Friends Friends Friends Friends Friends

The FFVII Letters between Kirk Hamilton and I are continuing over at Paste Magazine. Right now, we’re talking about camp and immersion, and how there’s so much silly stuff going on in FFVII – weird minigames, timing challenges, and parade marching. In modern games we’d complain this kind of thing “breaks immersion,” but we don’t seem to be bothered by it in FFVII. We wonder why?

It’s been a lot of fun for us to be reflecting on simpler times in an era of being inundated by next-gen this and social that. The social media climate in particular, where there’s an app for everything and you’re supposed to share it with everyone, is a bit overwhelming. Sometimes it even looks silly.

When I wrote ‘How I Became A Social Media Millionaire in One Week‘ at Thought Catalog last Fall, it was a satire of this business culture that trades investment dollars on ideas and in trends, not products or actual market savvy. This hilarious fake ‘pitch deck’ I found yesterday (via Ian Bogost, naturally) also makes note of the silly sameness inherent in the social media biz (get your fake social media company name here).

And this SUPREMELY HILARIOUS YouTube vid I saw yesterday (also via Ian) satirizes the app developer market really brilliantly: Check out the Brother IntelliFax 2800 App Store. They want developers to be fapping all the time.

All of these apps and all of this sharing. Facebook! Twitter! Ever feel like it’s ruining the meaning of the word ‘friend?’ I certainly do, especially when I realize I have all these virtual strangers ‘friended’ on Facebook. I wanna delete some of them. You do too, right? THEN I HAVE WRITTEN YOU AN ARTICLE: It’s entitled The Top 5 People You Should Unfriend From Facebook,”and hopefully it will help you out.

I do have some people who are actual friends. Someone on Twitter dug up this old ‘podcast’ — I think it’s from 2009? that Gillen and I did while becoming progressively more drunk on my kitchen floor at my old apartment in Bed-Stuy. Recommend listening at your own risk as we ramble, at times borderline-offensively, on abstraction and immersion — but mostly about hentai games and Japanese fetishes. When I get to the part about how maids aren’t hot in real life because of an extremely non-PC and wince-inducing reason (which I later clarify, but still!), you can hear Gillen ‘helpfully’ refilling my glass again. Good times. Embarrassing, but mostly good.

Introducing The FFVII Letters!


I really dislike the idea that in order to be knowledgeable on games, you must have played every game. There are certainly gaps in my lexicon, and I keep quiet about them because there’s nothing more I loathe than someone agape, demanding of me, “you never played [that]?! How are you a game journalist” and blah blah blah.

I never thought I’d pull that one on someone else, but when I found out my friend, talented fellow writer Kirk Hamilton, had never played Final Fantasy VII I was pretty much like dude wtf is yr prob fix this now bro (yes, that’s kind of how we talk to each other).

Fortunately, rather than tell me to step the eff off, Kirk agreed to launch into a letter series with me which he’s running over at Paste Magazine, where he is games editor. In part one, we discuss initial perceptions from his fresh perspective, and in part two, we discuss a bit about the characters and why abstraction makes the world feel real [edit: part 3 is also up] – follow official index here!)

I know it’s tempting to think of FFVII as something that’s “been done”, but it’s fascinating to see an adult gamer discover it for the first time, independent of the climate in which it was originally released, divorced from the fanboyism. I also think everyone who was an FFVII teen should endeavor to replay the game as an adult, as I’m doing — ideas on who we are now and where we came from help illuminate why a game where everyone had giant hair made a genuine emotional impact on an entire generation.

And for both of us it’s making us consider the state of RPGs in 2011, what Westernization has done, and what we might have lost in the march toward streamlined design and better graphics.

Chains Of Meaning

Post-GDC, it takes forever to get back to normal. Like, weeks! I’m still working on it! But here are a few fun things I’ve been working on in the meantime.

If you couldn’t tell, I’m a big fan of Jason Rohrer (remember when I got to play Sleep is Death with him last year?) This GDC, he participated in Eric Zimmerman’s annual game design challenge, where a panel of sharp designers are tasked with creating a concept based on a certain theme. This year’s was religion, and you can read about how Rohrer won the challenge in my coverage here.

I did an interview with Rohrer on his new game, Inside a Star-Filled Sky. He’s a fascinating person to talk to, and despite the whole “art game” thing that canopies much of his work, he’s terribly pragmatic and upbeat (that contrast between his heavy death themes and his approachable personality is one of the things I asked him about).

Anyway, Rohrer’s challenge-winning Chain World design is now at the center of something of an interesting controversy. If you haven’t heard about it, catch up here. The most interesting thing about the debate is that even though it seems that Rohrer’s intentions for Chain World are being “subverted” (depending on whom you ask), this very sort of discussion and debate — what defines “good”, what is the fate of the “holy object”, who can participate, should money be involved and what principles are most important — is inherent to religion.

I haven’t asked Rohrer about this but I have to think he was aware of the possibility that people would disobey his “rules” for Chain World, or that it would mutate in some fashion beyond his foreseeing. But that we’re still discussing the “chain of meaning” behind that little USB key is even more proof that his design was a success, I think.

Other than that, I’ve launched into an analysis of the narrative of pretty much my favorite album, Joanna Newsom’s Have One On Me, speaking of meaning. It’s a very personal album to me. Probably only people who are curious about music or who like the record would be interested, but I did it one disc at a time: Part One, Part Two, Part Three.

Special thanks/blame for the Joanna series goes to friend/hero Kieron Gillen, whose idea it was. By the way, Gillen just got married this past weekend, and I regard him more highly than most people I know, so feel free to spam his inbox with congratulatory notes, because he isn’t busy CONTROLLING THE FUCKING X-MEN or anything.


Today’s Good Song:I’m Losing Myself“, Robin Pecknold (Fleet Foxes) feat. Ed Droste (Grizzly Bear) [via Said The Gramophone]

Hello San Francisco!

I am here yet again for GDC! I am very excited and very busy, and hope if you run into me you’ll say hi.

Real quick: My Kotaku feature from Friday. Please check it out if you have’t yet! Thanks sincerely to everyone who’s sent some mail about it. I’d love to be able to reply to you each individually, but I’m just not able to get the time during GDC week, my busiest all year. Still appreciate you all very much.

Gamasutra’s GDC SUPER SPECIAL GDC page GDC, where our coverage of all things GDC will be. Bookmark it! Now! GDC!

Love Means Sometimes Having To Say You’re Sorry


I didn’t really want to come out with some huge statement about dickwolves. I am aware of my status as one of the more prominent female voices on games, which means people often would like to see me lead discussion on things people categorize as “feminist issues.”

Note I think it’s perilous for anyone to suggest rape is something only women can talk about. But in any event, whenever I say something about an issue people see as a “feminist issue”I always somehow manage to whip up the jerks and dissatisfy the feminists; I get boxed into being “that woman writer” again, and not only do I have to deal with emails about what a dumb bitch I am, I don’t actually feel like I’m helping the conversation.

But I was asked on Formspring for my opinion and it seems my response got pretty widely circulated, so I figured I’d link to it here.

Two depressing things: First, I said how I felt and have now been aggregated, from what I can tell, into some kind of “anti PA” box despite the fact my response says “I love Penny Arcade” and that I was refraining from opinion on the joke itself, which does not really personally offend me. [Note: After I complained about this on Twitter, the ‘Pratfall’ timeline made an edit to note this — this site is a great, uncolored chronology of the events and I appreciate the keeper’s attention to my position.]

Second, after I basically said “since I don’t have a strong opinion it seems obvious to default to respect for people’s feelings”, someone still saw fit to say “the truth of the matter” is that people are making too big a deal out of it. I wonder if it’s a gamer thing, to always need to segregate everything into two opposing sides, and to genuinely believe that the idea of absolute fact can be applied to every situation. The truth, huh?

Actually, since I answered that question and began following the discussion more closely I probably approve less about how Mike is handling things publicly. The joke doesn’t offend me, but the idea that what people wear or don’t wear at PAX is going to create some sinister delineation between people who were hurt and people who weren’t creeps me out.

This weird combativeness, like promising to wear the shirt to PAX, or playing Tori Amos while drawing? [Amos has sung about surviving rape and was a founding member and major fundraiser of the Rape, Abuse & Incest National Network, which will receive proceeds from the ‘anti-Dickwolves shirt‘, but Mike says playing her music was just a coincidence, his iTunes was on shuffle and that you would be “crazy” to suggest otherwise.]

I do understand it sucks a lot to be at the center of an echo chamber that seems to be saying you’re a bad person because you made a joke you didn’t intend as offensive. But the willful refusal to even consider “hey, we may have been wrong here, and we feel bad that some of our fans are hurt” just seems weird, and inconsistent with the smart, fun tone I’ve always enjoyed about PA.

People are going on Twitter to try to publicly harass and insult rape survivors over this. They’re leaving harassing comments for one of the most vocal objectors in this conversation claiming she must be fat, ugly and bitter to be insulted by rape jokes. You guys. This is fucking sick.

Who tolerates this? Regardless of their own position Gabe & Tycho have an opportunity to speak up to at least encourage compassion and education within a gamer community that’s so often self-absorbed, immature, entitled and outright hateful. I’m trying to understand what would make them want to pass on that.

Something I learned in writing about games is that after a point you do kind of have to feel responsible. “I’m just doing my own thing and if you don’t like it you can leave” doesn’t work anymore after you’ve taken active steps to cultivate and lead a community. I’ve written some articles or blog posts in the past or said some things in public that I am not super proud of, looking back, things I would never consider saying now that there is a much larger community of readers who may be influenced.

Nobody asks to have others look up to them, and you could argue that if you’re just making art, or comedy, or commentary, it’s others’ decision to pay attention or not and that you don’t owe them anything (I sure feel that way about my Twitter account!).

But like it or not, if your audience grows large enough, people will start to look to you to help them shape the way they feel about issues or interact in their community. I do the work I do because I love the world of gaming, and because I love it, I try to make sure that the examples I set will help create positivity in the community.

I mean, sometimes I feel angry or resentful or aggressive and that comes across in my work. I have a bold personality, I sometimes speak before I think. I feel irritated sometimes at the obligation to be super duper nice to people and I can sometimes be haughty or judgmental. I’m not going to sit here and represent myself as some shining example of social responsibility. And it can be hard to field people’s anger if I’ve said the wrong thing– or even if they just think I have and I disagree.

You work for years doing everything you can to contribute good stuff to the gaming community, and then you do one ugly thing and the sheer volume of noise online can make you feel like the whole world’s razed everything you created and now hates you.

I’ve been there. There’s been a time or two (in my past, not related to this discussion) that I made some visible missteps and ended up not coming out of my room for a week. It felt like the whole world wanted to make fun of me, say these hateful, sexist, abusive things to me, and discuss how I acted on one or two occasions without knowing me at all — and I hadn’t actually said anything that could be perceived as discriminatory or injurious.

So despite the fact that deep-down, I wasn’t pleased with my own behavior, I determined not to be sorry to those losers for anything. I clung instead only to people who would stick up for me.

Maybe that’s how Jerry and Mike feel right now. Maybe it feels like an enormous assault over something that to them was one of however many zillions of jokes they’ve made over the years. The feeling that everything you’ve worked for can be made worthless to some people over one misstep is actually traumatic.

For me, the worst thing about my experience was not the negative reactions themselves. The worst part was feeling like people had got me wrong. That people now believed I was this awful person, that the fact I had been rude once meant I didn’t respect others or that I wasn’t loved enough as a child or something.

Maybe Jerry and Mike feel like people have got them wrong, too, that they’re now being accused of “supporting rape” or of being these dismissive, insensitive people. When a community turns on you like that it’s sick-making. It can be hard to want to say you’re sorry. It’s hard not to say “if you don’t like me anymore, then leave.” Admitting you’re wrong often feels like you’re giving your power away to these people who are tearing you down or are taking their reactions to an extreme that feels unfair.

I mean, those are the only reasons I can think of for those two not to take a more constructive stance here, to try to lead the discussion in a positive direction. Because unfortunately when you become a community leader, whether or not you explicitly asked for it, people look to you for how to act and react sometimes. It’s not always easy to find ways you can do the right thing and still be yourself, but you should try. It’s your job. People are believing in you.

Anyway. I said I didn’t wanna say much about this, but I guess I never could shut up, eh? That should do it; I said on Formspring already and now I’ll say here that that’s all I want to say on this.

Annoying Players On Purpose

It’s the biggest perceived “issue” with what people generally call art games — they’re counter-intuitive or inscrutable, players get frustrated, and then they don’t buy that artist’s line that the emotions they’re feeling are part of the intended experience.

The sensation that a designer has intentionally withheld his or her intention from a player’s reach often makes them feel tricked, excluded and frustrated. I’m the sort of player who likes to analyze what the designer is trying to get me to think and feel — and even I feel annoyed by games that punish me.

As it turns out, the problem with some of those games isn’t that they made me feel bad. It’s that I didn’t understand why they did. I learned this by talking to Douglas Wilson from the Copenhagen Game Collective about the group’s surprisingly fascinating philosophy of “abusive” game design.

The designers in the collective work in the discomfort zone because it’s a way of starting a conversation between the player and the designer. Ultimately, their work seems to see games partially as frameworks for interaction between people, not as the interaction themselves. It’s really thought-provoking: Read the interview!

Post [About] Some Fxcking Cats (And Bulletstorm)

So I did this article about why despite the fact that research shows exponentially more people self-identify as “dog people” rather than “cat people”, cats are virtually the unofficial mascot of internet culture. Even weirder, I assert the cat phenomenon originated in the most aberrant and un-cute of places. Read it, will you?

It relies on the idea that culture’s like a living organism; like a cell culture, maybe, like a species, or like a volatile compound. It compensates for inertia, it evolves around environmental events, against homogeny and in response to its own weaknesses. Weird to think of ‘cat pictures on the internet’ as potential evidence for this concept, but I think it is.

Do you think game culture is evolving? Maybe “game culture” hasn’t really been “a thing” for long enough, but when I look at the way creators represent themselves in mainstream games and the way the consumer culture reacts, I just never see anything changing. Of course, the interesting changes, statements and reactions, are happening at the fringe.

There are things happening in indie culture and in those that consume it that are commentary on or responses to (or against) the mainstream. But in all other entertainment media, you can look at trends in even the lowest-common-denominator works and see that they reflect their times.

Film genres evolve as ways for people to represent and express the way they feel about the things that are happening in their world or in their society. Each period of music history has a sound that correlates to the unique circumstances of that era. Do games do this?

I find myself weirdly depressed reading Richard Clark’s Gamasutra analysis today about Bulletstorm. He, like many people (including myself, in general) is impatient with adolescent violence. The game’s lead designer himself responds in the heated and thought-provoking comments discussion to say he’s an adult catering to other adults; that having fun being immature is not the same thing as catering to teenage boys.

Some commenters seem annoyed that gloriously, silly-stupid violent games like Bulletstorm keep on getting made despite the fact that the primary negative stereotype about games and gamers is that they are silly, stupid and violent. That stereotype doesn’t just make us look weird in front of our friends and families, it results in ignorant government and legal trouble.

Yet others ask an equally-valid question: Is Bulletstorm supposed to feel responsible for “elevating the medium”? Does it need to feel guilty if people think it’s “bringing it down?” It’s just one product, one idea in a sea of many.

I had no problem with the silly-stupid sexuality in Bayonetta because I thought it was refreshingly different camp stylization, so I’m probably not in a position to complain about the visual and auditory stupidity of Bulletstorm.

I bet I’d even have fun playing Bulletstorm. I’m a hundred percent behind the idea of a statement that modern shooters, with their bald heads, sullen frowns, “gritty” landscapes and lobotomized attempts at creating “emotion” through hackish and often offensive storytelling, take themselves way too seriously, try way too hard to be “adult.” I love that the designers see Bulletstorm as a protest of that tradition.

After all, people complained about Bayonetta, I rolled my eyes and thought, “stop taking yourselves so seriously; not every video game needs to be a Good Example.” I felt that letting Bayonetta be weird and naked if she wants to be was a more positive statement than telling me if I wanted to respect myself as a woman I was only allowed to play as a turtlenecked androgyne.

I saw nothing destructive, and I was disappointed that people feeling alienated by Bayonetta prevented them from seeing what a fun, stylish freak of a game she was in.

And I still feel that way — and maybe more others would too, if exploitive shit wasn’t the rule, not the exception. I don’t really fault people for disagreeing with me and for being unable to smile much at Bay-bay-bay’s naked hair wolves. We’ve been looking at CGI boob physics for too long to be anything less than cynical and bored.

That’s probably why some of the Gamasutra commenters are uncomfortable about Bulletstorm. I could sit here and say “but Bulletstorm doesn’t look stylish, it just looks gross and childish,” but plenty of people felt that way about Bayonetta and I saw that as just a matter of taste; that mine was simply different from theirs.

So I see both sides, I guess. Most of all, I’m just bummed that this is a conversation we keep having, that big fancy new games are either so samey-same as to cause no ripple when they sink down quietly in the fast-moving river of this industry — or controversial in the same old way, over and over again.

What’s more boring — an endless parade of man-child bloodbath games, or endless circular conversations about them?

Old Dudes And Internet Romance

Things change so fast, don’t they. By that, I mean there’re some things we accept about the video game landscape that we maybe couldn’t have imagined even a few years ago, like motion controls, glasses-free 3D, or buying small download titles without packages.

The internet’s changed pretty quickly, too. I am not especially old, but as I was an early adopter and eager to get online from a young age, my earliest memories of “going online” are of a glitch-addled land of the weird, some exciting and foreign country.

This isn’t a video game article, but it’s about an adventure I had in the “world” of ancient internet — my first INTERNET ROMANCE, where I was 14 and the poor fellow was 30. It’s a fun story, so please give it a read.

Lost Time


Jeez. The holidays come, then I get a flu, before you know it I’ve been away from the blog for a couple of weeks. Lots to catch up on, so forgive me if I just quick link-blitz you for now on a little of the stuff I’ve done here and there in the meantime:

Kotaku: New Year’s Resolutions for Gamers — How many do you think people will want to adopt?
Thought Catalog: How FourSquare Intends To Be Vs. How FourSquare Really Is — Why I think geolocation apps and “games” aren’t “social”. Now with 50% more derision.
Thought Catalog: Five Emotions Invented By The Internet — Deep angst in the digital age.

And I don’t know whether to blame holiday nostalgia for younger days or the sense of juvenile vulnerability brought on by being sick for why I’ve launched on a deep, focused revisiting of Final Fantasy VII on my PSP. And I’m not sure why I assumed a game that I and everyone else loved on such a massive scale that it’s possibly not been repeated since wouldn’t hold up, or wouldn’t be as interesting on reflection.

In a strange way, it’s more interesting as an adult, looking at the little details of the game world, traits of the experience that probably wouldn’t appear (for better or for worse) in modern designs, and try to think about why it was that the FFVII universe seized us in such a lasting way.

It hasn’t even been that long since I tried to think about this, since I was very moved by playing Crisis Core when it came out (although this is my first real play-through of FFVII in some years). I’ve just never really been satisfied by any of the writing I did around it nor by the firmness of any of the conclusions I made. Going to try to do some fun and useful stuff this time around, so stay tuned.

Yeah. Crazy busy, but what else is new?

Other good stuff: While I was sick I watched this “Princess Jellyfish” show basically in one sitting and I am impatient for more episodes now.
Today’s good song: Avi Buffalo, ‘Where’s Your Dirty Mind