1 00:00:00,090 --> 00:00:02,490 The following content is provided under a Creative 2 00:00:02,490 --> 00:00:04,030 Commons license. 3 00:00:04,030 --> 00:00:06,330 Your support will help MIT OpenCourseWare 4 00:00:06,330 --> 00:00:10,690 continue to offer high quality educational resources for free. 5 00:00:10,690 --> 00:00:13,320 To make a donation or view additional materials 6 00:00:13,320 --> 00:00:17,250 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:17,250 --> 00:00:18,420 at ocw.mit.edu. 8 00:00:26,970 --> 00:00:29,210 PROFESSOR: OK, so the plan today is 9 00:00:29,210 --> 00:00:32,229 that we're going to talk a little bit about the reading, 10 00:00:32,229 --> 00:00:34,390 which should feed directly into your thinking 11 00:00:34,390 --> 00:00:36,960 for the final assignment in this class. 12 00:00:36,960 --> 00:00:38,970 We're going to play a couple of the games. 13 00:00:38,970 --> 00:00:42,420 There should be just enough games for everyone 14 00:00:42,420 --> 00:00:43,850 to get through one round. 15 00:00:46,080 --> 00:00:47,580 And the rest of the class today will 16 00:00:47,580 --> 00:00:51,030 be used to form teams, and then talk in your teams 17 00:00:51,030 --> 00:00:53,479 and try to figure out what project you're doing. 18 00:00:53,479 --> 00:00:54,770 Actually, the other way around. 19 00:00:54,770 --> 00:00:56,440 We're going to talk about projects, 20 00:00:56,440 --> 00:01:00,150 and then you're going to form teams around them. 21 00:01:00,150 --> 00:01:01,890 So today's reading was-- 22 00:01:04,489 --> 00:01:05,940 in the title Simulation 101. 23 00:01:05,940 --> 00:01:06,890 Right, literally 101. 24 00:01:06,890 --> 00:01:09,720 It was very, very introductory. 25 00:01:09,720 --> 00:01:11,672 Here's a bunch of terminology and a bunch 26 00:01:11,672 --> 00:01:12,885 of concepts about simulation. 27 00:01:12,885 --> 00:01:15,260 Has anyone read that before, any other class? 28 00:01:15,260 --> 00:01:17,950 Because I know it comes up in some other classes. 29 00:01:17,950 --> 00:01:23,810 OK, so we have some sort of source reality. 30 00:01:26,662 --> 00:01:31,370 Which I am going to put question marks because we 31 00:01:31,370 --> 00:01:34,667 live in a postmodern world. 32 00:01:34,667 --> 00:01:36,499 And some sort of source reality where 33 00:01:36,499 --> 00:01:38,290 we are trying to create some sort of model. 34 00:01:41,030 --> 00:01:44,140 And then we've got something that we 35 00:01:44,140 --> 00:01:50,440 thing of as a simplified abstracted version, which 36 00:01:50,440 --> 00:01:55,120 ought [INAUDIBLE] simulation. 37 00:01:55,120 --> 00:01:57,040 Anyone remember what are some of the things 38 00:01:57,040 --> 00:01:58,715 that simulations do that-- 39 00:01:58,715 --> 00:02:01,090 well, actually, what are the alternatives to a simulation 40 00:02:01,090 --> 00:02:03,680 that the article was talking about? 41 00:02:03,680 --> 00:02:08,080 How do we typically talk to people about [INAUDIBLE]? 42 00:02:08,080 --> 00:02:10,289 How do we usually convey an idea of this 43 00:02:10,289 --> 00:02:13,410 is how reality seems your work? 44 00:02:13,410 --> 00:02:15,996 What are some other ways That you do that? 45 00:02:19,852 --> 00:02:22,760 AUDIENCE: You extract it. 46 00:02:22,760 --> 00:02:24,682 PROFESSOR: You can extract it. 47 00:02:24,682 --> 00:02:26,480 Extractions are useful words. 48 00:02:26,480 --> 00:02:30,880 I'm going to write it here. 49 00:02:30,880 --> 00:02:35,688 That's-- you can do that to a bunch of different moves. 50 00:02:35,688 --> 00:02:39,733 When Jane Austen tells you how life was like in-- 51 00:02:42,347 --> 00:02:42,930 when was that? 52 00:02:42,930 --> 00:02:45,080 18th century? 53 00:02:45,080 --> 00:02:48,190 AUDIENCE: 19th century. 54 00:02:48,190 --> 00:02:50,260 PROFESSOR: OK. 55 00:02:50,260 --> 00:02:53,539 How was she doing it? 56 00:02:53,539 --> 00:02:54,330 AUDIENCE: Metaphor. 57 00:02:56,864 --> 00:02:58,072 PROFESSOR: She tells a story. 58 00:02:58,072 --> 00:03:00,280 She uses the process of narrative. 59 00:03:00,280 --> 00:03:02,846 She does use some metaphors, but for the most part 60 00:03:02,846 --> 00:03:03,850 it's just very plain. 61 00:03:03,850 --> 00:03:09,420 This is what happened to these people, and everyone is upset. 62 00:03:09,420 --> 00:03:12,590 That was what the reading today was. 63 00:03:12,590 --> 00:03:15,730 All right, you have this way of telling 64 00:03:15,730 --> 00:03:18,940 people about how something is. 65 00:03:18,940 --> 00:03:23,200 One way that you do it is you could tell a story about it. 66 00:03:23,200 --> 00:03:28,490 You could do a painting, a visual version of it. 67 00:03:28,490 --> 00:03:32,290 You could create a little physical sculpture of it, 68 00:03:32,290 --> 00:03:35,450 if the concept is-- 69 00:03:35,450 --> 00:03:37,236 if that is a good way to convey a concept. 70 00:03:37,236 --> 00:03:40,955 You can create a simulation of it. 71 00:03:40,955 --> 00:03:48,300 He lumps together things that represent how the world works 72 00:03:48,300 --> 00:03:49,660 as a representation. 73 00:03:49,660 --> 00:03:53,390 It's like a picture of a pipe is a representation of a pipe. 74 00:03:53,390 --> 00:03:55,660 It's not the actual pipe. 75 00:03:55,660 --> 00:04:00,080 But it is a visual representation. 76 00:04:00,080 --> 00:04:03,400 And the narrative will be a sequence 77 00:04:03,400 --> 00:04:07,610 of events, a linear time representation of what 78 00:04:07,610 --> 00:04:08,110 happened. 79 00:04:08,110 --> 00:04:11,290 But it doesn't tell you anything about how 80 00:04:11,290 --> 00:04:14,380 that version of reality works. 81 00:04:14,380 --> 00:04:18,640 It doesn't-- it may give you a clue that you can intuit. 82 00:04:18,640 --> 00:04:22,270 But It's not actually trying to show you 83 00:04:22,270 --> 00:04:25,070 how this thing behaves. 84 00:04:25,070 --> 00:04:28,334 And what we trying to do in simulation, in the broad sense 85 00:04:28,334 --> 00:04:30,750 you can think of simulation as a kind of a representation. 86 00:04:30,750 --> 00:04:32,620 But very specifically, a simulation 87 00:04:32,620 --> 00:04:37,730 is trying to tell you about how the system actually behaves. 88 00:04:37,730 --> 00:04:41,200 So, it is looking at some sort of reality. 89 00:04:41,200 --> 00:04:44,520 What are the kinds of things that you could be looking at? 90 00:04:44,520 --> 00:04:48,200 Before you actually try to make some working simulation 91 00:04:48,200 --> 00:04:51,380 about how reality works, what are some of the things 92 00:04:51,380 --> 00:04:53,410 that you want to look at? 93 00:04:53,410 --> 00:04:55,370 Let's be a bit more concrete about this. 94 00:04:55,370 --> 00:05:01,970 Your reality is student debt. 95 00:05:01,970 --> 00:05:07,240 OK, let's just say that is the system that we are looking at. 96 00:05:07,240 --> 00:05:10,530 We are looking at the world of student debt. 97 00:05:10,530 --> 00:05:13,340 And you are trying to create a model. 98 00:05:13,340 --> 00:05:16,885 If you wanted to explain to somebody else, who 99 00:05:16,885 --> 00:05:18,840 doesn't really understand student debt, 100 00:05:18,840 --> 00:05:22,710 that these are all the things you've got to worry about. 101 00:05:22,710 --> 00:05:24,813 What are the things that you would try to-- 102 00:05:24,813 --> 00:05:29,950 that you might consider explaining to them? 103 00:05:29,950 --> 00:05:31,720 A high school student is thinking-- 104 00:05:31,720 --> 00:05:33,405 let's give this [INAUDIBLE]. 105 00:05:33,405 --> 00:05:35,863 The high school student who doesn't understand student debt 106 00:05:35,863 --> 00:05:37,570 but is thinking of [INAUDIBLE] college. 107 00:05:37,570 --> 00:05:39,150 What would you tell them? 108 00:05:39,150 --> 00:05:41,390 What are some things you want to tell them? 109 00:05:41,390 --> 00:05:43,038 AUDIENCE: The situation [INAUDIBLE] 110 00:05:43,038 --> 00:05:45,194 under which student debt accrues. 111 00:05:45,194 --> 00:05:48,980 What things [INAUDIBLE] 112 00:05:48,980 --> 00:05:51,180 PROFESSOR: Break it up a little bit more. 113 00:05:51,180 --> 00:05:53,496 What are some of the components of that? 114 00:05:53,496 --> 00:05:55,662 AUDIENCE: Situations where you would take out loans. 115 00:05:55,662 --> 00:05:59,770 PROFESSOR: OK, situations. 116 00:05:59,770 --> 00:06:02,910 Maybe cases, you know? 117 00:06:02,910 --> 00:06:06,750 These are examples of things that they [INAUDIBLE]. 118 00:06:06,750 --> 00:06:07,630 OK, what else? 119 00:06:10,194 --> 00:06:12,860 Eventually they're going to make games about this sort of thing. 120 00:06:12,860 --> 00:06:15,470 So what you want to know [INAUDIBLE]. 121 00:06:15,470 --> 00:06:18,481 AUDIENCE: You want to tell them how [INAUDIBLE], 122 00:06:18,481 --> 00:06:20,309 and the how to pay it off eventually. 123 00:06:20,309 --> 00:06:23,130 PROFESSOR: OK, those are mechanics right? 124 00:06:23,130 --> 00:06:27,640 Those are verbs. 125 00:06:27,640 --> 00:06:30,750 How do I do that? 126 00:06:30,750 --> 00:06:33,270 AUDIENCE: How to avoid having to take out loans. 127 00:06:33,270 --> 00:06:34,948 Getting scholarships and things instead. 128 00:06:34,948 --> 00:06:38,371 Trying to work around it. 129 00:06:38,371 --> 00:06:40,170 PROFESSOR: I would call those strategies. 130 00:06:40,170 --> 00:06:42,860 These-- you have a range of different strategies, 131 00:06:42,860 --> 00:06:44,920 all of which to achieve the same goal. 132 00:06:44,920 --> 00:06:49,230 But some of them are better than others, and some of them 133 00:06:49,230 --> 00:06:51,160 completely avoid. 134 00:06:51,160 --> 00:06:52,160 What else? 135 00:06:52,160 --> 00:06:57,092 AUDIENCE: I'd say that any sort of [INAUDIBLE] that 136 00:06:57,092 --> 00:06:58,056 usually happens. 137 00:06:58,056 --> 00:06:59,020 [INAUDIBLE] 138 00:06:59,020 --> 00:07:05,170 PROFESSOR: So probability of how often things happen. 139 00:07:05,170 --> 00:07:06,030 OK. 140 00:07:06,030 --> 00:07:07,338 AUDIENCE: Also trends. 141 00:07:07,338 --> 00:07:10,202 Student debt is increasing. 142 00:07:10,202 --> 00:07:15,830 [INAUDIBLE] A big picture of what it's looking like. 143 00:07:15,830 --> 00:07:20,203 PROFESSOR: OK, so that's coming from a more historical point 144 00:07:20,203 --> 00:07:20,880 of view, right? 145 00:07:20,880 --> 00:07:27,430 There were also two things that [INAUDIBLE]. 146 00:07:27,430 --> 00:07:31,002 Things to compare yourself against. 147 00:07:31,002 --> 00:07:34,190 AUDIENCE: The effects that having debt will have 148 00:07:34,190 --> 00:07:36,590 on the person or situation. 149 00:07:36,590 --> 00:07:37,590 PROFESSOR: Consequences? 150 00:07:37,590 --> 00:07:38,375 AUDIENCE: Yeah. 151 00:07:45,337 --> 00:07:47,170 PROFESSOR: One of the things I would include 152 00:07:47,170 --> 00:07:49,440 would be things like variables. 153 00:07:49,440 --> 00:07:53,220 What are the numbers that you want to keep in your head? 154 00:07:53,220 --> 00:07:57,790 Easy monitoring that will tell you how the system works. 155 00:07:57,790 --> 00:08:01,815 The situation, cases, verbs, strategies, 156 00:08:01,815 --> 00:08:02,946 that's probably something-- 157 00:08:02,946 --> 00:08:04,320 I don't have a good word for it-- 158 00:08:04,320 --> 00:08:09,040 to explain how one thing affects something else. 159 00:08:09,040 --> 00:08:12,715 But that is like consequences. 160 00:08:12,715 --> 00:08:13,880 Maybe flows. 161 00:08:13,880 --> 00:08:16,890 Where does the money go? 162 00:08:16,890 --> 00:08:21,050 What's the rate of money coming in from getting student a job? 163 00:08:21,050 --> 00:08:22,430 Was it getting a [INAUDIBLE]? 164 00:08:22,430 --> 00:08:27,810 Was it some other source of revenue? 165 00:08:27,810 --> 00:08:30,560 [INAUDIBLE] and loads, that sort of thing. 166 00:08:30,560 --> 00:08:33,414 And how does that affect how much money you have 167 00:08:33,414 --> 00:08:35,409 versus how much money you owe. 168 00:08:35,409 --> 00:08:41,200 So you have got all these things that come into the model. 169 00:08:41,200 --> 00:08:44,520 This other reality, you create some sort of model 170 00:08:44,520 --> 00:08:45,490 that you understand. 171 00:08:45,490 --> 00:08:47,890 This is how you understand the world as it is. 172 00:08:47,890 --> 00:08:51,416 In the team project, this is how your team understands the world 173 00:08:51,416 --> 00:08:52,340 as it operates. 174 00:08:52,340 --> 00:08:55,770 And then you decide that you are going to make a situation out 175 00:08:55,770 --> 00:08:56,720 of it. 176 00:09:00,050 --> 00:09:02,224 And you can choose what are the things 177 00:09:02,224 --> 00:09:03,390 that you want to bring over. 178 00:09:03,390 --> 00:09:05,190 I'm not to go through that part of the exercise 179 00:09:05,190 --> 00:09:07,315 because they everyone will have a different answer. 180 00:09:07,315 --> 00:09:10,414 But for some people certain variables are 181 00:09:10,414 --> 00:09:12,830 going to be more important than other variables, depending 182 00:09:12,830 --> 00:09:14,288 on the kind of simulation you make. 183 00:09:14,288 --> 00:09:16,042 if want to play this game-- 184 00:09:16,042 --> 00:09:18,370 actually, I've got to add a rule system. 185 00:09:18,370 --> 00:09:20,896 That's really what our assignment is about. 186 00:09:20,896 --> 00:09:22,520 I you want to play this game as someone 187 00:09:22,520 --> 00:09:31,170 who is giving [INAUDIBLE], then the worlds, and the variables, 188 00:09:31,170 --> 00:09:33,270 and the cases that you are thinking up 189 00:09:33,270 --> 00:09:35,384 are going to be different. 190 00:09:35,384 --> 00:09:39,830 They are going to be thinking about [INAUDIBLE] Whereas, 191 00:09:39,830 --> 00:09:44,100 if you are playing this same as a student, then you-- 192 00:09:44,100 --> 00:09:47,050 the simulation [INAUDIBLE] what it will look from the student. 193 00:09:47,050 --> 00:09:49,907 Then what these sort [INAUDIBLE] won't matter that much to you. 194 00:09:49,907 --> 00:09:51,240 You'll just care about yourself. 195 00:09:51,240 --> 00:09:53,820 So the variables you care about will be different. 196 00:09:53,820 --> 00:09:58,122 How those things affect your life are going to be different. 197 00:09:58,122 --> 00:10:01,310 Now, there is a [INAUDIBLE] to abstraction. 198 00:10:04,120 --> 00:10:06,050 And correct me if I'm wrong, but that's 199 00:10:06,050 --> 00:10:08,679 where [INAUDIBLE] put simulation the gap? 200 00:10:08,679 --> 00:10:09,220 AUDIENCE: Yes 201 00:10:09,220 --> 00:10:09,970 PROFESSOR: Yes . 202 00:10:09,970 --> 00:10:13,530 That's this thing where not only do 203 00:10:13,530 --> 00:10:16,130 you decide that there's a bunch of things in here 204 00:10:16,130 --> 00:10:18,522 that you are going to choose not to bring over 205 00:10:18,522 --> 00:10:21,880 to you simulation, or choose to bring over to your simulation. 206 00:10:21,880 --> 00:10:25,750 Then you can think of a way to simplify that. 207 00:10:25,750 --> 00:10:28,220 Maybe we're not going to-- 208 00:10:28,220 --> 00:10:30,440 maybe certain kinds of consequences 209 00:10:30,440 --> 00:10:35,640 from interest from loans or whatever 210 00:10:35,640 --> 00:10:40,550 normally increase on some sort of non-linear scale. 211 00:10:40,550 --> 00:10:44,844 But for the sake of making a simpler simulation 212 00:10:44,844 --> 00:10:46,510 we're going to assume that it is linear. 213 00:10:46,510 --> 00:10:51,560 We are going to say that every time-- 214 00:10:51,560 --> 00:10:53,740 every turn the amount of debt that you 215 00:10:53,740 --> 00:10:55,600 have increases by a fixed amount, 216 00:10:55,600 --> 00:11:00,600 rather than a percentage or compounding interest. 217 00:11:00,600 --> 00:11:03,080 Because simplifies things, but maybe you 218 00:11:03,080 --> 00:11:06,930 still get certain points across. 219 00:11:06,930 --> 00:11:10,670 This thing down here, some people call a simulation gap. 220 00:11:13,520 --> 00:11:16,850 Other people sometimes place it over here. 221 00:11:16,850 --> 00:11:20,180 But I'm going to make the case that has to happen. 222 00:11:20,180 --> 00:11:22,910 No matter what you do, you have to do this because you're never 223 00:11:22,910 --> 00:11:24,980 going to be able to fully simulate everything 224 00:11:24,980 --> 00:11:28,050 that you know, and the fact you don't know everything 225 00:11:28,050 --> 00:11:29,860 about reality anyway. 226 00:11:29,860 --> 00:11:31,230 So this has to happen. 227 00:11:31,230 --> 00:11:34,790 But there is a design choice that you make over here 228 00:11:34,790 --> 00:11:37,720 of what you want to simulate and to what 229 00:11:37,720 --> 00:11:40,860 degree you want to simulate it. 230 00:11:40,860 --> 00:11:44,900 So, for instance, one of the games that we have today 231 00:11:44,900 --> 00:11:48,810 is Kolejka, which is, again, standing in queues, 232 00:11:48,810 --> 00:11:52,580 waiting for rationed goods to come in while living in 1980's 233 00:11:52,580 --> 00:11:54,940 communist Poland. 234 00:11:54,940 --> 00:11:58,275 You have no idea when the next truck of goods 235 00:11:58,275 --> 00:12:00,356 is going to show up. 236 00:12:00,356 --> 00:12:04,015 The reality Is that there is-- 237 00:12:04,015 --> 00:12:05,067 there are schedules. 238 00:12:05,067 --> 00:12:09,000 Even in communist Poland, people actually-- 239 00:12:09,000 --> 00:12:11,590 there was a schedule in which objects were supposed 240 00:12:11,590 --> 00:12:13,220 to show up in certain stores. 241 00:12:13,220 --> 00:12:15,990 I believe that there's actually an action that hints at that, 242 00:12:15,990 --> 00:12:18,380 but all it does is that it allows 243 00:12:18,380 --> 00:12:26,400 you to place an object in multiple stores at will. 244 00:12:26,400 --> 00:12:30,190 And it's a special thing that you [INAUDIBLE]. 245 00:12:30,190 --> 00:12:32,880 But for the sake of the abstracted version 246 00:12:32,880 --> 00:12:35,700 of the game, which they made, they are going to say, 247 00:12:35,700 --> 00:12:39,160 when you-- as someone who was living at that time, 248 00:12:39,160 --> 00:12:40,810 yes, there were schedules. 249 00:12:40,810 --> 00:12:43,126 It was possible to actually figure out 250 00:12:43,126 --> 00:12:44,750 when different goods were going to show 251 00:12:44,750 --> 00:12:47,314 to some reasonable level of accuracy. 252 00:12:47,314 --> 00:12:49,772 But the majority of people who were involved in this system 253 00:12:49,772 --> 00:12:51,380 had no idea. 254 00:12:51,380 --> 00:12:53,570 And so for the most part, it was random. 255 00:12:53,570 --> 00:12:55,300 That the decision that they're making, 256 00:12:55,300 --> 00:12:57,250 and the point they're trying to get across. 257 00:12:57,250 --> 00:12:59,550 Now whether that's true or not, that's 258 00:12:59,550 --> 00:13:02,170 something that the designers want to convey 259 00:13:02,170 --> 00:13:04,030 through design of the game. 260 00:13:04,030 --> 00:13:05,965 That's something that you can also decide. 261 00:13:05,965 --> 00:13:07,754 If there is that you want make across, 262 00:13:07,754 --> 00:13:10,170 a lot of the rhetorical points are going to be right here. 263 00:13:10,170 --> 00:13:13,730 So if you want to say-- 264 00:13:13,730 --> 00:13:17,100 we had a game last year which was about people cross-dressing 265 00:13:17,100 --> 00:13:18,755 to get into the French theater. 266 00:13:18,755 --> 00:13:20,297 Not all of them were cross-dressing, 267 00:13:20,297 --> 00:13:22,880 some of them were dressing up, some of them were dressing down 268 00:13:22,880 --> 00:13:26,470 for various reasons of social class and trying to get 269 00:13:26,470 --> 00:13:28,785 a cheaper ticket and being able to get into parts 270 00:13:28,785 --> 00:13:30,576 of the theater that you otherwise couldn't. 271 00:13:33,980 --> 00:13:36,230 It wasn't explicitly a simulation, 272 00:13:36,230 --> 00:13:38,520 but they were trying to get across a point. 273 00:13:38,520 --> 00:13:42,350 That this is a sort of thing that that you can do. 274 00:13:42,350 --> 00:13:45,725 Everybody had a-- if you wanted to get into the theater, 275 00:13:45,725 --> 00:13:48,215 there were multiple ways you could get into the theater 276 00:13:48,215 --> 00:13:52,040 and there were different reasons for every single person. 277 00:13:52,040 --> 00:13:55,340 So a noblewoman might cross-dress as a man 278 00:13:55,340 --> 00:13:58,670 in order to be able to get a cheaper ticket, 279 00:13:58,670 --> 00:14:02,120 and go slumming with the people buying the cheap tickets 280 00:14:02,120 --> 00:14:05,510 because it is a lot more exciting down there. 281 00:14:05,510 --> 00:14:09,710 Somebody who is in the clergy will 282 00:14:09,710 --> 00:14:16,682 have to cross-dress to be able to buy a ticket as a woman 283 00:14:16,682 --> 00:14:18,140 because the clergy are not supposed 284 00:14:18,140 --> 00:14:20,391 to be going to the theater. 285 00:14:20,391 --> 00:14:22,390 So they are hiding themselves for other reasons, 286 00:14:22,390 --> 00:14:27,170 even though they are in a more visible position. 287 00:14:27,170 --> 00:14:28,910 And there is a lot of bartering, there 288 00:14:28,910 --> 00:14:31,886 is a lot of theory of [INAUDIBLE] and clothes 289 00:14:31,886 --> 00:14:32,450 and such. 290 00:14:32,450 --> 00:14:34,980 It is a pretty fun game. 291 00:14:34,980 --> 00:14:39,950 I'm going to grab that and bring it over. 292 00:14:39,950 --> 00:14:42,770 So when we play the games today, I 293 00:14:42,770 --> 00:14:45,325 want you to think a little bit about the situation 294 00:14:45,325 --> 00:14:46,900 they are trying to respond. 295 00:14:46,900 --> 00:14:50,020 The Gentlemen of the South Sandwiche Islands 296 00:14:50,020 --> 00:14:51,450 is a game about crossing bridges. 297 00:14:51,450 --> 00:14:54,470 If you have ever done any classes here 298 00:14:54,470 --> 00:14:57,960 at MIT about bridge-crossing theories, 299 00:14:57,960 --> 00:14:59,710 that game is all about that. 300 00:14:59,710 --> 00:15:03,558 But it is ostensibly a game about match-making, 301 00:15:03,558 --> 00:15:06,110 or finding a match. 302 00:15:06,110 --> 00:15:09,340 And you are sort of chasing, where 303 00:15:09,340 --> 00:15:12,710 the men are chasing the women who are also 304 00:15:12,710 --> 00:15:15,116 being chased by their-- 305 00:15:15,116 --> 00:15:16,790 AUDIENCE: Shepherds. 306 00:15:16,790 --> 00:15:18,044 PROFESSOR: Shepherds, yes. 307 00:15:18,044 --> 00:15:18,992 Really good. 308 00:15:21,680 --> 00:15:24,840 So that's a very, very, true-- 309 00:15:24,840 --> 00:15:29,750 that giving the whole, actual, dialogue, where the gentleman 310 00:15:29,750 --> 00:15:30,740 and the ladies there. 311 00:15:30,740 --> 00:15:35,750 It is just making it this whole traveling game. 312 00:15:35,750 --> 00:15:39,590 And you could ask yourself, what are they trying to get across? 313 00:15:39,590 --> 00:15:42,350 Whether intentional or not, it doesn't really matter. 314 00:15:42,350 --> 00:15:45,290 But the game sends a message about how 315 00:15:45,290 --> 00:15:48,250 the system is supposed to work that you can take away 316 00:15:48,250 --> 00:15:50,354 as somebody who has played the game. 317 00:15:50,354 --> 00:15:53,990 [INAUDIBLE], which is a game about a bubble economy. 318 00:15:53,990 --> 00:15:56,620 And Crunch, which is also about a bubble economy, 319 00:15:56,620 --> 00:15:58,940 only a lot more recent. 320 00:15:58,940 --> 00:16:03,500 And it is Crunch, in particular, where this [INAUDIBLE] is. 321 00:16:03,500 --> 00:16:09,770 It is trying to be a satirical commentary about how 322 00:16:09,770 --> 00:16:12,210 big banks need to be operating, whether or not 323 00:16:12,210 --> 00:16:14,890 that's actually how they operate is kind of beside the point. 324 00:16:14,890 --> 00:16:18,490 But they do have certain elements of simulation in there 325 00:16:18,490 --> 00:16:22,650 and then they just abstract them to make you focus on the things 326 00:16:22,650 --> 00:16:25,260 that they want you to focus on. 327 00:16:25,260 --> 00:16:27,880 So, let's see. 328 00:16:27,880 --> 00:16:31,060 Two of those games are two-player games, 329 00:16:31,060 --> 00:16:34,229 so that is only going to account for four 330 00:16:34,229 --> 00:16:35,270 people in this classroom. 331 00:16:35,270 --> 00:16:37,005 The other two go up to five players, 332 00:16:37,005 --> 00:16:38,630 so we can probably split everybody else 333 00:16:38,630 --> 00:16:39,781 into groups of about four. 334 00:16:44,860 --> 00:16:47,010 12 people, so eight. 335 00:16:47,010 --> 00:16:50,809 That should make the games go at a pretty good clip. 336 00:16:50,809 --> 00:16:53,100 Crunch and The Gentlemen of the South Sandwiche Islands 337 00:16:53,100 --> 00:16:55,290 are pretty fast compared to the other two games, 338 00:16:55,290 --> 00:16:58,290 so the people who are playing those games 339 00:16:58,290 --> 00:17:01,524 might want to switch games and play [INAUDIBLE] after that. 340 00:17:01,524 --> 00:17:04,190 It will probably be a lot faster if the people who just competed 341 00:17:04,190 --> 00:17:07,859 a round then turns around and explains it to the next group 342 00:17:07,859 --> 00:17:12,240 because then they won't have to read the rules. 343 00:17:12,240 --> 00:17:18,180 So let's do that for about an hour. 344 00:17:18,180 --> 00:17:21,680 Especially because Kolejka takes about an hour. 345 00:17:21,680 --> 00:17:25,430 And after that, we'll talk about class. 346 00:17:25,430 --> 00:17:26,930 We'll talk about the assignment. 347 00:17:26,930 --> 00:17:28,469 So, any questions about this? 348 00:17:31,750 --> 00:17:32,630 No? 349 00:17:32,630 --> 00:17:34,562 Make sure you talk with your teams, 350 00:17:34,562 --> 00:17:36,770 especially when you're looking at how the rules work, 351 00:17:36,770 --> 00:17:38,395 but also while you're playing the game. 352 00:17:41,500 --> 00:17:45,250 I talked to both the team that played Tulipmania-- 353 00:17:45,250 --> 00:17:48,000 not the team, but the group that played Tulipmania and the group 354 00:17:48,000 --> 00:17:49,922 that played Kolejka. 355 00:17:49,922 --> 00:17:51,880 I haven't had a chance to talk to the folks who 356 00:17:51,880 --> 00:17:54,540 played Crunch and The Gentlemen of the South Sandwiche Islands 357 00:17:54,540 --> 00:17:55,150 yet. 358 00:17:55,150 --> 00:17:58,370 So let's talk a little bit about-- 359 00:17:58,370 --> 00:17:59,870 AUDIENCE: There are cards on my body 360 00:17:59,870 --> 00:18:04,133 that I would like to get rid of if we're done. 361 00:18:04,133 --> 00:18:05,640 STUDENT: I don't want to call it. 362 00:18:05,640 --> 00:18:08,350 We're still in. 363 00:18:08,350 --> 00:18:10,570 PROFESSOR: I'm going to say the game is on pause. 364 00:18:10,570 --> 00:18:13,450 But I do want to talk a little bit about, not so much 365 00:18:13,450 --> 00:18:16,130 how this one particular game is being played out, 366 00:18:16,130 --> 00:18:22,270 but rather what does this game render in very high detail? 367 00:18:22,270 --> 00:18:24,230 And what does it sort of gloss over 368 00:18:24,230 --> 00:18:28,120 a very low-level granularity? 369 00:18:28,120 --> 00:18:31,187 So what is very, very well rendered in this game? 370 00:18:31,187 --> 00:18:33,270 In the opinion of the people who played this game? 371 00:18:33,270 --> 00:18:36,720 AUDIENCE: I would say corruption. 372 00:18:36,720 --> 00:18:39,690 I think there's a lot of-- 373 00:18:39,690 --> 00:18:41,441 for example, when you are sneaking a card, 374 00:18:41,441 --> 00:18:43,356 you kind of wonder if someone is watching you. 375 00:18:43,356 --> 00:18:45,880 I think that's actually pretty similar in the real world, 376 00:18:45,880 --> 00:18:47,970 dealing with a corrupt CEO. 377 00:18:47,970 --> 00:18:51,070 You wonder if someone is going back and checking your records, 378 00:18:51,070 --> 00:18:53,440 if you can actually get away with taking this money 379 00:18:53,440 --> 00:18:54,580 and storing it somewhere. 380 00:18:54,580 --> 00:18:55,080 Right. 381 00:18:58,490 --> 00:19:02,650 STUDENT: I wouldn't quite agree, because in this game 382 00:19:02,650 --> 00:19:05,411 they can see the number of cards in your hand going down. 383 00:19:05,411 --> 00:19:08,541 And as long as they don't see you actually putting them away, 384 00:19:08,541 --> 00:19:10,290 they are like, you are clearly embezzling, 385 00:19:10,290 --> 00:19:12,670 I can't do anything about it. 386 00:19:12,670 --> 00:19:16,060 PROFESSOR: So there is on one hand the not wanting 387 00:19:16,060 --> 00:19:18,460 to get caught in the act of embezzling. 388 00:19:18,460 --> 00:19:20,680 On the other hand, the very clear assumption 389 00:19:20,680 --> 00:19:23,890 that everybody is. 390 00:19:23,890 --> 00:19:25,615 You can see it, it is happening. 391 00:19:25,615 --> 00:19:28,570 You know that it is going on, that everybody in the game is 392 00:19:28,570 --> 00:19:30,624 engaging in this, but you don't. 393 00:19:30,624 --> 00:19:32,290 The only thing that you're worried about 394 00:19:32,290 --> 00:19:34,230 is just getting caught in the act. 395 00:19:34,230 --> 00:19:35,610 Of having your hand in the kitty. 396 00:19:35,610 --> 00:19:37,030 But it is OK that the kitty-- 397 00:19:37,030 --> 00:19:40,780 that the cookie jar seems to be emptier than normal. 398 00:19:43,310 --> 00:19:45,700 The game does that well. 399 00:19:45,700 --> 00:19:49,960 What's really sort of vague, deliberately vaguely 400 00:19:49,960 --> 00:19:51,640 represented in the game? 401 00:19:51,640 --> 00:19:56,962 AUDIENCE: All the actual bank mechanics. 402 00:19:56,962 --> 00:19:59,420 PROFESSOR: Can you give me an example? 403 00:19:59,420 --> 00:20:05,060 AUDIENCE: Like the whole investing on [INAUDIBLE] thing. 404 00:20:05,060 --> 00:20:07,650 It's probably a pretty good simplified version of it 405 00:20:07,650 --> 00:20:09,699 for the game. 406 00:20:09,699 --> 00:20:11,740 Which is fine, because that's not the main focus, 407 00:20:11,740 --> 00:20:14,160 it's not to make smart investment choices. 408 00:20:14,160 --> 00:20:17,455 It's to embezzle things. 409 00:20:17,455 --> 00:20:18,830 PROFESSOR: The odd thing about it 410 00:20:18,830 --> 00:20:20,538 is that the actual operation of the banks 411 00:20:20,538 --> 00:20:22,210 is remarkably trivial. 412 00:20:22,210 --> 00:20:22,916 AUDIENCE: Right 413 00:20:22,916 --> 00:20:24,457 PROFESSOR: Or it has been trivialized 414 00:20:24,457 --> 00:20:26,645 to the point of-- that's the point of this game, 415 00:20:26,645 --> 00:20:29,096 is not to run a good bank. 416 00:20:29,096 --> 00:20:32,980 AUDIENCE: I also don't know how this works in the real world, 417 00:20:32,980 --> 00:20:35,140 but the government bailouts in this game 418 00:20:35,140 --> 00:20:36,472 seem like candy, basically. 419 00:20:36,472 --> 00:20:38,180 You just, oh I want a government bailout. 420 00:20:38,180 --> 00:20:39,173 Oh, OK. 421 00:20:39,173 --> 00:20:40,220 Government bailout? 422 00:20:40,220 --> 00:20:42,170 Sure, we need a government bailout 423 00:20:42,170 --> 00:20:50,779 like [INAUDIBLE] in the financial crisis, 424 00:20:50,779 --> 00:20:52,070 and all the banks were failing. 425 00:20:52,070 --> 00:20:54,370 The auto manufacturers started asking 426 00:20:54,370 --> 00:20:57,870 the government for money. 427 00:20:57,870 --> 00:21:07,417 [INAUDIBLE] so Ford decided they didn't need it, but GM did. 428 00:21:07,417 --> 00:21:10,588 [INAUDIBLE] 429 00:21:10,588 --> 00:21:13,374 PROFESSOR: Again, it's a deliberate choice, right? 430 00:21:13,374 --> 00:21:15,040 I think what you're saying is that yeah, 431 00:21:15,040 --> 00:21:18,790 it is ridiculously trivial to get a government bailout. 432 00:21:18,790 --> 00:21:21,735 It's clearly designed, to me, to make you think that yeah, 433 00:21:21,735 --> 00:21:25,580 the government is going to come in and take care of this. 434 00:21:25,580 --> 00:21:29,640 Even though I'm in a hole of several-- 435 00:21:29,640 --> 00:21:31,754 $50 million dollars or something. 436 00:21:31,754 --> 00:21:35,110 It is like, yeah, the government will take care of it. 437 00:21:35,110 --> 00:21:39,690 So, I had a similar discussion with all of the other teams. 438 00:21:39,690 --> 00:21:42,490 In Tulipmania and Kolejka, what are the things that 439 00:21:42,490 --> 00:21:46,360 are really in high resolution? 440 00:21:46,360 --> 00:21:53,770 Everything that you can possibly do in standing in line is-- 441 00:21:53,770 --> 00:21:55,800 it is what that kind of game is about. 442 00:21:55,800 --> 00:21:59,450 Whereas things like money, for instance, 443 00:21:59,450 --> 00:22:03,060 or, oddly enough the way how the black market played out 444 00:22:03,060 --> 00:22:11,400 in Kolejka was less in the mind of the group that 445 00:22:11,400 --> 00:22:19,780 was playing because everybody had stuff to do. 446 00:22:19,780 --> 00:22:22,380 We didn't really have to stand in line 447 00:22:22,380 --> 00:22:25,885 but that might change with a smaller number of people. 448 00:22:25,885 --> 00:22:29,050 And Tulipmania, what did we talk about, 449 00:22:29,050 --> 00:22:31,455 the stuff that was really high resolution? 450 00:22:40,365 --> 00:22:45,300 AUDIENCE: Trying to encourage the buyers, 451 00:22:45,300 --> 00:22:48,055 or use the buyers to [INAUDIBLE] 452 00:22:48,055 --> 00:22:48,980 PROFESSOR: Right. 453 00:22:48,980 --> 00:22:53,710 So, getting other people, who have money. 454 00:22:53,710 --> 00:22:55,100 Why even play the game? 455 00:22:55,100 --> 00:22:59,560 These are not [INAUDIBLE] to put money down on the investment 456 00:22:59,560 --> 00:23:02,270 that you are telling them to make. 457 00:23:02,270 --> 00:23:04,290 It is really what they whole game is about. 458 00:23:04,290 --> 00:23:06,530 There is a lot of detail about how that works. 459 00:23:06,530 --> 00:23:08,020 It is all about. 460 00:23:08,020 --> 00:23:09,880 speculative activity. 461 00:23:09,880 --> 00:23:14,380 Whereas things like the actual prices, and where 462 00:23:14,380 --> 00:23:16,600 the bubble decides to burst. 463 00:23:16,600 --> 00:23:20,260 Those things are simplified to the point where the players can 464 00:23:20,260 --> 00:23:22,360 make a decision about it in a way 465 00:23:22,360 --> 00:23:24,700 that maybe real people can't make a decision. 466 00:23:27,630 --> 00:23:30,860 OK, so hopefully that gives you ideas 467 00:23:30,860 --> 00:23:34,300 about the way-- how you can play around 468 00:23:34,300 --> 00:23:37,550 with the level of fidelity in your game. 469 00:23:37,550 --> 00:23:41,660 And now we're already down to the last half hour in class, 470 00:23:41,660 --> 00:23:46,820 so let's talk a little about your assignment 3. 471 00:23:46,820 --> 00:23:49,750 First of all, has anyone been thinking about this? 472 00:23:49,750 --> 00:23:54,126 I know you guys want to get back to your game. 473 00:23:54,126 --> 00:23:56,840 Has anyone got an idea about assignment 3 474 00:23:56,840 --> 00:23:59,720 that you want to pitch to your teams-- to the class now, 475 00:23:59,720 --> 00:24:01,060 to be able to form a team now? 476 00:24:01,060 --> 00:24:03,620 It's probably a good time to do it. 477 00:24:03,620 --> 00:24:06,800 It doesn't need to be fully fleshed out. 478 00:24:06,800 --> 00:24:14,176 AUDIENCE: I have an idea for a board game based around 479 00:24:14,176 --> 00:24:16,810 the first triumvirate, where the players are on either 480 00:24:16,810 --> 00:24:19,830 [INAUDIBLE] And-- 481 00:24:19,830 --> 00:24:21,205 PROFESSOR: The Roman triumvirate. 482 00:24:21,205 --> 00:24:24,160 AUDIENCE: And basically, all the players 483 00:24:24,160 --> 00:24:27,130 just want to want to march on Rome and become dictator there. 484 00:24:27,130 --> 00:24:30,720 But there's other players in the way. 485 00:24:30,720 --> 00:24:34,650 And also the Roman establishment, 486 00:24:34,650 --> 00:24:37,210 the senate doesn't want a dictator. 487 00:24:37,210 --> 00:24:39,930 And so you are trying to campaign 488 00:24:39,930 --> 00:24:41,890 to acquire more soldiers, and more 489 00:24:41,890 --> 00:24:45,060 influence around so that you can overcome them. 490 00:24:45,060 --> 00:24:49,030 You are also pushing your luck and taking riskier plays, 491 00:24:49,030 --> 00:24:53,940 so you can do this back to the other players. 492 00:24:53,940 --> 00:25:01,370 And, eventually, someone gets far ahead of them. 493 00:25:01,370 --> 00:25:07,330 Or someone or something doesn't pay off and they get killed. 494 00:25:07,330 --> 00:25:12,046 And then the whole thing [INAUDIBLE] and the players 495 00:25:12,046 --> 00:25:13,940 start fighting each other. 496 00:25:13,940 --> 00:25:16,450 PROFESSOR: So it's kind of tenuous cooperation. 497 00:25:16,450 --> 00:25:17,470 AUDIENCE: Yes 498 00:25:17,470 --> 00:25:21,050 PROFESSOR: So it's an interesting-- certainly a lot, 499 00:25:21,050 --> 00:25:24,280 a wealth of material to look at, when 500 00:25:24,280 --> 00:25:27,860 it comes to the fall of the Roman republic. 501 00:25:27,860 --> 00:25:32,470 Basically, if anyone points to people who-- 502 00:25:32,470 --> 00:25:34,680 the individual people caused the fall 503 00:25:34,680 --> 00:25:38,770 of the republic [INAUDIBLE]. 504 00:25:38,770 --> 00:25:40,066 Obviously, [INAUDIBLE]. 505 00:25:42,640 --> 00:25:44,690 That might be, if you are interested. 506 00:25:44,690 --> 00:25:47,200 Or if you don't actually know that much about ancient Romans 507 00:25:47,200 --> 00:25:51,750 and would like to, that is probably a good project 508 00:25:51,750 --> 00:25:53,446 to get into. 509 00:25:53,446 --> 00:25:57,040 I can't think of any better way to learn about a topic 510 00:25:57,040 --> 00:26:00,295 than to try to make a game about it. 511 00:26:00,295 --> 00:26:01,225 Anybody else? 512 00:26:01,225 --> 00:26:04,490 AUDIENCE: So this isn't a complete idea at all, 513 00:26:04,490 --> 00:26:09,760 and I'm probably coming about it from the wrong direction, 514 00:26:09,760 --> 00:26:12,790 but I would be very interested in finding 515 00:26:12,790 --> 00:26:15,370 some historical event which-- 516 00:26:18,530 --> 00:26:22,630 or some role where the person consistently 517 00:26:22,630 --> 00:26:26,220 felt that things were out of their control, and kept getting 518 00:26:26,220 --> 00:26:27,500 pushed in the same direction. 519 00:26:27,500 --> 00:26:31,000 And then make it so that the game always does the same-- 520 00:26:31,000 --> 00:26:32,855 it always ends in the same way. 521 00:26:32,855 --> 00:26:39,400 So it is a deterministic game, apart from how you get there. 522 00:26:39,400 --> 00:26:44,930 So, make it so that, for example, there's two players. 523 00:26:44,930 --> 00:26:46,960 One of them is guaranteed to be the winner. 524 00:26:46,960 --> 00:26:50,020 So make it actually follow history, and then don't 525 00:26:50,020 --> 00:26:51,400 tell the people this. 526 00:26:51,400 --> 00:26:54,510 Just have a game where eventually people realise that 527 00:26:54,510 --> 00:27:01,240 this is a game where, hey, this turned out remarkably like 528 00:27:01,240 --> 00:27:02,420 actual history. 529 00:27:02,420 --> 00:27:04,780 And then they play it again, and it is still remarkably 530 00:27:04,780 --> 00:27:05,640 like actual history. 531 00:27:05,640 --> 00:27:10,030 And then they eventually realise that you are playing through 532 00:27:10,030 --> 00:27:11,075 the motions. 533 00:27:11,075 --> 00:27:15,730 PROFESSOR: You could certainly make a game where the governing 534 00:27:15,730 --> 00:27:20,620 forces are very powerful, so it's 535 00:27:20,620 --> 00:27:23,560 going to be playing out in pretty much the same way 536 00:27:23,560 --> 00:27:24,190 each time. 537 00:27:24,190 --> 00:27:26,500 But then, the question is, what is the agency 538 00:27:26,500 --> 00:27:27,750 that you have in there? 539 00:27:27,750 --> 00:27:30,720 What does [INAUDIBLE] take to be able to influence things. 540 00:27:30,720 --> 00:27:37,580 So even a game like [INAUDIBLE] is not a good example of this, 541 00:27:37,580 --> 00:27:41,140 but it's a game that's based on the events that are actually 542 00:27:41,140 --> 00:27:42,440 in a deck of cards. 543 00:27:42,440 --> 00:27:45,190 And so what you do to play out, these 544 00:27:45,190 --> 00:27:47,270 are things that actually happened in real history 545 00:27:47,270 --> 00:27:49,240 and they may not be in the right order, 546 00:27:49,240 --> 00:27:51,696 but they will always happen. 547 00:27:51,696 --> 00:27:53,770 So it ends up being what kinds of decisions 548 00:27:53,770 --> 00:27:57,460 you are to make in all of those circumstances. 549 00:27:57,460 --> 00:28:00,562 [INAUDIBLE] slightly different parameters. 550 00:28:00,562 --> 00:28:05,470 AUDIENCE: Most operational-level war games do exactly that. 551 00:28:05,470 --> 00:28:09,550 The game is not about getting the Germans to win 552 00:28:09,550 --> 00:28:13,750 or winning Vietnam, it's more about 553 00:28:13,750 --> 00:28:17,960 what are the various strategies you have to use at the time. 554 00:28:17,960 --> 00:28:19,690 But more than likely, though, the game 555 00:28:19,690 --> 00:28:22,320 is set to end the way history does-- played out. 556 00:28:24,850 --> 00:28:27,720 So they're really complicated games. 557 00:28:27,720 --> 00:28:30,860 There's some less complicated ones, 558 00:28:30,860 --> 00:28:32,800 so if you end up going down that route, 559 00:28:32,800 --> 00:28:38,060 I might have some card-based versions of the game to show. 560 00:28:38,060 --> 00:28:41,490 PROFESSOR: You might also want to zoom in into the very-- 561 00:28:41,490 --> 00:28:45,000 instead of a wide swath of history, go really small. 562 00:28:45,000 --> 00:28:47,150 AUDIENCE: Most board games about battles 563 00:28:47,150 --> 00:28:49,795 will allow you to have a battle a different way. 564 00:28:49,795 --> 00:28:51,920 But anything operational-level tend 565 00:28:51,920 --> 00:28:54,582 to be very much about you just exploring 566 00:28:54,582 --> 00:28:56,830 what is going to be in that. 567 00:28:56,830 --> 00:28:59,370 PROFESSOR: That's true. 568 00:28:59,370 --> 00:29:01,353 So you've had your hand up forever, 569 00:29:01,353 --> 00:29:02,750 and then we'll go back this way. 570 00:29:02,750 --> 00:29:04,125 AUDIENCE: I have a separate idea, 571 00:29:04,125 --> 00:29:08,180 but just for that idea, maybe the Russian Revolution. 572 00:29:08,180 --> 00:29:11,590 Everyone was just caught up in all this craziness. 573 00:29:11,590 --> 00:29:14,325 It's like-- the game is basically forcing you 574 00:29:14,325 --> 00:29:15,875 that your revolution is going to lose 575 00:29:15,875 --> 00:29:17,926 and another one is going to come in. 576 00:29:17,926 --> 00:29:21,800 But along the way you are trying to set up your perfect table. 577 00:29:21,800 --> 00:29:24,220 PROFESSOR: You could imagine a game 578 00:29:24,220 --> 00:29:26,910 where there's already this tidal wave of change happening. 579 00:29:26,910 --> 00:29:32,080 You don't stop the wave, but how well can you ride that wave. 580 00:29:32,080 --> 00:29:33,940 AUDIENCE: But an idea I was thinking of 581 00:29:33,940 --> 00:29:37,930 was the dot-com bubble, back in the late '90s, 582 00:29:37,930 --> 00:29:41,500 where you would be some startup with a ridiculous business 583 00:29:41,500 --> 00:29:44,950 plan who is trying to acquire as many users 584 00:29:44,950 --> 00:29:46,800 as you can in a short amount of time. 585 00:29:46,800 --> 00:29:49,470 Get an IPO, got a lot of money from VCs, 586 00:29:49,470 --> 00:29:52,990 and then get out before everything crashes. 587 00:29:52,990 --> 00:29:57,160 So, I guess, about a bubble like Tulipmania is, but 588 00:29:57,160 --> 00:29:59,196 a little different in terms of the mechanics. 589 00:29:59,196 --> 00:30:00,830 How do you deal with the bubble? 590 00:30:03,788 --> 00:30:06,260 TEACHING ASSISTANT: For that one, 591 00:30:06,260 --> 00:30:09,435 think about what the people who are going through that. 592 00:30:09,435 --> 00:30:11,430 What do they actually know about the bubble. 593 00:30:11,430 --> 00:30:14,010 Did they know that the bubble was going to happen or not. 594 00:30:14,010 --> 00:30:15,690 At least for this assignment. 595 00:30:15,690 --> 00:30:19,820 It's about being in the perspective of the person 596 00:30:19,820 --> 00:30:21,850 at that time, in that real time. 597 00:30:21,850 --> 00:30:24,920 What about it is hindsight versus what 598 00:30:24,920 --> 00:30:26,650 they thought at the time. 599 00:30:26,650 --> 00:30:29,820 PROFESSOR: Yeah it's easy to make a game-- we have had games 600 00:30:29,820 --> 00:30:32,370 in this class that were also about the dot-com bubble 601 00:30:32,370 --> 00:30:36,900 A lot of it was making fun of how ridiculous it looks 602 00:30:36,900 --> 00:30:38,320 like now, in hindsight. 603 00:30:38,320 --> 00:30:42,910 But it's good to try to think, what information did they 604 00:30:42,910 --> 00:30:44,220 have at the time? 605 00:30:44,220 --> 00:30:46,410 It looks like-- did this look like it 606 00:30:46,410 --> 00:30:49,800 was going to go on forever? 607 00:30:49,800 --> 00:30:53,870 AUDIENCE: I have three different ideas. 608 00:30:53,870 --> 00:30:57,300 Most of what I think is I want to make 609 00:30:57,300 --> 00:31:00,335 a two-player game, where one person is 610 00:31:00,335 --> 00:31:03,000 in a position of power and the other person is 611 00:31:03,000 --> 00:31:06,480 working for them and otherwise subversive to them. 612 00:31:06,480 --> 00:31:09,380 And the person in the position of power 613 00:31:09,380 --> 00:31:12,070 has the ability to [INAUDIBLE] the other person. 614 00:31:12,070 --> 00:31:15,130 And what the other person can do is-- 615 00:31:15,130 --> 00:31:16,784 should they try to overthrow them? 616 00:31:16,784 --> 00:31:18,700 Does this-- How does this describe their life? 617 00:31:24,924 --> 00:31:29,272 Another idea I had was a love affair thing, 618 00:31:29,272 --> 00:31:32,500 a three-player game. 619 00:31:32,500 --> 00:31:38,900 I'm not sure that a three-player with 12 pairs. 620 00:31:38,900 --> 00:31:42,505 PROFESSOR: Maybe you can identify a specific three 621 00:31:42,505 --> 00:31:43,005 people 622 00:31:43,005 --> 00:31:46,390 AUDIENCE: Yes, maybe like Yoko and all the Beatles 623 00:31:46,390 --> 00:31:47,946 or something 624 00:31:47,946 --> 00:31:50,844 PROFESSOR: Yeah, that would go. 625 00:31:50,844 --> 00:31:56,650 AUDIENCE: And then another one, [INAUDIBLE] 626 00:31:56,650 --> 00:32:00,430 A game about feminist actions, on how they're all not 627 00:32:00,430 --> 00:32:04,886 quite the same thing but they are arguably minor points. 628 00:32:04,886 --> 00:32:07,256 [INAUDIBLE] 629 00:32:07,256 --> 00:32:11,482 PROFESSOR: [INAUDIBLE] by in time, because will be 630 00:32:11,482 --> 00:32:14,055 [INAUDIBLE] 631 00:32:14,055 --> 00:32:16,875 AUDIENCE: Cool, so I have two vague ideas. 632 00:32:16,875 --> 00:32:20,990 The first one, I am really interested in technology 633 00:32:20,990 --> 00:32:24,550 that changes the way people live their daily lives. 634 00:32:24,550 --> 00:32:27,620 So, when you look at 20th century, 635 00:32:27,620 --> 00:32:32,630 we had personal computers, so it could be like you're trying 636 00:32:32,630 --> 00:32:35,650 to hack things together in garages in Silicon Valley 637 00:32:35,650 --> 00:32:37,172 in the 1970's. 638 00:32:37,172 --> 00:32:41,120 Another idea is being Henry Ford, and building cars 639 00:32:41,120 --> 00:32:42,640 or bringing cars to the masses. 640 00:32:42,640 --> 00:32:47,300 Maybe you are a plant overseer and you 641 00:32:47,300 --> 00:32:49,420 are a line or something. 642 00:32:49,420 --> 00:32:51,640 Another one could be you are the Wright Brothers, 643 00:32:51,640 --> 00:32:52,524 inventing airplanes. 644 00:32:52,524 --> 00:32:56,510 It could be an experimental game. 645 00:32:56,510 --> 00:32:59,000 Another idea I had was that you are 646 00:32:59,000 --> 00:33:01,180 in the 1500's or the 1600's, and you are a merchant. 647 00:33:01,180 --> 00:33:03,920 You've got your ship, and you need to go buy stuff 648 00:33:03,920 --> 00:33:05,450 and bring it home and sell it. 649 00:33:05,450 --> 00:33:07,400 But the complication is there is-- 650 00:33:07,400 --> 00:33:11,430 you know how those old-time maps had sea monsters all over them, 651 00:33:11,430 --> 00:33:14,070 because the ships would disappear? 652 00:33:14,070 --> 00:33:18,820 But to a sea monster that ship is really good, am I right? 653 00:33:18,820 --> 00:33:21,160 That was the only rational explanation. 654 00:33:21,160 --> 00:33:26,400 I'm thinking that, [INAUDIBLE] What's that? 655 00:33:26,400 --> 00:33:28,676 When you go off the Earth. 656 00:33:28,676 --> 00:33:30,620 PROFESSOR: This is after 1492. 657 00:33:30,620 --> 00:33:31,590 AUDIENCE: What's that? 658 00:33:31,590 --> 00:33:32,610 PROFESSOR: This is after the circumnavigation, 659 00:33:32,610 --> 00:33:34,440 and the world is actually round. 660 00:33:34,440 --> 00:33:37,634 But they could be [INAUDIBLE] 661 00:33:37,634 --> 00:33:42,940 AUDIENCE: [INAUDIBLE] Here's your home, 662 00:33:42,940 --> 00:33:45,900 here's the place where all the resources are, and you 663 00:33:45,900 --> 00:33:47,550 have to get the resources back. 664 00:33:47,550 --> 00:33:49,258 But there is a sea monster in the middle. 665 00:33:49,258 --> 00:33:51,275 It's a path-building game, where there 666 00:33:51,275 --> 00:33:54,061 is a random aspect of the sea monster and if you [INAUDIBLE], 667 00:33:54,061 --> 00:33:54,560 you're dead. 668 00:33:54,560 --> 00:33:55,810 But if you can survive, you will profit. 669 00:33:55,810 --> 00:33:57,320 PROFESSOR: So you're a ship captain. 670 00:33:57,320 --> 00:34:00,790 AUDIENCE: Yeah, you are a merchant ship captain. 671 00:34:00,790 --> 00:34:06,506 PROFESSOR: Everyone had a chance to say, who had their hand up? 672 00:34:10,370 --> 00:34:19,767 AUDIENCE: [INAUDIBLE] you're getting 673 00:34:19,767 --> 00:34:21,460 data on which sensor is appearing, 674 00:34:21,460 --> 00:34:23,513 and you're trying to figure out where 675 00:34:23,513 --> 00:34:24,679 the monsters are on the map. 676 00:34:24,679 --> 00:34:28,620 So you're getting this information that-- 677 00:34:28,620 --> 00:34:33,960 [INAUDIBLE] really make it obvious 678 00:34:33,960 --> 00:34:35,710 that that's not actually what's going on 679 00:34:35,710 --> 00:34:37,719 by rolling dice or something. 680 00:34:37,719 --> 00:34:43,260 Or doing something very clearly random for whether-- 681 00:34:43,260 --> 00:34:45,846 which ships out of a particular set come back 682 00:34:45,846 --> 00:34:48,710 and which don't, based on where they were going. 683 00:34:48,710 --> 00:34:50,690 And then somehow you are supposed 684 00:34:50,690 --> 00:34:55,060 to make your case that, this is exactly where the monsters are. 685 00:34:55,060 --> 00:34:59,555 My map matches the data, and these other players maps don't. 686 00:34:59,555 --> 00:35:00,930 PROFESSOR: You want to be looking 687 00:35:00,930 --> 00:35:04,655 at cartography technology that was out there, 688 00:35:04,655 --> 00:35:09,000 or what sea-going timepieces look like at that time. 689 00:35:09,000 --> 00:35:14,440 Navigation, but also how does society of information 690 00:35:14,440 --> 00:35:15,840 ran at that time. 691 00:35:15,840 --> 00:35:18,210 Was it all just the royal society of blah, 692 00:35:18,210 --> 00:35:21,230 or was it more entrepreneurial? 693 00:35:21,230 --> 00:35:22,730 TEACHING ASSISTANT: So for that one, 694 00:35:22,730 --> 00:35:24,340 possible primary sources if you wanted 695 00:35:24,340 --> 00:35:26,450 to keep the fantastical element, but still 696 00:35:26,450 --> 00:35:29,600 make a little bit more of realistic of the time 697 00:35:29,600 --> 00:35:32,210 Umberto Eco wrote a book, Baudolino, 698 00:35:32,210 --> 00:35:36,830 about the mystery of Prester John, 699 00:35:36,830 --> 00:35:42,450 the Prester John who went from Europe to bring Christianity 700 00:35:42,450 --> 00:35:46,010 to the Orient. 701 00:35:46,010 --> 00:35:48,080 But it is a book about the Orient 702 00:35:48,080 --> 00:35:50,060 It is a book about map making, cartography, 703 00:35:50,060 --> 00:35:52,370 that kind of knowledge sharing. 704 00:35:52,370 --> 00:35:56,090 And the idea that if you just say something existed, 705 00:35:56,090 --> 00:35:57,305 it existed for real. 706 00:35:57,305 --> 00:35:59,860 Enough people believed it, the people in power 707 00:35:59,860 --> 00:36:02,300 believed it, so that it might as well have been real. 708 00:36:02,300 --> 00:36:03,400 And that's the kind of-- 709 00:36:03,400 --> 00:36:04,600 that's the weird kind of world they 710 00:36:04,600 --> 00:36:06,910 were working in the 13th and 14th century in Europe. 711 00:36:06,910 --> 00:36:11,090 It was that you had these itinerants come around and say, 712 00:36:11,090 --> 00:36:16,010 yes, I met Prester John, here's this map, and by the way, 713 00:36:16,010 --> 00:36:19,520 here's a relic of Jesus, or here is a relic of some other saint. 714 00:36:19,520 --> 00:36:21,870 And just by saying that made it-- 715 00:36:21,870 --> 00:36:25,040 gave those objects power, gave the person power. 716 00:36:25,040 --> 00:36:28,030 At least for a little while within that little burg 717 00:36:28,030 --> 00:36:31,154 that he was traveling through. 718 00:36:31,154 --> 00:36:33,040 AUDIENCE: I was also going to suggest 719 00:36:33,040 --> 00:36:35,770 a cartography kind of game, or an explorer trying 720 00:36:35,770 --> 00:36:40,162 to map out something. 721 00:36:40,162 --> 00:36:45,906 PROFESSOR: So map making before modern technology is scary 722 00:36:45,906 --> 00:36:50,240 seeing that one of two things could proceed. 723 00:36:50,240 --> 00:36:51,590 Anybody else have ideas? 724 00:36:51,590 --> 00:36:54,660 It doesn't necessarily need to be game mechanic ideas, 725 00:36:54,660 --> 00:36:57,630 it could be just time period and person ideas. 726 00:36:57,630 --> 00:37:00,910 AUDIENCE: So I don't know if I want to do this 727 00:37:00,910 --> 00:37:04,170 or not, because it is really controversial. 728 00:37:04,170 --> 00:37:08,160 I'm from North Dakota and I have seen 729 00:37:08,160 --> 00:37:10,290 a lot of the Native Americans struggle 730 00:37:10,290 --> 00:37:12,840 and I've read a lot of their history. 731 00:37:12,840 --> 00:37:15,830 So I was thinking about making a satire, 732 00:37:15,830 --> 00:37:17,580 Like one person is the Native Americans 733 00:37:17,580 --> 00:37:19,950 and one person is the United States. 734 00:37:19,950 --> 00:37:23,230 And just to illustrate the crazy injustices. 735 00:37:23,230 --> 00:37:25,140 But that is kind of heavy, and I don't 736 00:37:25,140 --> 00:37:27,287 know if I want to explore it. 737 00:37:27,287 --> 00:37:29,120 But there are ridiculous things that happen. 738 00:37:29,120 --> 00:37:32,250 PROFESSOR: Well it's not that far off from of the ideas 739 00:37:32,250 --> 00:37:36,480 you had about two very different levels of power, right? 740 00:37:36,480 --> 00:37:38,960 And that also goes to very different levels of access 741 00:37:38,960 --> 00:37:40,890 to information. 742 00:37:40,890 --> 00:37:44,090 So, maybe you should your group and see 743 00:37:44,090 --> 00:37:45,743 if those ideas work out. 744 00:37:52,866 --> 00:37:54,240 AUDIENCE: Not really fleshed out, 745 00:37:54,240 --> 00:37:58,594 but I was thinking about looking at a mass murder in history. 746 00:37:58,594 --> 00:37:59,562 PROFESSOR: OK 747 00:37:59,562 --> 00:38:01,982 AUDIENCE: Just any one of them. 748 00:38:01,982 --> 00:38:04,402 Trying to make a game out of it. 749 00:38:04,402 --> 00:38:06,580 PROFESSOR: OK, so mass murders on the scale 750 00:38:06,580 --> 00:38:09,240 of armed conflict-- 751 00:38:09,240 --> 00:38:13,480 armed public conflict, and mass murders of the serial killers 752 00:38:13,480 --> 00:38:16,152 sort, where it is a mystery. 753 00:38:16,152 --> 00:38:17,500 Do you have a preference? 754 00:38:17,500 --> 00:38:19,055 AUDIENCE: I'm thinking serial killers 755 00:38:19,055 --> 00:38:22,629 PROFESSOR: All right, there are a couple of famous ones. 756 00:38:22,629 --> 00:38:23,420 What sort of roles? 757 00:38:23,420 --> 00:38:25,120 Like the investigation part of it, 758 00:38:25,120 --> 00:38:27,050 or the try to get away with it kind of thing? 759 00:38:27,050 --> 00:38:29,341 AUDIENCE: I think the trying to get away with it thing. 760 00:38:29,341 --> 00:38:31,630 All right? 761 00:38:31,630 --> 00:38:34,374 TEACHING ASSISTANT: I think you might get visited by the FBI. 762 00:38:34,374 --> 00:38:38,880 AUDIENCE: Have people watched the Meet the Team videos 763 00:38:38,880 --> 00:38:42,650 for Team Fortress 2? 764 00:38:42,650 --> 00:38:46,758 STUDENT: So one of these videos is about the pyro, 765 00:38:46,758 --> 00:38:49,230 he's one of the characters. 766 00:38:49,230 --> 00:38:54,730 And in that video it shows the pyro's worldview as Candy Land, 767 00:38:54,730 --> 00:38:55,650 basically. 768 00:38:55,650 --> 00:38:59,200 And this is a guy who goes around and burns everything. 769 00:38:59,200 --> 00:39:03,860 And I'm thinking something-- just in response 770 00:39:03,860 --> 00:39:06,010 to what you are saying about a mass murderer. 771 00:39:06,010 --> 00:39:09,570 If you can find a mass murderer who is historically known 772 00:39:09,570 --> 00:39:12,250 to be crazy [INAUDIBLE]. 773 00:39:12,250 --> 00:39:14,430 And then you make-- 774 00:39:14,430 --> 00:39:17,370 you could have two different boards the way 775 00:39:17,370 --> 00:39:19,120 that there were for the [? feed ?] 776 00:39:19,120 --> 00:39:21,370 game, with the last project. 777 00:39:21,370 --> 00:39:23,160 And you could have one of the boards 778 00:39:23,160 --> 00:39:26,130 be very clearly fantasy land. 779 00:39:26,130 --> 00:39:28,185 This guy is going after something, 780 00:39:28,185 --> 00:39:29,820 he's trying to find something. 781 00:39:29,820 --> 00:39:34,746 I don't know, trying to kill women or something. 782 00:39:34,746 --> 00:39:36,830 So he's going around slaughtering them, 783 00:39:36,830 --> 00:39:40,272 and on the other map it is the real view 784 00:39:40,272 --> 00:39:43,340 of what has happened there. 785 00:39:43,340 --> 00:39:46,080 And then you can have whomever is 786 00:39:46,080 --> 00:39:49,190 trying to stop see the completely different view 787 00:39:49,190 --> 00:39:52,445 on the situation. 788 00:39:52,445 --> 00:39:57,024 AUDIENCE: So similarly related to that idea, a good example 789 00:39:57,024 --> 00:40:03,490 [INAUDIBLE] but it [INAUDIBLE] There is a book called 790 00:40:03,490 --> 00:40:05,760 Devil in the White City. 791 00:40:05,760 --> 00:40:08,780 At the Chicago World's Fair, they 792 00:40:08,780 --> 00:40:10,915 were building this beautiful city, 793 00:40:10,915 --> 00:40:15,570 they wanted to show off to the world what America could do. 794 00:40:15,570 --> 00:40:20,330 There was all this modernization, and showing off 795 00:40:20,330 --> 00:40:24,062 the electric lights, and how exciting that was. 796 00:40:24,062 --> 00:40:27,780 They built this beautiful, huge white building. 797 00:40:27,780 --> 00:40:30,450 They put up the whole thing. 798 00:40:30,450 --> 00:40:32,330 Then, in the shadow of this, there 799 00:40:32,330 --> 00:40:36,690 was a serial killer who was exploiting the fact that there 800 00:40:36,690 --> 00:40:40,040 were migrant workers there all the time trying to build this. 801 00:40:40,040 --> 00:40:44,760 Which helped obfuscate his very criminal activities. 802 00:40:47,072 --> 00:40:49,030 TEACHING ASSISTANT: That's a great [INAUDIBLE]. 803 00:40:49,030 --> 00:40:51,966 It also keeps in the spirit of the assignment, too. 804 00:40:51,966 --> 00:40:54,215 Just thinking about how you've got this new situation, 805 00:40:54,215 --> 00:40:56,180 you've got these new systems involved, 806 00:40:56,180 --> 00:41:01,140 and how are you exploiting the system various ways. 807 00:41:01,140 --> 00:41:03,630 For anything [INAUDIBLE] I would be really, really cautious 808 00:41:03,630 --> 00:41:04,200 about. 809 00:41:04,200 --> 00:41:07,600 And even with the Native American aspect, or any kind 810 00:41:07,600 --> 00:41:09,500 of system of oppression, be really 811 00:41:09,500 --> 00:41:14,110 cautious about representing the person being oppressed. 812 00:41:14,110 --> 00:41:20,490 If you're putting it in a point of view of the oppressor, 813 00:41:20,490 --> 00:41:22,240 just be really, really careful about that. 814 00:41:22,240 --> 00:41:23,615 Actually, I personally think it's 815 00:41:23,615 --> 00:41:25,406 more interesting to be in the point of view 816 00:41:25,406 --> 00:41:27,620 of the person being oppressed, and how they're 817 00:41:27,620 --> 00:41:30,730 responding to that situation. 818 00:41:30,730 --> 00:41:34,010 PROFESSOR: That's a group [INAUDIBLE] 819 00:41:34,010 --> 00:41:36,500 who has done a couple of games on systemic oppression. 820 00:41:36,500 --> 00:41:41,690 That every time there-- if you look at any historical case 821 00:41:41,690 --> 00:41:42,640 of human-- 822 00:41:42,640 --> 00:41:45,380 a period of human oppression, you can always 823 00:41:45,380 --> 00:41:47,260 find a system underneath it. 824 00:41:47,260 --> 00:41:52,970 That system actually enables people to more easily inhumane 825 00:41:52,970 --> 00:41:54,610 to each other. 826 00:41:54,610 --> 00:41:57,200 Both as game designers systems are very practical tool 827 00:41:57,200 --> 00:41:58,970 and look at that. 828 00:41:58,970 --> 00:42:04,910 But just be aware that exploiting 829 00:42:04,910 --> 00:42:08,990 the history of people, who are oppressed, by the way, 830 00:42:08,990 --> 00:42:11,840 by taking their culture away from them. 831 00:42:11,840 --> 00:42:14,240 Try to do it with some respect. 832 00:42:14,240 --> 00:42:17,580 Try to bring some empathy into it. 833 00:42:17,580 --> 00:42:19,780 This is what it was like. 834 00:42:19,780 --> 00:42:22,520 And the limits that that they had on the kinds of decisions 835 00:42:22,520 --> 00:42:24,050 that you could make, for instance. 836 00:42:24,050 --> 00:42:34,590 AUDIENCE: A lot of historical games are very asymmetrical. 837 00:42:34,590 --> 00:42:38,966 Are the ones that are [INAUDIBLE] I don't know 838 00:42:38,966 --> 00:42:45,480 of any simple historical games [INAUDIBLE] 839 00:42:45,480 --> 00:42:48,045 All those historic games that are good, and simple, 840 00:42:48,045 --> 00:42:54,350 don't have these imbalances in power between the players 841 00:42:54,350 --> 00:42:57,960 because that requires very complicated rules 842 00:42:57,960 --> 00:43:01,990 make sure that it works. 843 00:43:01,990 --> 00:43:04,680 PROFESSOR: It is a huge design challenge, for sure. 844 00:43:04,680 --> 00:43:07,840 It is not going to be easy. 845 00:43:07,840 --> 00:43:09,864 It's 846 00:43:09,864 --> 00:43:12,900 AUDIENCE: Is The Apprentice, Irish game, asymmetric? 847 00:43:12,900 --> 00:43:16,020 PROFESSOR: Yeah that is an example. 848 00:43:16,020 --> 00:43:18,630 That's an interesting game because-- 849 00:43:18,630 --> 00:43:25,050 so there is a game [INAUDIBLE] Romero. 850 00:43:25,050 --> 00:43:28,500 Has the designer of many many famous computer 851 00:43:28,500 --> 00:43:30,150 games, including the Wizardry series 852 00:43:30,150 --> 00:43:33,780 all the way back in the '80s. 853 00:43:33,780 --> 00:43:36,907 But what she's more often known for nowadays 854 00:43:36,907 --> 00:43:38,490 is a series of games that she designed 855 00:43:38,490 --> 00:43:43,926 for museums on various systems for human oppression. 856 00:43:43,926 --> 00:43:47,110 Trail of Tears. 857 00:43:47,110 --> 00:43:48,900 She did Train. 858 00:43:48,900 --> 00:43:54,270 She did a game about he English occupation of Ireland. 859 00:43:54,270 --> 00:43:57,780 The way that game deals with it is that all the players 860 00:43:57,780 --> 00:43:58,560 are symmetric. 861 00:43:58,560 --> 00:44:01,130 All players are different Irish armies. 862 00:44:01,130 --> 00:44:03,380 But the system is playing against you. 863 00:44:03,380 --> 00:44:07,440 The system is basically this mechanical influx 864 00:44:07,440 --> 00:44:09,840 of the English taking more and more Irish land 865 00:44:09,840 --> 00:44:12,280 and cramming all of the Irish into smaller lumps of land. 866 00:44:12,280 --> 00:44:15,030 And people get pushed off the island-- 867 00:44:15,030 --> 00:44:16,500 forced immigration, basically. 868 00:44:16,500 --> 00:44:18,374 But that's another way to approach it, right? 869 00:44:18,374 --> 00:44:21,510 It's asymmetric but in a way it's easier to design, 870 00:44:21,510 --> 00:44:24,570 because it's the game system versus the players. 871 00:44:24,570 --> 00:44:26,688 And the games that those actually get the games 872 00:44:26,688 --> 00:44:29,146 is that is forcing the players to conflict with each other, 873 00:44:29,146 --> 00:44:31,604 because there are less and less resources for more and more 874 00:44:31,604 --> 00:44:36,191 people in the small space. 875 00:44:36,191 --> 00:44:37,440 AUDIENCE: I'm trying to think. 876 00:44:40,580 --> 00:44:41,910 Yeah, you're right. 877 00:44:41,910 --> 00:44:45,000 All the card-based two-player games that GMT puts out, 878 00:44:45,000 --> 00:44:49,259 like Twilight Struggle, they a lot of complex-- 879 00:44:49,259 --> 00:44:51,425 there's a lot of complex things going on underneath, 880 00:44:51,425 --> 00:44:52,883 and a lot of it is buried in cards. 881 00:44:57,415 --> 00:44:59,440 PROFESSOR: Well, I can think of games 882 00:44:59,440 --> 00:45:04,450 that are highly asymmetric but not incredibly complicated, 883 00:45:04,450 --> 00:45:07,270 and a lot of it [INAUDIBLE]. 884 00:45:07,270 --> 00:45:09,940 For instance, which is not historically-based, but 885 00:45:09,940 --> 00:45:11,410 whatever. 886 00:45:11,410 --> 00:45:14,480 It is about alien races, and each alien race basically 887 00:45:14,480 --> 00:45:18,260 has a rule they can work in a very interesting way. 888 00:45:18,260 --> 00:45:21,160 But everybody starts with the same core rules, plus this one 889 00:45:21,160 --> 00:45:23,256 thing that you get to break. 890 00:45:23,256 --> 00:45:25,630 Tammany Hall, which we didn't get a chance to play today, 891 00:45:25,630 --> 00:45:29,070 is another one where it actually comes out to every round 892 00:45:29,070 --> 00:45:31,370 that you play in a game, there is a particular rule 893 00:45:31,370 --> 00:45:33,470 that you can break because you are occupying 894 00:45:33,470 --> 00:45:36,432 a position in city government. 895 00:45:36,432 --> 00:45:38,640 They can think of it as that break on special ability 896 00:45:38,640 --> 00:45:39,930 and execute. 897 00:45:39,930 --> 00:45:43,150 That is another way to be able to think about it. 898 00:45:43,150 --> 00:45:46,690 So, we've already had The [INAUDIBLE] 899 00:45:46,690 --> 00:45:50,190 which was really more like two different games that are 900 00:45:50,190 --> 00:45:53,180 being played simultaneously. 901 00:45:53,180 --> 00:45:55,519 So if any of you were on that team, 902 00:45:55,519 --> 00:45:57,310 you already have a perspective on what it's 903 00:45:57,310 --> 00:46:00,510 like to design a game with magic information, 904 00:46:00,510 --> 00:46:02,170 and magic abilities for-- 905 00:46:02,170 --> 00:46:04,200 in different goals. 906 00:46:04,200 --> 00:46:05,830 It has been done in this class before. 907 00:46:05,830 --> 00:46:09,851 It is a design challenge, but you can do it. 908 00:46:09,851 --> 00:46:11,600 TEACHING ASSISTANT: The original Netrunner 909 00:46:11,600 --> 00:46:13,900 is still a little complicated in that, 910 00:46:13,900 --> 00:46:16,090 there are a ton of different cards 911 00:46:16,090 --> 00:46:18,650 that are carrying a lot of the stuff. 912 00:46:18,650 --> 00:46:25,137 But [INAUDIBLE] it is closer to what you do in this class. 913 00:46:25,137 --> 00:46:26,595 PROFESSOR: It's not like you've got 914 00:46:26,595 --> 00:46:28,386 a game that has different goals you already 915 00:46:28,386 --> 00:46:34,857 enjoy using [INAUDIBLE] 916 00:46:34,857 --> 00:46:38,954 AUDIENCE: [INAUDIBLE] Cosmic Encounters, 917 00:46:38,954 --> 00:46:41,042 but it's not balanced at all. 918 00:46:41,042 --> 00:46:42,000 PROFESSOR: No it's not. 919 00:46:42,000 --> 00:46:42,330 It doesn't need to be. 920 00:46:42,330 --> 00:46:44,390 That's not a requirement of this class. 921 00:46:44,390 --> 00:46:48,210 The class is something playable and engaging. 922 00:46:48,210 --> 00:46:52,470 I never asked for balancing. 923 00:46:52,470 --> 00:46:54,412 First of all, the time frames that we're 924 00:46:54,412 --> 00:46:56,203 giving you to completely finish these games 925 00:46:56,203 --> 00:46:58,370 is a little bit unrealistic for balance. 926 00:46:58,370 --> 00:46:59,620 TEACHING ASSISTANT: Iteration. 927 00:46:59,620 --> 00:47:01,140 PROFESSOR: Visibility-- 928 00:47:01,140 --> 00:47:02,580 TEACHING ASSISTANT: Iteration gets 929 00:47:02,580 --> 00:47:04,205 more balanced as time passes. 930 00:47:04,205 --> 00:47:05,244 PROFESSOR: Yes 931 00:47:05,244 --> 00:47:07,410 TEACHING ASSISTANT: But at the end, we still don't-- 932 00:47:07,410 --> 00:47:09,006 we're not really grading on balance 933 00:47:09,006 --> 00:47:12,102 as much as we're grading on iteration and-- 934 00:47:12,102 --> 00:47:15,870 PROFESSOR: I think these like usability is something 935 00:47:15,870 --> 00:47:17,130 that we are going to look at. 936 00:47:17,130 --> 00:47:19,254 Do understand your rules is more important than how 937 00:47:19,254 --> 00:47:20,950 well your rules look. 938 00:47:20,950 --> 00:47:23,670 If your rules completely break, that's a problem. 939 00:47:23,670 --> 00:47:26,580 But if your numbers are off, sorry. 940 00:47:26,580 --> 00:47:28,080 A few percentage points or a couple 941 00:47:28,080 --> 00:47:30,930 of [INAUDIBLE] or a couple of [INAUDIBLE] even. 942 00:47:30,930 --> 00:47:33,200 But I don't understand how your rules work, 943 00:47:33,200 --> 00:47:35,875 that means a lot more to me. 944 00:47:35,875 --> 00:47:38,960 AUDIENCE: Just throwing an idea out there. 945 00:47:38,960 --> 00:47:42,154 The role of the-- 946 00:47:46,122 --> 00:47:49,821 one of the people who really founded the board game 947 00:47:49,821 --> 00:47:50,320 industry. 948 00:47:53,740 --> 00:47:56,216 PROFESSOR: Do you mean the Parker brothers? 949 00:47:56,216 --> 00:47:59,090 AUDIENCE: So from the perspective of a game 950 00:47:59,090 --> 00:48:01,710 designer or someone who is really 951 00:48:01,710 --> 00:48:05,530 trying to make this business a business. 952 00:48:05,530 --> 00:48:07,140 PROFESSOR: Or you could be something 953 00:48:07,140 --> 00:48:08,752 like a Hasbro, that's just trying beat 954 00:48:08,752 --> 00:48:09,960 other people to the business. 955 00:48:09,960 --> 00:48:13,900 Or you can be something like the independent Richie Branson, 956 00:48:13,900 --> 00:48:16,646 trying to [INAUDIBLE]. 957 00:48:16,646 --> 00:48:19,677 AUDIENCE: I figure that will be closer to people's hearts, too. 958 00:48:19,677 --> 00:48:21,510 PROFESSOR: You have to do a little research, 959 00:48:21,510 --> 00:48:24,410 because we obviously haven't covered a lot of them. 960 00:48:24,410 --> 00:48:27,070 But it would be interesting research. 961 00:48:27,070 --> 00:48:32,395 That would fit in nicely with the time period that John 962 00:48:32,395 --> 00:48:35,410 was talking about, the 20th century, 963 00:48:35,410 --> 00:48:38,510 the mass productization of America. 964 00:48:38,510 --> 00:48:42,950 But also you probably do need to limit that 965 00:48:42,950 --> 00:48:45,876 to one country's industry. 966 00:48:45,876 --> 00:48:48,061 America is probably easy to do. 967 00:48:48,061 --> 00:48:51,340 It's a bit difficult to look at the whole world. 968 00:48:56,340 --> 00:49:00,550 [INAUDIBLE] The rest of class today, 969 00:49:00,550 --> 00:49:02,940 I know this group wants to get back to the game, 970 00:49:02,940 --> 00:49:03,990 you can do it. 971 00:49:03,990 --> 00:49:09,022 But time for you to talk around with your ideas. 972 00:49:09,022 --> 00:49:11,490 TEACHING ASSISTANT: Feel free to email 973 00:49:11,490 --> 00:49:15,685 your ideas the game design mailing list. 974 00:49:15,685 --> 00:49:17,810 If you need to find other people, we'll do another. 975 00:49:17,810 --> 00:49:20,351 We will do this again at the end of the day Wednesday, right? 976 00:49:20,351 --> 00:49:21,610 PROFESSOR: Wednesday. 977 00:49:21,610 --> 00:49:23,292 TEACHING ASSISTANT: And then, teams 978 00:49:23,292 --> 00:49:24,750 should be formed by Monday, because 979 00:49:24,750 --> 00:49:29,146 on Wednesday the 16th, that's the first presentation 980 00:49:29,146 --> 00:49:30,270 PROFESSOR: Yeah, the pitch. 981 00:49:30,270 --> 00:49:31,780 TEACHING ASSISTANT: The pitch. 982 00:49:31,780 --> 00:49:33,690 So for a reminder about that, we want 983 00:49:33,690 --> 00:49:36,480 to know about what primary and secondary sources you're 984 00:49:36,480 --> 00:49:39,540 using as your inspiration, what kind of game you think you 985 00:49:39,540 --> 00:49:40,730 might be making. 986 00:49:40,730 --> 00:49:43,220 Nothing set in stone, it's much more about, 987 00:49:43,220 --> 00:49:44,760 give us a pitch of why this thing-- 988 00:49:44,760 --> 00:49:47,280 this game idea is interesting, and what 989 00:49:47,280 --> 00:49:50,250 is the source of information you using to make sure 990 00:49:50,250 --> 00:49:51,976 that the game is realistic. 991 00:49:51,976 --> 00:49:55,510 PROFESSOR: But let me make sure that we get this April. 992 00:49:55,510 --> 00:49:59,106 14th, no, April 16th is when you do the pitch part. 993 00:50:01,955 --> 00:50:03,330 On April 14th, you should already 994 00:50:03,330 --> 00:50:05,389 be able to talk a little bit about, 995 00:50:05,389 --> 00:50:07,180 this is the idea that we want to work with. 996 00:50:07,180 --> 00:50:08,130 These are the people in my group, 997 00:50:08,130 --> 00:50:09,963 these are some of the sources of information 998 00:50:09,963 --> 00:50:13,560 that we're looking at, because we'll have guests, 999 00:50:13,560 --> 00:50:18,080 and they will be able to give you some feedback on that. 1000 00:50:18,080 --> 00:50:22,430 Both in the pitch and in the guests we're 1001 00:50:22,430 --> 00:50:27,400 not actually so much grading you on the quality of your pitch. 1002 00:50:27,400 --> 00:50:30,330 But we are going to provide you feedback 1003 00:50:30,330 --> 00:50:32,580 on how you're pitching, so that if you have 1004 00:50:32,580 --> 00:50:37,230 to do pitching in real life, in your career after graduation 1005 00:50:37,230 --> 00:50:41,410 you can get some feedback on how you present yourself.