Friday, October 23, 2026

Decision Space in Video Games

 Decision space is the range of meaningful choices available to a player at any given moment in a game.

In simple terms:

The larger the decision space, the more options a player can consider and the more they must think about the consequences of their choices.

Example: Small Decision Space

In Flappy Bird, the player essentially has one decision:

  • Tap
  • Don't tap

The game can be difficult, but the decision space is very small because there are very few choices.

Example: Large Decision Space

In Civilization, a player must constantly decide:

  • What technology to research
  • Where to settle cities
  • Which units to build
  • Who to ally with
  • When to go to war
  • How to manage resources

Each choice affects future possibilities, creating a huge decision space.


Decision Space vs. Complexity

A common design goal is to create a large decision space from simple rules.

For example, Chess has only a few basic movement rules, but those rules combine to create an enormous number of possible decisions.

Game designers often praise systems that provide:

  • Easy-to-understand rules
  • Many meaningful choices
  • Different viable strategies

Good Decision Space

A decision space is strongest when choices are:

Meaningful

Different options lead to different outcomes.

Example:

  • Attack now
  • Defend
  • Retreat

Each has advantages and risks.

Legible

Players can understand the consequences of their choices.

Example:

  • A weapon deals 50 damage but attacks slowly.
  • Another deals 20 damage but attacks quickly.

The trade-off is visible.

Interesting

There is no obvious "best" answer in every situation.

If one option is always superior, the decision space effectively shrinks.


Poor Decision Space

False Choices

Options appear different but produce the same result.

Example:

  • Three dialogue options that all lead to the identical response.

Dominant Strategies

One option is so strong that it overwhelms all others.

Example:

  • One weapon is better than every other weapon in damage, speed, and cost.

Players stop considering alternatives, narrowing the decision space.


Connection to Gameplay Loops and Value Chains

Since you're studying gameplay loops and value chains, decision space connects directly to both.

A gameplay loop answers:

"What does the player repeatedly do?"

Decision space answers:

"How many meaningful ways can the player do it?"

For example, in a farming game:

Small decision space

  • Harvest crop
  • Sell crop

Larger decision space

  • Sell crop
  • Cook crop
  • Craft with crop
  • Gift crop to NPCs
  • Use crop for quests

This is very similar to what Daniel Cook discusses in his value-chain essay. A resource becomes more valuable when it participates in many future possibilities. More possibilities generally create a larger decision space for the player.

A useful classroom definition

Decision space: The set of meaningful choices available to a player at a particular point in a game, along with the strategic consequences that result from those choices.

For your game design students, a good discussion question is:

"When does increasing decision space make a game deeper, and when does it simply make a game more complicated?"

That distinction often separates elegant design from overwhelming design.

Wednesday, October 21, 2026

HG Wells, the Time Machine

 from page 1:

“ Filby became pensive. “Clearly,” the Time Traveller proceeded, “any real body must have extension in four directions: it must have Length, Breadth, Thickness, and—Duration. But through a natural infirmity of the flesh, which I will explain to you in a moment, we incline to overlook this fact. There are really four dimensions, three which we call the three planes of Space, and a fourth, Time. There is, however, a tendency to draw an unreal distinction between the former three dimensions and the latter, because it happens that our consciousness moves intermittently in one direction along the latter from the beginning to the end of our lives.”

So, here is four dimensional spacetime in 1895.

https://www.gutenberg.org/cache/epub/35/pg35-images.html


Saturday, October 17, 2026

Vices in Ancient Greek Mythology

 For an Ancient Greek mythology class, it can be useful to pair virtues with their opposite vices. The Greeks did not have a single official list of vices, but many moral failings appear repeatedly in mythology, tragedy, and philosophy.

Major Greek Vices

  • Hubris (ὕβρις) – Excessive pride, arrogance, or defiance of the gods.
    • Examples: Niobe, Arachne, and King Xerxes.
    • Often considered the most dangerous vice in Greek mythology.
  • Greed (Pleonexia) – Wanting more than one's fair share.
    • Examples: King Midas and many tyrants in Greek stories.
  • Cowardice (Deilia) – Failure to act courageously when duty requires it.
    • Opposite of courage.
  • Injustice (Adikia) – Unfairness, lawlessness, or denying others what they deserve.
    • Opposite of justice.
  • Intemperance (Akrasia) – Lack of self-control; being ruled by appetites and passions.
    • Examples: Excessive drinking, lust, gluttony, rage.
    • Opposite of temperance.
  • Foolishness or Ignorance (Amathia) – Refusal to seek wisdom or learn the truth.
    • Socrates regarded ignorance as the root of many moral failures.
  • Envy (Phthonos) – Resentment of another's success or happiness.
    • Frequently motivates conflict among gods and mortals.
  • Wrath (Orgē) – Uncontrolled anger leading to destructive actions.
    • Example: Achilles' rage in the Iliad.
  • Impiety (Asebeia) – Disrespect toward the gods, sacred customs, or religious duties.
    • A common cause of divine punishment.
  • Deceit (Dolos) – Dishonesty and treachery.
    • While clever trickery could sometimes be admired, deceit that harmed others was often condemned.

A Useful Classroom Pairing

Virtue

Vice

Wisdom

Ignorance / Foolishness

Courage

Cowardice

Temperance

Intemperance / Excess

Justice

Injustice

Humility

Hubris

Piety

Impiety

Generosity

Greed

Self-Control

Wrath

Mythology's Repeating Pattern

Many Greek myths follow the same moral arc:

Hubris → Ate (delusion/blindness) → Nemesis (divine retribution) → Downfall

For example:

  • Arachne's pride leads her to challenge Athena.
  • Niobe boasts that she is superior to Leto.
  • Icarus ignores warnings and flies too close to the sun.

This cycle makes hubris arguably the central vice in Greek mythology.


Socrates: Moral Virtues

 Socrates is often associated with the idea that virtue is knowledge: if a person truly knows what is good, they will act accordingly. In the Platonic tradition influenced by Socratic thought, four principal virtues are commonly identified:

  1. Wisdom (Sophia)
    • Knowledge of what is truly good and how to live rightly.
    • For Socrates, wisdom begins with recognizing the limits of one's own knowledge.
  2. Courage (Andreia)
    • The ability to act rightly despite fear or danger.
    • Courage is guided by knowledge, not recklessness.
  3. Temperance (Sophrosyne)
    • Self-control, moderation, and mastery over desires and impulses.
  4. Justice (Dikaiosyne)
    • Fairness and giving each person what is due.
    • Harmony in both the individual and society. A uniquely Socratic idea is that these virtues are deeply connected and may ultimately be different expressions of a single underlying virtue: knowledge of the good. A person who truly possesses such knowledge will naturally be just, courageous, and temperate.

Aristotle: Moral Virtues

 Aristotle’s Moral Virtues (The Golden Mean)

Aristotle categorizes moral virtues by the specific sphere of feeling, action, or social conduct they govern: [1]

  • Courage: The mean between rashness (excess) and cowardice (deficiency) regarding fear and confidence.
  • Temperance: The mean between licentiousness/self-indulgence (excess) and insensibility (deficiency) regarding bodily pleasures and pains.
  • Liberality (Generosity): The mean between prodigality/extravagance (excess) and illiberality/stinginess(deficiency) in managing minor wealth and spending.
  • Magnificence: The mean between vulgarity/ostentation (excess) and pettiness/conservatism(deficiency) in handling major wealth and grand scale spending.
  • Magnanimity (Great-Souledness): The mean between vanity (excess) and pusillanimity/false humility(deficiency) regarding major honor and status.
  • Ambition (Proper Ambition): The mean between over-ambition (excess) and unambitiousness(deficiency) regarding minor honor.
  • Patience (Gentleness / Good Temper): The mean between irascibility/short-temper (excess) and lack of spirit/submissiveness (deficiency) regarding anger.
  • Truthfulness: The mean between boastfulness (excess) and understatement/self-deprecation(deficiency) in self-expression.
  • Wittiness: The mean between buffoonery (excess) and boorishness/dryness (deficiency) in conversation and humor.
  • Friendliness: The mean between obsequiousness (excess) and cantankerousness/aloofness (deficiency) in social conduct.
  • Modesty: The mean between shyness/embarrassment (excess) and shamelessness (deficiency) regarding shame.
  • Righteous Indignation: The mean between envy (excess) and malicious enjoyment (deficiency) regarding the fortune or misfortune of others. [1, 2, 3, 4, 5]




Aristotle’s Intellectual Virtues

Unlike moral virtues, which are formed through habit,intellectual virtues are developed through instruction, experience, and time within the rational part of the soul: [1, 2]


  • Art / Craftsmanship (Techne): The practical skill or rational capacity to make things effectively. [1, 2]
  • Scientific Knowledge (Episteme): The ability to grasp demonstrable, universal, and unchanging truths.[1, 2]
  • Prudence / Practical Wisdom (Phronesis): The ability to deliberate well and make good, ethical choices regarding human action and what is good for oneself and society. [1, 2]
  • Intuition / Intellect (Nous): The capacity to grasp the basic first principles and foundational truths that underpin science. [1, 2]
  • Philosophic Wisdom (Sophia): The combination of nous and episteme, representing the highest form of theoretical wisdom concerning universal first principles. [1, 2]


Plato: 4 Cardinal Virtues

 Plato outlined four cardinal virtues in The Republic that form the foundation of both an ideal society and a well-ordered human soul. [1, 2]


The Four Cardinal Virtues

  • Wisdom (Sophia / Prudence): Assigned to the rational part of the soul (and the ruling class in a city), wisdom involves knowing what is truly good and guiding decisions with reason. [1, 2, 3]
  • Courage (Andreia / Fortitude): Assigned to the spirited/auxiliary part of the soul (and the warrior class), courage is the strength to hold onto true beliefs and face fear or temptation. [1, 2, 3]
  • Temperance (Sophrosyne / Moderation): Shared across all parts of the soul (and most closely linked to the producing/artisanal class), temperance is self-control, balance, and the moderation of animal appetites. [1, 2, 3]
  • Justice (Dikaiosyne): The highest virtue that stands above the other three. Justice occurs when every part of the soul (or every class in the city) performs its proper role in harmony without overstepping. [1, 2]


How They Connect

  • Tripartite Soul: Plato mapped these virtues to the three parts of the human mind: reason (Wisdom), spirit (Courage), and appetite (Temperance), with Justice acting as the overarching harmony of the whole. [1, 2]
  • Legacy: These four traits later became known as the cardinal virtues (from the Latin cardo, meaning "hinge"), influencing Stoic, Christian, and Western ethical traditions. [1, 2, 3]


Sunday, October 11, 2026

Euripides’ the Bachae: 10 questions

 Here are 10 thoughtful discussion questions that encourage close reading, interpretation, and critical thinking about The Bacchae:

  1. Why does Dionysus feel it is necessary to punish Pentheus and Thebes?
    Is his response justified, or does it seem excessive? What does this suggest about the nature of divine power in the play?
  2. How does Pentheus' refusal to recognize Dionysus contribute to his downfall?
    Is Pentheus a tragic hero, a tyrant, a victim, or some combination of these?
  3. What role does disguise and deception play in the drama?
    Why does Dionysus frequently conceal or manipulate appearances, and what does this reveal about truth in the play?
  4. The Bacchae often explores the tension between reason and emotion.
    How do Pentheus and Dionysus represent opposing forces, and what message might Euripides be conveying about the limits of each?
  5. How are gender roles challenged or inverted throughout the play?
    Consider Pentheus dressing as a woman, the behavior of the Bacchae, and Dionysus' own presentation.
  6. To what extent is Pentheus responsible for his fate?
    Could he have avoided disaster, or was he doomed from the moment he rejected Dionysus?
  7. What does the play suggest about the relationship between humans and the gods?
    Does Euripides portray the gods as worthy of worship, frighteningly arbitrary, or something else entirely?
  8. Why do ordinary people seem drawn to Dionysus and his worship?
    What needs or desires does Dionysian religion fulfill that the established social order does not?
  9. How should we interpret Agave's recognition scene at the end of the play?
    What makes this moment so powerful, and how does it change our understanding of the events that preceded it?
  10. If The Bacchae is ultimately about balance, what kinds of balance does Euripides advocate?
    Consider order and chaos, civilization and nature, reason and passion, human authority and divine authority.

Extension Question

Why do you think The Bacchae continues to be read and performed today?
What aspects of the play speak to contemporary concerns about power, identity, belief, social conformity, or human psychology?