I've just been TO THE MOON

Just completed freebird games' "To the moon" an atmospheric point and click narrative adventure (Not so much a game, as an interactive book). It was really confusing, because time leapt about, so no real post today, just a quick note to say: This game is really really interesting and I think you should probably play it because it is creepy and quirky and a little pretentious, and made me cry real tears.

Trailer posted so you can enjoy the fab music. *sigh* OK Fan girl gushing over!

Post script: This game contains another crazy woman! I'm really gonna have to make a bingo card for video game characterisation of women. This one handles it as subtley as The blackwell conspiracy, and its a really key plot device. I feel another post coming on: for another night.

Etiquette

I'm offended by all of the supposed-tos. I don't like women telling other women what to do or how to do it or when to do it. 

  -- Jessa, Girls 

Trawling through a charity book shop I come across a sociological texts that was published in the 1980s. It uses yellows, and blacks and whites and is called something like: female voices or traumas of single womanhood or the vagina dialogue. It is a collection of narratives about women. I point it out to mum, and she glances at it and laughs, saying, I read all of those, "I read them all until one day, when your brother was five or six I read that I really should send him away to live somewhere else, because once he hits eight years old, he'll start oppressing women. And I thought, what a load of bollocks." She gave up on reading the guidelines, and lived an albeit feminist lifestyle without adhering to all of the prescriptive writing. 

When Jessa, from the HBO TV show Girls is told by a book that sex from behind is degrading, she shrieks: "What if I want to feel like I have udders". Her outburst seems peculiar at first but then reveals the underlying problem that feminism has become a second set of prescriptive writing that tells women what they should be, what they should want and what form their sexuality should take.  "Bad Feminism" by Roxanne Gay voices the frustration of an on-the-fence feminist: "I keep reading these articles and getting angry and tired because these articles tell me that there's no way for women to ever get it right. These articles make it seem like there is, in fact, a right way to be a woman an a wrong way to be a woman. And the standard appears to be ever changing and unachievable." Frustratingly this punchy closer is followed by a list of things she feels she gets wrong, so she subscribes to the idea that there is indeed a right way, and she falls short of it. Gay reinforces the stereotypes of extremely outdated feminism perpetuate: that sex must be a certain way, that women must be militant, that they must hate pink... etc. etc. 

I too have felt the stress and the strain that Gay articulates, but I realised that I didn't care if a handful of people, men, women, feminists or not were offended by my particular sexuality, penchants and tastes. Furthermore, I don't mind being told what to do sometimes. I enjoy articles which tell me of a new thing I need to think about, because I still have a mind, and a choice which allows me to construct a nuanced and relativistic approach to feminism. Roxanne Gay is wrong to assume there is a right way to be a woman, or even a right way to be a feminist, since both the gender and movement are forums open to discussion and negotiation. A place to toss your two cents, and then carry on regardless, because feminism suggests you should be able to justify exactly what makes you feel comfortable and happy as liberation; provided it doesn't hurt others. 

--------------------------------

Post Script on Video games. 
What do women want from female protagonists?  

My Two Cents: I want lots of them, I want them to be all kinds of different types of women. I look at Bayonetta and I think yeah: interesting. But that's been done now, can we have something else. Something different. Another refraction, a different collection of tropes, beliefs, fantasies, and shapes. Please? Pretty Please?

In case you were wondering: This is Bayonetta kicking someone with a giant stiletto made of her own hair.

No Girls Please: Gender Stereotyping in Indie Games.

 In Critter Crunch, an extremely polished puzzle game from publisher Capybara Games, there are three characters. First the game is introduced by a nature documentary presenter slash explorer. Having discovered the unique eco system of the island, he delights on explaining the critters habitats and behaviour. He then goes on to introduce the puzzling central protagonist; a rotund and furry critter called Biggs, and the progeny of that creature called smalls. Each of these critters could have been genderless, but the writers make it clear that this hunter gatherer creature is a father looking out for his son. So within the first two minutes of the gameplay; the exposition has been carried out, and two squashy main characters have all been represented as arbitrarily male. This may seem like a moot point as it doesn't affect gameplay directly; it could even be a nice twist on how we perceive caring for children, but as the developer makes no explicit attempt to explain the gender choice for any of the main characters it comes across as lazy or sexist design.

Wait where are the balls in this diagram?

From the excitable, and parachuting adventurer, to the father-son combo, the game glibly assumes the only possible audience for this otherwise interesting, colourful and appealing puzzler will be male. Added to that it seems to share the assumption that boys will only associate with male characters, which has long been held by producers of children's television programming.  In recent years however with the break-out hits of My Little Pony: Friendship is Magic, a show that has developed an enormous fanbase amongst young men (aged 16-25) and with the newest season of the Avatar kids television franchise: The Legend of Korra. The latter show was only given a ten episode run as the network was extremely anxious that young boys would be unable to connect with it's eponymous female protagonist. The show was an enormous hit and now has 40 episodes in the pipeline. Boys and girls connected with the Korra and this hopefully made bosses sit up and listen to the idea that boys will watch girls if the story is good enough.

omnomnomnomnom

The male characterisation seems decision that boys play video games and therefore they will want to be the protagonists in this adventure. Furthermore, the central mechanic of the parent - child relationship is that the father gathers food, and when there is a long combo, you get the option to “barf rainbows” into your waiting child's mouth. Perhaps it was deemed inappropriate for women to regurgitate food, it's not as if children take liquid from women's bodies both in the womb and from the breast after. Sticky fluid is certainly not something we want to associate with the female form: that would be indiscreet. Intention, is of course a dangerous thing to write about, and though I was tempted to email the publisher, I felt aware that I might come off as blinkered, when really I want to improve video game story telling. If the producers of the game had explained the decision, I think I'd be able to swallow it. But I felt disappointed that this puzzle game could have shown an interesting series of relationships, instead chose to build a game that would appeal predominantly to little boys.

Indie game developers obviously still have to find a market for their games, but they do not have to pander to scared, sexist and outdated publishing practices. Capybara games are not alone in their particular decision perpetuate arbitrary gender characterisation. For the most part developers choose a male protagonist and this is not always problematic, but the decision becomes particularly noticeable when the player character is in fact an object. In the platformer Nimbus, you play as a bullet shaped space-ship that has no means of internal propulsion but floats using gravity and air streams. The little spaceship is not manned, apparently, but a sentient creature with, you will be surprised to hear... a pink girlfriend space ship. In the opening cut-scene, the two little space ships are having a moment of fun, when an evil eye plucks the helpless pink robot out of the sky and laughs maniacally. The perfect expression of lazy design, the developers hark back to retro platformers without considering how problematic this stereotype is.

Nimbus could have used it's beautiful air mechanics to show objects falling space and showcased what makes this platformer unique. Puzzle games have every right to pare down on narrative through cut scenes, if they don't have the resources to carry them out. But when effort and time has been put into recreating the tired princess-kidnap trope, I am left wondering how that time might have been better spent. When developers cut narrative corners they inevitably rearticulate dominant paradigms, they fall into mediocrity and innovation is tainted. It's a shame, because interesting mechanics and concepts deserve polished stories that say SOMETHING, rather than repeating the small nothings of every slip-shod game that has preceded it. 

Blackwell (Series) and the Female Legacy.

*Spoiler warning* This post contains spoilers. It will ruin your gaming experience, but those spoilers are necessary to explore the gender narratives of this excellent collection of games. So if you don't think you will play, you're not interested in point and click, or want to read my analysis anyway, read on gentle traveller. p.s. Most of the spoilers come from the first game in the series: The Blackwell Legacy.

[Trailer]

That's a ... pretty severe attitude,
wouldn't you say?

The Blackwell series is a collection of four point and click adventure games which trace the relationship and life of Roseangela Blackwell and the ghost that has haunted the women in her family for three generations. The game begins with Rosa scattering the ashes of her aunt, who, we learn later, was the previous host to smooth-talking 40s ghost Joey. Her voice is monotonous, and if you watched the trailer, like me you may have laughed at the opening line delivery by her voice actress. But as the game begins you quickly realise that her monotonous drawl is an intrinsic aspect of the disillusioned new yorker's personality. Rosa is anxious, she is shy, she is not charismatic and so the monotony of the voice is the culmination of these aspects. In a commentary that comes with the game, the writer Dave Gilbert compliments a colleague who animated Roseangela's walk, noting that she looks slumped and lazy; her walk is as hesitant as the character to whom it belongs.

Her isolation is illustrated by the games opening puzzle; a punk-ass teenager mans the door to her apartment, and refuses to let her in, because he knows everyone in the building, but he doesn't know her. From the players point of view, entering into a game about ghosts and spirits, you imagine shenanigans are afoot. Is she dead? Is this a dream? Is this kid pranking her? But it turns out that he simply doesn't know her, despite her living in her current apartment for several years. A freelance writer, Rosa, seems to fit a stereotype of a recluse. But then even this representation of an ordinary, dumpy, awkward woman as a protagonist of a video game is innovative.

As the game gets into full swing Joey appears, explains that Roseangela will be haunted the rest of her life, and that she must help restless spirits pass by solving the mysteries surrounding their deaths. Roseangela and Joey have a tense relationship which carries through several hours of gameplay without being resolved. Occasionally the ghost is flirtatious, occasionally cruel, and consistently his overt 40s sexist names, "doll", "kid" and "sweetheart", invade conversation. Joey is the vehicle that forces Rosa out of her apartment and into the adventure. To begin with he berates her, but they develop a more equal partnership once Rosangela appears to accept the role that she has been given.

So a ghost walks into a bar...

 At times, Rosa enjoys the ghost hunting, but this enjoyment is consistently overshadowed by the fear that she will, like her aunt, go insane. This is the threat that pushes her into ghost-hunting since the insanity is always articulated as a lack of acceptance of the role forced on them by Joey. Insanity pervades the first three games as a consistent theme set against the theme of death. Indeed for most of the characters that Joey and Rosa encounter one of two fates is laid before them: madness or death.

There is strong emphasis on the fact that Joey haunts only the female members of the family. Perhaps therefore he represents a particularly gendered form of madness. He frequently, terrifyingly, threatens his host that IF she reveals his existence she WILL be locked up in a loony bin, and that he will make her life a living hell. However light Rosa makes of these threats the game uses the achievement system (steam) to reinforce them. "Crowd Control" is awarded if you never speak to your ghostly friend in the presence of another character.

Blackwell Unbound is the second game in the series and it follows Lauren's (Rosa's aunt's) time with Joey. The game is sad. Throughout you know of Lauren's unhappy ending in the mental asylum. Within the game, as the trailer shows, Lauren is warned that she "may die". "Oh, is that all?" she replys. Ironically it is the insanity that she fears which is to be her fate.

In placing the two female protagonists in this bind; with only a choice between ghost hunting and insanity, Dave Gilbert creates an interesting narrative about female fear and agency. Rosangela certainly is a character who prides herself on clarity: a freelance reporter her intelligence and analytic skills are the source of her self-esteem (limited though it is). Thus she takes more pride in working out how to drug a neighbour's dog than in having established a friendship with that neighbour in the first place. Not making sense and loss of agency is far more threatening than isolation. Joey has removed the majority of that agency, so little wonder that the Women in Rosa's family have fallen into madness. Incoherence is a particular fear for a well-educated, probably (ambivalently) feminist, character. Aware and frustrated that there is a "Legacy" of madness amongst women in her family, Rosa has over-compensated.

There is a recurrent spot where the
pattern lolls like a broken neck and two bulbous
eyes stare at you upside down.

Another legacy emerges. If we consider literature and women's history, we stumble upon other narratives of the female search for clarity, and for being taken seriously. The Yellow Wallpaper by Charlotte Perkins Gilman. The story traces a young woman who under the rest cure stares at patterns in the wallpaper, and in them she finds her own form of clarity but in the process goes insane. Outspoken women, difficult women, angry women, frustrated women, have through the century been derided, laughed at and considered insane by those around them. In my family, we have our own legacy of female madness. By which I mean, my granny was difficult, my mother is emotional, and I am both. Rosa's visceral fight to maintain coherence, despite her paranormal activities, is her fight against the supposed hysteria that has plagued her family.

Typically in videogames, the central aim is to not die. The choices you make have consequences that will or will not lead you to death. If you fail to jump here, or you miss the quick-time event there, then the consequences for your character will be a swift and painful death. In the context of a point and click, especially this one, the only consequence for failure is not progressing with the narrative. In this regard, the fear of loss of agency is elegantly placed in a point and click character; because failure leads to stasis; not unlike the rest cure that Aunt Lauren suffered. By using the frustration of point and click to articulate Roseangela's working role, Gilbert demonstrates that her sarcasm, her irritable personality and her self-imposed isolation might have deeper feminist anxiety driving them. The fear of being incoherent.

Indie Games for Girls (and Boys) Introduction

Blackwell: Excellent Games for Girls (and Boys)

So there was This interesting article on the Mary Sue about upcoming releases. It is a list of anticipated triple A games that were due for release that might be interesting to the Mary Sue's predominantly female readership. I was pleased to see that they went for the games with guns, the games that are typically not placed in women's demographic. I was just a little disappointed by the lack of indie titles, though they did include "Torchlight 2". So this post is probably going be part of a series of reviews and previews of existing indie titles, through my inevitably rose-tinted glasses. I'll start with the Blackwell games, a series of point and click adventures so good they were worth playing twice. Then in upcoming articles I'd like to cover, The Binding of Issac, a game I have sunk seventy hours into (and counting) and perhaps I'll do a couple of shorter articles on interesting titles and the problems they encounter when they use gender in their titles Nimbus, Hamilton's Great Adventure, and Dangerous High school Girls in Trouble. In each case I hope to interrogate the gaming industries stereotyping of female characters and explore the claims that female characters are under-represented or poorly characterized.

My decision to look at indie games is two-fold. First this is a less well trodden path; fewer people look at indie games as a medium. Secondly, indie games are not constrained by the barriers placed on games produced by established publishers. Without the marketers and businessmen's input, in theory, these video games should represent a wider selection of female characters. My aim with these reviews and articles is wonder at how games now are representing women, and to consider exactly what makes for decent female character development, and what is the result when bad characterization enters games. 

Are women playing the major roles?

How interactive are female characters? 

And, especially important, how do game mechanics delineate gender? 

Video games are medium unto themselves. By exploring the specifically interactive modes that these games use to articulate gender, I will be able to show how games should be designing female characters to depict their strengths, and their weakness in ways that cohere with game mechanics, art design and characterisation. 

All My Little Ponies. (What d'ya mean red dead ain't a riding sim?)

The Horses in Skyrim are shit.

I understand, horses and ponies are hard to animate, and almost impossible to balance. Having played skyrim for a couple of hours only I managed to amass the 1000g needed to buy a very beautiful stocky nord horse. It was beautifully animated, and stood in it's pen behaving as I have seen real horses do. It made the right noises, it moved in the right way and I WANTED IT. I had had bad experiences with in game horses before so I saved before buying her, climbed aboard allie and watched to my dismay as she walked at human speed and sprinted slower than my character could. Crap. A reload then. Added to this, riding instantly forced me to go into third person, so all the practice I put in was useless. I couldn't use a two-handed weapon whilst riding, so my beserker was essentially slowed and disarmed all because I was silly enough to try and ride a horse. I do however understand bethesda's logic. Horses are powerful. In game there is the option to steal the animals. If they went too fast the thief would be unstoppable, so instead the horse becomes as useless as the famed 'horse armour' of Oblivion.

All in all I give the Skyrim horse 3/10.

There are at least two ways to counteract this discrepancy, one is to time-lock the horse until you reach a certain level or you play for a certain amount of time. This was the method used in Harvest Moon: Back to Nature. Not only was this the best version of the farm simulator it had one of the most balanced in game horses. You can receive your steed simply by activating an event in the first month of your arrival at the farm. The animal is brought to you by a neighbour but is too young to be ridden. So for one in game year ( around 25 hours of playtime) you must tend to the foal, brushing him everyday so that he loves you. When next spring comes around if your neighbour is pleased with the horse's progress he gives him to you. In this way, the instant excitement of having an animal on your farm is coupled with the waiting game in which you grow attached to all its pixels. This tending process is rewarded with a horse who can not only be ridden but also acts as a moveable shipping box which allows the crops you harvest to be sent to the buyer (Really useful in game). The horse also unlocks a horse racing mini-game to be played once a year. The soft-lock on the horse is perfectly designed to be as satisfying as possible to the player and in the end getting the steed feels like a reward for the love and attention you put in.

8/10

Another method of locking out a horse from the game is to control the rarity of good horses. This is illustrated brilliantly by Red Dead Redemption. Red dead is easily the best horse riding simulator I have ever played. I understand that other people played it for the action, the story and the adventure and whilst all of those things were great it was the horses that kept me playing in the closing acts of the game. Once I had completed the main story I stopped fast travelling altogether. I rode and rode and rode the length and breadth of that country, because it was more fun than fast travelling. The horses were balanced, only by unlocking new areas would new breeds reveal themselves, this meant that you might steal a horse and still feel the arm of the mounted law. The mini-game for breaking horses was also an interesting and important addition which added a challenge to unlocking new and better steeds. The horses are well characterised: they throw aggressive riders, and respond well to an apple or two if they are in the mood. Every atmospheric moment I had in game, every heart pounding moment, every blissful bit of reverie was on the back of my horse. 10/10

Being a girl gamer I have played A LOT of Pony/horse sims. For the most part they were utterly without merit. But the game I enjoyed most was Mary King's horse riding star. The game play was super fun and challenging. In fact I may just pick it up off ebay for £2. 6/10

A couple of missing examples:

Epona: 7/10.

Ponyta/Rapidash: 1/10

All MLP games to date: 5/10 O.o

Madness Returns: Puberty is Pretty Rough.

'This unmitigated disaster is your doing. And it will get worse. Your Train keeps a hellish schedule. Get moving... The change has begun'

'The train is perfectly capable of terrifying me, Cat.'

Alice: Madness Returns is not the best game ever made, but it is certainly the best in-game exposition of female puberty.

Video games traditionally under-represent women. With a couple of exceptions such as Metroid, Portal, and Red Dead Redemption, women in games are not well rounded. Thinking on the characters that come to mind from this brief list, what makes, Samus, Galdos, Chell and Bonnie different is their overt masculine qualities. Feminine and vulnerable women are generally over-sexed, whiny or difficult. They are foils to the protagonist, that is, if they merit inclusion at all.

Initially Alice circumvents these issues by presenting it's eponymous protagonist as a child. She begins the game in a doctor's office, as she leaves a very young kid enters the office saying: 'It's my turn to forget, Alice.' No delineation, other than height, is made between the teen Alice and the six or seven year old boy. She wears the simple smock of her infantile brethren, and whilst she is almost twice as tall as these strange dwarfish children she is similarly wan and pale. She has been in therapy a long long time. Her vulnerability is her initial personality. Her wonderland seems at best escapist: the game to stop a runaway train is Alice's attempt to eradicate the memory of childhood trauma.

The wonderland we first encounter is captivating, light and absolutely stunning. Whilst helpless in London, unable to so much as jump; in her fantasy she is lighter than air. Her skirts allow her to triple jump across wide expanses of sky. Alice's initial experience of wonderland is childhood fantasy becoming a reality. Careless and and free she negotiates the simple and linear opening level of Madness Returns with ease. That is, until she finds the vorpal blade, and meets her first enemies, dolls and black slime, combined together. Blood, and the shedding of blood, becomes her first taste of dealing with the difficulties and frustrations of an aggravated childhood. Her transformation from child to adult is initiated through these attacks.

As Alice grows steadily more experienced in violence, and aggression she gains an adult understanding of the world. The game's writers links narrative transition directly to character development. As pubescent fantasy, the story is carried predominantly by Alice's sexual experiences. The more blood she sheds, and the more deeply entrenched she becomes in wonderland, the easier it is to re-examine her past. Her childhood, we learn was torn apart by the fire in which her parents and sister were killed, as she struggles to piece together these experiences she battles the horror and fear which all teenage girls encounter. But Alice has the advantage of experiencing these emotions and the difficulties through a fantasy in which she wields a razor sharp knife. Lucky girl.

Perhaps if such monsters were not presented, the knife would be turned upon her own body. Wonderland offers not simple a childish escape but the opportunity for action. As she destroys life, Alice becomes the active character in an inert world. This is emphasised by her encounter with the Walrus. As in the original Alice game, the side characters are unable to escape the clutches of passivity. The Walrus has Alice round up his cast, mutters the inescapable riddles. The side characters, with the exception of the cat, watch the oncoming destruction of wonderland without batting an eyelid. They welcome and submit to oncoming disaster because inaction is so tempting, so easy. They too, seem like children, trapped in the fantasy of wonderland but unwilling to take the action which would allow them to grow.

By continually battling the violent the demons which plague and destroy her childhood wonderland, Alice is negotiating the path to adulthood. Unable to remain as it was, wonderland is a spectre to which Alice clings but can no longer sustain. Either she chooses to forget, to ignore the traumas of her past as her Doctor suggests, (The doctor later reveals his true motives) or she fights through and embraces the trials and difficulties of puberty. In creating this narrative the developers have produced a brilliantly polished character The narrative is driven, not be the illusive and ridiculous notion of a gothic train, but by Alice's desire to grow. The train represents the onslaught of technology and development, these are things Alice does not really reject at all. She recognises that her nostalgia for wonderland is destructive, another kind of forgetting, which would ultimately lead to her own destruction. Whilst all around her cling to the past, she fights for the future. The train is not her enemy, it is merely her means of getting places.

Alice is no longer able to stay in her childhood fantasy, she must except the onslaught of puberty. This is made particularly clear when she comes to the red queen's castle and is confronted with a long heart-shaped passageway. Red and slimy, it drips, it is, after all a vagina. This blood is not limiting, it is liberating. By walking the passage Alice's development continues and culminates in meeting with the red queen. A mirror image of Alice herself or perhaps her sister, the queen decodes the riddle: 'The train is trying to destroy all evidence of your past, and especially the fire.' Through self-reflection, Alice can find the truth. Through individual growth she can save herself. The deadliness of self-reflection is another theme throughout Madness Returns. The potent philosophy of escapism and avoidance is encouraged by wonderland's cast of characters, but Alice must defy them.

As a videogame Alice: Madness Returns thrives because it counteracts the persistent lack of control present in Carroll's novel with interactive gameplay. The game allows that sense of self-control, and engagement which the original story never delivered. As Alice becomes more deadly, and more aware of sex the in-game collectable memories offer a new narrative.

Rather than simply being told things the narrative allows Alice to re-experience memories in a new and sexualised light. She talks of the fluffy undergraduates who fell in love with her older sister. And in one unerring moment of self-consciousness, Alice remembers the advances of one creepy old man whose advances turned towards her younger self. This, is Carroll himself, or rather Charles Dodgson who appealed to the real Alice Liddell, sent his manuscripts and it is believed; asked for nude photos. The writing in this game is astounding, revealing and dangerous. Rather than shirking responsibilities, or being too attached to the material, (one thinks of Burton's Alice) it interrogates the author, and the story.

Madness Returns is a game all girls should play. Alice is weak, she is terrorised, tortured only to be empowered by action. Her puberty is a process of violence, death and emotion. Rather than being tempered, she fights, rather than being sexy she is sexually aware. By smattering the game with sticky juices Alice becomes a gripping and engaging experience, which encourages reflection. Rather than escapist fantasy, wonderland becomes the space in which Alice can investigate her own burgeoning self-awareness. The game offers teenage girls a similar space to encounter the realities of a bloody and violent puberty so rarely touched upon by mainstream culture.