In theof play. game, Hidden spaces on all have h, telephone, will make space not on
peculiar remaining, enduring . A confrontation with time. time. with confrontation A enduring . remaining, peculiar Vice City s islands are one hundred secret packages. Some are s enclave
Heidegger: What is at issue in boredom is a while, a whiling, a a whiling, a while, a is boredom in issue at is What Heidegger: Downtown, some are in Little Havana, some in Little Haiti, some on the
rock through the plate glass window. What s the good? Martin Martin good? the What s window. glass plate the through rock golf course, some at the airport. Collect them all and you can trade
franchise of The Cave ! You imagine the satisfaction of throwing a a throwing of satisfaction the imagine You Cave ! The of franchise in even your best motor vehicles for the ultimate ride. Or if that is ruited out of the page
each other, or of stores in other chains. Look, there is even a a even is there Look, chains. other in stores of or other, each not your preferred goal, pick another one. Either way, the qualities via bo
at the stores in the airport mall, but they all seem mere clones of of clones mere seem all they but mall, airport the in stores the at of space always guide you to its real values, which always have a wer of sheer
You count the chairs. You walk up and down. To pass the time you look look you time the pass To down. and up walk You chairs. the count You score. This space is perfect, seamless and bounded, like Thomas or more worldly lines of
departures and arrivals on the screen. You look at the clock, again. again. clock, the at look You screen. the on arrivals and departures More s Utopia. And just as the utopia points to what is lacking beyond king the w
on your handheld? Not even. You are unable to. You look at the the at look You to. unable are You even. Not handheld? your on the page; so too atopia points to what is lacking, beyond the game. No
Shall you read? No. Or think through some problem? No. Or play games games play Or No. problem? some through think Or No. read? you Shall Atopian space is a real enclave within imaginary social space. The ing a world based on new, al
do have a book in your backpack. It s Heidegger, bought on impulse. impulse. on bought Heidegger, It s backpack. your in book a have do possibility of atopian space is a result of the impossibility of
which of course is delayed. The shops around are uninspiring. You You uninspiring. are around shops The delayed. is course of which adequate and effective spatial and social quantification and
lounge of some provincial airport. It is four hours until your flight, flight, your until hours four is It airport. provincial some of lounge calculation. with them? You are sitting, for example, in the tasteless departure departure tasteless the in example, for sitting, are You them? with entirely oo
157. And as for those slack times between engagements, who knows what to do do to what knows who engagements, between times slack those for as 157. And stand122. For accused quite of incitements opposite reasons, to violence. the utopian What if thetext atopian and the game, atopian game both y order, but measured and
Almost every moment is swept into a relentless agon. agon. relentless a into swept is moment every Almost like the utopian book, is merely the scapegoat? What if the book was aspect of life. Concept
in a language stripped of any terms other than those of competition. competition. of those than other terms any of stripped language a in no
back again. They cease to be metaphors and become mere descriptions, descriptions, mere become and metaphors be to cease They again. back merely a harmless repository of the potential of the line that was parate topic, from which to
The sporting metaphors and slogans migrate from leisure to work and and work to leisure from migrate slogans and metaphors sporting The already imprinting itself on the world? What if the game is merely a an function as the negative of gamespace, its atopian disguised as games, just as games become the disguise of work itself. itself. work of disguise the become games as just games, as disguised repository of a new potential of the line? In utopian books, the
illusion of autonomy from the necessity of work. Now they become work, work, become they Now work. of necessity the from autonomy of illusion writing shows the everyday world transformed as only writing can ere either to heterotopias of sport and art that at least held the intoxicating intoxicating the held least at that art and sport of heterotopias to transform it. The utopian book merely pushes writing s abilities the
of labor s struggle to free time from work. This free time gave rise rise gave time free This work. from time free to struggle labor s of furthest, to a point of almost complete consistency, within the
education, culture, sport, even faith, were once the hard-won fruits fruits hard-won the once were faith, even sport, culture, education, special topic of the book. The atopian game, likewise, is the
moonshine has become legitimate business. The free time available for for available time free The business. legitimate become has moonshine algorithmic in a more complete and consistent form. Neither book nor
(and that in a country of Sabbatarians!) moonshine!§ But that that But moonshine!§ Sabbatarians!) of country a in that (and game is ever wholly complete and consistent. They always negotiate
free-play of bodily and mental activity, even the rest time of Sunday Sunday of time rest the even activity, mental and bodily of free-play with what is beyond their bounds. In Vice City as in More s Utopia
the fulfilling of social functions and for social intercourse, for the the for intercourse, social for and functions social of fulfilling the there is a traveler who mediates between one world and another. But in pologies which colonized the world services again Time for education, for intellectual development, for for development, intellectual for education, for Time again services either case, the utopian book or the atopian game lacks the power to e, existing within their allotted times
hours of repose without which labor-power absolutely refuses its its refuses absolutely labor-power which without repose of hours transforms the world. But where signs and images may bleed off the
working-day contains the full 24 hours, with the deduction of the few few the of deduction the with hours, 24 full the contains working-day utopian page into the world, the algorithm of the game, in which each
their work leisure is work. How times change . Karl Marx: §The §The Marx: Karl change . times How work. is leisure work their relation depends on one another, may not. At least not yet.
ludicrous as the next. No wonder people find their leisure as dull as as dull as leisure their find people wonder No next. the as ludicrous divide into heterotopias of aesthetic th plane of the work
156. Topology threads all spaces together, cave after cave, each as as each cave, after cave together, spaces all threads Topology 156. cause123. It to pause. is not It reallythe content contains ofno Vice sex, Cityno violence, which might no drugs, give ano gamer theorist d now. It assuaged its boredom in
and with which it colludes. it which with and guns. These are merely the art the images and stories via which
powers. It must stay one step ahead of boredom, with which it deludes deludes it which with boredom, of ahead step one stay must It powers. the game mediates between what is within its own purely algorithmic
distinguish the military entertainment complex from all earlier earlier all from complex entertainment military the distinguish line, and the less than perfect topology within which the gamer lives. make the book over as
consumer relations, everlasting uncertainty and distraction, distraction, and uncertainty everlasting relations, consumer Rather, it is the form of the game itself and its compromises with a
revolutionizing of seduction, uninterrupted disturbance of all all of disturbance uninterrupted seduction, of revolutionizing world beyond that can work as the topos of a critical gamer theory.
the standard of boredom under the flag of necessity. Constant Constant necessity. of flag the under boredom of standard the The atopian game, like the utopian book, expresses what has the power
boredom. In this restless age, there s nothing they won t do to raise raise to do won t they nothing there s age, restless this In boredom. to remake the world of its time, but is not itself that power. It is a
produces its own. History is a struggle to wrest necessity from from necessity wrest to struggle a is History own. its produces useless, impotent form of a powerful line. Which is why critical
line. Boredom demands new necessities, and if not granted them them granted not if and necessities, new demands Boredom line. theory best becomes gamer theory, and why gamer theory best becomes
arises out of the absence of necessity, of a yes, a no, a straight straight a no, a yes, a of necessity, of absence the of out arises critical. The critical attaches itself to what power is but not where
the good? Boredom is the ambivalent gift of the surplus. Boredom Boredom surplus. the of gift ambivalent the is Boredom good? the it is. It attaches itself to power in a powerless form. The atopian es the images and st
with energies that so easily spill over into riot or revolt? What s What s revolt? or riot into over spill easily so that energies with game is exactly the site that has this ambiguous property when things
problem: What to do with the idle capacities of a people? What to do do to What people? a of capacities idle the with do to What problem: reach the topological level, when the lines run everywhere through
topology, only increases the surplus, and postpones and multiplies the the multiplies and postpones and surplus, the increases only topology, space and everything is coming together as potential for digital aphic space,
laying down of new lines, building from topic to topography to to topography to topic from building lines, new of down laying calculation.
of strategic expansion or economic accumulation. This investment, this this investment, This accumulation. economic or expansion strategic of utside
It can be squandered on bombs. Or it can be invested along the lines lines the along invested be can it Or bombs. on squandered be can It 124. In games, as in gamespace, some calculations happen quicker than
dispersed in spiritual quests or in making life over as a work of art. art. of work a as over life making in or quests spiritual in dispersed others. Sometimes there is a moment to think it over, negotiate. er world. The book gave way
Surrealist Georges Bataille. This surplus may be gathered up and and up gathered be may surplus This Bataille. Georges Surrealist Sometimes not. When there is no time for calculation, the gamer must
makes of this surplus that determines it. So writes the rogue rogue the writes So it. determines that surplus this of makes act on the basis of a calculation made in advance. There s always a
survival; it has a surplus at its disposal. It is precisely the use it it use the precisely is It disposal. its at surplus a has it survival; backstory, providing some dividing line along which to weigh one s
155. On the whole a society always produces more than is necessary for its its for necessary is than more produces always society a whole the 155. On gamerinterests. is rarely It s an autonomousnever quite as agent, game acting theory on proper rational would self interest.predict. The wer of the th
Surrealism: hours propitious for making bombs.§ bombs.§ making for propitious hours Surrealism: If game theory was objective, rational, abstract; gamer theory is
afternoon, which drove de Quincey to smoke opium, also gave birth to to birth gave also opium, smoke to Quincey de drove which afternoon, subjective, intuitive, particular. If game theory starts with the self
This is the moment of danger. Cyril Connolly: §The boredom of Sunday Sunday of boredom §The Connolly: Cyril danger. of moment the is This contained agent, like a prisoner in a cell, looking out at the world;
nothing but boredom, the sticky lingering with nothingness itself. itself. nothingness with lingering sticky the boredom, but nothing gamer theory wonders how the agency of the gamer comes into being as
freedom, not freedom from but freedom to? At such times, there is is there times, such At to? freedom but from freedom not freedom, something distinct in the first place. In the midst of battle, how
doesn t move me. What might be the content of this positive positive this of content the be might What me. move doesn t does the gamer decide when and where to pull the trigger? The atopia
the storyline falters. Buzzcocks: I m living in this movie, but it it but movie, this in living I m Buzzcocks: falters. storyline the of the game is a safe haven in which to enact the problem of being as
It is what you kiss and bang your head against. Without necessity, necessity, Without against. head your bang and kiss you what is It it appears in gamespace, but without the oppressive stakes of one s
of the same. John Berger: Necessity produces both tragedy and comedy. comedy. and tragedy both produces Necessity Berger: John same. the of own life on the line. what to do at the end, except perhaps dream of a sequel that is more more is that sequel a of dream perhaps except end, the at do to what
actually arrives. Neither civilization, nor Civilization III, knows knows III, Civilization nor civilization, Neither arrives. actually 125. Everyday life once had the resources to resist, adapt, appropriate or
less to say about the decisive moment when freedom from necessity necessity from freedom when moment decisive the about say to less embrace utopian schemes. It pushed the promise and threat of other
is civilization, not to mention Civilization III. History has so much much so has History III. Civilization mention to not civilization, is ways of being off into the corner, while it got on with the business
heroic fables about the struggle to wrest freedom from necessity. Such Such necessity. from freedom wrest to struggle the about fables heroic of wresting freedom from necessity, building a world in which to
boredom is what refuses not to happen. History distracts itself with with itself distracts History happen. to not refuses what is boredom dwell. With the very success of that labor com
154. If history is an endless list of things that should not have happened; happened; have not should that things of list endless an is history 154. If dwell,to mined its resourcefulness. and molded from Having raw developed possibility aby topography collective labor, in which to ring ed to view it as the place of the mob.
checking their watches. Boredom is the meter of history. history. of meter the is Boredom watches. their checking boredom rises to a new pitch, and the heterotopian pastimes become ationist
of the bored zombie the earth, fiddling with their cellphones, cellphones, their with fiddling earth, the zombie bored the of more than a mere recompense for a dull life. They become the driving
indeed, die of boredom. Even if they don t know it. The reserve armies armies reserve The it. know don t they if Even boredom. of die indeed, force of development itself. Out of the heterotopias of agon and alea spa
encounters, according to arbitrarily determined rules. And many do, do, many And rules. determined arbitrarily to according encounters, arise the atopias of gamespace, via which topology makes itself known oth
fleeting ease on the internet, and afterwards rank and rate their their rate and rank afterwards and internet, the on ease fleeting to us, as an ever more intricate matrix of the digital line. It s not
come home to roost in the frozen foods section. Lovers meet with with meet Lovers section. foods frozen the in roost to home come that theory, even a gamer theory, can achieve all that much when
logistics sends turkeys flying around the highways ready-roasted. They They ready-roasted. highways the around flying turkeys sends logistics confronted with the digital indifference of gamespace. It might aspire it and can overturn it boredom. In our fantasmic America, a digital digital a America, fantasmic our In boredom. it overturn can and it merely to describe what being now is.
suffering, it carries within it the strange ectoplasm that both drives drives both that ectoplasm strange the it within carries it suffering,
congeals, carving out magic kingdoms indifferent to work and and work to indifferent kingdoms magic out carving congeals,
themselves....§. As this topology of fun and games spreads and and spreads games and fun of topology this As themselves....§. wi
difficulty: in such a place some men would die of boredom or hang hang or boredom of die would men some place a such in difficulty: Battle (on Rez)
one another without any delay and keep one another without any any without another one keep and delay any without another one ts utopias, and se
its own accord and turkeys fly around ready-roasted, where lovers find find lovers where ready-roasted, around fly turkeys and accord own its
Imagine this race transported to [an A]topia where everything grows of of grows everything where A]topia [an to transported race this Imagine
arose how would men occupy their lives, how would they pass the time? time? the pass they would how lives, their occupy men would how arose
whole life long. And yet if every desire were satisfied as soon as it it as soon as satisfied were desire every if yet And long. life whole
worry, toil and trouble are indeed the lot of almost all men their their men all almost of lot the indeed are trouble and toil worry,
153. As that inconsolable philosopher Arthur Schopenhauer writes: §Work, §Work, writes: Schopenhauer Arthur philosopher inconsolable that 153. As ad any commitment to stable description. Anything that ss to do with the perni that sticks to all things digital. digital. things all to sticks that
indifference, neither one nor the other, the grunge of time, the lint lint the time, of grunge the other, the nor one neither indifference, tas
toward something that does not open in return. It leaves nothing but but nothing leaves It return. in open not does that something toward Fig. 6
nothingness, the faintest touch of the void. In boredom you open open you boredom In void. the of touch faintest the nothingness, the answer, as well as the question: nothing. Boredom is nothing, nothing, is Boredom nothing. question: the as well as answer, the
voice that pronounces it? The Surrealist poet Louis Aragon provides provides Aragon Louis poet Surrealist The it? pronounces that voice
all the same, after all. And what was this ALL which swells up in the the in up swells which ALL this was what And all. after same, the all
but simply because one has to do something, and because here we are are we here because and something, do to has one because simply but
without buying it. What s the good? All without curiosity or pleasure pleasure or curiosity without All good? the What s it. buying without
house without visiting it, a threshold without crossing it, a book book a it, crossing without threshold a it, visiting without house 126. Not the least of the pleasures of playing Tetsuya Mizoguchi s Rez is orld. Aesthetic play tried again t of his
good? He cannot see a knob on an electric dial without turning it, a a it, turning without dial electric an on knob a see cannot He good? the counter-intuitive way the trigger works. If usually the gamer
eyes punctuating his words with a terrible expletive: What s the the What s expletive: terrible a with words his punctuating eyes presses the trigger to shoot the target, in Rez the gamer releases the stories that nobody laughs at. He passes a hand of shadows over his his over shadows of hand a passes He at. laughs nobody that stories
on posters and signs. He knows the newspapers by heart. He tells tells He heart. by newspapers the knows He signs. and posters on trigger to shoot. Actually it s a two stage operation: hold the
sorts of games based on optical illusions. He reads aloud the wording wording the aloud reads He illusions. optical on based games of sorts trigger in to select a target; release the trigger to shoot. As you
pocket a pedometer, a pair of nail scissors, a pack of cards, and all all and cards, of pack a scissors, nail of pair a pedometer, a pocket move through a tunnel-like space, with pounding house beats in your
walks around with a butterfly net to catch goldfish. He carries in his his in carries He goldfish. catch to net butterfly a with around walks ears, various potential targets swim and swish by, or take a swipe at
specter of boredom, an exquisitely beautiful young man who yawns and and yawns who man young beautiful exquisitely an boredom, of specter you or rather at your character. You hold the trigger down to lock
152. A spectacle taunts America the spectacle of its own boredom. This This boredom. own its of spectacle the America taunts spectacle 152. A radiateon toward to them the as moving targets, targets. and then One s release missiles it and seem watch more as fiery balletic lines ystopias. Russell Jacoby:
rules equally worthy of de Sade. Sade. de of worthy equally rules than ballistic. They arc towards their targets even as those targets
hypocritical theory, with different specialists, playing by different different by playing specialists, different with theory, hypocritical move.
This pornography of the concept is a mere subset of gamespace, a a gamespace, of subset mere a is concept the of pornography This
theory, which becomes formally indistinguishable from pornography. pornography. from indistinguishable formally becomes which theory, 127. Everything in Rez is very abstract. Your character may have a vaguely thin the confines of the pla
arbitrarily determined rules. But it is the same too with critical critical with too same the is it But rules. determined arbitrarily human form or not, depending on the level. The brightly colored shapes res
difference in the combinations, or the meaning of variations, by the the by variations, of meaning the or combinations, the in difference that flare at you may look vaguely menacing or brightly friendly. The ce o inadequately initiated spectator once again cannot divine the the divine cannot again once spectator initiated inadequately whole thing is meant to simulate the experience of a nightclub more
pitchers and hitters, specialists for every position, and the the and position, every for specialists hitters, and pitchers than a war. This, together with the curious trigger action, highlights rules app egate this world determined rules.§ In gamespace, porno, like sport, now has its star star its has now sport, like porno, gamespace, In rules.§ determined the act of targeting in Rez rather than the target itself. There is
combinations, or the meaning of variations, by the arbitrarily arbitrarily the by variations, of meaning the or combinations, some vaguely sci-fi storyline about why one targets and shoots, but it
inadequately initiated spectator cannot divine the difference in the the in difference the divine cannot spectator initiated inadequately is rather minimal and sketchy. It s not clear at first just what role
activity prevails in spirit in every branch of mass culture, while the the while culture, mass of branch every in spirit in prevails activity the story plays. Like many games of its genre (it s a rail shooter )
human orifice, and carry out every function. Intensive, purposeful purposeful Intensive, function. every out carry and orifice, human its an experience of battling against things in order to level. In
teams of Juliette, which employ every moment usefully, neglect no no neglect usefully, moment every employ which Juliette, of teams Rez, one targets what to shoot at and shoots at what one targets
reserve for every player, have their exact counterpart in the sexual sexual the in counterpart exact their have player, every for reserve pretty much for its own sake. It s interest as a game resides in this
that no member has any doubt about his role, and which provide a a provide which and role, his about doubt any has member no that abstracting of the act away from too many particulars as to why one teams of modern sport, whose interaction is so precisely regulated regulated precisely so is interaction whose sport, modern of teams targets or whom one shoots. Time spent with Rez feels like immersion
lassitude to keep their indignation up to date. Theodor Adorno: §The §The Adorno: Theodor date. to up indignation their keep to lassitude in an eternal, tense present under fire. Blaise Pascal: The fact is y baseball teams an
151. Boredom amuses only its critics. They struggle against their own own their against struggle They critics. its only amuses Boredom 151. this at onethat andthe presentthe same usually time. hurts. Shooting games recognize and disavow
Boredom (on State of Emergency) of State (on Boredom pulsing128. Color, vibrations ofbrightness, the controller shape, in handmovement, come together beats, notes, in Rez sounds, in a even the
boredom, able to defeat time, but not to abolish nothingness. nothingness. abolish to not but time, defeat to able boredom, veritable synasthesia, a blending of the senses intent on melding the
cut up, glistening, repeated . The game hovers on the lip of of lip the on hovers game The repeated . glistening, up, cut gamer with the game. It s a quite particular context in which to try
does not accomplish, recuperates nothing, save for the present itself, itself, present the for save nothing, recuperates accomplish, not does to target. The enemy has to be identified, localized, and highlighted
transform, does not develop, does not educate, does not sublimate, sublimate, not does educate, not does develop, not does transform, in order to become a target. The target emerges out of an event, out
with it as its target. Roland Barthes: It does not reveal, does not not does reveal, not does It Barthes: Roland target. its as it with of a pure analog flux of variable movement. Before there is a target
The Cave , pure other of gamespace, oscillating in and out of contact contact of out and in oscillating gamespace, of other pure Cave , The there is everything and nothing indifference, alterity, being
identity, between phallus and orifice, targeter and target. Welcome to to Welcome target. and targeter orifice, and phallus between identity, neither one nor the other, neither here nor there. Selecting a target
justice) but is merely the framing device for an oscillation of of oscillation an for device framing the merely is but justice) stabilizes a relation between the one targeted and the one targeting
storyline can pose as the quest for the unique (truth, beauty, beauty, (truth, unique the for quest the as pose can storyline one versus the other, us versus them. Targeting turns time and space
Sadean playpen, an episode from his Justine or Juliette, where no no where Juliette, or Justine his from episode an playpen, Sadean from a disconcerting experience of flux into conditions of self
one and zero, presence and absence. It is as if the whole world were a a were world whole the if as is It absence. and presence zero, and one awareness, where the world exists so the gamer might come into being,
this tempo of making, breaking and remaking alterity, the bounds of of bounds the alterity, remaking and breaking making, of tempo this against it. Once an event yields a target, it becomes something
connection and break with its target. The whole pulses and jives to to jives and pulses whole The target. its with break and connection subject to control. The analog yields to the digital.
the character; over and over, the character oscillates between between oscillates character the over, and over character; the
150. Over and over, the gamer oscillates between connection and break with with break and connection between oscillates gamer the over, and 150. Over goal. The129. To goal will target come is directly,to identify by andesignating object of anthe action end point with inan aim towards a
us. us. advance and aiming at it. There is no indirection in targeting. A
of topology even threatens to commit suicide rather than come to meet meet to come than rather suicide commit to threatens even topology of target is a goal that can be reached by virtue of an immediate
arrive from the future but never comes. In Rez, the future perfection perfection future the Rez, In comes. never but future the from arrive knowledge of it and a consequent action against it. The gamer may need
game points to the ruins of a topology that is always supposed to to supposed always is that topology a of ruins the to points game to target one thing in order to subsequently target another, but this
they are allegorithms of what gamespace is not. The allegorithm of the the of allegorithm The not. is gamespace what of allegorithms are they is more a matter of stringing targets together as a sequence in time.
problems of identity. But this is precisely the value of games games of value the precisely is this But identity. of problems Or rather, a sequence against time. In Rez, the gamer does best to ployed to make it
and fundamentalist politics . Questions of violence are always already already always are violence of Questions politics . fundamentalist and target certain shapes that appear in the periphery of one s vision,
intractable problems of alterity, like immigration, ethnic cleansing, cleansing, ethnic immigration, like alterity, of problems intractable and which enhance one s power and extend one s immunity. What the game
grows to use coercive interventions or technical fixes to seemingly seemingly to fixes technical or interventions coercive use to grows highlights is a logistics of targeting, an economy of order against
in the game, but not in gamespace. James Der Derian: the temptation temptation the Derian: Der James gamespace. in not but game, the in time, the battle of alternating merger and separation from the other.
the problem of alterity. But it has its limits. It works to perfection perfection to works It limits. its has it But alterity. of problem the
and other opportunities. Targeting is a temporary solution to to solution temporary a is Targeting opportunities. other and 130. Targeting is at one and the same time the designating of a goal, the
involved is never simply present but always involved in other marks marks other in involved always but present simply never is involved one designating, and the means of designation. To target is to
can be seized or missed itself misses the mark, because the mark mark the because mark, the misses itself missed or seized be can overcome the indifference of self and other, and at the same time to
insistence that opportunity be treated strictly as a target that that target a as strictly treated be opportunity that insistence introduce an oscillation into the moment of this very overcoming. e
assign it a unique value. Samuel Weber again: precisely the the precisely again: Weber Samuel value. unique a it assign Press the trigger down and the target selects, as something other than t. What Caillois sees as a w
dense, tense fibers of the network, maybe to destroy it, but always to to always but it, destroy to maybe network, the of fibers tense dense, you; release the trigger than the shot connects you to it again, but Ra the act of targeting. To target is to isolate something against the the against something isolate to is target To targeting. of act the in a very special way, as engaged in the relation of battling. Hit or , as perfect, as
149. What kind of being is a gamer? One who comes into existence through through existence into comes who One gamer? a is being of kind 149. What again. Perhapsmiss, the the gap gamer between is always target battling and gamer otherness, re-opens, in an andunstable the cycle begins
kind of interface. of kind relation to alterity, to blurry edges and fuzzy boundaries which
alibi for the computer code of the game. Narrative is just another another just is Narrative game. the of code computer the for alibi threaten to overwhelm the self. Steven Poole: One crucial component
function of an algorithm. The moral code of the storyline is just an an just is storyline the of code moral The algorithm. an of function of video-gaming pleasure is in fact a certain level of anxiety. In
of the self. The gamer is not subject to the law; the gamer is a a is gamer the law; the to subject not is gamer The self. the of Rez, this feeling is rendered useful, productive, rather than
subsumed in the protocols of the network. The gamer is the new model model new the is gamer The network. the of protocols the in subsumed paralyzing or profound. The gamer exploits the anxious relation of science. Their f
as fleetingly distinct and enhanced, but permanently engaged and and engaged permanently but enhanced, and distinct fleetingly as self to other in the act of targeting, risking the boundaries of
repetition of the act of targeting repeats the production of the gamer gamer the of production the repeats targeting of act the of repetition character, for the reward of promoting the character to a new level. synasthesia in which self dissolves into the needs of the network. The The network. the of needs the into dissolves self which in synasthesia
the very thing recruited into the game to produce the opposite a a opposite the produce to game the into recruited thing very the 131. To target is to blaze across the agonizing gap between self and world,
and empowered self that comes to know itself by targeting an other is is other an targeting by itself know to comes that self empowered and between cognition and its object. And yet the target does not stand
148. Open your senses is the game s demand. The desire for an enhanced enhanced an for desire The demand. game s the is senses your 148. Open moments;alone it appears and isolated. against aIt backgroundappears not ofonly other against meanings. a background Every of other
trance vibrating world. To each their own target. target. own their each To world. vibrating trance target is embedded in a series of events that exceeds the moment of
the next level! and This is cool! but I was lost in my own little little own my in lost was I but cool! is This and level! next the opportunity for targeting. To target is to discriminate and rank
away, it seemed, I could hear Justin saying things like, I made it to to it made I like, things saying Justin hear could I seemed, it away, possibilities within an event. It is to battle one s way in a
knocked off my glasses and leaned back. I was in a daze. From far far From daze. a in was I back. leaned and glasses my off knocked deliberate and deliberative line from moment to moment, across the
the levels and the images onscreen were just a faint blur to me. I I me. to blur faint a just were onscreen images the and levels the surface of the event, targeting the moment of maximum opportunity. revving up to an intense pulsing throbbing... Oh, God! Pretty soon soon Pretty God! Oh, throbbing... pulsing intense an to up revving
controller. As the levels got more advanced, so did the vibrations... vibrations... the did so advanced, more got levels the As controller. 132. In everyday life, rattling around in gamespace, your relation to
makeshift couch, I with the Trance Vibrator and Justin with the the with Justin and Vibrator Trance the with I couch, makeshift objects is all too often contingent, ambiguous, ineffective. You labor
applied to the right spot. Jane Pinckard: We sat side my side on our our on side my side sat We Pinckard: Jane spot. right the to applied to connect with clumsy drunk motions, and even if you do its hard to
only aural and visual but also a sexual machine, if the Vibrator is is Vibrator the if machine, sexual a also but visual and aural only know the point of it. In Rez, things are different. The relation
147. Plug in the Japanese edition with Trance Vibrator and Rez can be not not be can Rez and Vibrator Trance with edition Japanese the in 147. Plug space is risky,between challenging, you and but other far less passes ambiguous. through Youra character character for whom action in
itself in its struggle with something technical. technical. something with struggle its in itself alternately merges into this gorgeous colorful world, drawing you with
the machine for drawing the self out of the body so that it might find find might it that so body the of out self the drawing for machine the it; or your character offers to you a narrow but clear point of view.
controller of the Playstation replaces mechanical one of the piano as as piano the of one mechanical replaces Playstation the of controller It offers up targets. You lock on, release, fire. Targeting cuts
Mizoguchi updates Kandinsky for topological times. The digital digital The times. topological for Kandinsky updates Mizoguchi through all that is slippery, vague or dull about being in the world.
Sound, luminance, color, movement and vibration all pulse together. together. pulse all vibration and movement color, luminance, Sound, Each moment of time in the game has a clarity and consistency that
eyes are the hammers, the soul is the piano with many strings. strings. many with piano the is soul the hammers, the are eyes time in mere gamespace hardly ever achieves. defining characteristic of Rez. Kandinsky: Color is the keyboard, the the keyboard, the is Color Kandinsky: Rez. of characteristic defining
Kandinsky, from whom he borrowed the synthetic synasthesia that is the the is that synasthesia synthetic the borrowed he whom from Kandinsky, 133. In everyday life, time exacts its toll in unknown increments of
Project K . Mizoguchi says the K stands for the artist Wassily Wassily artist the for stands K the says Mizoguchi K . Project attrition. Objects tax the body in unobserved, unobservable ways;
signs slip-sliding away from any closure. Eden is the product of of product the is Eden closure. any from away slip-sliding signs gradually, or suddenly, through some analog slide best not known too self. There is, of course, a backstory behind the backstory its its backstory the behind backstory a course, of is, There self. er of the text in
intimately death. Time is violence. Topology offers up endless
commit suicide. Perhaps it s a ruse to draw the gamer into risking the the risking into gamer the draw to ruse a it s Perhaps suicide. commit powers for transforming one object into another, for remaking anything
by targeting it. Perhaps Eden only appears to become conscious and and conscious become to appears only Eden Perhaps it. targeting by and everything, from atoms to the atmosphere. And yet these powers
absorbing the gamer even as the gamer struggles to power-up the self self the power-up to struggles gamer the as even gamer the absorbing work only against things in space, not against time. All one can do in
146. It s a strange Eden that is promised here an atopia of indifference, indifference, of atopia an here promised is that Eden strange a 146. It s life. In the game,gamespace there is is at take least potshots the possibility at time, of which scoring relentlessly points chips away at
eliciting its own opening. opening. own its eliciting against time. In Rez, time starts out slow enough to enable the gamer
itself which closes to the gamer, and hence makes itself a target, target, a itself makes hence and gamer, the to closes which itself blank
to string together sequences of targets. Once you succeed at this, the
net. In Rez, the storyline sustains the alibi that it is the net net the is it that alibi the sustains storyline the Rez, In net. tempo increases, and the gamer targets times of increasing intensity. has its own
paradox of targeting is that by closure the gamer opens towards the the towards opens gamer the closure by that is targeting of paradox If the gamer is defeated, if time wins out, it is only against a
continuity a continuity which presumably includes the gamer. The The gamer. the includes presumably which continuity a continuity character. When the gamer walks away from the battle intact, it is
back from the brink of autonomy, to restore its seamless, selfless selfless seamless, its restore to autonomy, of brink the from back with the temporary suggestion of a victory against the temporal
and enhanced. But the goal, strangely enough, is to bring the network network the bring to is enough, strangely goal, the But enhanced. and itself. targeting in order to restore it at the moment of victory, empowered empowered victory, of moment the at it restore to order in targeting
gamer, from its self-inflicted death. The gamer risks autonomy in in autonomy risks gamer The death. self-inflicted its from gamer, 134. In Rez, various colorful shapes appear as the enemy, but they are
to the save the network from itself, from its difference from the the from difference its from itself, from network the save the to arbitrary, abstract. As if to highlight this, they sometimes move in
Separation is the gamer s prerogative. In Rez the gamer s mission is is mission gamer s the Rez In prerogative. gamer s the is Separation quirky but predictable ways. They are not really the enemy. Or rather,
monstrous possibility of the network separating itself from the gamer. gamer. the from itself separating network the of possibility monstrous they are only the proximate enemy. Time is the enemy. Targeting
145. In Rez the enemy is the network itself. Or rather, the enemy is the the is enemy the rather, Or itself. network the is enemy the Rez 145. In alternates withattempts another, toto transforma medium time of self from fulfillment, a medium where of events, by where one thing
its logic. its picking out a deliberative line across its surface, time can be made
which the play of opening and closing the aperture of the self finds finds self the of aperture the closing and opening of play the which to register the integrity and significance of one s character and by
have reason to hit its target. The game of Rez is an allegorithm in in allegorithm an is Rez of game The target. its hit to reason have proxy one s self and reward it with the next level. Within the game,
Rez is an allegory of this forlorn hope that the shot in transit might might transit in shot the that hope forlorn this of allegory an is Rez targeting becomes an act that recruits time the eternal enemy to one s
any line has a goal and a limit governed by protocol. The storyline of of storyline The protocol. by governed limit a and goal a has line any side. always incomplete attempt to make a game of it, in which transit along along transit which in it, of game a make to attempt incomplete always
is passing over to another. Topology gives rise to the always failing, failing, always the to rise gives Topology another. to over passing is 135. Things appear to die in Rez when you shoot them. The music swells and
transitive. Everything is in motion toward something else; every sign sign every else; something toward motion in is Everything transitive. the colors blaze in all their glory. But there can really be nothing
topology put everything in transit and make all signs of things things of signs all make and transit in everything put topology lph Rumn on the other side of a mere sign of death. These signs are digital,
topology and gamespace. The dense network of lines that make up up make that lines of network dense The gamespace. and topology mere repeatable bits; death is not. Niall Lucy: Death is always
144. The backstory for Rez in particular concerns the relation between between relation the concerns particular in Rez for backstory 144. The Death is somethingabsolutely else. Jacques singular. Derrida: Signs Dying can always can never be exchangedbe taken, for other signs.
overcoming its fire walls and destroying viruses that populate it. it. populate that viruses destroying and walls fire its overcoming borrowed, transferred, delivered, promised or transmitted. It can
accept it, is to travel into Eden s network and reawaken the system, system, the reawaken and network Eden s into travel to is it, accept never be incorporated into topology, which is nothing but lines upon
Eden began to shut itself down. Your mission, should you choose to to choose you should mission, Your down. itself shut to began Eden lines along which to borrow, transfer, deliver, promise, transmit,
paradoxes, and realizing the power of autonomy which it possessed, possessed, it which autonomy of power the realizing and paradoxes, er theory much
etc, etc. Death is the last line, the last threshold for topological
and the consequences of its actions. Finding itself surrounded by by surrounded itself Finding actions. its of consequences the and space. Dying is analog, a slippage toward nothingness, a legal and
speed and volume. Eden started to question the meaning of existence existence of meaning the question to started Eden volume. and speed moral grey zone. Hence the appeal of targeting. The appalling drag and
flow of information being sent to it began to greatly increase in in increase greatly to began it to sent being information of flow friction of death can be turned into a sign and made the aim of a
called Eden. However the story goes Eden became confused when the the when confused became Eden goes story the However Eden. called targeting. In Rez, the brightly colored signs of imminent threat loom
problems, which reappear regardless. In Rez this intelligence is is intelligence this Rez In regardless. reappear which problems, up against the horizon of time. The game makes it appear as if one has
and more advanced forms of network intelligence arise to solve these these solve to arise intelligence network of forms advanced more and no choice in the matter. Targeting appears as a violence without
memories as well as expectations are inescapably incomplete. More More incomplete. inescapably are expectations as well as memories guilt. One targets out of necessity. But in targeting, one battles the
human and machinic agents whose knowledge is always mistaken and and mistaken always is knowledge whose agents machinic and human signs of death, disposing of the problem of the impossibility of the
governing the network economy emerges from the internal relations of of relations internal the from emerges economy network the governing signs of death ever having any meaning, this side of death itself. hand is no longer omniscient or omnipotent. To the contrary, the order order the contrary, the To omnipotent. or omniscient longer no is hand
glitches. Mark C. Taylor: In those complex networks, the invisible invisible the networks, complex those In Taylor: C. Mark glitches. 136. At the beginning of each level, gamer and character, linked by the
human and machine. The perfection of gamespace stalls on persistent persistent on stalls gamespace of perfection The machine. and human controller, go out together to confront time, which hurls at gamer and
its operating system that never delivers the seamless interface of of interface seamless the delivers never that system operating its character alike these killer signs. By destroying these mere
a paradise that refuses to arrive. It is an Apple with fatal bugs in in bugs fatal with Apple an is It arrive. to refuses that paradise a appearances, time itself not merely the appearance of time is
143. The backstory to gamespace in general is not of paradise lost, but of of but lost, paradise of not is general in gamespace to backstory 143. The oscillation between characterdefeated. and In target defeat, doubles a character that between dies; in victorygamer the gamer wins. The
within gamespace, caught between values and meanings. meanings. and values between caught gamespace, within and character. (See Fig. 6) The act of aligning gamer, character and
the game as a system of values and the ineffective enclosure of signs signs of enclosure ineffective the and values of system a as game the target in the act of targeting risks the integrity of the self against
key to the relation between the effective enclosure of signs within within signs of enclosure effective the between relation the to key the possibility of defeating time. If the character lost, replay the
their backstories can be read as allegories. The storyline provides a a provides storyline The allegories. as read be can backstories their level again. And again. Repeat this same, strange, digital time, until
Storylines cannot be read as morals. Games are not morality tales. But But tales. morality not are Games morals. as read be cannot Storylines you win. The time of the game, which can be repeated, over and over,
it as if it were like a novel or a movie and it seems ridiculous. ridiculous. seems it and movie a or novel a like were it if as it an eternal loop of the same time, is not violent. Nothing changes in
another, without a break. Storyline is the bad faith of the game. Read Read game. the of faith bad the is Storyline break. a without another, game time. Time is a constant, measured out in identical, digital
converge everywhere, ceaselessly transforming from one shape to to shape one from transforming ceaselessly everywhere, converge units. Even in a game where time speeds up, it does so in the same
them, good and evil. You are in an amoral space where lines merge and and merge lines where space amoral an in are You evil. and good them, way, for the same reasons, over and over, every time you play. Within
where storyline cuts its moral flaw between self and other, us and and us other, and self between flaw moral its cuts storyline where this digital time, the gamer steps out to call into being and destroy
an alibi. You are elsewhere. You are not in the topographic space space topographic the in not are You elsewhere. are You alibi. an its nemesis: analog time, violent time, this river that is never the
Emergency or Grand Theft Auto, precisely because storyline is merely merely is storyline because precisely Auto, Theft Grand or Emergency same way twice. where one plays the bad guy rather than the good one, such as State of of State as such one, good the than rather guy bad the plays one where
fanciful sci fi storylines, like Rez or Deus Ex, or perverse ones, ones, perverse or Ex, Deus or Rez like storylines, fi sci fanciful 137. Flying along, weightless on a rail, here all around are clusters and
point to it all. One is fighting the bad guys. Many games tend toward toward tend games Many guys. bad the fighting is One all. it to point pods, flights and flocks, moving with algorithmic precision, but
that can be defeated, the storyline insists that there is some other other some is there that insists storyline the defeated, be can that rarely appearing as under the command of a central node. Rez is about
other, playing out the possibilities of a consistent and stable time time stable and consistent a of possibilities the out playing other, battling along a line, not across a front. The pulsing, phosphorescing
world of pure digital relations, flipping the switch between self and and self between switch the flipping relations, digital pure of world quality of Rez gives the gamer a feeling of a particularly intense
142. The storyline is the gamer s alibi. While the gamer is immersed in a a in immersed is gamer the While alibi. gamer s the is storyline 142. The spread across the screen. The payoff, ifloss one of targets self. Your accurately, senses ismesh into a network of lines, of moments,
regenerate the separation all over again. over all separation the regenerate the coalescence of the self back again into a heightened level of
that is characteristic of a network, hence the need for the story to to story the for need the hence network, a of characteristic is that coherence precisely through victory over the pulsing dub-trance time
The defeat of the other reopens the instability between self-other self-other between instability the reopens other the of defeat The that confronts it. The two-bit code of press and release on the
self from other, so that the other may legitimately become a target. target. a become legitimately may other the that so other, from self trigger switches between the line dividing and the line connecting
one cuts away a self. Storylines frame the possibility of separating separating of possibility the frame Storylines self. a away cuts one self to other, cutting out any ambiguities in between. targeting, it relieves one of responsibility toward that from which which from that toward responsibility of one relieves it targeting,
Ex. Storylines have a particular role in framing the action of of action the framing in role particular a have Storylines Ex. 138. The purpose of a targeting game is the overcoming of death through the
fold one front around and against the other, as in games such as Deus Deus as such games in as other, the against and around front one fold targeting of the other, freeing the self to be itself temporarily.
spatially separate. Indeed, there may be dark labyrinthine twists that that twists labyrinthine dark be may there Indeed, separate. spatially The goal, the target of the target, is to stop playing while still
polarize a net into antagonistic fronts even if these fronts are not not are fronts these if even fronts antagonistic into net a polarize alive. Having done so, the gamer rejoices, for the moment, before
the net. They draw a line between a character and its enemy. They They enemy. its and character a between line a draw They net. the collapsing back from the game into the vagaries of the networks and
when they are ignored. Storylines release the gamer from entrapment in in entrapment from gamer the release Storylines ignored. are they when networks of lines and lines that are gamespace. There s nothing for it
storylines have a purpose that they fulfill simply by existing, even even existing, by simply fulfill they that purpose a have storylines but to play again, and again. Save the game freeze time and come
on the insert inside the box, but no more than once. Yet these these Yet once. than more no but box, the inside insert the on back and try again for the next level. The only real problem with Rez
watch the introductory cut scenes, or idly scan the back story printed printed story back the scan idly or scenes, cut introductory the watch is that it does not have enough levels. Victory is temporary, or
framing storyline, and yet they almost always have one. A gamer might might gamer A one. have always almost they yet and storyline, framing rather temporal. You can defeat time in the game, but only for a time.
141. Targeting games would seem the least likely to need the support of a a of support the need to likely least the seem would games 141. Targeting And having won all there is to win, boredom looms...
repetition of the ritual of playing the game. game. the playing of ritual the of repetition 139. The space within which one battles in Rez is an allegory of
gamer s debt to the net remains unacknowledged other than in the the in than other unacknowledged remains net the to debt gamer s topological space itself. It is all nodes and networks. It is a
targeting has already cut the net connecting one to the other. The The other. the to one connecting net the cut already has targeting battlespace rather than a battlefield. There is no front line. One
is an act of violence even before any shot is fired. The act of of act The fired. is shot any before even violence of act an is
former rather than the latter. Samuel Weber: the act of targeting targeting of act the Weber: Samuel latter. the than rather former itself through space following the line of a net to its node. The node cannot hide behind the lines. One s character, on its rail, propels
the trigger targets, but does not shoot. It puts the emphasis on the the on emphasis the puts It shoot. not does but targets, trigger the may be a center, but there may not really be a center of centers. The
in identifying a target that constitutes its limit. In Rez, pulling pulling Rez, In limit. its constitutes that target a identifying in game levels out leaving the gamer with the uneasy feeling that the
network which enmeshes one with the other. The work in a network is is network a in work The other. the with one enmeshes which network center you conquered is not the center of centers, even if this is
reduction of action to targeting. To target is to deny any debt to the the to debt any deny to is target To targeting. to action of reduction what the storyline claims. The gamer knows better. Every point
held constant, digital, repeatable. This consistency enables a a enables consistency This repeatable. digital, constant, held
It s a paradox, an inescapable tension. In the game, at least time is is time least at game, the In tension. inescapable an paradox, a It s connects through every other, every shape can be transformed into another. It can fold, stretch, morph and bubble. Time is constant, but
bounds of self itself. One can t do without nets but they do one in. in. one do they but nets without do can t One itself. self of bounds space is not. It can pulse and bulge, warp and wobble. It is a
nets tug at one s extremities, contaminate one s senses, blur the the blur senses, one s contaminate extremities, one s at tug nets network. And while every point can in principle be connected to every
in them. In gamespace, both space and time are elastic. In gamespace, gamespace, In elastic. are time and space both gamespace, In them. in which governing protocols are There cannot. it practice in other,
140. Nets are a problem. In gamespace one is continually getting tangled up up tangled getting continually is one gamespace In problem. a are 140. Nets
points can open to which other points. Alex Galloway: §protocol is an an is §protocol Galloway: Alex points. other which to open can points algorithm, a proscription for structure whose form of appearance may may appearance of form whose structure for proscription a algorithm, the network. network. the be any number of different diagrams or shapes.§ The game is an an is game The shapes.§ or diagrams different of number any be exercise in negotiating protocols to gain access to more and more of of more and more to access gain to protocols negotiating in exercise been of much interest to theory, e the lied. Post-war Candy and Mercedes, you drive to the he book ly alleries, arenas, ure qualities; the rld of the he game beyondual a artmere is no match f ori of play contains ttled in to nota asured in advance. Not es fo ey: §It is n d. Guy particular epetitionrules of gambling, reality TV f cious r mediating d its perpetual es played stead b . Mo e. erotopian margins;
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