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Here I Stand” is a map-based boardgame somewhat in the vein of Risk, Axis & Allies, or Diplomacy, set in 16th century Europe, during the Protestant Reformation. Wait, where are you going? This is fun, I promise.

Now, I’m not one of those people who really focuses on gameplay, and how all the mechanics interact, and whether or not they are as refined or elegant (or balanced) as they could be. So, this post is not about that sort of stuff. Thematically, though, this game is really kind of great. All sorts of things that happened in the 16th century can come up in the game – it’s not just political/military maneuvers. This makes it quite complex – from New World exploration & conquests to Theological Debates, from rolling on the Pregnancy Table to see if Henry VIII’s latest wife has given him an heir, to interactions with Minor Powers such as Scotland, Venice, and the Knights of St John, to the possibility of having to devote resources to fighting a war in Persia – and yet, the game is truly not overwhelming, boring, or frustrating in its complexity.

Actually, the gameplay has, in some ways, a pretty easy learning curve, and you can sort of ease into the game, learning a bit more about how to play each turn, or each time you play. That’s certainly what we’ve done, learning it a bit better each time. But, still, there is a lot to it in the end, which makes it difficult to know where to start, or what to say about the game without first repeating basically the entire rulebook. I think my blog posts tend to be long enough without that.

Both times that we played this summer, we only had four players, so two of us had to take on multiple roles (multiple Powers) – instead of playing only England, I had to control both England and the Protestants, as if I were two players, with two separate hands of cards, two separate sets of agendas, etc. (though England’s & the Protestant agenda do tend to overlap somewhat, as do those of the Hapsburgs & the Papacy). I’m eager to try playing with a full six players, so each person can control just one power. Then, as the England player, I wouldn’t be allying with myself, but would actually be working to work with and help another player (e.g. the Protestants), and it’d be a somewhat more vibrant, social experience.

I suppose the main things I enjoy about this game are:

*The layering of both “national” sort of powers and interactions, e.g. between England and France or between the Hapsburgs and the Ottomans, and “religious” interactions, e.g. between the Papacy and the Protestants. Every Power has the ability to raise troops and invade and take over territories militarily, but in addition, the Papacy and the Protestants (and England, in a limited fashion) can engage in a variety of different tactics, all with completely different mechanics from the military battles, to expand their religious influence. Any given location on the map can be politically controlled by a given power and simultaneously being either Catholic or Protestant religiously. The game generally starts off with everything on the map being Catholic (or, I guess, Muslim, but in terms of religious gameplay mechanics Islam doesn’t enter into it at all), and after certain events take place, a whole bunch of places in Germany become Protestant. The Protestants gain tons of Victory Points (and the Papacy loses a whole bunch), proportional to how many religiously Protestant spaces there are on the map. At this point, neither the Protestants nor the Papacy control very much territory politically (militarily), but that’s an entirely separate mechanic.

*The varying different mechanics and gameplay experience for each power. As in most games, of course, geography has a profound effect. England has to keep up its naval supremacy, or it risks being invaded by France (or simply being blocked out); the Hapsburgs, who control both Spain and much of Italy/Eastern Europe, have to deal with events on multiple fronts. But, this game takes it a lot further. Controlling “keys”, i.e. major cities, is certainly one way to gain VPs, and to expand your hand size, so in that respect taking over territory can be quite advantageous. But this is certainly not Risk, or even Diplomacy or Axis & Allies, and the game doesn’t really lend itself towards a heavily military approach.

Whereas in a game like Diplomacy each power is essentially identical in what it can do and how it can do it, with the key difference being geography, in Here I Stand, each power has very different ways of gaining VPs, and different actions it can take. Only the Ottomans can engage in Piracy, and that’s one of the ways they gain VPs. France can pour Card Points (CPs; the points you spend to do actions) into improving its Chateaux, for pure VPs, while the Papacy can do the same for the Sistine Chapel. England, meanwhile, gains VPs for each Protestant space in England (once the Church of England is established), and in addition has its own mechanics for Henry axing a Queen and obtaining a new one in the hopes of gaining an heir. France, England, and the Hapsburgs can also engage in exploration, conquest, and colonization in the New World. And, of course, as I already touched upon, there are the various religious actions, including theological debates, translating the Bible into the vernacular, burning Protestant debaters at the stake, and issuing religious treatises.

*The complex ways that a myriad of historical factors (mainly on cards that can come into play) play into the game. When Henry VIII divorces Catherine of Aragon, England gives her to the Hapsburg player (i.e. sending her back home to Aragon), who can then spend that chit for a discount on the cost of declaring war on England. Cards can create a Diplomatic Marriage, allowing you to take control of a Minor Power as appropriate for your role – e.g. England can gain Scotland, the Papacy can gain Venice. Foreign Wars in Egypt or Persia can tie up Ottoman resources, while a revolt in Ireland can do the same to the England player. Raiders can harass colonies, and the natives can kill your explorers. Each theological debaters, from Calvin and Luther to various pro-Papacy debaters, has a power as well that can be used to aid one’s religious conversion efforts. And various cards force a Power’s leader (e.g. the King or the Pope) to change, often altering some element of the basic way in which that Power functions. As England, for example, watch out if Mary Queen of Scots takes over, because she’ll practically hand over control of England to the Papacy.

I love games that have a wide range of “random” effects that can come up, making the gameplay so much more colorful and more complex than pure mechanics, and that is what these cards, and other effects, do. They add in a myriad of different historical events and factors that not only make the setting feel fuller, but help make it different every time, improving replay value dramatically, and helping balance the game, too, so that no one player can “game” the system, strategizing out the ideal moves for every player or every situation, as in chess, or Axis & Allies. Finally, since many events are mandatory on certain turns, this keeps the game dynamic, changing and developing from turn to turn, and simulates in a sense the actual progression of history. The game is set up with pretty much all of Europe Catholic, as I mentioned before, and then the “Luther’s 95 Theses” event takes place on the first turn. Kings and Popes die and get replaced; when Henry VIII leaves Catherine of Aragon for Anne Boleyn, the Church of England is established on the next turn, and the England player begins being able to gain VPs for controlling Protestant spaces. In this way, options expand or change, and the game is prevented from becoming too repetitive, or too same-samey, from one turn to the next.

So, in summary, I recommend “Here I Stand.” Go check it out. I hope to get to play it again sometime soon myself, and to eventually get to try out the sequel, The Virgin Queen, as well.

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I have seen exhibits before focusing on concept art, and other more “traditional” aspects of the art of video games, but the Smithsonian’s “The Art of Video Games” exhibition, on display now at the American Art Museum in DC, focuses on video games themselves as art form.

The exhibit is divided into three sections. In the first section, the exhibit attempts to show the intersection of designers, gamers, and technology. Video interviews with game designers discuss the power of video games, and the potential the form has for personal expression, innovation and creativity, as well as the idea of video games as artworks, as art form. A lot of the interviews, and small quotes / soundbites, were really quite powerful or interesting – Atari pioneer and Pong creator Nolan Bushnell, for example, is quoted as saying “video games foster the mindset that allows creativity to grow.” It was only a few years ago that we were hearing all about what a bad influence video games were for our children, and our society. Reminds me of the arguments against comicbooks back in the ’50s. Certainly, the sedentary nature of videogaming is dangerous, but video games stimulate our minds in many meaningful, positive ways. As for the recognition of video games as art, Kelee Santiago is quoted on the walls of the exhibit as saying “we’re at the precipice of a whole new medium” – a whole new medium of artistic expression.

Video games can, of course, be visually beautiful, and concept art, character designs, and the like are truly integral, essential, to any game. Mind-blowingly gorgeous cut scenes and background scenery have been a mainstay of the Final Fantasy series since FFVII, which itself when it first came out represented a huge leap forward in video game visuals. Half the appeal of World of Warcraft for me was always simply exploring and enjoying the beautiful sites and scenes, from castles to jungles. Games like Final Fantasy Tactics, which do not rely on flashy, cutting-edge, 3D-rendered graphics, but instead use the “backwards” “outdated” form known as sprites, are still plenty beautiful in their bright colors and artistic style.

But, it goes beyond that. Games can often be surprisingly innovative, inventive, elegant, or conceptual in their design, as well. Why can’t something like Heavy Rain, or Flower, engaging, entrancing, elegant, creative, beautiful, and expertly done, not only in its visuals, but in its structure, its concept, its execution, be “art”?

Video games are really not so different from interactive films, digital art, or audience-participation installation art, are they? I guess one could argue that what sets them apart is that they’re commercial. But that’s a pretty weak argument; the idea of art separated from commerciality or commercialism is really a rather new one in the West. (East Asia has been paying lipservice to that idea for centuries, but never mind.)

I wish that I had copied down more about these video interviews – there really was a lot of really good stuff there. But, on the plus side, all of these interviews are now a part of the Smithsonian archives or museum collection, and very much available to anyone doing serious research on topics related to video games.

The first room of the exhibition, with video interviews, concept art, and a set of screens showing how video games have evolved over the years.

The first room also contained a series of video clips labeled “Advances in Technology,” showing the evolution of the depiction or treatment of specific elements in games – such as flying a plane or spaceship – as video game technology has advanced over the last several decades. On the opposite wall, a series of videos of gamers’ faces as they play show their personal, emotional, investment. All of these are accompanied by concept sketches and other examples of “traditional” art forms related to video games. // In the second section, visitors are given the opportunity to play a series of games, hands-on, on the original systems for which those games were designed. They take you from Pac-Man, up through Super Mario Bros., The Secret of Monkey Island, and MYST, to Flower, an example of the newest directions video games have taken.

The third section, in some ways the main section to my mind, consists of twenty displays, each highlighting one video games system, and four innovative games from that system. Beginning with Atari and ColecoVision, the exhibit moves up through the NES, Sega Genesis and Super Nintendo, and on through PlayStation, PS2, PS3, N64, Wii, and the XBox 360, tracing the evolution of genres through examples voted for by gamers themselves. In a series of one-minute videos, curators describe how each game was innovative, or represents certain developments or approaches. Of course, this being a popularity contest, the pattern of which games are and are not included doesn’t exactly match what might have been a better selection of examples that were truly innovative. On the surface, it seems a smart idea to allow a populist vote – after all, video games are a populist medium, and this would be a great way to get people involved – and, perhaps most importantly, to guard the exhibition against criticism from the gamer community that the curators don’t know what they’re talking about, and selected the wrong games. That said, I think that Harold Goldberg was right, in his NPR post, to compare this to MoMA allowing the people to vote as to what to show. Art historians and museum curators are experts in which artworks were the most influential or historically significant, not the masses, and the same goes for video games. Sure, there may be ultra-experienced, devoted gamers out there who really know their stuff, but those few individuals are not the 100,000+ people who voted on what to include in this exhibition. Like the art historians who know Cindy Sherman from Thomas Kincade, there are scholars out there, real researchers, who understand the historical development of games, from Nolan Bushnell to Kitase Yoshinori, better than the vast majority of basement-dwellers.

I don’t know that this exhibit is as much the single first-step breakthrough exhibit that the Smithsonian touts it as – I’m pretty sure I have seen “the art of video games” exhibits before, after all. But, nevertheless, especially as something supported by an institution of the Smithsonian’s stature, this exhibit is an important step towards greater, wider, appreciation of video games as an artistic medium. How long, I wonder, did it take before films were seen as more than just frivolous entertainment, and began to be seen as a medium in which true artistic accomplishment could be recognized? How long will it take for video games to start appearing in art history textbooks?

The Art of Video Games is showing at the Smithsonian American Art Museum (near Chinatown/Gallery Place Metro stop) in Washington DC, until September 30. Admission is free, and photography is allowed!! After closing in DC, the exhibit will travel to Boca Raton, followed by Seattle, Phoenix, Syracuse, and a whole bunch of other places.

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Building in Board Games

I’m home for the summer and have reconnected with old friends, who are introducing me to a ton of awesome new games.

One very common element in games is building. Whether it’s acquiring buildings like in Puerto Rico or Homesteaders, building up on a map as in The Settlers of Catan or Ticket to Ride, or “building” a stack of completed quests in Lords of Waterdeep, this is a mechanic I quite enjoy.

Above: The Settlers of Catan

I do find, however, quite often, that many games feel like they end too suddenly, too quickly, before I’ve really had a chance to build too much. Sure, the game might go on for three hours, and I’m not necessarily saying I want it to drag out even longer than that in real time. But, regardless of how long it takes in real time, many games are limited to eight or ten rounds, and then end, just as I’m starting to feel like I’m ready to really start going. I only started having access to this resource on turn 5, and now you’re telling me I only have three more turns to make use of it?

Some games very much do not have this problem. If you’re doing well in a game of Catan, you’ll have built out plenty before the game is over, likely coming close to exhausting your pieces, or your geographic possibilities. The same goes for Ticket to Ride, Puerto Rico, and in my limited experience of having played it only once, Burgundy.

Mind you, I love all these games I have mentioned. This is not meant to be harsh criticism, or condemnation of games that end too quickly. Rather, it’s more simply a musing on what types of games I enjoy, and trying to think & comment a little more critically and analytically, as some of my friends do, about how games function. Personally, I’m not one for tight strategy, where every move you make has to really count; having a severely limited number of rounds strengthens this aspect of a game. I much prefer games with a greater degree of randomness, where you sometimes get lucky, and sometimes have setbacks, and just keep building, keep moving, making good choices, sure, but not feeling like you need to be tied to a strict strategy, or to always knowing what the best move is on every action you take. Arkham Horror is a good game in this respect – sometimes there are actions to take that are very obviously the best move at that time to help the team, but most of the time, you’re just doing whatever seems like a good idea at the time. Picking up weapons, chancing encounters at this location or that location in the hopes that something beneficial (or at least interesting or amusing) comes up. Mahjongg is quite good this way, too. Because of the strong element of randomness in which tiles you are dealt, it is far from the predetermined strategy of a game like Axis & Allies, or chess, or a game like Homesteaders which, though it does have some elements of randomness, still functions heavily on tight, strategic resource management.

I tried out the game Burgundy a few nights ago, and quite enjoyed it. I don’t know how it goes with more players, or if it always plays out as it did this one time, but over the course of the five rounds, I built out more than half of my hex-map (a similar mechanic to filling in your cities or fields in Puerto Rico, in some respects, if you’re more familiar with that game), and felt satisfied with how much I had built. The game didn’t end, as so many do, with me feeling at the peak of resource production and now finally ready to really start buying and building things, just as the game ends.

I really liked the way dice are used in Burgundy, randomizing which actions you’re able to take each turn. In many games, such as Agricola and Waterdeep, all the actions on the board are available to you, but you can only choose a few actions each round. There is great strategy therefore in choosing which few actions you’ll take each round, in preparing for future rounds, getting the most out of each round, and getting to certain actions before other players do. All of these elements are present in Burgundy, but with the added dynamic of the actions you can take each turn being determined by the dice roll. Each turn you roll two six-sided dice. Suppose you get a 2 and a 5. Now you can take a “2″ action, and a “5″ action. You can spend a worker to make that 2 into a 1 or a 3 (or the 5 into a 4 or 6), and take a different action. But this element of the dice means the game is a little more “deal with what comes, do the best you can, and hopefully you’ll come out on top”, like Catan, and a little less “all the options are available to you. Pick the best one every turn, or else you lose.” Plus, I just really feel that using dice in this way feels innovative, interesting, and different.

I expect I’ll be learning a lot of new games over the rest of the summer. Perhaps I’ll have some more thoughts… What are some of your favorite games?

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