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Art of the Pan-Opt-in-a-Con: FarmVille and the Gamification of the Digital Landscape [Original: The Tyranny of Completion; Or, How Electronic Art Can Engage the Firehose]
Toward the end of 2020, one of the most culturally impactful web games of all time shut down—at least, the original, Flash-based version did. FarmVille, by social game studio Zynga, was not outstanding for its gameplay mechanics nor for its imaginative qualities. In fact, social games like Farmville are defined by game designer and scholar Ian Bogost as “games you don’t have to play.” Rather, FarmVille was special because it tapped into 2009-era Facebook’s lax user-generated notification system, and its developers succeeded in creating a user-operated spam cannon disguised as a game. What made FarmVille a cultural phenomenon is best represented by the metanarrative about how it manufactured and sold compulsive behavior to a new audience. By targeting ludic luddites with its folksy facade and “freemium” business model, FarmVille ushered in a new era of games that encouraged users to exchange money for in-game effects.
Milosz Waskiewicz - 25.05.2021 - 15:20
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"Swipe Night is Fun, but Useless” An Analysis of Tinder’s Swipe Night, an Interactive Foray in Online Dating
Electronic literature and computer games share a common history beginning from the earliest adventure games (Rettberg 87). As both the “technological platforms” that host electronic literature and games, and the “social contexts” that inform them evolve, so does the content, gameplay, and types of interactions they facilitate (Rettberg). The development of the Tinder platform and other mediated dating applications has precipitated the incorporation of interactive fiction games into the dating experience.
Lene Tøftestuen - 25.05.2021 - 17:46
