Music and Silence in Botinicula

"Govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music."

Hamlet, Act II Scene 2.

Narrative in Botinicula is not told through words via the drawling exposition of the protagonist. Instead every leaf, every insect and monster bristles with emotion, life and characterisation. Embedded in this cacophony is a story about life and death shown through music and silence. Life is articulated as creativity which is fed to the player through the sounds and music of this beautifully orchestrated game. Every leaf that the mouse brushes over has a sound that tinkles, as though the cursor was itself an intergral part of the eco-system. The player's actions seem to breathe life into the game, which in turn becomes an instrument. Silence is death.

The protagonists are five small creatures, three of them are types of seed; Mr. poppy head, Mr. Lantern (he looks like a hazelnut or acorn to me), and Mr. Feather, ( a sycamore seed). The fourth critter is Mr. Twig covered in tiny buds and the final, Ms. Mushroom (marital status unknown, and considering that mushrooms can produce either asexually, or sexually this seems appropriate). The gendering of these characters is simply a tool of anthropomorphism, as little narrative is given to the relationship between the protagonists. Instead   these creatures each represent the continuation of life as they carry not only the desire to protect life but the potential to create, regrow and repopulate. In contrast, the antagonists are black spider-like blobs that pump life out of the trees wasting the resources to asexually produce a consumptive population.

As this trailer shows there are unfriendly creatures in the ecosystems, but these natural predators are contrasted with the villains which rot and destroy the trees themselves. The buzzing beetle articulates a natural hierarchy whilst the silent, stealthy monster spider destroys the ecosystem. The musical atmosphere which is so lively is replaced by silence once the spiders infiltrate. Botinicula's narrative is therefore nuanced enough to not articulate a moral world, but the only honest struggle; between life and death.

Saving the world can wait ^_^

The game's introduction of the antagonists, which grow bigger and bigger as they feed off the trees make the protagonists seem terribly small. Trapped in an already potentially hostile system, they now have to find the courage to fight the encroaching pollution. Essentially the seeds, twig and mushroom run errands for other creatures. Finding lost children or helping to power the hot air balloon that allows the other inhabitants to escape the now dying trees. Tiny actions, such as giving a family a seed to eat instead of a live chicken help in the bigger picture by pushing forward the friendlys' escape. 

In one room the player enters to find piles of dirt. When they are clicked, small shoots grow and produce buds. On the end of one bud forms a beehive, which pollinates the flowers. One of the flowers climbs higher and produces a landscape, and then a further flower becomes a mini hot-air ballon which carries a tinycreature up the landscape. Clicked on again, the critter gives the player a flower which leads to the completion of part of a mission. The room is a microcosm for the game, which in turn suggests that the seemingly random actions of the player can set in motion, and develop beautiful systems. Were I teaching secondary Biology, Botinicula would be on the syllabus. 

As the game pushes you into the darker recesses, the root system, a series of errands are created. Rather than instigating a final solution, these puzzles seem to suggest that there will be no escape. They offer instead small comforts. One creature has lost his trumpet, another, the small orb that brought him light. As the game grows darker, it imposes the hopelessness of the task. Even if I do find that trumpet, how will I ever stop the impending destruction of these myriad lives, all for the purpose of the growth and consumption of a single species. 

But we can just plant more trees! Right?

Greg Rucka's Post 9/11 Pin-ups.

In the opening gambit to Greg Rucka's Queen and Country, Tara Chace sits poised for her first hit. Freezing and exhausted, her target; a Russian General the American's want dead, slides out of a car. Tara fires a single bullet straight into his skull and thrusts her frozen bones into the shadows. Moments later she is spotted and makes a break for it, cue chase sequence, bullet to the leg, then eventual escape. The cold seductive killer, watches, destroys, then slips away into shadow.  That should be the end of it.. but upon return to London the mission, which was simply a favour for the CIA, has lost any shimmer of glamour. Her first kill was meaningless when it should have been for Queen and Country.

Batwoman: Elegy tells the story of a disgraced twenty-something dismissed from the military academy that had promised vengeance. Kate Kane is a vigilante super-heroine. In the opening glossy two page spread Batwoman has her sensible red boot pressed against a young man's throat. "You know what I want Rush" Her shocking red lips against her grey-white skin are a wound and a threat. "I want your secrets, I want where and I want when, I want her name. And you ... really... want to give it to me."  This emphasis bristles with sexual tension, she is the potential dominatrix, ready to punctuate her questions with the brutal work of her fists.

 But the cliched questions and the overblown dialectic suggests that she is new to the role... This is outlined beautifully in an article by Q Magazine's Colin Smith.  Referencing the moment she meets Batman, He writes: 

It's a lack of substance on Kate's part that's emphasised as she stumbles backwards with the shock of The Batman's appearance, faced with a character that's as solid and unmoving as a fundamental moral principle. Kate, we're surely being told, is a cartoon of herself, but this man in a mask is profoundly real. 

For Smith, Batman's assured competence (READ: white, wealthy hetero-normative power) sits in stark contrast to Kane's approach to vigilantism which is fueled above all by anger. When Kate's father discovers a cache of weapons she has stolen from his barracks he informs her:

 "I was actually relieved when I realized what you were doing with all this stuff. But here's a little biscuit for you to chew on, Kate. You're not a soldier anymore, and you're not a cop. Just because you survived beast at the point and you were senior elite in gymnastics doesn't mean you're a damn crimefighter and its going to stop now."

His anxiety is gendered. Jake Kane highlights his daughter's feminine achievements: the moment she survived the attack of "beast" referencing a potential rape, and her talents in gymnastics. In so doing, he airbrushes over his daughter's successes in military school. Only once Kate informs him "I've found my way to serve", proposing that the work will bring direction and discipline to her life, does Jake Kane accept her decision. His attempts to undermine her plans give her a platform to explain the decision. Rucka filters her personality through several layers, purposely weaving a narrative that shows more how others respond to Kate, rather than asserting and reasserting her core values. The following double page spread, stunningly produced by artist J.H. Williams, reiterates the reference to gymnastics.

Also she's a keen trainspotter.

 Five images of her fulfilling masculine mocked-up missions in army gear is overlaid by her contorted body as she retrains on gym beam. It is this flexibility to deny and reclaim gender stereotyping that makes Kate Kane so powerful.


In contrast, Tara Chace is unbending, determined, masculine and, as a result, brittle. Running on empty, Chace freezes, gets into fixes, gets shot, and above all is driven almost mad by the bureaucrats in London and undermine her decisions and treat her as a commodity. Following being attacked and electing to CHARGE at him like bloody lunatic  Chase is chastised by Mister Kinney; a higher up. "You! Chace! I want an answer by God! You stupid Bitch! Your orders were to draw them out, not to engage!" She is visibly exhausted, fag in mouth, the adrenaline having ripped through her. In a rage, she passes him "You have a problem with my performance, you're free to take it up with D-Ops.... at which point I'll be delighted to tell the home office about how you arrived just after the nick of time." The next time they meet, Chace is given a chance to explain her decision. [left] She smiles. "Next time you find someone shooting at you... and you're unarmed, try running towards the shooter" Then scowls "And pray the shooter isn't me."

Colin Smith, in his review of batwoman opens :

It's impossible to say whether "Batwoman: Elegy" is an angry comic book that's been written by an angry man.

But I strongly suspect that it is.

Not only is Rucka angry, but Kate Kane is furious and Chace, livid. In both series this anger is given meaning by the discrimination it responds to. Chase crumbles under the pressure of fulfilling the masculine role of spy, whilst being undermined by her female body; which gives scumbags like Kinney the opportunity to call her anything they want, undermine her decisions and insinuate that she is unable to cope with war. The female body takes the brunt; Chace self-medicates alcohol, cigarettes; whilst the brutal work of the active spy, and the stress and the strain of London politics additionally take their toll. The final panel of her time in the series shows her body dealing the final blow to active service as she sits holding a positive test for pregnancy. The battleground of Queen and Country is located not in Afganistan, Iraq, or in London, but in Chace's body which is devastated by active service. Despite this, Rucka does not suggest that Chace is unsuitable for active service, but rather that her female body impacts how the men around her respond to her work. It is society's perception of the woman at war which eventually destroys her career.

Kane on the other hand is removed from the army when she admits she is a lesbian.She removes herself from the institution that would seek to undermine her by choosing vigilantism. This choice allows her to experiment sexually and lose control of the stark and austere persona she had pursued in military school.

Another torn apart female body. 

 The choices she makes in her own appearance, sexual preferences, and the feats she performs are not politicised. Unlike Chace, she has less responsibility, and her body is not the battleground. Rucka's Post 9/11 pin-ups attack the institution. Not the military or MI6; but the institution of gender which expects women to perform like men, but continues to undermine them for the gender they attempt to conceal. Kate Kane's desire to serve her government has been squashed. Time and again that the insults of others; that she is too sexual, too feminine, too gay, too much, only feed an overarching desire to serve herself. Only by rejecting the constraints of  "institutionalised" gender roles and by living through their decisions, can Rucka's heroines coherently construct identities that are strong and female.

The Delicious Deadly Delight of They Bleed Pixels.

They Bleed Pixels is a dangerous and exciting game. The music drips with threat as you load up for the first time and see, in lo-fi graphics, the arrival of a strange emily to an austere school for girls. She discovers an evil book and having read it, is plagued by evil dreams with literary epigraphs.

The epigraphs reference not only H.P. Lovecraft's works from which the Victorian horror theme is drawn, but takes snippets from writers such as, Edgar Allen Poe, China Mievelle, and Phillip Pullman. These provide exposition for each coming level. These screens provide players with a literary bookshelf, which can extend and enrich the experience provided they are willing to look beyond their computer screens. Furthermore by having a different author, and with it a different platforming setting, whether it is underwater, in hell or Japanese lanterns, makes each new level seem like a new book. Entering these levels turns a new leaf, a new experience, and thus we mimic the curiosity of the protagonist when she opened the dark and terrible book that is now sending her visions.

In the dreams the young girl is transformed. Her arms become sharp tuning-fork shaped claws, and the game forces her to use them to inflict damage on the shadowy monsters that threaten to kill her. Initially the transformation is shown as a liberating and dangerous experience. She levitates, her arms grow and change into razor sharp weapons and simultaneously a smile grows sadistically across her face.

Then the gameplay kicks in and this sadism, delight and liberation is tainted by the reality that she has been thrown into a brutal horror setting. Littered with saw-blades, deadly and fast enemies each stunning landscape seeks to mutilate and murder her. As players, whatever pretensions of success we might have are reined in by a simple combat and platforming style that expects perfection and punishes the slightest mistake. A bit like going to boarding school then?

The gameplay mimics the polish and precision of Super Meat Boy, an insanely tricky game which encourages premature death but counteracts it with quick reloads, and fast pacing. Both games encourages not the sadism of the player, but their masochism as they repeatedly throw themselves against spikes saw-blades and enemies. Thus They Bleed Pixels alters the central dynamic of the game; the protagonist's transformation which the player initially viewed as liberating, mutilates the young girl's body and sets her up for a series of violent deaths.

When she awakes from each excruciating dream, in which she will have died over and over, she tries to elaborately rid herself of the book, burying it, throwing it in a river and burning it. But it returns again to haunt her revealing that the escapism is the means of controlling her.

A friend recently told me that to play games such as these was an exercise in futility. Unless I improve my platforming to a level where I might be able to complete the game I will never have the satisfaction that is provided by a myriad of other more mainstream titles. Each year, a new Call of Duty title reproduces a  fantasy of masculinity, which delivers the player the sense of completion and coherence that connects the physical prowess of the male body to the desire of the player to dominate. But in They Bleed Pixels: a game that foregrounds the inevitability of the characters repeated death no sense of coherence is possible.

Yet the player returns again and again to masochistically inch their way through the levels because they want to find the ending. In order to do they must do almost exactly what the game wants; hitting each button in a perfect sequence. At the end of each level, any feeling of empowerment is tainted by the reality that they survived because they did what the game told them to do. The liberation of this victorian, female character is tainted by the reality that her every action is controlled by the menacing terror of the dream-scapes. Her search for identity is futile; as the road to it is coated and slick with her blood.

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

A short post script.

This game is ridiculously fun! The bonus levels are fabulous, including a child-drawn level called "They Bleed Ponycorns" which is adorable, and the new "All Hallows Eve" level which was a free add-on for all customers, new and old and really really brilliantly done! A* Business Practice.

Rank D? Just ONE MORE GAME.

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.