- I’ve long been fascinated by the gaming culture in South Korea, and Tom Massey has written a great feature piece for Eurogamer titled Seoul Caliber: Inside Korea’s Gaming Culture. From this westerner’s perspective, having never visited Korea, the article reads almost more like cyberpunk fiction than games journalism:
Not quite as ubiquitous, but still extremely common, are PC Bangs: LAN gaming hangouts where 1000 Won nets you an hour of multiplayer catharsis. In Gangnam’s Maxzone, overhead fans rotate at Apocalypse Now speed, slicing cigarette smoke as it snakes through the blades. Korea’s own NCSoft, whose European base is but a stone’s throw from the Eurogamer offices, is currently going strong with its latest MMO, Blade & Soul.
“It’s relaxing,” says Min-Su, sipping a Milkis purchased from the wall-mounted vending machine. “And dangerous,” he adds. “It’s easy to lose track of time playing these games, especially when you have so much invested in them. I’m always thinking about achieving the next level or taking on a quick quest to try to obtain a weapon, and the next thing I know I’ve been here for half the day.”
- As a cyberpunk/hyperreality aside, the city of Hong Kong has put up a blue-sky backdrop for when the real sky is too smoggy for tourist photos.
- In yet another cyberpunk dystopian tangent, I recently came across Chris Rogers’ site Fragments of a Hologram Rose: Re-seeing Blade Runner, with an assortment of content and analysis relating to the film.
- And one final cyberpunk diversion: this video is the first part of a lecture by University of Michigan professor Eric Rabkin covering cyberpunk, postmodernism, and beyond:
- Writing for The New Economy, Aaran Franda examines how the virtual economies seen in games like EVE Online provide valuable perspectives on real world economic activity:
Creation and simulation in virtual worlds appear to offer the best domain to test the new ideas required to tackle the very real problems of depravation, inequality, unemployment, and poverty that exist in national economies. On that note the need to see our socioeconomic institutions for the games that they really are seems even more poignant.
In the words of Vili Lehdonvirta, a leading scholar in virtual goods and currencies, the suffering we see today is “not some consequence of natural or physical law” it instead “is a result of the way we play these games.”
- Jon Evans at Tech Crunch looks at jobs, robots, capitalism, inequality, and you:
The global economy seems to be bifurcating into a rich/tech track and a poor/non-tech track, not least because new technology will increasingly destroy/replace old non-tech jobs. (Yes, global. Foxconn is already replacing Chinese employees with one million robots.) So far so fairly non-controversial.
The big thorny question is this: is technology destroying jobs faster than it creates them?
We live in an era of rapid exponential growth in technological capabilities. (Which may finally be slowing down, true, but that’s an issue for decades hence.) If you’re talking about the economic effects of technology in the 1980s, much less the 1930s or the nineteenth century, as if it has any relevance whatsoever to today’s situation, then you do not understand exponential growth. The present changes so much faster that the past is no guide at all; the difference is qualitative, not just quantitative. It’s like comparing a leisurely walk to relativistic speeds.
- This recent episode of Radiolab focused on talking to machines:
We begin with a love story–from a man who unwittingly fell in love with a chatbot on an online dating site. Then, we encounter a robot therapist whose inventor became so unnerved by its success that he pulled the plug. And we talk to the man who coded Cleverbot, a software program that learns from every new line of conversation it receives…and that’s chatting with more than 3 million humans each month. Then, five intrepid kids help us test a hypothesis about a toy designed to push our buttons, and play on our human empathy. And we meet a robot built to be so sentient that its creators hope it will one day have a consciousness, and a life, all its own.
- This video shows a demo of using Google Glass for interactive augmented reality:
- A recent Guardian article by Juliette Garside warns that our digital infrastructure is exceeding the limits of human control:
“These outages are absolutely going to continue,” said Neil MacDonald, a fellow at technology research firm Gartner. “There has been an explosion in data across all types of enterprises. The complexity of the systems created to support big data is beyond the understanding of a single person and they also fail in ways that are beyond the comprehension of a single person.”
From high volume securities trading to the explosion in social media and the online consumption of entertainment, the amount of data being carried globally over the private networks, such as stock exchanges, and the public internet is placing unprecedented strain on websites and on the networks that connect them.
- In an “anti-videogame manifesto,” Keith Burgun argues for intrinsic rewards and against grinding in videogames:
What I want is systems that have intrinsic rewards; that are disciplines similar to drawing or playing a musical instrument. I want systems which are their own reward.
What videogames almost always give me instead are labor that I must perform for an extrinsic reward. I want to convince you that not only is this not what I want, this isn’t really what anyone wants.
- This video from PBS Digital Studios’ Off Book looks at the rise of competetive gaming & e-sports:
- Will Luton at GamesIndustry International writes about the celebrification of game developers:
This ‘celebrification’ is enlivening making games and giving players role models, drawing more people in to development, especially indie and auteured games. This shift is proving more prosperous than any Skillset-accredited course or government pot could ever hope for. We are making men sitting in pants at their laptops for 12 hours a day as glamorous as it could be.
Creating luminaries will lead to all the benefits that more people in games can bring: a bigger and brighter community, plus new and fresh talent making exciting games. However, celebritydom demands storms, turmoil and gossip.
- The ongoing survey of Hollywood’s Summer of Doom continues with Isaac Chotiner’s New Republic article, Hollywood is in trouble and we’re all going to pay:
Spielberg’s theory is essentially that a studio will eventually go under after it releases five or six bombs in a row. The reason: budgets have become so gigantic. And, indeed, this summer has been full of movies with giant budgets and modest grosses, all of which has elicited hand-wringing about financial losses, the lack of a quality product (another post-apocalyptic thriller? more superheroes?), and a possible connection between the two. There has been some hope that Hollywood’s troubles will lead to a rethinking of how movies get made, and which movies get greenlit by studio executives. But a close look at this summer’s grosses suggest a more worrisome possibility: that the studios will become more conservative and even less creative.
- Finally, video of Slavoj Žižek and Paul A. Taylor discussing the difficulty of conveying philosophical ideas in today’s media:
- Last month Steven Spielberg and George Lucas caused a bit of a stir when they predicted an impending “implosion” of Hollywood that would forever alter the filmmaking industry. Speaking at a USC event, Spielberg posited a scenario in which a series of big budget flops would necessitate a change in the Hollywood business model:
“That’s the big danger, and there’s eventually going to be an implosion — or a big meltdown. There’s going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that’s going to change the paradigm.”
- These comments sparked discussion in the media and blogosphere. Forbes contributor Scott Mendelson unequivocally declared that Lucas and Spielberg were wrong; he cited recent mega-flops like Jack Carter and Battleship as evidence that the Hollywood status quo can take a licking and keep on ticking. But then The Lone Ranger flopped on the July 4th weekend, and industry watchers immediately noticed a troubling trend. The Hollywood Reporter called it “the third big-budget bomb of the summer,” following the disappointing returns from After Earth and White House Down. A Vulture article cited Spielberg’s warning of the impending implosion and said the Lone Ranger “represents everything that’s wrong with Hollywood blockbusters“. Den of Geek! writer Gabe Toro drew comparisons between the Lone Ranger and Michael Cimino’s infamous Heaven’s Gate, a notorious cinematic disaster often cited as ending the “new Hollywood” era of American director-driven filmmaking. (a great documentary on Heaven’s Gate is available in pieces on YouTube) It seems that the trend is continuing this weekend, as this Telegraph article cites industry forecasts of R.I.P.D. bombing at the box office to continue the “summer crisis”.
- The Lone Ranger received a score of scathing reviews, but my favorite analysis of the film so far is this io9 piece that sees the film as a statement on the overabundance of “shitty superhero origin stories” that have populated movie theaters for the last decade, as well as a discourse on power relations in pop culture hero figures:
People complain that The Lone Ranger is boring, that it’s almost totally devoid of fun except for the final 10 minutes, that it’s ridiculously violent and yet inert. And all of these things are true — but you have to understand, it’s all part of a calculated strategy, to sink far enough to burrow all the way to the infarcted heart of the terrible superhero origin story.
The goal is to show you who is to blame for the crappiness of so many superhero origin movies — you — and to punish you for allowing movies like The Lone Ranger to exist.
We tend to think of superhero movies as power fantasies, in which the use of America’s status as a superpower is reflected by the hero struggling to use his or her power responsibly. But Lone Ranger seems to be making the case that the real seductive fantasy of these stories is absolution from blame — the Lone Ranger gets the Native American seal of approval from Tonto, as long as he’s wearing the mask. He gets surcease from America’s original sin.