New Games Journalism vs Old Games Journalism

It's interesting to note that although the phrase 'New Games Journalism' wasn't coined until 2004 by Kieron Gillen in a blog post of all things (considering the, let's face it, lack of widespread interest in blogs at the time), it is certainly applicable to different eras of games journalism.

Games journalism began in the same manner as most other journalism; stuffy and fact filled, focusing on the mechanics of a game and how it plays, and that's about it. By the early eighties, it had flipped to more magazine like proportions, with the majority of popular games journalism being both written and viewed by games' major market; young adults.

After that there was a downturn in games journalism across the pond, but it stayed strong in Europe, and in the nineties came the internet. Once again, a new form of journalism arose, and journal articles on gaming were like streams of consciousness on screen, written by the same people that went on to become major gaming publications like IGN and PC Gamer.

If I were to decide on a divider, I would say that New Games Journalism largely consists of what the internet has done to how people review and learn about games beyond just buying them and playing them, and Old Games Journalism is what came about along with the advent of digital gaming.

I think New Games Journalism is certainly more interesting, and to be honest I haven't read enough Old Games Journalism to give an accurate opinion on which is more useful.


Here we have an article from Electronic Games, a games journal which was popular in the early eighties and
after it shut down, rose again during the early nineties, but was eventually 'outgunned' by internet based
journalism.

New Games Journalism, or now should I say Modern Games Journalism, has been completely taken over by the internet and more visual based information. For example, many people find information on games by watching walkthroughs designed to entertain and make the viewer laugh, for example; https://www.youtube.com/watch?v=XU5JJraK7jQ
a walkthrough of Alien: Isolation by the, I would say infamous, PewDiePie. Not to say that there aren't more
intellectual journalism based videos out there, such as this video on the top 25 Playstation 3 games of 2014 by IGN: https://www.youtube.com/watch?v=LaaEgJ_JH2c

However, considering actual conveying of information versus entertainment value, is Old Gaming Journalism more useful? Most certainly. More entertaining? Not on your life. And that's why I prefer New Games Journalism.

Design Document

Ok, so pretty much everything about the game can be found in earlier blog posts, the design document is for the final iteration of The Royal Game of Ur described in the Tweaking Ancient Games post. One of the focii for this document was the aesthetics of the game.

For the board, I decided that I would stick with the original aesthetics, only the board shape would be changed, to keep it close to its Mesopotamian roots. However, I decided that instead counters the game should be played with figurines, since despite still being a race game there was a strong battle element to it.

So, having researched the armour of the time, considering the Mesopotamian Empire had the first standing army, the colour scheme consists of brown and bronze.

The soldiers of the time, and therefore the figurines, would wear bronze caps with leather lining on the inside.


They would have worn full body leather cloaks with shield like bronze stitched into it. Unfortunately I was unable to find any pictures to illustrate this.

Their feet would most likely have been visible, but would have been covered in leather footwraps, also brown.

The gameplay was slower, which I preferred, and contained a mix of strategy and chance, which I also prefer to purely strategy or purely chance games. I think the aesthetics would show its roots well and not detract from the fact that its base mechanic describes it as a race game.

Games Britannia: Joystick Generation

The final episode in the series focuses on the transition from board games and physical games to computer games, and how society has so completely immersed itself into the internet age. Woolley comments on the drastic speed of change and how completely computer gaming has taken over the current generation (a point that I am not disputing).

There's not much for me to comment on, as Woolley focuses on the test of morality that the game Grand Theft Auto has become and how identites have become digitalised in games such as Runescape and World of Warcraft. I, fortunately or unfortunately depending on your point of view, do not like the Grand Theft Auto games or Runescape and have never played World of Warcraft.

However, I can't dispute that I have spent nearly as much time in the real world as I have in various virtual worlds, and I agree that now and in the future games will become a bastion of questions and arguments concerning vital aspects of human nature, such as morality and duty.

Pervasive Games

There are many different definitions of pervasive games, some simple, and some horrifyingly not so. To me, a pervasive game is a game who's boundaries extend beyond the lines of traditional isolated play, that is to say, the borders overlap between the game world and the real world (even the real world in a game is 'fictional' by the way).

La Decima Vittima is the perfect example of a game which blends with the physical, the real world in an interactive way rather than a passive way. While I have no doubt that my definition of a pervasive is not complete or all-encompassing, it is the most appropriate for me, its what fits in my mind, and when it comes to pervasive games, perception is everything.

To be perfectly honest, I think pervasive games such as Assassin appeal to people who aren't as focused on gaming as people such as myself, because it seems like a lot of real world effort.

La Decima Vittima

Before watching this, I wasn't aware of where the Austin Powers films gained their particular charm, and thought that they merely represented an over exaggerated conception of the 'Swinging Sixties'. However, it is clear that La Decima Vittima is the original cheesy sixties action/spying bananza.

The influence this, I believe to my generation unknown, film has had on gaming across the world is rather significant. Games which are essentially re-enactments of the story of the film have spread far and wide, becoming the much more well known game Assassin, in which people are given targets and themselves are targets. Any number of people can play and the allure is that the game is played in real life.

It's basically the most advanced version of a combination of 'It' and 'Hide and Seek' in existence today, and that is rather awesome.

Tweaking Ancient Games

So basically the task was to iterate one of the Ancient Games that we have studied. Considering my earlier observations that The Royal Game of Ur was perhaps an iteration itself, and not even necessarily the final one at that, I thought it prudent to tweak that game.

The first iteration, which was highly successful, was to alter the board so that it consisted of a stretch with the starting and finishing zones on opposite ends and sides of the board. This created a heightened feeling of conflict, the game was still a race game in essence but it certainly felt as though the player was battling the opposition to reach the goal.

However, it was felt that the game moved too fast. To alter that, the second iteration changed the function of the rosette squares; no longer did they propel the player forwards with an extra move, instead they provided a type of blockade; pieces on this square couldn't be taken.

Unfortunately, this slowed the game too dramatically, but it was felt that the idea still had potential. So, the third iteration sought to draw this potential out. To do this, the capture function was changed; usually once a piece is captured it is sent out of play and must re-enter the board at the beginning. Instead, now capturing a piece sent them back to the closest possible rosette square, providing an incentive to keep pieces free of the rosette squares yet still have them used, allowing the game to move at an acceptable pace.

After that, the final iteration was to change the movement system to include a level of strategy, so instead of the usual four sided dice, cards labelled 1 - 4 were used. Players always have three cards in hand, so they can choose which of the three cards to use to move their pieces. This worked very well, and resulted as the final iteration.

British Museum Trip

This was actually my third visit to the British Museum, I can't remember my first trip but my second was less than two years ago. At that time my focus during the trip was on the military and society of Ancient Greece, Mycenae and Rome, and while not directly related to the course, that trip certainly provided some insight into the role of ancient games.

The trip at first focused on the oldest known board game, the Royal Game of Ur (named so because it was found in Ur). Irving Finkel, the leading expert on the game, was enthusiastic and passionate as he spoke to us about the game's origins, history and role in society.

The following tour was interesting, there were lots of exhibits which suggested the influence of gaming in ancient cultures from the Mesopotamian era all the way up to medieval England.

Games Britannia: Monopolies and Mergers

This episode of the show focused largely on the history of modern Monopoly, arguably the most popular board game in print, and possibly to have ever been printed. I was surprised that the roots of the game went all the way back to 1904 (not as far as some games certainly, but still impressive) and began with a woman named Elizabeth Magie, who was a devout Georgist (Henry George was a 19th Century American who developed the idea that there should only be a single tax on land values).

She developed a game called The Landlord's Game. The game was underwhelmingly successful, perhaps due to being designed as a learning tool and not a game as such. From there, suffice to say that the game went back and forth through iterations and publications and patents and developers for more than 30 years.

After that it was doggedly followed and purchased by Parker Brothers who became the sole publishers of the game which quickly became the most popular board game in the Western World. The only thing I can really say is kudos to Parker Brothers, they made a mint from that game.

Hnefatafl

Otherwise known as The Viking Game seeing as they are the progenitors of the game which fueled the creation of many others, such as chess and nine men's morris.

Hnefetafl is perhaps the oldest variation of the Tafl games, evidence of its usage going back to 400 AD. The game was played on boards varying in size from 7x7 to 19x19, with each variation requiring different tactics to win the two player game.

The setup of the game is interesting in how different it is from most other war games, which usually pit forces against each other across a 'no man's land' and/or require the capture of a precious asset on both sides (chess for example). Henfatafl is different in that it begins with on of the players already mostly captured.

The objective of the captive player is to use his pieces to open a path for the king to escape to an edge of the board (not a corner) while the other must do their best to totally capture the opposing king by completely surrounding him on all four sides.

There is a slight negative feedback loop in that the more pieces are used to 'restrain' the captured pieces the easier it is for the king to escape, and this creates intense conflict with extremely versatile tactics, strategies and outcomes, making it a fun and engaging game.

Duodecim Scripta

The game Duodecim Scripta, consisting of three rows of a dozen squares, is thought to be the precursor to the modern game Backgammon, a popular board game which focuses on a mix of chance and strategy. Backgammon has some rather deep roots then, considering Duodecim Scripta, as might be guessed by the Latin name, was popular in Ancient Rome.

Not much is known about the game overall, though there have been many thorough investigations by games historians. Unlike for The Royal Game of Ur, a depiction of the rules has not been discovered.

What is known is that the game is played between two players who each have fifteen pieces, three dice are used and the object of the game is finish first, making it an Ancient Race Game.

The Royal Game of Ur

A fairly simple race game it may be, but the Royal Game of Ur is the oldest board game that there is evidence of, dug up by Leonard Woolley in the 1930s in the City of Ur in what is now modern Iraq.

The excavated board game, now in the British Museum, has an extraordinary level of detail and geometric perfection to it considering it was designed some 2000 years before any true mathematical precedents as recognised today.

Of course, the specific rules are only mostly known, but the sophistication suggests that some work at least went into the designing the game. The Royal Game of Ur may very well itself be an iteration of an even earlier game, and again this is so far the only one we have evidence of from the time, so there may have been another iteration after what we have discovered which didn't survive the test of time or is still waiting to be discovered.

Games Britannia: Dicing with Destiny

The show certainly projects an enthusiasm about the prevalence of dice throughout history, and their use in not just games but many walks of life. Indeed, I was surprised, thinking that dice games weren't as far spread as they were until the advent of casinoes and gambling halls, where instead they have saturated every part of society for centuries.


Xbox One Controller

I recently watched an interview with the lead designer of the Xbox One controller, and was amazed at the sheer level of detail the product was scrutinised. Every single millimetre of the controller was designed for comfort and ease of use, every cross section, the spacing between the buttons, the distance between the bumpers and the triggers, from the edge of the controller to the joysticks.

And that's not all, for the buttons were designed to give a specific feeling as they were pressed, whether it was a click, pop or thud was the question, would the joysticks have any resistance, would it have grips, if so where would the grips go, would they be more functional or more aesthetic or a combination?

So yeah, the sheer number of questions that had to be answered on the design of a controller which already had a base to work from (the Xbox 360 controller) was rather astounding.

Defining Games: Callois' Terminology

Reading Callois' own views and opinions on the nature of play and his subsequent list of defining terms for the activity of play, there were several points that struck me as odd. The very first definition he gives is that play is an activity that must be free, a conscious decision on the part of the player to participate and restrict oneself to the ruleset laid down to facilitate play.

This assertion bugged me, for surely he was assuming that all people will react to different situations in the same way, looking at players as a whole rather than a collection of individuals. However, no two people are the same and so will not react similarly in all things. Callois' definition in this way seemed to also exclude a certain basis of enjoyment; what he constitutes as enjoyment is unexplained.

Enjoyment is intrinsically linked with fun; for something to be enjoyable, it must be fun, the type of fun is unimportant, merely that it exists is enough to entice a player, whether it produces thrill, triumph, excitement or any number of reactions.

So, no two people will respond exactly the same way as their own definitions of what they find fun will always differ subtly. Therefore, how can play be defined as a purely consensual activity when the very idea of a lack of consensus on participation in an activity, in a game, may be the driving force for producing the fun that a player will find enjoyment in?

Not that the idea of play being a free choice is wrong, but I believe that it may not be correct for everyone. Certainly a majority of people dislike the idea of being trapped in any way, hence why things such as blackmail are illegal, but there will always be a minority for which the inability to escape a game until a certain condition is met facilitates their enjoyment of said activity.



Another aspect of play that Callois attempted to define which seemed lacking was his idea that play is completely unproductive. I believe that concessions must be made for the time period in which he produced his book for at the time there was a lull in the type of play that comes to mind when he mentions the lack of a change in situation from the result of play.

The change in situation he declares cannot be present from the result of play relates to real life, it is the idea that playing a game cannot result in a change in situation for the players beyond the exchange of property. Gambling games seem to defy this logic, when in fact the net gain and loss of wealth over time based purely on the games found within a casino is surprisingly stable (casinoes make most of their money through the same mechanic as tourism; it is not the games that the money is made from, but the purchasing of commodities and such.)

Nowadays, gaming can certainly result in the acquisition of wealth and assets outside of the seperate reality produced by a game, however, Callois asserts that since the activity is not purely recreational, it is no longer play that a person engages in but work. While I am inclined to agree, I do not believe that work and play are not so seperate, for they both require similar efforts and mindsets to accomplish to a satisfactory level.

Callois believes that a game is a construct that is designed to be enojyed by its players, and thus they play it. However, as I said before, people are different, and there are certainly individuals out there who enjoy their work. If someone enjoys their work, does that make it a game? And if someone does not enjoy a game, does it become work? At what point do the two become interchangeable when they can both produce similar results in the enjoyment of a person and in their acquisition of monetary wealth and assets which change their real life situation?

That is the modern aspect to Callois' definition that I feel doesn't particularly fit, but there is a more historical aspect to it as well.

At a time when Monarchy and nobility purely ruled entire countries, a time primarily before the French Revolution, nobles of all stripes engaged in what was known as The Game. Surely a game needs players, and if they are called players then what can they do but play?

The Game effectively constituted the entire basis of social interaction between people in positions of power, constantly using deception and cunning to play the game and outsmart their opponenets, the objective being to become the most powerful. The powerful played their game, and it led to many famous real life situations, such as the assassinations of Julius Caesar and Thomas Becket, both at the hands of political machinations.

What I'm trying to say is that, certainly in medieval times, Callois' description of play as something that is unproductive would not have been appropriate. Situations found in history that are parallels with events in the modern age were viewed as a game back then, although that isn't the case in this day and age.