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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Jeremy Corbyn's speech on terrorism will do him more good than harm

The Labour leader's criticism of police cuts and western foreign policy will resonate with voters.

The election campaign, if there was any doubt, has resumed. In his speech responding to the Manchester attack, Jeremy Corbyn did not limit himself to expressions of sympathy and solidarity. He squarely targeted Theresa May on her home turf: policing and security.

The Conservatives' repeated warning is that Corbyn is a "threat" to his country. But the Labour leader countered that only he could keep it "safe". Austerity, he declared, "has to stop at the A&E ward and at the police station door. We cannot be protected and cared for on the cheap." May, having been warned by the Police Federation while home secretary of the danger of cuts, is undoubtedly vulnerable on this front. Under Labour, Corbyn vowed, "there will be more police on the streets" (despite Diane Abbott's erroneous arithmetic), while the security services would receive whatever resources they need.

Corbyn swiftly progressed to foreign policy, the great passion of his political life. Though it is facile to reduce terrorism to a "blowback" against western interventionism (as if jihadists were Pavlovian dogs, rather than moral agents), it is blinkered to dismiss any connection. As Corbyn noted: "Many experts, including professionals in our intelligence and security services have pointed to the connections between wars our government has supported or fought in other countries, such as Libya, and terrorism here at home" (the Tory-led Foreign Affairs Select Committee is among those who agree).That the former Stop the War chair has long taken this view absolves him of the charge of crude political opportunism.

Corbyn was also more careful than his pre-briefed remarks suggested to caveat his criticisms. He emphasised: "Those causes certainly cannot be reduced to foreign policy decisions alone. Over the past fifteen years or so, a sub-culture of often suicidal violence has developed amongst a tiny minority of, mainly young, men, falsely drawing authority from Islamic beliefs and often nurtured in a prison system in urgent need of resources and reform.

"And no rationale based on the actions of any government can remotely excuse, or even adequately explain, outrages like this week’s massacre."

But he maintained his central charge: western intervention has made the world more dangerous, not less. "We must be brave enough to admit the war on terror is simply not working," he said. "We need a smarter way to reduce the threat from countries that nurture terrorists and generate terrorism."

Though Corbyn's arguments have appalled Conservatives (and some in Labour), they are ones that will likely find favour among the public. Polls have consistently shown that most voters oppose western adventurism and believe it has endangered the UK. Corbyn's words will resonate among both the anti-interventionist left and the isolationist right (this is, after all, a country which has just voted to retreat from even its closest neighbours).

The speech, given at 1 Great George Street (in the room where Ed Miliband gave his resignation address), was marred by Corbyn's refusal to take questions. But it was unarguably well-delivered. "Let’s have our arguments without impugning anyone’s patriotism and without diluting the unity with which we stand against terror," he warned in a pre-emptive strike against the Conservatives.

Corbyn's decision to give an overtly political speech four days after the Manchester attack is being widely described as a "gamble" or even a profound error. But the election will now rightly focus more closely on the issue of security - nothing should be beyond democratic debate.

Many of Corbyn's life-long stances, such as unilateral disarmament, do not find favour with the electorate. But there was little in his speech today that the average voter would contest. The Conservatives will hope to turn the heightened security debate to their advantage, ruthlessly quoting Corbyn against himself. But on this front, as on others, the Labour leader is proving a tougher opponent than they anticipated.

George Eaton is political editor of the New Statesman.

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