Games as Speculative Design: Allowing Players to Consider Alternate Presents and Plausible Futures Paul Coulton, Dan Burnett, Adrian Gradinar @ProfTriviality
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Games as Speculative Design: Allowing Players to Consider Alternate
Presents and Plausible FuturesPaul Coulton, Dan Burnett, Adrian Gradinar
@ProfTriviality
Critical Design
Present FutureTime
PreferableProbable - likely to happen
Plausible - could happen
Possible - might happen
Preferable to who?
PREFERABLE SHOULD BE A QUESTION WE ASK OURSELVES NOT SIMPLY THE AIM
Past
“We look at the present through a rear-view mirror. We march backwards into the future”
Marshall Mcluhan
Multiple Realities
Present
History, Reality,and Fiction
Past
Future Gonzatto, R. F., van Amstel, F. M., Merkle, L. E., & Hartmann, T. (2013). The ideology of the future in design fictions. Digital creativity, 24(1), 36-45.
Speculative Design
use fiction no commercial constraints
prototype driven irreverant
Auger Coulton
Design Fiction“deliberate use of diegetic prototypes to suspend
disbelief about change... It means you’re thinking very seriously about potential objects and services and try to get people to concentrate on those – rather than entire
worlds or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories”
Bruce Sterling
The Magic Circle
‘the place dedicated to the performance of an act apart’
Huizinga
are games diegetic?
mimesis and diegesis describe ways of presenting a story. In mimesis, the story is acted out. In diegesis, the story is narrated. Mimesis is show. Diegesis is tell.
The Present is the Future MundanePresent
Future
Domestication
EmergingTechnology
Far Speculative FuturesDesign FictionsVapour Worlds
Past
���
Near Speculative FuturesDesign Fictions
Vapourware
Alternate Presentsor Lost Futures
Critical Games
thus far the focus of the critical games created has primarily
been either: critiques of current events or practices; or critiques
of games themselves
Critical Games
Phone Story - Mollie Industria giant joystick - Mary Flanagan
Persuading through Games
Persuasive TechnologyProcedural Rhetoric(Gamification) VS Persuasive Games
liminal liminoid
Persuasive Technology
B.J Fogg
Captology - reduce a problem so that it can be addressed through the promotion of minor behavioural change for easily understood and uncontroversial goals.
Rhetoric
Pathos(empathy)
Ethos(credibility)
Logos(logic)
CONTEXT
Aristottle
Logos - would utilise facts, statistics, analogies, and
logical reasoning.
Ethos - would draw upon credibility, reliability, trustworthiness and
fairness.
Pathos - would appeal to our emotions and draw
upon feelings of fairness, love, pity, or even greed,
lust, or revenge.
Rhetoric of Design
Rhetor Audience
Speech
Intent
Expectations
Rhetoric
Graphic Designer Audience
Image
Inte
ntExpectations
Visual Rhetoric
Rhetoric of Design
Designer Users
Product
Inte
ntExpectations
Design as Rhetoric
Rhetoric of Design
Richard Buchanan
Game
Game Designer Player
Rule
sInteraction
Game Design as Rhetoric
Rhetoric of Designthe basic representational mode of videogames is “procedurality”, enacted through rule- based representations and interactions and, when used to reveal processes or concepts of another system, present the player with a procedural rhetoric
Ian Bogost
Interactive System
Interaction Designer User
Syst
em L
ogic Interaction
Interactive Systems as Rhetoric
Rhetoric of Design
Coulton
“code is the only language that is
executable” - Alexander Galloway
Developing In-Game Rhetoric
Mudlark
Climate and Weather
Storage and Flow
Game Play
Games as Speculative Design Should:Enable a Plurality of Futures
Be Plausible
Embrace both Mimesis and Diegesis
Be developed iteratively and interdisciplinary
Not Resort to Reductionism
Be free from commercial constraints
Questions
Banksy @ProfTriviality
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