Author: whimsyandmetaphor

What happened to this month? Seriously. It’s been one of those ones that feel like both two days and about six years.

I’ve travelling since last time I updated: there’s been a big family event that I went up to New South Wales for. It was great, but as it goes with these things, it takes longer to get back in the routine of normal life as I spend travelling.

In new news, though, I don’t know if anyone reads this, and furthermore if anyone reads this who will be at Continuum, but the [program has just been released]! And I’m on it! I’ll be on the Cyberpunk In The Age Of Social Media And AI panel (Friday 5pm), the Blended Plot Structures panel (Saturday 4pm) and the The Editing Mines panel (Sunday 10am).

Games projects have been sort of taking a backburner at the moment, so although I’ve started playtesting Glades, it’s going to be a while before I really start to make progress on the edits. It has come to my attention that I completely forgot to put any kind of currency system in the game, so that has to be remedied, for a start. But overall, it’s actually playing better than I expected for a first shot.

Project Butterfly has its new draft, and I’m debating on a release date. I think it depends on how much I like the version that comes out of this round of edits. It’s been in the works a while, so I’m not anticipating as much messing around with the characters and tone as there would be in a first-first draft, but still, you never know exactly how much there is to do til you’ve started picking things apart.

PhD project is so close to launch—I think I have exactly one more thing to do before I can start revealing details. Expect details on Monday, both here and on my other social media (see the sidebar!)

The Ferryman’s Apprentice 4 should get its Official Launch Announcement around the 20^th, too, so keep your eyes out for that! I’m just finalising one or two things on that, too.

I hope to see some of you at Continuum! But otherwise, keep an eye out for the project launches, reach out on social media if you want, and I’ll keep you posted for the next update!

Yes, I’m finally admitting that I’m on a formal hiatus.

I kept telling myself I wasn’t going to do it, but I’ve had some pretty major life things to plan for, and it’s just swallowed all of my time this year. No — that’s not even it. Honestly? I’ve just been piling too many things on my plate for too long, and little things, like blog posts, keep slipping off the sides. I would love to do something about that, but unfortunately I’ve committed myself to too many things that I can’t pull the plug on right now.

But! I’ve got a new draft finished for the next blog serial, and I’m working on the sequel to Fire Witch. I’m also still working on the Secret Project that I keep teasing about Cyborg Stories (Go follow the blog over here if you want to catch that when it comes up!). The Ferryman’s Apprentice 3 is just about launched, too. So I’ve got things in the works. I just … need a little time before I can start communicating with everyone again.

You’ll see a couple posts come out here soon. I’m running Game Dunk Online again (go check out the details here if you’re interested in tabletop games! We’re super fun and cool people, we promise!) and I’ll of course be shouting about that here.

The eagle eyed will noticed that I’ve unlaunched my Patreon page. It’s currently in the process of being repurposed. It will be back! But it was always a little hodgepodge and duct-taped together, and I want to start fresh and really think about the purpose (and also I want to be actually regularly creating content) before I start asking people for money again.

Of course, if you wanted to send a few bucks my way, you can always buy one of my books — the instructions and links are all there in the The Stories pages. E-book and hard copy are both available.

I may or may not write a longer post at some point about the concept of work-life balance as it applies to my 2020/2021. A lot of it isn’t too personal, it’s just that the entire post can be summed up by “and then I realised that that number of things was Too Many Things”. But I can give the brief overview version sometime if it turns out that’s something people are interested in.

Anyway — upcoming Game Dunk Announcements are imminent, but don’t expect anything here for a while. As the creative projects start coming back online, so will the blog. Stay safe, everyone.

This post was originally published on my other blog, Cyborg Stories. It was written as part of a university assignment in 2020. Here’s a link.

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Pokémon is one of those classic games, instantly recognisable to anyone who has anything to do with computer or video games (and even some who don’t). It’s a brilliantly-designed game – complex enough to stand up to very deep analysis, but simple enough that children can learn it.

Or a fish. Turns out, a fish can play Pokémon.

Pokémon is traditionally a single-player experience. The originals, Pokémon Blue and Pokémon Red, came out in 1996. The name, for those not familiar with the phenomenon that is this franchise, is a Japanese portmanteau of the phrase “Pocket Monsters”, as the game is about monsters that you carry around in your pocket. Actually, the original Japanese version released as Pocket Monsters: Red and Green, but we’re more familiar with the American name, Pokémon Red and Blue. Not counting spinoffs, director’s cut versions, sequels and phone app games like Pokémon Go, there have been 16 main games, the most recent of which released in 2019.

While there are exceptions, the video games have largely been single-player only. You don’t play Pokémon online, with friends, or against other players, you play it usually on a handheld gaming console (or emulator, for the older games), by yourself. You might talk about it online, compare strategies, discuss the characters and techniques for leveling your Pokémon or beating certain gyms. But the actual playing happens alone.

Enter the fish.

The HackNY hackathon in August 2014 spawned an idea that became an Internet phenomenon. Grayson the fish was livestreamed swimming around his tank, which was divided into a three-by-three grid, and each area of the grid mapped to a button on a Game Boy controller. Up, Down, Left, Right, A, B, Start and Select (no information was available on whether Grayson ever entered the Konami code, but I like to believe he did). A camera tracked Grayson as he swam around the tank, recording whenever he entered a new grid square and pressing that button. And thus, a fish played Pokémon Red.

20,000 people watched this fish play Pokémon Red. Twenty. Thousand. People.

A significant portion of those 20,000 people chose to scream abuse at a fish for more than 100 hours, for not pressing the right buttons on a game that it didn’t know it was playing and probably wouldn’t have understood even if you sat down and explained it. Despite this negative environment, within the first 125 hours, the fish had managed to select a Charmander as its starting Pokémon, and beat the rival’s Squirtle with it.

Grayson, being a fish, has since passed, but gaming enthusiasts, tech experts, and people who are interested in social media experiments talk about Grayson’s accomplishments to this day. The experience is deeply communal, too, in a way that single player games generally aren’t.

However, Grayson’s experiment was preceded by another, perhaps even more famous experiment: Twitch Plays Pokémon, abbreviated generally to TPP. This also took place in 2014, though in February. In this experiment, Twitch chat was set up so that messages that people typed into the chat were converted to instructions for the game.

This experiment is actually still running – just before writing this I spent a very enjoyable five or six minutes watching Twitch chat run a bike repeatedly into a wall in Pokémon Sword/Shield (released 2019). Here’s the stream.

Now, the stream is currently much less of an unmitigated disaster – famously the original, which also played Pokémon Red, had 80,000 people ‘playing’ … and remember how I said that the game is deep enough that strategy discussions are legitimate? Yeah. Playing one of the original games, you get 80,000 Pokémon diehards in the chat all providing contradictory instructions to execute their own personal strategies. Most people have completely different ways to get through the game, from choosing different starter Pokémon, to taking gyms in different orders. There was no filter in the Twitch chat either – it executed the moves in exactly the order they were received. All of the moves. The Internet, never known for its proportional and moderated responses to anything, let alone childhood favourite games, turned the stream, for a short time, into a pit of unmitigated rage.

And, of course, memes and fringe subgroups.

Now, there are significantly fewer people watching the stream at any given time. As of writing this sentence, there are a comparatively modest 152 people watching the stream, and most of the instructions seem to be coming from between 10 and 20 users – not enough to cause such complete chaos, but certainly still enough to run a bike into a wall for several minutes running.

Also as of writing that sentence, I learned for the first time that there is a Pokémon called a Sqwovet, and I’m not sure how to continue my day now that I know this information.

TPP is known now as the event that changed Twitch forever, possibly even the moment when Twitch was put on the trajectory to become what it is today. It has also spawned research discussing what we can learn about social dynamics and even political organisation from watching the original Twitch Plays livestream and examining the players’ behaviour.

All of this begs the question: Why Pokémon? I would answer ‘familiarity’. Pokémon is the most valuable franchise ever created, has millions of fans all across the world, and thanks to its TV and comic adaptations, is even recognisable to people who have never touched a game console in their lives. It’s also just at the nostalgia sweet spot: people who are Twitch watchers these days probably remember growing up playing Pokémon as kids, whether that’s the original Red and Blue, or whether they’re more of the Gold and Silver era. My generation grew up watching the anime on Cheez TV (Or whatever passed for Cheez TV in other countries).

That kind of name recognition is vital to an experiment like this – to crowd source input with the largest crowd possible – whether that’s gathering 20,000 people to scream at a fish, or 80,000 people to scream at each other. These experiments needed as many people as possible to engage with them in order to teach us something about the way we experience things as a group, not just how we play games like this alone.

The only way these experiments could have worked – and turned out to be the experiences they were – was for the franchise to be popular enough to put 80,000 people in the same Twitch chat who all already knew how to play the game. It needed the name Pokémon on the cover to get people interested and invested. Otherwise the whole thing would have ended up like the TPP stream is now: A couple of hundred people politely running a bike into a wall, largely unnoticed by the rest of the Internet.

This post was originally published at my other blog, Cyborg Stories. It was written as part of a university assignment in 2020. Here’s the link.

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Humans have been writing stories for a long time, and we’ve gotten very good at innovating.

Approximately 2,300 years ago, Aristotle wrote his ‘Poetics’. Aristotle outlined two genres for theatre: tragedy and comedy. Nowadays, the idea of categorising all stories into two genres is laughable.

A little over 1,000 years ago, Murasaki Shikibu wrote what was to be known as the first novel, ‘The Tale of Genji’. She wrote in a very specific style, and was clearly writing specifically for the women at the court, who apparently waited with bated breath for every new chapter. At the time, that style was looked down on, but nowadays, she’s credited with pioneering a whole medium.

I’m not sure I need to list or describe the ways that TV and movies have changed storytelling over the last sixty-odd years.

But that’s nothing compared to the home (or personal) computer.

The most obvious innovation to storytelling that computers brought is the video game. A lot of words have been spent on the internet about how video games’ great strength is their interactivity, and the ways that changes how we need to think about storytelling (for example, this video, which discusses the ‘language’ of game design as separate from other art forms). It’s true that games that play like a movie – gameplay segments taking the player from cutscene to cutscene in a linear storyline – still exist, but they’re increasingly considered ‘old hat’. Now, video games are being used to create stories like ‘Journey’, where part of the experience is playing alongside an anonymous player from the Internet, only barely able to communicate but encouraged to work together.

But the real game-changer that the computer brought was the Internet.

Nowadays, in Sydney, you can go on a guided puzzle tour of local landmarks. It’s a relatively simple premise: You start at a predetermined location, at a predetermined time, and you receive a text message. The text contains a puzzle, something that you can find the answer to by exploring the local area. When you find the answer, you text it back to the same number to receive a new location and a new puzzle. It’s a self-directed guided tour that relies on most people being able to receive and send texts at all times.

But it’s not precisely a story. Nor is the Dan Olsen Discord experiment, a temporary Discord server with seemingly nonsensical rules, but one where the community assigned sense to the environment. For example, rather than avoiding the channel #post-here-get-banned, the community designated it a meaning, and members voluntarily chose to post there, sending poignant final messages that were either screenshotted quickly or lost forever. It wasn’t a narrative, but I think you’d be hard pressed to argue that the experience didn’t tell a story.

‘Perplex City’ by Andrea Phillips is a story, though in a very non-traditional format. It is an ARG or a transmedia story, and thus bears more resemblance to a tabletop roleplaying game (TTRPG) or a live-action role play (LARP). ‘Perplex City’ was played online, with hundreds of people participating. The story was told through fake news websites, videos, social media and forums, and required the players to follow a number of sites to collect all the clues. There were web pages where the players gathered to share knowledge or clues, and to archive the solutions to problems so far. ‘Perplex City’ ran for two “seasons” before being placed on indefinite hold. It was also a transitory experience. It ran only once, and cannot be re-played.

For the other half of the blog title, the Cyborg is, in science fiction, a human or other organic life form that is augmented with technology. Mechanical limbs, implanted eyes with in-built zoom functions, Matrix-style data ports into the human brain. Indeed, some say there are already cyborgs in real life. Does a pacemaker, for example, count as an augment for the human body?

This blog, then, is not intended to discuss stories about cyborgs (though I will neither confirm nor deny whether cyborgs will feature in it eventually). It is about stories that are themselves cyborgs. About stories like ‘Homestuck’, a webcomic that, at least at the start, was heavily driven by fan input. It is about ARGs like Perplex City, discussed above. And it is about fan works – traditional media reinterpreted as other traditional media via social media and online communities.

The Internet has the power to make almost anything interactive, and humans have the ability to make stories fit into any space available. Cyborg stories are fascinating because they are new molds for old stories, new venues for old concepts, and new ways for audiences to connect and interact with stories in ways that haven’t been possible before.