Game Theory: talking videogames at the New York Times

Games as ballet, a playwright on the medium, and (sorry) me talking about ladies, again.

Before Christmas, I was lucky enough to be asked to take part in the New York Times's "Game Theory" strand, talking about the year in videogames. (The idea comes from writer Chris Suellentrop, who has run a version of it in previous years on Slate.) 

Having read all the pieces, I'm thrilled that a non-specialist title hosted something like this, and thought I'd point up a few of the bits which stood out to me. First, Lucy Prebble - who wrote the play Enron - writes about what games can do that other media cannot:

For me, there’s a sort of identification with your character that other media will never be able to replicate. A game makes a player its subject, while the tyranny of the director’s point of view in film and the author’s withholding of detail in fiction both place the viewer as an observer in the world.

(Incidentally, her game of the year was Catherine, for asking "what gamers are really afraid of. Zombies? Aliens? Terrorists? Or relationships?")

I also really liked Jenn Frank's piece on dying in games, talking about Super Hexagon and Hotline Miami. She wrote:

How does a game torture you, the player, without making you stamp off in defeat? It’s a fine line to walk, and the makers of both games handle it deftly: These games succeed by making the barrier to re-entry so low. The player, in turn, is never permanently punished. (Some games are needlessly vindictive; Hexagon and Miami are instead forgiving, in their own way.)

(If you enjoyed that, do read Wired's recent piece by Andrew Groen on the mini-trend for "permanent death" in games here.)

For me, though, the most unexpected piece was Suellentrop on the link between videogames and ballet - chiefly because I had never thought of the comparison before, and because we so often talk about games in relation to films. 

Ballet is “an art of memory,” Homans writes. “No wonder dancers obsessively memorize everything: steps, gestures, combinations variations, whole ballets.” She continues, “These are physical memories; when dancers know a dance, they know it in their muscles and bones.” And so do gamers, when they know a video game. The players of Call of Duty and Halo have more in common with ballerinas than either might like to admit.

There's also an interesting response to this from Kirk Hamilton, who points out that playing games is more like doing ballet, than watching it, and perhaps that's why it can be so hard to convince non-gamers to try the medium.

Elsewhere, Gavin Purcell, a producer for Jimmy Fallon's TV show, wrote about "antisocial games" - the ones that suck your time and make you feel guilty; Hamilton writes about the mechanics of shooters getting stuck in a rut; and Stephen Totilo addresses game violence in the wake of the Sandy Hook massacre. The whole series can be found here.

PS. I wrote about women in games - "there’s been a definite backlash against the idea that women are entering the hallowed citadel, dropping in a few scatter cushions and ending all the fun" - and my piece is here.

There's also a response from Stephen Totilo, who has pointed out an intriguing-sounding game from Anna Anthropy, called Dys4ia, about the challenges of being transgender, and Anna's book, Rise of the Videogame Zinesters: How Freaks, Normals, Amateurs, Artists, Dreamers, Drop-outs, Queers, Housewives, and People Like You Are Taking Back an Art Form. Which is quite the title.

Dys4ia, the game.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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Forget planning for no deal. The government isn't really planning for Brexit at all

The British government is simply not in a position to handle life after the EU.

No deal is better than a bad deal? That phrase has essentially vanished from Theresa May’s lips since the loss of her parliamentary majority in June, but it lives on in the minds of her boosters in the commentariat and the most committed parts of the Brexit press. In fact, they have a new meme: criticising the civil service and ministers who backed a Remain vote for “not preparing” for a no deal Brexit.

Leaving without a deal would mean, among other things, dropping out of the Open Skies agreement which allows British aeroplanes to fly to the United States and European Union. It would lead very quickly to food shortages and also mean that radioactive isotopes, used among other things for cancer treatment, wouldn’t be able to cross into the UK anymore. “Planning for no deal” actually means “making a deal”.  (Where the Brexit elite may have a point is that the consequences of no deal are sufficiently disruptive on both sides that the British government shouldn’t  worry too much about the two-year time frame set out in Article 50, as both sides have too big an incentive to always agree to extra time. I don’t think this is likely for political reasons but there is a good economic case for it.)

For the most part, you can’t really plan for no deal. There are however some things the government could prepare for. They could, for instance, start hiring additional staff for customs checks and investing in a bigger IT system to be able to handle the increased volume of work that would need to take place at the British border. It would need to begin issuing compulsory purchases to build new customs posts at ports, particularly along the 300-mile stretch of the Irish border – where Northern Ireland, outside the European Union, would immediately have a hard border with the Republic of Ireland, which would remain inside the bloc. But as Newsnight’s Christopher Cook details, the government is doing none of these things.

Now, in a way, you might say that this is a good decision on the government’s part. Frankly, these measures would only be about as useful as doing your seatbelt up before driving off the Grand Canyon. Buying up land and properties along the Irish border has the potential to cause political headaches that neither the British nor Irish governments need. However, as Cook notes, much of the government’s negotiating strategy seems to be based around convincing the EU27 that the United Kingdom might actually walk away without a deal, so not making even these inadequate plans makes a mockery of their own strategy. 

But the frothing about preparing for “no deal” ignores a far bigger problem: the government isn’t really preparing for any deal, and certainly not the one envisaged in May’s Lancaster House speech, where she set out the terms of Britain’s Brexit negotiations, or in her letter to the EU27 triggering Article 50. Just to reiterate: the government’s proposal is that the United Kingdom will leave both the single market and the customs union. Its regulations will no longer be set or enforced by the European Court of Justice or related bodies.

That means that, when Britain leaves the EU, it will need, at a minimum: to beef up the number of staff, the quality of its computer systems and the amount of physical space given over to customs checks and other assorted border work. It will need to hire its own food and standards inspectors to travel the globe checking the quality of products exported to the United Kingdom. It will need to increase the size of its own regulatory bodies.

The Foreign Office is doing some good and important work on preparing Britain’s re-entry into the World Trade Organisation as a nation with its own set of tariffs. But across the government, the level of preparation is simply not where it should be.

And all that’s assuming that May gets exactly what she wants. It’s not that the government isn’t preparing for no deal, or isn’t preparing for a bad deal. It can’t even be said to be preparing for what it believes is a great deal. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to domestic and global politics.