Critical Play is a book written by Mary Flanagan, and a TED talk performed by Mary Flanagan. Both discuss the evolution of games over time, and the idea of critical or serious games, which is play that represents one or more questions about aspects of human life. Serious or critical games often use critical thinking to examine social and political issues, that may lead to interventions or subversive practices.
- What was new to you, or what surprised you, in the introduction to Critical Play or the TED talk? What do you think about it?
- The idea that games are central to the human condition was the most surprising and new concept for me. In the TED talk, Mary first talked about how we share the natural desire to play with animals. She went on to discuss games that young children play, including dramatic play with dollhouses and dolls. The dollhouse from Amsterdam reflects the merchant class of the 17th century, therefore, it had a similar aesthetic to real homes, and had servant dolls to reflect the class structure of the house. She also talked about a funerary doll that came with its own casket, and how the chess set evolved when it traveled from India and the Middle East, to Northern Europe. The queen came into play to reflect the structure of society. In Mary's introduction in Critical Play, she talks about the "play house" during the U.S. industrial revolution, and how gender roles needed to be reasserted due to changing labor conditions. She also said that U.S. culture mirrored the rise of financially focused board games such as Monopoly. This is so interesting! Having played Monopoly many times as a child, I never knew that the game was created by a social activist protesting landlords and tax policies.
- Think about a game you played when you were a child or teenager. What social and cultural norms were embedded in it (that you maybe didn't realize until later or now)? What values and ideas were implied? Which were omitted?
- I used to play Tony Hawk's video game a lot with my brother as a kid. It really embodies skating culture as a whole, including the ideals of what it means to be a punk. In this game you could skate wherever you wanted- in a playground, a pool, on the highway, you name it. In real life, we know this isn't true. The costumes were very real, consisting of saggy jeans and skulls on T-shirts. The skateboard iconography matched this same theme. Furthermore, there was a character called "Officer Dick," which obviously reflects the conflicting relationship between skater culture and police officers. These games made you feel like a rebel. However, it was never too gory, and it allowed you to work toward various achievements like medals, and building your own skatepark.
- Flanagan says games are a technology and an art. Do you agree, disagree? Why?
- I do feel that games can be considered art, however, I find issue with the statement that all games are a form of technology. Even though that games can be considered art, I think it is important to specify the type of artist creating a game. Is it a visual artist? A graphic artist? A social practice artist? A game designer? We all know "art" is all encompassing, but it is a disservice to the artist himself or herself if you label them as a general artist. I understand that the term "technology" is also a very general term. People consider spoons a type of technology. However, the term technology has evolved in our society, and when people say the word, technology, people assume you are referring to a smartphone, laptop, tablet, television, electronic etc. I would consider video games technology, yes, but to be clear in your claims I would not identify board games as technology.
- What does she say about subversion that seems important to you? Why do you think that?
- Mary Flanagan claims that "because they primarily exist as rule systems, games are particularly ripe for subversive practices." These practices may appear as cheats. Mary talks about interventions and subversive practices the same way we talk about social practice art interventions. She says that interventions are specific types of subversions that rely upon direct action and engage with political or social issues. For example, performance art or art in public spaces is a type of intervention because the artist is disrupting an everyday space and using subversive practices to occupy a space to create dialogue about a social or political issue. It is great to know that game designers are thinking of critical games the same way artists are thinking of social practice art, and the same way teachers are thinking of critical pedagogy. All of these practices involve critical thinking around social and political issues.
- Mary Flanagan claims that "because they primarily exist as rule systems, games are particularly ripe for subversive practices." These practices may appear as cheats. Mary talks about interventions and subversive practices the same way we talk about social practice art interventions. She says that interventions are specific types of subversions that rely upon direct action and engage with political or social issues. For example, performance art or art in public spaces is a type of intervention because the artist is disrupting an everyday space and using subversive practices to occupy a space to create dialogue about a social or political issue. It is great to know that game designers are thinking of critical games the same way artists are thinking of social practice art, and the same way teachers are thinking of critical pedagogy. All of these practices involve critical thinking around social and political issues.