Chris Grant on Reasons to Invest in PC gaming

Chris Grant, Editor-in-Chief of Polygon, on reasons to invest in PC gaming with the launch of next-gen consoles on the horizon. An incredibly good argument for anyone who cares about art, history, preservation, media, and/or video games.

Begin video at 24:08:

http://www.youtube.com/watch?v=z8teBHQ6L8Q&feature=share&t=24m7s

The problem for me is that if we are going to consider video games as a viable, meaningful art form, we have got to stop the forced obsolescence of software every five years. It’s untenable. We can’t keep treating these things as disposable junkets that you play on your new toy and then throw out and get a new toy. These things have merit, they have value over time, they’re still important, they’re still valuable. We keep listening to two giant companies tell us that they’re not and to get a new piece of hardware that plays new games.

One of the really cool things about PC gaming is that you have the opportunity to assume some of this responsibility yourself. If your old game doesn’t work and it frustrates you, somebody’s probably hacked apart an executable that will work. Go look and see all the work people have done to get System Shock 1 to run properly because System Shock 1 is a really important game historically. Especially if you bought it in the past, which I did, being able to play it again now in the context of BioShock and in the context of Dishonored and all of these other games that have sort of been born off of that original philosophy. That’s important to me and that is meaningful.

As somebody who really feels connected to the history and chronology of games, I just got “last straw” with this new round of consoles which has seemingly, almost flippantly abandoned it’s entire history. Sony will kind of coyly say “oh… well… the power of the cloud and Gaiki will do this…” Any request for clarification on how that’s going to work is met with silence. I know Microsoft said the same thing but I don’t buy it. So for me, some it’s about that, it’s about having some personal responsibility over what I’ve purchased, where it goes, what I can expect to do with my purchases, where I can give that money to and I increasingly just didn’t want to pump another 200 x $60 a pop into a closed ecosystem that was almost aggressively [pushing obsolescence].

Note: Prior to this quote, Chris fully acknowledged the difficulties around backwards-compatibility and the ability to simply plug in old consoles to play old games.

1985: Burst and Bloom

1985. Burst of the video game. Bloom of the Millennial. My earliest memory: playing Mega Man 2. More specifically, Mega Man 2’s “Bubbleman” stage. This event sparked a fire of imagination, set technological gears in motion, and built a bridge to the future. There was a majesty in that game that could only be delivered through the limitations of technology and connectedness of interactive control. At the early age of three, I experienced embodiment through an on screen character while simultaneously assuming god-like control over his actions. I could control the protagonist and create my own story.

I was in awe of this technology and aware enough to understand its infancy. The more I used it, the more wonder it cultivated. How are games created? How do they make those noises? What would this look like in five, ten, twenty years? Would I be able to live in these worlds? This wonder drew me to the technology industry.

Enamored, I sought video games as a necessity; something as substantial as food and water. This craving was not isolated to me; it shaped an entire generation.

The sounds, visuals, and interactivity provided a pool of imagination. The limitations of early consoles could not provide orchestral arrangements. Instead, repetitious patterns were drilled into our heads. They not only encapsulated the game we were playing, but they opened the world outside to a new soundtrack, creating a wealth of memories that could be tapped into from a few simple chirps. Hearing these primitive arrangements evolve felt like experiencing the birth of music. As hardware progressed, so did the complexity if the music. Repetitive pieces turned into grand and iconic themes, each game re-shaping the idea and importance of video game music.

While on-screen visuals provided a surreal sense of interplay between man and machine, screenshots were paintings. They opened minds to new possibilities. Images of upcoming games fueled the imaginations of would-be players. Gameplay mechanics had to be imagined. Reviews had to be accepted without video proof. Buying power was dictated by sprite design and blocky imagery.

The sprites we commanded (and spent tens-of-hundreds of hours with) became as familiar and important as The Lone Ranger, Bugs Bunny, and Lawrence Welk to the generations prior. From the introduction of idle animations to voice-over and motion-capture, we watched these on-screen characters evolve from blocky 16 x 16 figures to fully realized personalities. 20+ years later, we remain curious about their whereabouts, relevance, and impact on future generations. Life in a machine.

They were more than games in the traditional sense. Point-systems and completion-percentages were only a sliver of the grander experience. The more we practiced and started over from stage 1-1, the more we understood the core of these systems. Gaming taught us to recognize patterns; to harbor patience and solve puzzles. Some individuals would challenge boundaries in an attempt to break games. We could control the sprites better than our parents could. Finally, control over a domain we could call our own. We knew something foreign to most adults. Some even taught their parents how to play. The student was now the master.

Easter eggs, cheat codes, hidden characters, and secret areas were at the forefront of every schoolyard conversation. They sparked rumors and large threads of conversation; the viral video of the time. The possibility that you may discover something first kept your drive peaked. Discovering in-game mysteries without prior knowledge meant profound, earth-shattering news for friends. Phone calls, bike rides across town, and late night gatherings were the beginnings of web-rings and blogs.

Our deep grasp on game mechanics shaped our understanding for real world systems and industries. We were harnessing a rich understanding for technology exponentially faster than the generations prior. We watched the gaming industry push the boundaries not only of hardware and software performance, but social connectedness. New cultures were birthed. An age where those previously suppressed could now open up and find harmony, respect, and support in like communities. The social structure of these communities flourished with ideas, stories, and education. Technological advancement and waves of new and easy ways for the world to connect sprouted from the minds of “geeks” and “nerds,” eventually reaching a critical mass that welcomed everyone to confess and rally around their obsessions. Sudden realization that those who traced stats of organized professional sports were not so different from those that examined code; those that wore body-paint and jerseys to sporting events were not so different from those who constructed elaborate costumes or donned gaming memorabilia for conventions.

From console gaming’s genesis, my generation has been in the unique position of watching an entire industry shape culture around the world. At an early age, we were empowered with animated characters and settings that we could control. Our imaginations were able to shape stories larger than “looking for a princess in another castle,” filling in holes left by console limitations. Like many media types before it, those born into gaming now simply cannot fathom the excitement experienced while watching consoles and games evolve. We have gone along for a ride, curious about what is next, how to be a part of it, and how we can use it to change the world. The addiction to technological and societal evolution stemming from gaming has spawned a fervor for advancement, simplification, accessibility, and enabling.


This post was inspired by Robert Ashley’s A Life Well Wasted: Episode 3 - Why Game?


Originally published on TheStarrList.com

Report: Chinese students forced to manufacture PS4 at Foxconn plant

Samit Sarkar, Polygon

Xi’an Technological University students spent two months at the Foxconn plant in Yantai, China, for a work-study program that ran from August to this week. Students from the program told Dongfang Daily that the internship was mandatory — their diploma would be withheld if they didn’t participate, and if they attempted to drop out of the program early, they would lose six credits’ worth of courses. The students also said they were given tasks outside of their areas of study, and sometimes performed manual labor.

I blame binge-watching.

Russian government wants to help produce patriotic games

Polygon

“A video game has to have not only an entertainment value, but it also has to teach and be conducive to patriotic education,” Arseny Mironov, an aide to Russian culture minister Vladimir Medinsky, who heads the Russian Military History Society, told the Russian newspaper Izvestiya.

Interested to see how this pans out. Propaganda or educational?