A notable videogame sim featured in the MOMA exhibit “Talk to Me” that addresses communication between people and objects:
At bottom, Dwarf Fortress mounts an argument about play. Many video games mimic the look and structure of films: there’s a story line, more or less fixed, that progresses only when you complete required tasks. This can make for gripping fun, but also the constrictive sense that you are a mouse in a tricked-out maze, chasing chunks of cheese. Tarn envisions Dwarf Fortress, by contrast, as an open-ended “story generator.” He and Zach grew up playing computer games with notebooks in hand, drawing their own renditions of the randomly generated creatures they encountered and logging their journeys in detail. Dwarf Fortress, which never unfolds the same way twice, takes that spirit of supple, fully engaged play to the extreme.
Tarn sees his work in stridently ethical terms. He calls games like Angry Birds or Bejeweled, which ensnare players in addictive loops of frustration and gratification under the pretense that skill is required to win, “abusive” — a common diagnosis among those who get hooked on the games, but a surprising one from a game designer, ostensibly charged with doing the hooking. “Many popular games tap into something in a person that is compulsive, like hoarding,” he said, “the need to make progress with points or collect things. You sit there saying yeah-yeah-yeah and then you wake up and say, What the hell was I doing? You can call that kind of game fun, but only if you call compulsive gambling fun.” He added: “I used to value the ability to turn the user into your slave. I don’t anymore.”