Author Archives: amflynn

Luxuria Superbia: Sensuality, Beauty, and Love in Games

“Ask your girlfriend how to play this game” was one of the considered taglines for Luxuria Superbia, Auriea Harvey revealed in an interview with Hip Hop Gamer at Indiecade. Indeed, she points out that most of the women who demo’d it at the event played it better than the men.

 

Luxuria Superbia is a suggestive, flirtatious, and spiritual exploration of intimacy, faith, and gaming. In Luxuria Superbia, the player experiences levels as flowers, which burst into bloom as the player interacts with its buds. The player can charge straight through a level, collecting all of the items and triggering the end of the level, however, this results in a low score and failed level. The objective of Luxuria Superbia is to prolong pleasure, not rush toward an objective. The game encourages the player to immerse themselves in the flower, enjoying the experience, rather than charging through to the finish.

 

As the player progresses through the flowers, the flower speaks to them, giving encouragement and telling the player how it likes to be touched. The marriage of intimacy and explicit consent in Luxuria Superbia is present all throughout the game, as the player must follow the wishes of the flowers in order to succeed at the game.

 

Joy and entertainment figure largely into what makes Luxuria Superbia what it is as a game. In the same interview, Harvey says Tale of Tales “wanted to put something nice into the world and into people’s lives”. Acknowledging the love and entertainment value in gaming is refreshing–in an industry in which games are made for money, for expansions into existing universes, for experiments into realism and grittiness and cynicism, the production of a game to be “something nice” is surprisingly wonderful.
Luxuria Superbia is a love letter to its players, to female sensuality, to entertainment, and to love itself. Consent and joy and beauty are not concepts which need be in direct opposition to video games, as Luxuria Superbia shows. For in Luxuria Superbia, they are all one and the same.

Tale of Tales: What Makes a Video Game?

“There was this distinction for us, this line between games, which are ancient. There’s always been games, you play games your whole life from birth practically. And then there’s video games, the pixels and the interaction, and the thing that you do in your living room or whatever. And y’know that was a completely different subject. And to us there was no limit in that. There was no rules in that. We started going around to games conferences and figuring out how people make games ‘cause we were completely fucking clueless and perplexed why games were the way they were. We started playing lots and lots of games at that point and realizing that why they were genre-bound, why there were not many women playing games, all these things which were questions for us did not have answers, or rather people did not have answers for it.”

–Auriea Harvey, Indiecade 2014 Keynote

 

What makes a video game a video game?

 

Tale of Tales, an indie developer who frequently questions and disregards genre restrictions on video games, often receive backlash in terms of their products not being “games”. So, what is a video game, really? What must a piece contain to qualify itself as a video game? What are the genre restrictions of “video game”? Are there any?

 

Why is it so threatening to gamers when those boundaries are pushed?

 

Tale of Tales games challenge the definition of gaming. Their games include mechanics and narratives which, to more conventional games, seem absurd. The Path, a game which allows the player to take control of girls within a Little Red Riding Hood scenario, asks that the players disobey instructions in order to complete the game. Players must ignore instructions and purposefully trigger failed endings in order to fully experience the game. The Endless Forest, an MMO in which the player inhabits a deer, includes very few of the markers which are synonymous with MMOs. The deer cannot chat with one another, only through symbols and body language, and there is no violence or similar conventional gameplay involved.
These games, through disregarding the genre conventions of video games, show just how enormous the genre can be if pushed. What states what a video game is, or how it must behave in order to be successful? Tale of Tales produces games which interrogate the boundaries of gaming, and in doing so, show the possibility for the marriage of video games and interactive artwork.

Complicating Relationships with New Media: A Look Back on 302

So, what have I learned in English 302?

 

Mostly, what I’ve learned is to be critical and not accept what’s given to me at face value. Whether it’s the programming of video games or the politics of the companies that run the websites we all use, I now have a more complicated view of how I engage with new media. It is, and always will be, important to interrogate and not just accept. That goes for all things in life–not just new media.

 

We function within a society in which everything is politically charged. There’s absolutely no way to cut out every company that is moderately evil and still have what’s considered a full life these days. A cell phone isn’t just a cell phone, and while you can choose the one that’d work best for you, it’s ultimately a product which is owned by a company which has done some pretty shady things. Everything online and in new media is the same way. As a responsible consumer–if such a thing can even exist–we need to be thinking about who owns what and what they’re doing with it. Unfortunately, the lesser evil is typically still pretty remarkably evil.

 

So, as someone who uses Google Drive for her word processor, I think about the implications of that. As someone who has an Amazon Prime account, I think about Amazon’s questionable business practices. As a Facebook user, as a Twitter user, as a Tumblr user, etc., etc., etc. As much as we may like to, these things are a part of our everyday lives. Unfortunately, if we want to continue to live in the ways that we do, we have no choice but to use them, with these major companies buying out and absorbing all the competition.
What do we do? Unplug and go live in caves? I’m kind of resistant to that idea. Everything we interact with, every corporation we buy from, has these skeletons in its closet. I may be part of the problem, but I haven’t quite reached the point where I’ve decided that the solution is the cave option–because if I stopped engaging with every shady corporation in America, I’d have little other options but the cave.

Romancing Gaming: The Role of Identity in Navigating Gamer Culture

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I’m a gay woman and I play video games. I don’t call myself a gamer, or a gaymer, or a girl gamer–not because I think any of those terms are in any way invalid, but because that is just a minefield I do not feel nearly equipped enough to navigate. Marginalized people who do? Kudos. Kudos kudos kudos. There aren’t enough in the world for you.

 

The gaming community is, to put it sensitively, terrifying. It looks a bit like if you took society and pressure cooked it until it exploded. Because as much as we’d love to say that these sorts of things–fandom communities or the gaming community or what have you–are separate beasts from society, they absolutely live within them. The gaming community is our social community. You have probably met somebody in The Real World™ who’s launched a gendered slur into the terrible void that is Zoe Quinn’s mentions on Twitter. It’d be great to look at the gaming community and say “at least the rest of society isn’t like that!”, but unfortunately, that’s just not how it works.

 

If society’s Dr. Frankenstein and the gaming community is his creation, well, they’re both monsters in the story.

 

Calling myself a gamer or by any other title is an inherently political move, being who I am. Calling myself a gamer is cause for an immediate interrogation into my credentials, skills, and even my identity and femininity. So, I’m a gay woman and I play video games. That’s as far as I’m willing to take it for now.

 

As a gay woman who plays video games, I have a complicated relationship with diversity and, specifically, how the industry seems to assume I want it. I’m gay, which means I like women, which means I want to see them sexualized, right? I’m basically just a straight guy but a woman. Except that’s just the thing–I’m a woman. I can’t speak for all queer women, but oddly enough, seeing women being reduced to sex objects just doesn’t do it for me as a woman attracted to women. There’s a fundamental disconnect between what straight men think queer women want–which is basically considered to be exactly what straight men would want, if it is considered at all–and what queer women do want.

 

Video games, then, become rather difficult to navigate. I love a game where I can play a queer character, but there’s the constant worry of gaze. When I’m playing a game like Mass Effect–my admitted game of choice–I have to be really careful in how I play it. If there is a relationship possibility between queer women, I have to worry about whether it’s going to be solely portrayed as titillating to the male gaze or a fully realized relationship. I have to worry about things like costuming, camera direction, changed dialogue, music, setting, acting… At any point there is the threat of a romance between queer women being framed as something for male consumption. My relationship as a queer woman gamer to these romances is secondary or negligible at best. I’m fortunate with Mass Effect: I find the main queer romance palatable. But it’s by far the exception, not the rule.
Interacting with gaming as a gay woman is complicated. I’d imagine that interacting with gaming as anyone other than a straight cis white man likely has similar complexities and challenges. Unfortunately, as much as I’d love to just shut my brain off and enjoy–and believe me, I would love that–it’s just patently impossible for me being who I am.

Me vs. The Internet, or How It’s All Inherently Complicated

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I could probably be considered an optimist when it comes to the online world, at least when taken into comparison to some of the doomsayers. I’m not the type of person to ring the alarms whenever studies come up saying “oh god, our kids are on Facebook more often than they kick a soccer ball” because, well, yeah, the world as we know it and how we interact with it is changing. I’m hesitant when it comes to labeling one thing as inherently good and another thing inherently evil. I’m more likely to label something as inherently complicated.

 

I grew up on the internet. My life online began when I was eight years old and found forums for one of my computer games–and so far has yet to see an end. And that may be where some of that optimism, perhaps sometimes idealism, comes from. I could not be more thrilled, then and now, to have more methods of communication available to me. As a kid, I was “shy”. As an adult, I see that for what it was and is: social anxiety. I hear a lot of people claiming that the internet makes kids socially awkward or irreparably damages their social skills. In my experience, it was the opposite. I had trouble with forming and maintaining social relationships long before the internet came into my life, and it was only through the relationships I made online that I was able to recognize what my behavior was and learn how to live with it. That isn’t everyone’s story, but it is mine.

 

So when I see clickbait titles talking about Facebook devaluing friendships or text messaging making teens more aloof or unempathetic, I’m typically a little skeptical. Sure, that could be true. Ask again in fifty years when the technology’s been around to prove it. I think there are bigger fish to fry than scaring parents into cutting off their kids’ access to their long distance relationships.

 

But here comes the inherently complicated part. Because as good as this sounds in a vacuum, we don’t live in one. Google, Facebook, Twitter, Tumblr, Apple, Amazon–all the companies that allow these things to be possible–are all inherently political, deeply flawed, and sometimes moderately terrifying organizations. They all exist as political entities. They all exist within a capitalist framework. As much as we talk about keeping the internet a free zone, of course it isn’t. Facebook doesn’t exist as some kind of utopian fantasyland designed to bring people together–it’s designed to make money. Platforms link advertisers to consumers. If all they did was link consumers to consumers, well, there’s a cannibalism joke in there but not much money.

 

Twitter is both an incredible revolutionary force and one which commodifies its users. Tumblr amuses and censors. Amazon sells and monopolizes. Facebook irritates and deprivatizes. The list goes on.

 

I love the internet. It could revolutionize communication as we know it. It could break boundaries, educate, and unite people from all over the globe.
I do not love the implicitly political space we have to navigate to use it.

 

Image source: http://blogs-images.forbes.com/insider/files/2014/11/social_media_strategy111.jpg

Key Term: Media Representation

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Media representation has to do with how the media portrays particular groups of people. While the term could be used to describe generalized groups of people, within the context of discussion of diversity and marginalization in media portrayal it is almost exclusively used to refer to the media portrayal of marginalized people. Representation involves not only how many marginalized people are present, if any, but also how they are characterized and treated by the narrative. There is both positive and negative representation: For instance, while a lesbian character may appear in a video game, the character may be stereotyped, fridged, objectified, or otherwise be forced into a harmful and oppressive narrative. Calls for representation in games are, therefore, calls for better representation–not only must characters be present to start with, but they must also not be oppressive portrayals.

“This is also relevant to the populations themselves, as representation can have identity and self-esteem effects on individuals from those groups (Comstock and Cobbey, 1979; McDermott and Greenberg, 1984). Tajfel’s social identity theory (1978) suggests that groups look for representations of themselves and then compare those representations with those of other groups. The presence of the group – including within games (Royse et al., 2007) – serves as a marker for members to know that they carry weight in society. Conversely, the absence of portrayals should lead to a feeling of relative unimportance and powerlessness (Mastro and Behm-Morawitz, 2005).” (The virtual census: representations of gender, race and age in video games)

Representation, however, goes further than accuracy in terms of importance. Games that have more aliens and magical creatures than people of color tell us who is prioritized and welcomed in these fantasy games–and have a very real impact on the self esteem and identity of those who are underrepresented in media. Nichelle Nichols, who played Lt. Uhura on Star Trek: The Original Series, inspired a generation with her portrayal of the character: Mae Jemison, the first black female astronaut, was inspired by the character to join NASA, and Whoopi Goldberg, who later played Guinan on Star Trek: The Next Generation, was also inspired by the character, alongside likely millions of other women of color who saw the show as a child. Representation, while possibly appearing unimportant to people who are already widely represented, is a matter of validation of identity and humanity for those who are underrepresented and poorly represented by the media.

“You guys know about vampires, right? … You know, vampires have no reflections in a mirror? There’s this idea that monsters don’t have reflections in a mirror. And what I’ve always thought isn’t that monsters don’t have reflections in a mirror. It’s that if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves. And growing up, I felt like a monster in some ways. I didn’t see myself reflected at all. I was like, yo, is something wrong with me? That the whole society seems to think that people like me don’t exist? And part of what inspired me, was this deep desire that before I died, I would make a couple of mirrors. That I would make some mirrors so that kids like me might see themselves reflected back and might not feel so monstrous for it.” – Junot Diaz

Sources&Links:
Media Representation: What It Means And Why It’s Important by Elizabeth Fierro
GSCE Media Studies Introduction To Representation by Karina Wilson
Star Trek’s Uhura Reflects on MLK Encounter Interview on NPR by Michel Martin and Nichelle Nichols
“The virtual census: representations of gender, race and age in video games” by Dmitri Williams, Nicole Martins, Mia Consalvo and James D. Ivory

So, Amazon: Evil or What?

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When it comes to certain companies, it’s a bit easier to smell the evil: It’s not like you have to look too terribly hard at Google or Apple before thinking “yeah, well, not too hard to see where that could go wrong”.

With Amazon, things are a bit less cut and dry.

Obviously Amazon’s got its issues. People have been end-is-nigh’ing books and bookstores since Amazon first got its legs in the 90s. The site made lifelong nemeses of privately-owned bookstores by basically just existing, much the same way other online retailers like Ebay had the internet-fresh world in a tizzy of what going digital meant for local businesses. Amazon then had the gall to introduce the Kindle, which, as we all know, is the death of all literature as we know it: Say farewell to that fresh book smell, kids, because that’s going the way of the VHS soon enough.

If you’re detecting some sarcasm there, you’re not wrong. Frankly, Amazon’s done a lot worse than make a book-reading tablet, and honestly, were it not Amazon filling that void for an online bookstore, some other site would have stepped in. It’s the digital era, and you can buy pretty much anything your heart desires online these days. Is it bad for small businesses? Yes, unfortunately, but then, so is Walmart. It’s hard for me to condemn Amazon for business practices that are basically becoming the status quo these days. At some point I just have to step back and think about how I personally would do things differently, and barring wagging a finger at capitalism, I can’t say I have an alternative suggestion in mind.

Aside from generally existing, though, Amazon does have a skeleton or two in its closet: The recent Amazon vs. Hachette debacle only skims the surface of that. Amazon’s not afraid to bully writers and publishers into lower prices, meaning lower prices for consumers, but less pay for authors.

So… Amazon: Evil? I can’t say for certain just yet. There’s definitely the potential as they acquire more services and branch out into more directions, but unless something truly explosive’s happened off my radar, so far, Amazon seems to not entirely live up to the evil empire its fellows happily inhabit.

Of course, something not being inherently evil doesn’t exactly mean it’s necessarily good. Ethics among these companies isn’t exactly Western-style black hat or white hat. When the entire landscape’s grayscale, what it ultimately boils down to is at what shade you draw the line.