Flash Games

In Other Shoes is a companion to Kendall Walton's other essay collection, Marvellous Images, published seven years earlier. The volume's subtitle, 'Music, Metaphor, Empathy, Existence' will raise suspicions about its thematic unity (Calvin Klein execs will be pleased to have found names for their next four perfume lines). But careful study reveals considerable coherence; Walton reprises the same motifs throughout, though with different combinations and inflections, the book's reverse chronology revealing how some of these ideas developed. Moreover, every paper exhibits the same accessible, sometimes homespun ("by golly" (101), "care beans" (219), "gosh" (279)) style typical of Walton: unburdened by needless technicality, yet deft. This style's downside is perhaps that insufficiently careful readers may misread him. A quarter-century of Charles and faithful sidekick The Slime not so much evading critical fire as watching it spray harmlessly across the pages of philosophy journals is testament to this. Some of the papers, especially the newer ones, feel freed from dialectical convention, more detective's pinboard than courtroom argument. Partly, this is because Walton is always in investigator mode, exploring in his prose, turning over and connecting clues as they arise. But his unapologetically positive philosophical approach is also responsible; engagements with the literature are never about tearing opponents down, but about bolstering the theoretical edifice.

Neste artigo, enfocam-se produções e práticas culturais que emergiram com os flash games, em especial, na primeira década do século 21. Sumariza resultados de pesquisa bibliográfica e em sites especializados realizada ao longo de 2020, último ano em que o player necessário para tocar tais jogos esteve ativo na Web. Os resultados são apresentados em duas seções. Na primeira, narra os propósitos, o desenvolvimento e a disseminação do software Flash (primeiramente chamado FutureSplash Animator), ferramenta de autoria multimídia para Web lançada em 1996. Na segunda, discute como esta ferramenta foi usada para mesclar arte e programação. Dialoga-se com Lev Manovich (Geração Flash e Estética Flash) e Patrice Flichy (Práticas culturais amadoras), comentando algumas produções que exemplificam a diversidade técnico-estética dos flash games e a importância das comunidades formadas em torno da ferramenta. Por fim, aponta zonas de sombra e de luz que o fim do Flash Player projeta sobre a história da Web e da cultura digital.

After December 2020, Adobe Flash, a technology that was once the standard for rich and interactive Web content, will no longer be supported in browsers. This means users will not be able to access the thousands of diverse creations powered by Flash, from animations to digital games. This is particularly problematic for games, which cannot be easily converted into a more modern format. The threat of losing the legacy of Flash has provoked both reflection and action by online communities dedicated to animation and browser-based games, none more so than Newgrounds, the Web portal credited with popularizing Flash games at the turn of the century. As a result, groups of enthusiasts have been able to make significant progress in preserving Flash games. Still, they continue to face numerous challenges, from rigid copyright laws to a relative lack of recognition of the importance of preserving Flash games as such. Consolidating their efforts by joining forces with other like-minded groups may be the key not only to saving digital heritage created with Flash, but also to the longer-term survival of these creator communities themselves.

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What do the following social practices have in common: children playing with dolls houses or Lego bricks and scientists building and using models to examine how the world works? More than one might think, according to a fascinating new book by Adam Toon. Scientists spend a lot of time building, using and revising models of di erent parts of the world, from subatomic particles to the solar system, world history or the international system (if you count social scientists such as this reviewer). So what models are, and how they represent the world, is in many ways an important question. Adam Toon in Models as Make-Believe o ers a lucid and stimulating argument that deserves to be read widely, inside as well as outside philosophy. Although he concentrates on models in the natural sciences, his argument potentially pertains to knowledge production aimed at global challenges such as climate change and managing the world economy, where modelling is central. The following presents this reviewers' understanding of the key argument and suggests some implications for how we should view and treat models.

Are videogames fictions? Kendall Walton's detailed account of fiction in Mimesis as Make-Believe is the most influential extant account of that category, and we begin this paper by arguing that it should be non-controversial that videogames count as fictions on Walton's view. However, Grant Tavinor has recently argued that although videogames are fictions, the important Waltonian distinction between work worlds and game worlds breaks down in the case of videogames. We reject Tavinor's claim and argue that the game/work world distinction is just as robust in the case of videogames as it is in other fictions. To show this we draw attention to two important ontological distinctions and use these to diagnose the errors we think Tavinor is making. Finally, we highlight some cases where there is a clear divergence between what is fictional in the work worlds and game worlds associated with particular videogames.

This paper presents a method for analysing an aspect of interaction that can help us understand how users can feel that they are part of a work. I argue that interaction can be a form of depiction, causing the user to imagine both her perceptual actions and her manipulation of the work as being fictional as well as actual. This produces an ontological fusion between the actual and the fictional. In brief analyses of three interactive works, I suggest how this framework can enable a better understanding of some aspects of interactive art and literature.