Remember where you were at the start of the of the last console generation? I drove to an early work shift at Target in Tallahassee seeing a line snake itself around the store, ready to rush towards Electronics and nab a PS3 or Wii. Despite working 40 hours a week, $6.40 an hour with rent and food to take care of kept the PS3 well out of my reach for another four years. Today, I am selling it to help make rent. I’ve come to terms that I will not be getting a PS4 or any other sort of future technology for a while, and I know I am already in an advantaged position with access to video game playing devices.
What does it mean when critics and creators can’t afford to keep up with the tech race? If the past year showed us anything, it’s the need for a wider, diverse set of people playing, making, and talking about games. One main barrier to entry is based on class and money; technology is rapidly advancing, and the culture surrounding video games requires professionals to be on the bleeding edge. Ultimately, the unspoken attitude for creators and critics who can’t keep up is to get out. It only takes a look at what the media covers, and the relative success of these games in festivals and other arenas.
I’ll come out and say it: the culture around video games is strangling the wider conversation of play and games as a medium. When people say they play/don’t play games, they mean video games. And not every kind of digital game, but the ones discussed all over enthusiast press sites. They could have just played RISK last weekend, just came from soccer practice, and be playing a match 3 while talking to you and still say they don’t have much to do with games. It’s easy say that video games are their own thing, and other people can do what they will on their own, but that’s not at all how game ambassadors are pitching it to the world. Jane McGonigal’s famous talks encourages the world to become more like (video) gamers to be a better place. Eric Zimmerman’s vision of a Ludic Century is a world where everyone is engaging play chiefly through technology. When countries confirmed games for art endowments, they mostly send funding to video game ventures. All other forms of play cling to the margins of video games when we say ‘there’s room for all.’
This is a technophilic narrative of play and games, where we ‘evolve’ from Chess and Go to Mario and Halo. It’s a misnomer; design hasn’t advanced in a way that makes video games particularly special outside of being new. I find many of the questions and problems thinkers face is because we look to video games and the mainstream discourse on them as the totality of what can come of games.
It’s low-fi digital games doing something other than fun.
It’s board games that explore shared, communal play artifacts.
It’s tabletop RPGs messing with non-quantitative relationships.
It’s LARPs acting as intense empathy flooding.
It’s ARGs reimbuing our spaces with hidden stories.
It’s physical games rapidly populating exhibits.
While it’s true video games aren’t always mindless dribble, we stymie our understanding of the vastness of play with them vastly dominating our attention. The above does poke its head in video games, but how much the conversation is controlled by the forward momentum of technology and consumerism cannot be ignored. It is imperialistic to use the model of mainstream video games to bring the knowledge of play to other spaces. Really, everywhere there exists a play culture, it just doesn’t look like what we’re often sold.
I know people are going to read this thinking that I view video games as worthless and should be completely subjugated. That is a reaction of comfort, of something that benefits from being the norm and risks losing something by existing in an egalitarian manner. There are so many things to explore and talk about, and whether something or someone is important shouldn’t be tied to financial success. Frankly, I don’t think there is a lot new to talk about with video games because of the rut it’s in. Mainstream video games is more in a state of fixing and reinventing than it is innovating. This is clear when you go to a festival like IndieCade and see the different kinds of engagement non-digital games are doing. They blow many ‘it’s hard for games to do x’ arguments right out of the water. Things like rules, goals, systems that seem like a given but are done away with or morphed beyond recognition elsewhere.
Which brings this around to my main point: accessibility. By allowing the conversation around play and games to broaden, we allow participation and perspectives that video games currently struggle to respect. We don’t have anything to gain by ghettoizing and exalting video games; instead, we’re currently suffering from its homogeneity. I don’t see technology as our savior but rather only one part of a balanced diet in understanding play. Even those I’ve mentioned above are designers of multiple kinds of play beyond the digital, and examples of video games that do push at how we think of play often come from interdisciplinary spaces. Why are we allowing the rhetoric of tech business dominate play? There are things video games can’t do, and are inappropriate for. One of those things is a model for the next phenomenon the people of world are mediated by.
How can play be used by the poor to take back their neighborhoods?
What does play say about how our political identities interact with one another?
What does it mean to internalize design?
When can play recontextualize our life problems?
What is the unique emotion we can express through play?
How do the craft of everyday objects imply a game?
I know many people just want their entertainment when it comes to console generations, but we should take a hard look at the unsustainable burnout the hype machine is producing. Only certain types of play and games are legitimized within and outside the circle of video games when this tech fetishization goes unchecked. I would hope that the media would be a great place for this change to take place, but I have a feeling, like all else currently marginalized, it will be up to those ignored to create a space where these conversations can happen. But if you are someone who sees the value in other play outside of video games, to bring in that perspective to a usually tech-dominated discourse.
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