They longed for philosophy, for synthesis. The erstwhile happiness of pure withdrawal each into his own discipline was now felt to be inadequate. Here and there a scholar broke through the barriers of his specialty and tried to advance into the terrain of universality. Some dreamed of a new alphabet, a new language of symbols through which they could formulate and exchange their new intellectual experiences.
Hermetic Library Fellow T Polyphilus reviews The Theory and Practice of Gamesmanship: or The Art of Winning Games Without Actually Cheating [Amazon, Bookshop, Publisher, Local Library] by Stephen Potter.
I first read this book at the tender age of six or so. I knew it was supposed to be funny, because the way I had found it was by browsing the humor shelves of the public library. (At six I was already exploring out well beyond the confines of the library’s juvenile sections.) It probably had a salutary effect on me, in terms of making the gamesmanship in which it purports to offer instruction seem utterly repellent, albeit curiously arresting.
Potter often describes the complex and antagonistic relationship among the three factors of sportsmanship (constructive sociability in the game context), skill (mastery of game-specific processes and contents), and gamesmanship (exploitation of socio-psychological factors to defeat opponents). In fact, gamesmanship turns out to be not so much about the “art of winning” (note the sparse and apologetic chapter on “Winmanship”), but the art of precipitating losses in rivals.
Some of the best bits of the book are the elaborate (and often pointless) diagrams, and the end-matter: especially “A Queer Match” in the “Gamesmanania” section (105-107). Appendix II, a “Note on Etiquette” betrays the essentially esoteric character of gamesmanship, which may account for the fascination it once exercised over me.
The “music of decline” had sounded, as in that wonderful Chinese fable; like a thrumming bass on the organ its reverberations faded slowly out over decades; its throbbing could be heard in the corruption of the schools, periodicals, and universities, in melancholia and insanity among those artists and critics who could still be taken seriously; it raged as untrammeled and amateurish overproduction in all the arts.
Len Deighton was not an author of spy thrillers but of horror, because all Cold War–era spy thrillers rely on the existential horror of nuclear annihilation to supply a frisson of terror that raises the stakes of the games their otherwise mundane characters play. And in contrast, H. P. Lovecraft was not an author of horror stories—or not entirely—for many of his preoccupations, from the obsessive collection of secret information to the infiltration and mapping of territories controlled by the alien, are at heart the obsessions of the thriller writer.
I lucked into this two-book slipcased set at a friends of the public library used book sale. Although the case was worn and maybe water-damaged, the books themselves were in fine shape. Unfortunately, my copy is missing the 8-page rule booklet with tables necessary for playing the intermediate and advanced games. But the basic game alone is a blast.
This brilliantly-designed game allows two players to engage in a WWI aerial dogfight, pitting the pilot of a SPAD XIII against that of a Fokker DVII. Each player has his own book, and both begin on a page with a drawing that represents the pilot’s view of the scene. Each chooses a maneuver, and a simple indexing operation then leads to the next page for each player, where a new view is provided, and where there may be opportunities for damaging gunfire. I’ve played this one several times with my daughter, and we always had fun. A play of the basic game takes from 15 to 30 minutes.
The intermediate and advanced games introduce rules for ammunition and fuel, and for variations in altitude. This set is part of a series of games using the same conceptual engine. I’d snag another without hesitation in similar circumstances. [via]
Chris23 reviews Grand Theft Auto IV
I’m driving along in a 1963 Cadillac trying to hold the lumbering sway of its heavy chassis straight to the road as I rumble down the city street past the usual castaways and early risers. I can’t feel it but the steam coming out of their mouths makes me think it’s a bit chilly out, though at least one or two of the morning denizens are blowing cigarette smoke, not just hot breath. From the radio in my Caddy rise arpeggiated synth lines, sawtoothed and filtered, beatless but rhythmic, like a ca. 1993 ambient chillroom set. The sounds lift and expand taking my view up the pink walls to the roofline, then higher to the dawning skies. A synthetic voice like a female Hawking intones the moment of eternity, speaking softly to the evolutionary imperative of our cultural awakening. Rich pads wash under it all merging with the engine of my Caddy and the sounds of the morning as I roll on down the streets.
It’s sunrise and I’m back in Liberty City.
I haven’t spent much time at all in the great MMO’s like World of Warcraft or Everquest, but a part of me lives and breathes in the otherworld of Grand Theft Auto. I have deep memories of slamming a stolen Sentinel (BMW clone) down the blurring night streets of the first Liberty City in GTA3, under the glowing lamps and through the fog, the pounding beat of the rave channel banging and echoing in dubbed out midnight madness. One of those songs is a signature for me – an anthem – yet I’ve never known it anywhere else. I played Vice City and San Andreas too, but I’ve never been that concerned with the missions. For me it’s about the immersion and the place-ness of it all. An open landscape rooted in reality yet free of enduring consequence.
I’m in the new Liberty City and I’m struck by the light. I’ve come to really appreciate a good lighting model, having worked on some in the past and having had the opportunity to see the warmth of truly rich algorithms. The world of GTA4 is heavy with reds and yellows making it feel more earthy and warm. Underneath the raised railways, light and shadow are splashed across the streets filtered by the steel webwork above. As I drive below my car flickers dark & light in shadowed semaphore. Flying over the city islands in a cheat-enabled helicopter the sun washes across the water like a giant fish catching the light across a thousand shiny scales. I can see boats far below skipping across the surface. The sunsets are beautiful, casting a pink orange glow across the building facades. It deepens to red and then blue as night falls and the moon ascends.
The city is alive, crowded with traffic and pedestrians and little bits of trash blowing past. Birds take flight as humanoid bots engage each other, driven by runtime AI imperatives. I saw one car rear-end another. Both drivers stepped out and began cursing each other. In moments, fists were flying and a brawl ensued. At another moment I was accosted by a Russian who ran into me on the sidewalk. He didn’t like the cut of my jib and began attacking me. Fortunately for me (and him, given my heavily-armed status), a cop car had just been passing. It stopped and out came two officers who detained and arrested the man, stuffing him into the back of their cruiser to be whisked away to some deep digital prison. Even polygons can go to jail.
On my cellphone I get calls from my cousin Roman pleading for rescue from his angry Albanian loan sharks. Then a call from my new girlfriend, Michelle, who wants a second date (there are friends in the game and how you treat them will determine the opportunities presented to you in the future). Hopefully it won’t be back to the bowling alley – the site of my bitter defeat on the lanes. But really, I just want to drive around and harass the cops. My cellphone also lets me enter cheat codes to stock up on weapons cause I’m not feeling very safe on these mean streets without a rocket launcher and a heavy caliber assault rifle. This place is violent and sooner or later somebody is gonna step up on me, be they local hood or bad cop. Maybe I might slam my stolen SUV into a police cruiser or accidently run down some pedestrians on the sidewalk while changing the radio station (I love Weazel News! The game is rife with rich socio-political satire that very much reflects my own new-millenial sensibilities, skewering many of the malicious entities stalking our planet). Or I might land my helicopter on the roof of a ten-story building and begin sniping at gang members down on the street. The point is, sooner or later I’m gonna do something that will upset the cops enough to come after me. Then it’s just a hail of gunfire, exploding vehicles, SWAT teams, and fiery helicopters raining down from the sky.
In one firefight I was getting shot by this cop as he marched straight at me, his pistol popping hot lead into my chest. I struggled to find a weapon, finally raising a shotgun to his face. He fired one last shot as I pulled the trigger and, as the color bled out of the scene and the camera tilted and pulled away, both he and I flew backwards from each other, blood flying with our bodies falling to the pavement in gravity’s final embrace. A short respawn and I’m back on the streets, fitted with milspec gear and an unbidden lust for mayhem.
I’m crouched and sidestepping across the road, targeting several cops and pulling off shots at each. There are at least 6 cop cars parked sideways all around me, lights spinning and sirens blaring. Some have dead cops in front of them, others have officers crouched behind open doors firing at me. Two SWAT helicopters circle overhead, firing heavy artillery on my position, city skyscrapers rising up above like Anubin guards at the gates of the Underworld. Their numbers are declining but they’ve got me out-gunned. I know I’m going down but how many can I take with me? The car next to me is on fire and two cops are stalking towards me, firing. I pull out a grenade and as the silver bullet with my name on it sears deep into my chest, I drop it to my feet, pin pulled, falling to my knees. The two cops are right next to me, stunned for a second, then turn to run just as the fuse hits the charge and all three of us are blown several yards into the sky like fiery twisted rag dolls, arching off each in our own singular trajectory pulled inevitably back to the earth just as the car explodes and flips itself in a giant fireball of twisted metal.
It’s the little things like this that make me glow with happiness. The sheer magic of physics and agency. The emergence of such rich and staggering complexity from a simple set of rules. The reality teased out from so many lines of code. The place is alive and feels so whether I’m there or not.
I haven’t played many of the missions. I will, but only to learn more about the city. Like, where the internet cafe’s and strip clubs are, and which buildings I can enter. The place is so huge it takes a monumental effort to get an understanding of the geography. I keep trying to remember street names and neighborhoods, referring to the map to cohere it all into a consistent sense of place. This is a challenging task when your inner cochlear equilibrium is telling you you’re sitting on a couch, not hurtling down a boulevard. And it’s just so big. Liberty City is modelled after New York City and it really looks and feels like it’s gotten pretty close. Rockstar (the game maker) has included a multi-player mode that allows up to 16 people to enter into the world and play missions. Cops v. Robbers, Gang Battle, etc. But it’s clear that the goal, given enough computational meat, will be to turn Liberty City into a persistent MMO. Imagine if hundreds or thousands of user could populate the city 24/7…
I want it. I would pay for that. It could become my Evercrack. Even now there’s a part of me, a piece of my self, that lives in Liberty City. In some moments of reflection I am a humble but well-armed Russian immigrant walking the streets under that beautiful orange-red haze of sunset, waiting for the lights to power on and glow in the night fog. Waiting for the restrictions of the default world to shift imperceptibly enough to break some of the constraints of law and society. I’ve never bought into the notion that video games make kids violent. Bad parenting and abuse makes kids violent. Judgement and hatred makes kids violent. Ignorance and fear lands kids in jail and kicks them out onto the streets. For me and most, these worlds enable the imagination to come closer to daylight. They are sandboxes of the Self. Playgrounds of the mind. Liberty City happens to be a playground somewhat prone to violence but it’s also a place of fun, lit with humanity and humor.
As these places become more real and engage more eyes, the content will open up. To advertising, of course, but also to home-brew music and video. To Twitter feeds and blog RSS. Ap Wire news will spill into gameworld video displays. What if I could design a bot skin that looked just like me? Put it on a bot, add my own voice clips, and then watch recorded video of that bot’s experiences in the game world while I’m away? Imagine CCTV’s on virtual street corners that pipe live feeds to real-world desktop clients or http? Imagine smart mobs and political protests by avatars who have modded their characters to hold signs or wear furry costumes. MMO’s should be hackable and prankable, wired to the web and mobile devices. I want to use my game cell phone to call other players across the city. I want to use my real-world iPhone to call and see people inside Liberty City. I want the lines to blur more and more between reality and virtuality. I want the spirit of imagination to ingress deeply into the world of humanity.
And I want fast cars and powerful weapons that don’t really kill anyone.
Grand Theft Auto IV delivers in great measure. The world is deeper, more alive, warmer and richer. Traffic snarls and the citizenry engage and react. The city is enormous yielding endless hours of fun and immersion. So much to explore, so many cars to jack, with an engaging narrative weaving through the streets and alleyways. GTA4 is a caricature of America, witty and sarcastic, painted across an inconceivable amount of polygons pulsing to the currents of floating-point mathematics. It’s a playground for 30-something children of the modern West, reaching out to live the myths of a street warrior culture peddled by media and fiction. Most of all, Liberty City is a model for the ongoing ingression of mind into matter and the wiring of datastreams into the social consciousness. Half the joys of GTA4 are the expectations and imaginations of what future iterations will bring to the genre… what fictions will become real and how the bodies we inhabit will reflect into such immersive virtual worlds unbinding the Soul and Self from flesh.
Perhaps I’m gushing with fanboy glee but I have a sense, as of yet unwritten, that something very deep and transformative is occurring in the digital lands we’re moving between… [via]
Dungeon Solitaire: Labyrinth of Souls is the book-length successor to author Matthew Lowes’ previous game design “Tomb of the Four Kings” (available for free on his website). The original game was playable with a standard pack of playing cards, and it is preserved nearly unchanged as the “basic game” of the “Labyrinth of Souls.” The new game, however, calls for a tarot deck, and the author has collaborated with illustrator Josephe Vandel to create a new deck for it, which includes 10 “extra arcana” or additional trumps.
The rules supplied in Labyrinth of Souls include the basic game (uses 53 cards—a standard playing card deck with a single joker), the expert game (uses 78 cards—a standard tarot deck), the advanced game (uses the 88-card custom deck OR a standard tarot deck plus a ten-sided die), and eight official variants of the advanced game. One of these variants (“Cartomancy”) can be used for divination, and the supplementary “Arcana” and “References” sections provide some useful pointers regarding divinatory meanings for the cards.
I had played “Tomb of the Four Kings” before acquiring this book, and found it to be a quick and fairly difficult solitaire game with a strong narrative element. The expert mode in Labyrinth of Souls expands the game elegantly by adding companions (the tarot page cards), mazes (a new encounter type), blessings, corruptions, and several new magic items. I’ve now played it over a dozen times, and I have yet to win, although I have managed to score: i.e. I have escaped the dungeon with some treasures and companions, but not with the three “heavenly jewels” needed for victory in the expert game. I’m holding off on the advanced game until I score an expert win.
The rules for the various modes of the game are all written quite clearly. The basic game includes a very detailed example of play that was not part of the “Tomb of the Four Kings” rules, and goes a long way toward eliminating any ambiguities in the rules. It gives the reader a very clear idea of game play. An assortment of reference tables and blank recording forms are present for copying and play convenience.
All of the trumps and court cards of the Lowes/Vandel Labyrinth of Souls deck are reproduced at or near full size in black and white throughout the book and especially in the “Arcana” section of the text. These seem to constitute a pretty passable deck, and the designs of the “extra arcana” are certainly interesting, but they just don’t “grab” me aesthetically or symbolically. I have been using the Luis Royo “Dark Tarot” to play the Labyrinth game, and I’m liking it a lot for that purpose. I have not handled a production copy of the Lowes/Vandel deck itself, and I’m unlikely to acquire one. I do like and recommend the rule book and the game, and I would be interested to see other artists’ realizations of the “extra arcana” invented by Lowes. [via]
You can check out some rules and downloads for this and other games for free.
Dungeon Solitaire is a narrative fantasy card game. With each turn you defeat monsters, disarm traps, open doors, and explore mazes as you delve the depths of a dark dungeon. The original game, Tomb of Four Kings, used a standard deck of playing cards, and is still available free on my website.
Now the game is being expanded to use a 78 card tarot deck, plus up to 12 additional cards used in an advanced version of the game. And these new rules will be paired with a custom illustrated dungeon-themed tarot deck exclusively created for the Labyrinth of Souls.