Work now so you can play later

There’s a lot going on at the Leapfrog studio, which explains at least in part why things have gone quiet around here. However, I wanted to take the time to alert you to some upcoming events that might be of interest.

An urban game in the Rotterdam city center

On Sunday September 27 around 50 young people will play an urban game I designed for Your World — Rotterdam European Youth Capital 2009.1 It is part of a two-day event called Change Your World, which enables groups of youth to set up a new ‘movement’ with financial support and advice from professionals. You might want to hang around the Rotterdam city center during the day, to witness what is sure to be an interesting spectacle. More info should show up soon enough at the Your World website.

A pervasive game in the Hoograven neighborhood of Utrecht

Around the same time, from September 18 to October 11, you’ll be able to play Koppelkiek in the Hoograven area of Utrecht. This is a game I’ve created for the Dutch Design Double program.2 To play, you take photos of yourself with others in a range of situations and upload them to the game’s website. It’s designed to subtly permeate your daily life. With the help of our players we’re hoping to create a collection of photos that provide a unique look into life in the neighborhood. Do join in if you’re in the area. Also, we’ll have a playtest on September 16. If you’re interested in playing a round or two, drop me a line.3

Data visualizations of silence

I’m wrapping up some data visualization work I’ve done for the artist Sarah van Sonsbeeck.4 Sarah’s work revolves (amongst other things) around the concept of silence. Alper and I took a dataset she generated during a few of her ‘silence walks’ using a GPS tracker and a sound level meter and created a number of static visualizations in Processing. Some of the output can be seen at the exhibition Een Dijk van een Kust. More will probably be on display at another occasion. Also, I’ve learnt some new tricks that I intend to share here soon.

What else, what else…

  • I’m still meaning to write something up about the work that went into Mega Monster Battle Arena™ but it will have to wait. I attended two of the three shows and enjoyed both throughly. There’s some photos up at the opera’s website.
  • We’re in the process of finishing up the This happened – Utrecht #3 videos. Once they’re all done we’ll add them to the event’s page on the .org site along with the slides. Planning for our fourth event has already started. Mark your calendar for October 26 and subscribe to our newsletter so you won’t miss the registration’s opening.
  • And finally, I’m slowly but surely giving shape to a new venture which will focus on the use of play in public space to effect social change. Its name is Hubbub. The crazy designers at BUROPONY are developing a sweet brand identity and a first placeholder site is up. Stay tuned for more news on that.

That’s about it for now, thanks for your attention. I promise to provide content with more meat and less self-promotion in upcoming posts.

  1. Karel Millenaar, game designer extraordinaire at FourceLabs and a fellow resident of the Dutch Game Garden, has helped me out on this one. []
  2. I’ve asked Tijmen Schep of PineppleJazz, NetNiet.org and the new Utrecht medialab to be my partner on this one. []
  3. Around the same time a lot of other interesting stuff related to design and society will be going on, such as the third edition of Utrecht Manifest, the biennial for social design. []
  4. I was turned on to this gig by the ubiquitous Alper Çuğun. []

Buildings and Brains at the Nijmegen Design Platform (NOP)

It’s been a few weeks since I presented at the Nijmegen Design Platform (NOP), but I thought it would still be useful to post a summary of what I talked about here.

Update: it took me a while, but the slides that accompanied this talk are now up at SlideShare.

A little context: The NOP run frequent events for designers in the region. These designers mostly work in more traditional domains such as graphic, fashion and industrial design. NOP asked Jeroen van Mastrigt — a friend and occasional colleague of mine — to talk about games at one of their events. Jeroen in turn asked me to play Robin to his Batman, I would follow up his epic romp through game design theory with a brief look at pervasive games. This of course was an offer I could not refuse. The event was held at a lovely location (the huge art-house cinema LUX) and was attended by a healthy-sized crowd. Kudos to the NOP for organizing it and many thanks to them (and Jeroen) for inviting me.

So, what I tried to do in the talk was to first give a sense of what pervasive games are, what characterizes them. I drew from the Hide & Seek website for the list of characteristics and used The Soho Project as a running example throughout this part. I also tied the characteristics to some theory I found interesting:

  • Mixing digital technology with real world play — I emphasized that ultimately, technology is but a means to an end. At Interaction ‘09 Robert Fabricant said the medium of interaction design is human behavior. I think the same holds true for the design of pervasive games.
  • Social interactionRaph Koster once said single player games are a historical aberration. It is clear much of the fun in pervasive games is social. In a way I think they bridge the gap between the “old” board games and contemporary video games.
  • Using the city as a playground — Here I could not resist bringing in Jane Jacob’s notions of the city as an entity that is organised from the bottom up and Kevin Lynch’s work on the mental maps we create of cities as we move through them. Cities play a vital role in facilitating the play of pervasive games. At best they are the main protagonist of them.
  • Transforming public spaces into theatrical stagesets — This is related to the previous one, but here I made a sidestep into the embodied nature of player interactions in pervasive games and how embodiment facilitates reading at a distance of such actions. In a sense, the social fun of embodied play is due to its performative quality.

After this, I tried to show why designers outside the domain of games should care about pervasive games. This I did by talking about ways they can be used for purposes other than ‘mere’ entertainment. These were:

  • Enlarging perceived reality; you can create games that play with the way we customarily perceive reality. This was inspired by the talk Kevin Slavin of Area/Code delivered at MIND08. Examples I used were Crossroads and The Comfort of Strangers.
  • Changing human behavior for the better; think of the Toyota Prius dashboard’s effect on people’s driving behavior. Examples of games that use feedback loops to steer us towards desirable goals are CryptoZoo and FourSquare.
  • Crowdsourcing solutions; games can simulate possible futures and challenge players to respond to their problems. Here I used Jane McGonigal’s ideas around collective intelligence gaming. The example game I talked about was World Without Oil.
  • Conveying arguments procedurally; Ian Bogost‘s concept of procedural rhetoric isn’t specific to pervasive games, but I think the way they get mixed up with everyday life make them particularly effective channels for communicating ideas. I used The Go Game, Cruel 2B Kind and Join the Line1 as examples.

By talking about these things I hoped to provide a link to the audience’s own design practice. They may not deal with games, but they surely deal with communicating ideas and changing people’s behavior. Come to think of it though, I was doing a very old media style presentation in attempt to achieve the same… Oh well.

  1. Join the Line is a game students conceptualized during a workshop I ran. []

This pervasive games workshop I ran at this conference

A few things I got people to do at this year’s NLGD Festival of Games:

Paper sword fight

Fight each other with paper swords…

Hunting for a frisbee with lunch-boxes on their heads

…and run around with lunch-boxes on their heads.1

This was all part of a workshop I ran, titled ‘Playful Tinkering’. The mysterious Mink ette — who amongst many things is a designer at Six to Start — and I got people to rapidly prototype pervasive games that were be played at the conference venue the day after. The best game won a magnificent trophy shaped like a spring rider.

Some exercises we did during the workshop:

  • Play a name game Mink ette had made up shortly before the workshop in no time at all. This is good for several things: physical warm-up, breaking the ice, demonstrate the kinds of games the session is about.
  • Walk around the room and write down imaginary game titles as well as names of games you used to play as a child. Good for emptying heads and warming up mentally.
  • Walk around again, pick a post-it that intrigues you. Then guess what the game is about, and have others to fill in the blanks where need. Then play the game. This is mostly just for fun. (Nothing wrong with that.)
  • Analyse the games, break them up into their basic parts. Change one of those parts and play the game again. See what effect the change has. This is to get a sense of what games design is about, and how changing a rule impacts the player experience.
Participants brainstorming game ideas

Participants brainstorming game ideas

People then formed groups and worked on an original game. We pushed them to rapidly generate a first ruleset that could be playtested with the other groups. After this they did another design sprint, and playtested again outside the room, “in the wild”. All of this in less than four hours. Whew!

The games that were made:

  • A game that involved hunting for people that matched the descriptions on post-its that were hidden around the venue. You first needed to find a post-it, then find the person that matched the description on it and finally take a photo of them for points. This game was so quick to play it already ran at the party, hours after the workshop finished.
  • ‘Crowd Control’ — compete with other players to get the largest percentage of a group of people to do what you are doing (like nodding your head). This game won the trophy, in part because of the ferocious player recruitment style the runners employed during the playtest.
  • A sailing game, where you tried to maneuver an imaginary boat from one end of a space to the other. Your movement was constrained by the “wind”, which was a function of the amount of people on either side of your boat. It featured an ingenuous measuring mechanic which used an improvised rope made from a torn up conference tote bag.
  • The lunchbox thing was improvised during the lunch before the playtest. A student also brought in a game he was working on for his graduation to playtest.

We set up the playtest itself as follows:

The room was open to anyone passing by. Each game got their own station where they could recruit players, explain the rules, keep score, etc. Mink ette and I handed each player a red, blue and yellow tiddlywink. They could use this to vote on their favorite game in three separate categories, by handing the runners a tiddlywink. People could play more than once, and vote as often as they liked. We also kept track of how much players each game got. We handed out prizes to winners in the different categories (a lucky dip box loaded with piñata fillers). The most played game got the grand prize — the spring rider trophy I created with help from my sister and fabricated at the local fablab.2

The spring rider trophy and tiddlywinks all set for the playtest

Spring rider trophy and tiddlywinks ready for some playtesting action

It was a pleasure to have the elusive Mink ette over for the ride. I loved the way she explained what pervasive games were all about — being able to play anytime, anywhere with anything. I was also impressed with the way she managed to get people to do strange things without thinking twice.

We had a very dedicated group of participants, most of whom stuck around for the whole session and returned again for the playtest the next day. I’m very grateful for their enthusiasm. The whole experience was very rewarding, I’m keen on doing this more often at events and applying what I learnt to the workshops I run as part of my own games design practice.

Happy, happy winners!

Happy winners of the spring rider trophy flanked by Mink ette and yours truly

  1. Mayhem initiated by Evert and Marinka. []
  2. I still need to write up the process of the trophy’s creation. []

Announcing a hybrid game opera for Monster

I never thought I would make an opera. But now I have.

A bit of Monster

In a few weeks time the above market square in the town of Monster will be transformed into an arena where fighters duel each other using their pet monsters. If this sounds familiar, it is no coincidence.

Mega Monster Battle Arena is one of 11 operas produced by Dario Fo to celebrate the fifth anniversary of the Westland municipality. Dario Fo specialize in creating music theatre in close collaboration with the local community. They asked composer Daniël Hamburger to create the opera for Monster. The brief was to do ‘something’ with the town’s curious name, and to make it a production that would appeal to youth by referencing games culture.1

Daniël in turn approached me, since he had little affinity for games, and wanted the piece to not only be about games, but to be a game itself. So that’s what I helped do. By turning the game design principle of embedded narrative inside-out, we’ve managed to create a structure in which we can both tell a story using a script, and have performers improvise using game rules. Those rules I designed as a proper game. I could give you those rules and you would be able to play it yourself.

So there will be fights, and they’ll not be scripted. You won’t know beforehand who will win, and neither will we. There will also be a story, about a heroine facing off with a bad guy, in the best game and martial arts film tradition. Sieger M.G. was our third man, the piece’s writer. A rapper turned poet with a life-long games addiction, there could be no better fit.

What’s probably most exciting to me is that on top of the improvisational choreography of the duels, a live band will use a rule set of their own, composed by Daniël, that takes the game as it unfolds as its input to improvise. How’s that for adaptive music?2

It might all go horribly wrong, or it might become a wonderful spectacle. If you are like me and would like to find out which it will be, head to Monster for one of the shows. They’re scheduled for:

  • Thursday 18 June 20:30 (tryout)
  • Friday 19 June 20:30
  • Saturday 20 June 20:30

Tickets are 15 Euro and can be bought at the venue. Once the show is over, I’ll post some more detailed stuff about the actual work I did. Stay tuned.

Mega Moster Battle Arena flyer

  1. There would be tons of kids from local high schools to work with. They also wanted to use the local firemen choir. Oh, and aerial work platforms too… []
  2. One of the sources of inspiration for Daniël was John Zorn. []

What I’m doing at the Festival of Games

tglobe

I’ve helped out with the program of this year’s NLGD Festival of Games. If you’re into gaming’s fringe phenomena, then this edition is not to be missed. The conference’s theme is “play global, global play” and will celebrate the impact of gaming beyond the screen. I curated several sessions focused on urban games and alternate reality games, some of which I will be present at myself. Here they are in no particular order:

  • Adrian Hon of Six to Start is coming over to Utrecht for a keynote titled “Why stories in games suck”. Adrian was one of the people behind the ambitious and influential ARG Perplex City. For a taste of what this session might be like, check out Dan Hon’s1 talk “Everything you know about ARGs is WRONG”.

  • During a parallel session, Evert Hoogendoorn will look at performance in games. Evert heads up the Design for Virtual Theater and Games program at the Utrecht School of the Arts. Knowing Evert, this session won’t be just about performance…

  • I’ll be moderating a session consisting of three case studies. You’ll get an exclusive look behind the scenes of the practice of three seasoned designers of urban games and ARGs. The presentations will be short but sweet, each followed by ample time for Q&A. The people I’ve asked to present are the aforementioned Adrian Hon, Nathalie Brähler of Cultural Oil and Ronald Lenz of 7scenes.

  • The elusive Minkette and myself will run a three-hour workshop, where you’ll get a crash course in designing simple but fun street games. We’re hoping to make this session very accessible, but also very much hands-on, physical and active. Minkette has been involved with Punchdrunk, Hide & Seek and The Soho Project; what better facilitator can you wish for?

  • The games developed during the workshop will be available for playtesting during a separate open session. You’ll get to play fun little games, and will be asked to vote on your favourite. The winner will receive an awesome prize.

  • Update: Before the open playtest session, I’ll be hosting a lunch session open to all people working in the area of social and tangible play. It’s on the program as “ARG lunch” but don’t let that fool you. If you make urban games, pervasive games, or any type of game that’s not limited to what happens on the screen, you’re welcome to join us. We’ll be looking at how we can join forces in certain strategic areas, but the session is also just about getting to know each other.

And there you have it. I’m quite happy with the way the program has shaped up, and I am excited to see how the sessions turn out (though I’m sure they’ll be great). If this has wet your appetite, why not head over to the NLGD Festival of Games website and get yourself a ticket right now? I hope to see you there!

  1. Dan is Adrian’s brother and business partner []

Play in social and tangible interactions

Now that the IxDA has posted a video of my presentation at Interaction 09 to Vimeo, I thought it would be a good idea to provide a little background to the talk. I had already posted the slides to SlideShare, so a full write-up doesn’t seem necessary. To provide a little context though, I will summarize the thing.

Summary

The idea of the talk was to look at a few qualities of embodied interaction, and relate them to games and play, in the hopes of illuminating some design opportunities. Without dwelling on what embodiment really means, suffice to say that there is a school of thought that states that our thinking originates in our bodily experience of the world around us, and our relationships with the people in it. I used the example of an improvised information display I once encountered in the paediatric ward of a local hospital to highlight two qualities of embodied interaction: (1) meaning is socially constructed and (2) cognition is facilitated by tangibility.1

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With regards to the first aspect — the social construction of meaning — I find it interesting that in games, you find a distinction between the official rules to a game, and the rules that are arrived at through mutual consent by the players, the latter being how the game is actually played. Using the example of an improvised manège in Habbo, I pointed out that under-specified design tends to encourage the emergence of such interesting uses. What it comes down to, as a designer, is to understand that once people get together to do stuff, and it involves the thing you’ve designed, they will layer new meanings on top of what you came up with, which is largely out of your control.

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For the second aspect — cognition being facilitated by tangibility — I talked about how people use the world around them to offload mental computation. For instance, when people get better at playing Tetris, they start backtracking more than when they just started playing. They are essentially using the game’s space to think with. As an aside, I pointed out that in my experience, sketching plays a similar role when designing. As with the social construction of meaning, for epistemic action to be possible, the system in use needs to be adaptable.

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To wrap up, I suggested that, when it comes to the design of embodied interactive stuff, we are struggling with the same issues as game designers. We’re both positioning ourselves (in the words of Eric Zimmerman) as meta-creators of meaning; as designers of spaces in which people discover new things about themselves, the world around them and the people in it.

Sources

I had several people come up to me afterwards, asking for sources, so I’ll list them here.

  • the significance of the social construction of meaning for interaction design is explained in detail by Paul Dourish in his book Where the Action Is
  • the research by Jean Piaget I quoted is from his book The Moral Judgement of the Child (which I first encountered in Rules of Play, see below)
  • the concept of ideal versus real rules is from the wonderful book Rules of Play by Katie Salen and Eric Zimmerman (who in turn have taken it from Kenneth Goldstein’s article Strategies in Counting Out)
  • for a wonderful description of how children socially mediate the rules to a game, have a look at the article Beyond the Rules of the Game by Linda Hughes (collected in the Game Design Reader)
  • the Will Wright quote is from an interview in Tracy Fullerton’s book Game Design Workshop, second edition
  • for a discussion of pragmatic versus epistemic action and how it relates to interaction design, refer to the article How Bodies Matter (PDF) by Scott Klemmer, Björn Hartmann and Leila Takayama (which is rightfully recommended by Dan Saffer in his book, Designing Gestural Interfaces)
  • the Tetris research (which I first found in the previously mentioned article) is described in Epistemic Action Increases With Skill (PDF), an article by Paul Maglio and David Kirsh
  • the “play is free movement…” quote is from Rules of Play
  • the picture of the guy skateboarding is a still from the awesome documentary film Dogtown and Z-Boys
  • for a lot of great thinking on “loose fit” design, be sure to check out the book How Buildings Learn by Stewart Brand
  • the “meta-creators of meaning” quote is from Eric Zimmerman’s foreword to the aforementioned Game Design Workshop, 2nd ed.

Thanks

And that’s it. Interaction 09 was a great event, I’m happy to have been a part of it. Most of the talks seem to be online now. So why not check them out? My favourites by far were John Thackara and Robert Fabricant. Thanks to the people of the IxDA for all the effort they put into increasing interaction design’s visibility to the world.

  1. For a detailed discussion of the information display, have a look at this blog post. []

Mashing up the real-time city and urban games

Yesterday evening I was at the Club of Amsterdam. They host events centred around preferred futures. I was invited to speak at an evening about the future of games.1 I thought I’d share what I talked about with you here.

I had ten minutes to get my point across. To be honest, I think I failed rather dismally. Some of the ideas I included were still quite fresh and unfinished, and I am afraid this did not work out well. I also relied too heavily on referencing other’s work, presuming people would be familiar with them. A miscalculation on my part.

In any case, thanks to Felix Bopp and Carla Hoekendijk for inviting me. I had a good time and enjoyed the other presenter’s talks. The discussion afterwards too was a lot of things, but dull certainly isn’t among them.

What follows is a write-up of what I more or less said during the presentation, plus references to the sources I used, which will hopefully make things clearer than they were during the evening itself.2

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(This is where I did the usual introduction of who I am and what I do. I won’t bore you with it here. In case you are wondering, the title of this talk is slightly tongue-in cheek. I had to come up with it for the abstract before writing the actual talk. Had I been able to choose a title afterwards, it would’ve been something like “Growth” or “A New Biology of Urban Play”…)

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This gentleman is Jean-Baptiste Lamarck. He is said to be the first to formulate a coherent theory of evolution. His ideas centred around inheritance of acquired traits. So for instance, a blacksmiths who works hard his whole life will probably get really strong arms. In the Lamarckist view, his offspring will inherit these strong arms from him. Darwinism rules supreme in evolutionary biology, so it is no surprise that this theory is out of favour nowadays. What I find interesting is the fact that outside of the natural domain, Lamarckism is still applicable, most notably in culture. Cultural organisms can pass on traits they acquired in their lifetime to their offspring. Furthermore, there is a codependency between culture and humans. The two have co-evolved. You could say culture is a trick humans use to get around the limits of Darwinism (slow, trial-and-error based incremental improvements) in order to achieve Lamarckism.3

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You can think of cities as cultural meta-organisms. They’re a great example of natural-cultural co-evolution. We use cities as huge information storage and retrieval machines. What you see here is a map of the city of Hamburg circa 1800. In his book Emergence, Steven Berlin Johnson compares the shape of this map to that of the human brain, to illustrate this idea of the city being alive, in a sense. Cities are self-organizing cities that emerge from the bottom up. They grow, patterns are created from low-level interactions, things like neighbourhoods.4

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Games are this other thing nature has come up with to speed up evolution. I’m not going to go into why I think we play (you could do worse than have a look at The Ambiguity of Play by Brian Sutton-Smith to get a sense of all the different viewpoints on the matter). Let’s just say I think one thing games are good at is conveying viewpoints of the world in a procedural way (a.k.a. ‘procedural rhetoric’ as described in Ian Bogost’s book Persuasive Games). They provide people with a way to explore a system from the inside out. They give rise to ‘systemic literacy’.5 The image is from Animal Crossing: Wild World, a game that, as Bogost argues, tries to point out certain issues that exist with consumerism and private home ownership.

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Moving on, I’d like to discuss two trends that I see happening right now. I’ll build on those to formulate my future vision.

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So trend number one: the real-time city. In cities around the globe, we are continuously pumping up the amount of sensors, actuators and processors. The behaviour of people is being sensed, processed and fed back to them in an ever tightening feedback loop. This will inevitably change the behaviour of humans as well as the city. So cities are headed to a phase transition, where they’ll move (if not in whole then at least in neighbourhood-sized chunks) to a new level of evolvability. Adam Greenfield calls it network weather. Dan Hill talks about how these new soft infrastructures can help us change the user experience of the city without needing to change the hard stuff. The problem is, though, that the majority of this stuff is next-to invisible, and therefore hard to “read”.6 The image, by the way, is from Stamen Design’s awesome project Cabspotting, which (amongst other things) consists of real-time tracking and visualization of the trajectories of taxis in the Bay Area.

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Trend number two. In the past decade or so, there’s a renewed interest in playing in public spaces. Urban games are being used to re-imagine and repurpose the city in new ways (such as the parkour player pictured here). Consciously or subconsciously, urban games designers are flirting with the notions of the Situationist International, most notably the idea of inner space shaping our experience of outer space (psycho-geography) and the use of playful acts to subvert those spaces. Parkour and free running can’t really be called games, but things like SFZero, The Soho Project and Cruel 2 B Kind all fit these ideas in some way.

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So I see an opportunity here: To alleviate some of the illegibility of the real-time city’s new soft infrastructures, we can deploy games that tap into them. Thus we employ the capacity of games to provide insight into complex systems. With urban games, this ‘grokking’ can happen in situ.

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Through playing these games, people will be better able to “read” the real-time city, and to move towards a more decentralized mindset. The image is from a project by Dan Hill, where the shape of public Wi-Fi in the State Library of Queensland was visualized and overlaid on the building’s floor-plan.

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Ultimately though, I would love to enable people to not only “read” but also “write” possible processes for the real-time city. I see many advantages here. Fore one this could lead to situated procedural arguments: people could be enabled to propose alternative ways of interacting with urban space. But even without this, just by making stuff, another way of learning is activated, known as ‘analysis by synthesis’. This was the aim of Mitchel Resnick when he made StarLogo (of which you see a screenshot here). And it works. StarLogo enables children to make sense of complex systems. A real-time urban game design toolkit could to the same, with the added benefit of the games being juxtaposed with the cities they are about.

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This juxtaposition might result in dynamics similar to what we find in nature. Processes from these new games might be spontaneously transferred over to the city, and vice versa. The image is of roots with outgrowths on them which are caused by a bacteria called Agrobacterium. This bacteria is well known for its ability to transfer DNA between itself and plants. An example of nature circumventing natural selection.7 A new symbiosis between urban games and the real-time city might lead to similar acceleration of their evolutions.

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(I finished a little over time and had time for one question. Adriaan Wormgoor of FourceLabs asked whether I thought games would sooner or later become self-evolving themselves. My answer was “absolutely”. to get to ever higher levels of complexity we’ll be forced to start growing or rearing our games more than assembling them from parts. Games want to be free, you could say, so they are inevitably heading towards ever higher levels of evolvability.)

  1. Iskander Smit has posted a report of the evening over at his blog. []
  2. If you’re interested, the slide deck as a whole is also available on SlideShare. []
  3. I first came across Lamarck, and the idea of nature and culture co-evolving in Kevin Kelly’s book Out of Control. The blacksmith example is his too. []
  4. All this flies in the face of large-scale top-down planning and zoning, as Jane Jacobs makes painfully clear in her book The Death and Life of Great American Cities. []
  5. Eric Zimmerman talked at length about the need for systemic literacy at Playful 2008. []
  6. For more on this have a look at another blog post by Adam Greenfield titled Reading, writing, texts, literacy, cities. []
  7. As Kevin Kelly writes in Out of Control, evolution with symbiosis included is less like a tree and more like a thicket. []

The theory and practice of urban game design

A few weeks ago NLGD asked me to help out with an urban games ‘seminar’ that they had commissioned in collaboration with the Dutch Game Garden. A group of around 50 students from two game design courses at the Utrecht School of the Arts1 were asked to design a game for the upcoming Festival of Games in Utrecht. The workshop lasted a week. My involvement consisted of a short lecture, followed by several design exercises designed to help the students get started on Monday. On Friday, I was part of the jury that determined which game will be played at the festival.

Lecture

In the lecture I briefly introduced some thinkers in urbanism that I find of interest to urban game designers. I talked about Jane Jacobs’ view of the city as a living organism that is grown from the bottom up. I also mentioned Kevin Lynch’s work around wayfinding and the elements that make up people’s mental maps of cities. I touched upon the need to have a good grasp of social interaction patterns2. Finally, I advised the students to be frugal when it comes to the inclusion of technology in the students’ game designs. A good question to always ask yourself is: can I have as much fun without this gadget?

I wrapped up the lecture by looking at 5 games, some well-known, others less so: Big Urban Game, ConQwest, Pac-Manhattan, The Soho Project and The Comfort of Strangers. There are many more good examples, of course, but each of these helped in highlighting a specific aspect of urban games design.

Workshop

Next, I ran a workshop of around 3 hours with the students, consisting of two exercises (plus one they could complete afterwards in their own time). The first one is the most interesting to discuss here. It’s a game-like elicitation technique called VNA3, which derives its name from the card types in the deck it is made up of: verbs, nouns and adjectives.

Students doing a VNA exercise

The way it works is that you take turns drawing a card from the deck and make up a one-sentence idea involving the term. The first person to go draws a verb, the second person a noun and the third an adjective. Each person builds on the idea of his or her precursor. The concept that results from the three-card sequence is written down, and the next person draws a verb card again.4 The exercise resembles cadavre exquis, the biggest difference being that here, the terms are predetermined.

VNA is a great ice-breaker. The students were divided into teams of five and, because a side-goal of the seminar was to encourage collaboration between students from the different courses, they often did not know each other. Thanks to this exercise they became acquainted, but within a creative context. The exercise also privileges volume of ideas over their quality, which is perfect in the early stages of conceptualization. Last but not least, it is a lot of fun; many students asked where they could get the deck of cards.

Jurying

On Friday, I (together with the other jury members) was treated to ten presentations by the students. Each had prepared a video containing footage of prototyping and play-testing sessions, as well as an elevator pitch. A lot of them were quite good, especially considering the fact that many students had not created an urban game before, or hadn’t even played one. But one game really stood out for me. It employed a simple mechanic: making chains of people by holding hands. A chain was started by players, but required the help of passers-by to complete. Watching the videos of chains being completed evoked a strong positive emotional response, not only with myself, but also my fellow jurors. What’s more important though, is that the game clearly engendered happiness in its participants, including the people who joined in as it was being played.

An urban game being played

In one video sequence, we see a near-completed chain of people in a mall, shouting requests at people to join in. A lone man has been observing the spectacle from a distance for some time. Suddenly, he steps forward, and joins hands with the others. The chain is completed. A huge cheer emerges from the group, hands are raised in the air and applause follows, the man joining in. Then he walks off towards the camera, grinning, two thumbs up. I could not help but grin back.5

Happy urban game participant
  1. Game Design and Development and Design for Virtual Theatre and Games []
  2. pointing to this resource, that was discussed at length on the IGDA ARG SIG []
  3. developed by Annakaisa Kultima []
  4. An interesting aside is that the deck was originally designed to be used for the creation of casual mobile games. The words were chosen accordingly. Despite this, or perhaps because of this, they are quite suitable to the design of urban games. []
  5. To clarify, this was not the game that got selected for the Festival of Games. There were some issues with the game as a whole. It was short-listed though. Another excellent game, involving mechanics inspired by photo safari, was the winner. []

Cities, systems, literacy, games

If you were asked to improve your own neighbourhood, what would you change? And how would you go about communicating those changes?

Cities are systems, or rather, many systems that interconnect. Like buildings, they can be thought of as having layers, each changing at its own pace. If those layers are loosely coupled, the city — like the building — can adapt.

Recently, new urban layers/systems have started to emerge. They are made up of rapidly proliferating computing power, carried by people and embedded in the environment, used to access vast amounts of data.

At the same time, games have given rise to a new form of literacysystemic literacy. However, to date, players have mostly inhabited the systems that make up games. They can read them. Writing, on the other hand, is another matter. True systemic literacy means being able to change the systems you inhabit.

True read/write systemic literacy can be used to craft games, yes. But it can also be used to see that many other problems and challenges in daily life are systemic ones.

To be sure, the real-time city will confront its inhabitants with many new problems. It is of the essence that the people shaping these new systems have a deep concern for their fellow humans. But it is also at least as important that people are taught the knowledge and skills — and given the tools — to change stuff about their surroundings as they see fit.

The wonderful thing is, we can shape systems, using the ‘new’ streets as a platform that transfer this knowledge and these skills to people. We can create ‘seriousurban games that facilitate speculative modelling, so that people can improve their living environment, or at least express what they would change about it, in a playful way.

A Playful Stance — my Game Design London 2008 talk

A while ago I was interviewed by Sam Warnaars. He’s researching people’s conference experiences; he asked me what my most favourite and least favourite conference of the past year was. I wish he’d asked me after my trip to Playful ’08, because it has been by far the best conference experience to date. Why? Because it was like Toby, Richard and the rest of the event’s producers had taken a peek inside my brain and came up with a program encompassing (almost) all my fascinations — games, interaction design, play, sociality, the web, products, physical interfaces, etc. Almost every speaker brought something interesting to the table. The audience was composed of people from many different backgrounds, and all seemed to, well, like each other. The venue was lovely and atmospheric (albeit a bit chilly). They had good tea. Drinks afterwards were tasty and fun, the tapas later on even more so. And the whiskey after that, well let’s just say I was glad to have a late flight the next day. Many thanks to my friends at Pixel-Lab for inviting me, and to Mr. Davies for the referral.

Below is a transcript plus slides of my contribution to the day. The slides are also on SlideShare. I have been told all talks have been recorded and will be published to the event’s Vimeo group.

Perhaps 1874 words is a bit too much for you? In that case, let me give you an executive summary of sorts:

  1. The role of design in rich forms of play, such as skateboarding, is facilitatory. Designers provide tools for people to play with.
  2. It is hard to predict what people will do exactly with your tools. This is OK. In fact it is best to leave room for unexpected uses.
  3. Underspecified, playful tools can be used for learning. People can use them to explore complex concepts on their own terms.

As always, I am interested in receiving constructive criticism, as well as good examples of the things I’ve discussed.

Continue reading A Playful Stance — my Game Design London 2008 talk