Contemporary 'Classics' in Literature

As the novel became commonplace only as late as the 19th Century in the English language, 19th century novels predominated in any official collection of 'Classics' throughout most of the 20th century.

It is only now, in the 21st century that many 20th Century novels have supplanted their 19th century counterparts as scholars and ordinary readers alike have judged some of the earlier 'Classics' as less worthy of the title than later works.

As a voracious reader, I consumed every 19th century and early 20th century novel before I reached my teens. I then went on to read every novel I could obtain by any means whatsoever, despite my mother's opinion that anything not designated as a 'Classic' was 'rubbish' or 'junk'. (Incidentally, my mother is NOT a reader and rather proud of the fact. She considers fiction for the most part to be a waste of time.)

I have seen some 21st century lists of 'required reading' in schools at pre-University levels and am rather shocked by some of the books that are included and some that are ignored. It appears to me that the lists are politically based rather than being based on excellence of style or non-political content. I find this deplorable but I suppose one should not be surprised. Schooling always has contained a shameful amount of propagandising in any culture and any period of history. The Jesuits always declared that, if they could supervise the schooling of any child from the age of six, he/she would be theirs 'for life'.

School lists of 'required reading' include an extraordinary number of books with themes of 'slavery' and 'the holocaust'. In my own view, the motivation here is political rather than any attempt to persuade students to become more 'sensitive' or to become 'superior beings'. After all, it is this same culture that invaded the sovereign nation of Iraq recently, utterly demolishing its society, and this same culture that allows the Palestinian people to be massacred regularly and supports the entity that bases its actual existence on the eradication of any Palestinian presence in its own homeland.

Putting politics to one side, what novels would I include on any list of 'Classics'?
Would one of the tests be whether or not I would be interested in reading a book a second time... or a third? That might be an indication of worthiness in one sense, but I do accept that there are undisputed 'Classics' that one wouldn't wish to read more than once perhaps.

As a child, I often felt that many of the Classics were books that one had to force oneself to read. Although I enjoyed some of them, there were others that I read as a sort of self-imposed duty. Sir Walter Scott, for example, elicited both a sense of dread and excitement. As a child, I did not realise how politicised and bias his view of history was but much of my early love of history was engendered by historical novels. Wading through 'dialect' always is a chore for me. I don't enjoy heavy dialect of any kind but I have to admit that I grimly do my best to prevent any considerations relating to dialect from deterring me from reading any book.

Labels are to be deprecated in any aspect of life, including literature. Even to categorise books as 'Classics' to some extent goes against my personal philosophy. There are too many people who would avoid a book by virtue of its official classification alone. For example, there are those who steer clear of 'fantasy' or 'science fiction' even when the actual book is one that would appeal to any intelligent audience if that audience were to come to it without any preconceptions.

Tolkien is one of my favourite writers. I believe him to be one of the greatest novelists of our culture for many different reasons. His work encapsulates our entire Northern heritage in terms of its detailed philological, mythological, historical and literary aspects but beyond that, as an extraordinary epic of good and evil, it must be considered a 'Classic' in every sense of the word. If a 'Classic' must deal with a subject of critical importance, certainly 'Lord of the Rings' qualifies.

This post was not prompted by any thoughts of Tolkien, however, but by the work of a contemporary writer whose novels are classified as 'fantasy' but who may go beyond that in his achievements in literary terms. Tad Williams is an extremely prolifice writer whose first novel, 'Tailchaser' won him renown in the late 1980s. This was followed almost immediately by the first book in a trilogy that almost rivals Tolkien's 'Lord of the Rings'. In 'Memory, Sorrow and Thorn', Tad Williams displays much of the depth and versatility of Tolkien in his use of philology, mythology, comparative religion and Northern European history. When I first read 'The Dragonbone Chair', I was impressed but would not have compared him to the 'Master' by any means. Rereading it now, I begin to see how truly amazing this book is, both in its depth of exploration of comparative mythology and its sheer poetry. There is a lyrical quality in Tad Williams' prose that is extraordinary. He is a master of the 'prose poem' and yet, his books are plot-driven and show an attention to detail in terms of action and characterisation that ensure greatness for his novels apart from their lyricism.

As with any writer, some books are far better than others. I would place the trilogy of 'Memory, Sorrow and Thorn' at the top of the list but I would need to read 'Tailchaser's Song' again.

It is interesting to note that Tad Williams struggled with the completion of his great trilogy much in the same way that Tolkien struggled with the last book of 'Lord of the Rings'. He almost despaired at one point of ever finishing it. Fiction of great length generates a certain amazement even when the book is devoid of any intrinsic value. The fact that some one actually can commit such a quantity of words to paper and weave them into some sort of cohesive tapestry is an achievement of sorts irrespective of the success or failure of the book as a novel.

I really should not write about the trilogy, however, until I have finished reading all three books again.

Recently, I was reminded of another 'fantasy' favourite of mine in the form of the Sime-Gen series by Jacqueline Lichtenberg and Jean Lorrah. Here, however, it was the concept of that universe rather than the actual literary style of the novels that impressed me most. Once in awhile, an artist creates something unforgettable, a concept or a vision that actually can change the audience's psyche. The Sime-Gen novels changed mine.

The concept of the Sime-Gen universe was created by Jacqueline Lichtenberg, evidently while she was in her teens. The novels were written later. I think that the power of this universe for me was the fact that it explored a very basic element in human interactions, in terms of the dominant-submissive relationship.

Christianity is a religion that is founded upon the idea that total submission in terms of Sacrifice was the key to the salvation of the human race. It is not surprising, therefore, to find that the dominant-submissive theme has powerful echoes throughout Western culture in different forms.

Ann Rice's Vampire novels explored the erotic components of dangerous dominance and the idea that Death can be clothed in an almost irresistably erotic form. She actually wrote some overtly dominant-submissive novels without any supernatural components under a nom-de-plume, making it clear that this was a part of the human psyche that held some fascination for her as an artist.

To me, dominant-submissive interactions are diminished by being associated with eroticism and sex. After all, these interactions are at the heart of most great spiritual myths and traditions.

In recent decades, the Vampire has become the centre of what could be considered a religion. Whether as the embodiment of Death or as the ultimate erotic role, Vampire novels and films proliferate. A host of teen Vampire novels and films have made it clear that adolescent fantasies have embraced the concept as enthusiastically as older audiences.

The Sime-Gen books are NOT Vampire novels, but there is some similarity between the Simes and traditional Vampires. The Sime-Gen mutations of the human race essentially divided humanity into two components: Dominant and Submissive but in the starkest, most fundamental sense, making one Predator and the other Prey. The Simes required the energy of the Gens to survive. In draining a Gen of energy, the Sime put an end to his/her life. Gens were considered sub-human, moreover and were raised as herds solely for their role in satisfying Sime needs.

This, however, is not the basis of the novels. The basic theme of the Sime-Gen novels is that voluntary sacrifice and submission leads to salvation and survival BOTH for the Sime and for the Gen. In making the ultimate gesture of sacrifice voluntarily, a Gen learned how to give energy without dying in the process. This made the Gen simultaneously both Submissive and Master/Mistress of the fate of the 'Dominant' Sime.

Fear is the enemy of survival for the Gen in the Sime-Gen Universe. Furthermore, a negative philosophy that defined the Gen as Prey and the Sime as Predator would lead inexorably to the annihilation of the human race in both of its mutations. The Simes effectively would exhaust their energy supply if the 'traditional' mode prevailed. As often in these situations, the traditional mode of existence was incorporated into a religion and thus any attempt to deviate and explore other avenues of existence was defined as heresy.

It is this heresy that is the basis of the Sime-Gen novels. I found the concept of this Universe as well as the novels themselves to be very powerful and indeed was so influenced by them as to adopt some of their colourful swear words and phrases into my own vocabulary.

The idea that voluntary sacrifice redirects power into the hands of the Sacrificed is extremely potent philosophically. It is the Sacrificial Victim ultimately in many myths who becomes a God, not the Executioner. The Executioner often is nothing more than the tool or means to an exalted end.

I believe that Dominant/Submissive interactions at their best contain the same elements. Rather than being a selfish form of personal sexual self-gratification as depicted by the media and indeed most of those who dabble in exotic sexuality, the core of the interaction is defined by nobility and sacrifice.

Perhaps the words 'Dominant' and 'Submissive' are not useful at all in this context. What is essential here is an assumption of a role where one individual places himself/herself completely at the mercy of another, with total trust and faith that the other will not abuse that power. That was one of the elements that was at the heart of the Sime-Gen 'heresy'. By trusting the 'Dominant' and accepting the role of victim, the Gen was able to give his/her life force and survive.

In mythological terms, the Victim usually is required to expend his/her entire life force and to perish but it is the voluntary aspect of the Sacrifice as well as essential trust and faith in the efficacy of the Ritual that ensures immortality.

Unfortunately, as is the case with many 'fantasy' novels, the Sime-Gen novels quickly became 'out-of-print' books. I only recently discovered that a small independent publisher had brought some of the novels back into circulation in the form of a single-volume trilogy.

This brings me back to my original theme, which was an attempt to define a 'Classic' in literature. 'Dracula' by Bram Stoker may not be the best-written book of its time but the themes it explored guaranteed that it would outlast its generation. In fact, it is the progenitor of almost everything that is associated with Vampires in contemporary culture. Likewise, 'Frankenstein' by Mary Shelley cannot be considered an example of the most finely-crafted writing, although it is not poorly written by any means. It is rather its exploration of social concepts and philosophy that gave it the power to influence over a century of literature and art. Are 'Dracula' and 'Frankenstein' true 'Classics'? Does a book become a Classic because of its power to change human psyche or because of its intrinsic value in literary terms? Or, must it contain both components in order to be judged a true Classic?

Returning to an old preoccupation of mine, one wonders how many myths and religions actually are founded upon popular literature or concepts created more for entertainment than as serious spiritual works. Oral poems recited in ancient times probably were not defined by labels and served more than one purpose without ever being judged by any panel of critics. The great ancient epics combined philosophy, religion, history and literature and were passed from generation to generation. Yet, who knows if this indeed was the case or if they mutated and changed with each generation?

What is fantasy and what is fact? What is history and what is fiction? Tolkien's creations are as much part of the fabric of our vision of existence now as any dry recitation of battles or political upheavals in so-called 'history'. The 'Vampire' is as much a part of our psychic and emotional landscape as any hero or anti-hero from 'history' or any widely accepted 'God' or semi-divine creature such as an 'Angel'.

What defines 'reality'? If an individual acts upon a vision created of fiction, his/her acts may have real effects in more lives than his/her own. Wars have been fought for 'religious' dogma and anything that exists in the realm of the spiritual neither can be proven nor disproven.

In any case, the Sime-Gen Universe of Jacqueline Lichtenberg and Jean Lorrah definitely enriched the landscape of my own existence. Whether or not the books in the series can be considered 'Classics', I recommend them highly to readers of any age as I would recommend Tad Williams' trilogy of 'Memory, Sorrow and Thorn.'

Finally, if a 'Classic' can be defined by the number of individuals it influences and the duration of that influence in terms of decades of new readers, both 'Memory, Sorrow and Thorn' and the Sime-Gen books can be considered Classics in that sense.
The fact that both have a dedicated, long-term fan base is eloquent of their power.

Twilight: Inspiration in Creating a Novel

Stephanie Meyer has written a series of 'vampire novels' that have been tremendously successful especially among teens. They may not have been perfectly crafted books in every respect, but they are very compelling and the male 'leads' she created are marvelous each in his own way. One need not puzzle as to why these books have been as successful as they have been. The concepts are potent and she is a great storyteller. The first 'Twilight' book now is being made into a film.

I do not consider the 'Twilight' series to be equal to the 'Warriors' series as truly great literature possibly because 'Warriors' encompasses so much in terms of world-building, mythology, philosophy, social and heroic themes. I firmly believe that the 'Warriors' books will be classics. The 'Twilight' series always may be popular romances and they certainly draw upon universal concepts but they are not quite on the same level. Even so, the 'Twilight' series is quite an accomplishment and I was interested to read an interview with the author.

Stephanie Meyer claims that she never has seen a vampire film in her life and never read 'Dracula' by Bram Stoker. She did read Ann Rice but on the whole, steered clear of vampire literature, preferring to keep her own vision pure. Oddly enough, I thought that the 'Twilight' series appeared to be influenced a little by 'Underworld' but that cannot be the case if she never saw those films...

She never watched 'Buffy the Vampire Slayer' and she never watched 'Angel'. Her own shaping of the vampire myth and its similarities to many other contemporary visions of the species renews my faith in Jung's theory of the 'collective unconscious'. Her 'Twilight' series was inspired by a dream she once had, but who is to say what thoughts and influences swirled in her subconscious?

Another very different contemporary vampire novel is 'Peeps' by Scott Westerfield. Westerfield is a talented writer who has managed to captivate the teen audience with a number of novels that deal with issues of self-esteem, appearance and social pressures. 'Peeps' includes some very detailed and graphic essays on parasites of various unsavoury kinds but the novel on the whole is cleverly written and devised. The ultimate 'enemy', however, is a bit too 'creature feature' for me. I much prefer Stephanie Meyer's vision to that of Scott Westerfield, although I enjoyed both.

It is clear that Scott Westerfield deliberately chooses to target the teen audience, although his books can be enjoyed by older adults. Stephanie Meyers on the other hand declares that she did not intend to write 'teen fiction' but gravitated towards a schoolgirl heroine simply because she felt that to be the most dramatic age in a person's life and those memories to be the most intense.

Her books essentially are romantic novels with a supernatural twist. It is the idea of a type of romantic love that is stronger than death, stronger than species and stronger than any instinct of self-preservation that fuels her novels. To some extent, the 'Twilight' series are Gothic novels in a contemporary form.

I am not the sort of reader who particularly wishes to know about a writer's 'real' history or life. I always believed that if writers choose to project themselves through their literature alone, that is their right. Furthermore, very often when I have met writers who have been favourites of mine, I have been severely disappointed in the man or woman behind the books. In many cases, it seems as though all the humanity and all the best qualities of the individual have been poured into the creative work and little is left to admire or respect in the writer's actual life. Fair enough, in my opinion. A man or woman has the right to be an absolute beast or boring creature if that is the price of creating a work of genius.

I did not seek out an interview with Stephanie Meyer, but one caught my eye, especially when I saw that we shared a love of 'Muse'.

She stated that if she were limited to one CD on a desert island, she would choose Muse's 'Absolution'. I love 'Muse' myself and 'Absolution' is high on my list of favourite popular music recordings, but I don't think I would choose it over classical music if one were allowed only a single CD. Gounod's 'Faust' still remains a favourite of mine and I think that, if I had to listen to the same CD over and over again, 'Faust' would outlast 'Absolution'.

I suppose the reason I find her interesting is the fact that, while writing a vampire series, she deliberately chose to blind herself to the whole history of vampires in literature and popular culture. Perhaps that is a source of her creative strength and determination. In taking her dream and rendering it into flesh, she pursued a vision that could not be satisfied by anything less than its realisation at her own hands.

I always have been fascinated with vampires myself. Perhaps if I had not read so many vampire novels and seen so many vampire films, I would be more determined to transform my own vision into reality. Does my role as a reader and audience bleed me of creative energy ultimately? In spending so much of my life appreciating the work of others, have I become disposed to indolence and less driven creatively to express my own visions?

When I read 'Lord of the Rings' I invariably wish that I had created it myself. When I read the 'Warriors' series, I invariably wish that I had conceived and brought it into being... With this is a feeling that the greatest that can be created has been created by some one else. This is patently false, of course. After all, Erin Hunter's 'Warriors' series was created decades after Tolkien. 'Harry Potter', another powerful creation, is recent as well. There may be nothing new under the sun, but the means by which it can be expressed are infinite.

Must I lock myself into a room without books or film in order to be forced to create something original from the depths of my own psyche? If it always is easier to amuse myself with some one else's creation, when will I finally put that temptation aside to begin a real work of my own?

How a New Mythology is Created

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The world of Cats always has been fascinating and mysterious to human beings. In an earlier post, I mentioned the work of Erin Hunter, creator of the 'Warrior' series. As some one who always loved cats, I was drawn personally towards a series of books devoted to a feline civilisation but as I read book after book in the series, I became aware of the fact that 'Warriors' was far more than a compelling tale: it is a powerful and timeless mythology that appeals to readers from every culture and every age group.

The difference between a wonderful story and a new myth is universality. Logic plays a part here as well, although it is a philosophical logic rather than logic based on 'hard facts'. The greatest myths are inspirational and that is another element that can be found in Erin Hunter's work.

A myth embodies universal concepts and sets them in a foundation that resonates with the psyche. One of the functions of a myth is explanation. A myth explains concepts that reside in the collective unconscious as it were.

For example, one of the concepts where cats are concerned is the idea that cats possess nine lives. Many tales have been written as to why or how this idea came into being. Erin Hunter, however, manages to weave it effortlessly into the Warrior saga, as well as every other concept relating to felines.

Erin Hunter, as befits a teller of myth is not a single human being. In fact, she is a composite of three different women. Together they tell the sagas of the Warrior Cats but 'Erin Hunter' is the voice by which the tales are told to the world.

Did Erin Hunter invent her concepts or did she 'discover' them in the same way that Tolkien claimed to have 'discovered' the history of Middle Earth? I would be inclined to believe that Erin Hunter has managed somehow to tap into the collective wisdom of the ages and to pull forth a mythology that will endure and come to represent the 'truth' as it is passed down from age to age.

The 'Warriors' saga is appropriate to readers of any age group and I believe further that it will be recognised as one of the 'classics' in time. Like all great epics, it embodies the most important inspirational elements that can be found in any tale: friendship, loyalty, courage, conflict and triumph in the face of adversity. There is great pain and loss as well as great fulfillment. Tears came to my eyes again and again. As I read towards the end of the last book in the first saga of the Warrior cats, I barely could see the words on the page for the tears that clouded my eyes.

The tale of Fireheart as he is transformed from 'kittypet' to 'warrior' and finally to the leader of his clan, is truly inspirational and cannot fail to resonate in the soul of any reader, whether or not that reader particularly loves cats. I thought about that actually this morning. Would a reader without any personal relationship with the feline species be captivated by these books? I believe the answer to this is in the affirmative. Like any story that focuses on another species, there is an anthropomorphic element to the tale. Erin Hunter has the ability and knowledge to capture the unique characteristics of cats and their behaviour patterns and yet there is nothing 'foreign' to a reader in the emotional responses of the characters in her series. A reader must respond as the writer intended, with hope and fear, hatred and love, regret and triumph... and feel these emotions as powerfully as he/she would were the characters human rather than feline.

One of the reasons the Warrior sagas transcend ordinary tales and achieve the status of myth is because the writers are extraordinarily spiritual individuals themselves. The 'Warrior' vision of feline spirituality is at one with human spirituality in a sense, although totally feline in nature. After all, humans and cats both are subordinate to the rule of Nature and the Elements. The vision of a cat when viewing the Milky Way or Starpelt will differ from that of a human, but the stars shine down on both from age to age.

Anyone who fails to read the 'Warrior' sagas will be cheated of an incredible mythology that will enrich any reader's life forever. I envy those who find these books in their childhood and who therefore are able to take the magnificent visions and lessons with them into adulthood. Those of us who are closer to the age of the writer must count ourselves fortunate to be able to experience the world of Warriors at any age. No human being ever should outgrow the love of mythology and epic tales.

N.B. I have included photographs of one of the book covers in the second Warriors series as well as some fan art devoted to the 'Warriors' series. Proof that Erin Hunter's work truly belongs in the category of universal myth can be found in the multitude of fansites dedicated to the Warrior Cats. There are forums for Warriors as well as sites created for fan art. The picture of Firepaw as he begins his journey from kittypet to Clan leader was drawn by an artist named Oha. The fansites I discovered have been created by individuals from every corner of the globe.

Please visit the official site for the 'Warriors' series at:
Official Warrior Cats Site

It will give you some idea of the potent magic that Erin Hunter is able to perform.

Video Games as Therapy

Today I am posting an article I wrote last year. It is copyrighted material, but as I originally wrote it to try to help other individuals who live with chronic pain, it would be worth publishing here even if it reachs only one person who might benefit from it.

Video games are considered a 'niche' interest and often it is only through chance that adults' lives intersect with this media when a child asks for help with a game. It was only when I began to write game guides myself that I began to realise how many adults had begun to use video games as a form of therapy, sometimes without even being aware of the fact.

Here is my article:

Effects of Revolution in Technology

As human life expectancy is extended and as more treatments are found for diseases and conditions that formerly would have been fatal, the population increases and the number of individuals with disabilities and chronic conditions increases. The so-called 'baby boomers' now are in their sixth decade and although many may find themselves physically impaired, their minds and enthusiasm for life remain powerful.

The 'Age of Technology' is at its zenith. In terms of the entertainment industry, it has reached a stage where computers and game consoles no longer are prohibitively expensive and no longer require extensive expertise to operate. Computers and games are accessible to any one, from toddlers to individuals in their '90s.

Video games have existed for decades now, but in the past few years, a revolution has taken place in technological terms, providing graphics that are extremely realistic, detailed games that represent the results of decades of creativity and labour and a new approach and philosophy where the entire medium is concerned. No longer are games limited to the 'slash and hack' genre. Entire universes populated by three-dimensional characters with detailed personalities and histories have been created and exploited by new technology that builds on old stories and popular games from the past. The fact that computers now are the rule rather than the exception in every household, coupled with fairly inexpensive sophisticated hand-held devices means that video games no longer are restricted to arcades and now are accessible to every one.

The fact that video games can be played from the comfort of one's own home is only one element that makes them more attractive to individuals in every age bracket. 'Games' now can define anything from a traditional platform combat game to realistic sports games as diverse as football and fishing to new multi-dimensional activity games like Nintendo's 'Brain Game' and 'Brain Academy.' Beyond that, there are educational games that teach languages and the ability to play musical instruments. Games now basically embrace almost every aspect of human (and animal) life.

If you are a child or adult who suffers from a long-term disability or condition restricting your physical freedom or decreasing the general quality of your life, you may be interested in a form of therapy that works for people with conditions as diverse as chronic pain, cancer, kidney failure, obesity, anxiety and insomnia. I call it 'game therapy'.

Diversity in Games

Some games may be more therapeutic than others but much will depend upon the individual's own personality, hobbies and taste. Whatever game the player chooses, the very act of taking an 'intermission' from life in order to play a game probably is a positive one.

In the same way that ritual or the preparation of a 'sacred space' creates a distance between an individual and ordinary anxieties and concerns, switching on a video game has the same effect. It gives an individual a 'breathing space' and forces him/her to focus on issues and concerns that are completely different from daily ordinary concerns. The universe that is created and managed in a game basically is self-sufficient. The individual need not bring anything to it nor take anything away from it afterwards. Being able to save a game allows the player to resume ordinary life without being forced to take game issues with him/her and to keep the two realities separate.

For some individuals, traditional action/adventure platform games may be out of the question, as they require a fair amount of physical energy. A physical condition such as arthritis or carpal tunnel may affect the ability of a player to operate game controls at the speed required to succeed in a game of this sort.

Games that create a state of excitement that increases the heart rate radically (such as war simulation games) may not be advisable for any one with high blood pressure or a heart condition. It may surprise some individuals, however, to discover that this sort of game represents only one small segment of the gaming universe.

Simulation games for sports and other physical activities may appeal to many people and will not involve the same physical 'risks' that a thriller game may present to those with a physical condition that limits an 'adrenaline rush'. An ardent fisherman may enjoy a fishing simulation game. People who love football or baseball can play simulation games wherein they actually are able to take charge of professional teams. In some cases, the characters in the game are actual players. People who love cars and racing can choose from a multitude of racing games. There are skateboarding games like the Tony Hawk series for those who may not be able to balance on a skateboard in reality for whatever reason but who would love to experience the sport.

The appeal of these games is vicarious enjoyment of an activity that the player may or may not be able to experience in real life. They do require energy and the physical ability to manipulate game controllers. They tend to be very exciting, so would be recommended simply for 'escape' rather than relaxation. Usually these games do not involve the player in any long-term project. For some one with a physical disability or chronic condition who is searching for long-term therapeutic value, there is a genre that is far better suited to individuals of all ages.

This is the 'Role-Playing Simulation Game'. A Role-Playing Simulation Game usually creates a detailed and complete universe in which the player must assume a role and then proceed to live a fairly realistic life on a daily basis. 'Realistic' in this respect is defined by the specific nature of the universe in which the player finds himself/herself. This adds another dimension to one's enjoyment of the game, as a player who always has dreamed of a landscape populated by mythological creatures like unicorns may be able to find a world where unicorns are more common than horses. The player who always dreamed of becoming a knight can do so by undergoing the training and trials required in a world where knighthood is a viable career. In like manner, a fisherman who always fancied the idea of catching the rare 'prehistoric' coelacanth will have an opportunity to do that.

How to Improve 'Real' Life using RPS Games

For people who never played a role-playing simulation game or any other console or computer game, any mention of video games may conjure up a vision of frenetic action and violence. In actuality, games like 'Harvest Moon', 'Animal Crossing' and 'The Sims' are as different from highly publicised action/adventure games made infamous by media coverage as is night from day.

These role-playing games, known in the gaming world as RPGs are a fairly common genre. They usually involve a primary quest and once that quest is fulfilled, the game ends. Some RPGs can be longer and more complex than others. Some include a number of side quests and 'secrets' that prolong the game. Nonetheless, most RPGs have a definite beginning and end.

The Role-Playing Simulation game is a little different from the classic RPG in that often these games are open-ended. They may or may not involve primary 'quests' but even when a primary quest is fulfilled, the game will continue as long as the player enjoys playing it. Usually the goals are real 'life' goals involving career, marriage and family. The game is set in a detailed universe that operates according to well-defined laws. Certain requirements must be fulfilled in order for a career promotion to occur or a marriage proposal to be accepted. There is no violence in these games apart from the occasional random violence of Nature. (In Harvest Moon in certain seasons, there can be the risk of a typhoon or snowstorm that will destroy some crops.) Some games have time limits for fulfillment of specific goals but in most cases, it is the player's choice as to how he/she wishes to live in this alternate universe.

In any type of RPG, one of the goals is to improve skills and collect items that will advance life goals. In RPS games, interaction and friendship with other characters is essential, as high friendship levels unlock special items or events that advance the player's success in this alternate universe. Although these characters exist only in the realm of fantasy, the basic virtues of compassion, empathy, honesty, loyalty and steadfastness are emphasised. If a player concentrates exclusively on material gains, he/she ultimately will suffer, as friendship almost always is as important as money in these games.

There are three games that can be considered the finest examples of Role-Playing Simulation games: Animal Crossing, Harvest Moon and Sims. A brief description of each is given at the end of this article.

Interactive Classics

For any one who loves classical literature or film, gaming offers a new dimension. Through technology, classics such as Tolkien's Lord of the Rings' have become truly interactive. A player actually can participate in Peter Jackson's vision of Tolkien's Middle Earth and the struggle against Sauron through EA Games' 'Lord of the Rings' games. Other classics, including 'Chronicles of Narnia' come to life on PC, console and handheld systems. These games do have definitive endings, however, mirroring the endings found in the original books. There is a type of RPS without a definitive ending and it is the value of this sort of game as therapy that will be explored at length.

RPS Games as Therapy

What is characteristic of all these RPS games is the need to invest time in them. To succeed in any game of this sort takes time and requires patience. There are few time constraints, however, and one can play for a quarter of an hour or an entire day. Unlike other games that offer few opportunities to pause and save one's progress, RPS games typically can be saved at almost any point.

Role-playing Simulation games tend to be multi-dimensional in nature. A player is able to focus on the aspects of the game that interest him/her the most rather than being forced to pursue all goals with equal determination. Thus, they have a quite universal appeal. For example, many players are most interested in the relationships with other characters in terms of friendship, romance and marriage. Then, there are players who enjoy farming, and others who enjoy animal husbandry. Some love fishing while others love to explore the mines. The fact of the matter is that, provided one performs the basic minimum requirements of the game, one can customise gameplay to focus on the activities one enjoys most. This is where Role-Playing Simulation games differ fundamentally from other games.

Without a guide, a game can be frustrating but when a player can refer to a guide, the game becomes a haven from anxiety, a world in which, provided one performs all actions correctly, one can be certain of reaping the rewards. It is a world where cause and effect can be predicted for any action, but beyond that, it provides a very satisfying and fulfilling life for a player. Neglect will be punished but virtue will be rewarded. If one does make a mistake, one usually has an opportunity to correct it. It may take time, but one has as much time as one needs in the ultimate 'alternate reality' game.

If a player experiences physical limitations in the 'real world', the world of Harvest Moon or Animal Crossing liberates that player from his/her disabilities. In Harvest Moon games, one actually is able to ride a horse as well as walk and run. It is a very liberating feeling to be able to canter along the seashore or up a beautiful mountain trail. On another level, it is very satisfying to raise animals and then use the eggs that one has gathered from one's own chickens, butter made from the milk of one's own cow and vegetables that one has grown in one's own fields in a recipe. Success in Harvest Moon is gauged by the quality of the items that one's farm produces and one's level of friendship with other people.

The Sims games offer freedom of a very different kind. In 'The Sims', one can dress and behave outrageously in a manner that never would be tolerated in 'real life'. One can furnish one's house in the most garish fashion and take a job that one never would consider in reality. In fact, bizarre job opportunities that actually would make little sense in any society are commonplace in the Sims games. One can make a career of 'bagging ferrets', for example. 'The Sims' games involve some cooking and cleaning but there is no 'simple country life' of farming, hunting and fishing. Every Sims game is different, and all include bizarre social situations. Like any other Role-Playing Simulation game, however, one of the goals is improving the ultimate quality of life and often one is encouraged to raise a family.

The great appeal of 'The Sims' is in the freedom it provides to behave outrageously and to pursue bizarre lifestyles without fear of any negative repercussion in real life. Every one would like to 'behave badly' once in awhile or at least 'thumb one's nose' at society. 'The Sims' allows one to do that but in such a way that it never escalates into serious criminal behaviour. Some people believe that games like 'Grand Theft Auto', by glorifying immorality and vice, teach negative values to players. 'The Sims' is not that sort of game at all.

One cannot exist solely in an alternate reality, nor should one wish to do so. Solving problems and making advances in an alternate reality can provide fulfillment, restore confidence and refresh one's energy to allow one to return to the real world with renewed enthusiasm.

Obviously, one does not need a technological aid in order to create a 'meditation focus' allowing one relief from pain or anxiety. Game therapy is not proposed as an alternative to the innate power of the mind and spirit. On the other hand, it does offer a rich and varied resource that can be exploited by any one seeking relief from chronic pain or any other chronic condition. It is a great pity if any one were to be deprived of such an incredible aid through simple ignorance of its existence or potential. Technology may be a two-edged sword, but it is a shame not to experience all the blessings it has to offer.

(I am not going to copy the sections dealing with specific games here.)