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Learning and adaptation are playing important roles in solving numerous complex science and engineering problems, particularly including artificial intelligence, complex system analysis, control engineering, and many multidisciplinary topics. In this respect, some bio-inspired methods, such as reinforcement learning, coevolution learning, and chaos, genetic algorithms, cellular automata, and neural networks, provide essential tools to solve various optimization and control problems of complex systems (e.g., chaotic systems, multiagent systems, and distributed smart grid). This has also stimulated recently increasing research interests and developments on learning and adaptation with particular application to modeling, optimization, and control for complex systems with nonlinear dynamics. Investigating the fundamental properties of bio-inspired learning and adaptation methods (e.g., neural networks, genetic algorithms, and evolutionary game) and showcasing their applications in complex systems (e.g., chaotic systems, social systems, and multiagent systems) could not only promote better understanding of the underlying mechanisms of bio-inspired systems but also provide a possibility to explore their potential to solve complex system behavior analysis, modeling, and control.
For the purposes of argument, I will divide theory into two groups - cultural and formal. Cultural theory I take to include studies involving gender, class, and a variety of internal and external power relations and their interactions with cultural production. From my perspective, cultural theory or theorizing finds as good a home in the world of computer games as it does in any of its other haunts. In particular, aspects of embodiment, race, class and the social or community behaviors of games and gamers have been the subject of a number of thoughtful studies. Yet, it is partially in response to these approaches that Aarseth finds a problem. Aarseth is troubled by theoretical positions that have moved from one feedstock to another without fully accounting for the shift.
The primary composition component of game design is programming and here the beginnings of formal critique are well underway. As with many other forms of creative expression, the creators and consumers of the form have established a dialogue around the constituent components. These initial critiques take the form of replication, parody and commentary. Thus, the gaming community is already rich with theoretical analyses of computer games. While the academy has offered cultural criticism of such things as violence in games like Half Life, it seems clear that we currently lack sufficient critical analyses of the limitations and possibilities of programming in C, C++ and Assembler that are specifically geared towards 3D graphics cards, large memory components and high speed processors. By bringing the two forms of critique together, we might be able to address the types of concerns expressed by Aarseth.
The game engine was programmed in C with artificial intelligence components done in C++. Then the game was re-coded using Assembler, which allowed the interaction of the components in a manner transferable to the chipsets then available. For Newell and the creators at Valve, criticism that fails to consider programming begins by ignoring the computer game's most important component. I would argue that a theory done this way might miss what it is that makes computer games into computer games.
Meanwhile, away from the academy and professional critical community, this work already has its own set of protocols. Two further aspects of Half Life can help to demonstrate this point. These are the multiplayer program component and the design and modification package. Written as two separate programs that complement the central engine, these components have given rise to a community that provides critical analysis of the game, and through a system of apprenticeship, has produced the next generation of game designers.
Finally, to return to our question -- do we need a new theory for computer games? I think the answer depends on whether or not we feel any responsibility or desire to engage with games. As I have shown, a new theory is already in development within the gaming community. Given that a number of academics have already published commentary on the cultural aspects of games, and that games are now a larger moneymaking industry than film in the United States and Canada, it seems likely that we will come to discuss them to an increasing extent and we will normalize their critique. After all, the academy, like all good bureaucracies, eventually makes everything its business. The question then becomes one of procedure - of ensuring that we are aware of the rules of each new game we enter - after that - the play's the thing. 2b1af7f3a8