I've seen a lot of computer crazes in my day, but this one is sheer Mardi Gras. It's not proper to get stern and judgmental when the people are costumed and cavorting in the streets.

Film, television, and literature all tell them better. So why are games still obsessed with narrative? A longstanding dream: Video games will evolve into interactive stories, like the ones that play out fictionally on the Star Trek Holodeck.

The task of art is to transform what is continuously happening to us, to transform all these things into symbols, into music, into something which can last in man’s memory. That is our duty. If we don’t fulfill it, we feel unhappy. A writer or any artist has the sometimes joyful duty to transform all that into symbols. These symbols could be colors, forms or sounds. For a poet, the symbols are sounds and also words, fables, stories, poetry. The work of a poet never ends. It has nothing to do with working hours. Your are continuously receiving things from the external world. These must be transformed, and eventually will be transformed. This revelation can appear anytime. A poet never rests. He’s always working, even when he dreams. Besides, the life of a writer, is a lonely one. You think you are alone, and as the years go by, if the stars are on your side, you may discover that you are at the center of a vast circle of invisible friends whom you will never get to know but who love you. And that is an immense reward.

Monsters demonstrate, monsters alert us: whether or not the etymologies relating the word to both “monstro” (I show) and “moneo” (I warn), are correct, monsters act as a moral compass. The physical prodigy becomes a test of ethics and, in the move between literal and figurative, displays the crucial role fictions play in the establishment of value and the common sense. Or, one might say in the era when the Humanities are under such stress, thinking with monsters shows how an understanding of Nature, and of medicine, law and custom is impossible without cultural expression.

Games don’t do storytelling well because they can’t deliver the four key components of story. There is no hero. Time is in the control of the player, not the creator. There is no inevitability or sense of being powerless. And the story cannot have the player’s full attention. So a videogame Hamlet is just a guy running around a castle flipping switches and collecting items to kill his uncle, the big boss at the end. All those speeches just get in the way.

The player is not treading the boards at the Old Vic. He’s solving problems, taking action, creating and winning. Sometimes designers think this is just a matter of technique or technology. But it’s not, it’s a fundamental constraint borne of the psychology of play. It will always be so, and is why in 40 years there have never been any good game stories.

Who Goes There? is a science fiction novella by John W. Campbell, Jr. under the pen name Don A. Stuart, published August 1938 in Astounding Stories. In 1973, the story was voted by the Science Fiction Writers of America as one of the finest science fiction novellas ever written, and published with the other top vote-getters in The Science Fiction Hall of Fame, Volume Two. The novella has twice been adapted as a motion picture: firstly in 1951 as The Thing from Another World and later in 1982 as The Thing.

Little is quite as dull as literary worship; this essay on Borges is thus happily doomed. One finds oneself tempted toward learned-sounding inadequacies like: His work combines the elegance of mathematical proof with the emotionally profound wit of Dostoyevsky. Or: He courts paradox so primrosely, describing his Dupin-like detective character as having “reckless perspicacity” and the light in his infinite Library of Babel as being “insufficient, and unceasing.” But see, such worship is pale.

And problematic as well. More than any other 20th-century figure, Borges is the one designated — and often dismissed as — the Platonic ideal of Writer. His outrageous intellect is cited as proof of either his genius or of his bloodless cerebralism.

But Borges did have some mortal qualities. He lived most of his life with his mother. He loved detective and adventure novels. (His first story in English was published in Ellery Queen Mystery Magazine.) Though he started to go blind in his 30s, he nev

It is misleading — and dangerous — to think that religions are different paths to the same wisdom.

At least since the first petals of the counterculture bloomed across Europe and the United States in the 1960s, it has been fashionable to affirm that all religions are beautiful and all are true. This claim, which reaches back to “All Religions Are One” (1795) by the English poet, printmaker, and prophet William Blake, is as odd as it is intriguing. No one argues that different economic systems or political regimes are one and the same. Capitalism and socialism are so self-evidently at odds that their differences hardly bear mentioning. The same goes for democracy and monarchy. Yet scholars continue to claim that religious rivals such as Hinduism and Islam, Judaism and Christianity are, by some miracle of the imagination, both essentially the same and basically good.

This view resounds in the echo chamber of popular culture, not least on the “Oprah Winfrey Show” and in Elizabeth Gilber

A recent essay in the New York Times by Dennis Overbye has managed to attract quite a bit of attention around the internets — most of it not very positive. It concerns a recent paper by Holger Nielsen and Masao Ninomiya (and some earlier work) discussing a seemingly crazy-sounding proposal — that we should randomly choose a card from a million-card deck and, on the basis of which card we get, decide whether to go forward with the Large Hadron Collider. Responses have ranged from eye-rolling and heavy sighs to cries of outrage, clutching at pearls, and grim warnings that the postmodernists have finally infiltrated the scientific/journalistic establishment, this could be the straw that breaks the back of the Enlightenment camel, and worse.

Since I am quoted (in a rather non-committal way) in the essay, it’s my responsibility to dig into the papers and report back. And my message is: relax! Western civilization will survive. The theory is undeniably crazy — but not crackpot, which is a d

A few years ago Tufts philosopher Daniel Dennett opined that the idea of natural selection - proposed 150 years ago in Charles Darwin's "On the Origin of Species" - was "the best idea anybody ever had." The flood of books published this year to celebrate the sesquicentennial would seem to prove Dennett right.

The "idea of natural selection" is that changes in any organism's makeup or behavior will persist or not according to whether they make it more or less likely for that organism and its descendants to survive. What kind of changes, and where do they come from? Any kind, from anywhere. Chemical accidents or cosmic radiation may alter an organism's genes, and therefore its physiology, for better or worse. Environmental change or social interaction may make one physical or behavioral trait more advantageous than another - meaning that those who inherit or learn that trait will survive and reproduce more abundantly. This is "Darwin's dangerous idea," from which all of evolutionary bio