Modern video games owe a lot to the Asian continent, from the revitalization of the industry after the crash of 1983 to the oft-used gimmick of “eastern mysticism,” the idea that being from an Asian country connects a person to a spiritual and/or magical force that conveniently moves a plot along. But despite the large output of video games from Japan, China, and Korea from the 1980s into the 2000s, actual representation of Asian cultures has been fairly minute in games that have either been developed in the west or localized for a western audience. The number of influential games with Asian protagonists is even more limited, especially when considering that a fair number of Asian-developed games don’t see a release in western territories. This is not always true, of course, but the presence of stereotypical portrayals of whole cultures is undeniable. These eastern-developed games focus on generalized concepts of life in the east that appeal to a western market. That is to say that, on face, they feature the same sorts of protagonists and settings the west has already become comfortable with through exposure to years of other media, like movies. Continue Reading
Working with games, I am often asked an impossible question, one you have probably been asked, too.
“What game do you wish you could play again for the first time?”
My answer varies. I might smile and say Skyrim or Final Fantasy IX. If I’m feeling nostalgic, I’ll say World of Warcraft or Diablo II. Sometimes I shrug and admit, “every single one of them.” Because there’s really nothing like that, the first triumphs and failures of a game. Continue Reading
It seems impossible to discuss the history of videogames without considering Japan. Specific events, like Namco’s development of Pac-Man — the most successful arcade game of all time — or Nintendo’s revival of the North American game console business with the release of its Nintendo Entertainment System (NES) in the mid-1980s, have become celebrated milestones in the story of Japan’s role in videogames. Continue Reading
“Kynaios and Tiro of Meletis” (henceforth referred to as ‘K&T’) is the only representation of a living, explicitly gay couple on a MtG card, ever. Thanks to heteronormativity, most players will assume that people shown on other cards are probably cisgender and heterosexual, so this puts pressure on K&T to represent gay people. While the effectiveness of representation as a tool of activism is not the focus of this essay, and I do not claim that positive representation is a cure-all for prejudice, the way K&T is represented in MtG is important to and for queer folks in terms of normalization, acceptance, and empowerment. Unfortunately, K&T is not our panacea. Its mechanics invite awkward interpretations and practices by MtG’s community of players despite initially looking successful. To explain, I’ll cover how procedurality works in MtG, then discuss how the various aspects of this card are implicit in the discourse it engenders. Continue Reading
Let me sell you on my favourite game: Dragon Age: Inquisition.
It’s filled with beautifully rendered landscapes, an engaging but not too intricate combat system, a cast of diverse and well-written characters, and hundreds of fully voiced choices that just do not matter—not even a little.
Well, it really depends on who you ask.
“Matter” is such a nebulous word—so lofty, loaded, and vague. Put it beside the word “choices” and both start to feel awfully important. “Choices that matter.” That’s one of those phrases they like to put on the back of the box. If you want to sell it, though, you need a metric. “How many endings?” is a favourite. “How many branches?” is another. What all these definitions share is a focus on content. “How many permutations of the text are there?” is what they’re all really asking. Moreso, much like our choices in real life, there’s a yearning for decisions that last. Continue Reading
In October and November of 2010, thousands of copies of GMTs Labyrinth: The War on Terror, 2001-? made their way from warehouses in California to distributors and customers around the world. Focusing on the contemporary conflict known as the Global War on Terror, Labyrinth stood in contrast to standard historical fare offered to commercial wargame enthusiasts: conflicts in which dozens, if not hundreds, of years spanned the gulf between player and subject. Labyrinth’s subject matter both raised concerns and prompted accolades. Matthew Kirschenbaum, in a nuanced critique at Play the Past, stated that “despite its many aspects that call out for critical scrutiny, I believe Labyrinth has been good for strategy gaming, demonstrating the vitality of board games for exploring material that big-budget computer games can’t or won’t touch.” Continue Reading
Recently, I have gotten back into the habit of online roleplaying. When I say online roleplaying, I do not mean playing Dungeons and Dragons online or MUDs, MMORPGs, etc. No, I am referring to the natural evolution of playing Pokemon, or Digimon, or various other shows or games on the playground at school. I am talking about the act of taking the role of a character, and implanting them into an imaginary world that may or may not be based on some greater metafiction. I am talking about using the power of prose to bring these worlds to life through lush description and carefully implemented dialogue. I am talking about Play by Post Roleplaying (PBPRP). Continue Reading