An article written by Emily Johnson (PHD) is now available on ProfHacker. “Gamify Your Writing Group” is about increasing productivity and making obligatory tasks more enjoyable.
Author: Kelly Van de Geer
What is VR?
Virtual reality (VR) is an immersive world that appears and feels life-like, but it can only be experienced while wearing a head-mounted display. It is usually paired with hand-held controllers. Most virtual reality experiences offer user interaction. VR is different from augmented reality (AR) because AR is a blend of reality and virtual reality together.
How does the technology work?
There are sensors set up in the room that detect the exact position and angle of the headset and the controllers. This allows the user to see a 360º view of the virtual world and interact with it. Combine this technology with 3D audio for an even more immersive experience.
Where can I experience it?
You can experience virtual reality through devices such as the HTC Vive (currently around $800) and the Oculus Rift (currently around $600), among others. These devices are connected to a computer where you can download games and experiences for it. One place to download VR for the HTC Vive is the Steam store.
What type of experiences are there?
There are many types of experiences for VR. They range from recreational use (e.g. gaming, drawing, movies) to training with serious applications (e.g. education, medical, military).
How can I develop for it?
You can develop VR experiences in Unreal Engine 4 (UE4) or Unity 3D or other game engines that support VR. The world is commonly created on the computer and then can be experienced through the VR headset.
However, there is a also plug-in available for UE4 that allows you to develop for VR while inside your VR headset. You can access the regular UE4 user interface just like you would if you were on the computer, and you can use the controllers to build your world instead of your computer mouse.
What does the future for VR hold?
The industry is continuously growing and the technology is constantly improving and evolving. It is also slowly becoming more affordable for the average household to buy. The potential uses for VR are endless too. Read this TIME article for more thoughts on the future of VR.
Out of these my favorite experience is Tilt Brush. I love painting, and it’s incredibly fun to be able to do it in 3D. For example, I can draw a picture, then instantly view it from a different distance, and even paint it from any angle! The application has a variety of mesmerizing brush tools and different settings to experiment with.
Also, one of the most immersive experiences I’ve had so far is playing the Waltz of the Wizard. There was one day when I was done playing the game and I wanted to put the hand-held controllers down before taking the head-set off. So I thought I’d put the controllers down on the table I saw in front of me. Only at the last moment did I realize that this table only existed in the VR world and not in real-life.
Author: Joey Fanfarelli, PhD
Overwatch is a competitive objective-based first person shooter by World of Warcraft creator, Blizzard. It marks Blizzard’s entry into the genre and has been warmly received by players, with over 10 million users in its first few weeks.
Ten million Overwatch agents activated and counting! Thank you for daring to see the world for what it could be. 💛 pic.twitter.com/5nCe4e32XT
— Overwatch (@PlayOverwatch) June 14, 2016
Overwatch splits players into two teams of 6 on any one of a randomized set of maps and game modes. Game modes may either be in an attack/defense format, where each team is assigned one of those two roles, or in a king of the hill format, where each team competes to take and hold a particular point on the map.
Players can then choose any of 22 different characters (called heroes) who each have their own strengths and weaknesses and fit different roles (e.g., tank, support, sniper). A player may swap heroes as many times as they like during the game, so long as they are standing in the spawn room. This provides an important gameplay mechanic which allows teams to formulate and modify strategies around the specific combination of 6 heroes chosen. Moreover, it allows for counter-based gameplay, where a team can attempt to counter an enemy’s team composition by choosing heroes that are strong against them. For instance, Tracer is a fast moving character that is unpredictable and generally difficult to eliminate. To counter her, the player may choose Winston, a peanut-butter loving sentient ape who is equipped with an auto-aiming “tesla cannon” and a jetpack ability which provides him with the high mobility necessary to keep up with Tracer.
Blizzard has taken care to cater to players of a wide range of skill levels. Heroes better suited to the novice are marked with a single star in the game’s interface, while heroes that require practice are marked with two or three stars, respective to difficulty. This information makes for smoother first experiences for players who are new to first person shooter games, and are not yet feeling confident – they may choose to start with an easier hero before moving up in difficulty. Difficulty is determined by a wide variety of factors, but may include such factors as precision in aim, how quickly actions must be performed in order to be effective (i.e., actions per minute), and a particular hero’s health pool and survivability. For instance, Ana is a three star hero – the most difficult rating. She has low health and low mobility, limiting her escape options. However, she can both heal and deal damage, making her a versatile hero. She cannot move very fast, but she has a precision aim sleep dart, which incapacitates an enemy for 5 seconds, allowing her to easily escape if she can connect it with the enemy. Moreover, she has an ultimate ability that boosts the abilities of an ally of her choice, requiring split-second decision-making appropriate to the situation. In unskilled hands, she will almost certainly hold her team back. When controlled by a practiced player, she is a versatile asset who serves as a strong support.
Blizzard’s matchmaking system does its best to ensure fairness by balancing teams according to skill level and party size – it would hardly be fair if one team was a fully coordinated stack of 6 friends, while another was 6 individual players who had never met each other and had no means of generating strategies. While matchmaking is not always perfect, and one-sided matches do happen from time to time, the games are generally interesting and feature solid matchups.
Overwatch’s success across its general player base has been mirrored by its success in professional eSports. The Overwatch Open tournament is offering a $300,000 prize pool, just two months after the game’s release. Major sponsors in other eSports have already formed teams for Overwatch, including household names like Team Liquid, fnatic, Team Solo Mid, and others. The game has also spawned a serious online following, evident by its active forums and reddit communities, namely:
1. /r/overwatch (525,000 subscribers) – A general subreddit to discuss all things Overwatch.
2. /r/competitiveoverwatch (39,000 subscribers) – A subreddit dedicated to competitive Overwatch, including discussion of the competitive scene and competitive viability of characters and strategies.
3. /r/overwatchuniversity (32,000 subscribers) – A subreddit dedicated to learning how to become better at Overwatch, featuring tips, tricks, and video tutorials on beginner and advanced mechanics and concepts.
The bottom line: Overwatch is a fun game that is well worth its price tag. While it will likely promote frustration in beginner players, as all games of this genre tend to do, that frustration will soon subside as Overwatch’s beginner-friendly mechanisms engage. At a beginner level, the game provides a fun space to explore the different types of characters, and find the heroes that suit each user’s play preferences. At higher levels, Overwatch is a fierce competitive game with depth and complexity that will likely keep even the most dedicated players busy for hundreds of hours.
Author: Mark Kretzschmar
Author’s Note: I’ve been a gamer all my life and I can recall every game system I’ve ever owned, from the Nintendo Entertainment System when I was three to the moment I set up my Steam account. However, some of my fondest gaming memories were reserved for a system that I didn’t even own. Come to find out, neither did most of the world! Before the advent of the Sony PlayStation but after the rise of the Sega Genesis and Super Nintendo, a console war that might as well have been an asterisk in video game history gripped the country (and by gripped I mean some suggested that video games were dying out). In the rush to become the next video game juggernaut, multiple companies decided to throw their hats into the ring. Panasonic with the assistance of Trip Hawkins marketed the 3DO. Atari (in its last gasp as a console manufacturer) released the Jaguar. And then there was Philips, the Dutch conglomerate who with the assistance of Sony, actually developed CD technology. Philips decided that they too would release a console, the CD-i. My uncle actually worked for Philips as a head salesman for the CD-i. While the console certainly wasn’t lacking in hardware capabilities, the public didn’t understand the product. Unfortunately, Philips had difficulty explaining this to consumers as well.
Although the Philips CD-i was rebuked, I had access to it whenever I visited my grandparents in Denver due to my uncle’s connections. I played all of the games, even the universally panned Zelda games that Nintendo swept under the rug. I “played” the various edutainment titles that were entertaining in my case since they were free, but most certainly were not worth $50. I even watched some of the movies that were ported to the CD-i. Even though the library was small, I would eventually come to realize that these served as precursors to contemporary DVDs. Having been exposed to the CD-i (not to mention I have access to Philips’ corporate strategy for marketing the CD-i), I am in a unique position where I can praise it for what it did well.
Conversely, as a video game scholar of sorts, I am also capable of critiquing the system for its blunders. What follows is the first section as well as conclusion from a longer paper on just how much of an example of what not to do when marketing video games the CD-i serves in the annals of gaming history. That said, the CD-i is also an example of “what if” had Philips never made any mistakes when distributing and marketing their only home entertainment console. Should you desire to see the rest of the paper or any corresponding literature, let me know.
“In Defense of the CD-i: The Blunders and Accomplishments of the World’s First True Multimedia Entertainment Center”
It is often necessary to include gaming consoles into academic conversations because without these platforms, the content could not be analyzed in the first place. In fact, depending on the console war during the history of gaming, what platform a consumer chose to buy often dictated the type of gamer they were identifying themselves as (i.e. an Atari, Sega, Nintendo, or Sony individual to name a few). Much has been researched on the likes of the Sony PlayStation, Nintendo Wii, and Microsoft Xbox consoles. However, the actual push to have CD-based game consoles started in the early 1990s as a variety of competitors jockeyed for corporate supremacy of the video game industry, and exploited CD technology as what would eventually become the standard storage format for most consoles. Yet there is one system that is often omitted from video game history: the Philips CD-i. Widely panned by critics, Philips’ first and only platform is usually only mentioned in video game console discussions as an “overpriced education/entertainment deck” (Kent 483). While the CD-i certainly deserves much of the criticism it received in the early 90’s, what is often ignored is that the system was ahead of its time in terms of certain media advancements. After all, the CD-i was the first console that capitalized on the CD craze perhaps due in no small part to the fact that Philips was also the first corporation to develop compact disc technology. Additionally, the CD-i wasn’t supposed to be a video game console, but rather a multimedia home entertainment center that would effectively combine functions of game systems, VCRs, and even personal computers. In theory, the idea of the CD-i was a remarkable feat of technological innovation. As the platform proved, however, theory is often much different from practice. Despite this, the CD-i should have a place in the annals of media history because it was performing media tasks that systems nearly thirty years later are replicating in order to sell. This blog post is part of a much larger study that provides a history of the Philips CD-i and addresses how the complications of perceived entertainment value, pricing, mass marketing, and rushed technological objectives failed to captivate consumers. This entry will focus on the system’s entertainment value. Ultimately, without these marketing forces working in unison, even the most impressive and well-intentioned technological concept will be viewed as a colossal failure.
According to Jimmy Maher in the platform studies book The Future Was Here, we are currently living in a multimedia age:
The birth of the multimedia age begot nothing less than a revolutionary change in the way that all forms of media are stored and transmitted, marking the end of the analog era and the beginning of the digital, the end of an era of specialized devices capable of dealing with only one form of media and the beginning of our era of smart, programmable devices that can deal with many media. (5)
It is important to note that these transitions take decades and usually result from considerable research. Additionally, formats have had to evolve so that a multimedia age could even be possible. That is why a discussion about the genesis of the compact disc is necessary for the purposes of this study as much of the technology that we rely on is based on the CD. While storage capacity was a specified goal of the compact disc, part of the reason why it was devised in the first place was because of the delicate nature of LP records: “Furthermore, the LP record was vulnerable and had to be handled with care. A scratch or accumulation of dust could spoil the enjoyment of the reproduced music” (Peek 10). Coincidentally, it was Philips that first began to look at technology that would replace the LP in the 1970s:
With these directions of the Board of Management in mind, the directors of the Audio industry group decided to increase their efforts. On a suggestion of J. van Tilburg, Audio’s general director, the name “[Audio Long Play]” was changed to “compact disc” or just CD. The word “compact” was in line with another Philips product, the compact cassette. (Peek 12)
After a few years of researching CD-based technology, Philips unveiled the prototype on March 8, 1979, and the Dutch conglomerate began to court potential corporate partners to distribute the product (Peek 15). After meetings with multiple electronic companies, Sony proved to be Philips’ best option. According to Peek, “[Sony] not only had an excellent position in products related to digital recording of audio on magnetic tape, but had also developed a prototype optical digital audio player and disc” (16). After yet more meetings between Philips and Sony, where details including the size of the compact disc, the allotted length of time, and audio frequency were finalized, CD players were released on the market in 1982 (Peek 16).
What this brief history of the compact disc proves is that Philips was one of the primary developers of the technology that would ultimately become the preferred method of storage for multimedia systems. Whether used for audio formats, CD-ROM titles, or movies, CD-based technology by Philips and Sony became the industry gold standard that made all uses of the compact disc possible. By the early 1990s, video game companies also began to utilize CD technology for their platforms. Sega released the Sega CD in 1992 (1991 in Japan), which was technically a peripheral that had to be attached to the Sega Genesis console. The Panasonic 3DO was released in October of 1993, and it promised to “make possible a whole new generation of interactive software, with application capabilities for the whole family” (CD-i 1993 RSS Meeting). While the console that ultimately made the biggest splash was the Sony PlayStation in 1995, it is fitting that in addition to creating CD technology, Philips also released the first multimedia system. Citing a “[g]olden opportunity to launch the Philips name in the U.S.” and a way to place “[l]everage on the Philips’ CD technology,” the CD-i was released in 1991 (Philips CD-Interactive Dealer Presentation Binder). The result was one of the first true events of utilizing one form of data storage to take on a plethora of media responsibilities.
Philips first unannounced the CD-i in 1986 and described it to audiences as the “Imagination Machine.” According to Maher, “The term multimedia came to be commonly associated with computing technology, however, only in 1989, when the arrival of reasonably good graphics cards, affordable sound cards, and CD read-only memory (CD-ROM) drives first began to transform the heretofore bland beige world of IBM and Apple” (5). This is interesting for two reasons. First, like the compact disc, Philips was once again associated with the rise in CD-ROM technology, selling CD-ROMs as early as 1990 (Philips CD-Interactive Dealer Presentation Binder). Second, it seems as if the home computer wasn’t as accepted by consumers at this time, partially due to the complexity of the units. Cawson, Haddon, and Miles claim, “In the early discussions it was recognised that the large majority of consumers found computers difficult to use, and part of this lay in the use of a keyboard for input” (188). It seems there was legitimate demand for the CD-i or similar technology because early incarnations of personal computers just seemed too intimidating for typical consumers who might not have had the patience or technical expertise necessary to engage with the devices. On the other hand, consumers were much more likely to buy products like VCRs and CD players. This idea of computer anxiety is reaffirmed by Dana Parker who writes that the CD-i “removes a potentially big market barrier posed by technophobes or other people who may have more sense or less time or resources than those who welcome–or at least grudgingly accept–the varied challenges of personal computers” (76). It seems evident that part of the marketing strategy of Philips was to promote the system as utilizing similar tasks as personal computers without requiring any prior computing knowledge. To elaborate this argument, Philip Lloyd of Philips Research Laboratories described the CD-i thusly in 1990:
CD-i is different to these in a number of ways. It is intended for use by a general audience, requires no computer knowledge, and employs concepts already familiar to the consumer. It is a self-contained product, compatible with existing domestic audio and television. A complete system standard has been agreed upon, and is being promoted by leading manufacturers. This means that, as with audio CDs, any disc will play on any player, anywhere in the world. The choice of CD-i as a vehicle for our research work was largely decided because of these characteristics. (Lloyd 104)
Philips hoped that the CD-i would appeal to audiences because it connected to a TV and employed a relatively user-friendly interface to interactive with the screen. Unlike other systems of the late 1980s and early 1990s, Philips tried to market the CD-i as a unit that could do so much more than just play video games, and Philips catered to the demands of consumers by testing out as many software opportunities as possible. Some of these examples included “information provision (compare different makes and models of car), and education (learn about the origins of civilization), to task support (get advice on planning your garden)” (Lloyd 105). Additionally, the CD-i could utilize software for job training. According to a 1995 article in the journal Management Services, “Many huge multi-nationals have adopted CD-i in their training departments. Chrysler, Johnson & Johnson, Proctor and Gamble, PepsiCo, Texaco and Kentucky Fried Chicken amongst others can now laugh and learn with John Cleese and friends” (“Make Them Laugh, Make Them Learn: Laughter Leads the CD-i Training Revolution” 3). The CD-i also found a niche audience in economic development. One such example was addressed by Howard Rowe of Illinois Power in the 1995 winter issue of the Economic Development Review. The CD-i was well-received and Rowe ultimately concluded, “Though it does an excellent job of storing and displaying information, CD-i will only be as useful and as effective as the economic development professional who presents it. CD-i is an attractive gadget, but it does not sell itself” (49). What all of these examples prove is that the CD-i was designed to assist people with specific responsibilities. Philip Lloyd validates this claim as he surmises in “Prototyping ‘Intelligent’ Applications for Interactive Multimedia Systems” that the “primary function of the sort of prototypes we are developing is to offer expert advice to help the user with a domestic task. There is therefore an educational content, but above all such titles should fulfill a definite need, and should be fun to use” (110). Unfortunately, Philips overestimated its educational products, and the result was a perceived lack of entertainment value by the consumers the company was trying to attract.
If it seems suspicious that Philips was promoting technology that only certain individuals might find attractive, that may be because the company was appealing to a different target audience when compared to those who were buying video game systems. What was rather unique about the marketing strategy of the CD-i was that while game consoles like the Sega Genesis and Super Nintendo were targeted at children and teenagers, Philips attempted to market the CD-i to a hypothetical “college educated, higher income adult male” (CD-i 1993 RSS Meeting). Although this educated early adopter of technology was buying the console, “The age range of expected users was 8 to 80, which meant accommodating poor reading skills as well as older players with limited experience of interactive video games” (Cawson, Haddon, and Miles 198). As such, Philips was presenting a “mature” entertainment system to techno-savvy consumers, and was careful to not present the CD-i as a game console at the beginning of the product’s life cycle. Instead, the CD-i was astonishingly similar to what Myron W. Krueger suggests about media possibilities in his 1977 article titled “Responsive Environments.” Krueger states these responsive environments are created when “a computer perceives the actions of those who enter and responds intelligently through complex visual and auditory displays” (379). Krueger additionally claims, “While the environments described were presented with aesthetic intent, their implications go beyond art” (379). As both quotes demonstrate, Krueger’s responsive environments are virtual places where man interacts with media in new and innovative ways. Not only was the CD-i attempting to accomplish this very concept fourteen years after publication of Krueger’s article, but Philips even marketed the entertainment system as a product that could make these responsive environments possible:
Philips CD-Interactive gives the user the ability to select and control the information or entertainment on the screen; determine the sequence of a presentation; ask questions, and get immediate answers. With CD-i the user doesn’t just read about exotic places in a guide book, but actually explores the sights and sounds of far away places. The user doesn’t just read about taking better photographs, but can actually practice right on the TV screen. And children don’t turn into couch potatoes with Philips CD-Interactive—instead they create their own cartoons, color, work puzzles…interacting and learning while having fun with CD-i. (Philips CD-Interactive Dealer Presentation Binder)
If the CD-i was ever going to find an audience, Philips knew that the product had to appeal to technophiles who would certainly be willing to try out new technology if it was capable of simplifying and replacing prior forms of media. This is why the company explained the product as something that could help consumers learn about various forms of information with the ease of “hands-on” interactivity. What the above quote also infers, however, is that while the CD-i was pioneering “good” uses of technology, video game consoles were of little value and would only turn children into “couch potatoes.” Since video games were strongly stigmatized, Philips tried to portray the system as a knowledge machine, hence why the CD-i’s target audience consisted of an older clientele.
In order for “gaming” to be considered educational, edutainment titles were produced to appeal to young families. In “Responsive Environments,” Krueger proposes that shows like Sesame Street could change if given interactive attention in these settings: “Since the environments can define interesting relationships and change them in complex ways, it should be possible to create interactions which enrich the child’s conceptual experience” (388). Interestingly enough, Philips developed two such titles, A Visit to Sesame Street: Letters and A Visit to Sesame Street: Numbers, and both consisted of interactive features described by Krueger that would conceptualize learning for children through interactions with the show’s characters. Krueger states, “[Responsive environments] would provide the child with more powerful intellectual structures within which to organize the specific information he will acquire later” (388). While Krueger wasn’t referring to the CD-i specifically, it does seem that Philips was trying to introduce the system as a product that could utilize similar technology in order to come close to what he was suggesting. As a result, these edutainment titles became primary sellers of the CD-i. Additional titles at launch in 1991 included Cartoon Jukebox, Children’s Musical Theater, The Emperor’s New Clothes, Mother Goose Hidden Pictures, Paint School, Richard Scarry’s Busiest Neighborhood, and Sandy’s Circus Adventure.
This leads to the perceived entertainment value of the system, of which many consumers found the CD-i to be lacking. According to the Philips Corporation, “High quality, exciting home entertainment is a growing priority for consumers. Just look at the emergence of large screen TV, ‘home theater’ and ‘media rooms,’ [sic] consumers are looking for bigger and better all the time” (Philips CD-Interactive Dealer Presentation Binder). The CD-i didn’t leave much to be desired for in terms of content when it finally made it to stores in 1991. Aside from the plethora of edutainment titles for young children, only four “games” were initially released on the system. These were Palm Springs Open, Battleship, Connect 4, and Text Tiles (Philips CD-Interactive Dealer Presentation Binder). Of these, the title that made the biggest impact was Palm Springs Open, a golf game that demonstrated the abilities of which the CD-i was capable:
The game was an obvious winner, although I never got very good at putting. More importantly, however, it showed me how CD-i could store and retrieve pictures and audio descriptions of various property locations. The image quality was excellent, the program ran smoothly, and the hardware was very affordable. I was determined to find out if CD-i could be adapted to our needs in Economic Development. (Rowe 48)
Despite an impressive golf game, however, consumers were less excited about other programs on the CD-i. Video games co-published with Nintendo, including Link: The Faces of Evil and Zelda: The Wand of Gamelon, are so reviled that Nintendo doesn’t consider either as canonical. Audio titles such as Louis Armstrong, Classical Jukebox, Golden Oldies Jukebox, and Pavarotti could be played on a CD-i or CD player, the only major difference being the user would see facts and trivia on the former. Special interest titles like Rand McNally’s America: US Atlas ran for $39.98 and allowed users to “look up interesting facts and figures about our nation’s people, economy, and environment” (Philips CD-Interactive Dealer Presentation Binder). If an interactive atlas wasn’t enough to captivate an audience, the CD-i offered a title called Stamps: Windows of the World, a “wide-ranging guide to stamps and the stories they tell” (Philips CD-Interactive Dealer Presentation Binder). The major problem with CD-i’s interactive titles was that these proved how restrictive the CD could actually be. While the system promised to open new worlds via the aforementioned titles, the CD-i was very limited in what it could show users because the experiences would always be the same. Compared to a media like television or radio where shows and lineups are constantly transforming, the software of the CD-i remains static in a specific virtual space, and there is very little incentive to interact again after the first experience.
There were also issues with the CD-i’s edutainment titles, which were some of the system’s highest sellers. In an article from the British Journal of Educational Technology published in 1994, Lydia Plowman experimented to find out if the CD-i could be an asset in schools. As she notes, “Most available discs are of the resource-based type. These foster independent learning but children need to be taught information handling skills explicitly to get the most out of them” (Plowman 129). Despite the perceived ease of navigation of the CD-i, as evidenced by Plowman’s research, it didn’t turn out to be a great tool for the classroom due to lack of specified tasks or required metacognition that is integral to learning. The software was mostly to blame for this as she notes, “The poor quality of the materials provided for these systems is a constant refrain. Users are impressed with the technology, but disappointed by the software” (Plowman 127). In truth, the shortcomings of CD-i software weren’t the fault of Philips alone. As noted by Chamberlain and Hutchison, “More ‘really useful’ software needs to be made available if consumer resistance is to be overcome. Apple’s CEO John Sculley described this as a multimedia problem (not just CD-i’s). Multimedia still lacks what he describes as ‘killer software’” (19). Even if the CD-i wasn’t solely to blame for software issues of the multimedia age, the fact that the system operated under the moniker of the “Imagination Machine” is an indication of what Philips hoped would be unlocked with their multimedia console. Instead, consumers were introduced to bland software that left much to be desired.
Cawson, Haddon, and Miles note that “an important part — perhaps the important part — is the content of the software, i.e. what kinds of applications are likely to prove commercially successful” (199). The lesson to take away from Philips’ misstep in introducing CD-i software to the masses is to first make sure that there is an audience for the interactive nature of the system. The CD-i worked remarkably well for training videos as employees could “watch a complete programme as though it were on film or video, or they can access different chapters, each dealing with a particular training point and using a combination of full motion video, graphics, and text” (“Make Them Laugh, Make Them Learn: Laughter Leads the CD-i Training Revolution” 3). Philips also did manage to find early success with edutainment titles, even if they glutted the market. Dorothy G. Clark specifically analyzed Philips’ titles such as Aesop’s Fables and Bernstein Bears, and asserts, “The creation of these CD-I and CD-ROM adaptations tells a great deal about this new media and the pedagogical and aesthetic implications of moving a children’s story into the digital realm” (345). Ultimately, the CD-i suffered from two entertainment drawbacks. First, while the console itself was new and the hardware was praised, the actual content of the software never changes. Philips was asking consumers to unleash the power of the CD-i in a repetitive process where the same experience is repeated ad nauseum. Arguably, CD-i didn’t succeed because it was perceived as “smart” instead of entertaining. Consumers seek entertainment, which will usually involve replay value. Most of what the CD-i was providing couldn’t be replayed. There is no incentive to repeat an educational title like The Renaissance of Florence at a price of $39.98 after just one session. Second, titles on the CD-i perhaps didn’t garner praise because the system was being asked to do things that could still be accomplished and better achieved through other sources of media, including VHS tapes and books. Plowman notes that “even enthusiastic users found limitations in the software and felt that it would not be long before the novelty wore off” (128). What may have started off as novel and entertaining quickly lost its spark. Despite being the new form of media, the CD-i was promoted during an era where prior forms of media were still better-suited for various tasks. Hypothetically speaking, a learner could use expensive CD-i software to explore the world, or s/he could have gone to the library during this time and saved considerable money. In short, the CD-i functioned best as a purveyor of information of sorts, but it was essentially useless after accomplishing its task. Howard Rowe sardonically states about his presentations using the CD-i, “We had a powerful presentation system that no one else could match. And if things got dull, we could always load up the golf game” (48). One can only imagine what Philips might have been able to accomplish if the company invested more effort into titles that consumers may have believed had more entertainment value.
[. . .]
In his analysis of the Nintendo Virtual Boy, Steven Boyer writes, “Rather than merely serving as a footnote in the history of gaming, the failure of the Virtual Boy provides a snapshot of the industrial difficulties encountered in addressing these vast consumer changes and, more significantly, serves as an optimal representation of the conflicts implicit in the larger cultural experience of technology” (32). It was the purpose of this study to explore what Philips did poorly when promoting the CD-i, but also to report some of the system’s minor successes that history has forgotten. Arguably considered one of the most exciting multimedia entertainment propositions, the CD-i was marred by virtually nonexistent advertisement, poor software, inflated pricing, and late promises. The CD-i isn’t a mere footnote in media history. Instead, it is a blueprint of pitfalls a company specifically needs to avoid if it has any chance for success.
That said, there are several positives to take away from the CD-i. When concluding The Future Was Here about the similarly forgotten Commodore Amiga, Jimmy Maher writes, “It is true, however, that the Amiga made many things possible first and in doing so gave the world a rough draft of its future” (269). The CD-i has been derided for many factors, including its peripherals as various incarnations of the multimedia system’s controllers were unwieldy. What was never mocked, however, was the actual hardware itself. The CD-i was a sturdy system that, like the Amiga, offered an image of what our multimedia devices would be doing years later. They would play video games. They would play CD-based or digital movies. They would connect to the Internet. They would become educational tools at home and in the classroom. Because of everything the CD-i got wrong, it is arguably the best example for game researchers of what not to do when introducing an innovative product. Perhaps one can’t help but ask the hypothetical question of what today’s multimedia landscape would be like had all of the factors that contributed to the CD-i’s demise were non-issues. It is amusing that Philips believed the CD-i was a “product that will never become obsolete” (Philips CD-Interactive Dealer Presentation Binder). What is equally amusing, however, is that multimedia devices are now taking on the same functions of what the CD-i first attempted nearly thirty years ago.
- 1993 RSS Meeting. 1st. Philips, 1993. Print.
- Boyer, Steven. “A Virtual Failure: Evaluating the Success of Nintendo’s Virtual Boy.” The Velvet Light Trap 64 (2009): 23-33. Print.
- Cawson, Alan, Leslie Haddon, and Ian Miles. The Shape of Things to Consume: Delivering Information Technology into the Home. Aldershot: Avebury, 1995. 1-276. http://www.lse.ac.uk/media@lse/whosWho/AcademicStaff/LeslieHaddon/ShapeofThings.pdf. Web. 30 November 2014.
- Chamberlain, Michael A., and Thomas W. Hutchison. “Problems of Diffusion in High Technology: Compact Disc-Interactive (CD-I)- A Case Study.” Broadcast Education Association Convention (Las Vegas, NV, April 16-18,1993) (1993): 1-33. Print.
- Clark, Dorothy G. “Hyperread: Children’s Literature, CD-ROMs, and the New Literacy.” The Lion and the Unicorn 30.3 (2006): 337-59. Print.
- Heath, Robert. “Emotional Engagement: How Television Builds Big Brands At Low Attention.” Journal of Advertising Research (2009): 62-73. Print.
- Hutheesing, Nikhil. “Betamax Versus VHS All Over Again?” Forbes 3 Jan. 1994: 88-89. Print.
- Kent, Steve L. The Ultimate History of Video Games: From Pong to Pokémon and Beyond : The Pub., 2001. Print.
- Krueger, Myron W. “Responsive Environments.” AFIPS 46 National Computer Conference Proceedings (1977): 423-33. Print.
- Lloyd, Philip R. “Prototyping ‘Intelligent’ Applications for Interactive Multimedia Systems.” Current Psychology 9.2 (1990): 103-11. Print.
- Maher, Jimmy. The Future Was Here: The Commodore Amiga. Cambridge, Mass.: MIT, 2012. Print.
- “Make Them Laugh, Make Them Learn: Laughter Leads the CD-i Training Revolution.” Management Services 39.5 (1995): 3. Print.
- Parker, Dana J. “CD-i, The Online Consumer Machine?” CD-ROM Professional 9.1 (1996): 76. Print.
- Peek, Hans B. “The Emergence of the Compact Disc.” IEEE Communications Magazine (2010): 10-17. Print.
- Philips CD-Interactive Dealer Presentation Binder. 1st. Knoxville, Tennessee: Philips Consumer Electronics Company, 1993. Print.
- Plowman, Lydia. “Working With the New Generation of Interactive Media Technologies in Schools: CD-i and CDTV.” British Journal of Educational Technology 25.2 (1994): 125-34. Print.
- Rosen, Deborah E., Jonathon E. Schroeder, and Elizabeth F. Purinton. “Marketing High Tech Products: Lessons in Customer Focus from the Marketplace.” Academy of Marketing Science Review (1998): 1-19. Print.
- Rowe, Howard. “Interactive Compact Disc as a Medium for Economic Development: A Case History at Illinois Power.” Economic Development Review (1995): 45-49. Print.
- Uijl, Simon Den, and Henk J. de Vries. “Pushing Technological Progress by Strategic Manoeuvring: The Triumph of Blu-ray over HD-DVD.” Business History 55.8 (2013): 1361-384. Print.
- Utaka, Atsuo. “Pricing Strategy, Quality Signaling, and Entry Deterrence.” International Journal of Industrial Organization 2 (2008): 878-88. Print.
Author: Kelly Van de Geer
Looking for a highly innovative and hilarious game? Octodad: Dadliest Catch is exactly that!
This story is about a father with two kids and a wife. He wants to take care of his family and go about his daily life. The only catch is, he is an octopus! …and his family has no idea. Can he keep his true form hidden? So far “nobody suspects a thing!“
In the game you play as Octodad’s character. Your objective is to accomplish ordinary tasks of human life (i.e. opening a door, getting dressed). However, these prove to be quite difficult when you are secretly an octopus. The game play controls are designed to be awkward to use, further conveying this unique experience.
It is a short and challenging game to complete. It will have you laughing out loud repeatedly, especially as you cause destruction and chaos wherever you go.
Octodad has excellent production quality and it is available on multiple platforms.
Check it out, it will octopi all of your thoughts!
Author: Dr. Natalie Underberg-Goode
Haunted is an adventure game about a young woman named Mary who is searching for her missing sister. Along the way, she travels through the UK, traveling on trains and across mysterious landscapes. The beginning, during which you learn of the sister’s disappearance, sets the tone for the rest of the game, which alternates between spooky and kooky. The best part of the game, for me, were the extraordinary companions (in this case, ghosts) the heroine meets along the way. It was fun to learn about, and then use, the special abilities (with accompanying restrictions) of each ghost. For example, the ghost of Scottish hero William Wallace has extraordinary strength, but can only touch something if it has first been touched by death. As with most adventure games, the game is story-heavy and based on a “hunt the hot spot” mechanic. If you like story-based games in which you understand you may need to sweep the environment to find something on which to click (I do), and you enjoy mysteries and fun supernatural characters who each have their own distinct personalities and backstories, you just might enjoy playing Haunted.
Author: Dr. Don Merritt
In the early morning hours of June 12, 2016, there was a massacre at an Orlando gay club. I’m certain you’ve heard at least a little bit about it by now. It is being called the worst mass shooting on American soil in modern history with 49 people losing their lives and 53 others hospitalized. That doesn’t include the dozens more who were in the club but escaped without physical injury. The majority of the victims were Latinx, a designation that includes all genders; the event happened on the club’s popular Latin night.
Responses in Orlando to the tragedy have varied. There have been many communal outpourings of sadness and solidarity locally, nationally, and internationally. There have been many more moments of comforting and consoling in private among friends. Each person impacted by events has sought their own means of solace and comfort.
In the days immediately afterward a friend of mine who lives here in Orlando, has been to Pulse, and identifies as a young, Latino, Puerto Rican gaymer, started talking about video games on Facebook. The Electronic Entertainment Expo, or E3, began a couple of days after the shooting. My friend is a huge fan of Nintendo. Their announcements during E3, especially around “The Legend of Zelda: Breath of the Wild,” had him excited and posting happily on his wall.
Then he stopped and, in a post to all his friends, apologized for all of the talk about video games in the midst of all the hurt. It caught me off-guard. He went on to explain that video games make him happy, that Nintendo makes him happy, and he desperately wanted to feel happy about something at that moment. He wasn’t trying to be flippant, he explained, he was just trying to cope.
The post immediately got responses from us all assuring him we didn’t think he was making light of the issue, that we knew he was deeply affected, and that if video games make him happy then by all means play away.
I’d started playing a new game that Sunday for the same reason, I told him. I spent the morning hours of June 12 checking on friends who could have been at Pulse (but probably weren’t, I kept trying to reassure myself). When I wasn’t looking to see who was posting they were OK on Facebook I was reading stories about what had happened. How many had been impacted. The magnitude of the horror. At some point that morning, to get me off of Facebook and doing something – anything – else, I started playing Dragon Age: Inquisition.
There were lots of other things I could have done. I could have picked up a book. I could have gone to the gym. I could have repotted some plants that are in desperate need of some attention. But I knew I wouldn’t be able to focus on a book. The dog was spending the weekend at the in-laws so a walk without him would have let my mind wander. And the gym would have had televisions on everywhere showing coverage of the news and my phone, with its easy access to Facebook, right beside me.
Instead of all those other things I started playing a video game. I’d picked up Inquisition when it was new but never found the time to play beyond the introduction. I really wanted to – I was a fan of the series – but had never made the time. It had finally come.
Why a video game? For me, it was because playing a game requires problem solving and interaction that would serve as an effective means of distraction from the chaos around me. It was something on which I could concentrate and have a reasonable expectation of experiencing flow to a level that would let me put aside worries. It was something that would make me happy, frankly, and I really wanted to feel happy right then.
The “why Inquisition” question seems like an easy answer – I bought it but hadn’t really started playing it – but if you’re familiar with the storyline then there could be something more. I had already rolled a mage, and in the Dragon Age universe mages are near-pariahs. Scorned, feared, sometimes reviled, but also admired and even needed. The game begins with a disaster where many people are killed in a huge explosion but your hero survives somehow, marked by someone or something with a glowing green sigil on your hand. Perhaps the mark is a divine blessing, perhaps it is a curse – part of the storyline is figuring it out. I actually don’t know the whole storyline, I’m still playing through, and that’s why I’m not sure I chose the game at random.
In the story the explosion happens at a conclave to bring two warring sides together, Mages and Templar. The best and the brightest of both sides are there as is Divine Justinia, a Pope-like leader of one of the narrative universe’s primary religions. The explosion kills all of these people, including the Divine, leaving a gaping hole in the sky that sparks even more chaos and confusion. Yet from out of the ruins walks your hero, setting into motion a search for truth, healing, and hopefully justice.
I’m not going into more of the story – you can look it up, and it doesn’t matter to my point. What I want to focus on is the direction of the game narrative and the context in which I find myself playing it. Normally when I play this kind of game I prefer being the “good guy”, choosing dialog responses that reassure the NPCs and mesh with my head cannon of a friend and confidant type for my avatar.
It’s different now. I don’t always play that way. I find my preferred answer to some of the dialog prompts are the “vengeance”-type responses, the anger responses. I’m also surprised to find that sometimes, when I do reply as the nice guy, the NPCs I talk to are having none of it. In their world they’re angry, and hurt, and saying nice things only makes them angrier and more hurt.
The parallels to my real life right now are not perfect, but there’s a hell of a lot of overlap.
It’s that overlap that has me thinking, and writing. I’ve wrestled with the idea of video games as art. I believe they are, on many, many levels. The challenge is getting others outside of those who love and discuss and study games to see that. They can break down the individual components – the artwork, the sound, the acting – and see the obvious art in those things. But when taken as a whole it becomes harder for them to interpret. I feel more strongly now that the challenge is in learning this new, interactive language of games just as it is with learning the language of any other art form. Learning the language is only part of the appreciation. Until it moves you emotionally in some way, it’s just a dry text.
Not all people can appreciate a Picasso. Not all people can appreciate Mussorgsky (though I consider that heresy). But if you asked them to describe a painting or picture that they loved, they could. Same with music. It might not be the same genre as your “classical” choice, but emotionally it carries the same weight for them as the other does for you.
The same is, and will continue to be, true for games. Just because a person plays a game and can’t call it art doesn’t mean they will have that experience with all games. We may just not yet have invented the genre they will appreciate. But what is clear to me now, in that apology from my friend for talking about games on Facebook in the middle of the tragedy, is that we as gamers and gaymers are not communicating that to others who might benefit from the power this art can bring. I’m playing a game as a character looking for justice after a massacre that seems to have left the world in chaos. If that isn’t a metaphor for my life right now, and the life of many others in Orlando, I don’t know what is.
On Sunday, June 19, one week after the shooting at Pulse, the City of Orlando hosted a vigil a park at the center of the city. That entire day I was miserable, but emotionally unattached. I was going to the vigil but dreaded it so much. My partner left me alone all day and I just played Inquisition for hours. I was too miserable to interact with anyone.
That day I played up to the point in the game where you lose your initial base of operations in another huge disaster. After your escape you meet up with some of the refugees, scared and alone in a snowy mountain pass. One of the refugees, Mother Giselle, sits with the hero and engages in a conversation about faith.
It was hard to answer some of those in-game questions. Even in this made-up world I found my doubts reflected back at me. At the end of our conversation the Mother, in an attempt to reassure the hero, stands up and starts walking towards the center of the camp. As she does, she starts singing a song. In the game cannon it is a popular hymn. I don’t remember the words but I remember the sentiment – persevere through the dark for the dawn will come and that will be a new day. As she sings the entire camp comes out of their tents to sing along with her, lifting their voices up in the hope for that new day.
I choked up. Sitting on the couch, Xbox controller in my hand, holding back the first deep emotion I had allowed myself to feel in days. Because characters in a video game sang a song for me. It may seem silly to read those words, and it feels a little silly to write them, I’ll admit. But I was able to go to the vigil that night ready to start a path towards healing because of it.
I think that is the definition of art.
(The meeting where the Pokécake went viral)
- Physical attendees: Joey, Peter, Kevin, Amy, Donnie, Barbara, Devin, Anastasia, Ann, Kelly, Emily, Rudy
- Virtual attendee: Mike
- Notetaker: Emily
- Snackmasters: Emily, Peter, Rudy
- Meeting began with several photos and social media postings of Emily’s awesome Pokéball cake. Then, we cut it up and ate it along with some ice cream sandwiches.
- Anastasia & Ann won the uniquely handcrafted (nonedible) Pokéball in an entertaining game of meeting Bingo. They are currently in talks with lawyers over joint custody arrangements.
- Everyone also secretly playing Pokémon Go. Act surprised.
- Next meeting is INFORMAL and will be held Habaneros Mexican Grill on Tuesday August 16 at 3pm!! (Address for the GPS-reliant: 12185 Collegiate Way)
- Keep logging your writing on the GRG spreadsheet! We’re going to total our hours and make a list of the amazing writing that it’s produced! #humblebrag
- Send game reviews to Emily or Kelly for the GRG site. Short & sweet- general description, opinion, recommended playing audience, <500 words.
Current Projects & Goals:
Joey– planning to submit revisions for IEEC, meet with Rudy to work on a proposal, suspiciously quiet.
Peter– made meeting more enjoyable by blasting random videos throughout. Planning to: write some game jam papers, some academic papers, continue refusal to log any writing on the Writing Challenge spreadsheet, find some partners for a new VR project.
Kevin– joined us for the first time. Probably not what he expected. He’s working on some of his own indie projects, and looking for work!
Amy– finished some boring-sounding database thing, working on amazing brain-sensor grant plans with Emily & Julian, working on another awesome VR grant idea with Yovanna and Emily.
Donnie– working on some exciting grant plans with Emily, working to iterate an interface evaluation method, planning to literally phone it in from vacation.
Barbara– busy with lots of meetings, has BIG ideas to work on with Emily & others. Smart Cities, HIVE, iCorps, Moses community manager (Army’s version of Second Life)
Devin-got a new job! J moving far away! L Working on research on ball & petal (Pong) games from 1972-6 (the good old days), prepping for new teaching gig in Peoria! Hogged the raspberries.
Anastasia– furiously tweeting Pokécake photos, connected with another GRG somewhere, and we’re going to try to meet up (virtually)! Writing this, that, the other, blah, blah, book revisions, book proposal, digital showcase of alternative forms of scholarship at MLA, looking for venue for Supergirl (& feminism) article.
Ann– new prof. for Digital Media joining us for the first time! Needs to stop taking advice from Peter. Planning to work with Emily on some grant ideas, so of course we like her already! Hoping we did not scare her off.
Kelly– working on website, Unreal blog post, meeting with reporters #famous, goals: create a website/database for weekly writing. we’ll delegate more work. Going to work on stuff for Peter & posting game reviews SEND HER GAME REVIEWS! (Short, 500 words)
Mike- only lonely Hangout attendee. Living out his dream of attending an entire meeting. “Researching” Batman, but going on hiatus because of impending child. My notes say he’s working on a proposal for that, but I’m going to assume it’s for something else.
Emily– goals from last meeting not remembered and therefore accomplished. Successfully made Pokéball-ish-looking cake. Foolishly working on 100 simultaneous grant applications with multiple people. Also trying to write something that will have a real human audience, like an article or chapter. TBD if she’ll follow through.
Rudy– LATE. Disrupted meeting by insisting on a grand entrance. Working on final edits to IEEE article, working on 2 grants but only one is game related so the other doesn’t count, working on application to be Full of Cake (or something much more boring like full professor).