The Long, Slow Death of Flickr

Over at Gizmodo, Mat Honan has written a thoughtful little piece called “How Yahoo Killed Flickr and Lost the Internet.” The article focuses on the gradual idea drain on Flickr since its acquisition by Yahoo in 2005.

Initially picked up for its database of user-indexed photos, the Yahoo features bolted onto the site would ultimately result in alienating and jettisoning its user base, the one that made the database valuable in the first place. The timeline is interesting, and really focuses on the 2008 debacle of Flickr’s entry into the app-world. Or rather, non-entry, as the site would only get a mobile app for iPhone in 2009. It’s a staggering embarrassment for a site that once boasted one of the largest online communities for photography. Now it’s quickly being usurped by quicker sharing sites like Instagram, and more polished, professionally driven pages like 500px.

The article is a good read, and gives excellent insight into how popular web services can decline after being acquired by a larger company. Facebook and Instagram could stand to learn something from the history.

Souvenir

SouvenirI discovered – via Anna Anthropy - a unique and fascinating game called Souvenir. Created by Robert Yang, Mohini Dutta and Ben Norskov as a thesis project for an MFA at Parsons, the game is about memory and the difficulty of growing up and reaching adulthood as we grow older. The player must collect souvenirs of her life while navigating an omni-directional world consisting of fragments of memories. Creator Robert Yang describes it as “VVVVVV + Proteus + Dear Esther + a bit of Portal”, although I was also reminded of Psychonauts, as well.

The effect of shifting gravity can be disorienting, particularly since the game isn’t finished yet. But that doesn’t diminish much of the rich design getting the message across. Part of what’s interesting about the game is the openness of it, and the freedom of meaning within the limited framework of the game. Just by playing the game at a cold open, one has little idea where to go and what to do. On his blog, Yang also discusses moving away from traditional goal oriented gaming into something more unique and rewarding. I hope he gets there.

 

All-Star Superman is Magnificent

Over on his blog, Matt Seneca begins writing a retrospective on All-Star Superman, one of the greatest Superman stories ever produced. It’s also been widely discussed, but Matt takes a personal approach to his writing, creating a Gonzo-style retrospective that’s as much about his teen years – between fifteen and eighteen – reading the book as it is about the ink on the page.

You can’t read a comic without filtering it and your perceptions of it through the person you are, through everything from your family history to your recurring dreams to your favorite color combinations. Any critical judgment that anyone can possibly express about a comic is the product not just of their mind and their computer’s keyboard, but of a physical body that’s existed in certain spaces for a certain number of years, and been formed by certain experiences. We write about comics because of the people we are, never independently of them, and it’s useless to pretend otherwise.

 

Seneca writes some of the best comics criticism you can find today, and if he starts a polemic on a classic of Superman stories, the only choice is to bolt upright and read what he has to say.

The Mechanics of Games, on “Dumbness”

On his site Magical Wasteland, Matthew Smith ruminates about the disconnect between modern game mechanics and the stories they attempt to tell. He’s responding to a Taylor Clark piece on Kotaku that argued that mainstream games are just “dumb”.  At least in terms of story. Clark laments the simplicity of mainstream game plots and calls for a leap forward in the intellectual capacity of game stories.

This is where Smith argues back, by noting that the plot of games are historically at odds with their mechanics, using the recent Uncharted as an example of where the plot makes a character likable, while the gameplay mechanics turn the character into a cold-hearted killer. Clark argues that this dichotomy creates the impression that games are dumb, even though they’re created by intelligent people:

What was the point where it broke down? There was no evil executive coming in from on high telling us to make the game more lowbrow. The team was not a bunch of sniveling adolescent boys (a couple were, to be honest, but most were of the aforementioned good type). I think instead that the problem was structural— deeply structural to the product itself, at a level where no amount of “smart” versus “dumb” choices can really change things. One of those games centered around shooting aliens with guns and lasers. Another was about navigating an environment and punching people until they died.

The article is a good read, and I think a lot of developers are reaching beyond merely combative gameplay and focusing on using these mechanics in the service of the story. Once games start getting past the violence, then they can start focusing on telling more complex stories.