Monday, February 19, 2007

CI Gaming as a Teaching Tool

What do these myriad CI projects share in common? They all use digital networks to connect
massively-multi human users in a persistent process of social data-gathering, analysis and
application. Their goal: to produce a kind of collectively-generated knowledge that is different
not just quantitatively, but also qualitatively, in both its formation and its uses.

- from Jane McGonigal, 'Why I Love Bees: A Case Study In Collective Intelligence Gaming''

Jane McGonigal's essay, 'Why I Love Bees,' approaches the topic of collective intelligence

There are several things that attract me to this CI business. First of all, I love that it fosters an environment of collaboration and cooperation in an era that, from my experience, is becoming increasingly divided and individuated (despite the popularity of cell phones, instant messengers, and the like). Though I do fancy myself a "rugged individualist," I admit that we cannot ignore what I see as our basic human need for collaboration and friendship, both socially and intellectually. CI, and specifically CI gaming, gives us a reason, but more importantly an opportunity, to pursue this need in a fun and stimulating way. Yet 'I Love Bees' was structured in such a way that the individual would not be lost to the collective, since, according to Levy, “the mutual recognition and enrichment of individuals” is the goal of collective intelligence. And this, more importantly, is what really intrigues me.

What makes the 'I Love Bees' community special, I think, is that unlike most fraternities and social circles that thrive on similarities (or in some cases commonality) among its members, 'I Love Bees' thrived on its members' differences; that is, the philosophy of the game derived from the idea that not everyone can know everything, but everyone can know something, and, with collaboration, that something can be added to the somethings else of others. In this way, through collaboration with other players, one's own experience and intelligence are expanded and enriched. I find this to be a very truthful, and very useful, statement. It very importantly shifts the focus from the collective to the individual, which almost universally keeps individuals more interested and involved than if the focus was direced the opposite way.

However, there is one place in which I get critical. The makers of the game actively pursued a manifestation of their philosophy by making sure that not everyone would have access to all of the game's clues. McGonigal writes:

The distributed narrative of I Love Bees played out in highly “deconstructed” form. It was revealed in clue-sized pieces over the course of four months across hundreds of web pages, dozens of blog posts, thousands of emails, and over 40,000 live Mp3 transmissions. Some of these content fragments could be found by anyone who looked closely enough. Others loaded only on the Web browsers of players logging in from IP addresses linked to specific geographic regions. Still others were sent as private, personalized emails or phone calls to a single player out of the hundreds of thousands of total players. Because of this massive distribution of content, responsibility rested on each and every player to come forward with any and all discoveries, so that the entire collective could access and process as complete a data set as possible.

What I don't understand is the need to hand select players special information no one else had access to until those players decided to share it. If the philosophy of CI is that not everyone can know something, that is, no one can cognitively hold all the game knowledge, then why artificially inject inequalities of knowledge into gameplay? Yes, I admit that it would be cool to be that player who got the phone call at home or the special packet of information in the mail, but that aspect of CI seems a little a little heavy-handed to me, and maybe a little superfluous.

It seems to me that 'I Love Bees' and other CI ventures of this kind work because knowledge is not a commodity -- it can be infinitely shared without ever being diminished, and is more often than not enriched when it is shared. But I fell like the game's engineers unintentionally commodify the game's knowledge when they hand it to individuals.

Of course, I may be looking at this all wrong. Maybe the fact that, eventually, the information does get disbursed negates my opinion entirely. But I still feel like there's some aspect of artificiality in effectively saying, 'this firsthand knowledge is only available to one person, but he or she can do with it what he or she pleases.' If we're supposed to be regarding CI as a teaching tool, as McGonigal's article suggests, and as a way of showing that collaboration leads to a more fulfilling (individual) human experience, I think game engineers should take a more lasiez-faire attitude in the future by making players always work for their firsthand knowledge (by solving puzzles, traveling to GPS coordinates, etc.), never handing it to them. This will teach people that even though knowledge becomes common by sharing, there was once a point where said knowledge had to be pursued. And this will keep people interested in the act of discovery, rather than focused merely in the knowledge itself. This, to me, is the more useful end of CI endeavors in gaming.

Thursday, February 15, 2007

MOO Project - Any Takers?

I've been thinking a bit about the final project, and I think it would be great to try to re-imagine a familiar story in the MOO tool. Anyone interested in this idea? We can build the room and then collaborate on a paper or presentation based on how the video game medium changes our interpretation of the text.

I have a few ideas, but I'd like to see what everyone else thinks, too. Reply to this post or see me before/after class.

Thanks, everyone!

Thursday, February 8, 2007

If Only The Colts Drank More Coke...

If there was still any question regarding the viability of videogames as a cultural textual medium, America's leading soft drink manufacturer has entered the debate, and is putting its money where its mouth is. Coca-Cola has released a new ad campaign based on the Grand Theft Auto series, which recently aired during the Superbowl. The ad features a GTA-like avatar (fresh from breaking every traffic law in the book) who, after guzzling a Coke, changes his plundering ways and spreads charity and good will with the help of the brown-and-bubbly. The peppy refrain in the background reminds the viewer, "Give a little love and it all comes back to you." (I'm sure I don't need to explain just how stark a contrast this is to the idiological refrain of the actual game.)

Similarly, Coca-Cola Company has been marketing its product in China with ads and packaging based on the game World of Warcraft. This campaign, featuring what can only be described as the Trifecta of Nerddom (hot girls, medieval weaponry, and videogaming), is both sensorally and emotionally stimulating, just like its American counterpart.

But does it put the bottles in the hands?

The answer to this question will depend on a lot of factors, but among the most important of them, of course, is the factor of recognizibility. Will people (specifically, people outside of the 18-24 year old male demographic) understand and relate to these images?

Without the market research at hand to answer these questions, I am forced to resort to conjecture. Hence, today's anecdote:

This year, rather than surround myself with the usual band of college-aged miscreants, I watched the Superbowl with my mother. Nearly 50, female, and the mother of two girls, my mom falls well beyond the demographic typically associated with videogaming. In fact, I can personally attest to her not having played a single videogame since the last time she played Tetris before we broke our NES in 1993.

So when the Coke GTA commercial came on, I wasn't expeting much of a response on her end.

Yet, as it turns out, videogaming is so pervasive in society today that even my mom (my mom) got the reference, the irony, and the humor of the commercial. She could even tell me exctly which videogame the commercial had parodied.

I'm not sure what to say about this episode other than this: videogaming, for better or for worse, is something that relates to a larger portion of American society (and perhaps those of others, as well) than we perhaps thing. If this kind of widespread, mainstream usage of videogames proves successful, perhaps it will draw more attention to the use of videogames and other digital media as a new wave of textuality, appealing not just to the nerd in mom's basement, but to mom, as well.