As well as the preservation of old gaming technologies in archives such as the Computer Game Museum in Berlin and online archives such as vgmuseum.com and the previously mentioned Snesmusic.org archive there is also a community of modders and hackers. Instead of preserving these technologies the modders and hackers distort, enhance, tweak and make old technologies unique.



The term used to describe this practice is 'circuit bending' and usually takes the form of physically hacking a device. Electronic devices such as keyboards, Speak and Spell like devices, games consoles and drum machines/synthesisers are modified using an array of dials and switches that are integrated directly into the circuitry of the device. It seems that the practice involves experimental, random and a series 'known' modding processes which result in interesting and unique 'versions' of the original technology. It appears that the main focus is on the hacking of audio devices but there is also a visual circuit bending community.



As a child I would take my electronic toys apart using a screwdriver set from a Christmas cracker that I kept hidden in a drawer in my bedroom to see what was inside, to play with what was inside the plastic casing. Certain forms of circuit bending seem to be closely associated with childhood through the use of children's toys, a child-like inquisitive nature and the simple logic and experimental processes that are used. There are of course highly skilled and technically proficient circuit benders that have a detailed knowledge of the insides of the machine and how to tap straight into it. But the experimental aspect of circuit seems to be key - there is a desire to play with these technologies, make individual creations, sounds and video outputs that are absolutely unique to that bent device. These are not conventional or 'official' ways of interacting with a device, they are playful, hit or miss, unsystematic, arbitrary, completely random - taking a piece of technology, fixing it to another piece of technology and seeing what happens - mixing and matching components in order to create new sound or visuals.



There certainly seems to be an element of understanding technology at a more human and physical level associated with circuit bending. Instead of needing to know the exact science behind a piece of technology a journey of experimentation takes place during which the circuit bender learns something about the insides of a audio or audiovisual device. I am not quite sure where nostalgia fits into circuit bending culture, there are often some iconic games consoles and toys used for bending along with old toy or miniature keyboards. There certainly seems to be nostalgia bound up in the process but there is a disruption and direct modification/manipulation of the device itself instead of using it as an object with which to trigger and explore memories of interaction and play. Circuit bending has both a disruptive and dynamic effect on the reception of old technologies. There are usually elements of the 'old' technology still present in the final circuit bent form - the case, often the characteristic of the sound or visual, the physical interface. These elements often remain as without them the circuit bent device moves on to being something else, the device must (usually) be recognisable either visually, through audio or via a direct reference such as a label. But whilst we can be nostalgic about the original technology (through the clues/references previously mentioned) we are also shown a unique and new edge to the device, a series of modifications allow the device to transcend its original purpose and take on new meaning. The device has been hacked, it has been opened up, the seal has been broken, it has been manipulated and messed with - it has been reconfigured through a process of creative experimentation.

http://www.plopbox.net/

Websites such as plopbox.net are used to upload and share music created on older computer consoles, mainly from the 80s-90s. Consoles from this period have a very distinct sound and no matter what the nature of the composition is. The voices used to create these tracks were used to play-out the soundtracks for computer games of that era. For a gamer that spent hours playing these consoles in the past it is difficult not to relate the sound of the tracks directly to game play.

The appeal of these tracks for me is the synthesisers that are being used, and their ability to trigger reminiscence of computer game play. These tracks act as a tool for evoking memories of early computer game play, a time when it did not matter that I might spend a whole afternoon playing computer games, there was nothing else to worry about.

The tracks that have been created using these older technologies are powerless not to be heard as soundtracks for exciting quests of one sort or another. From what I have listened to so far there are few attempts to make compositions sound like anything other than . It is easy to imagine the game that the track might accompany. What do the members of this community gain from composing, listening to and distributing this material - is this about nostalgia, preservation, demonstration of technical ability? What separates these tracks from simple computer compositions created on more recent technologies? Is it the voices that are used? There are distinct limitations to the creation of these tracks (ability to sample real sound for example)? Is this a demonstration of perseverance and patience - newer technologies offer the composer more choice and control with more stable operating systems and intuitive GUIs.

What is it about these tracks that is so appealing to me (and those participating in this community)?

There are also websites and online communities that are dedicated to archiving the soundtracks to computer games such as snesmusic.org. These tracks are considered to be important and not just throwaway products of old and superseded technologies. There is an acknowledgement that it is important to catalog and archive these sounds, they are historical artificats that can be stored using small amounts of space.

260209 The Wii Hacks

Less to do with nostalgia and more to do with physical console hacks and consumer development this video describes a method for creating a VR like experience using Wii technologies. The simplicity of this concept is beautiful and it is difficult to see how the method will not be developed by Nintendo or one of the other mainstream console producers. It appears to offer the ability to experience seemingly 3D interfaces without the need for any expensive technologies. From viewing the test application featured in this video alone the potential for dramatically increased levels of perceived immersion during play are clear.



This, at face value, appears to be a genuinely new form of control that build on the physical action (perceived) required to become immersed in Wii play. Player physical movement being interpreted by the Wii console and directly changing what is displayed on-screen is integral to the premise of the Wii. racking the line of sight of the user rather than the movement of a limb is the key difference here and will potentially lead to interesting takes on existing game formats such as the first person shooter.

010209 Fossil Atari Watch Series.

When shopping in Bath recently I spotted this Atari endorsed Fossil watch, which plays an animation of the original Breakout game on the watch face.



The watch seems to be targeting the 'original' gamers that remember the original Atari arcade and home video console games. On further investigation I found that the series includes watches that feature animations of Asteroids, Centipede and Breakout. The emergence of the Atari series of watches is interesting because it says something about the original gaming generation. It says something about their age, about their income and about their nostalgic disposition. Or maybe it says a lot about how iconic imagery can be marketed to the retro chic market. These are of course sweeping statements and it is assumed that they can be applied to the majority of the original gaming generation. Although not every member of this generation will fit into the correct age, income and 'nostalgic disposition' categories it can be assumed that many do. Fossil were able to release this series of watches with a specific target audience; a consumer that was nostalgic enough about their original gaming experiences to purchase one of the series. Whether it would only be original gamers that purchased the watch must be considered carefully; is this always just a nostalgia driven purchase or does the iconic imagery appeal to a younger generation too?



The series of watches also follows the recent trend of using images from early computer games on clothing and fashion accessories. The iconic image of Space Invaders is a prime example as it is often used on printed t-shirts and other clothing. It seems that 'retro' imagery, and specifically 'retro' gaming imagery is marketable. It is interesting to think through the use of this imagery on items such as clothing. It could be argued that clothing designers and retail outlets are using retro gaming imagery to target a specific group of individuals - the 'original' gamers. The gamers that have experienced the games being depicted in their original and early incarnations. But what of the individuals that wear this clothing but appear to be far too young to have experienced the games being depicted in their original form? Have these individuals ever played Space Invaders and if not, what do they understand of the image that they parade on their chest?

• How are 'retro' gaming images used and marketed, what is the lifestyle that is being offered?
• What are the differences and links between 'retro' and 'nostalgia'? Retro is often associated with desirable objects, it is a marketable concept that can be used to target consumers. Nostalgia is more personal and unique to the individual, it appears to be more complicated and directly related to affective relationships.
• Who are products such as the Fossil watch aimed at? Who actually buys these products and why? How much of the game history is understood by the purchaser? What is the wearer saying when they place this watch on their wrist?

200209 Left 4 Dead. "...an epic struggle against hordes of swarming zombies..."

"The most intense co-operative action experience ever created, brought to you by the makers of Counter-Strike. Set in a modern day survival-horror universe, the co-operative gameplay casts four “Survivors” in an epic struggle against hordes of swarming zombies and terrifying “Boss Infected” mutants."

www.eagames.co.uk/game/left-4-dead/xbox360/

Playing Left 4 Dead was a new experience for me. I have very limited experience of networked gaming and have never played a multi-player networked game using Xbox Live. The game itself was a relatively standard first person shooter. We did not dwell on the storyline and went straight into playing the game. The basic premise of the game seems to be that everybody has been turned into a zombie and there are only 5(?) survivors. Players play as one of these survivors (it is also possible to play as a zombie in other areas of the game) and the aim of the game is to work collaboratively with other players over a network to annihilate all of the zombies within a stage. The player is provided with a standard set of weapons, which can be changed throughout the game if the player happens upon a weapon or ammunition upgrade. Health decreases when a player is attacked by a zombie but can be restored by self healing using a health pack or by another player choosing to heal one of team. The headset can be used to communicate verbally with other players, this feature may be used for co-ordination or general chat, introductions and comments.

Earlier in the evening we had been looking through and discussing the older games available for download on the Xbox and the essence of this conversation continued when playing Left 4 Dead. The game was compared to early first person shooters such as Doom and Duke Nukem 3D and Rise of the Triad. The game format of Left 4 Dead is extremely simple and refers back to these original first person shooters with the focus being on networked and collaborative play. I found it interesting that even though I was experiencing a game title and method of video game play (networked and collaborative) that I had not encountered before the conversation featured old game titles and technologies. As previously mentioned this may be due to our original discussion of retro games available for download on the Xbox but there seemed to be something more important about these discussions than just the previous conversation spilling over.

On reflection there seem to be several key reasons for recollection taking place during the experience of playing a new video game. Players and viewers of the game use recollection and nostalgic references to situate the game in a long video game history. By discussing the original first person shooter titles it is easier to work through the developments between original and current game titles. Left 4 Dead is essentially the same, in terms of game format, as Doom for example. But by comparing the two games the key differences between the two games begin to emerge (in terms of new features and vastly developed/enhanced features): collaborative networked play, graphics, narrative, AI, 'live' interaction with other players etc. So nostalgic recollection and reference to previous game titles is used to 'situate' the game in relation to previous titles. A judgment can then be made by players with regards how successful or 'good' a game is.

Nostalgic recollection, or maybe just recollection is also positions the players in relation to each other as well as the game itself. By discussing the games that form part of the history of the title being played the players are able to establish each others gaming pedigree. This is not a tactical move during versus play (at least not in the experience currently being reflected upon) but is instead used to establish a connection with fellow players. A certain amount of respect(?) is given and received for those players that have an understanding of the meta history of a particular title, console or technology.

Recalling previous gaming experience also assists a player when encountering a new game. A comment such as "it is pretty much the same as Doom" being directed towards a new player by an experienced player (experienced in this specific game) instantly provides the new player with a framework with which to understand the game, which allows meaningful and enjoyable play to take place. Nostalgia does not come in to play quite as much here, instead previous experiences of different 'sets' of games that have been played are being recalled and the skills/techniques associated with them applied.

Once again the game itself acts as a trigger for recollection, just as the Xbox Arcade thumbnail previews did. Players have experienced elements of play before and this can lead to discussion of previous game titles and player experiences. These initial recollections descend into a nostalgic voyage into what used to be played in the past and player-specific recollections of both general and more specific game play experiences. A general comment may run something like "I used to play Doom for hours when I was younger" and a more specific recollection of experience might be "I remember playing the game (Doom) with my friends in the dark with the light switched off and the sound turned up. We were genuinely scared by the breathing sound effects of the game as we searched out enemies to destroy". Sharing these experiences and personal 'game biographies' seems to be a very important part of the game play experienced and discussed so far. As outlined in my initial research proposal the level of importance mentioned may be directly related to the age of a player, and I hope to investigate this further.

Above: Left 4 Dead being played by an experienced player whilst the headset is used to listen-in on the conversations occurring during play. The subject listening-in was experiencing live networked discussion between players for the first time.

200209 An Introduction to the Xbox Live Aracde. 'Go retro: Play the original arcade game.'

After discussing my current research interest with a work colleague I was invited to a demonstration of the Xbox LIVE Arcade interface used by Microsoft to sell previously released and 'retro' software titles. The online store is the Microsoft version of the Nintendo Wii Shop Channel, which also sells older games that can be played by using the console as an emulator for the Commodore 64, NES, N64 etc. The Xbox Live Arcade features games that were originally available in the arcade, games classics such as Pacman and Centipede for example, as well as games played on consoles such as the Dreamcast. Other game titles that originally featured on a variety of consoles (multi-platform console releases) are also available for download.

The Xbox LIVE Arcade interface was simple and easy to use providing the user with a preview of each game available for download. The preview usually provided an image from the original marketing of the game (the front cover of the game box for example) as well as the game title and a brief textual description. It was very easy to scroll through the available games and filter searches via a number of means. Whilst scrolling through the list of games several titles acted as triggers for recollection through discussion. This recollection ranged from short comments acknowledging that this title was 'known' or remembered through to brief discussions about the game itself in which memories were combined to confirm what the game looked like or what it was like to play. Individual game biographies began to emerge through this process of scrolling through the various games that were available for download. Gaming biographies were unique to each person but were punctuated by particular game titles relevant to a number of people (usually popular game titles such as Tron, Pacman, Speedball etc). Some game titles were recalled but had not previously been played, the LIVE Arcade provides a platform that can be used to play the lost games of the past, games that were never purchased or owned for one reason or another. After being shown the LIVE Arcade interface and the content available for download we started to play Left 4 Dead, developed by Valve and published by Electronic Arts.

After some reflection on this particular experience of reminiscing with friends about gaming personal and shared gaming experiences through conversation and game play I started to think about how to gather evidence of nostalgic recollection in the future.

• The evening as a whole was an enjoyable social experience but also served as an unstructured and informal space within which to discuss personal gaming experiences and biographies. The Xbox LIVE Arcade interface acted as a kind of scrapbook containing visual and descriptive references to previously played game titles. The presence of these online overviews, or summaries, acted as a starting point for discussion and reminiscence. It may be possible to formalise this unstructured and fluid experience in order to explore the intricacies of nostalgia experienced by research subjects in the future. A research subject, or group of subjects, could be presented with an Xbox 360 running the LIVE Arcade shop front. The interaction and discussion that follows (including which games are downloaded/played) could then be recorded on video. Content captured on tape could be studied after the event and worked into a more formal interview of the subject(s).
  
• A large proportion of the conversations occurring throughout the evening provided me with some interesting ideas and areas for further investigation. It would be useful to record these areas of interest shortly after their formulation - short blog or note entries would be useful and could be returned to at a later date for further development. The blog or note entries would serve as a formal marker for a potential area of interest.
• Recording of conversation may be useful in the future but this must be thought through carefully. Permission must, of course, be gained from those entering into discussion or interview. A knowledge that a conversation is being recorded for a formal purpose may lead those participating in discussion to act differently, feeling that they must 'perform' correctly. My experiences to-date do not result from the playing out of any particular research strategy, they are simply interesting conversations or game playing sessions that have occurred within a social space.
  
• It may be possible, as previously mentioned, to formalise discussion and game playing within a research framework in the future. It is important to think through a process of formalisation carefully as an experience for the research subject that appears to be less formal and structured may provide more detailed and interesting accounts of personal gaming experience. There must be a research focus at work during evidence collection but it is also important to provide a space within which the subject can reflect openly about gaming experience.
• It is also important to consider the distinction between social encounters and active research strategies. Conversations and game playing experiences that I am currently entering into through the course of day-to-day social occurrences are not directly associated with any specific research strategy. Post experience reflection on these events provides me with areas of interest to investigate further rather than material to be used directly as evidence. It is important to think about the distinction between normal social experience and targeted research. One element of evidence gathering should aim to use an informal social space through which insightful content (conversation, commentary, reflection etc) can be recorded.
  

DrugLords

DrugLords as, potentially, the first successful iPhone based LBMMOG.

Convergence of the real and virtual 'worlds' into one game space/sphere of play. It will be interesting to discover just how much the GPS technology embedded within the iPhone is exploited within the game. We are currently only able to view a short run-through of the app on YouTube, which doesn't provide much of an insight into how the application will use GPS other than displaying the location of other players. It would be extremely interesting of the app was to develop along the lines of Botfighters, an early SMS based LBMMOG developed and released by a company called 'It's Alive' initially in Sweden.

"[...] Botfighters takes advantage of location-sensing technologies involving mobile phones. Players sign up on a Web site, create a "bot", name it, and arm it with guns, shields, batteries and detectors. when their mobile telephones are on, the players receive SMS messages about the geographical distance of other players. "When they get close enough to fire [...] players get an SMS message from our server, and if their weapons are stronger than their opponents shield, and their opponent doesn't shoot first, they are credited with a kill." The scores and competitive positions of players are instantly updated on the Web site."

Rheingold, H. (2002) Smart Mobs: the next social revolution.
USA: Basic Books.

It would be interesting to track the development of DrugLords if 'live interactions' between game players were made possible. Eliminating rival players by getting close enough to them to make a 'kill' or engage in conversation or collaboration would create an interesting relationship between the player and the 'real' and 'virtual' worlds within which the game is played. It is only possible to speculate about game play at present until the game, or further information about the game, is released.

Whether Apple will actually permit the app to be sold via the app Store is questionable. The a-steroids (DrugLords developer) Blog states that "Free beta version of the game will be launched in the next couple of weeks and distributed through the iTunes AppStore". Apple have already removed 'offensive' apps from the app Store such as the Slasher app seen below:



It seems highly unlikely that Apple will risk tarnishing its reputation by supporting an app that is seen to be controversial due to its content. It will be interesting to view the launch of this app and whether Apple do indeed allow distribution via the app Store. We may see the ability of manufacturers to control 'tethered devices' coming into play if Apple initially allow app Store distribution but then make a u-turn decision (because of negative media attention) and wipe the app from any user that plugs their phone into iTunes to sync information or update software. If the app does prove to be a success with iPhone users and does receive negative attention in the mass media Apple will have to decide whether to exercise control over the tethered device or risk increasing the number of users 'Jailbreaking' their iPhone.

"When you want to add ringtones, change wallpaper, or run third-party applications on your iPhone, you need to perform a task called "jailbreaking". What this does is to open up your iPhone's file system so it can be accessed from your computer. There are a number of tools available to jailbreak."

(http://www.tuaw.com/2007/08/08/iphone-hacking-101-jailbreaking/ accessed 16/11/08 17:22)