Hardcore Sporn

In his first posting on newstatesman.com's CultureTech Iain Simons gets red in the face over some Ha

Los Angeles, 2005. Deep within the sweaty bowels of the Electronic Arts booth at the E3 videogame trade-show in Los Angeles, and I’m amongst the journalists ushered into a dark black box room to be shown preview of the new project by Will Wright.

For those unfamiliar with the name, Wright is the uber-nerd. The fully-formed, undiluted lord-emperor of geek. He’s the man who made socio-economic computer simulations into a mass market product and in doing so finally gave gaming’s defenders some solid evidence to lean on. I’m not playing darling, I’m restructuring taxation to stimulate industrial growth. A tall, bespectacled figure of nervously twitching brilliance, his intensity is legendary - the computer program made flesh.

Having made town planning a solid-gold franchise with SimCity, his company Maxis produced a range of Sim-(insert noun here) titles before finally attempting to simulate human beings in The Sims. As the world swooned to the charms of a turgid soap-opera played out within a virtual dolls-house, publisher Electronic Arts commissioned a merciless series of expansion packs and finally a true sequel. Several tens of millions of dollars later, Wright went quiet.

Now a fully fledged niche celebrity and in the unusual position of being able to make whatever he liked as his next project, he resolved to try something a little more ambitious. Maxis went to work on creating a game that would simulate evolution in its entirety, wholly untroubled by restraint. It was this, Sim-Everything, that Wright first demonstrated to the world in California that summer. By then thought it had been christened with the rather more evocative name, Spore.

Starting from a single-celled life-form splashing around in the primordial soup and moving through to inter-planetary travel and beyond, it was Powers of Ten for the Playstation generation. One of the key hooks is the ability for all players to design, develop and evolve creatures that are uniquely theirs. The game’s universe is thus populated and sustained by these user-generated offspring which play, learn, sing, fight and of course breed together - creating an ever deeper gene pool. It’s like Second Life but with babies, and probably crashes less. Spore was instantly the most anticipated project in years.

2006, Leipzig Games Convention. Wright is on stage giving the same demo seen the previous year, this time to the public too. Everyone is still amazed, although slightly more curious to know when it will be released and what the actual, y’know, game will be…

2007, London. Release dates are rumoured and denied - no-one knows much more about the game, but in a hotel suite in London Wright is demonstrating the creature creation tool - giving journalists a hands-on try at building a life-form. Seemingly effortlessly, I sculpt some bio-sludge into the body of my beast. Pulling an armature skeleton around to shape the body, I’m suddenly adding limbs, eyes and mouths in a manner that would make Harryhausen shudder. Once composed, the extraordinary procedural animation system takes over and calculates how your creature would move based on the anatomical design decisions you have just made. Within minutes my creature takes its first breath and waddles into life. It looks ridiculous and brilliant.

User Generated Content. The holy grail of web 2.0. But - as all web 2.0 projects know, it’s a huge risk to place the main content burdens of a project in the hands of an unknown audience. Spore has to be a major mass-market product to recoup its development costs, and the techniques of 3d modeling demand a spatial literacy not neccessarily present in the casual user.

Recreational CAD, anyone? The tool for empowering the non-skilled user to rapidly obtain pleasing design results would need to be exceptional - and, it is. The creator is beautifully accessible, distilling the most nuanced sculptural strokes into gentle moves of the mouse. To use it really is to get a sense of your own untapped creative potential within your grasp. The kind of creative design software that would previously cost hundreds, if not thousands of pounds, is now embedded within a videogame and currently available to download for free as a limited version.

Electronic Arts, the publisher, is celebrating the release of the creator software by inviting ‘75 of the most creative innovators from around the world’ to create a creature of their own. David Lynch, Brian Eno and of course MC Hammer are all sharing their Sporlebrities with the World. It’s a moment for critical acclaim, shareholder celebration and the real kick-off for the final launch campaign. Sadly for EA though, the internet, that great leveller of pomp, has seen to it that there’s really only one story about Spore this week.

The budding Creature designers have shown what’s truly on their minds, and it’s largely priapic. Youtube is awash with a sticky tide of ‘Sporn’ as users upload their animated organs and EA’s brave new World is going to have to think carefully about how to deal with the waddling members of its customers. A few user accounts have been closed down already, for breaching the terms of use - but making subjective judgements about complex sculptures when over 250,000 creatures are being created in a single day already is going to be a huge task.

It seems strangely apposite that this game about dna and evolution has inspired so many inventive and varied representations of procedurally animated sex. Despite being gifted with one of the most powerful and accessible modelling tools in the history of computing, many users will still opt to create a waddling penis. Spore truly is the stuff of life.

Download the Spore Creature Creator for Mac or Windows.

View the acceptable face of Spore creativity

Iain Simons writes, talks and tweets about videogames and technology. His new book, Play Britannia, is to be published in 2009. He is the director of the GameCity festival at Nottingham Trent University.
Photo: Getty Images
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How can Britain become a nation of homeowners?

David Cameron must unlock the spirit of his postwar predecessors to get the housing market back on track. 

In the 1955 election, Anthony Eden described turning Britain into a “property-owning democracy” as his – and by extension, the Conservative Party’s – overarching mission.

60 years later, what’s changed? Then, as now, an Old Etonian sits in Downing Street. Then, as now, Labour are badly riven between left and right, with their last stay in government widely believed – by their activists at least – to have been a disappointment. Then as now, few commentators seriously believe the Tories will be out of power any time soon.

But as for a property-owning democracy? That’s going less well.

When Eden won in 1955, around a third of people owned their own homes. By the time the Conservative government gave way to Harold Wilson in 1964, 42 per cent of households were owner-occupiers.

That kicked off a long period – from the mid-50s right until the fall of the Berlin Wall – in which home ownership increased, before staying roughly flat at 70 per cent of the population from 1991 to 2001.

But over the course of the next decade, for the first time in over a hundred years, the proportion of owner-occupiers went to into reverse. Just 64 percent of households were owner-occupier in 2011. No-one seriously believes that number will have gone anywhere other than down by the time of the next census in 2021. Most troublingly, in London – which, for the most part, gives us a fairly accurate idea of what the demographics of Britain as a whole will be in 30 years’ time – more than half of households are now renters.

What’s gone wrong?

In short, property prices have shot out of reach of increasing numbers of people. The British housing market increasingly gets a failing grade at “Social Contract 101”: could someone, without a backstop of parental or family capital, entering the workforce today, working full-time, seriously hope to retire in 50 years in their own home with their mortgage paid off?

It’s useful to compare and contrast the policy levers of those two Old Etonians, Eden and Cameron. Cameron, so far, has favoured demand-side solutions: Help to Buy and the new Help to Buy ISA.

To take the second, newer of those two policy innovations first: the Help to Buy ISA. Does it work?

Well, if you are a pre-existing saver – you can’t use the Help to Buy ISA for another tax year. And you have to stop putting money into any existing ISAs. So anyone putting a little aside at the moment – not going to feel the benefit of a Help to Buy ISA.

And anyone solely reliant on a Help to Buy ISA – the most you can benefit from, if you are single, it is an extra three grand from the government. This is not going to shift any houses any time soon.

What it is is a bung for the only working-age demographic to have done well out of the Coalition: dual-earner couples with no children earning above average income.

What about Help to Buy itself? At the margins, Help to Buy is helping some people achieve completions – while driving up the big disincentive to home ownership in the shape of prices – and creating sub-prime style risks for the taxpayer in future.

Eden, in contrast, preferred supply-side policies: his government, like every peacetime government from Baldwin until Thatcher’s it was a housebuilding government.

Why are house prices so high? Because there aren’t enough of them. The sector is over-regulated, underprovided, there isn’t enough housing either for social lets or for buyers. And until today’s Conservatives rediscover the spirit of Eden, that is unlikely to change.

I was at a Conservative party fringe (I was on the far left, both in terms of seating and politics).This is what I said, minus the ums, the ahs, and the moment my screensaver kicked in.

Stephen Bush is editor of the Staggers, the New Statesman’s political blog.