analysis

Speculation: Living Without Facebook And Twitter?

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr)

Facebook was used to harvest data by a highly unethical and bizarre campaign firm, Cambridge Analytica, to sway the US elections resulting in a worldwide scandal, with more coming out all the time. Twitter has terrible controls and policing and still seems infested with bots and haters. It’s not looking good for social media out there.

I saw someone post recently (I think, ironically, on Twitter) that the internet becgan being less beneficial with Twitter and Facebook became prominent. That got me thinking as my instinct, as a technophile, is to not believe that any technology is bad. My instinct was there, but it wasn’t defending itself very well.

So I’m going to try a thought experiment – what would happen if I suddenly gave up Facebook and/or Twitter? What if they vanished?Let’s learn from this experiment.

FACEBOOK

OK, so Facebook gives us a massively integrated service. Messaging, posting, building groups, events, and more. it integrated with OTHER services as well. It’s a one-stop shop of things – which of course was part of the problem for data mining, because it’s a great place to get tons of data and influence people.

My intended use for it is:

  • Keep in touch with friends and family.
  • Post about my books and projects and provide a way to be reached.
  • Schedule events without using email or Meetup.com.
  • Find people I forgot about.

In addition I use it for:

  • Reading and posting random funny stuff.
  • Occasional ranting.

Right here I see that one of the big advantages of Facebook is twofold – integrated services and everyone else using it. However it’s the latter that means a lot more to me – Facebook is successful as people are using it. If no one else was using it I wouldn’t care, it’d just be an interesting thing.

So if Facebook vanished then I’d:

  • Keep up with friends and family in other ways. I’d probably use mailing lists and chat programs more.
  • I’d read more friend’s blogs/tumblrs to keep up with them.
  • I’d schedule things via email, meetup.com, or google.
  • I’d get random stuff through tumblr.
  • I’d promote my projects differently and probably focus more on blogs and newsletters.

Hmmm. Sounds like that “integration” and “everyone uses it” thing is a big part of Facebook. Those are things that can be done elsewhere (integration) or change (mass exodus from Facebook).

Let’s try Twitter.

TWITTER

Yes, I know Twitter is a swamp of BS, bots, hate. it’s also a great focused Microblogging service and good for news feeds. I am going to passionately note that the current Twitter could have been something better – a microblogging and news alert system. But I get ahead of myself, though it reveals I probably like Twitter more than Facebook.

So what do I use Twitter for?

  • Screaming into the void.
  • Following friends doing the above or doing something useful.
  • Getting newsfeeds and updates and re-posting them.
  • Sort-of chatting.
  • Microblogging.
  • Promoting my work and networking.
  • Finding and enjoying funny stuff or weird stuff.

I can’t say there’s anything that surprises me. That also tells me I’m kinda more open about my Twitter usage.

So looking at this it tells me my Twitter usage is broader and more passionate. I get updates that are important, post stuff, and communicate. I’m not scheduling events or anything, just communicating, listening, or yelling. Again it makes me appreciate the odd purity of Twitter.

But what if Twitter vanished and there was no replacement? What would I do?

  • Get my news via newsfeeds.
  • I’d probably discuss news more in my blogs.
  • I’d probably join some news discussion groups and sites and use them.
  • I’d focus a lot more on my newsletters for promoting my work.
  • I’d do different marketing for my work.
  • I’d definitely look more to tumblr for weird and silly stuff.

This tells me that, again, I actually like Twitter more than Facebook, which I may have to process for awhile. Also almost everything it does can be done elsewhere, though not as fast. Twitter is a sort of blog/message board/RSS fusion.

WAIT WHAT IF BOTH VANISHED?

OK if Twitter and Facebook both vanished what would I do? I think it’s obvious – everything would be back to blogging, newsletters, meetups, chats, and RSS feeds.

Which tells me, that, yes Twitter and Facebook really changed how we used the internet. If they vanished my life would basically go back to what I did before the service came to be. I’d just have more awareness of the goals, benefits, and disadvantage of integration.

WHAT DID I LEARN?

So thought experiment done. Now what have I learned out of all of this? Here’s what these two social media services give us:

AMPLIFICATION: One reason we love these services is Amplification. They can reach people and reach a TON of people. That’s an obvious answer but it’s very important to understand the power (or illusion of power) Facebook and Twitter give us.

That also means that any potential replacements or new incarnations need to keep this in mind – or we ask if we need it.

INTEGRATION: Is useful, it’s nice to have, and I think we get used to it. It certainly helps when you use something as primary social tool – but it also brings its own problems of data usage, spamming, or time-wasting.

As social media evolves and changing, we’ll need to rethink Integration. What do we need, how do we do it safely, and how often do we care.

AUDIENCE: Twitter and Facebook wouldn’t matter if they hadn’t built their huge user bases. They’re the result of self-fulfilling prophecy. It may be hard to get people off the platforms, but clearly audience matters.

This also means they’re vulnerable as part of their weight is just weight – we want that audience.

CONNECTION: We want to connect with people. These services give that – or the illusion of that at the very least. We value that.

We might question if we’re actually connecting in a useful or appropriate or healthy way. I’m wondering, as I examine this, if there may be some problems here. It’s not always deep connection.

COMMUNICATION: We want to know what’s up. Obviously. In many ways Social Media isn’t remarkable as there’s just so many ways to do this, Social Media just adds all the above.

I question if we’re communicating that well via social media considering the various joke posts, bot posts, etc. Maybe we’re not really communicating.

In the end, Facebook and Twitter don’t do anything unusual, they integrate things, streamline them, and bring a big audience and access. Ther’es nothing wrong with this of course, it’s just as I step back I see how they built on known services and our desires.

I think they’ve proven to be both problems and benefits. I view them as neutrals-to-sort-of-good – but deeply flawed and manipulated. Sometimes I think they both cause and solve problems, which seems a bit of a wash.

If they vanished, though, or I stopped using them I could live without them. Anyone could, we’d just have to rethink how we interact (which maybe we ought to do anyway). It’d just be back to the earlier internet – but we did learn valuable lessons in what we need and want.

MOVING FORWARD

After this little exercise it’s given me a few things to think about with social media, our dependence, our issues, our mistakes. There’s probably a lot more to come out of this.

I have a few changes I’m making:

  • I’m going to be more thoughtful on my social media and what I use it for.
  • I want to cultivate more intimate discussions through my various media.
  • I don’t want to depend on any one kind of media.
  • It’s pretty clear I use Social Media to waste a lot of time and need to rethink that.

As for the future of Twitter and Facebook? Well in a way they’r enothing specual or unique, and they can’t (and won’t) stay the same forever o rbe forever. Things are changing, how they change – and how others change – is going to be something to watch.

But I can choose what I do.

– Steve

A Writer’s View: A May Roundup

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr)

I figure with all the writing I do and have planned, it’d be fun, educational, and good experience to reguarly share my findings on writing.  So . . . I am.  Probably about once a week or so I’ll spew forth the latest seltzer water of wisdom I happen to have handy.

Right now most of these insights come from my first public fiction project, “A Bridge To The Quiet Planet.”  I’ve written fiction a lot before, have edited, have consulted, but figured it was time to return to fiction in style – with a novel.  Short summary: science fiction/fantasy fusion combination of road-trip and religious pilgrimage goes dreadfully wrong.

So the insights to share for May – any one of these might become a later column.

  • Agile works really well for writing – the mindset and the methods.
  • Writing is about loops, finding cycles and patterns in your story.  Because of this plotting one idea may lead to changes, expansions, or new ideas.
  • Never assume anything in your story is “true” until it’s written – discovery is part of the process.
  • Look for Congruence – when things “feel” right.  You want this on all levels of your work, and before you move on from one thing (say from a character idea to a character outline) make sure things “feel” right.
  • Your inner voice is probably right.  The voice that comes after that voice and points out all its flaws is probably less reliable.
  • When plotting, your story may become “timey-wimey” – ideas later on may influence earlier sections.  That’s fine.
  • Characters are the true measure of your world and writing – knowing them means you know your world and story.
  • Characters are a great way to discover your world – designing them makes you ask specific questions you may have missed.
  • Think of your audience – keep them in mind in your writing, what you say, what you deliver.
  • Enthusiasm beats self-loathing for a writer every time. Better to succeed by creating better than tearing down.
  • Beware “Big Rock” ideas that you’re so committed too they drag the story and other ideas down.
  • Don’t “commit” too early to ideas, concepts, or scenes.
  • A small change may quickly scale up and affect your story.
  • Give yourself a place to record ideas without commuting to them.
  • Start over as early as possible so you don’t have to later.  My restarting the plotting cost me 4-6 weeks, but I can’t imagine what’d have cost me if I’d rammed through with my lame initial plot.

Hope these give you something to think about!
– Steve

Fallen London: Why It Works

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(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

I found Failbetter Games browser-based adventure game Fallen London via it’s Kickstarted sister game, Sunless Sea, a kind of nautical rogue like of comedy-horror-adventure. I quickly took to Fallen London’s playable-novel style of adventure (in fact, moreso than the brilliant but nerve-wracking Sunless Sea). As I played this game I began to wonder just why I had taken to it so much – enough to get a monthly subscription for extra elements. That’s where this essay comes in.

It’s clear this award-winning browser game has a certain something that compelled me and others. By getting my own thoughts together here I hope to make a small contribution to game analysis, as well as understand my reactions. Fallen London got me thinking about game mechanics in surprising ways, and a good analysis should help me – and others.

So let’s look at Fallen London – and what it does right. Join me, Delicious Friend.

The Basics of Fallen London

In Fallen London you’re a newcomer to the Victorian subterranean city, which was London some thirty years ago until it was stolen below ground by strange forces. Now under control of the mysterious if often friendly Masters of the Bazaar, nominally ruled by the “Traitor Empress” that made a deal with them, it’s a haunted, weird, scary, and wonderful place. Hell is nearby and has an Embassy, living objects come from distant shores of the underground “Unterzee” and previous stolen cities ruins lie around. Also, people are mailing cats.

You walk into this as a newcomer, arrested for some reason (likely just coming there), and upon escaping embark on your own destiny. Poet, spy, mercenary, investigator, and more all are available to you. As you progress you make connections, improve your character, find lodgings, unlock further secrets, and so on. Whatever you do is up to you.

All of this happens with very well-written text and story vignettes that really bring the half-horror half-comedic setting to life. Fallen London, bluntly, is probably better written than most any game and quite a few books, somewhere between Monty Python, Eldritch Horror, and Discworld.

As I analyzed it I was able to find six areas that the game did things right. These traits and mechanics, in combination, produce a marvelous experience.

Let’s take a look.

Fallen London’s Writing Writing: Expressive, Layered, Personal

It’s hard not to go on about the writing in Fallen London. Were it simply a series of novels or a comic series it’d be an epic experience on its own. The fact this writing is couched as a game makes it even more compelling as you live the writing. This excellent wordsmithing succeeds due to three factors:

Writing Comes First. It’s very clear that the writing of Fallen London is meant to be of the highest quality. The tale-telling clearly has come first over all else, bringing you into the setting, but also making the choices and usual actions of an RPG have a particular urgency and life to them. The writing is not just witty and illustrative – it makes your choices feel real, and the choices and plots are well-thought out.

Branching And Combining Stories. Various conditions unlock story options, stories have multiple resolutions with real impact, and the end of one of the tales may lead to several others. This produces clear choices that feel very real – and are often real as they will lock future choices on one hand, while opening others or at lest providing resources to open them.

Parts Of A Whole. Though there are many stories and “storylets” great care has been taken to make them part of a whole. A mysterious squid-faced man handing you a chunk of slimy amber isn’t a random event, but is due to a backstory. A marsh filled with giant mushrooms isn’t just a marsh, but the site of races as people have discovered that running across giant mushrooms is rather sporting. Everything is connected (finding these connections could occupy you quite a bit in the game).

Abstract Characters. One of the most curious elements of Fallen London is most characters are referred to by abstract names – the Wry Functionary, the Knuckle-Scarred Inspector, and so on. Instead of making them distant this abstraction makes them archetypical, giving them life, while also making the experience personal and unique. Everyone may encounter a Sardonic Music-Hall Singer, but it’s their own, personal one.

Attributes And Failure States In Fallen London: Clear, Abstract, Applicable

Representing characters with various numbers is a classic element of role-playing games. Fallen London is no different, but does it with a mix of generality, clarity, and precision.

Distinct Attributes. Characters are represented by four different Attributes – Watchful, Shadowy, Dangerous, and Persuasive. These Attributes affect a character’s chance to succeed at an appropriate task with a simple random “roll,” and a success provides colorful descriptive text as well as various rewards This simplicity makes characters and characters easy to understand – but also distinct depending on how high that Attribute is.

Attributes Associated With Settings. Various areas of the setting are associated with the activities requiring a given Attribute or Attributes. A monster-haunted area may yield mostly Dangerous tasks, while a street of crime and mysterious couriers may have mostly Shadowy activities. The limited but distinct sets of Attributes in turn allows for easy definition of various areas of the game and the stories within, as well as what one may do there.

Distinct Failure States. Each Attribute has a parallel failure state called a Menace that usually increases if one fails a more severe challenge – for instance failing a Dangerous challenge may result in an increase to Wounds. One can usually guess the probable results of a failure state from the Attribute involved and the descriptive text. The failure states also contain witty descriptions, such as one where spending time with a Vicar raises the Menace of Scandal when said Vicar turns out to be a reporter in disguise who assumes less than pure intentions. Failure is a story.

Unique Results Of Failure States. The Menaces can be treated by specific actions, such as taking Laudanum to deal with the Menace of Nightmares. In addition, if Menaces get too high then the character you play suffers specific effects, such as being imprisoned for having too much Suspicion. Addressing these challenges leads to further stories, making the tale one experiences both appropriate and unique.

Acquired Traits: Linear, Distinct, Multiple

As the character adventures, they make friends, solve cases, advance in the ranks of clubs, and so on. Representing these is done distinct from the attributes in question, often as the result of an action.

Achievements By Simple Numbers. To represent the connections people make, achievements and reputations and so on, there’s simple number scores characters acquire. These represent everything from how good a thief they are to how well-connected they may be to the police. A character may have many of these or only a few – it depends on the activities of the characters. This simple method allows for very complex character differences all with different “piles” of simple numbers.

Reputation As Number. Depending on how a character dresses, their home, and how they comport themselves, they get reputations – Bizarre, Respected, etc. that also have simple number scores, much like Attributes. The items that influence these traits, of course, often have clever and witty descriptions.

Use Of Acquired Traits. Acquired traits open up new story opportunities or may even be used like Attributes in some occasions, such as using one’s Dreaded reputation to threaten someone. Thus these acquired traits become goals, rewards, and tools while just being simple numeric stores. The drive to upgrade them also helps propel some of the game, and may inspire players to upgrade equipment and Attributes.

Progress In Fallen London: Numerical And Relevant

Progress in various ventures in Fallen London is measured by numeric scores, much like the acquired traits.

Progress Is A Number. Progress in almost anything is represented by a simple number score, often raised by challenges against Attributes or exchanging certain items. One may be “Solving a Case” and solve it when one has a score of ten. Or one may be exploring an area and solve it when one has ten points of “Exploring.” These scores are like very temporary Acquired traits, and often reset when a venture is over. These provide clear, simple measurements of progress.

Progress Influences Story. At a certain amount of “points” gained towards knowing a character or group you may unlock options such as starting a romantic relationship. Other scores may increase the challenge, such as solving a case getting harder the further one progresses, with new challenges arising. The score becomes a signal of challenges to come as well as a goal (and a player may feel their heart race as a score climbs . . .)

Negative And Conflicting Progress. These progress scores may, at times be negative or even conflict. One may be trying to outrun a rival, and as “progress” increases the rival is closer. Or one may be trying to keep one score up and another down. A few simple numbers can lead to complex stories and decisions.

Inventory; Abstracted, Related, Storied

Having a large inventory of “stuff” is a time-honored RPG tradition, and Fallen London is no different. However it uses the “adventurer inventory” to cover a wider range of ground, representing possessions far differently.

Everything As Inventory. Anything in one’s possession is portrayed in inventory, but this goes beyond guns or treasures. Possessions can also include knowledge, stories, or insights (each with its own description). One may thus have 1000 Clues or 50 different seafaring stories from their ventures – treated and inventoried no different than 70 pieces of Jade or a mysterious pistol. By treating everything as inventory the game allows a unique way to measure progress and address challenges – one may need to blackmail and enemy, and that story requires 3 Blackmail Materials (which a handy intriguer may have handy).

Inventory Presents Story Options. An item in your inventory isn’t just something to sell or “spend” for a challenge, be it pearls or an Appaling Secret. Inventory items often provide other story options when you select them, from acquiring other items to opening more stories, to helping you solve mysteries. A single kind of item might open up multiple options, giving you different ways to use them – each with their own descriptive text or substorm. One of my favorite examples is having Appalling Secrets – one option in using them is to try and “forget” a few of them with the hope of reducing Nightmares.

Inventory Converts. Another brilliant innovation in the game is that related items, from treasures to knowledge, can often be traded up in the associated “story options” mentioned. Hints become Clues, Jade can be traded for artifacts, candles traded to a church in return for mysterious salts. “Trading up” and at times “trading down” is required to unlock stories or do tasks, and figuring this out is an interesting challenge that contains its own miniature tales. One of my favorites experiences realizing that treasures I’d gathered in a seafaring venture could be swapped up to get information that in turn I could trade for a map to let me continue my adventures.

Economics: Omnipresent, Clear, Varied, Storied

As noted, some of Fallen London is about swapping various items or literal pieces of knowledge to achieve different goals. The entirety of Fallen London is actually about economics.

Progress Is Transactional. All of the well-written stories in Fallen London are essentially accessed by a transaction. This could be swapping a “move” to achieve something, or as complex as figuring out how to “grind” for information to get a legal document in order to get your hands on some important books. As these transactions are clearly stated and often work in a similar manner, the game is very easy to pick up – but the challenge is figuring how to pull off the transactions. After all you may want to save those Whispered Hints to solve a bigger mystery later, or your need to get your hands on seditious material requires you to choose between stealing from a group of Devils or getting into a fistfight with a book-carrying critic.

Tradeoffs Requiring Thought. The economics of the game also require one to consider tradeoffs. One may reduce the Menace of Nightmares with a good cup of wine, but a drunken night may raise the Menace of Scandal, which is best addressed by spending a few turns going to Church.

And So Our Analysis Of Fallen London Ends

So those are my initial thoughts on what makes Fallen London work. To sum it up I’d say it’s a writing-centric game that uses a series of simple scores and inventory systems in combination to allow for complex tales, and has simple but interesting ways to portray common game mechanics and choices. That is, of course, a simple summary.

Now as for what else we can learn, let me see where my investigations – and you reaction to this essay – take us . . .

– Steve