Echo chambers as trust manipulators

My analysis of echo chambers as trust-manipulators is now available in two exciting different versions! First, there was Escaping the Echo Chamber, the short version written for a general audience. And now, fresh off the presses, there’s Echo Chambers and Epistemic Bubbles, the long scholarly version written for philosophers and social scientists, full of citations and more careful versions of all the arguments.

In Escaping the Echo Chamber (published in Aeon Magazine), I claim that the whole discussion about this stuff has been confusing two very different social phenomena. An epistemic bubble is a structure that limits what you see. When all your friends on Facebook share your politics, and you don’t get exposed to the other side’s arguments, that’s just a bubble. An echo chamber, on the other hand, is a structure that manipulates trust. Members of echo chambers are taught to distrust everybody on the outside. An echo chamber functions more like a cult. It isolates its members, not by restricting their access to the world, but by alienating them from the outside world.

In epistemic bubbles, other voices are not heard; in echo chambers, other voices are actively undermined.

This is crucial, because you have to know the disease to pick the right cure. Epistemic bubbles can be broken by simple exposure. But echo chambers cannot; members of echo chambers have been prepared to resist exposure to evidence from the outside. This radically overinflated their trust for insiders.

Crucially, this thing that people are calling “post-truth” – where people just ignore the outside evidence? Epistemic bubbles can’t explain that. Only echo chamber effects can explain it. And if that’s what’s actually going on, then the solution isn’t just to wave “the evidence” or “the facts” in an echo chamber member’s face. They’ve been given a basis for rejecting such outside evidence as corrupted, malignant. The only way to fix an echo chamber is by repairing the broken trust at its root.

In Echo Chambers and Epistemic Bubbles (just published in the philosophy journal Episteme), I offer extended versions of all of the above arguments. This is definitely the same paper, in a scholarly director’s cut. The definitions are more carefully fleshed out (and, admittedly, much longer and uglier and less memorable). The arguments are laid out in a lot more detail. And there’s all the citations you could possibly want, for all you serious scholars out there.

There’s also an extended discussion of the social science literature, where I point out a lot of places where people have conflated these concepts. I target a lot of recent papers which claim to have disproved the existence of echo chambers and epistemic bubbles, and point out that they’ve studied only exposure, and not distrust.

Finally, there’s a much longer discussion of who’s responsible for the beliefs of echo chamber members. I take on Quassim Cassam’s story about epistemic vice and laziness in conspiracy theorists. He thought that, basically, all conspiracy theorists were just lazy and corrupt. I argue the opposite; the echo chambers story shows how a person could be blameless, because they were caught in a bad social network.

A preview of my book, Games: Agency as Art

My book, Games: Agency as Art, is now forthcoming from Oxford University Press! Oxford has given me permission to offer the first chapter as a preview.

The book is a sustained defense of the value of games and game-playing, from several perspectives. The book says that:

  • Games are the art form of agency. Game designers don’t just create environments and obstacles. They set our goals in the game and our abilities; they create the agency which we will inhabit in the game.
  • Games can work in the medium of agency to create aesthetic experiences of acting and doing. They can offer us crystallized, designed, and refined versions of our everyday experiences of practicality.
  • One way that games are satisfying: they let us inhabit a world that’s easier to make sense of, one in which the values are clearer, simpler, and easier to apply. Such games offer us are rare experience of clarity of purpose. They are an existential balm against the rest of our lives, which are full of a plurality of subtle and competing values.
  • This also leads to a danger: games can seduce us into expecting that simplicity elsewhere. They can serve as a morally problematic fantasy of clarity. 
  • The fact that we can play games teaches us something remarkable about ourselves. We have the capacity submerge ourselves in alternate agencies, to slip in and out of temporary agencies. We can take up ends that we don’t usually care about and dedicate ourselves to them, for a time. We can adopt different modes of thinking, acting, and deciding. And then we can put them all away when then game is over. Games teach us that our agency is notably fluid. 
  • A big bonus: it turns out that stupid drinking games and party games are incredibly important to understanding the nature of our own practical rationality and agency.
  • Just as narratives are a technique for writing down stories, games are a technique for inscribing and preserving modes of agency. With them, we can create an archive of agencies – we can experience different ways of being an agent. Games are a technology for us to help develop each others’ autonomy.
  • The book offers a unified account of the art form of striving games. It discusses, under a single conceptual umbrella, computer games, board games, card games, party games tabletop role playing games, live action role playing games, and sports. (There are many other sorts of games besides striving games, however, and the book doesn’t purport to cover them all.)
  • Also: discussions of the aesthetic ontology of games, the nature of interactivity in games, a taxonomy of game types, and a comparison of games to contemporary practices of relational aesthetics and social practice art.

What’s Missing From Cookbook Reviews

My post at Aesthetics for Birds on What’s Missing From Cookbook Reviews:

“Read enough cookbook reviews, and you’ll start to notice a curious gap. Cookbook reviews mostly focus on how the recipes turn out — how tasty the dishes are, or how authentic they are. Sometimes they’ll also talk about the quality of writing, or how much you learn about some region’s culinary history  or food science or the author’s childhood or whatever. But usually they leave out what it feels like to actually cook the goddamn things…”

Later, it talks about how we ignore how food makes us move:

“Why do we legitimize aesthetic commentary, in conversation and reviews, on the taste, smell, and look of food, but refuse to legitimatize aesthetic commentary on the quality of the physical movements that food urges on us? The movements you make on the plate with your fork and knife are a tiny little dance, and dances can be graceful and awkward, and choices that a chef makes about how to plate will push on you more awkward or more graceful forms of dance.”

Keep reading it at AFB.

Cognitive islands and runaway echo chambers

My new paper, Cognitive islands and runaway echo chambers is out in Synthese. (For those without institutional access, here’s the pre-print for free.)

What it’s about, in a nutshell: In some areas of intellectual life, you need to already be an expert to find the other experts. This opens a door to a horrible possibility: if you misunderstand things and use that misunderstanding to pick out who you trust, then that trust will simply compound your misunderstanding. Morally flawed people will pick morally flawed advisors and gurus, and bootstrap themselves into being worse people. But we have to trust. So we might just be screwed.

The long version: For some kinds of experts, there’s an easy test: you can tell a good mechanic because they can fix your car. You don’t really need to know anything about cars to sort the real mechanics from the posers. Call these the obvious cognitive domains. A total novice has some hope of figuring out who the right advisors and teachers are. But in some kinds of cognitive domains, you already have to be an expert to recognize the experts. And no other kind of expertise will do — you need to share expertise to recognize a real expert. Call these cognitive islands. On a cognitive island, you need to already be some kind of expert to figure out who the experts are. The novice in that domain has no idea who to trust. Plausible candidates for cognitive islands include the moral and the aesthetic domains, and maybe even philosophy and economics and more.

Some people think being on a cognitive island makes it impossible to use experts. Only novices need the help of experts, and they can’t find any. I think this kind of pessimism is wrong, and I think if we look at how we actually trust each other, how we use other experts, we’ll see why. All the time, we use our own expertise to help find other experts who can help fill in our own gaps — our blind spots, our biases. We need others to help us triangulate on when we’re reasoning well and when we’ve made mistakes.

The real problem for cognitive islands isn’t that we can’t use other experts at all. It’s that there’s no safety net. If your own understanding is flawed, there’s no test for that. If other experts are flawed, there’s no independent check. You can only figure out who to trust by applying your own abilities. But we have to trust each other – we have to use each other to corroborate and check on our own thinking. And this means that if you’re deeply flawed, those flaws will simply compound themselves through expert selection. KKK members will pick racist advisors, who will corroborate their racism.

This leads to a kind of epistemic trap, which I call runaway personal echo chambers. On a cognitive island, the only way to figure out who to trust is to use your own abilities. So if you start out with deep problems in your understanding, you’ll just bootstrap yourself into something worse. And it doesn’t seem like there’s any way out.

Board games: so many recommendations

After a recent professional pivot, I am now literally an academic specialist in the philosophy of games. (Here’s a preview of my forthcoming book on games as an art form!) The main change in my life is that everybody now asks me for board game recommendations at Christmas. Or maybe it’s because I have so many damn boardgames that I actually have to keep a spreadsheet to remember where they all are.

Here’s my recommendations for people putting their first or second feet into the modern boardgames pond, tilted towards the accessible, the crucial, and the still in-print or easy to find used. Sadly, a majority of my favorite games are currently out of print and painfully expensive. Boo hoo. (If you want to see what I think about hundreds and hundreds of game, I have an account at Boardgamegeek where I’ve been reviewing games for like a decade.)

Here’s the difficulty scale:

E = Easy (Simple family games not much harder than Monopoly. Often teachable in a couple of minutes)

M = Medium (Your average modern Euro boardgames. Some mild effort to learn, but not too intimidating for the average moderately intelligent adult. Think Settlers of Cataan)

H = Hard (Hobbyist territory. Long rule-books, complex and emergent play)

UH = Ultra-hard (Mega-geek territory. May involve 20 page rulebooks, war-games with thousands of exceptions, actual spreadsheets)

A brief word on pricing: some people here may not have dipped their toes into modern boardgames before, and might be shocked at the prices, especially for some of the more esoteric games. Fifty bucks for a boardgame? But let me suggest the following calculation: if you play such a boardgames only once, and 5 people have two hours of fun together, that’s already cheaper than going out to a movie together, or even a modest dinner out together. If you play it ten times, then you’re already into one of the great entertainment bargains.

 

Party games and family games

Spyfall (E): Hysterical ultra-simple game of bullshit and bullshit detection, that is possibly the hardest I’ve ever laughed in a game. All but one players are on a team together. You are secretly assigned a single location together: like, you’re all at the Opera together, or in a Submarine, or at an Amusement Park. One of you is the SPY, who is the only person that doesn’t know the collective location. The assignments are all random and secret. Only nobody else knows who the spy is, and the spy doesn’t know the location. The spy wins if they figure out the location. Everybody else wins together if they figure out who the spy. And then you just talk. What follows is a delicate dance of subtle questioning, concealment, bullshittery, and passing hidden information in plain sight, and it has never failed to reduce a group of grown adults into hysterical fits of laughter.

(Or, if you want a more structured experience for your bullshitting, try Coup (E): a slick, fast, sharp little bluffing game where everybody has two secret roles with special powers, but you can try to claim any kind of special power, unless somebody calls bullshit on you.)

 

Codenames (E): Team party game, where one big group takes on another big group. Every team elects a Spymaster. Together, everybody faces this random 5×5 grid of words:

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The Spymaster has to try to get their team to touch specific words, but they can only communicate to their team using a single word and a number. For example, if I’m the Spymaster, and I’m trying to get you to touch MUG, PIE, and FISH, I might say: “DINNER: 3”. That’s all I’m allowed to say. And then my team has to loudly and miserably argue out all the possibilities of what I meant and try to figure out the right ones to pick. And they’ll probably pick something stupid like PIE, FISH, and JACK, because they were thinking of “Monterey Jack”, and they all somehow were thinking MUG meant like a robbery, and basically they’re all stupid. Except it’s me that’s stupid. Because I didn’t notice that possible interpretation ahead of time, and I didn’t plan for it. This is a game about the difficulty of communication, and how much we don’t understand each other, and how wildly easy it is to misunderstand another person’s intention. It is also just this a perfectly satisfying thing to try to do with your mind. It’s like… a game of data compression, where you’re trying to squeeze extra information into a little package, through the magic of patterns and implication.

 

Hamsterolle (E): Kind of like Jenga, but played inside a round wheel that keeps rolling. And as a partnership game. Subtle, strategic, gives rise to bounteous amounts of shit-talking.

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Bandu (E): Kind of like Jenga, but where you each have your own stack, and people force each other to add increasingly oddly shaped objects. Hysterical, fascinatingly strategic, a hell of a lot of game for, like, three rules.

 

Blokus (E): Four player attack Tetris, where you try to carve off space for yourself and slip and slide around other people’s shapes to sneak into their territory. Everybody likes this.

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Wits and Wagers (E): Genius trivia game design. Somebody out there realized that Trivial Pursuit was the worst possible game, and took it on themselves to actually make an interesting trivia game that was interesting even for people that don’t know any trivia. Questions are bizarre, super-hard, and quantitative. “How many gallons flows through the Amazon on the average year?” “What year was the NAACP founded?” Stage 1: Try to guesstimate the closest answer. Stage 2: Reveal all the guesses, don’t read the answer. Instead, arrange the guesses in numerical on an odds board. The middle answer gets 1:1 odds, the next two out get 2:1 odds, etc. etc. Then you bet money on which answer will turn out to be right.

There are loads of ways to strategize. You can actually try to get the right answer. You can bet based on who you think might actually know the answer. You can put out a spread of bets based on the odds and point spread. You can even give lie answers to screw with other people. Like when the question was literally, “What is Immanuel Kant’s birthday?” and I wrote “1673” and everybody bet on my answer because I’m the philosopher and they trusted me and then I was like HAHAHAHAHAHA.

 

Dixit (E): First, the game has the single greatest deck of cards in all game-dom. The cards look like this:

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I would buy this game just for the cards to do other things with them. I once drunkenly made up the game of playing Texas Hold’em with these cards, and the winner had to use their two hole cards and the river to tell the best story.

Anyway: the real Dixit game is fabulous and simple. It’s a kid’s game. Basically it’s Apples to Apples or Cards Against Humanity’s basic mechanic, only not stupid and boring. Everybody has a hand of five of these magical dreamy image-cards. When it’s your turn, you pick one image-card, say an ambiguous line of story that’s vaguely related to it, and put your card face-down. Everybody else tries to match your fragment of story with an image-card from their own hand. We mix and reveal all the image-cards, and everybody tries to successfully pick which one was the real, original card. Lovely.

(Also, if you want an adult version of this game, try Mysterium (M), which uses a similar deck of image-cards to play something like Clue. Most of the players are detectives puzzling out a murder. One of you is the ghost of the murdered and has to communicate clues to all the other players only by making ghostly inchoate noises and picking image-cards from the deck. You’re a ghost sending useful dreams.)

 

Catacombs (M): This has almost enough rules that it should be in the next category, but it’s just so gleefully stupid. Catacombs is a dungeon crawl. You play your stock heroes – fighter thief, mage. There’s a dungeon master. Except, instead of rolling die to attack, all the heroes and all the monsters are different discs. And you flick to attack. And there are obstacles. And archers get little extra arrow discs, and the wizard’s fireball spell lets you pull out this MASSIVE HUGE DISC and just SHOVE IT, and you can level up and get better discs and more discs, and it’s so fucking stupid, and I think one time I laughed so hard playing this game that I strained an ab.

 

Real board games, multiplayer

Hansa Teutonica (M): If I had to give one exemplar of clean, wonderful, well-designed, slick modern German-style board gaming, it’s gotta be Hansa Teutonica. It’s got a lot of the standard features of modern Eurogaming – different special powers, opportunities for picking up a steady stream of little points versus pulling off an on-board epic big final pattern for one massive point-splosion at the end. But instead of being locked into a pattern, or solitarily calculating out your own little private economic machine, Hansa puts most of the special powers on the board, where you have to spend your moves competing for them. Which means that you constantly have to be shifting your plans based on what’s being overvalued and undervalued, and play fluidly, and dance around the other player’s intention. The game builds in this wonderful, dynamic, ever-shifting way. Not a moment of boredom. If you’ve been playing Settlers of Cataan and thinking you’re having “fun”, please try this instead.

(Other very fine modern slick Eurogames with various kinds of special powers and resources include Lancaster (M), The Voyages of Marco Polo (M), Dungeon Lords (M), and like a billion more.)

 

Modern Art (M): OH MY GOD IT’S FINALLY BACK IN PRINT. From Reiner Knizia, the master, the Mozart of German game design, the never-ending fount of elegant game design masterpieces, the master of auctions. Modern Art is perhaps the loveliest sharp-edged little horror in his massive catalogue of auction games. The theme is marvelously cynical: you’re all modern art dealers trading paintings by five hot contemporary artists. In each round, you auction art to one another other. And then at the end of the round, the art-hungry public buys that same art from you dealers, hopefully for much more money. The trick: what the public pays is based entirely on how many times you dealers traded that particular artist. And that value is cumulative over the rounds, making the game into this long-term strategic market manipulation. You might think, at first, that the game was all short-term math. This is false. I kill at this game, and I never do any math. The game is all about long-term market manipulation, playing the psychology of the other players, setting off market-rushes, predicting the flux of the market. (PS: Be aware that Knizia’s “Modern Art: The Card Game” is a different game – a simplified offshoot.)

There’s a billion Knizia games to try after this. Tigris and Euphrates (H) is probably the true classic that people will be playing in a hundred years, but some people find it mind-bending to learn. Ra and Medici and Tower of Babel and Amun-Re are more auction (or auction-ish) games, each with its own special feel, each elegantly constructed and and fantastic. And if you ever can find a copy for a reasonable price, Taj Mahal is a brutal piece of post-poker Knizian fuck-you that puts all of you in each others faces for an endless auction of interpersonal screwage, that I love with all my evil little game-playing heart.

 

Brass (H): “NGUHAIRHFA” is the sound of four serious game-players’ minds melting as they try to cope with the intricate tensions of Brass. Brass is everything I love about weirdo Eurogames, with none of the boring gristle. Maybe it’ll make sense if I start with the gristle. You know what kinds of games I hate? The games where there are a thousand moving pieces, and everybody basically has their own separate little economic engine, and they’re busy optimizing their own economic engine in their own corner, and they barely pay attention to the other players, and after couple of hours of fine-grained optimization pass and you look up and count up the victory points and think to yourself, “Huh, I guess I won,” because you had no idea what anybody else was doing of the entire game.

Brass is not that. Brass is the opposite of that. Brass is all of you thrown into a network of interdependencies, where you have to use each others’ railways to transport each others goods, and sell goods to each other into a vastly fluctuating market, and where every moment you have to desperately predict what the fuck the other players are about to do because you need to get an edge and predict where the market is going. And it is one long, tense, pure, absorbing ride. Deep, difficult, intense, radiant. Also a Martin Wallace game, which means that it has weird little historical modeling in the rules, that’s annoying to learn but gives the gameplay this deep, weird flavor and odd, delightfully sticky mechanical texture. (If you love this kind of thing, also consider The Great Zimbabwe, which is perhaps even deeper and better and more elegant, but currently out of print and expensive. Might come back though.)

 

Imperial 2030 (H): Imperial (set in Europe in World War I) and Imperial 2030 (set across the world-stage, in the “future”) are maybe the best multiplayer board-games ever? Imperial 2030 is probably the slightly better? Anyway: the game, at first glance, just looks like Risk:

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There are six nations on the board, they have factories that build armies and navies, and little armies and navies march around the world colonizing shit and fighting each other, right? But you don’t play the nations. No no no. You play the evil bankers buying bonds and controlling the fates of nations for your own personal profit. Perhaps you mostly control the fate of Germany. Is England about to attack you? Perhaps you should let the banker who mostly owns England get a little easy stock in Germany. Now you are co-invested. Now you are partners. Now you are safe. Unless they decide to do a sudden hostile takeover of Germany to suicide it into Russia. Oh dear. Now you are not safe. Now the world is in chaos and burning, and everybody is shifting their investment portfolios, and perhaps you need to drain Germany’s bank into your own coffers, to buy some stock in Spain. Spain is starting to look like a nice, stable investment. Oh yes. Spain.

(If you want to do much less intricate, more chilled out and fun world war-mongering, consider the ultra-slick Quartermaster General (M), a team game of World War II, where every country gets it’s own ultra-special deck that lets it act in a completely different way. Germany blitzes! Russia doesn’t need supply lines because it EATS ITS OWN DEAD!)

 

Race for the Galaxy (M): A Modern Classic. Boils the whole Civilization, building-your-tech-tree and getting-your-economic-engine rolling into one slick, tight, hyper-pleasurable forty minute experience. Plays super fast, constantly forces you to make fascinating trade-off decisions about which direction to take your empire, and then ends the moment before it gets boring. Wildly addictive – I’ve played this thing hundreds and hundreds of times, and I am certainly not alone. It also has this ultra-nifty opportunity-cost mechanic, where the cards in your hand represent both opportunities for new technology, and the resources to build new technologies, so every time you build something you literally have to pay for it by throwing away other opportunities. Delightfully painful. Warning: annoying as hell to learn, but worth it. (Also great as a two-player.)

 

Galaxy Trucker (M): Galaxy Trucker is possibly the most sublimely ridiculous game I have. In Galaxy Trucker, you are a space trucker. You have to build your truck, and then race it. I mean that you have to really BUILD YOUR TRUCK, under time pressure, desperately, out of a pile of tiles that represent all these weirdly shaped parts, none of which will fit quite how you want them to.

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All the players build their damn truck simultaneously, desperately grabbing one tile at a time and trying to make the connections fit, and to get the right parts to make your truck go, have life support, have weapons, have batteries, what have you. It’s timed. It’s desperate. You’re all digging through the same set of tiles. Your trucks all suck. The pieces barely hang together and your truck’s off-balance. And then you race them, and they run into asteroids and shit, and whole halves of them fall off into space, and you all laugh, because you’re TRUCKING IN SPACE.

 

Chicago Express (M): There’s this company, called Winsome. Winsome turns out nothing but train games. Every game has very clean, simple rules, and almost all of them involve trading stocks in some train companies and building track for those companies. Most of them permit this complex dance of co-investing, complex stock portfolios, and incentivizing other players to do what you want by screwing with the market. And all of them involve incredibly intricate, mathematical, emergent play, full of sharp edges and precision and the opportunity to screw or be screwed, to pull off a brilliant subtle manipulation of the entire market, or to have the weight of the world dumped on you by another player.

Chicago Express is probably the best Winsome game that’s readily available. The rules are simple, probably easier than anything else in this section. It plays fast – once you know it, under an hour, easily. The play is rough, precise, and incredibly emergent, as tiny choices have complex butterfly effects down the line.

A lot of modern Eurogames are engineered to be nice and polite to everybody. Even if you don’t understand the game, or are doing poorly, things will be fairly pleasant for you and you can do pretty well. Not Winsome games. In Winsome games, the cliffs are everywhere, you can drive off one with a bad move in your first one, and other players can shove you off the nearest cliff if you’re not careful. If your mind tends towards, say, Chess or Bridge, but you want to be able to manipulate alliances through co-investment, you might love this game.

 

El Grande (M): One of the great classic Eurogames from an earlier era. Before the modern Eurogame technology made everything easy and safe and gave everybody something interesting to do in a thousand quick little turns, there was this monster. There are only nine goddamn turns in the entire game. The basic board-play is simple: you’re trying to dominate areas with the most pieces to get points. But each turn, the game unveils you five very starkly different possible actions for everybody to consider. Some actions are extremely weak, some are near useless, some let you do one clever thing, some are catastrophically powerful. Everybody stares at the possible actions, and the board state, and try to figure out all the things that could possibly happen.  And then you have an auction to decide what order you’re picking your actions. Which is basically the single deepest, coolest, complexest decision I know in any multiplayer boardgames.

Crucially: everybody starts with the same pot of money for this auction, and you don’t ever get any more. So you have to time it right, go cheap when you can make good use of a weak action, and really time your one power-play just right for maximum effect. Profound.

 

Two-player games

Star Realms (E): Star Realms is candy. Star Realms is crack. I have played so many hundreds of games of Star Realms that I have worn out my deck and may never be able to play it again. When Melissa was planning to do unmedicated labor for our child, her plan, instead of medication, was just to bring Star Realms to the labor room. And it worked.

OK, backing up. There’s a relatively new family of games called deckbuilders, where you build your deck of special powers cards from a market during the game itself. It all started with Dominion, which other people love, but which I find the gaming equivalent of stale toast. In Dominion, you start with a simple deck of ten boring cards. The game randomizes for you a market of ten very fancy cards with all kinds of weird special powers, and you and your fellow players go shopping for thirty minutes to improve your deck as quickly as possible. You buy cards into your deck, which let you do crazy things to buy even more cards, and onwards and onwards. Lots of room for clever tricks and special-power combinations. Dominion hit big, and now everybody’s making deck-builders. There are ultra-deep deck builders, like the majestic three hour fantasy role-playing deck builder Mage Knight. There’s the ultra-fun quick two-player deck builder Ascension, which introduced the idea of having an ever-changing market of random new special power cards, instead of Dominion’s stable market. And then Star Realms came along and distilled the Ascension formula into a pure, gleeful 20 minute gaming crack.

I’m not saying that Star Realms is the best or deepest deckbuilder, but it is surely the most perfectly addictive. I recently introduced Star Realms, and it’s sequel Hero Realms, to a couple we’re friends with, and they report that basically they spent the last three weeks not leaving the house and just playing round after round of Star Realms and Hero Realms and, like, not really showering. Or sleeping.

If you dig this kind of game, there are tons of deck builders out right now. I have a particular affection for Tyrants of the Underdark and Knizia’s very elegant, simple multiplayer take, The Quest for El Dorado, both of which add spatial boardplay to all that card shopping. The deepest game in the whole deckbuilding space is probably Puzzle Strike, which is a little clunky to learn and a little clunky to play in the physical version. But I played a few hundred games of this on the iOS version, and felt like I was just starting to see the profound depths of the strategic space.

 

Lost Cities (E): Another elegant Knizia masterpiece. Incredibly simple rules. Read the rules, and it seems like there’s almost nothing there, and no interaction. Play is quick and snappy and easy, and suddenly you realize how much you can subtly screw with the other player. Simple, sweet, clean fun. Very chill and calming. I’ve played this hundreds and hundreds of times. Along the chill fun line, also try Jaipur (E).

 

Battle Line/Schotten Totten (M): Possibly my favorite Knizia two-player game? Astoundingly elegant game of playing nine simultaneous mini-poker hands at once. A game of brinksmanship, bluffing, and information flow. A dense, fast, but very profound gaming experience, and you can learn it in about four minutes. This one makes my armpits sweat and my adrenaline surge. Amazing.

(PS: Schotten Totten was the original version, and has a kind of stupid theme of Scottish Highland Games. Then they brought it to the US and released it as Battle Line, with a Roman war theme that much better fits the mechanics. But the stupid American publishers demanded Knizia add special powers cards. Fuck the special powers cards. They take an elegant, vicious classic of calculation and turn it into this stupid random chaotic silly thing. They ruin the game. Just play without them.)

 

YINSH (M): Kris Burm is a genius at spitting out actually genuinely new abstract game ideas. They’re all clever, and some of them are super deep. YINSH is one my favorites – kind of like Othello amped up with flipping pieces and rings jumping around flipping everything and absolute chaos. It’s super-easy to learn the rules, but good game-play is tough, counter-intuitive. Once you figure it out, it will rewire your brain. Other marvelous games from Burm: PUNCT, the brain-melty game of flying, rotating, three-dimension stacking of bridges, and GIPF, a sublime and subtle game of sliding rows and quietly shifting relationships.

 

Twilight Struggle (H): Years ago, my best friend from college had moved to New York, and I was going out to visit him for five days. We had all these plans to go experience the wonders of the city. But I’d also brought a copy of this new war-game, Twilight Struggle, see. And instead of doing anything useful with our lives, we stayed in his cramped and sweaty apartment and knocked out game after game and game of Twilight Struggle, because it had colonized our brains.

Twilight Struggle models the cold war. Twilight Struggle is Russia and the US subtly manipulating the political infrastructure of the world in a careful tug-of-war, pushing everybody to a state of near war while trying to stay under actual nuclear oblivion. Twilight Struggle is a wargame built around the clever use of cards to do stuff on the board, where each card can do a bunch of different things, and every action involves this endlessly painful set of choices about how and where to use your cards. Twilight Struggle is amazing. It is long and tense and an utterly fabulous, sweat-drenching gaming experience.

Also: if you’e loved Twilight Struggle, perhaps you should seek out a used copy of Hannibal: Rome vs. Carthage (UH), the earlier game design which inspired Twilight Struggle. Hannibal is harder to learn, harder to play, and takes longer, but is even better. It is maybe the best wargame I’ve ever played – an astoundingly deep experience of fast armies fluidly fencing and dancing around each other, ripping up the terrain for political advantage.

 

Polis: Fight for the Hegemony (H): A slick, slick combination of wargaming and European  resource management, where you spend most of your time stomping around with your armies blocking each others trade-routes and choking off each others’ ability to get the necessary resources to build some fucking infrastructure. Part wargame, part Civ-type economic engine builder, but where the two strands are perfectly interwoven. Elegant, subtle, awesome.

 

Android: Netrunner (H): Also in the running for the Greatest Modern Game Design. Insane, gorgeously thematic, ultra-tense design. One of you is the evil Corporation, trying to take over the world. The other of you is the hacker, trying to break in and expose the corporation. Completely asymmetric play. The Corporation can only build its infrastructure and set its traps. The hacker has to desperately scrounge up money and then break in, taking wild risks. The Corporation player has to be stealthy, full of bluffs, to hide their intent. The hacker has to use their limited resources to scout, to finagle information, has to take massive risks. The mechanics are gorgeously thematic. The hacker can hack anything – they can try to break into the Corporation’s draw deck, hand, discard pile, steal anything. The Corporation can use evil defensive software to deliver brain damage to the hacker, which the game portrays by reducing the hacker’s maximum hand size. Every part of this game is delicious.

This is a constructed deck game, like Magic: the Gathering, but without the worst of the collectible wallet-destroying part. You can actually, if you don’t want to compete at a high level, grab a relatively small and affordable set and play it. Another option, if you want to do the Magic-but-not-collectible thing, is Ashes: Rise of the Phoenixborn (M). It’s quicker to learn and slicker than Magic, with lots of subtlety and flair. There’s a cool dic that give you how much of the various sorts of power you have to spend each turn And also you can just buy the damn box and never buy another thing.

 

Julius Caesar (H): This is standing in for a whole bunch of Columbia Block Wargames. The world of wargames is full of historically accurate monsters with 40 page rulebooks and fine-grained simulatory madness. The Columbia Block Wargames are usually good at simplifying that down to a manageable level, of leaving in just enough historical grit in the rules to give the play some of that particular texture. And the blocks themselves have an orientation, like Stratego, so a lot of information about troop distribution is hidden.

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Julius Caesar is a particularly nice place to start. Not many rules, relatively speaking. Lots of mobility and strategic flexibility, lots of feinting and bluffing and head-fakes, and really interesting, strategically specific play. A lot of this game comes down to how many troop movement clogs up the roads differently, and which roads can handle a lot of troops and which can only handle a little, and where mobility choke-points are.

There’s tons more to play after this one, but my favorite of all the Columbia games is Rommel in the Desert (H). It’s significantly more rules than Julius Caesar, but what you get is this fabulous particular game, about tanks that can blitz over the roads but bog down in the desert, about desperate supply lines stretching between oases, and about the fact that there’s never enough fuel to do all the moving you want, and trying to figure out how much fuel your opponent has stockpiled, and it is pure unrelenting tension, broken by explosions of motion.

 

Star-Wars: X-Wing Miniatures Game (M): OK, this is the stupidest game that I’m going to recommend. First of all, this is a money trap. It’s got collectible miniatires and there are lots of them and if you’re going to play competitively, or if you’re the kind of person that can get trapped by this kind of capitalist dodge, then you might be screwed. (Though you can have a great damn game with only a few pieces.) Also, the rules are kind of clunky, and also the play is kind of clunky and stop-start-y and you have to keep track of all these stupid data points with these stupid chits that clutter up the play space and it’s just kind of all very ridiculous.

BUT: if you can get through all that, the game itself is… unique, and hysterical, and has its own very special magic. It’s STAR WARS, first of all. One of you is the Rebels, with your choice of X-Wings and B-Wings and maybe even the Millennium Falcon. The other of you is the Imperial forces, with all your TIE Fighters and shit. First, all the pieces move differently. Each ship comes with its own little secret programmable dial, which shows all the moves that particular ship can make. X-Wings are big and heavy and clunky but tough. B-Wings turn on a dime, but they’re slow as hell. TIE Fighters are fast and ultra-maneuverable, but they die like gnats. The Millennium Falcon is massive but ultra-maneuverable, and can do crazy shit like nothing else in the game.

MOST IMPORTANTLY: both sides program all their movements at once, on the secret programmable dials. Then you unveil and unleash. There are these adorable cardboard ruler-type thingies to actually physically move your pieces around the board.

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And, after all the clunkiness – where you have to keep track of which pilot is tired, and which ship has a lock on which ship, and where you’re shuffling all these differently shared rulers to move the ships around, and you have to use other stupid ruler to figure out if you’re in range or not – after all that, when the game works, it really goddamn works. It actually genuinely feels like being in a Star Wars dogfight. The pieces zip around, the X-Wings cruise and stalk, the TIE Fighters dodge and weave and roll like crazy fucking insects everywhere. And it’s mental, too. Because you’re programming the ships simultaneously, and it becomes a super-complicated version of The Sicilian Encounter from Princess Bride, where you’re trying to triple-quadruple bluff the other side about where you’re going to go, and sometimes you succeed, and sometimes you fail completely and end up with your ass hanging out helplessly in the face of your enemy’s biggest gun and you get toasted. But when you pull it off – when you take a crazy unexpected turn and barely whiz your Millennium Falcon through like 8 hairpin turns through a tight asteroid field – then, then you feel like a god.

I hear this game goes really deep, and there’s a good competition scene with really high-level play, but basically I only play this game drunk.

(Another goofy and very fun miniatures game is BattleLore (M), which doesn’t have the simultaneous movement thing, but does have this nifty system where cards slightly randomize which part of the battlefield you can send commands to. It’s supposed to simulate the difficulty of command communication. Super fun and very fantasy-nerd.)

 

“Fuck you, Thi, this isn’t a fucking boardgames, this is torture”

Food Chain Magnate (UH): Absurdly complicated, wild game of building up your own fast food empire. Ridiculously complicated, wildly chaotic emergent play, and utterly fantastic. You need to hire employees to do things. You need to hire middle managers to manage your employees. You need to hire people to make burgers, or pizza, or soda, or lemonade. You need to create advertising on the map to create the demand for your burgers, or pizza, or soda. And then shit goes crazy, because desire is general. That means I can create a massive marketing campaign for burgers, but if my opponent swoops in and cuts the prices on their burgers, then all those burger-mad people will instead go to their shop in droves and I’m shit out of luck. Dense, calculative, wild, thrilling. Also a candidate for the best board game ever. I am not alone in thinking this.

Currently out of print and super-expensive, but worth getting on any waiting lists at Splotter Games for the next reprint, when it happens. More importantly: there’s a cheap iPad version out! If you’re into this kind of thing, there are plenty of other Splotter Games that are also dense, amazing pieces of economic wonderment, especially Indonesia. You usually have to get on a waiting list. They’re expensive, it takes forever, but I have played the hell out of every one I have and loved them all passionately.

 

1830: Railways and Robber Barons (UH): This is a particularly sterling, and usually findable, example of the most majestic of gaming mega-elephants, the 18xx series. (Another good place to start is 1889, which was specifically made to help people learn this style of game, and it’s a delight.) 18xx is ludicrous, and perhaps, in the end, my actual Favorite Game Experience of All Time. First, there’s a railway game. There are railroad companies, which need to build track, improve their train technology, and operate their trains to make money. Layered on top of that is a stock trading game, where the various players buy and sell stock in those railroad companies. The stock market is wildly mobile and interactive. When companies do well, they pay out dividends and their stock prices surge. When companies do badly, their stock prices drop. When players sell stock, the stock prices drop.

You can manipulate the market. You can trigger a mass sell-off and destroy a company’s stock value. You can manage your company beautifully and steadily chug to the top. You can raid your own company for profit and dump it on somebody else. And the entire stock system creates this complicated system of subtly shifting alliances, as you’re co-invested with other people on the board in a slowly shifting manner – and the alliance structure, you can also manipulate. There’s also this elegant technological obsolescence mechanic, where as higher-tech trains come into play, lower-tech trains stop working, and the whole thing drives the game to this endlessly desperate, manic pace.

If there’s a multiplayer game from the modern era that I think will prove, in the end, to offer the depth of Chess and Go, and still be played hundreds of years from now, I’m betting on 18xx.

This stock mechanic may seem familiar by now. A lot of my other very favorite games – Imperial, Chicago Express – are descended from this one. But this is The Original, the Mothership Connection, and still probably the most intense and thrilling game experience I know. But a warning: it’s complicated. The game takes forever to learn. Playing them takes like six hours, at the very least. There’s math. I mean, I literally hand out cheap scientific calculators to every player at the start of the game, to do various dividend calculations and run possible payoff models. There’s slower sections of the game where everybody is just carefully developing train companies and cautiously watching for possible stock market shenanigans. But everything matters, everything builds towards this climax, and at some point the game kicks into this ludicrous gear, where stocks are flying and portfolios are shifting and the whole game is alive and screaming and insane.

But also: there’s a lot of math.

 

Salt Lake City: My food favorites

I arrived in SLC five years ago in a tumble of culinary sorrow. I’d been writing food for the LA Times during graduate school, and I had to give up that half of my life in order to stay on the academic track. (I’ve only regretted that particular decision for, say, forty percent of the rest of my life.) But it was intense – the culinary shock of going from the ethnic food wonderland of Los Angeles, to this godforsaken land-bound smog-infested, culinary wasteland…

Except, as it turns out, Salt Lake isn’t so bad. Salt Lake is kind of actually really great for its size. There’s more weird little ethnic neighborhoods and hidden communities entangled into the Utah Suburban Monolith than you might think. And every year I live here, the streets get a teeny bit more diverse, and the food scene gets a little bit better.

So, here’s my best of, as of right now:

 

Indian and Pakistani

Maybe my favorite restaurant in this whole town is Zaika Grill ‘N Kebab. Warning: it’s slow as hell, especially if you order anything besides the standard combo. But you should definitely order things that are not the standard combo. That’s because the whole show is run by a husband and wife team who actually cook things carefully and lovingly and painstakingly. This includes fresh naan, fresh roti, gorgeously weird Pakistani dishes that I’ve never had before (curried horseradish?). The seekh kebab is perfectly crumbly and dense and shot through with little crispy bits of green onion. It burns with life. Nihari is one of my very favorite dishes — kind of a densified intensified liquified meat essence that hangs right on the edge of soup and stew, full of the deep low tang of bone-extracted broth. If you’re feeling super adventurous, order the haleem, which is insanely great and almost impossible to find in these parts.  It’s a weird mysterious concoction of beef and pounded wheat or barley or something, and maybe some lentils. It’s hard to tell. It’s deeply and profoundly sticky, like Pakistani meat mochi. Definitely freaks out some people, though. Also, the kitchen can be vegan friendly if you need. A lot of the best stuff isn’t on the little printed menu. Sometimes it’s on the chalkboard. Sometimes it’s not, and you just have to have a long and rambling conversation with the owners about what you like and what ingredients they happen to have today, and then it occurs to them to offer you this or that special thing. These days I just go, wave my hand, and say, “I trust you,” and the kitchen brings forth wonders, eventually.

Imagine my total mind-melted surprise when I found out that the greater SLC area actually has a genuinely great chaat shop. It’s Pastries ‘n Chaat. Chaat, if you don’t know, is Indian street food – gorgeous little lovelinesses like pani puri, which are little shells of fried bread that you fill with chickpeas and potatoes and cold spicy mint water and throw in your mouth and let it explode. There are great many variations on a theme of little crispy things covered with yogurt and tamarind and bits of other, differently crispy things. All the chaat here is absurdly good – fresh and vivid, like little spikes of clean brilliant freshnesses shooting through your skull. Also: great biryani.

 

Chinese

Alas, Hot Dynasty, I loved you well. You had godlike Sichuan. I was perceptually shocked that you managed to exist in Utah. Turns out, you were too good for this world. Now you’re dead, and we’ll have to content ourselves with merely quite good Sichuan: Sweet Ginger. It’s legit, though, numb-tingly flavors and all. Order your heart out – it’s all good, and way better than you’d think Utah capable of in the Sichuan department. All the fish boiled in hot chili oil and the masses of chicken in pickled pepper and dried chiles and fresh chiles and more piles of chiles. Definitely hit the cold tray for all the weirdo Sichuan cold snacks, like husband-and-wife slices and seaweed. (WARNING: Comment from Stuart, below, indicates that the good chef might have left. I will check soon. Please hold.)

There’s a lot of good Taiwanese in this town. Best choice: Mom’s Kitchen. It’s even better since they made, like, a real picture menu for all us non-Chinese speakers. It’s stuffed with all the Taiwanese comfort food favorites. The beef roll is, like, jellied sweet beef rolled in an onion scallion pancake with plenty of raw cilantro and crispy green onion. Dumplings are fantastic, boiled or fried. Freshly made noodles in all the soups – I particularly like the subtle, rich sourness of the sour mustard and ground pork soup. The leek pancake turnover thing is a wonder – the soft leeks and the wiggly vermicelli and that lovely near-crumbly texture of finely chopped filling inside a crispy, crispy, chewy, crispy shell. Eat this and think of what a pathetic thing the Hot Pocket is, that tried to be this leek turnover and failed.

Also: super-special Taiwanese bonus: Sasa Kitchen! A tiny menu, but they’re specialists! Most important thing: the “shaved noodles”, which are fresh made, sliced thick and full of chaw, and have just that right mouth-filling heft. Noodles this good would be like $30 if you were in an Italian place, but since it’s Chinese, it’s like $8. My personal favorite: the clean, subtle, fragrant, warming lamb and shaved noodle soup. Also, get the hot and sour dumpling soup if they have it.

Also: best dim sum is probably Red Maple House. Definitely go when it’s busy for freshness – Saturday and Sunday brunch time. They nail those gossamer-bouncy textures.

 

Peruvian

The whole Wasatch area has freakishly great Peruvian all over the place. I’m not going to list them all – just go and try any you can find. They’re everywhere, and they’re mostly all great. The fanciest and finest is Del Mar al Lago, which is another “WTF is this doing in UTAH?” kind of place. High end, pretty, immaculate Peruvian. Beautiful and zippy ceviche, excellent piles of fried seafood, and all that stuff. Definitely the more future-facing, more inventive, and more respectable place. It’s fantastic.

But if I had to be honest, in my heart of hearts, my absolute favorite Peruvian out here is the Bountiful branch of El Rocoto. It’s just more heart-felt. I never know exactly what that means, and why certain food feels merely clinically perfect, but other food feels full of love and life. But El Rocoto has that mysterious perfect hunk o’ soul. The stuff all feels just the right amount of chunky, hearty, and chewy; all the flavors are full-throated. Things to try: the platter of fried seafood. The ceviche. Lomo saltado, that glorious Peruvian stir-fry of french fries and beef in red wine, soy sauce, garlic, and tomato. Pretty much anything.

 

Ethopian

There were once two utterly fantastic Ethiopian places in SLC. They both closed. Sad face. I have some new possibilities though. Watch this space.

 

Coffee

Probably the most important Hipster Culinary Experience in SLC is Cafe D’Bolla, which is one of the very few genuinely world-class culinary experiences in Utah. It’s a coffee bar. I mean, let me say this again, it is a Motherfucking Coffee Bar where you are going to go and pay a lot of money for a Coffee Motherfucking Experience. It has extremely good espresso at a decent price. But the thing you’re really here for is to have the hands of the master make you an earth-shatteringly superb cup of vacuum press siphon coffee, for which you will pay a modestly princely sum. I mean, like, $8-$12 or something. (Though it perpetually irritates me that people will slap down that much for a glass of wine without even thinking about it, but then proceed to loose their collective gourds over the idea of paying that much for a cup of coffee.)

It’s worth it. He knows what the fuck he is doing. He will do you a full process and ritual with explanation. Perhaps too much explanation. He roasts all his own coffee to spec (and he thinks that it’s crucial, if you’re brewing at SLC elevations, to roast with that in mind.) He gets weird coffee rarities. He brews them superbly. He will also, unless you ask firmly, loom over you and shout at you all the tasting notes that you’re supposed to be tasting. He also won’t let you sip the hot cup of coffee because he’s going to tell you that it’s much better after 5 minutes of cooling – and it turns out he’s COMPLETELY RIGHT. He also serves his coffee in these very specific antique Japanese tea cups that he decided give the best aromatic experience and, once again, he is COMPLETELY RIGHT.

So: it’s weird. Also only for the kind of fanatics who like light roast, high acid, very sculpted coffee profile. But if you are, this is totally a pilgrimage worth making. Taste at the feet of a true master.

 

Other White People Stuff

I’m not going to go into a lot of detail here because my favorites are well-known and well-covered elsewhere. Tulie has impeccable croissants and other Euro pastries. If there’s a criticism of them though, it’s that they’re a little cold in their version of impeccable, professionally crafted, and perfectly French-correct bakery arts. My deepest affections have lately shifted to the new Amour Cafe, from those people that brought you that shockingly good jam you bought in the farmer’s market. Homey, deeply felt, subtle and soul-punchingly good baked goods. Among the best scones I’ve had in the States. Also, sometimes, they have the most magical thing: a beet walnut cake, which is basically like a red velvet cake, but profound.

Most expensive and also best place for super-boutique groceries is Liberty Heights Fresh. Most importantly, they are home of the best cheese counter in town. (Caputo’s is also very good, but they’ve lately gotten really into their ultra-funkifying cheese cave thing. I suspect they’re beginning to proceed down the More Funky Than Thou path which reminds me, worryingly, of the Late Stage Craft Beer Quadruple IPA Bitter Fuck You Manly Arms Race of Doom.)

Salt Lake is also, importantly, home to like the second best butcher and charcuterie in all of America, as far as I know: Beltex Meats. Ungodly good classic cuts and oddball cuts and all kinds of glorious in-house pates and charcuteries and headcheeses and blood sausages, all with that deep profound modulated wild funk that I crave. This place is a treasure, and when I have friends coming back to visit me from the culinary hotspots of the world, what they demand, perpetually, is to gorge themselves on Beltex shit. (My very favorite charcuterie maker in America is Fatted Calf in SF, and it turns out some of the Beltex gang trained there.)

Best tea selection in town: Tea Zaanti. Nice places to spend medium to large amounts of money on conventionally nice food in a setting with real “service”: Manoli’s, Provision, Veneto’s.

There are two excellent cocktail bars in SLC: Water Witch and The Rest. Water Witch is the kind of place where they’ll chat you up and make you a cocktail to your weirdo requests, and they’ll nail it. The Rest is a speakeasy hidden oh-so-adorably underneath The Bodega, where you have to, like, call ahead and speak the secret words and be lead to a secret passageway in the back. The Rest is fancy and very I-dream-of-New-York and has quite good food. The Water Witch has a much more half-drunk bartenders ranting about their lives and shout at the audience vibe. The Rest offends some people with it’s excessively twee preciousness (it does feel a little bit like somebody ordered an interior decorator to “Make me feel like I’m drinking in a Wes Anderson film!”). Water Witch offends some people for its hipster-bro man-ergy. I go to both, because I’m a terrible person, and I just like drinking. (For the true cocktail fiend, though, I give a definite edge in pure cocktail craftsmanship to Water Witch.)

 

Korean

There’s not a huge amount of Korean in this town, but what there is, is surprisingly great. Far and away my favorite is Jang Soo Jang. Superb homey-style Korean food that would hang with some of my favorites in LA’s Koreatown. Favorites: spicy squid, sundae gook (blood sausage soup with bits of offal, shockingly clean and deep), spicy goat soup, spicy rice cakes, Korean dumplings, kim chee pancake. Super spread of lovely homemade Korean pickles, brimming with fresh ferment-y life. But: if you go here and only order Korean BBQ because you think that’s the beginning and end of Korean food, I will personally hunt you down and shoot you in the head with a pickle.

Other good choices: Myung Ga is pretty good and more conventionally “nice” location, with a bigger menu with pretty good versions of all the standards. For some reason, the name It’s Tofu! subtly creeps me out on like five levels that I don’t fully understand, but they have a pretty nice dol soat bi bim bop – that’s bi bim bop in a hot stone bowl that you mix up and let crisp.

 

Mexican

For my first two or three years, I just mostly ate at the taco trucks – the two clustered around the Ocean City Market at State and 9th are probably still my favorites. I eventually found Victor’s Restaurant, the well-known tamale specialist inside Victor’s Tires. They’re awesome for many standards – their menudo and their chilaquiles are particular favorites).

But the real magical winner for Mexican in SLC is Mi Lindo Nayarit. It is a Nayarit specialist, and once again, HOW THE HELL DOES THIS EXIST IN UTAH? Nayarit is a region in the Central Pacific coast of Mexico. Nayarit food (and the food of neighbor Sinaloa) is completely distinctive, especially if you’re used to the kind of northern Mexican food that suffuses the American imagination. Nayarit food is seafood, in a thousand subtle variation, balanced right on the edge between crispness and hyper-complexity. Even in Los Angeles, Nayarit and Sinaloan places were rare finds. I have no idea why there’s one way out here in Utah. Things to try: the empanadas, which are stuffed with ground shrimp, deep-fried, and topped with an avocado. The dozen variations of shrimp, all delightful. The fish ceviche, which is unlike any other ceviche I know. It’s a mixture of citrus-soaked fish and finely shredded carrots and lots of other raw bits of veg, and it’s like a raw fish carrot slaw, and it’s totally awesome. (Beware: as with other raw fish, much depends on your relationship to market-day. I wouldn’t get this on a Sunday.) And the fish chicharron, which is small pieces of fish fried so deeply and intensely that they take on the heft, crunch, and chaw of fried pork rinds. Special bonus: they make the best michelada in town, which is kind of like a beer bloody mary served in an enormous stein rimmed with chile powder.

 

Vietnamese

There’s a huge Vietnamese population in SLC, and tons of great Vietnamese. A few favorites: Pho Thin for pho, with that radiant, subtly sour clean-quiet tang of a really well-executed beef broth. Pho Tay Ho, set in just the kind of chilled out remodeled house that reminds me of Vietnamese joints from my San Jose childhood, for heart-warming pho with really nice noodles. Little Saigon for excellent Vietnamese sandwiches, vermicelli noodles, and bun bo hue, the heartier, beefier, spicier soup of central Vietnam.

And, from left-field, there’s an excellent Viet-Cajun crawfish boil place! It’s called Bucket o’ Crawfish. You can get all manner of seafood – including crawfish, clams, and crab legs – boiled in anything from the Vietnamese take on Cajun spice mix to Chinese black bean sauce. Don’t go and tell me it’s not genuinely Cajun. Because it isn’t, and it never claimed to be. It’s goddamn Viet-Cajun, and you’ll enjoy it for being the heartfelt representative of this new gorgeous melting pot world, you motherfuckers!

 

Japanese

Japanese in this town is currently suffering, ever since Naked Fish died. The best we have is probably a pair of tonkatsu ramen joints: Tosh’s and Jinya. If you haven’t had tonkatsu before, it’s nothing like the standard thin Tokyo-style ramen. It’s this mega-long cooked, ultra-rich bone-and-meat-fat, like, velvet or something. Both places are quite good, but I’m going to give a slight edge to Jinya, for getting just the right profound velvety-ness in that rich, rich, bone-mineral broth. I particularly like the ones that mix their pork broth with their chicken broth.

 

Salvadorean

I used to live in the Salvadorean part of East Hollywood, where I acquired an undying hunger for pupasas that can never be adequately quenched. I think I have tried every Salvadoran place in Salt Lake City. For me, there is only one choice: Fernando’s Cafe Guanaco. Everything else there has been great too, especially the beef soup.

 

Middle Eastern

Mazza. Groceries at Black Cherry. O Falafel is great at a lot of things, but, perversely, sucks at falafels. Look to the cooked entrees, like moussakka, chicken banana squash ,mughrabiya, and my very favorite, makshi – gorgeously soft eggplant in a yogurt tomato beef gravy sauce thing.

 

Best rotating stand to watch out for

Spice Kitchen Incubator is this great non-profit thing that helps immigrants start up restaurants. They have a stand at the farmer’s market that rotates through new start-up food gigs. Often, they’re fantastic. Best West African food I had was from one of their gigs. I’ve also had super nice Indonesian, and good Filipino. Always try whatever’s on offer.

 

 

The aesthetics of rock climbing

The pleasures of rock climbing and the pleasures of philosophy turn out to be strangely similar. Most non-climbers have the wrong idea about climbing – it is, in the popular imagination, a particularly thuggish way of courting death. Before I’d actually tried it, my mental image of climbing was some kind of vague blend of pull-ups, screaming and gargling Red Bull. But it turns out that rock climbing is a subtle, refined and often hyper-intellectual sport. It’s solving puzzles, with your body and mind. It’s about getting past cryptic sequences of rock, through a combination of grace, attunement, cleverness, and power.

Climbers dream of the perfect “project” – a climb that you work on, over days and weeks. At first, such a project might seem utterly impossible. The holds are too small, or in the wrong place, or impossibly far apart; the wall is too overhung, or too blank. But slowly, bit by bit, you figure out a sequence of moves that just might get you through. Place your left foot there, and balance over just so. Flip your left hand so you’re pushing down against that ridge of rock, leaning down on it like you’re in a yoga triangle pose. Then you can reach high with your right hand and take hold of a tiny pocket. Step high and then flip your hand in the pocket, so you can lean the other way. Through care and attention, the impossible slowly becomes possible. You learn the holds, you learn the moves, you learn where to throw in all-out effort and where to relax for a moment, you train your body, until one day it all comes together and you dance your way up that wall.

 

rock climbing aesthetics 2

Dana Le/Flickr

 

And dancing, I think, is exactly the right place to start to understand the aesthetic dimension of rock climbing. So let’s start there: climbing is something like dance – not just in skill, but in aesthetic reward. You can hear the similarity when you listen to some climbers talk about their climbs. They talk about climbs with nice movement, with good flow, with interesting moves. They’ll talk about ugly climbs, beautiful climbs, elegant climbs, gross climbs. At first you might think they are just talking about the rock itself and how it looks. And sometimes they are; every climber loves a clean crack up a blank face, or bold jutting fin to climb. But if you interrogate a climber, and watch as they explain where the beauty in the climb is – with arms out, legs in the air, imitating the odd precise movements of the climb – you’ll figure out that what so many of them care most about is the quality of the movement – about how it feels to go through the rock, about the glorious sensations in the body, and the subtle attention of the mind.

So let’s start with dance. Barbara Montero, a philosopher of dance, has made a convincing case that the central aesthetic experience of dance involves a dancer’s proprioceptive sense of moving through space and feeling that movement as beautiful. We don’t just appreciate dance visually; we can feel it in our muscles and neurons. As a consequence, she adds, the best people to understand the aesthetics of dance are the dancers themselves, and people in the audience who have danced – who can imagine their way more precisely into how it must feel to move that way. The beauty of dance is a beauty of embodied movement.

When I think back to my favourite climbing experiences, what I can remember most precisely is the feel of the movement, the sense of gracefulness, of being able to move with precision and economy and elegance. That movement quality is something I savour, that I daydream about, that calls me back. And sometimes that movement quality is embedded in something dramatic. It has a relationship with difficulty. Some of the most perfect climbing moments are those when I was exhausted, maybe bleeding a little, when my fingers were raw, but I forced my mind quiet and calmed my head and then pulled through, forced my trembling limbs to calm, and reached somewhere inside myself to find that elegance, that precision, that lovely movement.

So climbing is like dance, but not exactly like dance. Climbing is graceful movement that always serves a well-defined task-oriented purpose. You’re trying to get to the top, and often the harder that journey is, they better. And climbs don’t just allow graceful movement; they sometimes require it; they’ll punish you and throw you off the rock if you’re careless. The economical movement in climbing arises in response to a set of very specific demands. The rock (real or artificial) may force a sequence of movement out of me, but it doesn’t tell me what that sequence of movements is, unlike in dance, where a director often teaches a piece of set choreography. I invent it, in response to the problem. Sometimes I may watch somebody else and imitate their movements, but even then, I need to adapt those movements to my body. I ape their movements in general, and then adapt them, precisify their inner feeling, all guided by the difficulties set by the rock. By and large, climbing is a puzzle-and-solution oriented practice. My movements in climbing are always in response to the challenges set to me by the rock; the elegance that I sometimes grasp within myself is one forced on me by the necessities of economy, of preserving what little stamina I have.

Rock climbing is a game. And this is where philosophical work can help us again. Let’s turn to one of the most delightful, insightful, and under-appreciated books in recent philosophy – Bernard Suits’ The Grasshopper: Games, Life, and Utopia. You will recall the parable of the grasshopper and the ant – the grasshopper is idle all summer long, and the ant works hard. At the end, the grasshopper starves to death. Moral of the story: work hard or die, suckers. But Suits inverts the moral of the story. In his book, the grasshopper is the hero, a paragon of playfulness. The book opens in adorably pseudo-Socratic fashion. The Grasshopper – the great philosophical defender of play – is on his deathbed, surrounded by his disciples. He is starving because he has refused, on principle, to work. His disciples are begging him: Please, let us feed you, let us work and bring you food. But the Grasshopper replies: No, for then you would be ants, and doubly so! I would rather die for my commitment to idleness!

So the Grasshopper gives his disciples a series of puzzles about play, and games, and then promptly dies. And the rest of the book is one in which the students work out those puzzles, and, along the way, provides a definition of the term “game”. This is explicitly intended as a reply to Wittgenstein’s challenge – that most terms in general, but “game” in particular, did not admit of rigorous definition. Suits offers his definition in versions of varying digestibility. Here’s the least technical one, which he calls the “portable” version:

“Playing a game is the voluntary attempt to overcome unnecessary obstacles.”

This gives us a very broad notion of games, which includes board games, sports, rock climbing, and perhaps even certain academic disciplines. Suits’ definition has become rather famous, or infamous, around those corners of the academic world that study games.

In the full version of his definition, we learn, among other things, that playing games involve taking up artificial goals and imposing inefficient means on ourselves, because we want to create a new kind of activity. The point of basketball is not getting the ball through the hoop – that has no independent value in itself. If it did, we’d show up after hours to an empty court with a step-ladder, and pass that ball through to our heart’s content. Rather, we take up the artificial goal – passing the ball through the hoop – and barriers to that goal – opponents, the dribbling rule – in order to create the activity of playing basketball. Notice that what constitutes game-playing is not the physical movement, but the intentional state of the player towards that action. In short: in ordinary practical activity, we take the means for the sake of an independently valuable end. But in gaming activity, we can take up an artificial end for the sake of going through a particular means.

So let’s return to rock climbing. My chosen discipline is bouldering – conducted without a rope, on short boulders of usually no more than twenty feet, with fold-out gymnastics pads to fall on. Bouldering began as a way to train in safety for more adventurous climbs but quickly evolved into its own thing, pursued for its own sake. Boulderers actually refer to specific climbs as “boulder problems”; they are a clear kin to, say, chess problems. Boulder problems are often very short, exceedingly difficult, and the kind of thing you might fail at and fall on your ass a hundred times on the way to success. If those multi-day roped climbs up cliff-sides are the adventure marathons of rock climbing, than bouldering is the sprint trial.

Suits himself uses mountain climbing as an example of a game. The point is not simply to get to the top – after all, you could get to it by helicopter, in the case of Everest, or via the highway up the back, in the case of El Capitan. The point is to do it via a specific set of limited means. This is surely true of bouldering, as well. A regular occurrence for boulderers: we will be trying to climb up the hard overhung face, and a young child will run up the path on the backside of the rock and look down on us from above and gleefully and smugly inform us that we must have missed the easy way up. (Sometimes I have a desire to sit them down and explain the Suitsian theory to them, but usually, since it’s my one day off from grading and the academic slog, I’d just lie down and have a beer.)

So: climbing is a game, in the Suitsian sense. But it is a very interesting sort of game, for many people indulge in it for openly aesthetic reasons. If one looks at the recent history of the philosophy of sport, one will find the Suitsian analysis all over the place, but theorists have considered a fairly narrowed range of reasons for engaging in that Suitsian activity. Usually, it’s something like: we take up these unnecessary obstacles to become more excellent, or develop physical skills, or to win. But the Suitsian analysis allows any sort of reason for wanting to bring an activity into being, and if one listens to the talk of climbers, one will discover that those reasons are often aesthetic ones – and they are often proprioceptively aesthetic.

Let’s take one classic climb in Joe’s Valley, Utah: The Angler, one of the most beloved boulder problems in one of the most beloved bouldering regions in the world. As it turns out, it’s not that interesting to watch somebody climb it. First of all, non-climbers tend to like to watch really explosive and spectacular movement. During competitions on artificial rock, lay audiences will cheer for big jumps from one huge hold to another. The Angler has none of that; it’s slow, plodding, and careful. Experienced climbers tend to like watching subtle, intricate movement, but even then, it’s best when the movement is visible – when you can see the re-balancing, the yoga-like stretches, the interesting body postures. But none of the interesting stuff is visible in The Angler. It’s very gradual, delicate climb, with a slopey, slippery ridge for your hands, and tiny invisi-feet. The difference between success and failure depends on minuscule shifts of balance – it depends on maintaining your core tension, on controlling your centre of gravity and inching it around with painstaking care. And, when you do it right, it feels unbelievably good – it feels like you’re a thing made of pure precision, a scalpel of delicate movement, easing your way up the rock. But, to somebody watching from outside, it looks… like nothing. Even for an experienced climber, it’s pretty boring to watch somebody else climb this thing. I love The Anglerto death, but I’ll admit: I’ve sat with a beer by the river next to it and tried to watch people climbing it and gotten bored almost instantly. In this particular climb, all those fascinating internal movements are invisible to the external eye. The aesthetics of movement, here, are for the climber alone.

rock climbing aesthetics 1

Simon Li/Flickr

The Angler is an exemplar of a perfect boulder problem, to many a climber’s taste. It has everything. The rock itself is strikingly beautiful. More importantly, what climbers call the line is visually beautiful. That is, the feature on the rock that the climber follows is visually distinctive, and the path of the climb itself is clear and itself striking and lovely. The movement is wonderfully interesting. And best of all, these things match and fit in a pleasing way. In The Angler, the movement quality changes over the course of the problem. It’s intricate and subtle down below, but the movements become bigger and scarier as the line moves up and right. And, when the season’s right, you have to make the last few moves – which are bold but easy – over the river itself. The feel of the movement rises, as the line rises, from delicate to thrilling. Rock, line, and movement all have a wonderful consonance. And when you pull over the top, after all this pain and carefulness, with your nose crammed inches from the rock, staring down searching for the slightly better nubbins of friction – you stand up right into the mouth of a river canyon, running river all around you, wind in your hair and water burbling, and the sensation of victory bleeds into the sensation of wild, free, open nature.

I manage to be pretty focused in doing philosophy, but some of the most focused and attentive I’ve ever been in my life is on a hard climb – mind zeroed in on tiny ripples in the rock for my feet, exactly the angle of my ankle, whether I’m holding the most grippy part of the rock with my hand, the exact level of force I need to push with on my foot as I slide over to the next hold. One might be tempted to say here, if one were caught in a traditional aesthetic paradigm, that the climbing is just a technique, a trick to focus the mind on the really beautiful things – the rock itself, and nature. But I think this ignores what climbers are actually doing, feeling, and appreciating. They’re paying attention to themselves, to their own movements and appreciating how those movements solve the problem of the rock. The aesthetics of climbing is an aesthetics of the climber’s own motion, and an aesthetics of how that motion functions as a solution to a problem. There is, for the climber, a very special experience of harmony available – a harmony between one’s abilities and the challenges they meet.

I remember one afternoon I spent in the Buttermilks, a glorious collection of boulders in Bishop, California. I was trying my damnedest to solve a weird, tricky problem that involved a series of heel-hooks and toe-hooks and spending half-my time with my feet above my head, my ankle stuffed into a crack in the rock. Next to me, a far better climber was working a far harder problem on another part of the same boulder. We spent the whole afternoon at our respective tasks. He was totally, savagely into it – screaming his way up, cursing, stabbing at the rock. The critical move involved easing his way up to a bad, slopey hold for his right hand, high-stepping his left foot up almost to his crotch, and then squeezing himself up between his right hand and his left foot, popping himself between them like a wet watermelon seed, and stabbing with his left hand for a tiny set of pocket dimples. The move is typical of high-end bouldering – the hold you’re going for is so far out of reach that you need to fling yourself at it dynamically; you’ve got to jump. But that hold is also so faint that you can’t have any extra momentum when you hit it, or you’ll rip yourself right off the rock.

He’d been trying the same move for, like, three hours, with long rests between tries. He was cursing, frustrated, melting down. Then finally, in one great screaming effort, he did it – he had a little bit too much momentum, but he grabbed that next hold with extra force, muscles straining, yanking himself back into place, screaming. And he finished the problem.

He came down, staring at his fingers. One of them was bleeding.

“Nice job”, I said. I went to high five him, but he shook his head.

“That was ugly as hell”, he said, glumly. “Terrible style”. He wrapped up his finger in some climbing tape, rested himself for about twenty minutes, and then stepped up and did again. This time, it looked perfect – just a delicate little bump and step and he floated over and just dropped into place, like it was nothing.

He climbed down the back and jogged over to me, grinning hugely. “God, what a gorgeous problem!” he told me. “You’ve got to do it. That move is so beautiful. It’s just…” he mimed the move, and mimed it again. “Just fantastic! You’ve got to do it!”

Sadly, I told him, that problem was way too hard for me.

He jittered from foot to foot, grinning and trying to feel sorry for me. Then he went over and did it again.

(Originally published in The Philosopher’s Magazine, 78, 2017: 37-43)

A philosopher enters politics

Matt Johnson is the only philosopher I know who responded to the political shit-storm of 2016 by actually throwing down and running for public office. He’s doing it right now – somehow juggling finishing his PhD, teaching seven (!!) courses, serving as a human relations commissioner, and running for Lancaster city council all at the same damn time. And he wrote a goddamn musical.

His whole approach is so impossibly cool that  I had to interview him about what it was like. The whole interview is over here.

Things I learned:

  1. Matt actually starting teaching free rhetoric and argument courses to activists in a local pub.
  2. Matt thinks the joys of philosophy and the joys of public service are deeply similar – throwing yourself at profound and intractable problems – except sometimes, in public service, you actually, like, save somebody’s home.
  3. Best of all: Matt thinks that the skills he developed over in philosophy are incredibly useful for consensus building in political life. Which blows my goddamn mind, because in academic philosophy itself, everybody’s using their analytic skills to stab each other in the face. But it occurs to me: maybe that’s nothing about the skills of philosophy itself, but just the incentive structure of academia. As in: to publish, you have to prove you’re different. But in political life, the incentives switch: things happen when you build consensus.

Matt’s take is so thrilling and so invigorating that he almost convinced me to run for city council.

 

New paper: “The Uses of Aesthetic Testimony”

My new paper, The Uses of Aesthetic Testimony, is out in the British Journal of Aesthetics. (For those without institutional access, here’s an older draft for free.)

What it’s about, technical version: There’s this debate about the seeming “asymmetry” between aesthetic and empirical testimony. We’re allowed to acquire beliefs based solely on testimony for empirical stuff (doctor’s advice, mechanic’s advice), but we’re not allowed to uptake judgments about how, say, the beauty and brilliance of Van Gogh’s Irises based solely on testimony. I say: yeah, yeah, but look over here: there’s an even more interesting second asymmetry within the aesthetic itself. There are all sorts of things I’m entirely permitted to do from aesthetic testimony: I can take restaurant recommendations, I can choose a travel destination, I can choose an art school, all from testimony. The uses of aesthetic testimony are rich and varied. There’s only this one very particular thing I can’t do from testimony, which is acquire a belief wholesale. The real mystery is how to explain the way our intuitions change between different uses of aesthetic testimony.

You might think, then, that this all just turns on speech acts vs. practical action. But consider the following case: when I’m picking out a painting to hang in my own bedroom, it would be totally weird to defer to the word of an expert and not engage my own taste. But if I were a museum director, I could totally defer to the word of an expert in choosing my acquisitions. No speech, all action, same asymmetry.

I then try to show that, if you take seriously all these intuitions about the uses of aesthetic testimony, it points us towards a moderately cognitive theory of aesthetic judgment.

What it’s really about: We act like aesthetics is all about autonomous judgment. But the really interesting thing that people don’t study is how much we profoundly trust others everywhere in our aesthetic lives.

New Paper: “Competition as Cooperation”

Here’s my new paper, Competition as Cooperation, coming out soon in the Journal of the Philosophy of Sport. It contains:

1. My view that games are a sort of moral technology for converting competition into cooperation.

2. Exhaustive technical detail on the motivational structures that human beings must have in order to use this technology properly.

3. The fun part: me having a go at the dominant position in the philosophy of sport – that the purpose of sports is developing or displaying human excellence. I think the social conversion stuff just as important. The coolest part of the paper is about whether the paradigmatic case of sports are Olympics/professional sports, or, like, flag football with your family.

It’s probably my… most ambitious paper? And, if you follow my wife’s “Thi Scale of Papers”, in which the more completely goofy and inane examples a paper has, the more Thi it is, then this is the most Thi paper I’ve ever written. There’s even a bit where a shitty asshole houseguest shows up at my house and I save the evening by deploying a board game that converts their dickheadery into something useful for everybody else.

This paper is deeply connected to the Good Violence, Bad Violence paper I wrote with Jose Zagal. “Competition as Cooperation” has got way more technical detail on Suits and the nature of game consent and the purpose of game-playing; “Good Violence, Bad Violence” has way more discussion of juicy online stuff like spawn-camping and trash-talking/harassment, the formation of online communities, and all the cool stuff that comes from the fact that Jose is an actual, you know, game designer.