Sebastian Deterding has posted another spectacular presentation on gamification, but really on much more: the reasons why to make games, a great deconstruction of how they function from a social point of view, a lot of insights on game design in general… all in all, really wonderful.
I wrote this in 1994. We were living in Alabama at the time, while we went to grad school. A lot of the stuff I was writing back then was kind of like “short stories as songs,” very under the influence of folkies like Bill Morrissey; this song in particular is one of those.
Needless to say, it’s entirely fictional; I was seven years old in 1978. 🙂 It’s supposed to be a tale told from the point of view of a man on New Year’s Eve in 1990, looking back at 1978 and looking at where his life is on that day.
This was one of the tracks of an album called “The Land of Red Barns,” all of which had that short story vibe, pretty much. I have never recorded decent versions of most of them, and I am making it a project to get all the couple hundred songs I have written recorded and maybe even out there somewhere, so here’s this one.
Richard Bartle is correct in saying that virtual worlds are about self-knowledge. (“Virtual worlds are about identity” — Designing Virtual Worlds, p.433).
The Laws of Online World Design (in the humbly named “Koster’s Theorem”) are right that “Virtual social bonds evolve from the fictional towards real social bonds. If you have good community ties, they will be out-of-character ties, not in-character ties. In other words, friendships will migrate right out of your world into email, real-life gatherings, etc.”
Child psychologists the world over are right that youth is a time of identity formation and experimentation.
Corollaries:
Users grow out of virtual worlds. They may grow out of one of them, or all of them, if they achieve sufficient self-knowledge.
Users might fall back into them if they lose their community ties or sense of identity, or have high amounts of available time.
Hypothesis:
Kids find virtual worlds, and being at the prime age for identity exploration, dive headlong into them.
Then they grow out of them, and don’t need them anymore.
Most adults don’t need that sort of identity exploration anymore. Some do, and some just enjoy identity exploration in its own right.
The virtual world boom was about those that did discovering this tool, using it, and then moving on.
A thought I have had for a while, but was brought briefly to mind by this post on NWN… basically, the question is whether it is in fact an inevitable destiny of the medium that it gravitate towards being for kids because of social and market pressures. This would make me sad — not because kids’ worlds are bad, but because they cannot fully express the power of the medium.
The categories include best online innovation, for pushing boundaries in how we play; best online visual arts; best online tech; best online game design; best online audio; best social network game; best live game; best community relations; best new online game; online games legend (for an individual’s career); and Hall of Fame, which Ultima Online got last year, for a game that, well, changed the game.
I had a truly wonderful chat on the phone with Keith Stuart of The Guardian a while back, and recently an article surfaced that is the fruits of his interviewing labors: The seduction secrets of video game designers.
It’s a bit more of the cogsci thing applied to games, with myself, Margaret Robertson, Jesper Juul, and a bunch of other folks all talking about what makes games tick. A neat element is some analysis at the end of four big games and why they click. I mention signaling theory in the context of Farmville — something I have been reading about some lately, most recently in the entertaining book Snoop: What Your Stuff Says About You.