Game design is political. Not just the field (that’s another minefield to go through), but the designs that makes up each game.
I’m aware that people mainly approach my work because it’s a game done by a queer woman, and that is the context it’s allowed to exist in the main conversation.
A clear example is Sequence, an interesting RPG ‘rhythm’ game by Iridium Studios. I have scarequotes around rhythm because I don’t think it’s the proper term; games that heavily feature music tend to be ghettoized into a music games category, and I don’t think we really have good words for them.
Have you ever thought about what your local play and games culture is like? It might not be an intuitive question or process to find the answer, but through speaking in different cities and countries, I’ve found that locales have their own particular attitude towards games.
What does it mean when critics and creators can’t afford to keep up with the tech race?
Two weeks ago, I helped run the Queerness and Games Conference at UC Berkeley, a free, public, interdisciplinary, and inclusive space for people who wanted to talk and learn about the intersection of games and queerness.
Players are overrated.
To start off, I am always going to answer ‘Is X Y?’ with ‘sure.’ Mostly, I see something like art as a lens or perspective; you can see something as art, and bring in what you understand of that to extract meaning.
Mission is a guided restaurant and bar crawl aiming to draw attention to the gentrification of the Mission district in San Francisco.
1987. I really like saying that. Nineteen eighty seven. It was the year I was born.
I recently watched a Lets Play of The Last of Us, because god forbid I play a shooter ever again in my life. But I do like to keep up with what’s going on and what people are buzzing on about.
Everyone thinks they have the solution to your problems.
Playing is mostly a reading affair, watching scenes between characters and seeing how the stories connect. Corpse Party is also part adventure game, with the player taking control of a character and moving through a ‘board game’ rendition of the school.
We tend to see them as objects. When we talk about games, we’re referencing a thing, either with physical boundaries or digital limitations. Games are objects with qualities, to be dissected, parsed, and valued. A game is something with a challenge. A game is something with a goal. Besides the usual questions of who is deciding what a game has, it is, first and foremost, a thing.