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This is a discussion thread for the THIRD and FINAL part of Games: Agency As Art.

The stirring conclusion of the book starts to tie games and multiple agencies into real world application, for better and for worse. Is it good to gamify your experience? What does aesthetic striving play have to teach us about our values, our systems, and how we navigate the world?

Turns out A LOT.

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Social Transformation:

By working the medium of agency, designers can also work int he medium of sociality. (p. 172)

Nguyen takes the simple step between games manipulating our agency, to games manipulating our GROUP agency. The functionality of multiplayer games not only guides our individual experience of action and value, but also guides our interactions with EACH OTHER.

Art can create different social relationships. And art need not be confined to critiquing or reflecting on the rest of the world. Art can effect change directly. Art can create real mirco-utopias right now, for us to inhabit. (p. 185)

Well, yeah! Hard to argue with that. In this way, as much as games can offer us a library of agencies to try on and experience for practical and aesthetic reasons, so can they function as a library of socialities.

John Stuart Mill was referenced with his assertion we need to conduct "experiments in the living", to explore The Good in different contexts through empirical investigation.

Pretty delicious stuff, wonderfully leading into the Big Guns.

Gamification & Value Capture:

Really unrolls the artillery on us in the final moment.

[I highlighted the fuck outta chap 9]

I'm going to assume perhaps presumptively that you have seen my stranger things video.

Narratives can be used to transmit simplified, errant, or vicious emotions. Their emotional power makes them good both for moral development and for maclicious propaganda. I suggest that games are similarly double-edged - but their special potency arises from how they work with agency, rather than emotion. (p. 190)

So games are static patterns, specifications that are useful and actionable and definable, but they also distract us from the fluidity and subtlety of true value, in all its oneness and complexity.

This can be fine. This can be good.

Quantified measures strip away context. On the one hand, context-stripping reduces the rich informational content at hand. On the other, it makes the information that does remain easily comprehensible and usable across many contexts. (p. 204)

But Nguyen now focuses on Value Capture. What about static feedback loops, that are MEANT to point us to value, but distract us away from it?

The idea of idolatry, or my Baudrillard influenced point about Representation vs. Reality, really comes into play here. You can see its similarity with a games GOAL and a games PURPOSE.

You need to be able to engage in your analogues, engage in your temporary agencies, interface with reality, while also retaining the ability to opt out of that value pattern.

When a value pattern leads well intentioned people to pursue the signifier over the actual value, this is what Nguyen calls Value Capture.

The tantalizing prospect of Value Clarity offered by limited, gamified interpretations of reality can suck us into a system for its own sake, removing our ability to disengage from these patterns when they no longer serve our ultimate purposes.

Grades in Universities. Likes/Retweets on Twitter. Analytics on Youtube, everywhere else. Value Capture. Why are we doing this? You can get distracted by the number, and feel horrible despite winning the game. What is this supposed to represent?

And yet you can't live without them.

We need such heuristics to manage in everyday life. If we always had to reason keeping in mind our full range of values, in all their richness and complexity, we would never be able to act. (p. 211)

The Solution: Striving Play Mindset

As a byproduct of our pursuit of the aesthetic experience of striving, we also end up practicing a mental transition between more and less narrowed forms of evaluation. (p. 221)

I think it is wonderful how Nguyen builds the framework of games, then demonstrates their danger, THEN demonstrates how the salvation from this danger exists IN the framework.

Here is the hope: if you spend a lot of time engaged in aesthetic striving play, you will have plenty of practice losing yourself in, and then drawing back from, the pleasures of value clarity. (p. 222)

Nguyen at the conclusion returns to his goal/purpose dichotomy, and the way this is emphasized by aesthetic appreciation specifically.

Something about aesthetic appreciation resists second hand testimony. It is subtle, and demands contemplation. Therefore it inherently shrugs off the limitations of value capture. It resists gamification because it acknowledges our higher agency that has dominion over our sub agency that cares about the game. It's not just the number... how do we feel?

Aesthetic evaluation, by its very nature, resists simplification. (p. 219)

This striving play dualistic desire has a lot to teach us about how we engage with the world, our philosophies, and the systems that guide us in pursuit of value.

Aesthetic striving play... brings us to practice a pair of crucial, and opposed, human capacities. First, any kind of striving play builds the capacity to submerge ourselves in narrowed agential modes. Second, aesthetic striving play builds the capacity to step back and reflect on the value of these narrower states from a wider, less artificially clarified perspective. And this second, reflective capacity may turn out to be protective against the stickiness of narrowed agential modes. (p. 221)

Our practiced ability to adopt agencies, try out new methods, and abandon them in pursuit of higher, more subtle values, can actually help us USE value patterns without falling into Value Capture.

those narrowed agential states are very handy to have around. We get a lot done when we submerge oureselves in a sub-agency and pursue a well-defined goal. When the practical going gets tough enough, deploying a series of narrowed agential modes may be the only way to get anything done. But we need to develop the capacity to manage those narrowed states, to deploy them under our control, and to extract ourselves from them. (p. 218))

K. THAT'S IT.

Please do comment below what you think! Did my best to summarize. Hope to see your thoughts. Will be here and active in the coming week.

I will tentatively say Book Club Town Hall is next Saturday at 1pm EST. This is to be focused on the people who HAVE ALREADY PARTICIPATED IN BOOK CLUB. So let me know if you have been an active participating member of the book club so far if you can make this date/time. Will communicate and make it work.

Everyone is welcome but people who have committed time and energy are prioritized for practical reasons. All will be welcome & it will be accessible going forward, just being expedient here.

Ok bye

Files

Comments

Josh Foreman

Super loving this book. Since I've been reading it before, and I'm almost done, I hope I can participate in this Book Club Town Hall! My overall thoughts on the book + extrapolating (technically interpolating) from your summation is that this is the work I've been waiting for to complete my video essay series about cutscenes in videogames. I hope I can snag Nguyen for an interview. I'm biased, since my 27 year career has been in videogames, but I honestly think they will be the most powerful medium of expression one day. But we gotta shake the shackles of cinema off before we can truly become our own thing. I LOVE what Nguyen says about the power of practicing the picking up and putting down of different agencies. The practical application of reminding us that we can view life through different lenses at will. (Also the central thesis of my other fave design book, The Art of Game Design: A Book of Lenses.) Curious if you've read any Bogost. I'd LOVE to hear what you have to say about his Unit Operations. "In Unit Operations, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames. Moreover, this approach can be applied beyond videogames: Bogost suggests that any medium—from videogames to poetry, literature, cinema, or art—can be read as a configurative system of discrete, interlocking units of meaning, and he illustrates this method of analysis with examples from all these fields." You'll probably hate-love it. What kind of book are you thinking for next? I've got too many ideas to list and I'd love to see a consensus on what kind of topics people would like.

Ricardo Aguilera

I'd be very happy to join the town hall! Next weekend would not work great for me — my partner is visiting for Valentine's. But weekdays / the weekend after would work well.

Ricardo Aguilera

Ah, didn't mean to hit send! Adding my thoughts below...

Ricardo Aguilera

Chapter 8 thoughts Very natural to extend from "the design of individual agencies" to "the design of systems of agencies". Also, I love Root and am very happy he used it as an example. This reminded me of how many strategy board/video games were (reasonably) criticized as colonialist or imperialist -- in lots of games, the victory condition is, well, conquering more and more land, driving out original inhabitants, drawing as many resources as possible from the land, and so on. Dean gives, I think, a decent vindication of, like, ideologically troubling games, one that you couldn't get from a theory that placed a game's value on its narrative. Games embodying a roughly colonialist value system still provide striving and value clarity, and can (to foreshadow the next chapter) make you understand how dangerous, exploitative agency can draw you in. Chapter 9 thoughts His point on carrying instrumental frames to real life reminds me of this one really good Slay The Spire player, Jorbs, who used to do competitive poker. He mentioned that one of the reasons he stopped playing was that he saw the misdirection and manipulation techniques he used to get his way in the game were leaking into his habits in real life. I love that he touched on point salads!! It's one of the things I was thinking about at the start of the book — what about all these games that have strange and complex scoring systems? I really like his attention to detail and to niche counterexamples. Regarding scoreless super mario bros: to be honest, I always think of mario bros as basically being scoreless super mario bros — it's not the kind of score that I really care about myself. That makes me think of how score systems do need to kind of earn their authority and don't just have it by fiat. The game designer needs enough care when making the score system so that the points do feel like they matter. Like other cases of voluntary authority (e.g. ideal political authority), the authority of the designer's point system does have a limiting factor. A wholly unreasonable score system won't be accepted by players. Huh, the potential harms of gamification "resonate" with the potential benefits of general game playing, in that they both involve a kind of flexibility. While playing games gives you a wider array of agencies to draw from & helps you better move into temporary agencies that may be of use, gamification narrows down your pool of possible values and of self-interpretation. I'm happy that Dean notes this resonance in the next chapter. Chapter 10 thoughts Woah. I feel like it's very difficult to end a philosophy book well and in a way that feels, well, practical. As someone who wrote a lot of papers, it is a lot more comfortable to have one narrow result you're trying to show, and to let the reader fill in why what you're saying matters in the wider picture. (this is kind of an instance of value simplification, too!). I think Dean did an amazing job here in making the insights feel applicable, and I think the book has given me a useful way of reflecting about the goals I set for myself and how I approach games. I loved the book and look forward to discussing it more in person :)

dateariane

Just joined (hi everybody!) and haven't read the book yet, but now I need to because I have an interest in gaming philosophy, the most recent gaming philosophy book I read was "Reality is Broken: Why Games Make Us Better And How They Can Change the World" by Jane McGonigal. Her main thesis is that there are four types of purposes that bring us meaning and lasting happiness: * We crave “satisfying work” or being immersed in clearly defined, demanding activities that allow us to see the direct impact of our efforts. * We crave the “hope of success”, which is more powerful than the actual success. We want to be optimistic about our chances for success in our endeavors, and even if we fail, we at least want to improve over time. * We crave social connections, share experiences and build bonds with others. We most often accomplish this by doing things that matter together. * We crave meaning, or the chance to be part of something larger than ourselves. We want to feel curious, awe, and wonder about things that unfold on epic scales. Games give us opportunities to hit some or all of these purposes in the context of playing, and this is why we find so much joy in gaming. My own interest has to do with the question "If games bring us so much joy and are so useful to our psyche, what did we do before gaming?" The short hand answer is storytelling, in particular tragic storytelling. The stories we find in most video games with any kind of narrative, are nearly identical to the classic Greek tragic plays of ancient Greece. In Aristotle's "Poetics" he formulated what makes a great "tragic hero": The tragic hero must be neither a villain nor a virtuous man but a "character between these two extremes, a man who is not eminently good and just, yet whose misfortune is brought about not by vice, but by some error or frailty" The effect on the audience will be similarly ambiguous. A perfect tragedy, he says, should imitate actions that excite "pity and fear". What Aristotle is describing is ever video game protagonist from Mario to Cyberpunk's "V", and the tragic story follows their heroic moments and failures. Video games are Greek tragedies. Greek theater might not have always presented pre-written plays, sometimes the tragic stories were made up with audience participation. Ancient Greek D&D sessions? The power of tragedy was of so much concern that Plato's dialog of "Laws" advised government censorship of tragic plays, just as some call for censorship of video games today. When we think "tragedy" today we think in terms of people suffering for "God's will" That's what nihilist German philosopher Schopenhauer thought, To him the power of tragedy is to allow our "universal" selves recognize the horribleness of the world, which has the affect of helping our "individual" selves appreciate life more. We experience horrible things in tragedy to help us understand that life isn't all that horrible. The problem is that Schopenhauer was a bit of a nihilist. Schopenhauer seems to prefer tragic plots where no happy ending is possible. Fellow German philosoper Nietzsche takes the opposite view, and believes that is why ancient Greece was generally a more pleasant society than 19th century Germany was. The true worth of Greek tragedy had been devalued, Nietzsche believed, in part because our understanding of it had become corrupted by a certain type of worldview, a moralistic worldview, which in Europe had taken the form of Christianity – with its elements of sin, guilt, and evil. Everything, including art, came to be judged according to these moral criteria, and the most significant aesthetic achievements of Greek tragedy were thereby obscured. What’s worse, these moral standards were ultimately unattainable as such, and thus devalued not just tragic drama, but life itself. So video game plots can be considered tragic stories, but the kind of tragic stories that can end in success. Thus the over all value of video games is to emphasize the value of life and give us hope in life. Video games have a set of values that lies in opposition to the dominant Christian Western Civilization view of the world, which might explain why the rise of video games has seen a reduction in crime and reduced interest in religion since they started dominating the culture in the 1990's. Video game plots not only share direct commonalities with tragic stories, they are set in worlds with different morals. Often more violent worlds, or worlds where magic exists, or more sexually liberated worlds, or worlds where mushrooms push people off ledges. The alternate unrealistic morality of these worlds are part of their appeal. Most are worlds we would never want to live in ourselves, but they allow us to consider alternate moralities, both good and bad, which is considered a path to iniquity in most major religions. tl:dw Games are more important to society than most people realize.

valentin

Done! I just finished this book. In 4 days. I just finished a book in 4 days. I haven't done that in a while. It's been such a great experience. I don't exactly know what it is about this book that makes it work so well for me. Maybe it's the subject matter maybe the writing style or maybe something else / a bit of both. No matter what, it's been a delightful experience. Now let's get onto my thoughts on the third part of this book. 1: I want to start off by sharing an anecdote relating to the "games as social technologies" part of the book. I am a group leader at a youth group in our church. Together with two of my friends I lead a group of around a dozen 9 - 11 year olds. We meet every week for 1 and a half hours and usually play games and stuff. We sometimes play werewolf, a game that Ngyuen spends some time talking about. The game is a lot of fun especially because the children are quite bad at it, but what's even more interesting is watching the way the children interact with each other, both in game and outside of the game. This is because of the social nature of the game. The social dynamics between the children play a huge role in the game. Friends don't want to kill their friends, they accuse each other of cheating and playing dirty and the most interesting part of the game seems to be the role of the "amor". (a role that exist in our version of werewolf, the amor can make to players fall in love, they both die if one of them dies but they also win together) Mostly because for children at that age the topic of love just is very exciting. I think this really shows how the game bleeds into the outside and vice versa. This even happens when I play this game with people my age. Games aren't static objects, isolated from their environment. Especially social games are basically shaped by the relationships players have outside of the game. Technically this wouldn't happen if everyone had a strictly striving mindset, but that's just not the case. 2: Gamification is a concept I had not previously thought about, but the longer I think about it the more... fundamental it seems to me. Especially in the digital world, a lot of our interactions with the WORLD are gamified to some extent. One aspect of this is the gamification of our discourse. Twitter would be the prime example, whoever gets the most likes is right. The "ratio" is an almost comical example of this. But another, to me even scarier example would be the gamification of WORK as mentioned by Nguyen. The fact that it's possible to exploit human nature by gamifying the process of working and creating a reward system in order to artificially motivate people to work is just... inhuman. The worst part about this that corporations already use this technique and most liky will even more in the future. Interlude: Let's get away from the depressing capitalist topics and talk about something more fun. UNO! Uno is a very strange game. There is almost no skill involved, most of the game is determined by chance, but it doesn't seem like that. When you're playing Uno you do feel somewhat in control. The game gives you an illusion of choice by giving you a couple of cards to choose from. The most interesting thing about Uno however is the fact that nobody can agree on the rules. Do +2 cards stack? What about +4 cards? Can you stack +2 cards onto +4 cards and vice versa? Some people have a rule that you can play two cards at the same time if they're identical. And so on and so on... Yeah I don't really have a deep philosophical thoght to finish with except maybe: nobody can agree on how to play Uno and maybe that's why it's so popular. (I will not elaborate) 3: There are some interesining parallels between Gamification and Romanticisation (idk if you spell it like that). Both involve the simplification of ones values and both are related to an art form. Gamification is about trying to find value clarity by ascribing game mechanics to reality and Romanticisation is about trying to find value clarity by ascribing the qualities of stories to reality. I don't have a broader thesis here but I found it interesting and maybe will look further into this. "Life is not a game. Game ends are free floating, but our enduring ends should be grounded in genuine value in the world..." I think this is my favourite quote from this book. It's elegant and it very much describes what Nguyen has been telling us from the beginning until now. I guess that's it from me, I hope I made some sense, I'm not very good at articulating myself but yeah... Thank you CJ for making (us) me read this. It's been a wild ride for me and I think I've just regained my passion for reading in these past couple of days. I'll definitely return to this book at some point, I think I'll need to read it at a slower pace again to completely understand Nguyens thoughts. In regard to the Book Club Town Hall: I'm free on Saturday and Id love to participate and contribute, however I do recognize that I might not be the most active book club member. I participated in this book club and in the ZMM one, however I didn't really participate in the conversation around ZMM, partly because I wasn't confident enough to share my thoughts, but also because whenever I tried patreon didn't let me comment so that was kinda disheartening. At some point you mentioned a patreon game night, I think thats a great idea so if that's still somehow planned, do it! (Or not, whatever you want) Okay that is all, I will now go to bed.

Natthew Lee

I think that from this book what will stick to me most is the gamification and value capture section. All Consuming Instrumental Attitudes and Value Narrowing being things from games that can then bleed out into our daily behavior is scary, and feels like it rings true. Couldn’t stop thinking about Neon Genesis Evangelion because All Consuming Instrumental Attitude sounds like the Human Instrumentality Project lol. Seems like it relates though. The villains of Evangelion created the Instrumentality Project as a way to morph all of humanity into one borderless formless blob, because communicating with each other as separate beings is hard and painful and imperfect. It is such a temptation to want to know something with certainty. Being comfortable in fluid, uncertain existence is something I find very difficult. I always want to know for certain how people feel about me, whether or not I’m good at my art, whether I’m a good person. But to most of these questions there isn’t one correct answer. A hunt for value clarity can lead to harsh obsession that can put blinders on to the reasons you valued those things originally. Really clever that violence in video games is so obviously artificial we can quarantine it off as a part of the game and take it off when we stop playing, but the more insidious things that can leak out are those that we don't watch out for. These are things that are a structural part of the art that is so taken for granted we hardly think of it, value capture and all consuming instrumental attitudes. they can fly under our radar, under our defenses, because they are more medium than message. more the pages themselves than the words. Really cool to think about, will simmer in my brain for a while I think. Everything about value capture feels so urgent on an internet that is becoming increasingly algorithmic. Makes me think of Netflix show pitches that are generated by algorithms finding correlations between shows people watch. Creating a good and engaging show is nebulous and nuanced, much harder than finding the quantifiable data points of what people will like and spitting it out. Good book! Felt like he was using games as a case study for a greater philosophical outlook? Or maybe he was just speaking specifically about games, but what he said can be extrapolated so broadly into a philosophical framework because “agencies” can mean anything you do in your life.

Josh Foreman

Logistics question since the day is nigh and this would be my first time... What platform? How would we be contacted? Etc. Also, is there a discord I should know about?

Adison

crazy that this is done! loved being a part of this community once again and getting exposed to some crazy ideas! thanks for hosting cj and ellen :) i really enjoyed this final section, and i enjoyed how nguyen tied everything together. i found chapter 8 to be enjoyable and a natural progression from the previous sections. understanding relationships and relational abilities as malleable and designable rocks. “But even though, locally speaking, we are competing, in a more global sense, we are actually cooperating. We are helping each other to have the wonderful experience of struggle that we both desire.” (chapter 8) onto chapter 9. i didn’t expect it, but it makes sense that discussions of gamification and their effects on agency are included in this overview. nguyen’s view of games hinges on the ability for humans to manipulate and fluidly move between different forms of agency, so it is critical to include how we and outside forces can use this ability to further our/their own agendas. (thank you mr. nguyen for helping me articulate why it hate fitbits!) as my fellow commenters said above, this part is definitely going to stick with me. “I am far more worried that games and game-like systems will encourage the spread of the unthinking pursuit of simplified and quantified goals. I am more worried about games breeding Wall Street profiteers than I am about their breeding serial killers.” (chapter 9) “If we increase motivation by simplifying the specification of the target, we may bring ourselves to pursue, with ever more fervor and ferocity, the wrong target.” (chapter 9) I also really enjoyed the discussion of fictional and nonfictional elements within games, and how our understanding of the harm games can create is totally wrong. i enjoyed the tearing down of the “violent video games create violence” argument and replaced it with the harms of value clarity and agential simplification. “Notice, however, that, if Young is right, then those protections from after-effects only apply to the fictional aspects of games. But how much of game playing is actually fictional? Juul reminds us, usefully, that video games are half fictional and half real (Juul 2005). Suppose we are playing an online shooter, and I shoot you. Fictionally, I have shot you and killed you. But nonfictionally, I have really scored points against you. It is not fictional at all that I outwitted you, that I was faster than you, that I was better than you at this game. My victory in the game is real. Suppose that most players understand that the violence in video games is merely a fiction. This will serve to screen off the habituating effects of only the fictional content. We will still be in danger of habituating from the nonfictional content of game play.”

Adison

overall, i’ve found this book to be both incredibly engaging and thought provoking, and i’m grateful for how it’s shaped my own thinking and personal philosophical theories! i think my favorite overall throughline was nguyens appreciate for individual lived experience and his ability to take all aspects of gaming and their connection to our humanity very seriously. many of his insights and conclusions felt both very mind blowing and deeply intuitively correct, and i appreciated how often i felt validated and surprised at the same time. i will always have a deep appreciation for philosophers who have this much care for their subject matter, and i loved how deeply his care for his work and this medium extends to a deep love of humans and human experience. coming out of this book, i feel that i understand humans to be not only incredibly adaptable and fluid, but also capable of using that fluidity to create meaning within our lives. i hope to attend our little town hall and say hi to all of you! i’ve loved participating once again and i have loved learning and thinking and feeling alongside all of you!!

Katy Gravenor

Just joined the community! I'll have to read this book in my own time and come back to read people's thoughts. VERY excited for book club moving forward—you mentioned in your latest video it might be Braiding Sweetgrass (WONDERFUL choice btw) which I had been reading with a local book club. Work circumstances prevented me from actually getting to attend the live discussions, so I'm really hoping to engage with this thoughtful community on the text :)

annie liz

And we’ve made it through another one! High fives and firm nods of approval all round. Gold stars if you want to pick a sticker from my bag, I brought a couple sheets. Ch8: I feel like I was making my way through the book going all right, I think I got this medium of agency down, I’m seeing the aesthetics, we’re good, but what’s this?? IT’S THE MEDIUM OF SOCIALITY WITH THE STEEL CHAIR–– Ok but really, the transition from the effects of an agency of one to the effects of the agencies of many was in fact super understandable. It was like zooming out on a map and seeing more and more sections each time, or those “stars and planets zoomed out for scale” videos that freak me out on youtube. The mediums broaden our perspective of each agent, but also deepen our understanding of the games themselves. Loved the differentiation of us as players being morally responsible for picking the right games for our Enduring ends, but also acknowledging the level of responsibility on the games(/game designers) for the types of social transformations we go into for our Temporary ends. I hadn’t considered how we can throw ourselves into a game and find that it’s not just force of will that dictates our actions and how we TREAT those actions—like we would in the amended magic circle theory. Instead, we can throw ourselves in the game with a level of trust in the game design that we will be naturally guided towards certain social interactions and agential setups in an intentional and DESIGNED way. Very cool that it’s a shared effort, a collaborative experience between us and the game designer through the “gap” mentioned in previous chapters. External resignifications instead of internal resignifications “baked intentionally into the essence of gameplay” (p. 180) was crunchy and good. What impresses me about this framework is that all the circles-within-circles allow for so much nuance between players, games, and designers. Nguyen accepts previous theories from other philosophers, but he works those into a larger story, making a more detailed landscape. That being said, he doesn’t seem to be going for a theory of everything or all-encompassing world; the framework is ambitious, but simultaneously laser-focused. Ch9: I, like many others here, underlined and highlighted and tore my way through Chapter 9. It's so fun!! This is all so fun. This chapter seemed to introduce far more dualities than the rest of the book; previously, many aspects of games tended to be nested together, multi-dimensionally involved often simultaneously. This chapter was more dualistic, e.g. narratives can be emotional but that could be made into propaganda, games can be agential enjoyment but that could lead an individual into a habit of value capture and gamification. I think it reflected the chapter’s point on a more meta level too; when we start bringing those values into the real world, it flattens it and loses the magical dynamicism of what a library of agencies is supposed to provide. It also got me thinking about how I install value clarity (and invite value capture) into my life, and how it's helpful or harmful. For example, I LOVE a list. I lovvve making a to-do list or a packing list or a pros and cons list, and I especially love the mini dopamine hit that comes from checking things OFF the list. Sticky notes are my best friend, and checkmarks are incredibly satisfying. Is this helpful? Most of the time, yes. Where does it come into harm? Well, thinking about it, probably in the angsty perfectionism and self-doubt spiral when I DON’T get to check the mark off; I failed to achieve the game parameters, therefore I lost the game and failed my goal. If my goal was to complete the whole list, it doesn’t matter if I even if I got some of the things on the checklist done; I made the empty space so big in my head that it got unhealthy. This is obviously a micro-example that skips some of the nuance from the chapter, but it’s still (annoyingly) applicable. Value capture almost reflects agential layering in an evil-reverse-twin way. We go for a small goal for the sake of the bigger goal, but it becomes more important than the bigger goal, except this time we can’t pull ourselves out of it. It’s not an eclipsing situation (like the moooon) because this time the moon fuckin ate the sun and now our lives are darker. I think I got lost in this metaphor. I hate to harp on it again but damn Nguyen’s care for people really comes through again in this chapter. He so passionately wants people to understand and involve themselves with the capacity of richness in their own values and lives. I would imagine that this is helped significantly by his personal lived experiences with philosophy, art, games, and being a professor… all his passions so strongly contrast with the results of value capture that his argument feels heartfelt and it’s lovely. It’s not a mistake that his thorough critique comes at the end of a passionate and excited series of chapters advocating for games as an art form. None of these things are necessarily bad, he says (“We need such heuristics to manage in everyday life. If we always had to reason keeping in mind our full range of values, in all their richness and complexity, we would never be able to act,” p. 211), you just can’t get LOST in them; and it’s in his deep soulful love of games that he wants to outline the dangers of them so clearly. Games are a “frame” for a reason; if the entire world looked like a single artist’s style of painting, then we would have a net loss of the richness of visual life experiences. It’s BECAUSE games offer such a deep library of more simple agencies that they’re so valuable!!! The final chapter was a short and sweet sendoff to an absolute delight of a book. It pulled together all the final stops to come back home: the solution to the dangers of games is inside the agential circles of the game itself. This book didn’t emotionally move me or grab me by the heartstrings to reach its point, it was just good old-fashioned interesting and incredibly engaging, and I had a blast reading it. I liked what Nguyen had to say, I agreed with a good chunk of what he had to say, and I came out better for it. Thank u as always to book clubs of past present and future for leaving the door open for me, I’m forever honored to take part in such a cool thing we got goin here

Chandler Sterling

Alright, enough fun and games! It's time for the real shit (and games). We're coming out the gate sprinting on this one with yet another "so obvious I completely missed it" concept of the medium of sociality. The simplified political and moral implications seem so immediately clear now, especially in asymmetrical games like Werewolf and Root where every team has a different goal. Like that's just politics babyyyy! I'm a big fan of games that involve coordination, and I guess that's because striving towards social excellence is just the easiest for me to get into. It makes sense; even when I'm not playing a game, I'm always hyper aware of my social relationships and ability (or lack thereof). For that reason, the idea of the library of socialities feels very real to me for in a way that even the agency library didn't. The library of agency was a useful metaphor, but the library of sociality is a building I have frequented REGULARLY, and I have checked out quite a few in my time. I really love how Nguyen makes competition into its own form of cooperation. It's honestly really sweet thinking about how everyone can be working to demolish their opponents because they trust that the other people will do the same and make it fun and interesting in the process. And all of that was designed to work that way by the game maker, it's just a chain of trusting that all of this work MEANS something and will direct us naturally towards whatever we secretly want in our outermost agency. It's worth noting though, "It's just as humiliating and painful to be hit in the head with a rubber ball inside the game as outside of it." (pg. 179) Some games were just made to be mean. That's a bummer. Speaking of bummers, what happens if you play Jumanji??? That was my main thought throughout chapter 9, it's just all about getting lost in the game. Who knew that movie was calling Twitter gamification? I loved this chapter, it felt like such a natural extension of everything into the real world. The main focus is obviously on value capture, and how this fluidity of agency that he built up for so long can cut both ways. It's tough to grapple with this thing that can make for such cool moments and seems just necessary to live? Like he hammers in multiple times that this fluidity was there with or without games, it's part of how we compartmentalize as limited beings. Every line of this chapter feels so understanding and compassionate. Even in moments of warning, there was never a condemnation. Nguyen is not saying, "Never gamify your life!" and he actually takes multiple opportunities to clarify the difference between healthy and unhealthy ways to play games in the real world. Sometimes you just want to check boxes, and as long as you hold onto the reason why those boxes are there in the first place, you're relatively safe. Which brings us very cleanly into chapter 10. Isn't it great when an author makes the chapters bleed into each other so well, it makes segues so much easier (until I take the time to point it out and demolish my momentum). What was I talking about? Oh yeah, we're so back! You thought that Nguyen was going to build up all this great stuff about how good games are for your life and then end it on a cautionary tale?! Of course not! Dealing with negative side effects of too much gaming in your life? Umm, have you tried GAMING??? That should fix you right up! In all (or at least some) seriousness, the fact that Nguyen brought us all the way back around to this agential flow state between the player before/after and during the game is incredible. It's tying up loose ends all the way, and it's making games fun again after a very necessary disclaimer. It's a short chapter, so really I don't have anything specific to say about it, I just think it concludes very well. P.S. I find it extremely funny that Nguyen wrote a fake Artfoundry review based on a real game to make a point. All those little moments in the footnotes or just adding dry little bits of humor throughout really made this a step above what it could've been otherwise. I really appreciate the effort that went into not just translating these ideas, but also making them accessible and easy to read.

mouse

I really liked how well part 3 summarized the book. it helped me condense everything really effectively it was super helpful. the language of this whole book was really accessible the part about museum practice on the first page of chapter 8 was really interesting to me, and I'm not sure why, i have to think on that more. I recently learned that it's possible that abstract expressionism was pushed to be made by the CIA as a response to Russian communism, and the pressure on American society to embrace modernist design in furniture etc to promote more active consumption and capital?? I need to read more and figure out that connection and history there. I think chapter 8 is also makes a lot of sense to arrive to the conclusion that submersion into a prescribed gameplay is safer than submersion into algorithmically designed internet, where there is a whple lot less consent in that submersion. and also that gameplay doesn't exist in a vacuum. vulnerability and consent in a striving play submersion is an interplay between the game designer and players. morality doesn't necessarily disappear, it's transformed and mutated to fit the prescription of the social nature of the experience. i think I'm getting that right? when Nguyen talks about the hypothetical basketball game between him and an antagonistic coworker, it reminded me of when I worked in a library, and I studied a bit about neutrality and censorship when it comes to controversial media. there is a focus on the fact that study is always valuable, but some works can only be studied in specific circumstances, usually only with permission from professors/academics/etc because their morality is intrinsically harmful (think birth of a nation). and also maybe that relates to the idea of objectivity in art, I think? anyway that's what that made me think of. and it made me think about how Nguyen talks about how game designers have a sort of responsibility in game design, because they're kind of establishing new goals into a "vacuum"? idk I'm not sure if I'm getting that right. "art can create real micro-utopias right now, for us to inhabit." love that "if games can offer us a library of agencies, multi-player games can offer us a library of socialities." that makes so much sense, just that one sentence really helped me solidify the concepts Nguyen introduced here. "for a little while, we get to act as though only one thing matters - to lose ourselves in the pursuit of that thing. our values simplify. we need only chase our goal, in all its simplicity and selfishness - and that goal is usually put in simple, clear, and utterly stark terms. we need not balance our needs with the needs of others, or even with our own complex desires. this practical clarity is, as I've said, the basis for many of the attractions of games." I lovee this. this coincides with my belief that Recovery is an action of giving yourself back your agency. addiction creates an almost gamified life experience: the goal is almost always to find the time and the space and the means to continue to find work arounds and avoid the complexities of real life. breaking free of that takes a fuck load of work and effort and, hoenstly and essentially, community support. which ties into the huge amount of value that can be helped by developing a library of socialities. some of the best times I've ever had playing games was with groups of people who were also working hard for the liberation that comes with sobriety. and usually after the game, we had a conversation about what we liked about it and why. a library of socialities can really feed the library of agency. "we will be attracted to whatever systems can give us game-like levels of value clarity in our non-game lives." "we can gamify ourselves, and gamify by accident." "the worry is that value capture can push around our agential fluidity, and that we might get stuck like that." there's the lock-in that I think is talked about in Jaron Lanier's work!! it's a lack of adaptability that we get trained and programmed into, and learn to accept as reality way too easily. "we are learning to be more light-footed with our way of being in the practical world." EXCELLENT. man, I really loved this read. it's given me so much to think about and carry around with me, similarly to Zen. ugh just very excellent!!!