Category Archives: Essays

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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The Free OS

So I recently bought a game I was very exited about playing–I’d hoped to write a review of it here in the next week or two–but when I downloaded it I discovered that I couldn’t play it because my operating system was too old.  “Great,” I’m thinking, “so instead of costing me ten dollars on Humble Bundle, it’ll cost me three hundred or something at a Mac store?”  Having to buy new operating systems every time the one you’re running gets out of date has always been a scam perpetuated largely by Microsoft’s monopoly on the OS market, but I had never felt it so strongly before.  The introduction of alternatives like Chrome OS and the proliferation of always-up-to-date web applications has made this business model seem not only inconvenient and forced, but unnecessary as well.  Then, just as I was thinking I would finally bite the bullet and at least see if I could get a cheaper second-hand copy on Ebay or something, I discover to my delight and surprise that Apple’s newest operating system, OS X Mavericks (guess they finally ran out of cool-sounding cats?) is available to download free on the app store!  All hail the Age of the Internet!  I only hope Microsoft has the courage and intelligence to follow suit with their next operating system.

Now, if you’ll excuse me, I’m going off to play Gone Home.  Look forward to a review of it here in the coming weeks!

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My New Year’s Resolution: Being, not Doing

It’s no secret that most new year’s resolutions fail.  The reason is less well-known: most people resolve to do something differently in the coming year (e.g. lose weight, improve their relationships, get a raise), but make no concrete or detailed plans for how to do it.  The most effective new year’s resolutions are not vague aspirations, but commitments to specific habits.  The reason this works is threefold: first, specific goals are better than vague ones because they let you measure your progress.  If you resolve merely to “eat better”, it can be difficult to tell if you’ve succeeded.  (Better than what?  What does “better” mean?)  If you resolve, on the other hand, to lose 10 pounds (and keep them off–another common pitfall of new year’s resolutions), you have a specific measure of success.

The second reason specific habits are better is the habit part: changes are more effective if they’re consistent.  In addition to specific measures of success, goals that can be broken down into smaller pieces and made into a routine are more effective, because once they’re routine you no longer have to spend conscious effort on them.  Defaults have incredible power for this very reason, and making a commitment into a routine takes advantage of that power.  A new behavior done once is an exception–a new habit becomes part of who you are.

This leads me to the last, and possibly most important reason why commitments to specific habits work better than vague promises of improvement: they act to alter not just your behavior, but your self-image.  This is the same thing that makes hypnosis (and, to a lesser extent, self-affirmations) effective: it changes not just your behavior, but your fundamental conception of who you are.  This is deep magic: a behavior or commitment affected for someone else’s sake will never be as strong as a change in belief.  The most effective way to make a change in your life is to start thinking of yourself as the kind of person who makes that change.  In that sense, then, the most effective resolution is not to ask yourself what you want to do differently, but who you want to be differently.  To that end, here’s my new year’s resolution for 2014:

I resolve that I am an

  • Attentive
  • Hardworking
  • Ambitious
  • Creator[1]

I chose to be Attentive because I’ve noticed recently that I tend to operate on autopilot a lot, not paying full attention to whatever I’m working on.  Sometimes that’s okay, if I’m paying attention to something else (presumably something more important) instead.  But more often these days, I find myself running on autopilot just because I can, and that’s simply lazy.  So, I am resolving to be someone who gives my full attention to whatever it is I’m working on at that moment.

I chose to be Hardworking for similar reasons.  In college, one of the biggest lessons I learned was how to procrastinate on a deadline–to my misfortune, I discovered that I could often get away with simply not doing a lot of the work, as long as I did well enough on tests and other assignments to keep my grade up.  Unfortunately, that’s not how the real world works: if I miss a deadline at work, the project doesn’t just go away at the end of the semester.  So, I’m resolving to be someone who works hard to accomplish whatever I commit to, and to do my best to get it done on time.

I chose to be Ambitious because I want to make an impact on the world someday, and because I look up to and admire people with similar ambitions.  It may be idealistic to want to singlehandedly change the world for the better…but then, only idealists ever have.  So, I’m resolving to be a person who has high expectations for myself, and who’s never satisfied by the status quo.

Finally, I chose to be a Creator because I wanted to re-affirm my commitment to art and invention.  When I was a small child I wanted to be an inventor–someone who brought their imaginings into the world of reality.  As I got older I realized that literally being an inventor was not the only way to do that: it was possible with art and science as well.  What’s important to me is not necessarily the method by which I influence the world around me, what’s important is merely that I do.  So, I am resolving to be a person who uses their mind and hands to make their thoughts visible to the rest of the world, to actively change it for the better.  In other words…to be an artist.

What are your new year’s resolutions?

Notes:

[1] Yes, I’m aware that this makes me “A HAC[K]

Digging through some old emails I found an article I’d read years ago that said basically this same thing, only better.

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