↑According to SFAM, besides the dirty, hyper-realistic “lived-in” looks and dark motifs contrasted by schocking neon color schemes, there’s yet another element defining cyberpunk visuals—a sense of slick style. Additionally, in the ↑comments to the Blade Runner review, DannyV_El_Acme and SFAM agreed on the movie’s famous pane featuring the huge billboard with the cute geisha being one of the most recognizable topoi/icons of the cyberpunk genre, as a lot of cyberpunk’s essence is captured within that one shot: asian influence, technology, alluring chicks, mega-corporations, dystopic futures, etc. Now, when dealing with any aspect of cyberculture, the history of technology and the history of imagination, representation, and promotion of technology is indispensable. ↑Compu-Promo features “nine examples of computer promotional photography sent to newspapers in the 60s and 70s,” hilarious comments included. Slick style, technology, alluring chicks, mega-corporations—everything’s there already. Taking current events into account, the asian-influence now is in this images, too— as the sale of International Business Machines Corp.’s personal computer business to a Chinese company illustrates. In a way the pics hit me just as the ↵ANIMAC-dancer did.
via entry at boingboing
amphibious robotic snake
Incredibly creepy—the ACM-R5 prototype ia a lithium-ion-battery powered “radio-controlled amphibious robot designed to move like its real world counterpart. It can slither or swim underwater for 30 minutes on a full charge. Inside, you’ll find an intricate sensor system (attitude/torque), small-sized camera, and a 32bit micro controller.” There’s an embedded ↑video of the ACM-R5 at techeblog.
via entry at william gibson‘s blog
tahta al-hisar—under siege
↑Tahta al-Hisar—Under Siege is a “real life 3D game shooter” developed and produced by ↑Afkar Media in Damascus, Syria. The game strives to mediate a middle-eastern view of the middle-eastern conflict to middle-eastern youngsters—and yes, (for technical testing ONLY ;-) there even is a playable demo online [.zip | 23.1MB], able to spread the idea way farther. Here is the game’s official description by the developers:
Thanks to Vít Šisler there’s already ↵academical reflection on Tahta al-Hisar and related issues.
top pic from Tahta al-Hisar PC CD-ROM cover | the other pics are from the Tahta al-Hisar trailer
digital intifada, arabs, and aliens
Just ↵as promised, my pal ↑Vít Šisler—lawyer, arabist, and anthropologist-in-disguise—now has done it and brought his fresh, new, and tremendously interesting articles online:
↑Digital Intifada (↵Šisler 2006b) “examines political videogames produced by the Syrian company Afkar Media in Damascus, mainly their recent game Tahta al-Hisar (Under Siege) and puts them in a broader context of persuasive and serious games. It deals with the representation of the Other and Foreign in videogames, construction of the Arab and Islamic heroes and ongoing digital emancipation of the Near East.”
↑In videogames you shoot Arabs or Aliens (↵Šisler 2006a) is an “interview with Radwan Kasmiya, an executive manager of the company ↑Afkar Media, a Syrian studio producing political and other videogames. The interview was made in the company office in Damascus in May 2005, just before their release of a new videogame dealing with Palestinian Intifada ‘↑Tahta al-Hisar‘ (↑Under Siege).”
↑Videogames and politics (↵Šisler 2005) deals with the “phenomenon of persuasive and ideological videogames. Games as a means of propaganda in political campaigns (case study: U.S. presidential election). Recent historical events in videogames seen through political perspective (case study: battle over Fallujah, The Palestinian Intifada). Games entering the political real-space (case study: recruitment and self-presentation tools for the U.S. Army and Lebanese Hezbollah movement).”
Furthermore there is ↑Islamic jurisprudence in cyberspace (↵Šisler 2006c) —not game-related, but of interest to everybody who is into legal anthropology + Islam + the Internet.
via e-mail from Vít Šisler—mucho appreciated, tnx a lot
karate
morphement day
SFAM’s ↑review of the 1991 T2 just reminded me of my favourite sequences from this movie, which drew a lot of people to ↵cg, I guess. And the last one … I mean, that’s ↵boom—headshot! With no blood’n’gore involved whatsoever.
In his heuristically defining essay ↑What is cyberpunk? SFAM says: “Often cyberpunk films will have a single dominating color that permeates the film.” Well, The Matrix is green, that’s obvious—is T2 blue, or is it just the screencaps I chose?
dossier computerspiele
The “Bundeszentrale für politische Bildung” has a quite interesting ↑Dossier Computerspiele [in German] online.
via e-mail from just.be—tnx!
africa
Anthropology is very much concerned with the representation not only of its findings, but with what it looks upon: cultures. The whole Writing-Culture debate and everything in its wake revolves around this. It triggered new experimental means of mediating anthropological knowledge up to ethnographic fiction or even poetry. “Anthropological knowledge” itself has been challenged, and still is. Then there is visual anthropology, occupied with media decidedly different from the written text: images, the moving image, ethnographic film. Finally the so-called ‘new media’ came into focus, too—the digital, computer-driven media with their interactive potential, able to generate and support decidedly new and different ways of mediating knowledge, experience, and emotions. Computergames constitute one bundle of said ways. Already back in 2002 ↵Xenophilia was launched, a game striving to mediate an understanding of people who were socialized in cultures different from the ‘western’ one. Since 2005 there is a game, a ↵MMOG, in the making which—according to its producers—strives to mediate an understanding of a continent which was and is essential for sociocultural anthropology: ↑Africa. From the MTV-News article ↑How Do You Teach People About Africa? Make A Video Game:
The official ↑game overview tries to give us an impression of how Africa will be like:
Using Rapid Reality’s ground-breaking Aura 3-D engine, Africa will feature landscapes of breath-taking beauty and lush soundscapes of African drums, horns, and strings. Hundreds of unique locations such as Egyptian tombs, Roman ruins guarded by the shades of fallen legionnaires, and even a mysterious desert city of that only appears during a full moon await discovery. Visit fabled cities like Timbuktu, brave the scorching deserts of the Sahara, climb the snowy peaks of the Atlas Mountains, and journey to the land of the dead. […]
Survival in Africa requires players to work together to achieve their goals. Crafters create the weapons and armor that warriors need to defeat their opponents. Gatherers collect the raw materials necessary for crafters to make their wares. Warriors defend the frontier and insure access to resources like pasturage, watering holes, mines, and other valuable resources. Conquering and holding lands will require courage and vigilance. Are you up to the challenge?
Additionally there is an impressive ↑trailer [.mov | 314MB] online, showing off a MMOG-gameworld in ↵HL2-quality. But because of information from the ↑developer’s blog I suspect that the trailer is not a piece of ↵machinima, but a pre-rendered thing—it’s worthwhile to watch anyway. What is to be seen there reminds me not so much of the anthropologist’s Africa, but of ↑Robert E. Howard‘s and ↑L. Sprague de Camp‘s pulp fantasy worlds, or graphic-novelist ↑Richard Corben‘s universes. Mythical landscapes. Every graduate concerned with the continent of Africa will blame the game already at that stage for its inauthenticity—not so sure about the old African hands. Isn’t there something like understanding via ideascapes, too? Well, we have to see and play the game first, I guess.
Especially interesting to me is the way in which ↑Africa‘s website encourages community building. There’s the ↑dev. blog, there will be ↑dev. journals, and there’s a ↑forum. There even are open opportunities within Africa‘s development team, and the way the ↑job advertisements are written promises hope for people from the modding-scene. And anthropologists: there definitely is work for you in projects like that—just take a look at ↑the lead game designer’s reading list [scroll down]. Head over there, guys’n’gals.
initially via entry at 2R | screen-caps from Africa-trailer | last pic from Richard Corben’s Den, 1977
game modding, intermediality and participatory culture
Hell, am I backward! And—concerning everything connected to ICTs—Scandinavia has its nose way up front, as usual. ↑2R just hinted me via e-mail—tnx a lot, man—to a paper by Olli Sotamaa:
↑SOTAMAA, OLLI. 2003. ↑Computer game modding, intermediality and participatory culture [.pdf | 146KB]. Paper presented at the PhD course ↑New Media? New Theories? New Methods? organised by: The Nordic network “Innovating Media and Communication Research”, 1-5 December 2003, The Sandbjerg Estate—Aarhus University Conference Centre.
Here are the last three paragraphs of the introduction:
especially mods, user-created modifications of popular game titles. In short, mods are gamermade
custom contents for official game titles. Today, popular mods can significantly extend the
life span of a game title and particularly successful works of mod community can make the jump
from mod to a retail title. Probably the most well known example of this is Counterstrike, a
team play modification for the game Half-Life (↵Valve Software, 1998). In many cases mods
introduce new features and perspectives that later find their way to official game titles. On the
other hand, the marketing of games like BioWare’s Neverwinter Nights (2002) already relies
heavily on gamer-created content.
One starting point is to treat mods as a form of community-based creative design and
contemplate their relation to other forms of gamer-based production. On the other hand mods
have become an integrated part of game development and marketing practices and therefore I
attempt at least briefly to grasp the corporate culture side view on mods. Close reading of some
particular examples of modder production helps to clarify their relation to “official” corporate
media texts. I also elaborate the question game modifications pose of the blurring boundaries
between gamers and game designers. Finally, I hope my article can produce some general
understanding, what mods are all about.
I believe that a detailed analysis of practices among gaming culture is able to uncover some
interesting questions related to general transitions in media environment. As Manovich (2002)
suggests, by acting as the avant-garde of the culture industry new media industries and cultures
can pioneer new types of authorship, new distribution models and new relationships between
producers and consumers.
And then there’s yet another great piece by him:
↑SOTAMAA, OLLI. 2005. ↑“Have fun working with our product!”: Critical perspectives on computer game mod competitions [.doc | 73KB]. Proceedings of DiGRA 2005 Conference: Changing Views: World in Play (June 16th-20th). Vancouver: University of Vancouver. ↑Abstract
bibliography update
The reason for the literature spree of the recent days is my planning of the two courses ↵on computergames and online-communities I will teach during the upcoming term. In the wake of that I updated, ‘enhanced’, and reformatted my ↵online bibliography. Now it’s laid out more clearly, I guess. Prey on it—that’s why it is online.