Gone Home, Manifesto of Modern Rad-Femme Extremism

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Warning: this read is LONG AS HECK!  A lot of games are pretty poignant and come out at the right time.  Gone Home is a game that came out about two months after DOMA and Proposition 8 were ruled unconstitutional by the supreme court.  Being in the Army at the time, I literally watched the military go from “don’t ask, don’t tell” to “First Sergeant is going to help me and my partner get housing benefits.”  It was a monumental time. I was actually in basic when Don’t Ask, Don’t Tell was repealed and everyone thought I was going to come out.  Next morning at formation I was asked by several fellow soldiers and replied “I’m still rather fond of boobies.”  But in the swell of history-changing happiness, it seems a doctrine slid into place that, even now, is permeating the industry and much of our society.  Gone Home has a deeper, toxic narrative that uses the inspiring narrative of the game to hide and poke holes in American society, quietly going so far as to say that it should be restructured with women in the position of power over men.

In Gone Home you play Katie, the elder of two sisters who has just returned from a year-long trip to Europe.  Throughout the game you find various postcards sent home by Katie from a variety of historic locations.  This adds a sort of innocent perspective of family as perceived by someone removed from the conflict; but conflict in this game is constantly reviewed and discovered in the past tense, not personally experienced.  In order to get a proper context for the events of Gone Home, you should get to know the remaining characters.

Sam Greenbriar is Katie’s younger sister and the primary focus of the game’s narrative.  She seems to have started her last year in High School, but her grade is never explicitly stated.  Sam meets a girl, named Lonnie, that she becomes friends with, but the relationship goes further than she ever expected and blossoms into a full romance.  It’s 1995, so this doesn’t exactly go over well.

Janice Greenbriar is the mother of the household and, as the Head Conservationalist of Flintlock Forestry station, she is the bread-winner of the family.  While Janice is assisting with the Takelma County Forestry Service in a controlled burn of a section of forest, Janice distinguishes herself and is promoted to Regional Conservation Management Director.

Terrence Greenbriar is the father of the household and is a writer struggling with his own flaws to create a successful sci-fi historic fiction series known as the “Accidental” series.  Terrence is traditional and dreamy, but he seems given to periods of self-doubt and, possibly, depression.  He struggles with his job, too, losing a good gig in reviewing music from one room to the next.  The house they live in was recently acquired in a will from his recently deceased Uncle, a pharmacist named Oscar Mason.

Lonnie is Sam’s girlfriend, but it doesn’t start out that way.  They just start out as girls being girls but it develops further.  Lonnie is in ROTC and is training to join the Army.  Lonnie exposes Sam to a whole new life and way of thinking that was previously alien to her, but Lonnie is very conflicted and this comes through often.

Daniel is a background character.  He was friends with Sam when they were very young, before their recent move.  Same actually describes Daniel as a “default friend” in a journal to Katie and generally only talks to Daniel to get his “good” Super Nintendo games.  Sam is markedly slow to return these.  Sam distances herself from Daniel as she grows up, claiming that he got “weird.”

Big, happy family.

Big, happy family.

Now, Sam meets Lonnie in the most innocent fashion, and it starts out as the two having fun and being girls.  They explore the mansion, which neighborhood kids call the “Psycho House” since there was a tragedy that befell a previous owner, so it is rumored to be haunted.  As it turns out, the house may very well be haunted and there are numerous secret passages within the building.  Lonnie and Sam spend more and more time together, falling in love.  For the longest time they keep their love a secret from Sam’s parents, but eventually it comes out.  Now this would all be fine since this story is conveyed nicely and it is quite inspiring, but that is not all that lies within the text of this game.

While the girls are hiding their secret love, Sam creates two fictional characters, which she writes about.  The telling of these stories comes in a reverse order, starting with the most recent first.  I will start with the oldest one first, which is returned to Sam by Daniel.  In a child’s handwriting, the story describes Sam and Danny exploring a forest, finding an ocean with a pirate ship in it and manning it.  Sam declares that she will be the Captain and Daniel the First Mate.  Daniel replies with an “Aye, aye, Captain!”  This is two kids playing and seems genuinely innocent, but take note here that Sam automatically takes the dominant role in their relationship and  Daniel accepts unthinkingly.

Wait.. is he staring at her butt?

Wait.. is he checking her out?

Our next entry in this miniature “narrative within a narrative,” the First Mate is in trouble and shit gets weird.  After exploring the house for some time, you find hidden compartments in the walls.  In one compartment is another story about Princess Allegra, as the pirate captain has by now been named, is searching for her First Mate in a forest.  He has been captured by the Green Glacier Amazon Tribe.  Upon confronting the Queen Amazon, Allegra tries to stop the Queen by throwing the sword at her hand.  She is too late, though, and the First Mate falls into a vat of water.  Things go quiet and the First Mate emerges from the water transformed from man into woman.  Here is where shit gets weird.  The Amazon Queen says “She is one of us now.  She is ours.”  Allegra responds “That’s the love of my life, and you can’t have her.”

One of us! One of US!

One of us! One of US!

Now, looking at this for face value, it seems like a story about the transformation of a girls sexual identity from hetero- to homosexual, given the context of the main story; however, in the context of the deeper narrative context provided by the actual characters. This story takes on a totally different hue, which I will return to later.  Throughout the game, there are examples of women in a position of power over men, and it’s not even subtle or accidental – it happens in every possible relationship created in the game.

The only living primary male character is an example of male failure.  His job is not working out because he is infecting his reviews of music, where readers want to hear about the quality and value of hardware, with tangents and diatribes about the ruination of his childhood.  This is found in a typed letter from the reviews editor of Home Theatre Aficionado Magazine.  Terrence also receives a letter from the publisher for his “Accidental” book series, Mercury Books, that due to sales of the second books being worse than the first, they would no longer continue to publish his work.  Now, this all comes alongside the standard trope of older men being alcoholics.  Gone Home serves this up by placing a bottle of whiskey atop the bookcase in Terrence’s office; then, later, the rejection letter from Mercury Books can be found in the bar, just down the hall.  Here it looks like someone has recently spent a lot of time drinking by the sloppy placement of glasses on the bar and one on the table by the record-player.

Aside from failing at his work, Terrence is also failing as a father, at home.  We’ve already established that Janice has a steady job, which she is good at – given her promotion, but there is something else going on under Terrence’s nose that he isn’t even aware of.  Following Janice’s little story, you find that she has been spending a lot of time with a man named Richard Patermach.  Rich is man that she met during the controlled burning operation with Takelma County Forestry Service.  In what seems to be a personal room where she paints still-lifes, you can find a performance evaluation of Rich on the table.  Janice, being in a position of superiority over this man, gives him a glowing review and even says that she will put in paperwork to request his transference to her forestry station.  I mean, she cirlces all the ‘5s’ in a 1 – 5 evaluation scale, which TOTALLY doesn’t look suspicious.  In the next room you find a romance novel about a “fireman” set against a background of a forest.  Later on, beyond what is initially a locked door, you find some important scraps of paper: one is a receipt for a makeover given to Janice totaling 119.50$.  Now that is expensive, but according to this inflation calculator that is worth 186.03$ in 2014, which isn’t a huge gap, but when you have a daughter in high school and one in Europe, a husband that is struggling and a house that is in disrepair – according to the electric company inspection in Terrence’s office – that is a good chunk of change.  But why did she spend that much? Well, upon entering the dining room where mom and dad confront Sam about her sexuality, there is a table with a note bearing the Takelma County Forestry Commission’s logo.  Between these scraps of paper lie a promotion notice for Janice and a manual from Takelma’s forestry commission.  The note is from Rich and it invites Janice out to see a and EWF concert.  His girlfriend wasn’t into the concert and he invites Janice instead.  But there is no evidence she accepted, right? Wrong, ticket stub for Earth, Wind and Fire in the heating vent in the hallway.  How can we guess at the motivations for accepting and assume it wasn’t innocent?  Looking in the drawer behind the table sits a letter from janice’s friend, Carol, where she describes Rich as “our favorite flannel-clad hunk,” which describes Rich in terms of a character on the cover of a romance novel like the one in the backroom of Janice’s little personal room.  Later on we find that Rich gets married and Janice and Terrence end up going on a couple’s retreat, which, according to the calendar in the kitchen and the pamphlet by Terrence’s new writing spot in the greenroom, where they will likely review their marriage and where it is going.  I mean, Janice has been nothing but supportive of her struggling husband, why wouldn’t she feel the urge to leave him?  But the support shown to her husband mostly seems like a way to cover for her deeper intentions and desires, considering there is one physical instance of her support and numerous others detailing the narrative between her and “our favorite flannel-clad hunk.”  It is an objectification of a man with the female hegemonic gaze, just as is decried by feminists in terms of games where women are represented as sexual objects.

She knows this is supposed to be an objective rating of his job performance and not how he might be in bed, right?

She knows this is supposed to be an objective rating of his job performance and not how he might be in bed, right?

Through the rejection of his life partner, we see that Terrence is cast as an impotent male in terms of his fulfilling the gender role a man is supposed to: the provider of the home.  Hell, we even see an unused condom in one of Terrence’s drawers in their bedroom.  It looks like it has been there for some time, and there is only one, so it is more like a “just in the wild case” rather than hopeful premeditation of a sexual exchange with his beloved wife, not to mention they could just use the pill for a more intimate encounter.  It is the 90’s, afterall.

Terrence isn’t the only male rejected by a female.  Sam, our leading character, has a childhood friends who she regards right off the bat as a “default” friend, since he lives right next door.  She even goes so far to say that she only really valued their friendship because he had good videogames because he became weird.  You’d expect someone that is made fun of at school for living in the “Psycho House” to look past the exterior at who a person really is, even if she is a lesbian.  Lesbians can have friendships with white, hetero males and not want to be with them, I promise.  When Daniel calls she rejects him by not calling back.  He doesn’t even mention that he wants his game back until after what seems sustain cases of rejection.  Sam is, honestly, a cold little girl that only considers males in terms of what they can give her.  In the kitchen we see that Sam and Daniel finally reconcile when he returns the oldest page of the pirate story with the picture above and comes after Sam is confronted about her sexuality.  She wants to talk about her remorse about their lost childhood friendship, but instead tells him about Lonnie and recent events and then tells him about “how sorry I was that I wasn’t his friend anymore.”  This is nice and all, but it only comes after the boy has submitted to her, contacting her over and over and over with no response, asking for his game, trying to see her.  Finally she reconciles with him because, why?  Because he gives her some comfort in a tough time by hugging her and saying it’ll be ok, bringing a piece of her childhood self and reminding her that he had submitted to her from the very beginning.  I think this is referred to colloquially as the “friendzone,” where a female keeps a boy around for the value of his emotionally supportive nature.  This renders the guy more of a comfort object, similar to a teddy bear, rather than a person with his own thoughts and feelings.

Ah, the dead pharmicists personal opiate stash. memories.

Ah, the dead pharmicists personal opiate stash. memories.

And it doesn’t stop here!  We never get the full story of what happened with Oscar Mason, but in a safe in the basement we find a letter that was written before he died to his sister, Mary Greenbriar.  In the end of the letter he says “If no response is received, I shall henceforth accept my sentence, and one day simply cease to be.”  Throughout the letter we get the impression that something had divided him from his family and, in the rejection of the letter, he is never reconciled.  Like Terrence, who turns to the bottle to ease his emotional pain, we can suggest that Oscar may have done the same, the safe being filled with syringes and morphine syrettes.  There is even a rubber hose used to constrict the veins of the person taking the medicine, so they bulge with pressure and are easier to find.  You know, similar to the trademark hose of the heroine addict?  In his final weeks, maybe even days, Oscar reaches out in an attempt to reconcile with family, but his letter is rejected without being opened: it is marked with a red ‘X’ and scribed with the words “return to sender.”  By the admission of the last line of the letter, we can not only say that a judgement has been passed on him by Mary, but his situation is doubly cruel considering she never had the decency to open the damn thing.  I mean, none of us liked my grandmother, but when she died we went to her bedside so she would know that, despite all the horrible things she did, we were still a family.  That is a message infinitely more comforting than “return to sender” (subtext: so he can die sad and lonely with no one by his side.)  So where men aren’t sexual objects in this game, they are impotent examples of their own gender role or outright rejected until they submit to the females in their lives.

There is another function that Oscar fills, even in death.  Sam and Lonnie seek to contact his ghost with a Ouija board by performing a seance in the secret room under the stairs.  This contributes to the completely bizarre atmosphere Gone Home carries throughout.  With the flicker of lights, soft patter of rain at the windows and the lighting that occasionally lights up the halls, Gone Home has an ambiance right out of a horror game.  It even has a jump scare in it.  This feature, I think, shows an even more sinister and dark side of this game’s ideaology.  Oscar Mason is dead, yes, but his death and potential spirit haunt Sam in her life to the point where she is bullied in school as the “Psycho House Girl.”  We get the implication that the Uncle went crazy and this somehow resulted in his death.  I was never able to explicitly discover why or how, but it haunts her throughout the game.  Initially it’s only the bullying, but later we see a much more vague form of this influence.

This family is traditional and they keep a couple old bibles in the house.  This is common, though, and could be dismissed, but then there is the film “Inside Edition,” which is mentioned in the game.  In a scrap found in the room with Janice’s makeover bill, we find the schedule for the movie and description saying “Investigative team visits camp whose specialists help adolescents overcome deviant behaviour and homosexuality.”  Since the film is in the parents room and clearly written in a feminine handwriting, we can assume it is the mothers.  This would show the mother as being the true matriarch of her house, seeing a problem and using a film with religious undertones to uphold the most patriarchal aspect of their lives.  Of course, her own brush with deviance at the EWF concert leads you to think that maybe she isn’t so committed to that.  Either way, when the parents confront Sam, she remembers that it is Dad who really confronted her on this matter.  He even leaves a note on the kitchen table, so since he is the one writing for Home Theatre Aficionado and records numerous films on VHS, it’s not a big step to consider the possibility that Dad told mom to record the movie.

Oscar’s other role in influencing Sam comes in his own religious quality.  It is only truly discussed in the sole jump scare in the game, which takes place in one of the secret passages.  After looking around the area a bit, you can find a cross that has the words “for god so loved the world he gave his only son.”  When you grab this crucifix and examine it, the light bulb in the room explodes.  Sudden, unprecedentedly creepy, and another tie to Oscar through the use of the supernatural.  Oscar’s greatest role in this is similar to the ghost in Shakespeare’s Hamlet, which is Hamlet’s father, referred to as King Hamlet for differentiation.  In Hamlet, the ghost comes back from the grave to tell Hamlet the secret about his Uncle Claudius.  Given the powerful nature of Oscar’s spirit and his reaction to your touching his cross – there are many other things of his to touch, but this is the only one that induces a jump scare – you can assume that he is likely very religious.  His spirit being such, he would disapprove of Sam and Lonnie’s relationship, and given their attempts to contact him and their playing in the secret places of the house – possibly more than just playing – Oscar would have the best view of their clandestine relationship.  While he never says anything to either Terrence or Janice, the house has an overall foreboding ambiance, which doesn’t suit the love story at all.  It feels more like Oscar represents the oppressive nature of the male patriarchy, expressed through religion.  The supernatural affect of Oscar, linked through religion to the parents, would seem like a sort of thematic amplifier to personify the oppression of the two young girls.  Though Oscar isn’t advising the parents take revenge on the girls from the grave, his disapproval  echoes across their generations in attempt to oppress the girls from beyond the grave.  Even if the mother would be the one that recorded the film, it would make sense since she is the head of the house and, thus, the one in the masculine role of power.  If the spirit is trying to reach out to Terrence, the darker implication would be that Oscar, Terrence’s uncle, is trying to tell Terrence to take vengeance upon the women in his life for usurping his natural “head-of-household” gender role by enforcing religious strictures upon Sam, his daughter.  Either way, the implications are pretty grim.  That is a lot to take from the game’s themes, though.  I mean, it’s not like there is a character in the game that personifies resistance against a greater male patriarchy that oppresses the deepest desires and natural state of the young women in ques… oh wait…

Kicking men in the face as they look up your skirt and making it a move against the patriarchy. A lost Marvel classic.

Kicking men in the face as they look up your skirt and making it a move against the patriarchy. A lost Marvel classic.

Note the upside down cross...

Note the upside down cross on revolution girl’s choker…

So where do they get the names?  Well, Sam takes on the name of Captain Allegra here, as the character in her story, and Lonnie gets to be Rev-L-Ution Grrrl.  you know, the one with the upside down cross on her choker?  No wonder Oscar is trying to come back from the grave, Lonnie is an anti-establishment lesbian that fights every element of the male patriarchy all while being in the ROTC.  One of the best parts of the game’s deeper story is where Lonnie explains her JROTC awards to Sam by drawing the awards.  The description for the last award for Adventure Training reads “I am a born adventuress and no borders can hold me.  The Army recognizes this.”  She also has an award for rifle training which makes her a “certified killing machine” and an award for orienteering.  Lonnie explains this last one as “the army thinks I can find my way around” but her having this award might be interpreted as “I can find my own way.”  So, in this game her position in ROTC and her affiliation with the military serves only to characterize Lonnie as a male in a female body and, thus, the epitome of an anti-male revolutionary.  The army is only used to make her stronger than all the other men in the game and point her out as unique, interesting and important.  Lonnie – carrying even a distinctly unisex name – is an example of the Butch Lesbian trope.

I am not sure that is quite what that means...

I am not sure that is quite what that means…

Entertainingly enough, Sam takes on another trope similar to the Butch Lesbian, known as the Pirate Girl. I mean, she writes about a pirate girl, fancies herself as one and even dresses like one at some point.  To quote the site from that link, the Pirate Girl trope often has a Dark and Troubled Past detailing how she ended up in this position; abusive fathers who they are in a “Well Done, Son” Guy relationship with seems to be a common theme.  Now, I don’t know about you, but this suits Sam to a tee.  Trouble past – Uncle goes crazy and dies.  Yup.  Abusive father is a little tougher, but he is a drinker and he does seem to focus on himself a lot.  The issues he is having with his work, his writing and his love life might be enough for him to take this out on others, women or not.

So how does this narrative of women end?  Well you won’t be able to guess, but the rejection of male patriarchy for the freedom of feminine justice embodied in the true love of our lesbian couple.  Yes, I am dead serious.  In a game full of weak male characters, men as oppressors and even men as oppressors through female couterparts in distinctly male gender roles, the game ends with a romantic “fuck you” to the male oppressors.  How?  Predictably toward the end, the real thing that separates Lonnie and Sam isn’t their parents, but the Army.  What better example of a real, existing male patriarchy that one might fight against than the military?  Religion is old school patriarchy, military represents the modern struggle.  Lonnie leaves for the army and Sam goes to cry and sleep in the attic.  She misses the first two calls, but the third she gets.  it’s Lonnie and she’s stepped off the bus to basic training and is telling Sam she can’t live without her and that they will drive until they can find a place where they can just be together,  likely New Hope, Pa.  Now, this might just seem like a play on the usual romance film ending, but with lesbians, but think about this a second.  If you are on the bus to basic, you’ve already signed the papers and handed your life over to service in the name of your country.  If you try to bail at this point, you are effectively going AWOL.  This is an offense punishable by law, so Lonnie’s actions are literally a big old middle finger to male-driven responsibility and the patriarchy.  Not to mention, Lonnie came to be in this position because she looked up to her Dad’s old army buddies, so it is in all ways Lonnie telling off everything male since it was a decision put into her by the influence of older men.

This is why the house is empty when Katie comes home.  Sam would be there, but she is off supporting bad life decisions.  I was touched at the end, but then I really started to think about what it would mean.  Sure, Sam and Lonnie might get a few good years together at best, but one day the man will be knocking on their door with a warrant full of feminine oppression to take Lonnie off to federal prison.  But that isn’t even the ending to the narrative of the game’s text.  The ultimate message in this game is more deeply hidden in a letter from Terrence’s father.

Gee, thanks pop...

Gee, thanks pop…

This preachy letter combines with the feminist narrative to create a big old fuck you to something particular here.  let’s see if you can guess it:

“An author’s work is the externalization of that which he holds dear (and that which he fears), and in this respect I believe your work was successful.  But the lens through which the personal shone was needlessly clouded by genre cliches and implausible dimestore science-fictional dei ex machina.  The great authors speak of their life’s milieu in clear and honest tones, the lens crystal that refracts their thoughts without distortion.  […] I urge you to shed artifice. You can do better.”

This preachy little letter can be found in the basement and is the only letter from the male character with the only positive representation in the game.  Granted, we can probably assume he is either really old or dead, so he is still a decently impotent male – maybe even literally – to suit the feminist attitude of this game.  He is also Terrence’s father and, being male, Terrence will follow his advice unthinkingly.  And he does, too.  The office is filled with chaotic notes on a bulletin board as Terrence reaches deep inside for something better.  In the greenroom typing area – a move that might have been an attempt for a fresh, new perspective – we find Terrence’s synopsis for the last book in his “accidental” series and it describes the main character having to save himself.

I call this letter, The Fullbright Company’s letter to the gaming industry.  Gone Home’s critics often dig into this game for being a walking simulator and having no real “game” features.  This game would be best called a dull adventure game, but they wanted it to be this big, artistic masterpiece: poignant, timely and edgy.  In this letter, the developers of the game tell you what they want to see in the industry as a whole and, combined with the other deeper narratives of this game, it is a bleak prospect: they want to tear down the oppressive patriarchy of games with exaggerated tropes and over-the-top themes.  They want games to become less ludic and more film-esque.  See the reason this thinking is fundamentally flawed is simply that games were created originally to be games: fun, meaningless little pieces of entertainment that get your through a day.  Recently, games have taken on a far more artistic trend, becoming more narratively advanced and deeper as a result, but to take everything out of a game that makes it fun just shows the drive of a rebellious sect of videogaming.  This is not unlike the spate of absurdist films way back in the day, like Un Chien Andalou.  Films like these were often artistic as hell and shed the existing trappings and tropes of film like “the carapace of a bug” but these movements often die out quickly due to their cliquish sentiment and limited appeal.  They are an important and interesting piece of history that is often referenced in films, but they ultimately just represent the art in terms of “overly artistic crap meant for a small clique.”

He's about to cut her eye open with a fucking razor...

He’s about to cut her eye open with a fucking razor…

Don’t get me wrong, I like artistic games, but not if the game element has been altogether erased in favor of a preachy and, frankly, insulting narrative.  This game even makes inside jokes about feminist film theory by suggesting how to “subvert the male gaze,” which is an element of film theory that says the way women are displayed is often used as a sexual signifier of women in terms of what men want from them.  It represents objectification of the woman’s body by the use of the camera ti display them in a sexual manner, as a man might look at a woman with his eyes.  You know, following her ass or looking down her shirt at the right time.  Modern film is admittedly guilty of this, but Gone Home’s calling this out only proves that this was a contrived piece of feminist workmanship.  Like, it was a fucking sign.  Ironically, right across the room the father had a porn mag buried in a box of his own discarded books, whose publication was halted.  A box of male degradation.

Overall, without all the feminist input, this game is alright.  Without paying much attention to anything but the lesbian narrative, one gets a touching game about real love and facing adversity as a young homosexual.  But this story is the cover for a story that is as socially intolerant of men as Birth of a Nation was for black people.  I don’t mind a so-stated “non-game,” but it still has to carry elements of its media.  Putting players into a world where there is nothing resembling a game at all is similar to someone selling a movie that is just a series of pictures of letters on the screen set to music that the viewers have to read to get the story then saying “it’s the artistic direction of the industry.”  That is stupid.  Truly talented developers take the ludic characteristics of a game and weave in the narrative like so much thread in a tapestry.  It is relevant to the industry and its consumers and has something deeper to it that shows it has soul beyond just killing some dudes.

This game looks nice and plays well, but the speed at which your character moves is deliberately slow and infuriating.  The whole game takes 2 hours only because you move so slow.  Judging this as a game would give it a unprecedentedly low rating, but this isn’t a game: it’s an interactive narrative.  It is preachy, oppressive, and is certainly not the future of the industry.  A true artist does not have to drain the color from a piece to make it profound, why do you think people make fun of hipsters that take pictures of their food, apply a sepia tone and post it on Instagram?  I am glad that I got this game on the Humble Bundle, because i didn’t give these people more than a few cents for a game that is 19.99$ on Steam.  This game should be going for FAR less than that, but everyone got so worked up over its artistic and deep narrative that they missed what this game was really about.  The funny thing is that they missed a message so toxic that they didn’t realize they were supporting a narrative of anti-male hate.  I am not an anti-feminist, I would say I am a feminist.  Feminism is not supposed to be about oppression of the opposing sex, it is about bringing men and women together as equals so we can create a better tomorrow.  Gone Home does none of that.  I’ll be looking for the sequel to this game where Lonnie is taken away by the government and Sam leads a feminist revolution to overthrow the oppressive, patriarchal government to free Lonnie.  Oh, no.  That would require killing dudes, and might make the game too much fun.

Clockwork Empires, Wondrous Melange of Steampunk Insanity and Bugs

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It should come as no surprise, since this game is currently in Early Access, that Gaslamp Games’ latest title is buggy, broken and incomplete as fuck.  That being said, it is the most fun that I have ever had with a game this broken, and at some points I am having a hard time telling what is broken and what is actually supposed to be happening.  Overall, if you have been waiting for a good game that well-represents steampunk, but you were wholly disgusted with Bioshock: Infinite, then this game is one you should consider after a long debate about whether Early-Access gaming is a worthy direction for the industry.

Clockwork Empires is a game with personality and a lot of bizarre quirks.  You are a group of colonists starting a small colony of the Great Clockwork Empire – at least I think you are since this is never really specified, just referred to as “The Empire.”  But fear not! This is nothing like sitting in a Jane Austin novel set on a frontier!  You have to help your people to survive in a world of horrors! HORRORS!

So when you start, you’ll want to start assigning work crews by clicking the work crew button and deciding which people will do which jobs.  Trust me, division of labor is a pretty important concept in this game, since it will dictate which jobs get done fastest.  My opinion is that breaking things down like this bears some of the best results.  2 crews for farming and foraging.  This is most important.  Foraging is how you will get the initial glut of goods to sustain your people in the beginning and you’ll have some food from the Empire, but airdrops are too infrequent, sometimes inaccurate, to rely on.  You have to get farming or starvation will set in briefly before cannibalism starts.  These little bastards don’t even think about it either, they’re just like “What ho!  I’m rather peckish and Nancy just died.  Guess we’d best start rationing her out, hey chaps?”

Clockwork Empires 2014-10-14 10-47-07-71

Listen up, Steelwalker. You and your chaps will start looking for the best way back to the Empire, cause this place sucks!

After food income is determined, the next most important economy is the space economy.  This is handled mostly by one or two crews that are set to forestry, mining and hunting.  Forestry is a task that will have them chopping wood, removing terrain obstacles and other sundry natural objects.  Hunting will make them a useful source of occasional food.  The tasks I always break out are construction and workshop jobs.  Now, in the outset you can easily group these two together since there will be no workshops in the beginning, you’ll have to build them.  But if you keep your workshop crews constantly divided between construction and their workshops, goods production will go WAAAAAY too slowly.  Eventually construction will become its own job and given that there are so few people for all the jobs, and the more people you get the more likely you are to starve, it is something that will have to be done in spurts.  Of course, there are a few exceptions.

Exceptions are always important.  In the very beginning, farms should be among your first things you create, but farms alone aren’t great for producing food.  You’ll need workshops, and the two most used are the kitchen and the carpentry shop.  The tutorial actually recommends you make the carpentry shop first, and they are right.  The carpentry shop is where you will create planks that are necessary to build nearly everything else in the game.  After the carpentry shop, get on that kitchen.  Chances are that you chose wheat as your first couple farms.  Great choice, but without a kitchen you can’t use the wheat you’ve harvested to make bread.  Your people will die staring at sacks of flour.

Yes, just place that plaque of the imperial coat of arms above their dirty little workstations so they can look up at our ubiquitous hegemonic omnipresence at all times. Very good.

Yes, just place that plaque of the imperial coat of arms above their dirty little workstations so they can look up at our glowering hegemonic omnipresence at all times. Very good.

Construction in this game is definitely unique and undeniably irritating.  First, you have to build on the grid, but the grid doesn’t run everywhere.  Some areas are just not to be built upon.  No real explanation, but I assume there is a ditch or unstable terrain there or something.  Once you’ve cleared a spot to build upon, you now draw the outline for the building.  It doesn’t always have to make sense and it is the most impressive feature of the game.  You can make a thousand of the same building and each can be vastly different from the others.  Once you’ve got your blue outline, you then place your modules.  These are the things that give the buildings purpose and character.  Some are required, in the above case a door and a worktable, some are optional and the rest are decorative.  I like putting the massive bay doors on my carpentry shops.  Just gives the impression of industry.  And make sure you put one or two decorations.  It might just be a game, but it’s the little things that give a sense of immersion.  The most irritating things about the construction system is that you can’t add a few things in at the start and then finish up later.  You are building everything that is going to be in that workshop for the rest of the game.  That is irritating as fuck because gameplay develops as the player interacts with the game.  It is just restricting and never shows any growth or development.

So you’ve got the makings of a colony, and things are moving along.  You’ve got your basic workshops, goods are moving and you’ve finally gotten a few bunkhouses up for the lower class and the middle class.  You are going to start having issues.  Most namely among these issues are the foes: cultists, fishpeople and all manner of eldritch Lovecraftian horrors.  The best part is that the fishpeople will walk in at random intervals and menace your people.  Sure, you can forage their eggs as exotic caviar, effectively eating their children as a delicacy; but cogs only know why the beasts so hostile, amirite?

Charles, gather the basket.  I must defend the crown!

Charles, gather the victuals. I must defend the crown!

I haven’t really gotten very far with this game simply because it is so fucking broken.  Don’t get me wrong, I love this game, but the level of incompletion and inoperability make this game absolutely frustrating to deal with.  My biggest gripe is that saves don’t really seem to work.  I have saved games and come back to them with varying degrees of success.  Sometimes they work, other times reloading a save causes the game to utterly crash.  If this were the only issue I would be less annoyed with the game, but sometimes it just crashes mid-game.  All of my plays invariably end with a crash of some sort and then me sighing about everything that I didn’t save.  Then I remember that the saves rarely even work and go play something else.  Sure, you might be saying “But Crotchety, this is an early-release you ass-burglar!  Of COURSE it’s buggy, they are still working on it!”  Let me say this to you little shits, never judge anything by what it could be some day.  That is how Hitler managed to convince people into the Holocaust.  One day we’ll eliminate all the weaker genes in the human race and the world will be full of happy, healthy blonde-haired blue-eyed babies.  Sure sounds nice until you remember you had to kill millions of people to get there.  Also, the price of the game on Steam is 29.99$ AS IT IS!  That is 30$ that would probably be better spent on a portion of Civilization: Beyond Earth.

Malfeasant clawbulb.  Fucking.. what?!

Malfeasant clawbulb. Fucking.. what?!

Despite the issues, there are still a number of reasons to be excited about this game.  There are some surprises like random crops growing in your farms, enemies and content updates.  The art is nice and the music is fun.  Every so often you will get drops and immigrants from the empire that will help your colony thrive, but there are so many bugs.  I read about this game back in the April 2014 issue of Game Informer and getting ridiculously excited about what I was reading.  Finally, a steampunk game full of cogs, gears and fishpeople and its an RTS!!!!  The unfortunate fact is that this is a game whose release I am still waiting for.  The best way to play these Early-Access games, in my opinion, is to buy it, play it a little bit to get the impression then let it sit for some months and let it get updates.  Sure this suggestion might make developers nervous, but if you can’t release a full game, it is going to suck and hurt to play.  Just like every time I have to be punished for not saving and, saving, have to be punished for buying the game early when my saves don’t load but, instead, crash the game.  Well, at least the game is fun and quirky.  Even the crash messages say “What ho! The game has crashed!” or some such irritating nonsense.  If your game crashes, it shouldn’t be cracking jokes.  This is where your skirt has blown up.  Fucking apologize for your broken game.

Natsumi, Hentai Girls are Afraid of the Dark

NAT_not

 

Don’t let my title mislead you, this game is not an erotic horror or anything.  As far as I’ve gotten in the game, the main character it features is a scantily-clad anime character and the title’s namesake: Natsumi.  I was unable to get very far in this game, so my perception may be a little skewed.  I also got over anime and hentai girls in high school… neither are really my bag.  I have a hard time identifying with this type of animation since I grew up with a totally different form of cartoon.  Anime is an acquired taste, which I never gave time enough to acquire.

All that aside, this is a pretty spooky game.  Don’t play this shit in the dark, either, or you will shit the bed.  Literally.  I was playing the game in a well-lit room, granted it was well after sunset, but the room was well-lit.  It still gave me a start every time I failed in the first sequence.  This is as far as I got, too.  This game is difficult, sure, but to me it felt unfair.  See, in the game it is dark and your little hentai girl has a head lamp.  For unexplained reasons (it’s horror.. enigma = uncertainty and uncertainty leads to fear) you character has to walk around in the dark finding notes.  Every note you find looks like a pair of eyes with blood dribbling down the cheeks.

They look just like the unifying element between a lot of these pictures...

They look just like the unifying element between a lot of these pictures…

Now, the ambiance is great.  It’s dark, it’s raining, they employed the standardized film grain… my biggest issue is with the controls and the lack of explanation.  You have to find these notes, sure, but the camera seems to want to stay in a location so that you can only see just in front of you, forcing poor Natsumi to get close enough to dry-hump whatever she is looking.  Finding the notes is frustrating enough, but finding them in time is even more irritating.  At the start the game says “find the 5 notes to survive,” but what they don’t tell you is that there is some spooky eye-less stalker out looking for you; the worst part is the intermittent nature of this guy’s appearance.  I’ve played this numerous times, each time this guy found me before I found all the notes.  I know exactly where 4 of them are, but getting between them is aggravatingly impossible.  This guy doesn’t show up at the same time every time, either.  Some times he takes longer, sometimes he jumps on you out of the gate, but he always shows up.  I was getting tired of jump scares, so I had to put it down.

Wait! Kissing bikini babes!?! When did I miss.... I mean, I am so over this hentai stuff... *zip*

Wait! Kissing bikini babes!?! When did I miss…. I mean, I am so over this hentai stuff… *zip*

I am sure this game has a lot to offer, but I was really unable to get past the very beginning.  There are also three buttons in this game for camera controls: one that puts you in the standard short-sighted view, one that drifts in front of Natsumi thematically and another that seems to also look at Natsumi from behind.. but these closer modes are just for experiencing the fear.  At least that is what I could tell.  Henry Sorren hasn’t let me down yet, but this title mostly confused the fuck out of me.  Somebody please play it and explain it to me…  You can get this game off of the app store for only 0.99$, just like all the other Pulp Horror Games.  Here is their tumblr. They also have a facebook.  They have a lot of great games, but I just didn’t get into this one.  It scared the poop out of me, but I couldn’t really get into it.

Point Perfect, Rage and Cursors

PP_logo

 

After years of neglect and self-hatred, Mavis Beacon of typist teaching fame decided to grow a mohawk, dye it green and donned her studded leather jacket.  She stole the Doc Brown’s Delorian before the 90’s ended, went through dimensions to a time where the 80’s were the space-age and began her conquest.  Now she has returned to wreak havoc on mousepads worldwide, and the effect is devastating.  Ok, so that’s not the story behind this game, but with all the anger and rage it created, you would think I was playing Dark Souls or something.  You can visit the Point Perfect website here.  By the way, young’n’s: the device stealing that child’s youth in the picture is a CRT monitor circa 1998.

This is not a game for the feint of heart.  It is the most challenging thing I have played yet this year.  Simple enough idea with some goofy pixel art to provide a story.  There is a world of people that use mouse cursors to fly through space.  They are attacked by aliens and space invaders, zooming into action.  You are this world’s elite pilot and you must rise to the occasion or retire your peripherals.

Prepare yourself, brave hero.

Prepare yourself, brave hero.

From the very start, you get the feeling this isn’t going to be an easy ride.  You have to choose between an increasing number of trophies, but the first three are a wider targeting range, increased points and three lives.  THREE FUCKING LIVES! You have to choose between a buff or the basic 3 lives!  Needless to say, I always chose the three lives because I knew I would never make it without the extra lives.  And there aren’t even any extra life pick-ups (that I’ve encountered) in the entire game!

So you are the cursor.  You have to move the mouse to dodge enemies.  In order to do battle, you have to click and drag to ‘target’ foes.  When enemies enter the green field, you release to destroy them.  Sounds easy, but fucking try it.  To start, you have a smaller targeting field range, but as you get ‘P’ pick-ups your range will increase, opening the opportunity to create larger and larger kill-combos.  Your power-ups will show up in the lower left corner, and if you die, they shoot out of you in a demeaning, Sonic the Hedgehog kind of way.  If you drag more than your range, your targeting field goes red and no kills are made.  All of this has to be done while dodging projectiles and enemies.

In the lower right hand corner you’ll see a weapon box.  As you fight your way through the alien armada, you will collect various weapons that help tremendously.  My favorite was the shield, which deflects weaker enemy fire – the yellow balls.  It won’t block other colors, but that is something.  There are all kinds of other weapons that increase points from combos, add points to your overall score and other fun things.

Drag and pray, mother-fucker.  Drag and pray.

Drag and pray, mother-fucker. Drag and pray.

Of course, with all the challenge this game provides, victory is a sweet, sweet bitch to get.  Usually you just manage to kill some enemies, but successfully giving it to bosses must be amazing.  I haven’t beaten any yet, but I have come SOOOO close that it was infuriating.  This game keeps giving and giving with numerous levels beyond just this starry background.  With no introductory info, though, this game is a pain in the ass to grasp.  I had it for a month and managed to figure out that I could kill enemies.  Yea, I am not a moron, but it just didn’t register to me.

PP_cry

This game is perfectly alright with telling you that you suck.

Fighting enemies isn’t the only thing to do in this either, Point Perfect also has a wide array of little skill games and challenges that provide a welcome respite from the chaotically cluttered masses of foes.  Retro graphics and an old school feel are a few more of this title’s strong points, but every element of this game’s design is created to unforgivingly teach players precision and timing.  You cannot fullscreen it.  So what, you say?  This makes it easy to drag off the screen, click other programs and push the game to the background.  It is an insane carnival ride of unremitting terrors, but it is the most fun I have ever had cursing relentlessly at my mouse.  I almost launched the little fucker undeservingly out the window…  I will be waking up in a cold sweat dreaming about this game for weeks to come.  I only pity the fool who tries to play this on a track pad. Poor, ignorant bastard.  Available on steam for only 4.99$, this game is well worth it, if you think you have the balls.  If you think you are man enough, woman enough… Gamer enough.

Internet Slow Lanes and Net Neutrality : Why Gamers Should Care

inter_slow

About one month ago, numerous internet giants and companies, like Netflix and Tumblr, did a call to awareness known as Slow Internet Day to show people what they could look forward to in the future.  On May 15th, democrats voted up an FCC regulation that would allow major companies to prioritize their content by paying for faster internet service.  Now that doesn’t sound so bad, right?  It just means that the actual content that people want to see will get good service whereas unpopular stuff like child porn will go slow right?

Nope.  Think again.  The internet is unique in that all companies and organizations have an even playing field as far as speeds and tampering with that will ultimately start to slowly enforce a regulation on it.  Sure, some negative content will suffer, but at the same time upstart websites that are aspiring to overtake their larger cousins will have an extra obstacle to surmount: driving sales and ad revenue with the shitty internet connection that is left while their competitors can afford better internet.  This will maintain a distinct pecking order and help keep a ‘status quo’ on the internet.  I will allow money to dictate where the people go, rather than the current model which makes the money follow the people.  FUCK THIS SHIT!

This is a problem that I have been voicing my opinion about and writing imporant people about.  While the internet was still wondering who the fuck Zoe Quinn was, I was calling congress telling them that the proposed slow lanes were a bad fucking idea.  This is an idea that GamerGaters should really consider carefully, because if it is allowed to go through, it will murder the movement overnight.  Literally, overnight.  The worst part is, that it was voted on in May.  I received this e-mail from Pennsylvania state representative Mike Fitzpatrick about the issue:

unnamed

 

October 6, 2014

The Crotchety Old Gamer
Where he lives
Greater Philadelphia, PA

Dear Nathan,

 

Thank you for contacting me regarding your thoughts on the Federal Communication Commission’s (FCC) proposed “Net Neutrality” rule. Your input is a valuable part of the legislative process and I appreciate the opportunity to address your concerns.

A free and open internet is the best way to enhance commerce and encourage the free flow of ideas.  In fact, as we’ve seen in counties across the world, it can even facilitate revolutions.

On May 15, the FCC voted 3-2 to move forward with a new set of regulations with the stated goal of guaranteeing a more open internet. The FCC explains that these proposed rules are designed to prevent Internet providers from taking advantage of an unregulated system by knowingly slowing data.  At the same time, they would allow content providers to pay for a guaranteed “fast lane” of service.

Opponents of this plan are concerned that such a policy would discriminate against the content of those who cannot afford the “fast lane” service. Several lawmakers have expressed that these changes could create tremendous legal and marketplace uncertainty.

FCC Chairman Tom Wheeler intends to finalize the open internet rule making process before the end of this year. As Chairman Tom Wheeler stated immediately following the vote, “What we’re dealing with today is a proposal, not a final rule. We are asking for specific comment on different approached to accomplish the same goal, an open Internet.”  This month’s vote began a process that will start with a 120 day comment period.

The FCC openly encourages the public to share their views, as your remarks will help the Commission decide upon the final rules. You can submit your comments for the rule making to the FCC’s designated email on the matter: openinternet@fcc.gov. Please visitwww.fcc.gov to read more about the proposed plan.

I will continue to monitor this situation; keeping your comments and concerns in mind as it develops. If you have any questions or concerns pertaining to this or any other legislative matter, please do not hesitate to contact my office at (202) 225-4276.  For additional information, please visit my website www.fitzpatrick.house.gov. From this site you can sign up for my e-newsletter, access statements about current events or pending legislation and receive detailed information about the many services that I am privileged to provide for the 8th District of Pennsylvania. You can also connect with me on Facebook atwww.facebook.com/RepFitzpatrick, or follow me on Twitter atwww.twitter.com/RepFitzpatrick.

Sincerely,

unnamed

 

 

Mike Fitzpatrick
Member of Congress

 

Mike, you might as well have signed this letter “an out of touch old legislator who really has no idea what is going on.”  Think about it this way.  You are in your room, reading an article on your favorite low-level gaming news site and generally enjoying yourself.  Your 17-year-old little brother decides to hop onto his Xbox One and play some of the latest Call of Doody while playing his favorite teenage rage songs over Grooveshark.  Your mom is streaming the latest video posted on YouTube by Ellen Degeneres and your dad is watching the latest Rocco Siffredi porno in his office.  You go to click on a new article and you now have to wait for 20 minutes while it loads like you are in the goddamn 90’s on a 56.6k modem.

Now, yes, the family dividing up the bandwidth on their connection might be a slim example compared to the internet as a whole, but follow.  If major companies are able to buy up all the “fast lanes,” which are now voted into regulation, this means that smaller sites will really be usable since they will have a lower slice of the bandwidth and thus will be slower.  Now, I would say just log on at night, but putting in a permanent regulation that makes others move faster is outright PRIORITIZING THE GODDAMN INTERNET!  This is a load of horseshit because it means that larger companies will be able to dictate which sites you will go to just by paying for the better connections.  It almost sounds fair, but look at it like this.  In a system like this, you will be told where to go for content and forced to migrate toward major outlets simply because the connection is better.  They are using a technique of social engineer whereby they dictate the flow indirectly.

Example: there are three public water fountains in town from which the townsfolk get much-needed water for daily tasks.  We’re talking like a Roman fountain where you hold a bucket to collect water and not the standard “bubbler” as they call it in Wisconsin.  Now, the town regulates flow to these different fountains throughout the day, typically to provide water to each during necessary times of day.  One day they decide they will start sending most of the water to the fountain in the middle of town while the other two are left at a trickle.  They say, you can still go to those ones, but you will be waiting for an hour to fill one bucket, and that is without the lines that will likely form.  It makes sense, then, to go to the fountain in the middle of town to get water.  You later realize that this was part of a plan to eliminate the other two fountains in favor of one where they could watch everyone easier and limit the diversity of outlets of water, fully controlling the waterflow.  Now they can accurately tax the water.

Sure, that last bit about water taxation is my own little add-in, but if they are able to limit the internet, eliminate competitors for data-flow and get more people going to specific locations, it would open the internet to information regulation and social engineering.  They would be able to dictate where you go simply because of the excuse of “well what, they couldn’t afford the better connection!”  Quite simply, the internet needs to remain open to all so that the diversity of flow can continue, otherwise smaller ideas, which could explode into larger, more potent movements, would be allowed to founder and die.  Don’t let them use money to regulate the flow of information and, thereby, the internet.  Speak out against the slowlanes.  Call your congressmen!  Mail your senators!  Shit, these fuckers CANNOT be allowed to tamper with our connections.  They have been trying to do it with every acronym under the sun, don’t let some concept of data-darwinism be what renders the internet inviable as the pure source of free-flowing information that has toppled dictators, countered social strictures and enhanced the world.  Sure, there are horrible things on the internet, too, but are the few examples of horrible people and inhumanity an acceptable reason to allow internet regulation?  I hope you just said no.

I will be hashtagging this with #GamerGate and #NotYourShield because this is something that we should all be considering.  Afterall, our movement depends entirely on the even playing field that the internet provides.  Get rid of that and what are we?  Fight #datadarwinism.

Need a better explanation or more information?  Here is list of articles about the slow-lanes.

Time – FCC Votes to Move Forward on Internet ‘Fast Lane’

The Daily Tech – FCC’s New Fast Lanes, Slow Lanes Net “Neutrality” Plan Angers Everyone

Forbes – The Real ‘Slow Lane’ Threat to the Internet

Huffington Post – Fast Lane, Slow Lane — “No Lane” — End Game in Telecommunications


And add you voice to the support:


Open Media International – Say No To Internet Slow Lanes

What Inception Says About Gamers

This article will fuck with your mind.  It is a personal opinion piece that I have cited the best I can given limited intellectual resources.  I wish I still had access to something like JSTOR from college, but a membership in such a database of works would require current membership at a college.  Oh well, hopefully you enjoy my machinations anyway!

deeper

When you dream, you set yourself aside for a time and drift down into the subconscious place of your mind.  There is an element of entertainment that allows us to do something similar, and it exists in a place you’d never guess: movies.  This mechanism of reality-alteration is known as the suspension of disbelief.  It means that while you watch a movie, you accept for the duration of the film that its reality is plausible and that many of the laws that govern our day to day lives are inapplicable.  Just as with a dream, reality is set aside to allow a false reality to be experienced.  By setting aside the judgments of the ego, you allow the film to supercede even yourself, just as your dream supersedes your personal consciousness.  But there is another form of this that exists, and the location of this is even more astounding: video games.  During a videogame, you willingly set yourself aside to allow the assumed identity of the main character to be taken on.  Many of us commit horrible atrocities during this state, too, but as a movie will not correct you to become more like a main character without your permission, you will similarly not become like the characters of game realities unless you will it.  But one thing that video games do is empower their players, and through the looking glass of the suspension of disbelief, players are delivered onto the doorstep of a self that is capable of changing the fabric of reality.  Video games don’t make you a person consumed by insatiable violence, but they prepare your conscious self to deal with reality.  They don’t make us the most violent people in the world, they make us the most powerful people in the world.

Through the suspension of disbelief, we enter a dream-like state where true reality is willingly set aside.  Now, comparing a dream to a video game, we are the player and the designers; but in Inception, a film starring Leonardo DiCaprio about shared-dreaming, there is a whole structure to generating the dream-world.  In this example, consider the “subject” of the dream to be synonymous to the player in a video game.

First you have the Architect, or the level-designer.  This person generates the world that the subject finds themselves in and makes it as convincing as possible to keep the person from realizing they are asleep and waking themselves up.  They have to get the dream-world itself down to such a perfection that every aspect will be believable, and the world is hemmed in by maze-like logical loops.  In this way, Architects are also like graphics designers, and, in the beginning of the film, we see the consequences for the first Architect for inadequately recreating those graphics, that reality.

The Architect’s function allows the Extractors to do their job and pull information out of the subject’s mind.  Another primary element of the dream is the device in the briefcase.  This object is never fully understood nor explained, but it seems to be what links the dreamers and delivers the sedative that keeps them asleep and allows them to dream so interactively.  This briefcase acts as the game’s engine in that it is the background mechanical element that makes the shared-dream possible.

During the primary operation of the film, where a team convinces Cillian Murphy to dissolve his father’s multi-national corporation, several other people are called in to help sustain the veracity of this dream-world.  Several of the team’s members are called upon to act as Architects, or level designers, for each dream-level that the participants descend.

Most important is the role of the Chemist, who serves as a sort of gameplay designer.  He makes a sedative strong enough to keep the team and subject asleep for the duration of multiple dreams.  He allows them to stay engaged, even if some element of the Architects’ constructions are flawed.  It is also this sedative that brings in the threat of mortal danger during the operation, as anyone killed can now stay locked in the infinite dream-world of their own subconscious.

Now, in this film we see one element that doesn’t seem to match this analogy entirely.  The projections, or people that populate the world, are all generated from the subconscious of the player.  But in a video game, the player does add something to the game.  Without the player, every element of a game is just a piece of a perfect whole, unperturbed by outside forces.  A dimension unto itself.  Only by the player breaching the space of this game do the decisions of the player tell the game where the world will go.  Now, some of these are inconsequential alterations; like losing a few missions for killing the wrong character, as is possible during the assassination missions presented by the story arc of colluding with the Dark Brotherhood in the Elder Scrolls series.  Some of these are serious consequences, such as destroying the entire settlement of Megaton in Fallout 3.  Either way, the projection of the player’s own subconscious self through the medium of their own actions, in a sense, populates the world just as the subject of Inception.

But what of being discovered by the projections?  When the player is pulled too abruptly out of the suspension of disbelief by unrealistic elements of the game, they might begin to behave as someone who knows they are in a game reality, which does not matter.  So they might just go on a rampage, kill everyone in sight and let the cops chase them, as in Grand Theft Auto.  It doesn’t matter, and they can just revert back to a previous save once they’ve had their fill.  Just as the projections in Inception, only to (normally) have them wake back up.  At that point, the player is entertaining the conscious ego that has become bored and knows it is playing a game, rather than engaging their true self and setting aside their personal ego.  Inception sets in one more ingenious piece of the development puzzle, which takes the form of the Forger.  The Forger is a person who, through the strength of their own imagination, is able to make themselves look like a projection of the subject’s subconscious.  The Forger on the operation is then able to engage the subject directly.  The Forger functions as a game’s AI, which is created to be as intelligent as possible to create a more immersive and believable gaming experience for the player by mimicking real intelligence thereby creating a higher level of difficulty.

At this point you might be wondering what what Inception, if anything, has to do with video games and how that ties back to reality.  Freud’s idea of the subconscious mind, or unconscious mind, as represented in the film Inception, is similar to a dark cave; and this is described aptly by Joseph Cambell in his book, The Hero of a Thousand Faces.

“The unconscious sends all sorts of vapors. odd beings. terrors, and deluding images up into the mind – whether in dream, broad daylight, or insanity; for the human kingdom, beneath the floor of the comparatively neat little dwelling that we call our consciousness, goes down into unsuspected Aladdin caves. There not only jewels but also dangerous jinn abide: the inconvenient or resisted psychological powers that we have not thought or dared integrate into our lives.”

In the film Inception, Cillian Murphy faces his own subconscious after being conditioned by the team of extractors.   They implanted the suggestion that his father wanted him to live his own life and not be like he was.  Lo and behold, when Cillian Murphy gets down to his own personal subconscious (perhaps ingeniously placed in a massive, technologically advanced vault), he sees a projection of his own father telling him he was disappointed Cillian tried to be like him.

Game developers are capable of the same thing, creating a narrative that we follow through a series of twists and turns, which mimic the dark and perilous caves of our own subconscious, to come to some conclusion about the character and the events in the game.  But because of the suspension of disbelief, we have been personally identifying with the main character’s struggles.  We have followed every twist and turn, and followed along with the narrative.  And, unlike in a movie where you sit impassively denying your own self for about 2 hours, in a game you spend several days engaged with this character.  In an article on Cinemablend, they arbitrarily throw around a range of numbers at 8 – 10 hours, it’s suggested this is part of a modern trend of shortening game-lengths.  Even at that length, you are talking about a length of up to 5 times the length of an epic feature film, which means more time for the player to become engaged with the main character.

In an attempt to utilize the game’s Photo Mode to capture cinematic pictures emulating his real-life works, Ashley Gilbertson recently “embedded” himself in The Last of Us, a video game that takes place in a zombie apocalypse.  It is understandably violent in a graphic fashion.  Gilbertson says in the article:

“To be successful, a player must be the perpetrator of extreme, and highly graphic, violence. I’m interested in a more emotionally engaged type of photography, where the human reaction to a scene is what brings a story to life. That was tough inside this game. Occasionally the characters show anger, though generally they’re nonchalant about the situation they’ve found themselves in. In the end, their emotions mimicked that of the zombies they were killing.  By the time I finished this assignment, watching the carnage had became easier.  Yet, I left the experience with a sense that by familiarizing and desensitizing ourselves to violence like this can turn us into zombies. Our lack of empathy and unwillingness to engage with those involved in tragedy stems from our comfort with the trauma those people are experiencing. […] I came away from the experience having learnt a couple of things: that the work I usually do is an antidote to the type of entertainment this game represents and that I suck at video games.”

I would argue, however, that Gilbertson’s statement at the end of the article is the most revealing: he sucks at video games.  Earlier in the article he describes how the game seems to make him feel ill, the reason he has to bring it into the Time studio and have his colleague play for him, handing off the controller so the photographer could take screenshots.

This means that Gilbertson was not engaging with the characters and not giving into the suspension of disbelief.  This is understandable since he obviously does not play video games on a regular basis, so it can be assumed he won’t be able to utilize the controller effectively.  He even describes the death scene with intense detail, likely earned by frequent visits to scenes where he is eaten alive.  In that he can only blame his own inexperience with gaming and the etiquette of the controller.

But his own experience is telling about the nature of gamers and gaming: if you do not sit down and take the time to work through the struggles of the game’s characters, you will not be able to associate with that character.  If you look at how old CNN suggests modern gamers are, you’ll realize they are adults with regular jobs, kids and real-world concerns.  This means that they might sit down with a longer game and play for short periods of time.  You know, in between laundry and diaper changes.  Even if they get in 1 – 2 hours every night or two for a couple weeks, that is still the amount of time you might spend with a friend.  Shit, if CNN is to be believed in that article, most gamers play online, so they very well could be playing with friends.  But those fictional characters in that fictional narrative are still characters that you are with.  And before someone says “but you control that character!  How can you identify with a puppet of your own manipulation?” First, you might control their actions, but it is generally understood that the actions of the player are the actions of the character that you guide between cutscenes.  Add to that the dialogue that you hear, and in some cases guide, and you have a fully contextualized expression of the player’s own personal motivations.  Mass Effect is a perfect example of this.  it is a game where you choose the general concept of what you say to others, and you have to choose carefully because in some cases it will get others killed.

My point is that if you play the game and control the character, your actions are inseparable from those of the character and, therefore, the ending to the narrative is a reflection of your own unconscious decisions as they guide this character.  Whether it has multiple endings or one ending, the ending of a game forces you to confront some logical conclusion, guided by the player’s own actions, of the narrative of the game.

Coming back to Inception, Leonardo DiCaprio has a discussion with his new Architect early in the movie at a cafe during a shared dream.  During this conversation, he tells the Architect that, during a dream, you are able to get in between the process of creation and perception to achieve what he calls “genuine inspiration.”  In the film, the only way to sustain this is through shared dreaming, but I submit that this could be an accidental allegory for the video game.  When a developer creates a game, they create an interactive experience that allows you to simultaneously create/manipulate  your world and perceive/discover it.  Of course, some games are too simple for this part of the discussion; but games like Skyrim fit right in there, allowing you to decide who is right and who is wrong in a political clash that shapes the future of the world, choose which missions you complete and when.  You can even personally design the facial structure, sound, race, skills and lifestyle of your own character, features that might draw you deeper into the character.  Hell, even Massively Multiplayer Online games are taking this angle, with Sony going so far as to create Landmark, a game where players have been helping to create the world of the company’s next installment of the Everquest franchise.

The point is, we are getting to a place in video games where one can get in between creativity and perception to achieve genuine inspiration.  Just as the singer in Wallace Stevens’ The Idea of Order at Key West, gamers are getting to a place where they are just as much creating the game as they are playing it.  But what does this mean?  Well, to put it simply, if gamers are able to create the game as much as they play it, it shows that they help guide the characters in games as much as they help shape them.  It is only a short step before they are able to apply this to themselves and make their lives a product of their own actions thereby making their own lives in the image of their imaginations.  And if enough people are able to do this, they will shape the world to fit the image of the imaginations.

Don’t think this is even remotely possible?  Check out game designer Jane McGonigal on Ted Talks and how she thinks that video games will save the world.  And considering that philosophers like Renee Descartes have been using thought-experiments to test or justify various theories like the “brain-in-a-vat,” video games provide a virtual space that multiple people can interact with simultaneously.  Recently, when writers spun rhetoric in publications favored by gamers, the gamers initiated #GamerGate, probably the most successful consumer revolution ever seen.  Even now, they are in the process of altering the fate of games reporting, and that discussion started back in August.  Face it: Gamers are simultaneously the most dangerous and the most capable humans on the face of the Earth because we have be trained to shape our own world to the image of our own imaginations, and they are taught by the most effective teachers in history: game developers.

 

Labzat on the Future of Gaming and GamerGate

GG_VJ

Editor’s Note:

The work that follows does not represent The Crotchety Old Gamer, but I felt that it would be relevant to share the ideas of other gamers from around the world. This is a translated text from Labzat: a Mexican gaming blog. I have been working with these guys to get my work translated into spanish and shared with a broader audioence; and in the spirit of #NotYourShield, I thought it would be interesting to see how gamers worldwide viewed this conflict. It is a little rough at times, but I feel like we share a lot of the same views regarding the situation. The following article has been edited for coherence by myself and translated by a natural Mexican spanish-speaker. Some things may have still gotten lost in translation.

La futura industria del videojuego

Its been a couple of weeks (or more depending on when you are reading this) since the beginning of the game industry’s social media revolution, known as #GamerGate. Many already know what this was about, but now that polemic has been diluted and all that energy of change has been expended on useless discussions. I want to analyze, from my perspective of a foreign gamer (cuz I’m not in the USA), what it means and what it could (or could not) mean for the industry.

The “corruption” of the videogame press

The firs topic within #GamerGate is the corruption of the press. Let me tell you this: I don’t think there is any sign of corruption, yes they are partial but it’s not the same as corrupt. When you write about videogames or any other topic, you always make relations, maybe of friendship or love. It doesn’t matter, the point is that you always have people that you prefer over others. Every media has an editorial preference for some kind of information. For example, my blog Labzat gives preference to discourse about the game industry in México, Spain, and Latin America because it’s my interest to promote the game development in these regions. If there is a private relation between a reporter and a game developer, nobody has to care about it, that is an element of their private life, and it’s hard to say that it interferes with work. Why is that? You could easily say a certain game is “the best,” but the readers have their own voices and opinions; so if you are not objective, they will simply stop believing you and you loose your readerbase. And trust me no body that survives by writing about videogames wants to lose readers.

Where I see a true conflict of interest is in the sponsorship the big companies provide to the videogame press; you won’t care about being impartial when your income is provided, not from the traffic on your page, but from contributions paid by Microsoft or Sony to promote their games. Then you go from being a serious analytic reporter to the slut PR of a company. This produces a decline in the quality of articles: the very short space the indie developers have to promote their projects and the rising of fanboy trolls who just reinforce the idea of gaming as an antisocial activity. Yep, what they blame the whole society for is just the product of their own system. Also, this monetization model sucks because it means indie developers need to pay for reviews to get substantial attention. A couple of times, I have heard rumors in the Mexican indie scene that you have to pay to get reviews. I’m not sure if it’s true and I’ve never seen it directly; but if it is true, we are killing small studios and a lot of new perspectives on the future of gaming.
To solve this, we need to band together as a community and create a new press structure for the highly specialized sector of the infinite universe that is gaming nowadays. The press should also find new ways to monetize in order to be more independent from big companies. Trust me, much more impartial is the site that relies on Google Adsense and ads from other sectors of the gaming world than those who are branded by big companies.

The immaturity of the community and their opinion leaders

Yes, it’s true. Some gamers are just immature, aggressive guys. But don’t forget that most of the games are created with the belief they will be played by a public of 15 to 25, and I feel very conservative about this fact. Unless American teenagers at one point expressed their inconformity and arguments in a clear and polite way (something I have never seen in my life), I think it common sense to expect aggressive reactions to critics discussing videogames they love to play. In fact, I know adults that still react in a violent way.

But I care as much about the visceral actions of the masses as I care for the immature and superfluous declarations of the opinion leaders in the game industry. You can’t be a public figure (as Phil, Anita and Zoe are public figures) and talk without thinking or studying themes like sexism & harassment in a completely serious way. When I read the Phil tweet that states something like “Gamers are the worst, you should nukem them,” I should just remind him of that German dictator who said “the Jews are white collar criminals, lets persecute them.” It might sound like a joke, but declarations like this grant it a whole new level of gravity. A lot of wars have been started because of harsh and careless words.

On the topic of speaking without thinking, Anita basically seems to claim that all games which represent women in a way she dislikes are misogynistic. She sounds like a religious leader who claims her religion as indisputable truth, then sends her followers to vanquish all other religions from the earth. She just says a lot of things then blames gaming, seeing only the surface of topics. I want to see what she thinks of Shakespeare. You know, the part where Othelo kills Desdemona with his bare hands? Or how about Lady Macbeth being the evil force behind all the tragedy of Macbeth? She attacks videogames because developers are nerds who read comics, nearly anonymous to their own audience. I doubt she’d expect a truly intellectual level of discussion, but learning she was artificial and contrived, a lot more voices would likely rise.
Both sides of #GamerGate have made mistakes, but I’m optimistic because I believe that eventually the voices of the trolls and pseudo-intellectuals will vanish while the other side of the community, those without the attitude of children, begin to participate more.

The incapacity of the industry to reach a new market

The videogame industry probably grown the most in recent years; In fact, I’ll bet it’s bigger than pornography. Just imagine that. But when we read articles of the videogame press, it seems that the major industry is always on crisis mode. Like Third World countries, they have a lot of wealth while they simultaneously have a lot of economic problems. Fortunately, it’s easier to understand what is happening in the videogame industry than what goes on in the Third World. The industry is growing up thanks to the new models of distribution and the accessibility to tools to develop games.

But the ones who reap the benefits of this growth are neither the studios, the pulishers nor the gamers. So who benefits? Easy. The digital store owners. They just created a new consumption and production model. A lot of developers produce a lot of games that get distributed at a very low prices because supply is much bigger than the demand. So the gamer gets a lot of games at very low cost or free. They’ll log maybe an hour of gameplay, then forget about them. At that point, gamers don’t play games, they just store them.

When the press writes articles stating “gamers are dead,” they are writing about the gamers who play games and give them the value of a book or a movie. The ones who play to improve their skills on Street Figther, to collects pokemon: the ones who play epic adventures and share it with their loved ones because it was significant to them. It’s sad to read that we have no value to the major press or major companies because we are too few in economic impact for them. But it gets worse! They blame us for their mistakes, for their incapacity to reach the new public that Google, Apple and Steam do! We are not the problem. The problem is yours for generating shity games and reviews. We used to pay more for the games when the games were well-developed and the story, music and graphics were respectively epic, when they cared to utilize the best of technology, give us the best mechanics and polish their code lines to a blinding sheen: When they cared about the game experience. And, yes, we would buy fewer games, but paid much more for them.

It’s fair to recognize, though, that not all the fault lies with the companies, but that it is also ours. We accepted the new system of gaming, of being treated like thieves. We support incomplete games, and never complain about the laziness of developers or the ambition of CEOs. We just sat and and let the industry turn into a bunch of FPS with sepia tones and puzzles F2P. Now what can we expect for the future? I think the industry will turn into two: the massive, fashionable games and the elite games for a very specific public: mimicking the modern film industry.