This is the second part of a historical-problem-space analysis of Paintbucket Games’ Through the Darkest of Times (See Part 1) Disclosures: 1) Paintbucket supplied me with a review copy of this game. 2) I have not yet made it past 1941 in multiple attempts, and my analysis is mostly based
What follows is the first part of an analysis of Paintbucket Games’ Through the Darkest of Times (TtDoT) using the Historical Problem Space framework (the second part goes live on 12/17/20). I hope this will serve as a historical review for educators and those interested in playing and studying historical
Since its founding in 2010, Play the Past has had the good fortune of hosting many enriching and far-ranging discussions on the intersection of history, cultural heritage, and games. In celebration of our 10th anniversary, we published this last November a brief account of the origins of Play the Past.
We discussed Ethan Watrall’s foundational role in The Story of Play the Past, with regards to the Play the Past website, and community. Because of the demands and responsibilities incumbent to his role as Play the Past founder and manager—not to mention his academic career—Watrall’s writerly contributions on the blog
Ten years ago to this day, on November 17, 2010, Ethan Watrall officially launched a new blog, “Play the Past“, dedicated to a small community of scholars and enthusiasts, seeking an on-line venue to discuss ideas about the new culture of “gaming history”. Hosted by Watrall at Michigan State University’s
This article compares LUNA’s in-game library to real-world libraries and examines the influences of real-world library design in the game. I also discuss the puzzle and how it turns the player and characters into various library roles and librarian models, such as patron, reference desk librarian, and roaming librarian. Finally, Lai discuss the trope of the magical library, and how this trope allows audiences to appreciate the library as a place of mystery, as well as place of knowledge.
The analogy is imperfect, but if we compare that difference in progression style between the epics to the different kinds of scenario deck(s) in the LCGs, and the difference among books (really, more properly, oimai [‘threads’]) within the epics to the different mechanics in each game among differing scenarios, the broad shape of a comparison begins to appear.
The LCG’s unique way of doing epic — that is, of allowing its player to perform their own recomposed elaborations of the storyworlds’ narrative materials — stems from the nexus of the ludic and the narrative to be found in these scenario-making cards. There’s a deceptively simple comparison to be made with what we know as the books of the Iliad and the Odyssey, which almost certainly originate in individual songs that a bard might have sung on a given occasion.
Distorted takes on indigenous culture and experience abound in games – some egregious, others more subtle. As we will see, some developers even strive to challenge colonialist assumptions; yet, many of the design and narrative choices they make remain problematic. Challenging these blinders will require a new set of game development practices, based on direct collaboration with indigenous developers.