video games | Platypus

“Work together, eat bread together”: Stardew Valley and the Dream of the Commons

 Henry Snow  December 3, 2024

“There will come a day,” proclaims the player character’s grandfather in the popular video game Stardew Valley, “when you feel crushed by the burden of modern life . . . and your bright spirit will fade before a growing emptiness.” Several centuries before the game’s release, 17th-century English radical Gerrard Winstanley explained that the English peasant “looks upon himself as imperfect, and so is dejected in his spirit, and looks upon his fellow Creature of his own Image, as a Lord above him.” Winstanley and Grandpa propose similar solutions: farming. Modernity is the “thieving power” of the landlord and the insipid consumerism of Stardew’s Joja Corporation—an obvious Amazon analog, down to the eerie smile in its logo and the resigned but-the-prices-are-so-low loyalty its uneasy customers display. The farm, by contrast, is a place for spiritual regeneration via hard work. Grandpa sends you there to grow crops and tend animals, while Winstanley’s Digger movement began cultivating land together. (read more...)

Chaotic Oscillation: Understanding the Paradoxical Presence of Video Games in Contemporary Society

 Iván Flores  October 1, 2024

Esta publicación también está disponible en español

 Listen to a reading of this post.

Common sense tells us that play and work are opposing categories. However, in our society we often encounter situations where the boundaries between these two categories become difficult to distinguish. It’s common that people earn money from hobbies—activities not typically associated with the effort required for any form of work, mostly because they are fun. These include recording oneself dancing on the street, doing product unboxings, or streaming while playing video games. The variety of activities that can now be monetized is vast; almost any activity can become a niche ready to be used by the market to maintain a consumerist dynamic. (read more...)

Becoming the Game: Hardware Hacking, Agency, and Obsolescence

 Hanine El Mir  March 14, 2023

When I asked my aunt back in 2014 if my old Game Boy Color was still around, she handed it to me, but confirmed that the A and B buttons no longer worked properly. The Game Boy Color is a handheld game console that was released in 1998 as a successor to the black-and-white Game Boy (1989), though both consoles were discontinued in 2003. My grandmother had died recently, and we were clearing out my and my brother’s belongings from her newly empty house. Truthfully, I hadn’t touched this handheld console since the mid-2000s, around the time I upgraded from the family desktop computer to my own personal laptop. The title stickers on some of the cartridges had begun to wear out, but I held hope that this wasn’t an indicator of what their inside was like, or whether they had reached the end of their lives. I told my aunt I’d find a way to fix the buttons, to which she answered, “Why would you want to repair something from the past when the quality of what’s now in the present, on the market, is infinitely better?” In the mind of many people, it is indeed better to wait for a newer, more technologically advanced model to come out, a manifestation of planned obsolescence which we have learned to live with. (read more...)

Rocket Scientists and Their Games: A Little-Known Slice of History

 Rebecca Perry  January 20, 2020

In the 21st century, game companies are expanding what can be done with 3D interactive tools and virtual spaces. Companies like Epic Games are increasing blurring the lines between industries as diverse as simulation, film production, and a wide range of XR experiences (virtual reality, mixed reality, and augmented reality). In a recent example, an estimated 10.7 million people simultaneously logged on to Epic’s Fortnite for a live, in-game music experience(1). Over 30 years ago, the game industry was in its infancy, the Apple II personal computer had been introduced with little available software, and motivated people wrote their own programs. In 1986, a small Los Angeles game publisher called Electric Transit, Inc. released one of the first 3D games designed for a personal computer. Wilderness: A Survival Adventure, was a first-person, simulation/resource management game that could run under DOS or on an Apple II. (read more...)

The Server Souvenir: Taking Home Remnants of Virtual Worlds

 Evan Conaway  December 10, 2019

“It’s amazing to think those little circuits that we can carry around were an entire world to us.” –Diana*, interviewee “We might say that this capacity of objects to serve as traces of authentic experience is, in fact, exemplified by the souvenir.” –Susan Stewart, On Longing: Narratives of the miniature, the gigantic, the souvenir, the collection (1984) In 2011, just seven years after the birth of World of Warcraft (WoW), the game’s development company decided to implement some major changes to their server architecture. Rather than disposing of the decommissioned server hardware that had helped run the game world since the beginning, they auctioned it off for charity. For long-time players of WoW, these pieces of server hardware hold value because they are pieces of the virtual game world that hold spatial memory. WoW players have historically viewed servers as persistent and discrete places, places where players played together, formed relationships, and faced challenges. In this short post, I will outline how owners of commemorative WoW server hardware treat these objects as mementos of their time in the world of WoW.** (read more...)

Video Games, Mental Health, and the Complicated Nature of Playing

 Branden Dyaus  November 19, 2019

He melted into the shadows, pressing the ‘E’ key on his keyboard, activating his stealth skill, allowing his form to vanish into the grass around him and making him invisible to his prey. A short distance away, in the dense forest tree line, a group of adventurers waited for the established sign: a flare! That flare marked that the cloaked figure had achieved his task of poisoning the nearby camp’s healing pool, a vital resource in this war against their enemy. For many of these participants, video games are mechanisms that bring them together digitally, often forming a bond that lasts for many years. The scene above is familiar to many, including myself. In fact, the spirit of gaming is something I have lived since I was young. Perhaps it was my early involvement in video games that guided me to consider them as a professional. As a mental health professional with a background in anthropology, I have long been interested in the intersection of video games and mental health. Over the past 15 years, my interest has been framed by my clinical experiences as a therapist. As part of my wider conversation about video games and mental health, I hold a weekly online forum about mental health depictions in video games and then mental health among gamers. While games are often demonized for their association with addiction and violence, I find that some of the things that help link video games to negative associations also have the opportunity to help address some people’s social and mental health concerns. (read more...)

White Fans, Liberal Ideologies, and the Erasure of Black Stories in Gaming

 Akil Fletcher  May 30, 2019

Last month, the highly anticipated video game Mortal Kombat 11 (MK11) was released to an excited yet wary fighting game community. Game studio NetherRealm’s newest incarnation received praise from both fans and critics for its simplistic yet entertaining combat system, its thrilling cinematic cutscenes, and the reintroduction of original and beloved characters. However, despite its success the game was given little time to rest on its laurels, as a subset of white male fans immediately began to criticize one particular choice in one character’s story. The game featured a compelling tale in which the two separate timelines of Mortal Kombat merged to finish an ongoing plot branching all the way back to MK’s 2006 game Mortal Kombat Armageddon. As a result of this temporal shift, fan favorite black “kombatant” Jackson Briggs (or “Jax”) was given a fascinating story ending, in which he gains the ability to rewrite time, a power he subsequently uses to create a history in which slavery does not exist. (read more...)

Do We Inherit Abandoned Game Worlds?

 Evan Conaway  November 27, 2018

When you’re playing an online game and it gets shut down, typically a message flashes on the screen that says something like: “You have been disconnected from the server.” This very message indicates that it is not just “the game” per se that you’ve been disconnected from. What is “the game” after all? In reality, players are connected to a shared version of a virtual world thanks to the workings of servers, those digital devices that make up the backbone of the internet and of virtual worlds, like Second Life and World of Warcraft. When a virtual world dies, when it’s “turned off,” the player is no longer accessing the same server as their friends. In fact, they’re not accessing any server at all. When the server is turned off, the game world is popularly said to have been abandoned—its software becomes referred to as “abandonware.” And just like that, a whole world dies. This post reflects the work of one group of video game enthusiasts and how they are actively working to bring so-called “abandoned” online games back to life by reshaping copyright laws and redefining games as cultural heritage. (read more...)