Tue, 09 Jan 2007
digital embodied knowledge
If everything goes well, on 25 January 2007 I'll give a presentation at the series of lectures called TechnoLogics: Media—Body—Knowledge within the scope of the international doctoral programme Performance and Media Studies of the Johannes Gutenberg-Universität Mainz. Here are the English and German versions of my abstract:
 
Digital embodied knowledge
 
The opinions about the capacity of online media in respect to the social and cultural diverge significantly. On the one hand there are those who state that those media are restrictive, rob manifoldness from human communication and interaction. This may well be the reason for the until today slow acceptance of online communities as a legitimate field for anthropology and kin disciplines. But on the other hand some authors claim that the media in question capture within their domain the whole diversity of cultural practices and expressions. This statement is seductive, but in dire need of ethnographical evidence. Correct is that since already quite some time not "only" written text is exchanged online, but varios "things" are as well: 2D and 3D images, both still and moving, sounds and music, software applications, digital objects and program code. Multiplayer computer games even enable real-time interaction in complex gamespaces. The more the collectively shared core interest of an online community falls into the realm of the mediating technologies, the more dense and manifold the interaction among the members is. Social structure and culture appear, astounding phenomena become visible, and sociocultural anthropology possesses the means to understand those. Drawing on my own fieldwork I will show that handling computer games not only generates unexpected forms of culturally produced embodied knowledge, but that this very knowledge is mediated and shared online.
 
 
Digitales körperliches Wissen
 
Die Meinungen darüber, was online vermittelte Interaktion in sozialer und kultureller Hinsicht zu leisten vermag, gehen deutlich auseinander. Die einen sind der Ansicht, daß online Medien stark restriktiv sind, und menschlicher Kommunikation wie Interaktion ihrer Reichhaltigkeit berauben. Vielleicht ein Grund für die nach wie vor schleichende Akzeptanz von online Gemeinschaften als legitimes Forschungsfeld für die Ethnologie und verwandte Disziplinen. Andere hingegen sind der Ansicht, daß die fraglichen Medien die gesamte Bandbreite kultureller Praktiken und Ausdrucksformen vermitteln können. Diese große Behauptung klingt sehr verführerisch, bedarf aber ethnographischer Belege. Richtig ist, daß gegenwärtig längst nicht mehr nur geschriebener Text ausgetauscht wird, sondern unter Nutzung einer Vielzahl von Kanälen, die unterschiedliche Qualitäten aufweisen, viele verschiedene "Dinge": zwei- und dreidimensionale Bilder, bewegt und unbewegt, Ton und Musik, Anwendungsprogramme, digitale Objekte und Programmcode. Multiplayer Computerspiele ermöglichen gar, in Echtzeit in komplexen Spielräumen zu interagieren. Je mehr das geteilte Kerninteresse einer online Gemeinschaft in den Bereich der vermittelnden Technologien fällt, desto dichter und vielfältiger wird die Interaktion zwischen den Mitgliedern. Sozialstruktur und Kultur scheinen auf, erstaunliche Phänomene werden sichtbar, zu deren Verstehen die Ethnologie das rechte Rüstzeug mitbringt. Aus meinen Feldforschungsergebnissen schöpfend werde ich im Vortrag zeigen, daß im Umgang mit Computerspielen nicht nur unerwartete Formen körperlichen Wissens kulturell produziert, sondern auch über die Internetinfrastruktur vermittelt und geteilt werden.

Tue, 09 Jan 2007 | 17:15 | category: /cyberanthropology | permalink
severity
Severity
 
Not too long ago, when KerLeone—who introduced me to "Quake III Arena" (Q3A), but meanwhile shamefully has defected to "Battlefield 2", the traitor—asked me what people actually are playing nowadays when they are out for the deathmatch experience, I answered: " "Painkiller" (PK), I guess." My guess was based on two observations. Firstly the Cyberathlete Professional League (CPL) had chosen "Painkiller" for the CPL World Tour 2005, and secondly the game indeed emulates gameplay, feel, and ambience of the classical first-person shooter (FPS) games. But emulation is not the original, accordingly in 2006 the CPL fell back on Q3A for the world tour's one-on-one challenge. Although people call it a dinosaur, and although it quite naturally can not stand up to contemporary games graphics-wise, the core of Q3A is the perfect game for one vs. one competition, just as "Counter-Strike" is for team vs. team competition.
 
"Wolfenstein 3D" (1992) and "Doom" (1993) were grand milestones on the path of creating interactive threedimensional space beyond the screen's flat surface. Then came "Quake" (1996) and shook the world of game development in a way so severe, that it would never be the same as before. Full 720° view (360° around each of two axis'), and free movement into every direction—true space! Two evolutionary steps (Kent 2004: 168, Kushner 2004 [2003]: 237) led to "Quake II" (1997), and finally to Q3A (1999), to perfection. Just a couple of days before the release, John Carmack wrote: "I am very happy with how Q3 turned out. Probably more than any game we have done before, it’s final form was very close to its initial envisioning. [...] I’m looking forward to what comes out of the community with Q3." Even after the publication of "Doom 3" (2004), he voiced that of all of his games it is Q3A he is most content with. (Kent 2004: 169) And so is the industry. A quick glance on the Quake engine family tree shows, that almost every time you play a shooter, some bit of Quake-code makes the innards of your computer revolve. The rationale behind the CPL's announced game "Severity" seems to fall into place with all this. At the moment FiringSquad knows most on CPL's plans for Severity, as they phoned Tom Mustaine, the head of development and elicitated quite something from him:
 
[Mustaine] also told us that the game will use id Software's Quake 3 Arena's networking system as its basis and a mix of id Software based Quake 3 graphical rendering along with refinements and improvements on their own. Mustaine said that Severity will be able to run on older PCs yet still support high end graphical features for people who have higher performance PCs. The game will also be coming to consoles and Mustaine told us he is interested in talking to Microsoft to have Severity support Live Anywhere with the idea of having PC and Xbox 360 Severity gamers play each other.
 
Mustaine isn't revealing much about the game itself at this stage but he did tell us that the game will be a mix of modern day and futuristic themes in terms of weapons and level settings. While the game will not have a lenghty single player experience except maybe for tutorial levels, he did say they did plan for AI [artificial intelligence] bot play for people to practice offline. [...]
 
Of course, creating a game for pro[fessional] gaming tournaments means adding more features that will make the game better not just for the players but also for the spectators. In addition to support for tournament ladders and detailed stat[istic]s for players, Mustaine told us that Severity has plans to expand its options for spectators, including in-game cameras that can be controlled by commentators and finding ways to display important stats to the spectators in order to get them more fully involved in the matches.

Well, back in ye olde days I had "Max Payne" and Q3A, for ultimate single- and multiplayer experience respectively. Now I am looking forward to "Alan Wake" and "Severity".

Tue, 09 Jan 2007 | 14:43 | category: /games | permalink
severe announcement
John Romero
 
Computergames can be spectacular, first-person shooters (FPS) in particular. Electronic sports (e-sports) almost always are spectacular. Marketing in turn definitely has to be spectacular. Marketing a computergame for e-sports for sure will be a spectacle. From the beginning on a new project in this realm has to be advertised in a fashion which generates the most impact possible. Already the announcement should be spectacular and correctly placed. Here a lot depends on the choice of the announcer. Since decades almost every championship bout in heavyweight boxing is announced by Michael Buffer, who, together with his coin phrase "Let's get ready to rumble," has become a trademark himself, a spectacle not only re-recognized, but cherished by the according audience worldwide. Buffer's dressman looks and drawn out vowels have become a part of the ritual. For pre-placing a new product not only on a market, but into a vast culture, which gaming surely is, a professional announcer would not be the correct choice. Way better is to contract a legend and controversial personality, because provoking discussion is the golden way.
 
Just recently the Cyberathlete Professional League (CPL) has proven to have a sure hand in this kind of choice. To announce its first own game project called "Severity," the CPL sent up front one of the most prominent figures in the whole gaming business, a legend who was crucial in the shaping of what we today know as computergames and e-sports, one of the most prolific game designers, the man who coined the phrase "deathmatch". (Kushner 2004 [2003]: 150) And a tremendously controversial character.
 
During the CPL 2006 Championship Finals, which took place from Saturday, 16 December through Wednesday, 20 December 2006, John Romero announced that the CPL will develope its own game, which will be "the ultimate FPS for team and for solo matches," and is thought to become the "de facto standard in deathmatch competitions". The whole announcement, available as a video at YouTube, is pure vintage Romero.
 
In his book "Masters of Doom: How two guys created an empire and transformed pop culture," (Kushner 2004 [2003]) an essential read for the understanding of computergames and gaming culture, David Kushner not only tells the history of FPS, but masterfully renders the personalities of the "Two Johns", John Carmack and John Romero, the uneven but congenial pair, which indeed transformed pop culture. The picture given is by far not always flattering, especially if it comes down to Romero's boastful rockstar airs and graces. Nevertheless he just recently voiced, that the book is "100% accurate ;)". The differing personalities of Carmack and Romero also become clearly apparent when looking at their respective weblogs. In both cases style, layout, and content perfectly match with the characters from "Masters of Doom". But it goes even farther, or: you don't even have to go as far as to actually look at their weblogs, the URIs already are telltale: http://www.armadilloaerospace.com/n.x/johnc/ vs. http://rome.ro/. Plus, the above mentioned announcement itself again is proof that Kushner hit the nail right on the head with his characterizing Romero. In the latter's case, Poirot again is proven right: Let him talk on any subject, and he inevitably will give away himself. He does so on YouTube ;-)
 
The news quickly was widely spread, and the gaming community reacts accordingly as can be read in the many comments scattered around. Romero's boastful claim of the ultimate FPS is countlessly countered by mentioning "Daikatana" and the infamous advertisement featuring the glorious phrases: "John Romero's about to make you his bitch. Suck it down." [For the background of this see ↵Kushner 2004 [2003]: 239]
 
Although it has been mentioned several times, within the according forums and comments-pages and in here, for all those people who have a big question mark appearing well above their heads when they hear the name John Romero, but nevertheless merrily wisecrack away on shooter games: Do read David Kushner's "Masters of Doom" and you will have the foundations for understanding contemporary gaming culture ... by the way, there would be no "Doom", no "Quake", and no deathmatch without John Romero. Well, yes, all right, there wouldn't have been any "Daikatana" as well, *sigh*.

Tue, 09 Jan 2007 | 12:30 | category: /fieldnotes | permalink