Category Archives: Essays

Mind Both Gaps

I was recently going back over some of Paul Graham’s essays, and I noticed something that bothered me while reading “Mind the Gap.” It’s an essay about how income disparities might actually be a sign of health, rather than a sign that something is wrong. That’s not the part that bothers me–it’s an issue I’ve written about myself and with which I mostly agree. No, what bothers me is this:

“A hundred years ago, the rich led a different kind of life from ordinary people. They lived in houses full of servants, wore elaborately uncomfortable clothes, and travelled about in carriages drawn by teams of horses which themselves required their own houses and servants. Now, thanks to technology, the rich live more like the average person. … Materially and socially, technology seems to be decreasing the gap between the rich and the poor, not increasing it.”

What he’s arguing here is that the gap between rich and poor may be quantitatively the same as in previous centuries (i.e., in terms of raw income), but qualitatively wealth makes less and less difference to the way people live. The rich today may still have much more money than the rest of us, he argues, but they are not leading fundamentally different lives anymore.

The problem with this argument is that it’s only half true. It seems clear that, as Graham argues, the gap between rich people and average people has been decreasing, especially in qualitative measures other than raw income. However, he never actually shows that the gap between rich and poor has substantially decreased. In fact, poverty has changed very little since the beginning of the industrial revolution, and in the most severe cases it has not changed at all in millennia.

In fact, in Graham’s own qualitative terms the gap between the poorest of the population and everyone else has only been increasing since the industrial revolution: the standard of life has been going up for most of us, but a beggar living on the streets today is facing conditions nearly identical in every practical respect to those faced by a beggar living in the streets in the 1800s–or, for that matter, the 800s.

Not only have the conditions of poverty not improved (in some ways, they’ve arguably gotten worse), but the demographics of poverty have not changed much either. Now, as ever, the poorest of the poor are overwhelmingly marginalized minorities: blacks, hispanics, homosexuals, the undereducated, people with mental or physical disabilities, religious and ideological outcasts, etc. Anyone who doesn’t fit the normalized ideal of (in our case) “straight white abled male” pays the price in lower wages, higher interest rates, less access to opportunities, poorer educations, and greater exposure to violence and substance abuse. Unless you’re willing to admit to the abhorrent belief that white males are genetically more competent than everyone else, you can’t argue that all these varied demographics bring poverty on themselves–their poverty has to be caused by something external. The obvious answer is that the cause of their poverty and the cause of their marginalization are one and the same: systemic social discrimination.

This is capitalism’s most glaring flaw. I consider myself an Objectivist in many ways, but the problem with Objectivism as portrayed by Ayn Rand is that it assumes the market is blind: let it do whatever it will, and the most competent people will win out. Unfortunately, the market is not blind. The market is made up of human beings, and human beings are biased. If I may quote PG once more…

“It’s absolute poverty you want to avoid, not relative poverty.”

…and there, as they say, is the rub. Poverty now is as absolutely bad as it has always been, and it is bad for almost exactly the same reasons. Until that stops, we have no hope of living in a true meritocracy.

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How Can We Make Learning Fun?

“How can we make learning fun?”

Does this question sound familiar? Policymakers, parents, teachers and politicians ask it constantly. How can we make learning engaging? How can we make lessons relevant to students? How can we get kids to pay attention and make an effort? It’s not like no one’s been trying to fix this problem–so why does it persist? Easy: because we’re trying to answer the wrong question. When we ask how to make learning fun, we’re begging the question: learning doesn’t need to be made fun, it already is! Instead of asking “how can we make learning fun,” what we should be asking is “why do we believe that learning can’t be its own reward?” In other words: how are we sabotaging the natural learning process, and what can we do to support it instead?

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Apartment Economics

I’ve lived in one apartment or another for several years now, and for the most part I like it.  I get a place to live without having to commit to a 30-year mortgage or a lot of extra space I won’t need, I’m responsible for furnishings and the owners are responsible for maintenance, and if I want to move I just have to start paying someone else for their space instead of selling and buying my own–overall, it seems like a pretty decent arrangement.  There is one convention of apartment ownership, however, that continues to bug me.  Why aren’t the owners expected to pay a share of the utilities?

Obviously, tenants should be held at least partially responsible.  The major deciding factor in utilities cost is usage, and that is something that is mostly within the tenant’s control.  Mostly, but not entirely.  Doesn’t it seem strange that under the conventional model, apartment owners have almost no incentive to invest in decent insulation, efficient appliances and fixtures, or other energy-saving features?  It takes a minimal investment to make sure that doors and windows are properly sealed and hot water pipes are insulated, and energy-efficient appliances generally pay for themselves within a couple of years.  Yet if the long-term cost for inefficient appliances and poor insulation is shuffled off onto the tenants, what motivation do the owners have to invest in these things?  This is particularly troubling to me because energy efficiency has a direct impact on global warming emissions.  If profit is the only incentive corporations have to reduce emissions and boost efficiency, shouldn’t we be making sure that their profits are at least related to their efficiency?

What do you think?

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Agency and the Inevitable: Shadow of the Colossus

This post is part of a series examining the relationship between videogames and the tragic form–today’s topic is the classic atmospheric epic Shadow of the Colossus.

Unmarked SPOILERS for Shadow of the Colossus follow–as before, if you haven’t played it yet I recommend you do so before reading this post. Continue reading

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Agency and the Inevitable: Bastion

This post is part of a series examining the relationship between videogames and the tragic form–today’s topic is the action-RPG Bastion by Supergiant Games.

MAJOR SPOILERS for Bastion follow–as before, if you haven’t played it yet I recommend you do so before reading this post. Continue reading

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Agency and the Inevitable: Don’t Look Back

This post is the first in a series examining the relationship between videogames and the tragic form–today’s topic is Terry Cavanagh’s excellent action-platformer Don’t Look Back.

MAJOR SPOILERS for Don’t Look Back follow–if you haven’t played it before, I recommend you do so before reading this post. Continue reading

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Agency and the Inevitable: Introduction

This post is the introduction to a series examining the relationship between videogames and the tragic form.

The tragic genre, along with comedy, is one of the oldest in Western literature.  Classically speaking, a tragedy is more than just a sad ending–it’s a particular kind of story meant to inspire particular kinds of emotions in the audience.  A story where the protagonist is miserable from start to finish, with no pretensions to changing their fate, isn’t really a tragedy–it’s just depressing.  Similarly, a story that ends in tragedy due to circumstances beyond the protagonist’s control isn’t really tragic, either–that’s just a disaster.  True tragedy, as argued most famously by Aristotle, requires that the protagonist bring the ending upon themselves through some crucial mistake or flaw.  The tragic ending is a direct result of the protagonist’s own actions, which the audience can only sit helplessly and watch–yet this introduces a big problem for the medium of videogames, in which the audience is the protagonist.  The mistake or flaw derives its power from the excruciating if only it leaves in the mind of the audience.  If only Hamlet had killed Claudius when he had the chance!  If only Oedipus had known his true lineage!  If only Eve hadn’t listened to that stupid snake!  Yet when the audience is the protagonist, what’s to stop them from avoiding the mistake altogether?  How can we reconcile a genre that pre-destines the hero’s downfall with a medium in which the audience influences their every decision?  How can we successfully weave together the agency of games with the inevitability of tragedy?

In the following posts, I’ll be taking a look at some games that attempt to do this, analyzing and discussing the various techniques they employ.  Over the course of this series, I hope to show that videogames are no more or less suited to the tragic form than any other medium–they simply require different strategies than most narratives employ.

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We Are the 1%

The richest 1% of America’s population controls a disproportionate amount of its wealth–this is the idea that the phrase “we are the 99%” is meant to evoke. The obvious implication of the Occupy movement’s slogan is that this is a bad thing–but is it? Should we try to fix this disparity? And if so, to what degree? Would a completely even distribution of wealth be ideal, or is a little inequality actually a good thing to have?
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Personal, Social, Material: The Three Domains of Education

Current conventional models of education place heavy emphasis on the material and intellectual aspects of our world: the realm of facts and figures, action and reaction, of the basic functioning of our external, physical reality.  Even our country’s politicians can agree that this system is in grave peril and needs serious reform, but while reformers debate how best to fix its intellectual shortcomings (which certainly do exist), no one seems to be concerned with the far more serious deficits in our system’s personal and social aspects.
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The Stories People Tell

Working at a printing company that helps produce on-demand custom photobooks, I sometimes get an interesting peek into the lives and interests of a pretty broad range of people.  In my completely anecdotal, thoroughly non-scientific experience, there are a few common patterns in what people take pictures of–and presumably, the parts of their lives that interest them the most.  In approximate order, they are:

  • Sex (including weddings and babies)
  • Food
  • Other people (and their pets)
  • Variety: new places, experiences and activities

It should probably not be surprising that survival and reproduction are at the top–they are, after all, our most fundamental drives, the ones we share with all living things.  What’s a little more interesting is that we seem to value other people and new experiences almost as highly.  Social interaction and curiosity are almost as fundamental to our behavior as basic survival.

Perhaps it also shouldn’t surprise me that I immediately start thinking about how this applies to games.  Most games seem to place a much heavier emphasis on exploration and problem-solving than on social interaction, while more linear media such as films and (especially) literature tend to place more emphasis on characterization and social interaction.  I think it’s no coincidence that the most popular genres in prose fiction are the ones like mystery and romance that derive their interest almost entirely from the characters.  Why do so few games do this?  The popular answer–that social interactions are too complex to easily model–is clearly bogus.  The success of franchises like The Sims and the popularity of the “dating sim” genre in other countries is proof that social interaction in games can still be deeply engaging and successful even when the underlying model is cartoonishly simplified–indeed, perhaps all the more so because of it.

Is it simply because modeling social interaction in a game seems harder?  Perhaps…but I think it’s more likely that the problem lies in trying to reconcile simplified social interactions with the epic, highly-structured narratives we continue to insist on stuffing into our games.  The Mass Effect franchise is perhaps the defining example of this style of storytelling, and it was clearly successful, but it took massive amounts of people and money to (mostly) pull it off.

Are smaller, independent games just doomed when it comes to combining social interaction and narrative realism?  A lot of people seem to think so, but I’m not so sure.  Perhaps the solution lies, not in removing the narratives from our games, but in recognizing that the narrative is not the same thing as the story.  We often forget this due to the ubiquity of literature and film, but non-linear media such as painting, sculpture, and architecture have been telling stories without narratives for centuries.  It may be impossible to fully author the narrative of an interactive work–but that does not necessarily mean that they cannot tell authored stories.

I wonder…what might a non-narrative story look like?  How would you tell one?

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