At Nine Worlds this past weekend in London, I talked about how a confluence of different things happening in music, film and culture in the American 1990s conspired to undermine the corny consumerist patriarchy that alienated so many, especially women and weirdoes, in the 1980s.

Here’s an article adapted from the talk — I’m told the video will be online in a few days, and I’m eager for you all to see it because it has loads more anecdotes and context. And even a little singing, which was maybe a dubiously-advisable communication tactic, but oh well.

Gone Home is out, and in a lot of ways it’s about similar things. About being a Riot Grrrl, about quiet revolutions of the self in the world. I have so much more to share and to say on that, but let’s give people some time to actually experience it for themselves. In the meantime, here’s a spoiler-free interview with The Fullbright Company’s Steve Gaynor on the brilliant design and how it came from need, constraint and graceful restraint.

More on all of this soon. I’ve actually played a number of incredible games in the last… week (!) that I can’t wait to talk more about with you.

The key thing I hope people take away from my writing on the 90s is this bit:

“This is why feminism matters in games: Not as a feel-good issue, not as ‘political correctness,’ and not even because inclusivity is morally-correct or more economically viable. It’s because it’s a key component in disrupting the status quo, the oppressive ideals that constrain and prescribe on behalf of everyone who wants to participate, men included.”

Related: My newest Edge column just came online, addressing the common misconception that diversity means “dumbing down” games. Uh, no, dudes.