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On the felicities of graph-based game-board design: nine

Sunday, October 9th, 2016

[ by Charles Cameron — if the territory is graphical, so’s the map ]

Terrain, with its named places and transportation links between them, is graphical, as illustrated in this map:

It makes me wonder how often graph theory (of the sort that gives us the Königsberg Bridge Problem, see the first post in this series) is applied to troop movements — as it often is to public transportation (see the upcoming tenth post).


My next example of the use of a node-and-edge graphical design both puzzles and intrigues me:

It puzzles me, because I can’t quitec grasp what Raza Rumi — a very bright fellow — is up to in choosing this particular illustration. And it intrigues me, because once on a vision quest I glimpsed an outstretched eagle’s or hawk’s wing, with a similar graphical overlay of its structural essence. It’s a sight I’ve never forgotten, an exquisite linking of the real and abstract worlds, and one that I’m sadly ill-equipped to reproduce visually myself. Words don’t do it justice.


My third example, as you can see, is taken from a learned paper describing the use of graphs to illustrate musical compositions according to a strictly defined protocol:

What interests me here — aside from the fact that any of these digrams could be used as a board in a sufficiently complex HipBone or Sembl game — is that I ran across this particular paper within 24 hours of reading m’friend Bill Benzon‘s account of his friend Michael Bérubé and his son Jamie, introduced in this tweet:

Bill’s post Jamie’s Investigations, Part 1: Emergence to which his tweet refers us — is illustrated thus:


Michael Bérubé, we read, has recently published a book about Jamie, who has Down’s, Life as Jamie Knows It: An Exceptional Child Grows Up, and it contains a series of Jamie’s drawings, of which this is one example.

Bill, who is himself the author of Beethoven’s Anvil: Music in Mind and Culture, notes “Jamie loves music, and his dad is a rock-and-roll drummer, so’s his older brother Nick, I believe.” And here’s the clincher — he then asks:

In what way are these drawings like drum beats?

So that’s two examples of novel visual representations of musical pattern in just two days, earlier this week.


Enough for now — onwards to On the felicities of graph-based game-board design: ten — a long, fascinating post IMO, long enough that I’m glad this is a Sunday.

Earlier in this series:

  • On the felicities of graph-based game-board design: preliminaries
  • On the felicities of graph-based game-board design: two dazzlers
  • On the felicities of graph-based game-board design: three
  • On the felicities of graph-based game-board design: four
  • On the felicities of graph-based game-board design: five
  • On the felicities of graph-based game-board design: six
  • On the felicities of graph-based game-board design: seven
  • On the felicities of graph-based game-board design: eight
  • The best of war games?

    Thursday, September 29th, 2016

    [ by Charles Cameron — this may be the most expensive single chess set ever, but let’s wait for part two ]



    From the catalogue description:

    Lavishly decorated and large in size, this extraordinary, elaborate chess set is the only one of its kind, and is perhaps the best ever made. Crafted by the hand of a master jeweler, the exquisite quality of its manufacture is showcased in each and every detail. Every 14k gold game piece is different, encrusted with semiprecious stones and brightly hued enamel, and each is endowed with mechanical movement. This ancient game of war truly comes to life on the breathtaking board, which is itself a spectacular sight to behold. This incredible chess set rests atop its custom-crafted mahogany and leather-topped table, and is accopanied by a pair of handsome 19th-century leather upholstered chairs.

    The ancient Battle of Issus is the subject of this extraordinary set and an apt reference to the military-like strategy of the game. What was one of the most important battles of the ancient world is beautifully retold here through pieces representing gods and goddesses, ancient structures, and creatures of both Greek and Persian origin. Alexander the Great and King Darius III take their places on the board as kings. At Alexander’s side is Queen Athena, the Greek goddess of war and wisdom, while the winged Persian god of war stands as Darius’ queen piece. War ships sailing over waves and massive elephants covered in elaborate trappings take the place of bishops, while the castles have been transformed into the columned temples of ancient Greece and the impressive Persepolis. Horsemen and footmen face off as well, each with their own sword, javelin, or bow.

    I don’t think there’s any doubt of the intricate quality of the workmanship, nor the costliness of the materials, in this chess set based on Alexander‘s victory at Issus..


    With any luck, the Go set I hope to describe in part two will be even more beautiful.

    On play as wildness

    Saturday, September 24th, 2016

    [ by Charles Cameron — what’s true of hex maps is true of all mental models ]

    There’s a certain let-your-hair-down quality to play.

    It appears that one Tausendsassa Friedensreich Regentag Dunkelbunt Hundertwasser said or perhaps wrote, muttered, whispered, shouted, or simply thought out loud, “the straight line is a godless line” — at any rate, someone noticed and recorded the phrase, and now it’s scattered across the net and difficult to track to its source.


    But we do love order, don’t we?


    And so the rivers on our hexagonal maps all too easily follow the hexagons..


    when they’d more realistically cross over them, following their own courses:


    and note how easily even our efforts to bring natural variety to our hexagonal mappings conform more to hexagons than to variety.



    Zennist Thich Nhat Hanh in Listening Deeply for Peace writes:

    A traditional Vietnamese Zen garden is very different from a Japanese Zen garden. Our Zen gardens, called hon non bo, are wild and exuberant, more playful than the formal Japanese gardens with their restrained patterns. Vietnamese Zen gardens are seriously unserious. For us, the whole world is contained in this peaceful place. All activities of life unfold in true peace in the garden: in one part, children will be playing, and in another part, some elderly men will be having a chess game; couples are walking; families are having picnics; animals are free to wander around. Beautiful trees are growing next to abundant grasses and flowers. There is water, and there are rock formations. All ecologies are represented in this one microecology without discrimination. It is a miniature, peaceful world. It is a beautiful living metaphor for what a new global ethic could bring.


    Here is the wrestling of a tree with such angels as gravity, sun, wind and rain:


    Here is the wild calligraphy of the Rio Mamoré across the forests of the Amazon basin:


    The positively Abrahamic game of Chess

    Tuesday, August 23rd, 2016

    [ by Charles Cameron — interfaith rivalry on the checkered board ]

    Many of you will be familiar with the Christian and Muslim playing chess in this illustration from El Libro de los Juegos or Book of Games of Alfonso X of Castile:

    — but let’s not forget that Andalusia was also home to learned Jews, including the great Maimonides. In this illustration to the same work, we see a match-up between Muslim and Jew:

    No Man’s Sky

    Friday, August 19th, 2016

    [ by Charles Cameron — a quick blog letter to Chris Bateman, and more broadly to the global God NoGod argument ]


    This post may or many not be of interest to individual ZP readers, so here’s what’s up. The philosopher-game-designer-blogger Chris Bateman gets into blog-with-blog discussions, the rubric with his articles on his own iHobo and Only a Game blogs being “all replies at other blogs will be promoted here to keep the conversation going” – and this ZP post of mine is in response to his No Man’s Sky Roundup post today, and the pieces about the game of that name he led me to.

    It is also an attempt to put the basic insight of that branch of theology called “apophatic” (“other than speech”) theology into, well, written speech. And in a way, it is also my challenge to the entire “God vs NotGod” debate that tiresome long books are written about, since the God described by Cardinal Nicholas of Cusa strikes me as the “definition of God” that any worthy attempt to attack the “God” concept on philosophical grounds should be tackling – not such local and verbal matters as whether God prefers seven days to universe completion or a little longer, burkas or bikinis, gays married or chaste, or being embodied or otherwise, three, one or both.

    It’s also written in a language you might term poetico-philosophical or vice versa, you have been warned.

    If that sounds like something you’d be interested in, have at it!


    No Man’s Sky

    Words drag their whatevers with them into some form of presence, which with “table” is not an issue, the table idea is both transparent and vague as clouds, it sits as easy in mind as I sit in a chair – wait, at my desk, a form of table, the word “table” brought table to mind, table brought chair..

    Or was it, “table” brought “chair” and “chair” brought chair, I myself embodied being also enchaired, one might think “enthroned” as I write this.

    At my desk I read these words describing the books in BorgesLibrary of Babel, “every variation of the 22 letters of the alphabet (as well as the additional three symbols of the comma, period, and space” – I read them as illuminating for me the planets, fauna, flora, perils and perceptions players find in the trans-galactic game, No Man’s Sky.

    And words drag their whatevers with them.

    It is the mystery. It is the moon at which the zen finger points, it is the, a, God, whole system, the One and All I wish to speak of – the ineffable – here.

    So it is that the words “the comma, period, and space” drag with them first a tailed dot, a tadpole, a jot, yod in the Hebrew, a tongue of flame, tongue here being fire, language and insight, that descended on certain disciples of someone, arguably, then the dot without tail, a speck, point, blackness minimal – and then, like the zoom from space station window to deep space outside, space.

    In the game, No Man’s Sky. Or at your window, seen perhaps from your desk, imagined at mine. Or dragged, somehow, for I and later, you, with or from these words.

    So: zero to galaxy via a simple “and” less than a second long, short in the life of humans, long enough, it would seem, for some previously unknown game galaxy. Or “galaxy” – game or otherwise.

    The marks, the comma and period, I am habituated to. They are articulation points among the bare bones of the letters, bodying them out into words, langue, langue, language – again, fire and insight, but also scratches, pecked out with pen, keyboard or chisel – but space.

    And I was reading about this game, No Man’s Sky, this game gaming space, deep space, as the books within Borges’ book, within Borges and now shared out among us, game all possible verbal coherences with all possible incoherences, all partials, wholes, and almost nothings, an “a” that may be word or mark, an ‘o” that may close the book, galaxy, universe, be zero, lack sound or howl fury.. and those illimitable periods, commas, spaces.

    Thus: “comma” drags its micro-tadpole with it, I squint, “period” drags it’s point – where is my jeweler’s loup? – and “space” __ I am flung far enough that I stop to take stock, look back from vague, vast imagined space at imagined period and comma, see how far how fast I have come, gasp.

    Now the great mystery, the unknowable more than human mind as human mind is more than speck, galactic cluster more than planetary spack with us specks on it, the whatever the “moon” in “finger pointing at the moon” was, is, pointing at, the stuff and substance of what the word “God” drags in, neither stuff nor substance but, per the good catholic Cardinal, Cusanus, well —

    When we attempted to see Him beyond being and not-being, we were unable to understand how He could be visible. For He is beyond everything plural, beyond every limit and all unlimitedness; He is completely everywhere and not at all anywhere; He is of every form and of no form, alike; He is completely ineffable; in all things He is all things, in nothing He is nothing, and in Him all things and nothing are Himself; He is wholly and indivisibly present in any given thing (no matter how small) and, at the same time, is present in no thing at all. –

    — That!

    The “That” in “Thou art That” with “art” the link connecting them, us, if you’ll allow me to digress into a pun, puny beside that immense No Thing at All.

    You drop the word “space” into an unremarkable remark about “the comma, period, and space” and space, the deep, the trans-galactic space is dragged into mind – mine, anyway, and perhaps now yours – and we ignore it, “space” we know here meaning what “space between letters” would drag with it – we ignore it as though shutting a window, the space station window, the window of mind.

    And God, But God.

    We foreclose the window on God with undue haste, because it is rubbish, garbage, nothing. Or because it is that someone with disciples end of conversation, agree or be damned. Because we’ve got it, we know, we affirm, “I believe”.

    But peer closer at that creed, the longer one, Athanasius’ Creed, skip a few lines and what they drag with them, you’ll find..


    To be specific:

    The Father incomprehensible, the Son incomprehensible, and the Holy Spirit incomprehensible .. as also there are not three .. incomprehensible, but .. one incomprehensible.

    Or in short:

    Incomprehensible, three one.

    — which drags a certain amount of sense with it, and the someone, and the entire ineffable.

    And that word, struck like repeated blows of a Thor-sized hammer of mind, “incomprehensible .. incomprehensible .. incomprehensible .. incomprehensible .. incomprehensible”.

    There is no whatever, it says, no thing or person or process our mind can think or process that this word or these words, “incomprehensible”, drag with them. Such a thing, or process, or person – “someone” included – is not subject to mind, cannot be crammed, cannot be cabined, cribbed, confined, into mind, into your, my, or some – any – high priest philosopher’s mind. Or book.

    Of whom or which or whatever it is said —

    He is not one who is ashamed to show his strength,
    and buffets proud folk about like leaves in a gale.
    He upsets those that hold themselves high and mighty
    and rescues the least one of us.

    –- of which water is exemplary, which “nourishes all things without trying to” and “is content with the low places which people disdain.”

    Humility, then. And to erect a hurdle, you might call it “epistemic humility” –

    But make no mistake:

    Humility is the game. “Humility” is the name of the game.

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