Posts Tagged ‘games’

Review of Roger Caillois’ “Man, Play, and Games”

June 11, 2008

There are several books which form the foundation of modern ludic theory, one of which is Johan Huizinga’s Homo Ludens (previously reviewed), the other being Roger Caillois’ Man, Play, and Games. I recently finished the latter book, and here is why it is still relevant in some places (and not so in others).

To begin, Caillois is building off Huizinga’s work, where he established that play is a central part of human culture and society and produces the creative instinct by which progress is made. Rather than being mere frivolity, play creates art, science, and culture. Caillois expands the concept of play by dividing it up into a table composed of the play categories agon (competition), alea (chance), mimicry (simulation), and ilinx (vertigo) and by the degrees of paidea (freeform, spontaneous play) and ludus (rule-based, structured play). These six concepts are important to our understanding of play and games, though today the ideas are more greatly refined.

Agon, alea, mimicry, and ilinx are all distilled forms of play. Agon is the struggle, the contest between two or more opponents to see who is better. Alea is passive reliance on chance, awaiting the throw of the die or roulette. Mimicry is the use of masks, of acting, of ‘playing at’ being someone else. Ilinx is the sensation of bodily movement, of dance and spinning, and of the roller coaster. Many games contain elements of more than one category (a game of Magic: The Gathering is based on the luck of the draw as well as the skills of the players) and even a supposedly ‘pure’ activity may be found to contain other elements (a player at dice will attempt to do anything in his power, any strategy to help ensure success rather than simply doing nothing). Paidea and ludus are also important in the study of rule-based games and ‘sandbox’ games like Sim-City (Gonzalo Frasca’s Ludology Meets Narratology is an excellent companion piece).

However, Caillois’ ideas become more controversial as he begins to apply them to the operations of society, and more importantly, to the evolution of human culture from primitive to civilized. Unlike Huizinga, who uses his descriptions of culture ot illustrate examples of games and play as being central to the operation of culture and civilization, Caillois uses them to define the natures of different cultures, with a clearly insensitive ethnocentric approach (though it’s not like Huizinga wasn’t ethnocentric either). While Caillois’s examples are fascinating (though not in as much detail as Huizinga’s), his attempts ot define cultures seem biased towards his concept of his own culture’s superiority. For instance, I doubt he would deign to apply his methods of analysis of masks and the bull roarer and their relation to mimicry and ilinx towards Christianity (he does not even discuss the subject).

The deepest error is his firm statements that the ‘primitive’ knows deep inside that the mask is a lie. It is akin to stating that the Catholic ‘knows deep down inside’ that the holy sacrament is not in truth the blood and body of Christ but merely wine. Indeed, it is spiritually so through the sense of allegory. The same is true of the mask. the mask and its representation of a god or spirit is serious business (and not simply because death and violence can result from its revelation to the uninitiated). The mask is truth, a representation of the spiritual, the intangible, even though there is really a mortal behind it. It simply operates under a different logical system than the visible and tangible – which is not to mean that the logical system of native culture is inferior to that of Western culture, but merely that this logic system is in its own respects incompatible with that of Western civilization, though some of its elements may be crucial to the nature of humanity.

As a result, I can’t highly recommend more than the first few chapters of the book, the two most important ones (the first two, covering agon, alea, mimicry, and ilinx as well as ludus and paidea) of which are reproduced in Salen and Zimmerman’s excellent Rules of Play Reader. I can recommend the first six chapters or so (the first four are the true meat of the book) as well as the second appendix, but I place the others at suspect. The second appendix is important for its descriptions of the history of game studies up until that time and also his debunking and criticism of some previous work on the subject.

Overall, Caillois is still relevant today, and the interplay of agon, alea, ilinx, and mimicry is still important to our fundamental understanding of games and play, though ultimately some of his work is dated and in other places better refined through modern ludic theory.


Mega Man vs Polish Immigrant

January 5, 2008

Ian Bogost’s blog, Water Cooler Games , has posted a link to a video criticizing the tragic tasering of a Polish immigrant by the Vancouver airport security last October. The video, Mega Man vs. Polish Immigrant, is perhaps best described as a cross between machinima and a political cartoon, and is pretty damning of the Canadian security team’s treatment of the situation.

Despite the video’s criticism of the event, however, the video has garnered intense criticism by both Canadians and Poles alike. While the video’s intent was to present the situation as a political cartoon regarding the ineptness of everyone involved in the situation, the games medium being used has made many people feel it is a tasteless ‘parody’ or ‘joke’ of the tragedy. Instead of seeing commentary, they simply see ‘games = low culture = tasteless joke’, particularly considering the glut of truly tasteless games and videos and games’ portrayal in the popular media. Ian Bogost criticizes the response to the video primarily as a media literacy problem, but also the author’s failure to take games media illiteracy issues into account.

Is this simply a case of media literacy – that if the same message had been presented in a political cartoon, say, it would have been properly interpreted? Or is it a result of the game’s presentation and design? While Bogost suggests it is a combination of both, he fails to provide any answer to how the video could have been presented otherwise to make the author’s statement more clear. Unfortunately, I can’t provide any quick solutions to this problem, either.

Book review: Huizinga’s Homo Ludens (Man the Player) – A study of the Play Element in Culture

November 27, 2007

Johan Huizinga is really one of the great game historians. This Dutch philosopher pioneered the study of play and games (which I have started referring to as ludic theory, seeing how the mathematicians and the military men have already usurped the term ‘game theory’, which actually has little to do with games). On top of that he was a famous medieval historian – an area that is also my forte. I finally picked up his book, Homo Ludens, “Man the Player” and after awhile I had to keep reminding myself this as I read it. Don’t get me wrong, Homo Ludens is a great book, though it feels a bit dated and frustrating at times.


Anyone who has anything to do with ludic theory should have at least read the footnotes for the first chapter of Homo Ludens, “Nature and the Significance of Play as a Cultural Phenomenon”. Quite the mouthful, but also quite the significant piece of work. As the foundation block of the study of all things games, it is simply essential. Further, anyone who wants to be taken seriously should have at least read the first two chapters, (or preferably, but not necessarily, the whole book). In it, Huizinga forwards his thesis that play is an essential part of culture and that its creative and agonistic (competitive conflict) nature has been a driving force behind the development of culture.


Human culture is, in a word, played. By constantly forwarding the central importance of play to culture, and by continually discovering the play-element in many aspects of culture, he illustrates the seriousness and importance of play – without having to rely on the modern crutch of ‘it’s a multi-billion dollar industry so we should learn more about it [so we can get a piece of the pie]’ forwarded by corporate media. Play (and games!) should be studied because it is an underlying force in ritual, religion, law, and war – nearly all aspects of human society are somehow shaped by it. Far from being a trivial pursuit of leisure or a pastime of children, play is actually worth studying as an important cultural phenomenon with creative and competitive influences.


In his book, Huizinga supports this theory by drawing forth a myriad of examples and anecdotes from cultures all over the world, including riddles and contest in Scandinavian culture; games and competition, music and philosophy in ancient Greece; tournaments in China; and the drumming-match in Eskimo culture. Each example demonstrates the importance of play – and many of the examples, such as riddle games, judicial combat, the potlatch, and the kula, are interesting in and of themselves. To show the similarities between play and games, Huizinga also devotes an entire chapter to a cross-cultural linguistic history of words regarding play and games. It is through these anecdotes that Homo Ludens is perhaps its strongest.


However, Huizinga has become a bit inaccessible since Homo Ludens was written in the late 1930s. For one thing, though he addresses the issue of ethnocentrism in anthropology, he uses some language that is simply too insensitive in modern books on the subject. While this is excusable given the period in which the book was written, you may find it shocking if you read it today. In addition, some facts have been disproven, such as the argument that laughter is unique to humans (laughter has been observed in dogs, rats, and primates). Fortunately, this doesn’t significantly damage Huizinga’s argument.


I also feel Huizinga takes war far too lightly, particularly given the political situation of the time in which it was written (one year before Hitler invaded Poland; twenty years after World War I). War is by no means light business, not when the lives of human beings are at stake. Even when we discuss the presence of a play-element or agonistic element in war, we should not take war to be a game. When two men, or two thousand men, are ordered to kill each other, it is grave business, even when war is called a game of kings and princes by the foolish leaders who take it as such. If I take primary fault and disbelief in Huizinga’s argument, it is through his lack of seriousness towards war, particularly considering the dark and bloody clouds of global conflict broiling on his horizon.


Huizinga’s wide cultural approach to games and play is one that all ludic theorists should do well to incorporate, particularly when they are discussing the nature and definition of games. It seems to me that we would do well to produce a new study illustrating the field of activities in which the play-element may be found as it will help us learn more about our topic of study – games. It is of little wonder then that Huizinga’s Homo Ludens has become the foundation for this field, and was later built upon by Roger Callois and modern ludic theorists like Jesper Juul, Katie Salen, and Eric Zimmerman. Though perhaps a bit antiquated by today’s standards, the cross-cultural nature of Homo Ludens makes it an excellent cornerstone to any library about games.

Strippers and Viral hacking ‘games’

November 5, 2007

Recently came across this interesting news article. I suppose the word ‘stripper’ is bound to get plenty of hits.

The stripper entices the user to enter a jumble of letters and when a jumble is entered correctly, the stripper disrobes. But she never fully disrobes – the program (game?) will always reset. So here is a game that can never be beaten, if it is in fact a game (and it sounds like it could easily be interpreted as one!). Now the jumble of letters is used to help decode passwords to banks and the like. It’s viral hacking. Which reminds me of the game of ‘defragging your hard drive’ one of the DMS grads made.

If you ask me, a better design would be to suggest to the player that they just weren’t fast enough with the decodings – that makes it addicting (or at least more addicting than it was before). Like the mythical(ly false) ‘nude Samus’ ending from Metroid, if you just beat it a little faster, maybe she’ll take off the rest of it… Adding a timer would probably defeat the purpose though as it would be too easy to tell there is no way to win.

Game or not, it suggests a future for viral gaming where the players unwittingly perform work disguised as play. It’s not that far off from Alternate Reality Games (ARGs) if you think about it…