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Table of contents
Table of contents: Essays, Statements, Interviews
Table of contents: Game Reviews
Table of contents: Project Descriptions
Introduction
THE ARCHITECTURE OF COMPUTER AND VIDEO GAMESA SHORT SPACE-TIME HISTORY OF INTERACTIVE ENTERTAINMENT
MAKE BELIEVE URBANISM THE LUDIC CONSTRUCTION OF THE DIGITAL METROPOLIS
UBIQUITOUS GAMES ENCHANTING PLACES, BUILDINGS, CITIES AND LANDSCAPES
SERIOUS FUN UTILIZING GAME ELEMENTS FOR ARCHITECTURAL DESIGN AND URBAN PLANNING
FAITES VOS JEUX GAMES BETWEEN UTOPIA AND DYSTOPIA
Author biographies
Image copyrights
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Friedrich von Borries, Steffen P. Walz, Matthias Böttger
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PLACES TO PLAYWhat Game Settings Can Tell Us about Games
A SHORT HISTORY OF DIGITAL GAMESPACE
ALLEGORIES OF SPACEThe Question of Spatiality in Computer Games
NARRATIVE SPACES
GAME PHYSICSThe Look & Feel Challenges of Spectacular Worlds
LABYRINTH AND MAZEVideo Game Navigation Challenges
STEERING THROUGH THE MICROWORLDA Short History and Terminology of Video Game Controllers
VARIATION OVER TIMEThe Transformation of Space in Single-screen Action Games
LISTEN TO THE BULK OF THE ICEBERGOn the Impact of Sound in Digital Games
WALLHACKS AND AIMBOTSHow Cheating Changes the Perception of Gamespace
FORM FOLLOWS FUNWorking as a Space Gameplay Architect
LOAD AND SUPPORTArchitectural Realism in Video Games
USE YOUR ILLUSIONImmersion in Parallel Worlds
MAKING PLACES
ACTIVITY FLOW ARCHITECTUREEnvironment Design in Active Worlds and EverQuest
WHAT IS A SYNTHETIC WORLD?
COMPETING IN METAGAME GAMESPACEeSports as the First Professionalized Computer Metagames
PLAYING WITH FRIENDS AND FAMILIESCurrent Scene of Reality-based Games in Beijing
NARRATIVE ENVIRONMENTSFrom Disneyland to World of Warcraft
PLAYING WITH URBAN LIFEHow SimCity Influences Planning Culture
NEW PUBLIC SPHEREThe Return of the Salon and the End of Mass Media
Andreas Lange
Dariusz Jacob Boron
Espen Aarseth
Henry Jenkins
Ronald Vuillemin
Clara Fernández-Vara
Winnie Forster
Jesper Juul
Axel Stockburger
Julian Kücklich
Olivier Azémar
Ulrich Götz
Florian Schmidt
Richard A. Bartle
Mikael Jakobsson
Edward Castronova, James J. Cummings, Will Emigh, Michael Fatten, Nathan Mishler, Travis Ross, Will Ryan
Michael Wagner
Zhao Chen Ding
Celia Pearce
Daniel G. Lobo
Peter Ludlow
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Level 4
SPACE TIME PLAY
Essays, Statements, Interviews
NEW BABYLON RELOADEDLearning from the Ludic City
PLAY AS CREATIVE MISUSEBarcode Battler and the Charm of the Real
UBIQUITOUS GAMINGA Vision for the Future of Enchanted Spaces
CREATING ALTERNATE REALITIESA Quick Primer
PERVASIVE GAMESBridging the Gaps between the Virtual and the Physical
THE POETICS OF AUGMENTED SPACEThe Art of Our Time
URBAN ROLE-PLAYThe Next Generation of Role-Playing in Urban Space
CHANGING URBAN PERSPECTIVESIlluminating Cracks and Drawing Illusionary Lines
PERVASIVE GAMESPACESGameplay Out in the Open
PERSUASION AND GAMESPACE
LIFE IS NOT COMPLETELY A GAMEUrban Space and Virtual Environments
PLAY STATIONS
TACTICS FOR A PLAYFUL CITY
WHY GAMES FOR ARCHITECTURE?
GAME OF LIFEOn Architecture, Complexity and the Concept of Nature as a Game
DESIGN PATTERNS ARE DEADLong Live Design Patterns
THE UNINHIBITED FREEDOM OF PLAYFULNESS
VIVA PIÑATAArchitecture of the Everyday
798 MUTIPLAYER DESIGN GAMEA New Tool for Parametric Design
RULE-BASED URBAN PLANNINGThe Wijnhaven Project, KCAP (Rotterdam)
TIT FOR TAT AND URBAN RULES
LIGHTLY AUGMENTING REALITYLearning through Authentic Augmented Reality Games
SCENARIO GAMESVital Techniques for Interactive City Planning
Lukas Feireiss
Claus Pias
Jane McGonigal
Christy Dena
Steve Benford, Carsten Magerkurth, Peter Ljungstrand
Lev Manovich
Markus Montola
Staffan Björk
Bo Kampmann Walther
Ian Bogost
Howard Rheingold
Neil Leach
Iain Borden
Ludger Hovestadt
Georg Vrachliotis
Jussi Holopainen, Staffan Björk
Marc Maurer, Nicole Maurer
Tor Lindstrand
Kas Oosterhuis, Tomasz Jaskiewicz
Kees Christiaanse
Alexander Lehnerer
Eric Klopfer
Raoul Bunschoten
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THE NEW MENTAL LANDSCAPEWhy Games are Important for Architecture
“CAN I TELEPORT AROUND?”
TOWARDS A GAME THEORY OF ARCHITECTURE
ACTION IN THE HANDS OF THE USER
WAR/GAMES AFTER 9/11
WAR PLAYPracticing Urban Annihilation
ENDER’S GAMETowards a Synthetic View of the World
FORBIDDEN GAMES
OUTDOOR AUGMENTED REALITYTechnology and the Military
AFTER NET ART, WE MAKE MONEYArtists and Locative Media
“EASTERN EUROPE, 2008”Maps and Geopolitics in Video Games
THE GAME OF INTERACTION
ATOPIA (ON VICE CITY)
PLAYING WITH ART
CHINESE GOLD FARMERSImmigrant Workers in the Game Land
ADVERTISEMENT IN VIDEO GAMES“Sell My Tears,” Says the Game Publisher
RE-PUBLIC PLAYSCAPEA Concrete Urban Utopia
GAMESPACE
Antonino Saggio
Jesse Schell
Bart Lootsma
William J. Mitchell
James Der Derian
Stephen Graham
James H. Korris
Eyal Danon, Galit Eilat
Wayne Piekarski, Bruce H. Thomas
Marc Tuters
Stephan Günzel
Gerhard M. Buurman
McKenzie Wark
Hans-Peter Schwarz
Ge Jin
Christian Gaca
Alberto Iacovoni
Mark Wigley
Essays, Statements, InterviewsTable of contents
8 SPACE TIME PLAY
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Game Reviews
QUAKE
TRON
NEUROMANCER
SNOW CRASH
THE SIMS
THERE
ENTROPIA UNIVERSE
SECOND LIFE
LINEAGE
KINGDOM HEARTS
WORLD OF WARCRAFT
SID MEIER’S CIVILIZATION
ANIMAL CROSSING
DARK CHRONICLE
THE GETAWAY
GRAND THEFT AUTO: SAN ANDREAS
GRIM FANDANGO
PSYCHONAUTS
SIMCITY
MAJESTIC
I LOVE BEES
PERPLEX CITY
eXistenZ
PASSPORT TO …
WARGAMES
KUMA\WAR
AMERICA’S ARMY
S.T.A.L.K.E.R.: SHADOW OF CHERNOBYL
SHADOW OF THE COLOSSUS
THE TRUMAN SHOW
MONOPOLY
Patrick Curry
Rolf F. Nohr
Espen Aarseth
Neil Alphonso
Mary Flanagan
Florian Schmidt
Florian Schmidt
Florian Schmidt
Sungah Kim
Troy Whitlock
Diane Carr
Jochen Hamma
Heather Kelley
Dean Chan
Gregory More
Gregory More
Julian Kücklich
Drew Davidson
David Thomas
Kurt Squire
Sean Stewart
Steve Peters
Adriana de Souza e Silva
Ragna Körby, Tobias Kurtz
Rolf F. Nohr
Stefan Werning
Stefan Werning
Ernest W. Adams
David Thomas
Rolf F. Nohr
Marie Huber, Achim Nelke
DANCE DANCE REVOLUTION
Wii SPORTS
TENNIS FOR TWO/PONG
ASTEROIDS
BATTLEZONE
DEFENDER
WOLFENSTEIN 3D
COUNTER-STRIKE
MYST
SUPER MARIO BROS.
TETRIS
ICO
ZORK
LEMMINGS
WORMS
MAX PAYNE
PAC-MAN
DIABLO
SILENT HILL 2
SPLINTER CELL
SAM & MAX HIT THE ROAD
KIRBY: CANVAS CURSE
KATAMARI DAMACY
EYETOY PLAY
ELITE
PRINCE OF PERSIA
SUPER MARIO 64
REZ
DESCENT
SUPER MONKEY BALL
TONY HAWK’S AMERICAN WASTELAND
LEGACY OF KAIN: SOUL REAVER
RESCUE ON FRACTALUS
Gillian Andrews
Heather Kelley
Cindy Poremba
Jesper Juul
Andreas Schiffler
Jesper Juul
Alex de Jong
Alex de Jong
Drew Davidson
Martin Nerurkar
Katie Salen
Drew Davidson
Nick Montfort
Martin Nerurkar
Clara Fernández-Vara
Paolo Ruffino
Chaim Gingold
Stephen Jacobs
Frank Degler
Thé Chinh Ngo
Julian Kücklich
Thiéry Adam
Julian Kücklich
Heather Kelley
Ed Byrne
Drew Davidson
Troy Whitlock
Julian Kücklich
James Everett
Troels Degn Johansson
Dörte Küttler
Phil Fish
Noah Falstein
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Table of contents
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SAUERBRATEN
TINMITH
IMPLANT
GAMEGAME
SPACEFIGHTER
KAISERSROT
REXPLORER
PLASTICITY
THE HARBOUR GAME
BIG URBAN GAME
SUBCITY
SUPERCITY
BLINKENLIGHTS
OPS ROOM
CHANGING THE GUARD
THE SCALABLE CITY
THE MINISTRY OF RESHELVING
Project Descriptions
BREAKOUT FOR TWO
CHARBITAT
GEOCACHING
MOGI
BOTFIGHTERS
THE BEAST
THE ART OF THE HEIST
PIRATES!
CAN YOU SEE ME NOW
M.A.D. COUNTDOWN
PACMANHATTAN
TYCOON
PROSOPOPEIA 1
RELIVING THE REVOLUTION
EPIDEMIC MENACE
URBAN FREE FLOW
ARQUAKE
CONQWEST
WHAVSM?
DEMOR
INSECTOPIA
’ERE BE DRAGONS
FAUST – ACOUSTIC ADVENTURE
CATCHBOB!
GEOGAMES
.WALK
MANHATTAN STORY MASHUP
FIRST PERSON SHOOTER
ARCHITECTURE_ENGINE_1.0 NOZZLE ENGINE
GAMESCAPE
Florian “Floyd” Müller
Michael Nitsche
Jack W. Peters
Benjamin Joffe
Mirjam Struppek, Katharine S. Willis
Dave Szulborski
Dave Szulborski
Staffan Björk, Peter Ljungstrand
Steve Benford
Steffen P. Walz
Frank Lantz
Gregor Broll
Staffan Jonsson
Karen Schrier
Irma Lindt
Lukas Feireiss
Bruce H. Thomas, Wayne Piekarski
Frank Lantz
Martin Budzinski, Henrik Isermann
Claus Pias
Johan Peitz, Staffan Björk
Stephen Boyd Davis, Rachel Jacobs, Magnus Moar, Matt Watkins
KP Ludwig John
Nicolas Nova, Fabien Girardin
Christoph Schlieder, Sebastian Matyas, Peter Kiefer
a watchful passer-by
Jürgen Scheible, Ville Tuulos
Aram Bartholl
Jochen Hoog
Wolfgang Fiel, Margarete Jahrmann
Beat Suter, René Bauer
Table of contents
Andreas Dieckmann, Peter Russell
Wayne Piekarski, Bruce H. Thomas
Wayne Ashley
Aki Järvinen
Winy Maas
Alexander Lehnerer
Rafael Ballagas, Steffen P. Walz
Mathias Fuchs
Tobias Løssing, Rune Nielsen, Andreas Lykke-Olesen, Thomas Fabian Delman
Frank Lantz
Elizabeth Sikiaridi, Frans Vogelaar
Troels Degn Johansson
Rahel Willhardt
Sabine Himmelsbach
Stephan Trüby, Stephan Henrich, Iassen Markov
Sheldon Brown
Jane McGonigal
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WHY SHOULD AN ARCHITECT CARE ABOUT COMPUTER GAMES?
10 SPACE TIME PLAY
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Introduction
Computer games are part and parcel of our present; both their audiovisual language and the interaction processes associated with them have worked their way into our everyday lives. Yet without space, there is no place at which, in which or even based on which a game can take place. Similarly, the specific space of a game is bred from the act of playing, from the gameplay itself. The digital spaces so often frequented by gamers have changed and are changing our notion of space and time, just as film and television did in the 20th century.
But games go even further: with the spread of the Internet, online role-playing games emerged that often have less to do with winning and losing and more to do with the cultivation of social communi-ties and human networks that are actually extended into “real” life. Equipped with wireless technologies and GPS capacities, computer games have abandoned their original location – the stationary computer – and made their way into physical space as mobile and pervasive applications. So-called “Alternate Reality Games” cross-medially blend together the Internet, public phone booths and physical places and conventions in order to create an alternative, ludic reality. The spaces of computer games range from two-dimensional representations of three-dimensional spaces to complex constructions of social com-munities to new conceptions of, applications for and interactions between existent physical spaces.
In his 1941 book Space, Time and Architecture: The Growth of a New Tradition, Siegfried Giedion puts modern architecture and its typologies in their social and chronological context. Today, we again face the development of new typologies of space – spaces that are emerging from the superimposi-tion of the physical and the virtual. The spaces of the digital games that constitute themselves through the convergence of “space,” “time” and “play” are only the beginning.
What are the parameters of these new spaces? To what practices and functional specifications do they give rise? What design strategies will come into operation because of them?
In Space Time Play, authors with wholly different professional backgrounds try to provide answers to these questions. Practitioners and theorists of architecture and urban planning as well as of game design and game studies have contributed to the collection. The over 180 articles come in various forms; in essays, short statements, interviews, descriptions of innovative projects and critical reviews of commercial games, the synergies between computer games, architecture and urbanism are reflected upon from diverse perspectives.
AND WHAT CAN A GAME DESIGNER TAKE FROM ARCHITECTURE?
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SPACE TIME PLAY 13
Space Time Play contains five levels that – played on their own or in sequence – train a variety of skills and address a range of issues:
The first level, THE ARCHITECTURE OF COMPUTER AND VIDEO GAMES, traces a short, spatiotemporal history of the architecture of digital games. Here, architects are interested in the question of what spatial qualities and characteristics arise from computer games and what implications these could have for con-temporary architecture. For game designers and researchers, on the other hand, it’s about determining what game elements constitute space and which spatial attributes give rise to specific types of interac-tion. Moreover, it’s not just about the gamespaces in the computer, but about the places where the games are actually played; playing on a living-room TV is different from playing in front of a PC, which, in turn, is different from playing in a bar.
Many computer games draw spatial inspiration from physical architecture. Like in a film, certain places and configurations are favored and retroactively shape our perceptions. Computer game players also experience physical space differently and thus use it differently. Newer input possibilities like gesture and substantial physical movement are making this hybridization of virtual and real space available for the mass market, thereby posing new questions to game designers and bringing the dis-ciplines of built and imagined spaces closer together. Computer game design is thus not just about the “Rules of Play” anymore, but also about the “Rules of Place.”
In the second level, MAKE BELIEVE URBANISM, the focus of the texts is shifted to the social cohesion of game-generated spaces – that is, to the ludic constructions of digital metropolises – and the question of how such “community spaces” are produced and presented. At the same time, the central topic of this level is the tension between the representation of the city in games and the city as metaphor for the virtual spatialization of social relations. How can sociability across space-time be established, and how will identity be “played out” there? The communities emerging in games, after all, constitute not only parallel cultures and economies, but also previews of the public spaces of the future.
The third level, UBIQUITOUS GAMES, on the other hand, demonstrates how real space – be it a building, city or landscape – changes and expands when it is metamorphosed into a “game board” or “place to play” by means of new technologies and creative game concepts. Here, a new dimension of the
Introduction
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notion and use of the city becomes conceivable, one which has the potential to permanently change the composition of future cities. What happens when the spaces and social interactions of computer games are superimposed over physical space? What new forms and control systems of city, architecture and landscape become possible?
The migration of computer games onto the street – that is, the integration of physical spaces into game systems – creates new localities; games intervene in existent spaces. Game designers are thereby made aware of their social responsibility. Ubiquitous games fulfill not only the utopian dreams of the Situationists, but also the early 1990s computer-science vision of a “magicization” of the world. As in simulacra, the borders of the “magic circle” coined by Johan Huizinga blur, and the result is ludic unification.
In the fourth level, SERIOUS FUN, the extent to which games and game elements also have se-rious uses – namely, as tools for design and planning processes – is examined through examples from architecture and city planning. The articles in this level demonstrate how the ludic conquest of real and imagined gamespace becomes an instrument for the design of space-time. For the playing of cities can affect the lived environment and its occupants just as the building of houses can. In this sense, playing is a serious medium that will increasingly form part of the urban planner’s repertory and will open up new prospects for participation. Play cannot replace seriousness, but it can help it along.
The concluding fifth level, FAITES VOS JEUX, critically reflects upon the cultural relevance of games today and in the future. Which gamespaces are desirable and which are not? Which ones should we expect? Life as computer-supported game? War as game? The possibilities range from lived dreams to advertisements in gamespaces to the destruction of cities in games and in today’s reality of war and terrorism.
What is the “next level” of architecture and game design? Both these creative worlds could benefit from a mutual exchange: by emulating the complex conceptions of space and design possibilities of the former and by using the expertise, interaction, immersion and spatial fun of the latter.
Game designers and architects can forge the future of ludic space-time as a new form of interactive space, and they can do so in both virtual gamespaces and physical, architectural spaces; this is the “next level” of Space Time Play.
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