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Mae Tidman February 9, 2010 LCC 4725 -‐ Game Design as a Cultural Practice Blogpost 2 – drawing from the topic essays in Game Design Reader
Elements of Gameplay: Playing (and) Donkey Kong Land 2
Donkey Kong Land 2 is a Rareware game released by Nintendo in 1996 (Wikipedia). It is an adventure of Diddy and Dixie Kong (who are personified monkeys) rescuing Donkey Kong. In my earlier days, I played this title on my Game Boy Pocket constantly. But was I playing? I will be considering my engagement with this video game of my youth in the terms of play developed by Johan Huizinga, Roger Caillois, and Bernard Suits.
I would first like to consider the Johan Huizinga reading, taken from the opening chapter of Homo Ludens: A Stuy of the Play Element in Culture. In this essay about the cultural significance of play, Huizinga takes note that playing a game is limited to a space and time. Donkey Kong Land 2 is actually extremely limited in space given that it is used on a small handheld device. The device, the Game Boy Pocket, may in fact be portable, but the play itself is still limited within arm’s reach since the buttons are necessary for interaction and play. It is also noticeable that the restriction of the play includes the device, since the game must be played on one of its published formats and can not be played otherwise.
Huizinga also finds is that play is separate from ordinary life. He states that play is present everywhere but is distinct from regular life (pg 99), but later describes it more precisely: “Play is not “ordinary” or “real” life… it is rather stepping out of “real” life into a temporary sphere of activity with a disposition of its own (pg 103). It is interesting, too, that this author pointed out that play may be based on the manipulation of images – on imagination – and if so then the study or understanding of play requires a grasp of the value and significance of these images and their imagination (pg 99). This is of interest because that one of the fundamental elements of the modern study and invention of video games. Games and play are conclusively imagination in its oldest and most sense of the word.
The second reading, including two essays written by Roger Caillois, comes from his 1958 book Man, Play, and Games and is notably a critique of Homo Ludens (pg 123). In this essay he primarily focuses on the element of play that it can be classified into categories: agon, alea, mimicry, or ilinx. Donkey Kong Land 2 and video games in general are more complicated than the games he was categorizing, but they can be characterized by multiple categories. I placed Donkey Kong in mimicry upon first consideration, because it involves the player interacting in an unreal world acting/’pretending’ to be either the Diddy or Dixie character. Since the
player takes on the special abilities of each character (notably the act of flying via Dixie’s twirling hair) and is moving an avatar in a virtual world, I think mimicry is the primary characterization of Donkey Kong. However, it is not the sole category, since the challenges and tension involved in getting through each level would place the game into the competitive category of agon. Aspects of the game that fit into this category include defeating enemies, making your way through the difficult platform levels, and from the tension of wanting to reach a save point before running out of lives and therefore ending the game. In the reading by Bernard Suits the elements of a game are the goal, the means of achieving the goal, the rules, and the lusory attitude (the volunteering of playing and acceptance of the game’s rules) (pg 185). Playing Donkey Kong Land 2 brings up no objection to this definition, except perhaps in that the rules are not necessarily defined but simply a part of the imagined and virtual game world. Suits also brings to attention the fact that, “One cannot (really) win the game unless one plays it, and one cannot (really) play the game unless one obeys the rules of the game” (pg 175). This may be something that is overlooked in the modern age of games but is interesting to consider nonetheless. If the rules of the game are defined by the code behind the game (and therefore inherently involving rules/limitations of human-‐device interaction), then is the game unwinnable if played through a mod or other version of the game? Or does the new environment and altered code assign new rules and create a whole game separate? I think Suits would agree with the latter, since game modifications have taken place always and that fact obviously did not prevent him from making that statement. This was not a concern with Donkey Kong Land 2, for if there are any mods for it I have not experienced them.
Overall, these three authors had three very interesting and not too dissimilar perspectives of play and games. When compared to a 90’s game like Donkey Kong Land 2, one can see that their observances are not outdated despite the decades preceding my game of analysis and video games in general. In the scope of this essay, one can not consider every interesting element addressed in the readings, especially how often they occurred. However, I highly recommend the readings, and I will leave you with one final note from Huizinga: Play is an interlude in our daily lives, but becomes the accompaniment, the complement, in fact an integral part of life in general (pg 104).
Works Cited
Caillois, Roger. The Definition of Play and The Classification of Games. 1961. The Game
Design Reader: A Rules of Play Anthology. Cambridge: MIT, 2005. 122-55. Print.
"Donkey Kong Land 2." Wikipedia. Web. 15 Feb. 2010.
Huizinga, Johan. Nature and Significance of Play as a Cultural Phenomenon. 1938. The
Game Design Reader: A Rules of Play Anthology. Cambridge: MIT, 2005. 96-
120. Print.
Salen, Katie, and Eric Zimmerman. The Game Design Reader: A Rules of Play
Anthology. Cambridge: MIT, 2005. Print.
Suits, Bernard. Construction of a Definition. 1978. The Game Design Reader: A Rules of
Play Anthology. Cambridge: MIT, 2005. 172172-91. Print.