https://playstyle.world PLAYSTYLE Wed, 17 May 2023 21:24:13 +0000 https://playstyle.world en https://playstyle.world/PLAYSTYLE Mon, 15 May 2023 13:00:48 +0000 PLAYSTYLE https://playstyle.world/PLAYSTYLE PLAYSTYLE explores the way we play, examining the interactions that take place between video games + the world. ZINE︎︎︎ STORIES︎︎︎ <img width="1000" height="2800" width_o="1000" height_o="2800" data-src="https://freight.cargo.site/t/original/i/9bee5ba31169e5da848b50ebf88d51307a94eb86356754b5e681583749d05e38/issue1_cover.png" data-mid="182035307" border="0" src="https://freight.cargo.site/w/1000/i/9bee5ba31169e5da848b50ebf88d51307a94eb86356754b5e681583749d05e38/issue1_cover.png" /> https://playstyle.world/despelote-header Sun, 14 May 2023 16:16:05 +0000 PLAYSTYLE https://playstyle.world/despelote-header ISSUE&nbsp;#1 DESPELOTE <img width="1784" height="1427" width_o="1784" height_o="1427" data-src="https://freight.cargo.site/t/original/i/7e3ecaf489f58d14dfb61ba30cc6a348e239f84f318b6cdc0f3ce8f6ce67b479/despelote_7.png" data-mid="179043950" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/7e3ecaf489f58d14dfb61ba30cc6a348e239f84f318b6cdc0f3ce8f6ce67b479/despelote_7.png" /> Julián Cordero knows that soccer is really about people. Alongside artist and fellow Quito native Sebastián Valbuena, the New York-based game designer is crafting the world of despelote; a non-competitive soccer game that uses the sport’s human side to paint an intimate portrait of the city of the Ecuadorian capital. READ︎︎︎ https://playstyle.world/jessemorsberger-header Sun, 14 May 2023 16:20:11 +0000 PLAYSTYLE https://playstyle.world/jessemorsberger-header ISSUE #2JESSE MORSBERGER <img width="2276" height="2981" width_o="2276" height_o="2981" data-src="https://freight.cargo.site/t/original/i/310c3c0e845612aacc5cad6bf5d639768ff9609e45985b492709b94f67d7610f/morsberger_9.jpeg" data-mid="178714315" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/310c3c0e845612aacc5cad6bf5d639768ff9609e45985b492709b94f67d7610f/morsberger_9.jpeg" /> For Jesse Morsberger, creating paintings of games makes perfect sense; why wouldn't they be the subject matter of choice for a generation of artists shaped by an era of video game ubiquity? Treating the game in-motion as a subject for interpretive still life, Morsberger’s art gives form to the unseen reality of video games, drawing parallels between the medium and perceptual art.&nbsp; READ︎︎︎ https://playstyle.world/expo70-header Sun, 14 May 2023 16:23:05 +0000 PLAYSTYLE https://playstyle.world/expo70-header ISSUE #3OSAMU SATO ON EXPO ’70 <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/8629d3cd709440b03e5d076b09f10f10d0d028138231fac2224c01fe88b98bad/expo_8.jpeg" data-mid="178714593" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/8629d3cd709440b03e5d076b09f10f10d0d028138231fac2224c01fe88b98bad/expo_8.jpeg" /> Graphic artist, composer and designer of the cult classic LSD: Dream Emulator Osamu Sato recounts ten childhood visits to the 1970 World’s Fair in Osaka, Japan, remembered for its distinct architecture and auspicious vision of the future. READ︎︎︎ https://playstyle.world/thequietworld-header Sun, 14 May 2023 16:42:18 +0000 PLAYSTYLE https://playstyle.world/thequietworld-header ISSUE&nbsp;#4THE QUIET WORLD <img width="2000" height="1632" width_o="2000" height_o="1632" data-src="https://freight.cargo.site/t/original/i/c034f2d5c0ed74aadc721e406fd8135caf067fa0108b4327bdcd9c91f0fc4b67/activeworlds_1-copy.jpeg" data-mid="179045019" border="0" src="https://freight.cargo.site/w/1000/i/c034f2d5c0ed74aadc721e406fd8135caf067fa0108b4327bdcd9c91f0fc4b67/activeworlds_1-copy.jpeg" /> An abandoned virtual city created in 1995 is quiet but not silent. It’s landscape, an urban sprawl of digital postmodern ruins, serves as a pristine record of the online lives of a generation of inhabitants who have since moved on. A record of local identities, preserved in virtual, architectural perpetuity, explored through a written and visual essay. READ︎︎︎ https://playstyle.world/zine-1 Tue, 16 May 2023 17:35:31 +0000 PLAYSTYLE https://playstyle.world/zine-1 PLAYSTYLE explores the way we play, examining the interactions that take place between video games + the world. HOME︎︎︎ PLAYSTYLE brings together stories about people, projects and ideas that place the medium of games into a wider cultural or societal context. We look to give space to an evolving view of video games that challenges many of the codified ideas we have about what games are, what they can be and who they are for. Our stories place games in relation to topics such as art, design, architecture, music, fashion, food, sports and more, whilst creating space for voices often unheard within the traditional discourse that surrounds the medium. PLAYSTYLE is shared online and as a free print zine, available at select stockists. Each bookmark-sized issue features a single story and the physical version is released under the Creative Commons BY-NC-ND license. Sharing is strongly encouraged; as long as its contents remain free and fully credited, you are welcome to copy and redistribute it as you please. Most issues are sized perfectly for home printing or photocopying and guidelines are included for easy folding. If you’d like to request print copies of past or future issues of PLAYSTYLE for your store, gallery, classroom or institution; share a project with us; or want to discuss contributing or collaborating, please send an email to hello(at)playstyle.world. WEBSITE LAST UPDATED: 18.05.2023 https://playstyle.world/despelote-julian-cordero Mon, 15 May 2023 12:34:19 +0000 PLAYSTYLE https://playstyle.world/despelote-julian-cordero ISSUE #1 DESPELOTE INTERVIEW Oliver Jameson IMAGES Julián Cordero + Sebastián Valbuena <img width="1784" height="1622" width_o="1784" height_o="1622" data-src="https://freight.cargo.site/t/original/i/4f6d4e039b5f88c5f42e127808d4286e98c3976979a1a562701d8372832d6d03/despelote_6.png" data-mid="178792114" border="0" src="https://freight.cargo.site/w/1000/i/4f6d4e039b5f88c5f42e127808d4286e98c3976979a1a562701d8372832d6d03/despelote_6.png" /> Julián Cordero knows that soccer is really about people. Alongside artist and fellow Quito native Sebastián Valbuena, the New York-based game designer is crafting the world of despelote; a non-competitive soccer game that uses the sport’s human side to paint an intimate portrait of the Ecuadorian capital. In this story, the city itself is a protagonist. Texture projection techniques bring the real architecture of Quito into despelote’s world, whilst improvised dialogue captures its voices and conversations. Set in a hazy duotone, these real-world spaces play host to a story of childhood at a time of national fervour surrounding Ecuador’s first ever qualification for World Cup in 2002. This sporting and cultural moment acts as a backdrop for a narrative that delicately recognises that the most popular sport on earth isn’t strictly a spectacle of twenty-two people, on grass, in a stadium. Rather, the rumblings of conversation in the street, children chasing a ball—or something else kickable—in the local park and the real-time forming of human connections through running, playing and being together are soccer too. These human qualities are as much a part of the ubiquitous culture of the sport as the winning goal watched by millions in the World Cup final. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e166b3c73db86a79e7b330f93eb988afd7b686e47fafb5ddb6cf5188e8d0933b/despelote_3.jpeg" data-mid="178792289" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e166b3c73db86a79e7b330f93eb988afd7b686e47fafb5ddb6cf5188e8d0933b/despelote_3.jpeg" /> PLAYSTYLE What is your personal history with soccer? JULIÁN CORDERO I grew up in Ecuador, where the soccer culture is very strong and pretty much everyone has to play it at some point. I loved it when I was growing up. I still love it, but back then, the act of ‘play’ was synonymous with playing soccer. I was also quite good at it. I played in various youth teams and was able to make a lot of friends through it, partly because people respected me for it. I also loved watching and talking about it. It was always the topic I knew I had in common with anyone I met—well, mainly all the guys I would meet. I then moved to New York City for school. Soccer is not nearly as culturally present in the US as it is in Latin America, and it made me take a step back from it. This distance made me engage with it in a new, more critical way; I became interested in wanting to understand the role soccer has in my life, and how being around it shaped me. I realised I was interested in the culture of soccer, how kicking a ball around acts as a universal language between people. I was also curious about how people still feel excluded from it even though it is one of the most accessible sports. I didn’t think many games actually focus on the culture of soccer, so I wanted to make one that does, using it as a lens to examine a community, its social dynamics and my own life. When I started making despelote I decided I was going to start playing pickup games every week, to be constantly thinking about it and exposed to it. Unfortunately, on my second outing, I broke my knee and couldn’t play for two years. I’m finally back to playing now, but I’m sure that had a big influence on what the game has become. I’m just not sure how yet! <img width="900" height="1452" width_o="900" height_o="1452" data-src="https://freight.cargo.site/t/original/i/72baa3bfd528ccd82eb4c204994f7e20a21b54a44ee4749db2a43733f62bd852/despelote_8.png" data-mid="179049348" border="0" src="https://freight.cargo.site/w/900/i/72baa3bfd528ccd82eb4c204994f7e20a21b54a44ee4749db2a43733f62bd852/despelote_8.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/28c9818327ad9e683ca05ad13bd9a028a1befd29cc3fff99394d2d4c091062ae/despelote_1.png" data-mid="178793974" border="0" src="https://freight.cargo.site/w/1000/i/28c9818327ad9e683ca05ad13bd9a028a1befd29cc3fff99394d2d4c091062ae/despelote_1.png" /> <img width="900" height="1432" width_o="900" height_o="1432" data-src="https://freight.cargo.site/t/original/i/80822600d82c26d5e9b6977982cec027b202f30c8931a08e625b21fc056d5155/despelote_9.png" data-mid="179049461" border="0" src="https://freight.cargo.site/w/900/i/80822600d82c26d5e9b6977982cec027b202f30c8931a08e625b21fc056d5155/despelote_9.png" /> PS The culture surrounding soccer is ubiquitous in many countries, yet most representations in games focus purely on the sport and its rules. How are you doing things differently in despelote?JC When you play a game like FIFA, you embody all the superstar players who are supposed to represent soccer in its ‘ideal’ form. It’s cool and exciting, but it isn’t what playing soccer looked like to me growing up. With despelote, we are much more interested in making you feel like a kid who is learning how to kick a ball and trying to make friends, rather than making you feel like Cristiano Ronaldo. We’re interested in how soccer adapts to any kind of environment and how sometimes, it’s more fun to kick a bottle around on a busy street than a perfect ball in a huge stadium. I believe all of those things tell a much better story of what the sport is, because it tells a story about the people who play it. PSWould you consider the city of Quito a protagonist of the game? JCOh yeah. It was clear from very early that the game would be set in Quito, since Sebastián and I both grew up there and my understanding of soccer was always filtered through that city. We found that the best way to depict it for us was to try to source many of our assets from real life places, so we’ve just been making models from grainy pictures and putting them in our grainy game. We like this approach because it gives these places a nostalgic feel. Also, none of the dialogue in the game is written—it’s all improvised by friends and family. We’re trying to capture the most genuine conversations as we can and placing them everywhere around the park, so that you slowly absorb the place and its people while you’re kicking the ball around. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0178ea65bad4e0c4090024de60b9db090cf72934f49ab1fa9660ff4527d4ba8a/despelote_4.jpeg" data-mid="178795813" border="0" src="https://freight.cargo.site/w/1000/i/0178ea65bad4e0c4090024de60b9db090cf72934f49ab1fa9660ff4527d4ba8a/despelote_4.jpeg" /> PS Which artists are important to you? JCThe filmmaker Alfonso Cuarón has been a big influence on the project. I’ve also been into Masahisa Fukase’s photography lately and have been reading a lot of Roberto Bolaño. They’re not my favourite artists but they have definitely been important to me lately and probably for the project too. PS What does the future of games look like? JC I’m excited about a future where technologies that capture the world in new ways—like photogrammetry, motion capture, etc—are not used to achieve the ‘photorealistic dream’, but are used to capture the idiosyncrasies of human behaviour that are impossible to recreate from sitting at a computer. @despelotegame despelotegame.com Published 17.05.2023 DOWNLOAD ZINE https://playstyle.world/jesse-morsberger Wed, 17 May 2023 11:27:58 +0000 PLAYSTYLE https://playstyle.world/jesse-morsberger ISSUE #2 JESSE MORSBERGER INTERVIEW Oliver Jameson IMAGES Jesse Morsberger <img width="2276" height="2981" width_o="2276" height_o="2981" data-src="https://freight.cargo.site/t/original/i/310c3c0e845612aacc5cad6bf5d639768ff9609e45985b492709b94f67d7610f/morsberger_9.jpeg" data-mid="179054508" border="0" alt="Posing 2021, oil on canvas, 34 &times; 26 inches." data-caption="Posing 2021, oil on canvas, 34 × 26 inches." src="https://freight.cargo.site/w/1000/i/310c3c0e845612aacc5cad6bf5d639768ff9609e45985b492709b94f67d7610f/morsberger_9.jpeg" /> Posing (2021), oil on canvas, 34 × 26 inches. For Jesse Morsberger, creating paintings of games makes perfect sense; why wouldn't they be the subject matter of choice for a generation of artists shaped by an era of video game ubiquity? Morsberger treats the game in-motion as a subject for a kind of interpretive still life, using a blend of observation and nostalgic wonder as a tool for closing the aesthetic gap between the literal images running on screen which serve as his model, and a vastness and depth that exists purely the mind of the individual player. <img width="2293" height="1935" width_o="2293" height_o="1935" data-src="https://freight.cargo.site/t/original/i/c4f3912a0c2931a445c553183174c5d0a757af67e7e40040e37744df38674b26/morsberger_10.jpg" data-mid="179056760" border="0" src="https://freight.cargo.site/w/1000/i/c4f3912a0c2931a445c553183174c5d0a757af67e7e40040e37744df38674b26/morsberger_10.jpg" /> Romani Ranch (2022), oil on canvas, 46 × 54 inches. PLAYSTYLE Tell us about your history with making art.JESSE MORSBERGERI received a BFA in Drawing and Painting from SUNY Purchase in 2016.&nbsp; I didn’t have any experience oil painting before college. I feel lucky to have learned from some&nbsp; really incredible artists who teach there—Sharon Horvath, Matt Bollinger and Susannah Heller to name a few. For fun growing up, I used to copy manga covers and draw comics with my dad.&nbsp; He had a really big collection of old school DC and Marvel comics. He was a musician and my grandfather was also a painter, so I grew up surrounded by the arts. PSHow about your history with video games? JM I love video games! I wasn’t very social as a kid so I spent a lot of time alone reading fantasy novels and playing video games. I especially love Japanese Role Playing Games. Throughout middle and high school it felt so special to be able to escape into these magical worlds-to spend time getting to know unusual and memorable characters. I think video games have really helped to forge my imagination and I find that a lot of my important memories involve games. <img width="1769" height="2294" width_o="1769" height_o="2294" data-src="https://freight.cargo.site/t/original/i/08694972cd3913f67722bb57a1a9d11a8b8674caf7357e497e70bcde6078eee0/morsberger_4.jpg" data-mid="179057198" border="0" src="https://freight.cargo.site/w/1000/i/08694972cd3913f67722bb57a1a9d11a8b8674caf7357e497e70bcde6078eee0/morsberger_4.jpg" /> Feather Cape (2021), oil on canvas, 14 × 11 inches. PS The image of a nude Mario is prominent in your work. Why? JM I think they’re funny, but moreover I view them as self portraits. I think they’re emotionally revealing. After I painted Mario naked, it felt easier to make video game paintings with a more traditionally serious tone. Suddenly making an oil painting of a landscape from The Legend of Zelda didn’t feel as daunting. PSYou’ve painted interpretations of a series of game covers. Could you tell us about why you’ve chosen the games you have? JM For those paintings, I’m choosing games that I have a connection with or stand out to me for an unusual reason. They’re observational paintings, so I have the physical game in front of me when I’m working on them—at least for the first session. Making these paintings is a good excuse to not think and just paint, work on colour relationships, light, etc. PS What is your relationship with streaming, another frequent subject matter? JM I started watching people playing games on YouTube back in 2008. It’s been really cool to watch game streaming turn into its own kind of art form with a dedicated website in Twitch. I’m a younger brother, so my older sibling often got first go at the TV growing up in our family home. I got used to watching other people play games, and I think that the experience of viewing can be just as fulfilling as playing yourself. It’s hard to match the experience of having a group of friends over late at night to play a survival horror game, but with a good streamer you can get pretty close. <img width="2226" height="2092" width_o="2226" height_o="2092" data-src="https://freight.cargo.site/t/original/i/235eca5c37c300bebf1310ab3678f7ea11df8d613da45bcbbeaebd340a7be33f/morsberger_5.jpg" data-mid="179058044" border="0" src="https://freight.cargo.site/w/1000/i/235eca5c37c300bebf1310ab3678f7ea11df8d613da45bcbbeaebd340a7be33f/morsberger_5.jpg" /> Lake of Rage (2021), oil on canvas,&nbsp;30 × 32 inches. PS Which artists are important to you? JMTo name a few: Philip Guston, Matthew Wong, Katherine Bradford, Todd Bienvenu, Dan Schein, Milton Avery, Brandon Elijah Johnson, Matt Blackwell, Anders Lindseth, Mosie Romney. PS What can games learn from painting? What can painting learn from games? JM I think the two mediums influence each other all the time. A lot of young contemporary painters subliminally draw upon gaming iconography in their work. The same goes for the games. Take a look at The Legend of Zelda: Breath of The Wild. The whole experience is like an interactive landscape painting. <img width="822" height="1040" width_o="822" height_o="1040" data-src="https://freight.cargo.site/t/original/i/7e7fdd22c26963a543bbc9d62cee4236cb0e648dcc5339822b3b2698bb85b147/morsberger_2.jpeg" data-mid="179058266" border="0" data-scale="41" src="https://freight.cargo.site/w/822/i/7e7fdd22c26963a543bbc9d62cee4236cb0e648dcc5339822b3b2698bb85b147/morsberger_2.jpeg" /> Study of Link’s Face (2021), oil on canvas, 10 × 8 inches. @jessemorsbergerjessemorsberger.world Published 17.05.2023 DOWNLOAD ZINE https://playstyle.world/osaka-expo-70-osamu-sato Wed, 17 May 2023 21:24:13 +0000 PLAYSTYLE https://playstyle.world/osaka-expo-70-osamu-sato ISSUE #3 OSAMU SATO ON OSAKA EXPO ‘70 INTERVIEW Oliver Jameson PHOTOS Henry Petermann + Kouji Oota <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/88196140a1568caa5281556fe9d97c97641efed3ff2781faffab66465fd528bf/Scan-2.jpeg" data-mid="179114831" border="0" src="https://freight.cargo.site/w/1000/i/88196140a1568caa5281556fe9d97c97641efed3ff2781faffab66465fd528bf/Scan-2.jpeg" /> For seven months in 1970, Osaka Prefecture, Japan hosted the Expo ’70 world’s fair. Architects Kenzo Tange and Uzo Nishiyama oversaw the master plan for a 330 hectare site outside the city, setting out to design a social, international space that offered an auspicious vision of the future. These ambitions culminated in the Symbol Zone, a colossal ‘space frame’ roof that brought together a selection of themed pavilions devised by Japanese architects, artists and designers. At its centre stood the Tower of the Sun (pictured cover), created by artist Tarō Okamoto; the 70 metre tall sculpture, adorned with three abstract faces, has become something of an icon of a bygone, hopeful moment in time. A collection of striking pavilions financed by nations and businesses from around the world formed an eclectic contest of architectural one-upmanship, mani­fested through elaborate forms and facades with shades of early post-modernism in their iconography. Technological displays embodying the emergence of today’s communications society were front and centre. Moving walkways transported over 64 million visitors and performing robots entertained them. The US pavilion, which featured a piece of moon rock fresh from the Apollo 11 mission a year prior, su­pposedly attracted visitors at a rate of 8,000 an hour on the Expo’s first day.1 <img width="1532" height="957" width_o="1532" height_o="957" data-src="https://freight.cargo.site/t/original/i/bfe7ed27c5eb0e220d7f5a6f5ec39391d1402a9ac52d366b172d33111ea94659/expoland.jpg" data-mid="179114987" border="0" src="https://freight.cargo.site/w/1000/i/bfe7ed27c5eb0e220d7f5a6f5ec39391d1402a9ac52d366b172d33111ea94659/expoland.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/599096b95aa38c39b605eab2f319a1cdefe886be7ed505cb71023e2dab75e191/expo08.jpg" data-mid="179114953" border="0" src="https://freight.cargo.site/w/1000/i/599096b95aa38c39b605eab2f319a1cdefe886be7ed505cb71023e2dab75e191/expo08.jpg" /> Willi Walter, Swiss Pavilion. Aerial view of EXPOLAND. Overt in its embrace of futuristic fantasy, the Expo was decried by critics of the day as a wasteful, natio­nalistic farce with an utter disregard for reality; a criticism common to any world’s fair, but with symptoms exasperated by the Osaka site’s strong emphasis on aesthetic abstractionism, appropriated for purely commercial means.2 However, in contrast to some other events of a similar scale, the vast space of the Expo park continues to be well maintained, encompassing gardens, museums and sports venues. Whilst many of the pavilions—including the ambitious Symbol Zone and its space frame were unceremo­niously torn down, Tarō’s Tower of the Sun remains, playing host to exhibitions and art installations as of 2018. Similarly, smaller public works such as fountains designed by sculptor and landscape designer Isamu Noguchi have long outlived the architectural features of other exposition parks the world over. Expo ’70 lives, too, in the memories of those who visited. So well-defined is the fair’s affective legacy that the recollections of its attendees have informed studies on long-term memory.3 Of note is its lasting influence in cultural fields, particularly in the case of art, architecture, graphic and sound design; Expo ‘70 is today cons­idered a formative moment in not only the development of modern Japan’s cultural identity, but in the lives of many of the country’s creative powerhouses. <img width="1532" height="980" width_o="1532" height_o="980" data-src="https://freight.cargo.site/t/original/i/63f6266305b91c9787f5f6082e892f744fa01e6e93cb21c8a8050acf00cdb118/osamu_sato_on_expo_03.jpg" data-mid="179115130" border="0" src="https://freight.cargo.site/w/1000/i/63f6266305b91c9787f5f6082e892f744fa01e6e93cb21c8a8050acf00cdb118/osamu_sato_on_expo_03.jpg" /> OSAMU SATO Osamu Sato’s practice is hard to encompass with a single label. His eclectic portfolio includes some of the earliest writing on computer graphic art, genre-defying music composition produced in collaboration with the likes of Ryuichi Sakamoto and Ken Ishii, neon-soaked bondage photography and video game design, amongst other pursuits in visual and sound art. It is for his work within the medium of games that Sato has received the most acclaim in the West. The 1998 cult favourite PlayStation title LSD: Dream Emulator is a surrealist simu­­l­ation that explores the creations of the sleeping mind and is reco­g­­nised as one of the earliest examples of a commercial game intended primarily as an artwork.&nbsp;Free of goals aside from raw experience, LSD presents a sequence of scenes to explore inspired by a dream diary kept by Hiroko Nishikawa, a copywriter working for Sato’s company Outside Directors. Pre-conceived environments are subject to randomised visual and audio variations so as to give each dream a unique ‘emotion’. The dreams are then placed on a continuing graph, logging whether they are an ‘Upper’ or ‘Downer’, ‘Static’ or ‘Dynamic’. In its unpredictability, the game is able to perform on a scale ranging from sincere, absurdist humour to engendering feelings of genuine dread. As such, it has garnered a following of fans who closely study its unorthodox structure. In a fitting continuation of this non-standard nature, two sequels followed in the form of both a reimagining of the game’s soundtrack and a blend of plum liqueur brewed and bottled by Sato himself. Born in Kyoto about an hour away from the Expo park, Sato made a total of ten visits to the 1970 world’s fair as a young boy. Just past fifty years on, he recounts his experiences of this defining moment in the culture of 70s Japan, in conversation with PLAYSTYLE. <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/88196140a1568caa5281556fe9d97c97641efed3ff2781faffab66465fd528bf/Scan-2.jpeg" data-mid="179114831" border="0" src="https://freight.cargo.site/w/1000/i/88196140a1568caa5281556fe9d97c97641efed3ff2781faffab66465fd528bf/Scan-2.jpeg" /> OSAMU SATO I was ten years old back then and was a 4th year elementary school student. I liked baseball and played for the local team, practicing on Saturdays and Sundays. The reason I visited ten times is because my father was working as a photographer for a newspaper. He’d go there frequently for his work and I accompanied him. As well as that, our place in Kyoto was fairly close to the Expo ‘70 site. My relatives would come to our place first as a common point before going there, so I used to tag along with them as well.&nbsp; I think, in that moment, the world’s fair was people’s main interest. I also felt very excited every time I went there—it made the future seem expansive. That was also probably the first time I saw many different people with diverse physiques, hair colour, skin colour, eye colour, etc. <img width="3472" height="2466" width_o="3472" height_o="2466" data-src="https://freight.cargo.site/t/original/i/85ce6ddce7d8a300852cd302563605d473b3da90689260698010a5ec3c3a0bc7/expo03.jpg" data-mid="179115232" border="0" src="https://freight.cargo.site/w/1000/i/85ce6ddce7d8a300852cd302563605d473b3da90689260698010a5ec3c3a0bc7/expo03.jpg" /> <img width="3475" height="2456" width_o="3475" height_o="2456" data-src="https://freight.cargo.site/t/original/i/8c7867a4dcf2946331dea2fd263320b278635e8c3a715649d27be6cac8a8281a/expo05.jpg" data-mid="179115253" border="0" src="https://freight.cargo.site/w/1000/i/8c7867a4dcf2946331dea2fd263320b278635e8c3a715649d27be6cac8a8281a/expo05.jpg" /> Tommaso &amp; Gilberto Valle, Italian Government Pavilion. Kisho Kurokawa, Toshiba IHI Pavilion. I stood in line at the US pavilion for about an hour. At that time, the Apollo landing had just been broadcast on TV so like many I had a fascination with space and the moon. But now that I think about it, it was just a big rock. I don’t know if my visit had a direct effect on me creatively when I was 10 years old, but in a sense, I may have felt like I’d travelled the world. That might just be me looking retrospectively though. There was an ample budget for the fair, so I think the creators and corporations were able to experiment. That which could not have been done without cooperation back then can probably be done individually now. Andy Warhol once said “in the future, everyone will be world-famous for 15 minutes”, but in the present day, you can remove the ’15 minutes’ from that phrase. I don’t think the Expo itself was a ‘dystopia’ as critics of the day may have said. At present however, Japan, and perhaps the United States and the rest of the world, are approaching ‘dystopia’ like George Orwell’s 1984. I remember the American, Japanese and Soviet Union’s pavilions having particularly noticeable designs. After all is said and done, however, it’s my opinion that the Tower of the Sun stood out more than anything else. &nbsp; <img width="2456" height="3472" width_o="2456" height_o="3472" data-src="https://freight.cargo.site/t/original/i/d5e086a75321c0fffc4625a3a9142b9e024a24c081054345b714412b5bd99c78/expo02.jpg" data-mid="179115695" border="0" src="https://freight.cargo.site/w/1000/i/d5e086a75321c0fffc4625a3a9142b9e024a24c081054345b714412b5bd99c78/expo02.jpg" /> <img width="3448" height="2449" width_o="3448" height_o="2449" data-src="https://freight.cargo.site/t/original/i/62ecb95117ea751170bc6e4d9c2aaaa65c39fbea0a7a10bd164c4dae1c28883c/expo07.jpg" data-mid="179115734" border="0" src="https://freight.cargo.site/w/1000/i/62ecb95117ea751170bc6e4d9c2aaaa65c39fbea0a7a10bd164c4dae1c28883c/expo07.jpg" /> Mikhail V. Posokhin, Soviet Pavilion. Nikken Sekkei Komu Company Ltd., Japanese Government Pavilion. The Tower of the Sun had the most impact on me and I still remember it to this day. Whenever I create a character, that tower is always in the corner of my mind. I don’t know much about all the pavilions, but the strange shapes of the buildings were certainly fun for me at as a child. Even then, I couldn’t believe they would all be destroyed afterwards. Fortunately, the Tower of the Sun is still there and I consider it one of Japan’s landmarks. Regarding the Expo’s graphic design, I remember the cherry blossom mark [the Expo’s logo] clearly. I often drew it in the corner of my notebooks. The shape, created by combining circles, is mathematical and beautiful. Perhaps it influenced my current style, which uses circles in the same way. <img width="915" height="1478" width_o="915" height_o="1478" data-src="https://freight.cargo.site/t/original/i/cc390b202055e7b6feddeadbb17962a7869136fffc73f56947fa1519a7e2f14e/osamu_sato_on_expo_02.jpg" data-mid="179116013" border="0" src="https://freight.cargo.site/w/915/i/cc390b202055e7b6feddeadbb17962a7869136fffc73f56947fa1519a7e2f14e/osamu_sato_on_expo_02.jpg" /> Isamu Noguchi &amp; Shoji Sadao, Expo ‘70 Fountain. During and since the pandemic, many things ground to a halt. The situation with the 2020 Tokyo Olympics quickly became quite dire. I think I could see the 2025 Osaka Expo being affected as well. If I’m interested at the time I might visit the 2025 Expo, but I can’t really say for sure. To be honest, I’m not that interested in visiting it at the moment! 1 Philip Shabecoff (1970) Moon Rock Fascinates Osaka Crowd in The New York Times (March 16, 1970), 14 https://www.nytimes.com/1970/03/16/archives/moon-rock-fascinates-osaka-crowd.html 2 Reiko Tomii (2007) Art, Anti-art, Non-art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970, 28 3 Hiroyuki Shimizu and David Anderson (2007) Recollections of Expo 70: Visitors’ Experiences and the Retention of Vivid Long-Term Memories http://blogs.ubc.ca/ewayne/files/2010/02/Anderson-Shimizu-2007-Recollections.pdf Published 17.05.2023 DOWNLOAD ZINE https://playstyle.world/the-quiet-world-activeworlds Mon, 28 Dec 2020 14:46:21 +0000 PLAYSTYLE https://playstyle.world/the-quiet-world-activeworlds ISSUE #4 THE QUIET WORLD TEXT + IMAGES Oliver Jameson <img width="1412" height="1632" width_o="1412" height_o="1632" data-src="https://freight.cargo.site/t/original/i/1d2fe3e0eb6db0c06b904dba1ad0c224bbdfa3f014a7692910e1f5f860e7d9f7/activeworlds_28.jpeg" data-mid="179118285" border="0" src="https://freight.cargo.site/w/1000/i/1d2fe3e0eb6db0c06b904dba1ad0c224bbdfa3f014a7692910e1f5f860e7d9f7/activeworlds_28.jpeg" /> They are quiet but not silent; forgotten virtual structures stand as reminders of a moment in the past. Undisturbed creations that had given life, now serve as outlines of what once was. Characters, interactions, ideas and desires forever linger, impressions of moments from a different time. The spaces that make up the online virtual world ActiveWorlds are now invaluable relics. Like ruins in the real world, they are as telling of the time in which they were built as those who created them. Observing, exploring and recording these unchanging places reveals their role as snapshots of online minutiae from as early as the simulated environment’s creation in 1995. Whilst much of this online world is now devoid of human activity, the space itself persists. The feeling of a living place ensues in the mere impression left by what was once a bustling community. What remains is wholly artificial, yet unmistakably human. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/0e35e94f64940d3773919cf0799de4976b6a5cc9d3c2379d2cdd40f3255c9072/001.jpg" data-mid="93254015" border="0" src="https://freight.cargo.site/w/1000/i/0e35e94f64940d3773919cf0799de4976b6a5cc9d3c2379d2cdd40f3255c9072/001.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/ee1328dc3465ce21495b3eebc65d87802e7e55f79fe1689b8d18b579ff0f5b2f/037.jpg" data-mid="93254055" border="0" src="https://freight.cargo.site/w/1000/i/ee1328dc3465ce21495b3eebc65d87802e7e55f79fe1689b8d18b579ff0f5b2f/037.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/bed66661b46a0b69edc1f9a356d9bdfae0f1e5c863faaef7cd8d246069c26992/006.jpg" data-mid="93254021" border="0" src="https://freight.cargo.site/w/1000/i/bed66661b46a0b69edc1f9a356d9bdfae0f1e5c863faaef7cd8d246069c26992/006.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/401def2ccf05d2d8b8aee6782fe8ec07ceb06932d6d722e4e003d6966b477a73/028.jpg" data-mid="93254045" border="0" src="https://freight.cargo.site/w/1000/i/401def2ccf05d2d8b8aee6782fe8ec07ceb06932d6d722e4e003d6966b477a73/028.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/87ebba9e10b99628efc51d7f0560d26c88004ff33e4f19c63a902259d018467c/007.jpg" data-mid="93254022" border="0" src="https://freight.cargo.site/w/1000/i/87ebba9e10b99628efc51d7f0560d26c88004ff33e4f19c63a902259d018467c/007.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/eac1285dde72da7801ad7cef58a51ccbe08fa0287e77f7d4acfac638657e7873/025.jpg" data-mid="93254042" border="0" src="https://freight.cargo.site/w/1000/i/eac1285dde72da7801ad7cef58a51ccbe08fa0287e77f7d4acfac638657e7873/025.jpg" /> Any virtual city can teach us about its offline counterparts. In the case of ‘AlphaWorld’—the first and most extensive of ActiveWorlds’ online spaces—the emergence of an urban sprawl is evident. A cluster of streets and buildings, largely constructed at the software’s inception, disperse outwards into fragmented suburbs and later, veins of highway stretching towards sporadic rural constructs. Equally, there are social and physical differences to consider. AlphaWorld started as a completely level field; in this world, all was supposedly created equal. The vastness of this flat, featureless plain is challenging. To walk from the centre point to one edge would take roughly 40 hours.1 Unlike the modern city, AlphaWorld shows no signs of modernisation or gentrification. A set of system-wide rules ensure it stays this way; territory is claimed and becomes a permanently private domain. The landscape is shaped and remains in that form, unless the original builder sees fit to make changes. As such, AlphaWorld’s geography is interspersed with incomplete structures and impenetrable negative space; land claimed but left unused. Much of the virtual space remains uninhabited and in the absence of aesthetic features we find, in essence, its wilderness. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/582d41f3f332a4359047c860e0eba7ffe7b5c3b8a5cb96d081c9f27842e387d3/003.jpg" data-mid="93254018" border="0" src="https://freight.cargo.site/w/1000/i/582d41f3f332a4359047c860e0eba7ffe7b5c3b8a5cb96d081c9f27842e387d3/003.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/173c68b113e5038fa0b608edc52e78b981a2fdc1b9281e7a6c7fe42c49e2820e/013.jpg" data-mid="93254028" border="0" src="https://freight.cargo.site/w/1000/i/173c68b113e5038fa0b608edc52e78b981a2fdc1b9281e7a6c7fe42c49e2820e/013.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/d8e5309b6f4f22dea063535368ea3eaa6226cc9f920c0913513fa33aceda3f03/040.jpg" data-mid="93254059" border="0" src="https://freight.cargo.site/w/1000/i/d8e5309b6f4f22dea063535368ea3eaa6226cc9f920c0913513fa33aceda3f03/040.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/cbcca955ade2bbf456ba041e3371a3de022a75bf4290d2c60018c6977e476615/021.jpg" data-mid="93254036" border="0" src="https://freight.cargo.site/w/1000/i/cbcca955ade2bbf456ba041e3371a3de022a75bf4290d2c60018c6977e476615/021.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/777485594aa441852a3bc1996057498e4143c08c8e9da9e9b40a79771180e3db/012.jpg" data-mid="93254027" border="0" src="https://freight.cargo.site/w/1000/i/777485594aa441852a3bc1996057498e4143c08c8e9da9e9b40a79771180e3db/012.jpg" /> AlphaWorld’s purpose is not to house or produce. It is founded on a notion of ‘freedom’; to offer an undesigned territory in which creative and social endeavours can take place. Through this notion of a malleable, idyllic nothingness, we find the colonial traits inherent to any system concerning the assimilation and development of space. That a space in which little creative restraint is placed on its inhabitants has taken the form of a traditional Western-style city—gridded by roads and highways that, due to the use of teleportation as a primary mode of movement, are rendered redundant in terms of their navigational function—is testament to the nature and desires of its inhabitants to capture a balance between normality and fantasy. The extensive use of teleportation throughout AlphaWorld has greater implications for its spatial design than what might be immediately obvious from the ground. In an oversized space where all surface is equal in constructional terms, memorable coordinates have determined where inhabitants have come to reside above all else. The landscape has come to be described by some as hosting ‘teleportation architecture’; like the contrast between the&nbsp; ‘50km/h architecture’ of roadside advertising and ‘5km/h architecture’ of the high street shopfront, the locations where users have built and by extension what they have built are defined by the manner of movement taken by those interacting with the surroundings.2 What results is a radial form geographically comparable to the ideals of the garden city movement of the 19th and 20th centuries3, but architecturally representative of a duality that exists within ActiveWorlds’ social identity; its role as a simulation of reality and as a self-contained reality of its own. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/1c0028c67fd2251a03d20b39d83c60a9190be5808af7bb57f1f460abcad449a5/009.jpg" data-mid="93254024" border="0" data-draggable src="https://freight.cargo.site/w/1000/i/1c0028c67fd2251a03d20b39d83c60a9190be5808af7bb57f1f460abcad449a5/009.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/e90b84596950895439db5124d945f7ed18ecb5e6369ac05a22094b6e8e6f5ea2/024.jpg" data-mid="93254041" border="0" src="https://freight.cargo.site/w/1000/i/e90b84596950895439db5124d945f7ed18ecb5e6369ac05a22094b6e8e6f5ea2/024.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/cc134d1ab8b2d2d88bbcbef0206f884e8898ff54957d5a1c71ce94bcb445433c/005.jpg" data-mid="93254020" border="0" src="https://freight.cargo.site/w/1000/i/cc134d1ab8b2d2d88bbcbef0206f884e8898ff54957d5a1c71ce94bcb445433c/005.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/7fc39f06fb1372b0316425709cb1cc083713ad15a59018262cc4b2cd6cc01853/038.jpg" data-mid="93254057" border="0" data-draggable src="https://freight.cargo.site/w/1000/i/7fc39f06fb1372b0316425709cb1cc083713ad15a59018262cc4b2cd6cc01853/038.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/faba8bce1f03d694664af29969cd9a4896e167f495106d4718367e0370617c0f/033.jpg" data-mid="93254051" border="0" data-draggable src="https://freight.cargo.site/w/1000/i/faba8bce1f03d694664af29969cd9a4896e167f495106d4718367e0370617c0f/033.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/16f75fc411bda00258f822d84291a75642102e110151797c4ce42565ac5fc2e3/034.jpg" data-mid="93254052" border="0" data-draggable src="https://freight.cargo.site/w/1000/i/16f75fc411bda00258f822d84291a75642102e110151797c4ce42565ac5fc2e3/034.jpg" /> In ActiveWorlds, self-expression occurs primarily through construction. As each area of claimed land is designated solely for its inhabitant, there are no restraints as to the style or scale of what can be built. Neighbourhoods have little architectural consistency; what ensues is an often brutally eclectic composition of ideas. 3D structures are interspersed with 2D decorations. Basic shapes and repeating textures collide, an erratic storm of colours and ornamentation forming where polygonal gestures stand immersed in photorealistic foliage. Images and text levitate above the ground, flashing and spinning so as to invite interaction. Much of the construction in AlphaWorld is arguably postmodern; spaces designed primarily for social reasons, yet drenched in the symbolism of a material, commercial or thematic function. There are no restrictions on movement in ActiveWorlds and all places are inherently public, even those that adopt the symbolism of being private. In the absence of people, the shop, the fortress, the church and the space station become purely ornamental, and in functional terms completely equal. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/38131ce576b9a0ee59e87b6a7f9ab482ababa331093d3a09a7e541bda1fad1b6/020.jpg" data-mid="93254035" border="0" src="https://freight.cargo.site/w/1000/i/38131ce576b9a0ee59e87b6a7f9ab482ababa331093d3a09a7e541bda1fad1b6/020.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/1975011ec1f86b9f954ffed1f8daff72ffc65bc71f5f2d60b941febd08a1b18c/018.jpg" data-mid="93254033" border="0" src="https://freight.cargo.site/w/1000/i/1975011ec1f86b9f954ffed1f8daff72ffc65bc71f5f2d60b941febd08a1b18c/018.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/0bce24a723e83fe2152869deb832271df2748fb1f851c457724c5325a0146745/029.jpg" data-mid="93254046" border="0" src="https://freight.cargo.site/w/1000/i/0bce24a723e83fe2152869deb832271df2748fb1f851c457724c5325a0146745/029.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/6e9e1cf6ea410d9988c514d0f1545ade6f7872a900410d92b4f6e05466ec87d7/035.jpg" data-mid="93254053" border="0" src="https://freight.cargo.site/w/1000/i/6e9e1cf6ea410d9988c514d0f1545ade6f7872a900410d92b4f6e05466ec87d7/035.jpg" /> The visual character of the world is, in reflection of its user-base, dominated by a view of the civic landscape of the United States. A general Western-style appropriation of form is evident throughout, sourced equally from fantasy and reality. You will pass the flat-roofed strip mall en route to the frontier town and its plethora of unmoving horses. The pagoda, complete with human-sized chess board and star-spangled banner, stands merely a street apart from the fairytale-themed Roman bathhouse and its pixellated erotic sculptures. Patriotic references to the US and its armed forces are almost habitual; dot-com bubble-era aesthetics offer some distorted comfort amidst a social and political climate shaped by the war on terror. Like AlphaWorld’s redundant grid structure, the topology of architecture within the simulation again raises the question of why such a municipal form has come to dominate a space unburdened with the real world’s regulations, politics, economics and—most significantly—scientific realities that prevent the construction of experimental or even impossible spaces. The assimilation of civic design can be viewed as an expression of local identity in a simulation that, through the internet, takes on a social vastness that far transcends the physical limitations of the real world. Naturally, many of the buildings found in AlphaWorld and beyond are founded on identity, locality and familiarity, adapting the tastes, desires and real world surroundings of the individual into a virtual space. Alternatively, they are often attempts to portray some notion of skill, experience, power or personality not unlike that seen in the suburban American ‘McMansion’.4 The duality of ActiveWorlds as a social venture is once again addressed in this adaptation of the the fantasy and reality of the user; a multi-faceted manner of expressing ‘this is me’ to the virtual world. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/0ad63cf141f673f8c3dabb47036e75a15b9daef674344a0015c5bdffe606cb69/017.jpg" data-mid="93254032" border="0" src="https://freight.cargo.site/w/1000/i/0ad63cf141f673f8c3dabb47036e75a15b9daef674344a0015c5bdffe606cb69/017.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/06b3cbf5508fc482c61187a94b15b23ede5e6c6486b365c12aff9e358db4c09d/023.jpg" data-mid="93254040" border="0" src="https://freight.cargo.site/w/1000/i/06b3cbf5508fc482c61187a94b15b23ede5e6c6486b365c12aff9e358db4c09d/023.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/f5b7e1897326a63dc32bf9a1bab68a3350166a393292934ed5d45593c4b3d637/039.jpg" data-mid="93254058" border="0" src="https://freight.cargo.site/w/1000/i/f5b7e1897326a63dc32bf9a1bab68a3350166a393292934ed5d45593c4b3d637/039.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/7cb4408b5242662296c213a93fc41dde121c7297b64dc63f0efa2898a8f1690f/015.jpg" data-mid="93254030" border="0" src="https://freight.cargo.site/w/1000/i/7cb4408b5242662296c213a93fc41dde121c7297b64dc63f0efa2898a8f1690f/015.jpg" /> <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/491beac53f7d965992a68c6296c91135e8a2de63862240e566cbd0cb7d9b4702/027.jpg" data-mid="93254044" border="0" src="https://freight.cargo.site/w/1000/i/491beac53f7d965992a68c6296c91135e8a2de63862240e566cbd0cb7d9b4702/027.jpg" /> Today, ActiveWorlds continues to exist as something almost ethereal. It maintains a physical presence in the form of data and processes collected on computers, but the interpersonal relationships that once gave it life beyond the screen have gradually faded. Users have drifted on, to other worlds or other moments in their lives. Some, as structures left in the world suggest, have passed away. But still, there is some noise. The artificial world refuses to fall completely silent. As the servers continue to run, the world lives on. 25 years after its creation, anyone with access to the right technology can witness it for themselves and contribute to its sprawling, discordant tapestry of identity-driven architecture. Through incremental improvements, the simulation’s creators continue to support the handful of individuals who have taken the world-within-a-world as their online home. By simply continuing to exist in such a space—almost entirely uninhabited, archaic in design but allowing for a permanence of ideas and self-expression—the few remaining citizens of ActiveWorlds live amongst and contribute to the relic radiation left over from a long history of virtual, incidental moments. <img width="2786" height="1632" width_o="2786" height_o="1632" data-src="https://freight.cargo.site/t/original/i/f1de9f1a7899f83ca8a7c68bb44f8a4f2e408d55aea6e5b4660ecb0031d9b4dc/002.jpg" data-mid="93254017" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f1de9f1a7899f83ca8a7c68bb44f8a4f2e408d55aea6e5b4660ecb0031d9b4dc/002.jpg" /> 1 Brent Ryan (2004) AlphaWorld: The urban design of a digital city in Journal of Urban Design, 9(3):292 2 Mikael Jakobsson (2007) Activity Flow Architecture: Environment Design in ActiveWorlds and EverQuest in Friedrich von Borries, Steffen P. Walz, Matthais Böttger (2007) Space Time Play: Computer Games, Architecture and Urbanism: The Next Level, 164 3 Ralph Schroeder, Avon Huxor, Andy Smith (2001) ActiveWorlds: Geography and Social Interaction in Virtual Reality in Futures, 33:576 4 Ryan (2004) AlphaWorld: The urban design of a digital city, 302 Published 17.05.2023 DOWNLOAD ZINE