A Hodology of Videogames: Silent Hill

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I have wanted to write about the original Silent Hill (Konami Computer Entertainment Tokyo “Team Silent,” 1999) for a very long time. But it has been difficult to find a “way in.” Unlike its pseudo-remake, Silent Hill: Shattered Memories (Climax, 2009), which I have successfully gotten around to writing aboutSilent Hill doesn’t have much in the way of interesting flaws to pick apart. It has flaws, to be sure. But its flaws are banal. It falls prey to the “let’s belatedly explain our incoherent story via some back-loaded cutscenes” problem so typical of games of the original PlayStation era, especially those produced in Japan that I have only ever experienced in English translation. Its successes, meanwhile, are numerous. But I’ve never found a way to approach them with intellectual rigor. My reaction to the game is a primal one, and I have struggled to conjure critical thoughts beyond, “my, it really is surprising how effectively scary this game still is, despite the limitations of its visual style.”

But, what the hell: I’m going to give it a shot, in the form of one of my “hodology of videogames” series of posts. Since it’s been awhile, here’s a quick refresher on the ground rules: “Hodological space” refers to the space that humans inhabit: not a space made up of strict coordinates, but a thicket of preferred paths, affected by factors such as interest, distraction, fatigue, and urgency. It’s a term that originated in the writings of psychologist Kurt Lewin, and which traveled by way of Sartre into the realm of phenomenology. Today, I’ll be thinking about the paths players take through the town of Silent Hill.

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A Hodology of Videogames: Proteus

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Ian here—

Welcome to the third of a series of posts I’ll be doing on hodological space in games. “Hodological space” refers to the space that humans inhabit: not a space made up of strict coordinates, but a thicket of preferred paths, affected by factors such as interest, distraction, fatigue, and urgency. It’s a term that originated in the writings of psychologist Kurt Lewin, and which traveled by way of Sartre into the realm of phenomenology.

If, as Jean-Luc Godard once famously said, all you need to make a movie is a girl and a gun, than all you need to make a videogame is an island.

The island-game gave us Myst (Cyan, 1993), and it gave us last year’s The Witness (Thekla, Inc., 2016). It has also already made an appearance in this very series, with Miasmata (IonFX, 2012). But my favorite island game of all time might be Proteus (Ed Key and David Kanaga, 2013). And to really talk about what it gets right, we have to dip into issues of genre. So, buckle up: it’s going to be a bumpy ride.

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A Hodology of Videogames: Miasmata

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Ian here—

Welcome to the second of a series of posts I’ll be doing on hodological space in games. “Hodological space” refers to the space that humans inhabit: not a space made up of strict coordinates, but a thicket of preferred paths, affected by factors such as interest, distraction, fatigue, and urgency. It’s a term that originated in the writings of psychologist Kurt Lewin, and which traveled by way of Sartre into the realm of phenomenology.

Up today: the survival simulation game Misasmata (IonFX, 2012). Accepted onto the Steam storefront in October 2012 as part of Valve’s second batch of games approved through the now-defunct Greenlight submission process, one of Miasmata‘s most notable traits was being on the leading edge of the “goodness, there are too many indie games than one could ever keep up with” moment we are currently in. Miasmata, though, is worth remembering for more than that. It also possesses a genuinely innovative movement system, one that, in its own weird way, serves as a nice counterpoint to the subject of my previous entry in this seriesThe Legend of Zelda: Breath of the Wild (Nintendo EDP, 2017).

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A Hodology of Videogames: Breath of the Wild

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Ian here—

“Hodology” is, according to its Greek roots, the study of paths. These days, its primary associations seem to be with neuroscience. But I want to resurrect an older, more literal use of it: the study of how people move throughout a landscape, the ways in which they chart routes that are particular to the human body, human perception, and human culture.

This sense of the term “hodology” owes much to the psychologist Kurt Lewin. In his 1934 essay “Der Richtungsbegriff in der Psychologie. Der spezielle und allgemeine Hodologische Raum” (a mouthful, I know), Lewin coined the term hodological space to refer to the unique characteristics that landscapes take on when perceived by, and navigated by, human beings.[i] Lewin’s original essay remains untranslated into English after all these decades, but its influence was widespread. Jean-Paul Sartre took up Lewin’s term “hodological space” in Being and Nothingness, and from there it spread to a number of humanistic geographers interested in phenomenology, including Christian Norberg-Schulz and O.F. Bollnow. Norberg-Schulz offers a pithy English-language explanation of Lewin’s contribution:

Rather than straight lines, hodological space contains ‘preferred paths’ which represent a compromise between several domains such as ‘short distance,’ ‘security’, ‘minimal work’, ‘maximum experience’ etc. The demands are determined in relation to the topographical conditions.[ii]

I’ve often thought that preferred paths are an interesting lens through which to look at videogame space, and so I’m inaugurating a series of posts that deal with them. What better to do the honors than one of the most talked-about games of the moment, The Legend of Zelda: Breath of the Wild (Nintendo EDP, 2017)?
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Stream Pools: Space and Narrative Pacing in Games

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Ian here—

I spent the first week of 2017 catching up on things I hadn’t played from 2016. But all play and no work makes Ian a dull boy, so it’s time to get back to writing, even if it’s of the casual sort.

Fair warning: In this post I’m going to dip into some unapologetic formalism as a way of best expressing some otherwise entirely subjective reactions. Obviously, there are pitfalls to this. Formalism puts off some. Unabashedly subjective attempts at criticism puts off others. But, whatever—this is my blog, and sometimes I like to post things that aren’t lesson plans. (Also, a note: I’m going to have fewer of those posted in the foreseeable future. I’ve posted most of my best lessons from past courses at this point, and I’m only teaching one class this term, one I’ve taught before.)

Below the fold, I play with some vocabulary, and offer thoughts on three more interesting games of 2016. These are short takes, and it is quite likely that I will be writing more on some of these in the near future.

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