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Inspiration comes from the weirdest sources ñ here, a Douglas Coupland novel ñ ìMicroserfsî. On a total side note: great novel set in the software industry (though not about the software industry), definite must read. Even if you only have an interest in whatís itís like to be part of Microsoft you should read the first chapter.
Anyway, for reasons that are unnecessary to go into, the novels narrator outlines his ì8 Models of Interactivityî. The basic theory being that there are only eight different forms of interactive entertainment. Itís kind of like the old Hollywood maxim I canít quite remember about how there are only so many stories ñ basically ever film or tale ever told is simply one of about 8 different basic plots with different details attached. Iíll come to the consequence later, but here are Couplandís ìEight Models of Interactivityî with my own explanations:
1) The Arcade Model
Arguably the most basic of forms ñ a very simple ìdo or dieî relationship is established. Obvious examples are the early arcade titles like Pacman ñ very simple goal of eating everything around you, the risk avoidance covered by the risk of being eaten yourself. Not to be confused with ìarcade styleî in, for example, racers. This falls under a later category, ìExperience Simulation modelsî
2) The Coffee Table Book Model
A difficult one to describe in relation to gaming. Iíd most liken it to MMORPGís. Titles that you can pick up and put down at any time, Coupland describes it as, ìEnter anywhere/leave anywhereî. Your interactivity is inconsequential, almost pointless. Maybe puzzlers even have a touch of this ñ no matter what you do in Tetris the blocks keep falling.
3) The Universe Creation Model
I am God ñ hear me roar. Pretty much does exactly what it says on the tin. At your will is a world totally at your control ñ Sim City or Theme Park clearly relevant. Also, Black and White takes a new slant on this and adds an RPG element into the mix ñ RPGs dealt with later.
4) The Binary Tree Model
Youíre on a pathway leading from start to an inevitable (though not necessarily unique) finish. You may chose which branch you take at numerous decision points, but you are always restricted to the path. Think of the Diskworld, or any other point-and-click game such as Day of the Tentacle. You never have true freedom ñ you may have a bucket of red paint, but you can only thrown it over a Mummy in a predefined solution to one of the puzzles. You canít, for example, take out the paint and re-colour the walls of the hotel.
Platform games also come in here ñ you are bound by your world to keep progressing to an enviable goal. You have little choice in how you get there ñ you must run and jump through the levels presented to you. If you find a locked door you must use a key to open it ñ you canít simply kick it down.
5) The Pick-a-Path Model
An even more limited variety of the Binary Tree. Here you arenít given the option of deciding when you use the paint ñ a Binary Tree Model will allow you to use the paint when you want, itíll just only have effects in certain situations. Here you are asked whether you want to use the paint or not ñ a subtle difference. Limited use in Video Gaming ñ think of the CDI interactive movies. Total rubbish ñ as Coupland points out, it is more akin to work.
6) RPGs (Role Playing Games)
I love Couplandís description for this (in itís entirety), ìFor adolescents; half-formed personalities roaming (in packs) in search of identityî. Identity the key ñ you take on the role of someone else and mould their skills and attributes in a manner you most expect will be of use to you in your adventures. A touch of ìThe Universe Creation Modelî ñ you have total control over the characters personality and strengths.
7) The Agatha Christie Model
Using clues you must solve puzzles. Not really a clear genre in the video gaming industry ñ though used in many. For example ñ pretty much any puzzles laid out in RPGs, the Survivor Horror genre seems to have a keen-ness for them etc.
8) Experience Simulation Models
Another one that is pretty self-explanatory. Widely used ñ everything from the obvious flight sims to sports titles or driving games.
Note: I am not criticising the limitations in any of these models, simply pointing out that for the game dynamic to work, developers stick to one of these models.
Anyway, a point. If there are only eight types of interactivity, then all that changes between the hundreds of thousands of games out there is the padding ñ the details. In essence, all that changes between Pong and Virtua Tennis 2 is the details ñ the graphics, the modes of play, the controller/controls etc.
With this in mind, do we expect too much from new consoles in terms of gameplay? If we can only be offered eight different models of interactivity (or blends of them) is it surprising that the final product under awes us? Before launch - before we get our hands on the games personally ñ we see and are seduced by the incidental details, most notably the graphics. When ultimately we play the game and are just offered the same type of interactivity with the console as weíve always had before it is then not surprising to feel disappointment that the new Best Thing hasnít altered our perceptions of interactivity.
Or maybe you could look at this all from another point of view ñ interactivity is a minor aspect. We extract enjoyment from the visuals and the plot and the very fact that weíve spent £300 and now have a new, flashy toy ñ somewhere behind all that lays the actual benefit we receive from having the console/game respond to our actions and us.
Anyway, Iíve killed an hour and can now drive home on non-rush hour roads :)
Anyway, for reasons that are unnecessary to go into, the novels narrator outlines his ì8 Models of Interactivityî. The basic theory being that there are only eight different forms of interactive entertainment. Itís kind of like the old Hollywood maxim I canít quite remember about how there are only so many stories ñ basically ever film or tale ever told is simply one of about 8 different basic plots with different details attached. Iíll come to the consequence later, but here are Couplandís ìEight Models of Interactivityî with my own explanations:
1) The Arcade Model
Arguably the most basic of forms ñ a very simple ìdo or dieî relationship is established. Obvious examples are the early arcade titles like Pacman ñ very simple goal of eating everything around you, the risk avoidance covered by the risk of being eaten yourself. Not to be confused with ìarcade styleî in, for example, racers. This falls under a later category, ìExperience Simulation modelsî
2) The Coffee Table Book Model
A difficult one to describe in relation to gaming. Iíd most liken it to MMORPGís. Titles that you can pick up and put down at any time, Coupland describes it as, ìEnter anywhere/leave anywhereî. Your interactivity is inconsequential, almost pointless. Maybe puzzlers even have a touch of this ñ no matter what you do in Tetris the blocks keep falling.
3) The Universe Creation Model
I am God ñ hear me roar. Pretty much does exactly what it says on the tin. At your will is a world totally at your control ñ Sim City or Theme Park clearly relevant. Also, Black and White takes a new slant on this and adds an RPG element into the mix ñ RPGs dealt with later.
4) The Binary Tree Model
Youíre on a pathway leading from start to an inevitable (though not necessarily unique) finish. You may chose which branch you take at numerous decision points, but you are always restricted to the path. Think of the Diskworld, or any other point-and-click game such as Day of the Tentacle. You never have true freedom ñ you may have a bucket of red paint, but you can only thrown it over a Mummy in a predefined solution to one of the puzzles. You canít, for example, take out the paint and re-colour the walls of the hotel.
Platform games also come in here ñ you are bound by your world to keep progressing to an enviable goal. You have little choice in how you get there ñ you must run and jump through the levels presented to you. If you find a locked door you must use a key to open it ñ you canít simply kick it down.
5) The Pick-a-Path Model
An even more limited variety of the Binary Tree. Here you arenít given the option of deciding when you use the paint ñ a Binary Tree Model will allow you to use the paint when you want, itíll just only have effects in certain situations. Here you are asked whether you want to use the paint or not ñ a subtle difference. Limited use in Video Gaming ñ think of the CDI interactive movies. Total rubbish ñ as Coupland points out, it is more akin to work.
6) RPGs (Role Playing Games)
I love Couplandís description for this (in itís entirety), ìFor adolescents; half-formed personalities roaming (in packs) in search of identityî. Identity the key ñ you take on the role of someone else and mould their skills and attributes in a manner you most expect will be of use to you in your adventures. A touch of ìThe Universe Creation Modelî ñ you have total control over the characters personality and strengths.
7) The Agatha Christie Model
Using clues you must solve puzzles. Not really a clear genre in the video gaming industry ñ though used in many. For example ñ pretty much any puzzles laid out in RPGs, the Survivor Horror genre seems to have a keen-ness for them etc.
8) Experience Simulation Models
Another one that is pretty self-explanatory. Widely used ñ everything from the obvious flight sims to sports titles or driving games.
Note: I am not criticising the limitations in any of these models, simply pointing out that for the game dynamic to work, developers stick to one of these models.
Anyway, a point. If there are only eight types of interactivity, then all that changes between the hundreds of thousands of games out there is the padding ñ the details. In essence, all that changes between Pong and Virtua Tennis 2 is the details ñ the graphics, the modes of play, the controller/controls etc.
With this in mind, do we expect too much from new consoles in terms of gameplay? If we can only be offered eight different models of interactivity (or blends of them) is it surprising that the final product under awes us? Before launch - before we get our hands on the games personally ñ we see and are seduced by the incidental details, most notably the graphics. When ultimately we play the game and are just offered the same type of interactivity with the console as weíve always had before it is then not surprising to feel disappointment that the new Best Thing hasnít altered our perceptions of interactivity.
Or maybe you could look at this all from another point of view ñ interactivity is a minor aspect. We extract enjoyment from the visuals and the plot and the very fact that weíve spent £300 and now have a new, flashy toy ñ somewhere behind all that lays the actual benefit we receive from having the console/game respond to our actions and us.
Anyway, Iíve killed an hour and can now drive home on non-rush hour roads :)
This week in computer gaming I 'ave been mostly making graffiti in jet set radio!!
Work, HUHHH, What is it good for?
Absolutely nothingggggg... AAAAAHHHHHHHHHHSAID...
Trying to waste more time, really should have gave this thread a title vaguely related to its contents, maybe someone else would have read it then.
A well, pop!
Absolutely nothingggggg... AAAAAHHHHHHHHHHSAID...
Trying to waste more time, really should have gave this thread a title vaguely related to its contents, maybe someone else would have read it then.
A well, pop!
Inspiration comes from the weirdest sources ñ here, a Douglas Coupland novel ñ ìMicroserfsî. On a total side note: great novel set in the software industry (though not about the software industry), definite must read. Even if you only have an interest in whatís itís like to be part of Microsoft you should read the first chapter.
Anyway, for reasons that are unnecessary to go into, the novels narrator outlines his ì8 Models of Interactivityî. The basic theory being that there are only eight different forms of interactive entertainment. Itís kind of like the old Hollywood maxim I canít quite remember about how there are only so many stories ñ basically ever film or tale ever told is simply one of about 8 different basic plots with different details attached. Iíll come to the consequence later, but here are Couplandís ìEight Models of Interactivityî with my own explanations:
1) The Arcade Model
Arguably the most basic of forms ñ a very simple ìdo or dieî relationship is established. Obvious examples are the early arcade titles like Pacman ñ very simple goal of eating everything around you, the risk avoidance covered by the risk of being eaten yourself. Not to be confused with ìarcade styleî in, for example, racers. This falls under a later category, ìExperience Simulation modelsî
2) The Coffee Table Book Model
A difficult one to describe in relation to gaming. Iíd most liken it to MMORPGís. Titles that you can pick up and put down at any time, Coupland describes it as, ìEnter anywhere/leave anywhereî. Your interactivity is inconsequential, almost pointless. Maybe puzzlers even have a touch of this ñ no matter what you do in Tetris the blocks keep falling.
3) The Universe Creation Model
I am God ñ hear me roar. Pretty much does exactly what it says on the tin. At your will is a world totally at your control ñ Sim City or Theme Park clearly relevant. Also, Black and White takes a new slant on this and adds an RPG element into the mix ñ RPGs dealt with later.
4) The Binary Tree Model
Youíre on a pathway leading from start to an inevitable (though not necessarily unique) finish. You may chose which branch you take at numerous decision points, but you are always restricted to the path. Think of the Diskworld, or any other point-and-click game such as Day of the Tentacle. You never have true freedom ñ you may have a bucket of red paint, but you can only thrown it over a Mummy in a predefined solution to one of the puzzles. You canít, for example, take out the paint and re-colour the walls of the hotel.
Platform games also come in here ñ you are bound by your world to keep progressing to an enviable goal. You have little choice in how you get there ñ you must run and jump through the levels presented to you. If you find a locked door you must use a key to open it ñ you canít simply kick it down.
5) The Pick-a-Path Model
An even more limited variety of the Binary Tree. Here you arenít given the option of deciding when you use the paint ñ a Binary Tree Model will allow you to use the paint when you want, itíll just only have effects in certain situations. Here you are asked whether you want to use the paint or not ñ a subtle difference. Limited use in Video Gaming ñ think of the CDI interactive movies. Total rubbish ñ as Coupland points out, it is more akin to work.
6) RPGs (Role Playing Games)
I love Couplandís description for this (in itís entirety), ìFor adolescents; half-formed personalities roaming (in packs) in search of identityî. Identity the key ñ you take on the role of someone else and mould their skills and attributes in a manner you most expect will be of use to you in your adventures. A touch of ìThe Universe Creation Modelî ñ you have total control over the characters personality and strengths.
7) The Agatha Christie Model
Using clues you must solve puzzles. Not really a clear genre in the video gaming industry ñ though used in many. For example ñ pretty much any puzzles laid out in RPGs, the Survivor Horror genre seems to have a keen-ness for them etc.
8) Experience Simulation Models
Another one that is pretty self-explanatory. Widely used ñ everything from the obvious flight sims to sports titles or driving games.
Note: I am not criticising the limitations in any of these models, simply pointing out that for the game dynamic to work, developers stick to one of these models.
Anyway, a point. If there are only eight types of interactivity, then all that changes between the hundreds of thousands of games out there is the padding ñ the details. In essence, all that changes between Pong and Virtua Tennis 2 is the details ñ the graphics, the modes of play, the controller/controls etc.
With this in mind, do we expect too much from new consoles in terms of gameplay? If we can only be offered eight different models of interactivity (or blends of them) is it surprising that the final product under awes us? Before launch - before we get our hands on the games personally ñ we see and are seduced by the incidental details, most notably the graphics. When ultimately we play the game and are just offered the same type of interactivity with the console as weíve always had before it is then not surprising to feel disappointment that the new Best Thing hasnít altered our perceptions of interactivity.
Or maybe you could look at this all from another point of view ñ interactivity is a minor aspect. We extract enjoyment from the visuals and the plot and the very fact that weíve spent £300 and now have a new, flashy toy ñ somewhere behind all that lays the actual benefit we receive from having the console/game respond to our actions and us.
Anyway, Iíve killed an hour and can now drive home on non-rush hour roads :)
Anyway, for reasons that are unnecessary to go into, the novels narrator outlines his ì8 Models of Interactivityî. The basic theory being that there are only eight different forms of interactive entertainment. Itís kind of like the old Hollywood maxim I canít quite remember about how there are only so many stories ñ basically ever film or tale ever told is simply one of about 8 different basic plots with different details attached. Iíll come to the consequence later, but here are Couplandís ìEight Models of Interactivityî with my own explanations:
1) The Arcade Model
Arguably the most basic of forms ñ a very simple ìdo or dieî relationship is established. Obvious examples are the early arcade titles like Pacman ñ very simple goal of eating everything around you, the risk avoidance covered by the risk of being eaten yourself. Not to be confused with ìarcade styleî in, for example, racers. This falls under a later category, ìExperience Simulation modelsî
2) The Coffee Table Book Model
A difficult one to describe in relation to gaming. Iíd most liken it to MMORPGís. Titles that you can pick up and put down at any time, Coupland describes it as, ìEnter anywhere/leave anywhereî. Your interactivity is inconsequential, almost pointless. Maybe puzzlers even have a touch of this ñ no matter what you do in Tetris the blocks keep falling.
3) The Universe Creation Model
I am God ñ hear me roar. Pretty much does exactly what it says on the tin. At your will is a world totally at your control ñ Sim City or Theme Park clearly relevant. Also, Black and White takes a new slant on this and adds an RPG element into the mix ñ RPGs dealt with later.
4) The Binary Tree Model
Youíre on a pathway leading from start to an inevitable (though not necessarily unique) finish. You may chose which branch you take at numerous decision points, but you are always restricted to the path. Think of the Diskworld, or any other point-and-click game such as Day of the Tentacle. You never have true freedom ñ you may have a bucket of red paint, but you can only thrown it over a Mummy in a predefined solution to one of the puzzles. You canít, for example, take out the paint and re-colour the walls of the hotel.
Platform games also come in here ñ you are bound by your world to keep progressing to an enviable goal. You have little choice in how you get there ñ you must run and jump through the levels presented to you. If you find a locked door you must use a key to open it ñ you canít simply kick it down.
5) The Pick-a-Path Model
An even more limited variety of the Binary Tree. Here you arenít given the option of deciding when you use the paint ñ a Binary Tree Model will allow you to use the paint when you want, itíll just only have effects in certain situations. Here you are asked whether you want to use the paint or not ñ a subtle difference. Limited use in Video Gaming ñ think of the CDI interactive movies. Total rubbish ñ as Coupland points out, it is more akin to work.
6) RPGs (Role Playing Games)
I love Couplandís description for this (in itís entirety), ìFor adolescents; half-formed personalities roaming (in packs) in search of identityî. Identity the key ñ you take on the role of someone else and mould their skills and attributes in a manner you most expect will be of use to you in your adventures. A touch of ìThe Universe Creation Modelî ñ you have total control over the characters personality and strengths.
7) The Agatha Christie Model
Using clues you must solve puzzles. Not really a clear genre in the video gaming industry ñ though used in many. For example ñ pretty much any puzzles laid out in RPGs, the Survivor Horror genre seems to have a keen-ness for them etc.
8) Experience Simulation Models
Another one that is pretty self-explanatory. Widely used ñ everything from the obvious flight sims to sports titles or driving games.
Note: I am not criticising the limitations in any of these models, simply pointing out that for the game dynamic to work, developers stick to one of these models.
Anyway, a point. If there are only eight types of interactivity, then all that changes between the hundreds of thousands of games out there is the padding ñ the details. In essence, all that changes between Pong and Virtua Tennis 2 is the details ñ the graphics, the modes of play, the controller/controls etc.
With this in mind, do we expect too much from new consoles in terms of gameplay? If we can only be offered eight different models of interactivity (or blends of them) is it surprising that the final product under awes us? Before launch - before we get our hands on the games personally ñ we see and are seduced by the incidental details, most notably the graphics. When ultimately we play the game and are just offered the same type of interactivity with the console as weíve always had before it is then not surprising to feel disappointment that the new Best Thing hasnít altered our perceptions of interactivity.
Or maybe you could look at this all from another point of view ñ interactivity is a minor aspect. We extract enjoyment from the visuals and the plot and the very fact that weíve spent £300 and now have a new, flashy toy ñ somewhere behind all that lays the actual benefit we receive from having the console/game respond to our actions and us.
Anyway, Iíve killed an hour and can now drive home on non-rush hour roads :)