Play as Life

Digital games as a form of play. Play as a part of life.

Hacking: Unfair or an upgrade?

Guest writers Ryan Rogers, Shawn Stormo, and Jesse Hacker discuss the fairness of hacking:

Ryan Rogers: Hacking. We all heard about it in some way, shape, or form. We’ve heard stories, I’m sure, and chances are many of us gamers look down on the concept entirely. Apparently, hacking really has developed a bad reputation, but it seems to me that this is only because of the amount of power that the hacker achieves through the knowledge of coding.

Many consider it cheap, of course–depending on the situation.  It’s understandable that someone would get really ticked off if he were in an online Halo death match, only to find that he was fighting a losing battle because his opponent’s shields just wouldn’t go down. I can’t say how often this happens, however, since I’m not a hardcore Halo fan to start with, but given the right tools, I’m sure that there would be one persistent programmer out there willing to make his opponent’s online life a living hell.

Some even consider it unethical. It’s easy to see why–depending on the situation. Would you really want to go to a small Pokémon tournament and fight someone with a pesky Charizard with IVs and EVs upped past defined game limits? With money on the line, that would just suck.

But what about hacking for the sake of making the experience even more enjoyable, maybe even making the game itself better? It’s not that hard to see that uninformed people would think of it as cheap and unethical, too, given the bad rep that the word hacking has developed for years. I myself have seen debates about it in the Smash community over talks about Brawl+, a community hack project that I’m proud to support and share. I’ve often heard people say, “People want to hack Brawl because they’re just scrubs who can’t get good at the game, so they want to hack it to make themselves better,” and, “Why don’t you just play Melee?” Some people have asserted that it’s simply unethical to hack it because “that’s just not how the game was meant to be played” or whatever nonsense.

But what is hacking? From a programming standpoint, it’s merely the amendment of variables and algorithms in a game’s logic that the original creator didn’t intend.  That’s it: manipulating data. Sure, it may not have been what a game’s director, who likely toiled endless hours on the game, had wanted exactly, but it’s your copy. You can do whatever the heck you want with it. After all, you spent the $50 or whatever. If you want to get Mew on  your game without having to trade a ridiculously-rare critter or go to Japan for a Nintendo event that isn’t covered anywhere else.

Yeah, I know that you can do a lot of bad things with hacking, but come on, it’s only bad if you use it to do bad things. People can say that guns are bad, too, but why? Because of what you can do with them? Are they still bad if you’re only using it for leisurely target practice?

So what’s evil here? Hacking someone’s console and bricking it? Or altering the game so that you can see Cloud and Link fight to the death on Final Destination–a battle that everyone’s wanted to see for years? I don’t know about you, but I think the choice is obvious.

Jesse Hacker: To be fair, I think both of those options at the end of your post are evil. Granted for completely different reasons, and based on different definitions of evil. Given perception of something as evil relies on what one would perceive as good, I am going to transition to the words “right” and “wrong” and take a morality stance.

I doubt many will argue that using online game services as a medium to transfer malicious code is wrong. The same idea with spoofing data in a game, online or otherwise assuming it effects someone in some way. This is precisely why you will see programs that attempt to detect any form of hacking in any sort of game with a competitive side. To cite your example of Pokémon, many people that hack Pokémon are very novice about it. From what I’ve been told (I’ve not actually rooted around in the data myself), there is a large amount of “junk” data that some programs can use as parity bits to check the legitimacy of a creature. (ie. some people have made programs that can detect a hack 99% of the time, and those that can fool the program don’t really let on how they do it). The same sort of protection exists in most online game services such as Halo, a very notable one is called Punkbuster.

The other issue you’ve raised, modifying a game without the authors consent to achieve a number of ends, is also morally wrong. There are quite a large amount of games that ship with development kits, or instructions on how to create add-ons/mods, the authors of these games welcome the creative communities attempts to better their game. World of Warcraft is a prime example. For those unfamiliar, users can program add-ons to change literally every function of the user interface to whatever they want, Blizzard simply limits the data these add-ons can access as to make it impossible for an add-on to be game-breaking.

However, buying a game, modifying it and distributing your modified version as you see fit when the author has not provided tools or guidelines on doing so is very wrong. It is assumed that in doing this, the modders must bypass some protection on the game itself to obtain access to the code in question. Ignoring numerous laws brought into question by this activity, the morals alone justify not doing this. The best metaphor I can think of would be to buy some newly released book, taking a thesaurus and changing words you don’t like to synonyms, or rewriting sentences without changing their meaning. Then taking your version of the book and passing it out near bookstores with a name akin to “Jurassic-er Park.” While one may think that they have paid for their copy and it is theirs to do with as they wish, in reality the existence of this new version alone will hurt the original and possibly it’s chances at squeals, which is especially depressing if this new version was meant as a slightly tuned homage to the original.

I’m all for creativity, but copyright law exists for a reason, as do developers release modding kits for a reason.

Rogers: Oh, no, I think you misunderstood. I’m not talking about changing the game and distributing it for profit. I, too, agree that that’s morally wrong and violates copyright law.

However, with mods like Brawl+, all that’s really done is changing the value of variables in the RAM to change what the game does regarding physics and loading files–but to do that, you still need an original copy of the game, so really, no one loses any money in the deal. In essence, it’s no different from using a GameShark or an Action Replay. If it’s illegal to do that to your own game, then MadCatz and Datel should’ve been sued by now for distributing hardware that lets you do that.

Have these devices hurt sales for games? Not that I know of. But you’d think someone would’ve said something by now if that’s the case.

Shawn Stormo: I don’t find hacking or modding a game to be immoral or unethical until that modified or hacked version comes into contact with an unmodified, vanilla version.

Now I’m not a huge fan of hacking games–I like to play them in the way the developer designed them to be played–but it’s not wrong to do it to your own, personal version.

When you come into contact with other versions, though, then it becomes a problem. Because some people play games for competition, and that competition aspect is a core part of the fun, when a person hacks or mods the game to give himself an unfair advantage, that destroys the fair competition and the fun. When players aren’t having fun, they stop playing, complain, or don’t trust the developer anymore. All those things mean less money. That’s why developers crack down on hackers, and invest in anti-hacking software and tools to detect mods. Hacking breaks the rules of the game, but a game isn’t a game without rules–it’s chaos. If too many rules are broken, there’s no fun to the game, no point to playing it. When hacking reaches this territory, and breaks the rules of play that everybody else agrees on, and makes them null–that’s when hacking becomes cheating, and wrong.

If everyone agrees to change the rules–no problem. Hack as much as you want.

As far as hacking game’s source code–that’s more situational. Some games are meant to be modded–Fallout 3, Morrowind, Oblivion, Neverwinter Nights etc. They come with development kits to allow you to expand your game and share your content. That’s obviously not wrong, because it’s embraced. Similarly, one of my favorite games, Baldur’s Gate, has mods for it because people hacked the engine and source code. However, there aren’t any bad mods for it–all of them improve game play or story, and do so while keeping the spirit of the original game. In that case, even though it wasn’t intended, I would say it’s still not wrong, because it’s enriching the experience.

As far as hacking a game’s source code and then reprogramming it–doing that for money or fame (by claiming it’s your own work) is extremely unethical and immoral, and breaks copyright laws. However, making your own game or mod and then passing it to your friends is fine, as long as you realize exactly what you’ve done. You’ve made something based off of someone else’s work, so don’t take more credit for your achievement than it’s worth.

About our guest writers: Ryan Rogers is an undergraduate at Michigan State University; he is taking a class on the History of Videogames this semester. Shawn Stormo is an aspiring game designer and ex-English major whom wants to use his imagination for a living, and hopefully get rich enough so he can fund or personally undertake crazy or creative projects. Jesse Hacker is a senior at Michigan State University studying Computer Science, specialized in game design and Japanese.

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Interview with Justin Karpel, composer of Time Fcuk

Play As Life caught up with Justin Karpel, composer for the indie game Time Fcuk.

Q. First of all, congratulations on the new soundtrack! What was the process of composing for Time Fcuk like?

A. It all happened within the span of a few months, from June thru September of 2009. I was having a chat with long-time friend and graphic artist, Edmund McMillen, when he mentioned that he was working on a new flash game called “Time Fcuk” with programmer, William Good. During that same conversation, Edmund proposed that I join their team and create the soundtrack for the game, and I took the commission for the soundtrack to Time Fcuk on the spot.

From that point forward, creating the sound design for Time Fcuk was certainly a collaborative affair. I submitted a handful of initial sketches within a week, most of which were rejected; so it was ‘back to the drawing board,’ so to speak. All I can remember is that a moment of true inspiration struck, about two weeks into signing on the project, I spent all evening working on a track and I put together the music that would become the cue for the opening sequence and title screen of Time Fcuk.

Feeling that we were moving in the right direction now, I took the raw vocal samples for the “voice” in Time Fcuk, and transformed them into the eerie, robotic syllables you hear in the final version of the game. Time Fcuk is a game with many layers and many things happening at once. The result can be somewhat chaotic and dissonant at times. With the vocal bits complete, I turned back to the main theme for the levels of Time Fcuk, and came up with a track that conveys the repetitive and uneasy flow of time and motion in the perplexing world of the game.

Later on, as the design of the game became even more user-driven, the concept of a “level editor” came into play, and another track was born — a more ambient, blurred, slow and distant version of the main theme. Also, a very simple track came out of these later sessions, and we all liked it so much that we decided to use it on the early levels of the game as the player is learning the basic controls and how to navigate through the puzzling world of Time Fcuk.

At every point, the music was tested in-game and I was constantly supplied feedback by Edmund and William on ways to shape and master the final cuts for optimum use in the game. As the release date drew near, I was literally working 10 hrs at the “day job” and coming home to work another 6-8 hrs on the soundtrack for the game. I didn’t get much sleep on those nights, but the final product was a mix of inspiration, imagination, improvisation, persistence, and pure fun.

Q. Would you say that Time Fcuk represents your musical preferences, or is it more catered to the storyline of the game?

A. The music for Time Fcuk is definitely more catered to the storyline of the game, as you say. The first thing I always ask for when embarking on the task of a video game soundtrack is to have a copy of any artwork, or any working versions from the game as the primary source for my musical imagination. I like to become as immersed as possible in the world of the game in order to create a sound which feels original and true to the game. The strange and multidimensional quality of Time Fcuk was the driving force for the sound design.

Q. What kind of equipment did you use for Time Fcuk? What instruments do you play?

A. I recorded everything for Time Fcuk in my home studio on my MacBook Pro. I used M-Audio’s “Fast Track Pro” as my audio interface, a couple of Shure and AKG microphones, with Apple’s signature Logic Studio featuring Logic Pro 9 and MainStage 2 to produce the entire project. The Korg TR with expanded sampling capabilities is a staple in most of my work. I’ve been fascinated with pianos and keyboards since a young age. I just added a Yamaha oak console piano into the mix, and the hardwood floors in my home add a nice flavor to the acoustic environment for the instrument as well.  You will notice the Melodica (a widely underused keyboard instrument, in my opinion) figures a large part in the score to Time Fcuk. I also sampled an old Emenee reed organ in the score to the level editor of Time Fcuk (I found this particular organ for $5.00 at a secondhand store–what a bargain!). I have an assortment of pedals and sound modules. I’ll sample and record just about anything if it might have a musical application one day.

Q. You have so many creative talents. How do you introduce yourself to others?

A. Hi, I’m Justin. I’m 28 years-old. I have a degree in creative writing and electronic music. Sometimes I like to think of myself as a student of the Universe. I imagine I’ll always continue to study art, philosophy, religion, psychology, writing, and music. I like to watch movies, read books, attend symphonies, play video games, and a lot of other things too. I attend as many cultural and artistic events and time and money allow. More than anything, I love to write books and compose music. I’ve worked as a librarian, a video-store manager, and an English teacher. I’m currently employed as a corporate trainer. But really, I’m just another human being on the look-out for a little truth, beauty, and happiness in this lifetime.

Q. Pick five words that you would use to describe your music.

A. Experimental, Electroacoustic, Atmospheric, Organic, Meditative

Q. What influences your music the most?

A.  The writers, the musicians, the philosophers, the painters, and the poets of the world–these are my Muses. For this reason, I always try to attend live concerts, theater, and displays of culture and art whenever possible. I can spend a whole day reading a good book or strolling through a museum of modern art. I have a huge library of CD’s, DVD’s, and MP3’s. In college, I think it was Stravinsky that opened my ear up the most, and I have been listening to the pioneers of 20th and 21st century music ever since. The music of composers like Philip Glass and Harry Partch have made a definite impression on my style, not to mention the free jazz experiments of Sun Ra and Don Cherry. The progressive sound of The Beatles, Pink Floyd, and ELO. The Residents and Radiohead always satisfy. From Leonard Cohen to Laurie Anderson, Bela Bartok to Stockhausen, there are just too many personal influences for me to name here. As far as video game music goes, Koji Kondo’s soundtracks are legendary in my mind.

Q. There’s a lot of dispute about whether or not music should be free. How do you feel about making your music available to people online?

A. All the music that I’ve written is available for free online. That’s been my own choice so far. My books are not free. I just happen to be a big fan of sharing free downloads of my music and collaborating with other artists online. There are whole communities of artists working together and doing some spectacular stuff online. I would like to mention a site where I participate and donate time and money to called iCompositions.com. There are many great musicians and artists collaborating there. My own page, with many free downloadable tracks (including the complete soundtrack to Time Fcuk) is located at: http://www.icompositions.com/artists/Justin_Case/

On the flip side, I’m also fine working with contracts, concert venues, copyrights, royalties, etc. I believe that “the laborer is worthy of his hire” and that you just have to find the right balance between your artwork and your pocketbook. I’ll admit that I’m not happy when I hear that multi-million dollar artists are suing people for sharing digital copies of their art. I think that digital reproduction in the postmodern age is simply a way of life. Nevertheless, I believe that if you put on a good show, or sell a CD or DVD that features your artwork, or contribute work to a project that is financially successful, it’s only fair to come away with a share of the profits for your efforts.

Q. Being a writer/musician is hard in any economy. If you could turn back the clock 10 years, would you do things differently?

A. Absolutely not! I create art first and foremost because it makes my soul happy to do so. I simply cannot imagine not creating art! Money and recognition have always been a secondary benefit of the process. I write stories, poems, and music because it is through these acts that I feel more intensely alive!

After all is said and done, I still require a “day job” to pay the bills. I don’t regret this fact, but I hope that in another 10 years, perhaps the art will be the centerpiece of my financial well-being.

Q. Do you think video games can be a form of art?

A. Without a doubt, video games belong to the realm of the arts. Perhaps the closest cousin to video games is cinema. It takes the efforts of graphic designers, animators, writers, and musicians — all artists in their own right — to create a truly interactive and immersive video game experience. When all the pieces come together in a way that transcends the individual parts, that’s the sign of true art! Art is simply that creative territory where effort meets imagination, and video games certainly fall into that category. Video games represent the triumph of art, entertainment, and computer technology.

Q. What type of games do you enjoy playing?

A. Role playing games, strategy games, puzzle games, fighting games and side-scrollers are my favorites. I have enjoyed everything from Super Mario Brothers, to the Zelda games, Metroid and Mario RPG, Final Fantasy and Sega’s Phantasy Star series, to PC releases like Blizzard’s Warcraft and Diablo series. And then there’s the classic fighting games like Street Fighter, Mortal Kombat, and Super Smash Bros. I’ve always enjoyed the adventure game genre as well, with games like Sierra’s King’s Quest series, and LucasArts’ Monkey Island and Maniac Mansion titles. Those were some great games!  As much as I enjoy RPG’s, I haven’t found an MMORPG that truly satisfies me yet, and you’ll more often find me playing an old console or PC game instead of one the recent console and online releases.

Q. How do you feel about mainstream games versus indie games?

A. I’ve been a fan of both mainstream and indie games for a long time; I don’t think they are truly at odds. I have friends working with companies like Nintendo, PlayStation, and XBOX. I’ll admit that the mainstream has a reputation for playing it safe, going with the tradition, sticking with the tried and true. Indie artists and indie gamers have been consistently pushing the boundaries and taking risks. There’s a great amount of freedom with indie projects. It’s great to play outside of the box! It seems to me that the best-ranked indie games will eventually get their shot at becoming mainstream hits. Having not been signed to work for any major label or company, I can speak from working extensively as an independent artist. It’s an alright road. I still believe it’s not worth sacrificing your artistic integrity for a shot at the mainstream. No way! On the other hand, I wouldn’t refuse a shot at working with a mainstream company, if the final product was consistent with my original vision for the project. I think most independent artists would welcome the opportunity to share their work with a larger, mainstream audience.

Mainstream games versus Indie games? I don’t have to choose, really. Both have their share of flops and successes. I just keep on playing the games that I like.

Q. Are you working on any new video game music projects?

A. I’ve been working two more indie game music projects since the release of the Time Fcuk soundtrack. I’m also in the process of submitting the manuscript to my third novel. Many exciting things to come in 2010!

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Discussing Video Game Sexuality with “A Geek’s Wife” Podcast.

On January 18th “A Geek’s Wife” podcast reviewed Bayonetta and commented on its outrageousness.  Since we have recently covered topics such as sexuality and stereotypes I sent them a couple of the articles posted here.

They graciously had a lively conversation about the articles and the topic in general on their latest podcast.  Find the stream here:

A Geek’s Wife Podcast – Episode 11

As always I would love to hear comments and discussions about these topics and others.

Filed under: culture

Interview with Marc Gomez, Art Director of A Boy and His Blob

“A Boy and His Blob” (Wii, 2009), has been praised for its beautiful graphics and success in re-making the old game. Little is known, however, of  Marc Gomez, Art Director of WayForward Technologies, who was responsible for the lyrical and enchanting 2D graphics. We decided to shine the spotlight on Marc and ask him about design, the making of the “A Boy and His Blob” and his personal thoughts on gaming.

About Designing

Q. For those of us who aren’t familiar with the production process, what is the difference between an art director, an animator, and a designer?

A. The art director of a game dictates the overall look and visual experience you’re going to have when you play. Depending on the company, they may take on more or less roles, but at Wayforward, this includes animation, backgrounds, interface designs and layouts, and anything else under the visual spectrum. Animators are the ones who bring the real magic to the game, and makes the characters alive. They get a basic idea of the movement necessary, and move forward from there.

There are multiple types of designers. Level design sets up the environment layouts, game design dictates the core of the game you are playing, and character design is for the modeling and turnarounds of the characters in game that the animators will use to animate.

Q. Was designing for the Wii different from the experience you had designing for the DS?

A. Since the DS consists of smaller development teams, I had to wear multiple hats per project, usually as game designer, director, and art director. On Boy and his Blob, I was completely focused on art directing, and it’s was an awesome experience being able to focus on just the visuals of a game.

About A Boy and His Blob

Q. The character in A Boy and his Blob is a cute, somewhat effeminate boy. Is there any element of this character that you personally relate to?

A. Uh…ahem…um……what are you talking about? Uh…I wake up to a cold six-pack of beer every morning just like any other guy…right fellas? Fellas?

Actually, I designed the boy after my cousin Matthew. As far as the effeminate part I was going for a Christopher Robin kind of look, but those boy shorts weren’t going over too well with everyone, so we made a compromise. I think the effeminate look gives him a sense of innocence that children have when they are not wary of people’s perception of what they are wearing or how they look.

Q. How different/similar is the artistic style that we see in this game compared to your own style? (If you were creating your own game, would it look like A Boy and His Blob?)

A. I never thought of myself as a strong character designer, so with that in mind, I don’t have an established style. I think the art should be dictated by the storyline. Right now I’m leaning towards a much more adult and heavily rendered art style for the next round.

Q. Why did you decide to make the boy and his blob look different from the original?

A. The director of the game, Sean Velasco, explained to me his idea. He wanted to convey a true connection between the boy and the blob and make the game as heartwarming as possible. To get this feeling across in the art, I felt we had to make the boy much younger. This gives you a sense of vulnerability, and codependency with the blob. Stylewise, there isn’t much we can bring over from the original game, since it’s in small pixels, but we tried to bring back certain visuals from the original to this one. The boy’s home comes back from the original, as well as his green shirt, blue pants, and backpack.

Q. When you’re creating a game for a large publisher, how much of your own opinions can be reflected in the design?

A. This depends on the publisher, and how established is the design of the licensed title. In the case of Boy and his Blob, there was no set in stone direction on design from the original to the current version. Majesco put a lot of trust in us to deliver with the vision we had of the game.

Q. Is hand-drawn art more difficult compared to computer-rendered art? Is this something you would do again?

A. We have become super efficient at our 2D animation process since Blob. We’d love to do more 2D games and push boundaries in 2D animation in games even further. Our 2D process is completely digital now, and we can work at twice the speed as before. The difficulties of 2D animation and 3D animation lie in different areas. It’s hard to say which is easier. They both have their strengths and weaknesses.

Q. A lot of reviews are praising the graphics and the art. Do you have any plans to sell some of the original artwork?

A. Well, interesting note on the art, we started animation traditionally with pencil and paper, but 3/4 through the process we switched to completely digitally drawn animation, so the frames we have of Boy and his Blob are probably the last pieces of hand drawn art on paper we’ll see at this company. Our current project is all digital 2D. I’m not sure about if we are allowed to sell the frames. They will probably stay sealed in a box next to the Arc of the Covenant.

Marc's design sketches of bad guys in the game, with some concept ideas of their actions. Provided by Gomez

About Marc Gomez

Q. What are you personal favorite games?

A. In our office we keep our “Top 20″ lists on the front door to our room. I like games of all genres, and my top 20 list is fairly generic, but a few notables are Rivercity Ransom, Resident Evil 4, and Final Fantasy 7, which I never got to the last disc of because I loved it so much that I didn’t want to progress further because I would not be able to go back to certain places. I ended up beating Emerald Weapon on the 2nd to last disc then stopped and never played again. I also played 120 hours into Final Fantasy 12 then stopped playing that too. RPGs are bad for me.

Q. Do you have a preferred console?

A. As far as consoles that gave me that nice fuzzy feeling, I would say SNES. I don’t want to choose favorites in the current console war. : )

Q.  Are there certain types of games that you’d like to see, but aren’t really out there?

A. There’s definitely not enough ninja games out there…. Oh, and first person shooters also need to make a comeback.

Truthfully though I’d like to see something that fills the gap between Dragon’s Lair and what we’re doing at Wayforward. As close as we can get to a fully interactive 2D cinema.

Q. Do you think games should be considered mass media, like television, or just something for groups of enthusiasts?

A. I’m not sure games are as mass of a media as television. Sure some games garner more sales than any other electronic product in history, but I would say that is more of a strong interest from a specific demographic. I think of all current gen systems, the Wii is trying to get a mass appeal with their games that are fun and interactive for all age and gender groups, but they still have a long way to go.

Q. What is your take on Japanese animation versus Western animation?

A. Well, speaking of mass media, Japanese animation caters to a much larger demographic of age groups. There’s more variety in genres that you won’t find in the U.S. market. I myself got into animation because of watching Akira. I think both Western and Japanese animation have their strong points.

The Blob team doing some kid testing on the game. In the shot is the director, lead animator, lead programmers, lead level designers, and some kids. Image provided by Gomez

Q.  As someone who plays tennis, how “real” do you feel Wii tennis is?

A. Playing actual tennis, then playing Wii Tennis, I think I now understand what it is like entering the world of Tron. You probably feel like ‘geez…I must look pretty ridiculous right now’, then you think ‘wow, I’m being beaten by an old man’, and finally you think, ‘3D Graphics!!!!!’

Q. Has your ethnic background affected/influenced your work?

A. I don’t think being Asian American has influenced me in gaming directly. My life growing up has been multi-cultural as well as my college experience. I think it gives me a broader view of influences out there. I did grow up with a Famicom though! Don’t know if that influenced me one way or another.

Q. You’re interested in comic books. Were comic books a big part of your childhood?

A. Actually, no. I never enjoyed reading for fun. Most of my reading while growing up was books on dinosaurs. I also liked Zoo Books. They were these magazines with info on different animals. Each issue was a spotlight on a different animal. I like reading an interesting comic every once in a while now. Working at a comic shop before, the shop manager at the time made me read comics, so I can be more informative to the customers. Hard work, I know.

Q. Do you think comic books are the same in an electronic format (like on the web instead of in a paper booklet)

A. Working at a developer, you tend to favor producing something tangible. After you stop playing a game you made, you can still view the fruits of your labor, and put it on your bookshelf. I don’t feel the same about music and mp3s, but I’m sure the musicians know how I feel. I don’t think electronic format has caught on in other areas where collectibles are concerned. I see comics being one, and games being another. We’ll see if systems like the PSP Go catch on.

Q. Your profile says that you want to make live action movies. Are you thinking of Hollywood-type movies? (is this a fantasy or something you’re seriously planning?)

A. I like storyboarding and storytelling. Instead of applying it to live action, right now my focus is to weave a good story together in a videogame format. We’ll see how that goes.

Q. Now that A Boy and His Blob is out, what’s on your plate?

A. More Wii games. Hopefully some XBLA or PSN in the future.

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The Evolution of Sex in Video Games: Walking Erect

The title for this article is without a doubt this is the most salacious title I have ever written.  In some ways it conveys an intended jolt. Sexuality often is a speed bump in a narrative. While there have been some examples of mature handling of sexual content  the majority of  treatments we see in the past focus on titillation and are targeted towards a young male audience.  Fortunately I think the medium is starting to evolve away from the early examples.   In the last three years we are starting to see sexuality enter into the narrative as less of a shock and more of an enhancement to the story and plot.

Let us start with some brief history.  My intent is not to thoroughly cover the subject but to talk about where we have been and where we are going.  Note: I am mainly covering games that are released in North America. Discussing Asian games would be a  different conversation with its own positives and negatives.

Custer’s Revenge

Quality cover design must mean cobbling together art from several different sources.

Ah, Mystique.  Rarely has a company name been so ironic.  There is very little mystique involved with what they were trying to accomplish and who they would attract.  Custer’s Revenge wasn’t the only pornographic game for the Atari 2600, but it is one of the most notable for its garishness and offensiveness.  Complete details here.

Rape should never be a gameplay mechanic.  There is very little to see here and discuss, the game wears its intention on its sleeve.

Dragon’s Lair

I'm sure she dresses like this all the time.

No direct sex or nudity here and I consider the Don Bluth  animation in the game to be a masterwork, but let’s discuss the goal of the game.  Everything comes down to saving Princess Daphne.  Her squeaky Alberto Vargas inspired design was pretty much meant to convey one thing.  If you rescued her there would be ’sexy time’.  See this video of the ending.  Less overt than the above, but probably not going to win any awards for realism.

Captain Blood

Video examples above contain no sex or nudity but serve to show the bizarreness that was Captain Blood.  My memory is fuzzier than I would like with this game.  What I do remember is that it was very odd, brilliant and different from anything I have ever played in my life.  Details about the game can be found here.

A major character in the game was an alien that resembled a beautiful human nude female.  It was the first time I had seen nudity in a video game and it rattled me a bit.  Captain Blood is an interesting example because the nudity was used to prove a point instead of a cheap trick or played for laughs.  If you treated this character well “she” appeared to you as beautiful, if you treated her with disrespect she became a horrible tentacled thing.  This is the earliest example I can recall of this type of content presenting itself with an iota of maturity in a game.

Night Trap

Shooting forward a few years we have a game that seems to have shaken Joe Lieberman to the core.  Night Trap had a cover that folks cried sexism over and a theme song that you can’t unhear.

Night Trap was a repackaging of an unpublished VHS game on Sega CD.  By the time of publishing the footage was already five years old and it already had not aged well.  It stars an overacting Dana Plato.  It has nightgowns and women who take of their shirts to reveal their purple bras for no reason.  The game is somehow less than the sum of its parts.

Why talk about this?  The “sexuality” and violence in this game along with a few others helped create the ESRB.  In question was a scene where a woman was killed in a bathroom while wearing a nightgown by ninjas that were apparently were directed to walk like gorillas and assassinate her with one of those devices that senior citizens get cans off of high shelves with.  Link

Night Trap became one of the subjects of a congressional hearing on video game violence co-chaired by Joe Lieberman.  It was asserted that you were the one that was trapping and murdering women with the aforementioned gripping device.  In this particular case facts did not seem to get in the way of outrage and we end up with an interesting little milestone in video game history.

As an extra present for your eyes, here is the “party” scene from the game.

Duke Nukem 3D

I think he might be getting his money out to buy one of those pickled peppers stuffed with cheese.

Duke is a storied franchise with a tragic ending that we can discuss around a fire at a later time.  I am including Nukem as an example not because it is unusual in its portrayal of sexual themes but because it is honest.  The Duke is a lecherous cur.  A cigar chomping, exploitative macho parody and he never strays from his cliché.   The game may not have moved the subject forward any, but at the very least it knew who he was.

Grand Theft Auto IV: The Lost and the Damned

If you have gotten this far in the article I already assume you know that it is NSFW

Jumping ahead again we finally get to GTA.  GTA is no stranger to sexual controversy, but in L&D they pushed the boundaries rather hard.  GTA: L&D contains full frontal nudity.  Nudity of this type in a game is rare to begin with but they went ahead and included male full frontal nudity.

This is notable almost for the lack of controversy it created.  There were some spikes in media attention but they quickly died down.  Sexual themes in games are becoming part of the narrative and they are appropriately rated for 17+ year olds.

I would have loved to be a fly on the wall when an uninformed parent who purchased this for their child walks in on a screenful of middle-aged nude senator.

Mass Effect & Dragon Age: Origins

Mass Effect lit up Fox News with a fictional tale of how much graphic sex there was in this game.  People were outraged and game developers were burned in written effigies by the blogosphere.  This is the scene that people were so troubled about…

The sex scene is played out whether you are male or female.  A lot was said about this being a “lesbian” sex scene when you are a female character, but do human gender dynamics come in to play with fictional aliens?  Can they even be female?  The hubbub reminds me of a censored scene in Rocky and Bullwinkle where the main characters were about to be served for dinner and one of the executives demanded that they could not show cannibalism.  One of the creators replied with “Is it really cannibalism to eat a moose and a squirrel?”

In response Dragon Age added more and varied opportunities for romance this time with multiple options and partners.  It is not the focus of the game and does change the dynamic of your characters interactions.  This time the reaction from outside sources was substantially quieter.

With the exception of the Bioware titles and the GTA expansion we see some pretty ham handed insertions of sex into the stories of games.  I think the same can be said for any medium, books, television, movies etc.  Video games have gone from swinging in trees and walking on all fours to an intelligent thinking bipedal treatment of the subject in only three decades.  The other mediums took much longer to get to the same place.  I do not claim to know why this is, maybe it is because video games are more of an extension to the other mediums than something completely new.  There will always be locker room humor in games just like there is everywhere else, but thanks to good writing we are starting to respectful and even elegant treatments of the subject.  Sex is such a huge part of human nature and removing it wholesale from an entire medium without explanation would take the humanity out the story.

I have missed many examples here from early video game pornography and text adventures, the “hot coffee” scandal from Grand Theft Auto and others such as Phantasmagoria, Leather Goddesses of Phobos and the sex mini games from God of War and even the odd Cho Aniki.  Feel free to stir up some of your own controversies by talking about the above examples or things I have missed in the comments.

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Who are Game Widows?

Nina Huntemann is a professor at Suffolk University who does (among many others) studies of  “game widows.” She initially started out focusing on wives and girlfriends of male gamers, but will include husbands and boyfriends of female gamers, as well as partners of gay couples in further studies.  Play As Life asked Dr. Huntemann about who game widows are, and the perspective of the person who doesn’t play.

Q. How did the term “game widow” come about?

A. It is a borrowed term from “football widow” and other sports-related versions. Essentially, in all cases it refers to the significant other (most often wife or girlfriend) of a sports or MMORPG fan who engages in the sport or game so much so that the significant other feels neglected in some way.

Q. What exactly is a gamer?

A. The definition of what makes a gamer is such a controversial subject within game studies. At the core of this question is what makes a game, which is perhaps even more difficult to define than gamer. Personally I find the question pointless and a waste of time. Games and gamers exist on a continuum, I suppose. Degrees of gaming may include time devoted, platform, genre, financial investment, psychic investment. Casual games and casual gamers, one could say, devote less time, money and psychic investment while a “hard core gamer” devotes more. But even that distinction is wrought with contradictions. For example, if I play solitaire on my BlackBerry every day to and from work on a 60 minute commute, and thus 10 hours a week, am I a casual gamer or dedicated gamer? If I have played World of Warcraft for 8 hours a week – perhaps two 4-hours session – for several years, am I a casual WOW player or “hard core”? Many WOW players would say I’m a casual player compared to those who game 4 hours everyday.

Q. Why don’t game widows play games with their partners?

A. Many do, in fact, play alongside their partners. I found that many game widows would play in order to increase time spent with their partner. For women playing because your husband or boyfriend plays is often the entry way to becoming a regular gamer. But many game widows also refuse to play because they see the game like a drug. Addiction metaphors among game widows and game widow support groups is very strong. Thus, if you see the device as a dangerous drug and the cause of so much relationship conflict, you wouldn’t chose to participate. Also, many game widows are or were gamers before feeling like game widows.

Q. Do couples that are distracted by games get counseling? What type of therapy/methods have you seen work successfully in terms of bringing couples back together?

A. Many couples chose to get counseling as would a couple with a myriad of relationship conflicts. The feelings of neglect or abandonment are universal and hardly specific to gaming. Thus, counseling to repair the relationship is often very effective. I don’t have an opinion on what types of therapies work. That falls so far outside my area of expertise, it would be irresponsible for me to comment.

Q. Is there an age range for game windows?

A. Nope, I’ve meet all types of people who are self-described game widows. The couples are very diverse in age, race, education, income and so forth.

Q. How could one prevent from becoming a game widow?

A. Like all relationship conflict and stress, communication seems key to resolving problems. Before a game widow feels the game playing is too much and he/she feels neglected, it is important to address the behavior as soon as it is identified. Look for non-game factors that may be contributing to the feelings of neglect (lack of physical contact, decrease in talking) and non-game factors in the partner’s life (loss of a job, depression) that may be the triggers for excessive game playing.

Q. What are the “lessons” you’ve learned from talking to people with game addiction?

A. I don’t think “game addiction” is a specific affliction. I’m not even convinced and certainly not qualified to say if excessive gaming is a medical condition. What I have learned, however, is that the mainstream attitude toward gaming makes it difficult for society to see the very real effects, pain, shame and sorrow of the game widow experience. Labeling the game player a loser and denigrating the game widow as pathetic for staying in the relationship dismisses the ways in which gaming is changing our lives, our relationships and our culture. The game widow is just one example – and an extreme example at that – of the influence video games are having on our society. The lenses through which we understand “play” and “popular culture” need to widen so that we can see gaming as a significant aspect of everyday life for many, many people, not as a marginal activity.

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Games and Art

Poster for The Art History of Games (top) and Magritte’s The Treachery of Images (photo taken by arcticpenguin at Lacma)

Perhaps a pun on one of Magritte’s most famous paintings–one that shows a pipe floating in the middle of a canvas with the words “This is not a pipe”– is the poster for this year’s The Art History of Games symposium, which features a wii-mote that is “not a racket.”

Taking place in Atlanta, Georgia, the three-day public symposium investigates games as a form of art– drawing people from game studies, art history, and other cultural studies. The schedule includes talks from Ian Bogost, John Romero, Henry Lowood, and Brenda Brathwaite among others. In particular, Jason Rohrer, Tale of Tales, and Nathalie Pozzi and Eric Zimmerman will be displaying their commissioned games at Kai Lin Art (800 Peachtree St. N.E.) from Thursday, February 4 through Tuesday, March 2.

Related article: Read our interview with Tale of Tales founders here

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The girl who crochets Super Mario

Mindy Yan (right) made the Raccoon Mario rug and question mark ottoman for her living room.

Nintendo “fan” doesn’t seem to be a word that quite reflects the creativity of Mindy Yan, who runs a craft store on Etsy with handmade items that have a Nintendo theme. Her crafts range from crochet dolls to clothing accessories and felt decor. Play As Life interviewed Yan about her passion for Nintendo because she represents a unique demographic of game players– people who not only love playing games, but also love watching their friends play and take visual inspirations from the game to make something creative. Certainly we see that the influence games have on Yan are not the negative ones we hear about in the media; Yan shows us that games can create and spread positive energy.


Play As Life:  What inspired you start handmade crafts?
Mindy Yan: I’ve always loved arts and crafts when I was a kid and learned how to use a sewing machine when I was 11.  I think that really sparked my craftiness.  When I first started making stuffed dolls, I would just cut out 2 copies of the same shape, then sew them together and stuff the finished product, but I quickly learned that in order to make a more 3-D looking stuffed toy, I would need to create my own patterns for all the pieces to fit together like a puzzle.  I stuck with sewing until last February when I decided I wanted to learn to crochet, so I watched YouTube videos on repeat until I grasped the concept.  I guess for that reason, I would still be considered a novice at crocheting.  Every time I start a new project I’m learning new techniques.  My boyfriend would keep telling me I should sell my crafts on Etsy, but for a very long time I would refuse because it seemed like I was giving away my first born child to a stranger.  I’d spend hours making something and would get attached to it, and it didn’t seem right to sell something I’ve invested time and love into.  Eventually I got over that feeling, and it makes me more than happy when I receive a positive response from my customers.

PaL: Is your Etsy shop your primary occupation?
Yan: Oh how I wish it were!  Most of the items I have on my Etsy are made to order and most people would assume that’s considered work, but it’s a hobby of mine so I don’t feel that way.  I’m mainly just surprised and happy to find out that other people enjoy the crafts I make!  Up until December I was working full time as an Operations Manager at a small company, but unfortunately they’ve since gone out of business.  Hopefully I can find something that will allow me to be more creative at work.

Mario Penguin by Mindy Yan

PaL: What’s the creative process into making, say, a crochet doll?

Yan: Most of the crochet dolls I make are inspired by Nintendo characters.  Typically I will be concentrating on playing a game, but at the same time I like to observe the shapes of the characters and will think of ways to replicate the shapes in crochet form.  I’ll find lots of reference images, then try to replicate the shapes from there. All of the dolls I’ve crocheted are free-form since it’s rare to find a pattern for something I’d like to make (and if I do find a pattern, usually I’m picky about the way it looks or too impatient to follow all the steps!).  I’m not very diligent when it comes to writing down the pattern for my dolls, since I improvise so much when I try to create an accurate look to the character.  I’ve had many crocheters ask me for patterns for my projects, and I always feel terrible that I can’t remember all the steps to share with them.

PaL: Can you explain how your love for Nintendo was sparked?
Yan: Unlike most kids that grew up in the early 90’s, I didn’t grow up with an NES/SNES or any gaming console in the house.  After constant begging and bribes of chores, my mom got my a Gameboy when I was 11 and it was like holding all that is sacred in the palm of my hands, haha!  A year after that, my dad found an old NES and a box of game cartridges at a thrift store and I don’t think anything has been the same since!  I discovered that unlike The Legend of Zelda, the Super Mario games did not have save states.  I would leave the NES on with the TV screen off so that my mom wouldn’t know the NES was still on and yell at me for wasting electricity, then resume my game-play after dinner and homework.  My best friend had a SNES and Super Mario World and I would spend most weekends in elementary school at her house playing through the game.

PaL: What is it about Nintendo that you find attractive/appealing?
Yan: All of their games are family friendly and aimed towards a younger crowd.  I think I still have the mentality of a kid, so they definitely have my attention for being just plain fun and wholesome.  Some of the most addicting Nintendo games I’ve played were the Animal Crossing series, and those are very kid friendly.  Other console games typically involve a lot more violence and horror and I’m easily startled and scared so obviously it would be a bad idea if I tried to play say…the Silent Hill series.

PaL: What would you say is “proof” of your love for Nintendo?
Yan: I don’t have any Nintendo related tattoos or the like, but I did spend about 15 days (approximately 120 hours) crocheting a giant 7×7′ Raccoon Mario rug which ended up giving me temporary Carpal Tunnel for a few weeks after I was finished.  If that’s not dedication, I’m not sure what is!

PaL: Do you play games on any other consoles? What types/genres of games do you play?
Yan: My favorite games are kid friendly and fighting games, where at first I try to do all the special combo moves but resort to becoming like a frustrated 7 year old, button mashing in the end.  We have an XBOX 360 in our apartment and I’ve mainly stuck to Street Fighter IX since it’s a fighting game where you don’t die (that’s actually a very important aspect to me, haha).  I’m also a huge fan of Katamari Damacy games for Playstation as well, which is also very kid friendly and just plain awesome.  What other game lets you roll a sticky space ball to collect cows, houses and planets!

PaL: You have a lot of pictures of Nintendo decor in your house on your Flickr site. Could you introduce some unique items?
Yan: We have Blik brand Super Mario Bros. level 1-1 wall stickers in our bathroom, which actually prompted me to make all the other decor to keep up with the theme.  First would be the 7×7 foot Raccoon Mario rug I crocheted for my boyfriend.  This is like my child, it’s definitely what I’m most proud of.  It also takes up a lot of empty space on our living room floor, which is great because we used to have too much empty space!  I’ve also made an accompanying 15×15″ Question Mark Block ottoman to complete the Mario theme on the floor, which also doubles as my gaming seat or a good foot rest when you need to tie your shoes.  On the back of the living room wall, I’ve put up nine 8×8″ canvases I’ve painted with a Fire Flower, Starman and Power Mushroom to replicate a bonus game in Super Mario World.  In the bonus game there are 9 rotating panels with those power-ups and you have to get Mario to jump at the right time to try to get as many of the same one in a row for extra lives.  I tried to paint the power-ups on the canvases so the finished piece would look like it’s a screen shot of the icons spinning in the game.
PaL: Your Raccoon Mario rug has been getting a lot of attention. What inspired you to make that?
Yan: It was actually a birthday present for my boyfriend Andrew.  He grew up having an NES and SNES and the Mario series was also his favorite so I wanted to make something specifically with him in mind.  I’m actually very surprised at all of the positive response I’ve received for it, I never imagined it would get so much attention just by posting the finished product on a crafting forum.  I am really truly flattered that people enjoy something that I’ve made!

PaL: What are your favorite Nintendo games and why?
Yan: This is such a difficult question!  I can narrow it down to my favorite series of games, which would be Super Mario anything, The Legend of Zelda, Animal Crossing and Super Smash Bros.  None of the games in those series has ever steered me wrong.  I’ve invested the most time in the Animal Crossing series since it’s so ridiculously addicting.  The Legend of Zelda series has such amazing game play and it’s just enough suspense that I can handle them without getting scared.  I’ve had the most fun playing and re-playing the Super Mario series since those games never get old to me and make me the happiest (and most frustrated at times!).  But I think Super Smash Bros. Brawl has a very special place in my heart because I actually got teary eyed when I first played the game.  The music is just so epic and moving, I couldn’t help it.  I felt really geeky at that point, haha!

PaL: How do you feel about being labeled as a “gamer”
Yan: That’s really surprising to me, especially since most people would not consider huge Nintendo fans to be gamers.  I’d definitely take it as a compliment if someone really meant it though!

Handmade crafts by Mindy Yan

PaL: When did you start playing computer games?
Yan: Maybe when I was 6 or so, the school I was attending built a computer lab for the students and each grade was able to use it on a different day.  They had learning games like Reader Rabbit, Math Blaster and of course Oregon Trail.  The worst was when playing Oregon Trail, you’d need to decide how to float across the river and I’d always decide to wade through it and get a message that it was too deep and I lost supplies and a couple members of my party drowned.  I never really got into playing computer games, but I do enjoy watching my boyfriend play Call of Duty and Left 4 Dead as well as lots of other titles.  It seems more fun to watch him play and be a backseat player yelling out “There’s one over there!  Oh, he got you.  I saw that coming.” instead of me actually playing the games and constantly dying and getting frustrated!

PaL: How do your friends and family feel about your Nintendo love?
Yan: Honestly I’m not so sure!
PaL: Do you think the “cute” items that you make reflect who you are?
Yan: Definitely not.  I’m a rather cynical tomboy and “cute” would not be the best word to describe the way I carry myself, haha.  Although it does reflect my inner child…I think as we grow older we miss being kids that tell stories that go nowhere, running around and screaming for no reason and just having such an innocent imagination.  I’m sure the cute dolls I’ve made resemble all of that and the desire to just be a kid again.

PaL: How would you feel if Nintendo asked you one to give them royalties for basing your designs on their characters?
Yan: I would probably be really surprised that they had taken notice of my crafts in specific!  I’d be happy and scared, haha!  But I would definitely oblige, as the characters do belong to Nintendo and that is the most respectful thing to do.

PaL: Do you think the Wii has changed your perspective of gaming?
Yan: It has!  I love the concept of more interactive gaming where you’re required to shake or swing the remote for specific actions in games.  It’s become a habit of mine when I’m playing emulators on my phone and I’ll shake my phone to jump and realize, “Oh wait, what am I doing– this isn’t the Wii.” haha.
*All images were provided by Mindy Yan

Filed under: [interviews], culture , , , , , , , ,

Wii would like to play

“Wii would like to play”  c. Kealoha Villa

After the day we had yesterday, Sheri and I needed to rest and relax. We decided to go out into the world and get all of our weekly chores completed early. First we did laundry, then went to Target for household goods and then to Trader Joe’s for the grocery shopping. It was a nice time away from home. Trader Joe’s even had their chicken gyoza which have been absent for a good 6-7 months. We’re very happy to have those in our house again. They are probably our most favorite item in the whole store.

After putting everything away, Sheri decided to play a little Wii. We just got Mario Party 8 on Thursday and had not put much time into it. I noticed the lid to the Gummy Bear jar was open when I went to grab a Wii remote. Sure enough I look on the floor next to the bookshelf and I see a couple of Gummy Bear’s waddling underneath the TV stand.

I did not bother, just let them go about their business like I do for the most part. Sat at the computer and started doing stuff online. A few minutes later I heard some noise near the coffee table. The little guys were climbing up one of the legs and onto the table. They kept looking at the TV and then at Sheri, giggling to themselves, jumping up and down. Very excited were they. I could tell they wanted to play. I figured, why not. I mean it is a party game after all. I walked over and grabbed another a Wii remote and set it down on the table and you know what? They actually were able to get it up, problem is, they couldn’t move or they would all topple over. They gave it their all though. You have to give them some credit for trying :D

-Essay written by guest writer Kealoha Villa from Long Beach, CA.
Join Kealoha and Sheri on the Wii:
0934 5090 9775 8433


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Digital Halos

Digital halo n. A geometric shape hovering over the head of a character in a game. Traditionally emits light

I’m coining a new word– digital halo. What is a digital halo? The “thing” that is on top of the heads of game characters. There is no religious connotation to this term. If you look into the definition of halos, they don’t necessarily have to be a ring-shape, although traditionally halos been portrayed mostly in the form of an oval or circle. The key part of a halo is that there is a nucleus and something revolving around or radiating from that nucleus. So if the thing on top of characters’ head is glowing, I think I can claim that it is somewhat of a halo.

The halo has become an icon in gaming  (or at least a staple in game design) to the extent that we don’t even think it’s weird that an object is floating above the head of a character. Halos also make game-playing easy because they represent the status of a game character.

There are many different types of halos. There are halos like the rings above NPCs in Lord of the Rings Online or the exclamation marks above the heads of NPCs in World of Warcraft, that indicate that the character has a quest or some kind of task to offer. With these halos, the light coming from them is important; if the light is extinguished, that game character becomes almost worthless in terms of game play. Along those lines, other types of halos indicate readiness:  halos on top of animals in simulation games like Harvest moon (green hearts) or Farmville (pink guitar picks)  indicate that the animal is “ready” to be harvested.

Then there are the halos that indicate mood,  like the green diamonds above the heads of character in some of The Sims games that change color. In some of the more casual time-management games, halos will indicate patience or satisfaction level. When a character runs out of patience, they will stomp off and leave.

There are also halos that are like a divining rod– a tracker. They will glow stronger if you are close to a target or wanted item, like the “ball” on top of characters in Neverwinter Nights (only a feature of certain quests), which blinks faster when you get close to the assassins’ lair.

Can you think of any examples of digital halos?

ps. (On an completely unrelated note, this term is dedicated to Trent Reznor, whose halos have always been inspiring.)

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