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Happy 15th anniversary to TBoGT!!

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Episode III: The Return of Manovich

week 11: Vincent Miller, “Key Elements of Digital Media” / Lev Manovich, “The Language of New Media”, Principles of New Media: 2. Modularity, 4. Variability, 5. Transcoding

Today I am very Happy. Even if yesterday night AS Roma lost to some unpronounceable and unspellable German team. You know why? No, it’s not because I am going out why someone I like. And neither because I decided I want to try and go to a rage room once. None of these romantics things.

NO

It’s because today, Hideo Kojima’s long-awaited and frankly strange-looking new game Death Stranding is out!

This is me being happy with the copy of the game I just bought from this pedantic guy at GameStop who really wanted to sell me their useless (and of course expensive) fidelity card. I do not fidelize. I do not permanently associate with the revolting logics of media capitalism. Btw yes that in the background is Patti Smith’s Horses signed by herself. I am so cool, I know. What can you do.

ANYWAYS

Why is this relevant? Well, for a number of reasons. First of all because a videogame is a digital object, a digital medium. So it’s important to us. Secondly, because the themes of this game are SOOOOOOO damn interesting and appropriate for what we are doing in this class.

BUT MOST IMPORTANTLY

Because I decided to have yet another theme-based post. So Ladies, Gentlment, and all the other 7456 genders out there in the wide wild world, let me introduce you to this week’s issue of my blog, which will be entirely

VIDEOGAME-THEMED

Yes, I will. Sorry not sorry.

OK so as it is now customary I will skip Miller because I don’t like riassunti and synthesis and also I want to continue my honeymoon with Manovich.

Here’s me with my boy Lev.

Today we deal with the last three of Manovich’s Principles of New Media. Today I also want to be reader-friendly so I tell all of you from the start that I am going to explain briefly the principle and then pick an example, of course from some videogame. OK fellas? Ready to go.

Principle No. 2: Modularity

Well, modularity is quite easy. Manovich uses it to explain how digital objects are assembled through independent parts, which working on their own constitute the totality of the aforementioned object. A good example from videogames is the phenomenon of pop-up textures: that thing that happens when you’re playing a game in 3D graphics which uses real-time rendering, but optimization hasn’t been done well enough (or you’re just pushing the graphics beyond your hardware capabilities) and so you get some textures to be rendered with a delay. And this sucks because, well, it’s not very realistic and it makes you realize you’re just playing a videogame.

:( this is extreme tho. Sometimes it’s just OK.

[Btw pop-up textures are essentially what Manovich is referring to at page 39 when he writes about “distancing” and “level of detail”]

Manovich refers to this also as the “fractal structure” of digital media, which very cool and very LSD-like. So, yeah, cool.

BUT EVEN COOLER THAN THIS

is how this made me think of Aristotle. Your friendly neighborhood Western-culture-generator philosopher loved to talk about how the whole of something is more than the sole value of its components. Which, in some ways, doesn’t really seem to apply completely to digital media.

SOMETHING TO REFLECT UPON

Oh. And I was also thinking that maybe, MAYBE

MAYBE

all this modularity in our daily lives is also affecting the way our minds work. Like we now struggle to create coherent, consistent (“hardwired” Manovich would say) arguments or chains of reasoning, but instead rely completely on modular frames of understanding. Like we now tend to see things as separate and independent from each other, and we have trouble in looking at the bigger picture.

“OF COURSE YOU MUST BE WRONG, WE’RE AS CAPABLE AS EVER IN UNDERSTANDING ISSUES IN THEIR TOTALITY. BUT NO KID CLIMATE CHANGE IS NOT REAL BECAUSE ADMITTING IT WOULD MEAN RECONSIDER THE PRIVILEGES I GREW UP AS EXPRESSIONS OF A POST-INDUSTRIAL COLONIAL SYSTEM OF EXPLOITATION  YESTERDAY SNOWED IN BERGAMO SO NO TROUBLE”

But let us not be distracted by such irrelevant issues.

Principle No. 4: Variability

Now this is obvious but still so cool. However, the question of variability is so multifaceted and complex that is difficult to pin it down to a single definition. I’ll try my best, though. I would say that

the concept of variability refers to all the ways in which digital objects can be modified, altered, or updated at the source of their distribution.

That is, without having to physically change anything. The only thing that variability needs is some form of the refresh button. It is a sort of physically invisible mutation, a “liquid” transformation, as Manovich says. And of course this has to do with Numerical Representation, Modularity, and Automation.

Before getting into the real interesting stuff about variability, Manovich makes seven examples. A couple of them will help grasp the concept better. So yeah, example three reads like this:

“Information about the user can be used by a computer program to customize automatically the media composition as well as to create elements themselves” (37)

In that unfortunately incomplete masterpiece that Metal Gear Solid V: The Phantom Pain is, you get to play as badass Venom Snake aka (sort of...) Big Boss, a super amazing and incredibly skilled soldier who has to infiltrate military compounds and all sorts of other infiltrable things between Afghanistan and Zaire around the mid-80s. In this game, you can decide what kind of equipment to bring with you, and approach the mission the way you like best. You can bring big-ass noisy weapons and just have a crazy battles, you can use assault rifles of sniper guns with silencers and be very quiet, and you can also use guns with tranquilizers so that you don’t kill anybody. You just put them to sleep.

Now, the cool thing about it is that the more you progress in the game, the more enemy soldiers will adjust to your playing stile. For instance, I remember using only tranquilizers with pistols and sniper rifles. So I would get lots of headshots, because when you headshot someone, he instantly falls asleep. After a few missions, most of my enemies adapted and started wearing helmets! So it was much harder for me to get those headshots.

See? This is an example of automation and variability.

There is also of course example number six. The one about periodical updates. Again, for anybody who ever played a videogame online, this is usual business.

I remember I once was thirteen. Yeah I know that’s hard to imagine, but for a moment just please bear with me. When I was thirteen I was very much into multiplayer FPSs. At that time particular, me and my friends would spend entire days on Call of Duty: Black Ops. Now, the online multiplayer was constantly updated and amended, so that if someone discovered that a certain build for a weapon made that weapon totally over-powered and impossible to play against, the guys at Activision would correct the flaw and balanced the game again. But variability in the game also occurred when DLCs were released: new maps, new weapons, new elements would ‘enter’ the world of the online game and of course alter it. It was cool, really. Cause the game evolved throughout the season. But the you had to buy the new one and spend other money and start back again and… really, can we just say fuck capitalism? That game could have lasted decades. Damn.

ANYWAY

By far the most interesting thing to me came at page 40, when Manovich discusses variability in terms of interactivity and hypermedia. In particular, he distinguishes between two ‘versions’ of interactivity.

Open interactivity: an interactive object “in which both the elements and the structure of the whole object are either modified or generated on the fly in response to the user’s interaction with a program.” (40)

Closed interactivity: an interactive object “that uses fixed elements arranged in a fixed braching structure” (40) and therefore on which users have only ‘liberty of order’. That is, they can only choose in which order to interact with the elements.

Now, try to follow me for a second. I think this distinction opens up one possibility of categorizing videogames. But we need to add one more category. We have

Linear games (Super Mario, the first Metal Gear Solid, Resident Evil 4…) which display a ‘limited’, ‘scripted’ interactivity. That is: you have to follow the path that has been chosen for you by the developers. You cannot decide in which order to do things. You go ahead with the game – interact with it, sure, but you basically witness the story unfold in front of your eyes passively.

Open world games (GTA, Spiderman, Pokémon games…), which essentially function on a principle of closed interactivity. You’re free to roam around and do whatever you want, to choose your own ‘order of interaction’ with the elements on the map, but you cannot act on the storyline, which is still linear and scripted for you. The story doesn’t change, no matter what you do inside or outside of the main missions.

pure RPGs (Fallout 4, Final Fantasy, Skyrim, Mass Effect…) which instead function on a principle of open interactivity. Your choices inform the way in which the game unfolds in terms of story, world, and sometimes even gameplay. The interaction is open because it allows to be formed in response to what the player does.

I should totally write a narratology of videogames.

I’ve already written a lot and I want to get to the last principle, but

I NEED

to point out something that comes around the end of page 41. Ready? So Manovich writes:

“The principle of variability exemplifies how, historically, changes in media technologies are correlated with social change. If the logic of old media corresponded to the logic of industrial mass society, the logic of new media fits the logic of the postindustrial society, which values individuality over conformity. […] In this way new media technology acts as the most perfect realization of the utopia of an ideal society composed of unique individuals. New media objects assure users that their choices—and therefore, their underlying thoughts and desires—are unique, rather than preprogrammed and shared with others.” (41-2)

Now, I am not sure precisely where Manovich stands on this argument, but this definitely rang a bell for me.

HEY LEV, EVER HEARD OF A LAD CALLED PASOLINI?

Because yeah, digital media gave us this fantastic possibility of escaping omologation because anybody can see, read, do whatever they want without any authority providing them with univocal content.

But are we really sure this is the triumph of individuality? Couldn’t this be just a new, and much more subtle and devilish form of conformity?

My bro and spiritual-granddaddy PPP believed so. And you, he was writing in the early seventies – not long before being brutally killed by neo fascists with the complacency of the State a Roman kid in Ostia – and virtually all of his predictions are becoming a terrible reality. Because Pier Paolo believed the (back then) new consumer society (which let’s face it gave birth to digital media the way we know it today) was only a new, horrible, de-humanizing form of fascism.

This is for anybody who understands a little italian and loves tragic heroes talking about the horrors of late capitalism on winter beaches.

BUT WE HAVE TO COME TO AN END, DON’T WE?

Principle No. 5: Transcoding

I’ll be very brief, this is easy. Manovich defines transcoding starting from the difference between the “cultural layer” (pretty much the visual, the interface) and the “computer layer” (basically code) of digital media. Using the example of videogames again, the cultural layer of a videogame is all that you see happening on the screen, while the computer layer is the code ‘behind’ it that makes it all happen in that way.

Fine, cool. Transcoding, Manovich says, happens everytime these two layers—these two languages, really—start to mix and mesh with each other.

The best example that I can come up with right now—and I am sorry if I can’t think of anything better but you know I have a graceful lady waiting for me, his date—has to do again with open world videogames.

SO HERE’S THE THING, I THINK

Open world videogames emerged and became the next big thing of gaming when the internet was already a big thing. And there’s a reason for that. It’s because the structure of an open world mimics, in many ways, that of the WWW.

THINK ABOUT IT

An open world is somewhere were you can roam around (I want to say navigate so badly!) pretty much everywhere you want. Most of the times you can jump from one places to another, sometimes using a nice menu/database of possible locations (reminds you of anything? Hyperlinking? Search engines, anybody?). You can’t really create much, but you can see everything. Well, that to me sounds like WWW.

COULD IT BE LOVE? TRANSCODING?

I think it is, baby.

We’re sadly at the end of our ride

:(

But don’t be afraid!

THERE’S STILL ROOM FOR MUSIC AND VISUAL ARTS

Today we celebrate videogames, so what’s better than a collection of some classics in videogame music history? Enjoy.

As for visuals, I want to come full circle. Hideo Kojima’s game have always been blessed with amazing character design and illustrations by his bro Yoji Shinkawa. Death Stranding is no exception. Except that there is an exception, because these times the characters are actors! Great actors! Like beautiful Lea Seydoux who I hope one day to marry. Or at least to hookup with, come on. Anyways, that’s beyond my point. I just wanted to introduce this beautiful promotional picture for Death Stranding.

It really is beautiful.

до свидания!

Image Sources: Parade, Pure Nintendo, Tech in Asia, GIPHY, Know Your Meme

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