Telltale Tell-All: How Toxic Work Culture Drives Away Best Devs

Description: "Telltale Games Will Remember That"

Writing for The Verge, Megan Farokhmanesh, does a deep dive into the arduous working condition in the video game industry in general, and one award winning studio in particular. As she explains:

These conditions almost always hit one group the hardest: developers, or the people who actually make the games. Layoffs are a pervasive fact of life, even at successful studios where developers are often hired en masse to help hit tight deadlines and then fired to cut costs after the game ships or is canceled. With the next deadline, the cycle begins anew. Overwork, job insecurity, and profound burnout are omnipresent concerns; more than three-quarters of developers report working under “crunch” conditions, which can mean working up to 20 hours a day and more than 100 hours a week. These practices can have a significant and debilitating cost to employees, one that often feels baked into video game development culture.

And how does Telltale Games, the studio that done everything from The Walking Dead and Game of Thrones to Batman and Sam and Max episodic games factor into this? Farokhmanesh elaborates:

The story of Telltale — its rise, decline, and potential reformation — is not just the story of the missteps of one studio. It’s a shocking window into the $36 billion video game industry (which is now so large and lucrative that it rivals the film industry), and how its worst practices can grind down and burn out even the most devoted and valuable employees.

The entire article is important for anyone interested in the human cost of the video games they enjoy, and what is currently being done, and can be done about working conditions in the future.Read the whole thing.

Mass' Effect: Why Are Fat People Vilified In Video Games?

Description: Screenshot from Silent Hill 2. A fat, white man
with blond hair wearing a backwards baseball cap & striped shirt
points a finger towards the camera, with the subtitle "You've been
laughin' at me all along, haven't you?" displayed at the bottom.

As a fat guy, I've gotten a lot of strangers commenting on my right to exist in public space over the years (and I have it easier than a fat woman or person of color). The way fat people are pilloried as character in the virtual space of video games is pretty gross, too. Producer and essayist Anshuman Iddamsetty looks at the multi-billion dollar entertainment industry that is video gaming contributes to this in "How Video Games Demonize Fat People" for The Outline. Idamsetty's essay goes into a deep dive in speaking with professors, motion-capture actors, game players, game developers and others connected to the industry to take a long look at both the root causes and the effects, intended or otherwise, of demonizing fat bodies.

Here's an excerpt:

if the fear of alienating a player is so great that lazy tropes are somehow safer, this alone doesn’t account for their frequency — if a fat body appears at all.
Sunset Overdrive was released in 2014 by Insomniac Games. Part zombie shooter, part Tony Hawk’s Pro Skater, the Xbox One exclusive boasted a robust customization system that let you be whatever you wanted — except fat. “We wanted to put our time into wild outfits instead of technology to bloat up people or bloat them down,” Sunset Overdrive director Drew Murray told Kotaku. (“Bloat” — what a word to describe my body. )
Later in the piece, a shape emerges. “You have so much other complexity in all the things you can wear, the hair, the animations,” said Insomniac CEO Ted Price. “We had to pick our battles, and that was kind of where we chose to draw the line.”

The essay is a bracing but necessary look at not just the history of video games as technical development, but also as popular entertainment, and how certain story telling and design decisions in video games as a medium seem baked into the process from the beginning. Please, give the whole essay a read.

I'm also interested in hearing from other gamers-- have any of these examples ever made you feel a certain way? Do you have any to add yourself? Sound off in the comments.

Being An Indie Game Developer While Keeping Your Sanity

Debates about the legality and how necessary "crunch time"--  extreme periods of work in order to meet milestones or game launch deadlines where 80 hour work-weeks are the norm-- have been a hotly-contested topic for close to half a decade. I talked about how AAA studios like Blizzard exploit workers' passion and camaraderie to cover up the effects of crunch time 3 years ago. As the perennial debate over crunch time and overwork in video games has heated up once again, I wanted to turn to an area that is often overlooked: the pressure and strain of single-person indie game development.

Writing for gamesindustry.biz earlier this year, Oliver Milne penned "The dangers of passion projects: Staying sane in indie development". He spoke with Josh Parnell, the single person behind the long-anticipated space sim Limit Theory that was successfully crowdfunded in 2012. Parnell worked on nothing but the ambitious space-sim for 3 years straight, handling programming and debugging and reworking all the code himself. In 2015, his regular public updates stopped cold. Parnell seemed to have dropped off the face of the earth. Six months later, he resurfaced, citing overwhelming stress and the need to retreat for half a year for his mental health.

Crowdfunded or not, you might think that control over your own schedule, milestones and owning what you make might make long hours and the pressure of crunch very unlikely. As Milne and Parnell point out, it's more likely than you'd think:

Being in control of their own hours and intellectual property might, on the face of it, seem like it would reduce those problems for indie developers, but Parnell says the indie lifestyle comes with its own risks: "On the one hand, what makes you so great as an indie dev is your passion. It's that you're doing what you love. On the other hand, that's exactly the danger of it, because the minute it becomes work, or the minute you let your life get consumed by it, everything changes. It's hard to see that coming when all you're thinking about is 'Oh, I'm just going to be doing what I love, it's going to be great!'

The entire article does a great deep dive on Parnell's case in particular and what all game devs could learn from what happened, so I'd recommend reading the whole thing.

Ballroom Glitz: Analysis of Feminine Game Design Via "Princess Debut"

Writing for Mammon Machine's ZEAL project, Alex Roberts looks at what she says is a prime example of "feminine game design" that she feels was overlooked: "Princess Debut" for the Nintendo DS:

Princess Debut is a rhythm game and dating sim released, to mild commercial success and critical disinterest, in 2008 for the Nintendo DS. It stars a teenage girl who, after trading places with her princess doppelganger in a parallel universe, learns ballroom dancing and wins the heart of at least one handsome prince with the help of her feisty talking animal companion. She finds magical accessories that transform into elaborate outfits. She spends perpetually sunny days in gardens and beaches with cute boys who are all interested in her. Princess Debut could only be girlier if her dance instructor was a horse instead of an anthropomorphic rabbit. (But that would mean striking a crucial Alice in Wonderland reference.) 

What makes Princess Debut feminine, though, is not its pink menus, delicate soundtrack, or shoujo manga-inspired character designs. Rather, those external aesthetics are genuinely representative of an internal structure that whose priorities and techniques are expressly feminine. Its cover art — a petite teenage girl, gasping with delight, eyes wide as dinner plates, hair in a perfect up-do — is wonderful in itself, but what makes Princess Debut worth writing about almost a decade later is the way it delivers on the promises that happy face is making.

Roberts does a deep dive into the aesthetics of "Princess Debut", comparing and contrasting it with another rhythm-action game, "Elite Beat Agents". She examines why one was a critical darling, one was met with critical indifference, and the difference between feminine game design and pinkwashing. It's a great read and has me so interested, I'm gonna be tracking down a copy of "Princess Debut" as soon as I can.

Black Is Beautiful, So Why Do Video Games Lag Behind?

Yusef Cole and Tanya DePass, writing for Vice Waypoint, talk about the challenges black gamers and other gamers of color have in finding characters that look like them being rendered as well as their white counterparts-- if they're rendered at all. In looking at the challenges of bringing black player characters to the small screen they found the problem's roots in the silver screen in "Black Skin Is Still A Radical Concept In Video Games":

As we begin to see more characters in games who resemble us and more developers taking the time to think about us, a question worth asking is: How well do games visually represent black people and others with darker skin tones? The clues to begin answering this are situated in the history of film, a medium to which games owe much of their visual aesthetic.

Stretching back to the earliest instances of film photography, capturing darker skin tones has rarely been prioritized or even much considered... To this day, many black actors are underlit, even on big-budget movies and TV shows.

The film industry did not-- and still fails to-- prioritize taking care in rendering and lighting and considering how darker skin will look like in different scenes and environments. Video game development has a similar story, especially when it comes to 3-D rendering. But are technology limitations really to blame?

"I don't think technology is holding us back at all," [Shareef Jackson] posits. "We accomplish things with each generation. You can have hair and clothes flapping in the wind if you want. So if companies wanted to get it right, they prioritize it. Unless they have people on the team willing to call them out on it as well, it won't change." 

For Robert Yang, a game designer and professor at NYU Game Center, this prioritization is a natural outcome of the unchecked biases that lie behind the 3D technology that powers modern gaming. "When 3D artists test their new skin shaders, they often use a 3D head scan of a white guy named Lee Perry-Smith," he notes. "What does it mean if we're all judging the quality of our skin shader solutions by seeing who can make the best rendered white guy?" 

...Mainstream games with well-lit black protagonists like Mafia 3 and Watch Dogs 2 are proof that the technology necessary for lighting black skin is already there. Meanwhile, indie developers of color are forging their own path forward when it comes to depicting black characters of all shades in games. "People that are not black don't think about the different shades of blackness or browness," says Allen, "That's a problem."

Cole and DePass also spotlight game developers of color working to broaden video games' palette both literally and figurative and doesn't shy away from issues like colorism and developer forethought, either. It's a fascinating read, go go check out the whole thing.

Knowledge Check: D&D Unsung Heroes Were These Women

Writing for Kotaku, Cecillia D'Anastasio has a great longform article on how the early history of Dungeons & Dragons and some of the setting's most iconic features were all thanks to the major contributions from many women, and most of the time the women contributed despite the atmosphere surrounding them:

The countless histories documenting Dungeons & Dragons’ 40-year ascent to the cultural mainstream tend to gloss over the women who made the fantasy role-playing game what it is today. The early D&D heroes we hear about are always big-gutted men with gray beards, who in their basements and at conventions in their name, cultivated the younger men who would carve the game’s legacy in their image. But that’s the lore of D&D, not its story. From the earliest days of D&D, women were shaping its look, its narrative, its affect and its fandom.

This may come as a surprise since, in those nascent years, most women around D&D were tolerant wives and mothers. That’s not because D&D didn’t appeal to women; it had simply inherited the deeply masculine culture of its predecessor—wargaming.

It is a great read and talks with many key TSR employees from Dungeons and Dragons' past. Check it out!

The Other Kind of DM: Potential & Pitfalls of Eroticism In Gaming

As Katherine Cross writes for Bitch Media, while gaming may use sex to sell, the presence of anything revolving around actual sexuality is thin on the ground in tabletop & online RPGs  :

Most pen-and-paper roleplaying games have hundreds or thousands of pages worth of rules, ideas, story content, and other kinds of errata, but very few devote any of that space to content that addresses issues like consent, sexual diversity or orientation, or the sexual culture of the world one is playing in. In-game, then, one is often subject to depressingly familiar forms of sexual harassment—men having their avatars walk up to yours and awkwardly propositioning you, for instance, or refusing to take “no” for an answer if one rebuffs their entreaties—in or out of character. 

Online roleplaying gaming simply follows the paths of sexuality laid out in the physical world.
In spite of this, sexuality is endemic to the world of RPG and part of its visual culture. Commercials and box art for games are rife with heaving bosoms while pornographic proportions are common background decoration, seen by gamers and non-gamers alike.

Cross' essay goes into how sexual activity and fantasies have been handled in both tabletop roleplaying games and their online counterparts, including how sub-cultures within subcultures have sprung up around it. Speaking personally, I know quite a large number of people that have discovered more about their own sexualities, gender identities and more through online roleplaying everywhere from dedicated serves to IRC chatrooms.

2017 Game Devs of Color Expo in NYC This Week

After a successful inaugural event last year, the Games Devs of Color Expo returns to New York City this year on June 24th. Createdby developer and industry vet Catt Small, the Game Devs of Color Expo lets people of color in the games industry network with each other, present their work in a professional space, and get feedback directly from consumers. The GDoCExpo will take place at the Schomburg Center for Research in Black Culture, a historic venue that can hold up to 700 people. To keep the expo accessible, student and low-income attendee tickets are $5 while general tickets are $20.

In addition to game demos and exhibitions, GDoC Expo is hosting five educational talks about game development and four panels about various parts of the game development process. In a win for accessibility, all talks and panels will be live-captioned, and the entire event event is wheelchair-accessible. There are 31 free to play games and game demos at the Expo, as well as several "micro talk" 10 minute presentations, industry development panels, and an evening after party at Babycastles gallery.

Listen Up: Fresh Out of Tokens

Fresh Out of Tokens is a bi-weekly podcast that recently celebrated its 2 year anniversary. Hosted by David & Tanya, the podcast focuses on addressing issues of diversity, inclusion, intersectionality and feminism in video games. Tanya and David are lifelong video game enthusiasts, and this podcast is obviously a labor of love. They bring their combined experience and insight to a podcast that has already featured some intense discussions and amazing guest interviews. They're not afraid to ask difficult questions of interview subject or do deep dives into the culture surrounding video game development and video game fandom and culture.

You can follow along via the Fresh out of Tokens  simplcast site, or on iTunes via iOS. 

Listen Up is an ongoing series devoted to shining a spotlight on podcasts by diverse creators. You can check out all the podcasts previously featured here. If you have a podcast you'd like to recommend, post it in the comments or email me at shawnstruck at gmail dot com.

Moving On: Side Scrollers, Cameras & Player Experience

Indie game designer Itay Keren recently posted a fascinating in-depth essay on his Gamasutra blog based on a talk he gave all about side-scrolling platformers, how the "camera" or game view works in a few different types of platformers, and what that means for both game design and the player experience. In addition he creates a very useful glossary for platforming and side scrollers out of whole cloth! An excerpt:

Working on my game Mushroom 11, I was faced with many different design and technology challenges. I wasn’t expecting to find references to issues like dynamically changing shapes or vertex animation, but I was quite surprised that camera work, a subject with more than 30 years of history in games, was hardly discussed. I decided to start a journey through the history of 2D gaming, documenting their challenges, approaches and how the evolution of their solutions. Also, since there’s a lack of proper terminology for the many different solutions, I started gathering and categorizing them into groups, providing my own glossary, if only for my personal reference.

For example, here's a breakdown of how the arcade game Shinobi handles tracking the player's movements:

Maybe my favorite classic game, Shinobi, has some very high jumps between multiple platforms. The designers came up with a unique camera system: vertically, due to the many platforms the character jumps between, Shinobi uses a very wide vertical camera window. As always, the window pulls the camera with it immediately. The problem with a wide (or tall) window is that after a small jump, the character could be stuck at the top of the window with very little top-view, as we’ve seen in Rastan Saga. Shinobi simply continuously aligns the camera, slowly, to the Ninja, keeping the focus on the action and in most cases keeping rapid camera motion to the minimum.

Shinobi © 1987 Sega

position-snapping (vert.) -constantly reduce window drift by focusing the camera back on the player camera-window (vert.) position-locking (horiz.) static-forward-focus

He follows that up with a really neat look at how Super Mario World handles snapping focus to both the player AND the platform. As Itay shows:

One of the many features that Super Mario World introduced was platform-snapping. As with any camera-window, the camera would stay stationary until the character hits the edge. But since mario inevitably lands on a platform, as soon as he does, the camera would immediately snap to its position.

Super Mario World © 1990 Nintendo

region-based-anchors platform-snapping* - camera snaps to the player only as it lands on a platform camera-window* (vert.) * Where applicable dual-forward-focus* * Threshold triggered manual-control* (horiz.) * Controller provides extra panning

The entire post is a fascinating read. It explains many different gaming concepts in an easy to understand way, is thoroughly documented and has TONS of classic gaming nostalgia, too. GO read the whole thing!

Notorious M.O.M.- How GTAV Helps One Mom Cope

Description: From the game Grand Theft Auto V, a behind
the shoulder perspective of a man firing a machine gun at a gas
station, with multiple fireballs, explosions and plumes of smoke.

Last week, I linked to an article in the Guardian written by Keza McDonald that gave advice for new moms wanting to balance gaming with the responsibilities of being a new parent. This week in the Guardian Sarah Lee Donlan talks about how playing Grand Theft Auto V helps her cope by offering a little escapism:

My daughter’s constant night feeds are keeping me awake, but not awake enough to do anything useful. So I pass the time in my preferred way. I steal aircraft. I take a sleek black jet, fly it over a sleeping city and land it smoothly on a desert strip, narrowly avoiding a wild dog... 

Suddenly faced with a new and overwhelming responsibility that came with a seemingly endless list of dos and don’ts, GTA V allowed me to break the rules, mess about and act in a wildly dangerous manner. 

During the day I was an exhausted new mother making small talk at Brighton baby groups, but at night I escaped to San Andreas, where I lived a life of violent crime and irresponsibility.

One complaint about open world sandbox style games in general, and the GTA series in particular, is that lots of times it's just a lot more fun to mess around causing mayhem or exploring the game world instead of doing the quests that advance the main story. For Donlan, this is part of the game's appeal. After she recounts the effort she undertook to create a gigantic explosion by taking down a jumbo jet:

The amazing thing is, all of this adventure exists outside the plot. To me, GTA V is at its absolute best once the campaign is done. San Andreas is filled with detail, most of which is barely touched upon in the main story.
It has luscious scenery and diverse wildlife. I have been eaten by a shark, swum with orcas and even found a humpback whale singing gently off toward the upper limits of the ocean. I also have my favourite places to find peace: a sea cave on the bottom right of the map and the quiet mountain stream just north of the city. GTA doesn’t just give you permission to be irresponsible, it gives you permission to rest.

How about you, readers? Does this sound like the appeal for open world games for you, or is it something else? Comment below!

Bi The Way: Dragon Age Modder Adds In True Bi Romance

Nexus mod user ADHD-Bayonetta has released a new Dragon Age mod they call the "Complete Bi Overhaul". Unlike other mods which just toggle a flag so that women can date Morrigan and guys can date Alistair, the mod author went to great lengths to not just make those relationships possible, but immersive. As a bonus, they've also fixed it so that the Warden won't be misgendered no matter what relationship option you choose. They even went as far to edit dialogue, re-record and edit audio, and even add in a lot of brand new writing. They also undid all game gender restrictions since, oddly enough, the only restrictions that were favored were the ones that made the player character straight. Seriously, check out the feature list:

• Characters won’t misgender the Warden. This applies to every time the Warden’s relationship with Alistair or Morrigan is acknowledged.
• Any gendered dialogue has been edited.
• Added new banter for characters so that they’ll acknowledge the gay relationships.
• Added jealousy dialogues for Alistair and Morrigan if the Warden is cheating on either of them with the other.
• Women can do the dark ritual with Morrigan.
• Women can marry Anora.
• Men can marry Alistair.
• Previously dude-exclusive flirting options for Leliana are now open to women.
• Removed unnecessary gender restrictions on the Warden’s dialogue options.

You can get more details on the mod, as well as some video of it in action and download resources here.

Persona 5 Puts the LOL in "Localization"

The latest game in Atlus' long-running Persona RPG series, Persona 5, was released recently. Plenty of reviews mention the stylish graphics, the eye-catching presentation and the entertaining in-game battles. What not many reviews mention is that the actual English dialogue in the game is, to put it politely, a hot mess.

An actual line from p5's first hour:
"A public transit bus was driven down an opposing lane with its customers still in it!"

— Anthony Burch, sorry (@_anthonyburch) April 4, 2017

This is especially surprising considering how much acclaim the localization and dialogue for Persona 4 received. Persona 5 boast 8 editors and 6 translators listed in the game's credits. So why is the dialogue so bad? Writing for Polygon, translator and Persona fan Molly Lee gives her best estimate:

Chances are high this localization was a rush job; a lot of the more egregiously bad lines read like an unedited first draft. It’s possible the localizers were doing everything in their power just to finish the scripts on time, and chewing on phrases and wording to make the script sound natural for English speakers takes time, and it’s possible they just didn’t have any.

The end result is that the localization ends up being worse than just bad... it's robotic. Nonsensical. Boring. As Lee explains, when it comes to localization, too many cooks spoil the soup:

The really good lines are overshadowed by the memory of the worst ones, and in a way, that actually makes it worse. The purpose of localization is to provide the best experience possible while maintaining a reasonably close approximation of the game the Japanese players enjoyed. But Persona 5’s localization is not that. Instead, it's amateurish, mechanical, and if it wasn't for the voice acting, it'd be almost entirely devoid of character voice. 

In fact, let's try a thought experiment. I'll provide some dialogue from the English version of the game, and you try to guess which main party members said them. Sound good? Okay, here we go: 

• "He healed himself...? Is it because he ate those inside there?" 

• "What kind of stupid phantom thief would use their real name!? I'm not down for that!" 

• "Why do I—the one who was just watching—know more about it than you two!?" 

• "I hope that she doesn't torment herself over this. When it comes down to it, women don't hesitate." 

• "Uhh ... Anyway, it can't be helped if that's the case. Time for you to go to hell." 

• "What nonsense that you used a mousetrap on me!"

Ready for the answers? 

All of those lines were said by Morgana.
From a story perspective, dialogue is supposed to clue the reader in as to each character's personality. So what kind of personality does Morgana have, exactly? Is Morgana relaxed enough to use curse words like "hell" and slang like "down for that"? Or is Morgana a bit of a tight-ass who uses stiff, dismissive language like "nonsense?”

If Atlus is going to ask us to invest $60 and dozens of hours of our time, then I think that they should at least take some pride in their releases.  Especially for a game that is so extremely dialog-heavy. Because really, who talks like this:

"At this rate, it's be pointless how much I contribute to this school."

The Last Game I Make Before I Die: Crashland Dev's Amazing Talk

This video is the full GDC 2017 talk given by Sam Coston of game studio Butterscotch Shenanigans. It details the story of Crashlands, the large-scale 2D action-RPG crafting game that Sam worked on with his brothers and talks about his struggles in dealing with developing the game and his own cancer diagnosis. The talk doesn't just touch on Sam's deeply personal story but also offers a very insightful look at the game development process.

Retro Video: Classic DOS-era Art Step By Step

For your morning retro-game pleasure, I humbly present to you the following: A video from the wonderful channel "DOS Nostalgia"containing time-lapses of all of the background art from a Sierra On-Line classic "The Colonel's Bequest". Until the widespread adoption of VGA color modes in computer monitors, the designers at Sierra stored background art for their games in a special vector format.

One especially neat thing about this format (at least if you're a behind the scenes graphic design nerd like I am) is that the background screen art can be displayed and drawn in a sort of step by step fashion-- essentially letting you see just how it was imagined, laid out and created by the game's artists. All in all, it's a fascinating peek at the artistic process in an otherwise long-lost game format.

Please enjoy this gorgeous, dark, and detailed art set to the beautiful MT-32 music from the game below.

Knit 1, Pwn 2: Learning Programming Via Knitting Games

Description: Illustration of a knitting work in progress of a heart
pattern using a knitting guide. Illustration courtesy Idea Studios.

Writing for Vice.com's Waypoint section, Nicole Carpenter muses on how knitting has connected her with two things very important to her: her grandmother, and computer programming. It's not as unlikely a connection as one might think, As she explains:

Knitting is an exercise of binary code: knit or purl. One or zero. Knitting patterns—and patterns for other yarn crafts—can be considered some of the first programming languages. 

"Computers ultimately started off partially inspired by weaving and the Jacquard loom," electrical engineering professor Karen Shoop of Queen Mary University in London told Mind/Shift in 2013. "Arguably, some of the earliest programmers were the people making paper punch hole patterns for weaving patterns."

While yarn and its aesthetics have been a part of video games over the years, present in titles like Yoshi's Woolly World or the more recent Unraveled, Carpenter explores designer April Grow's work  on two games that center on yarncrafting as actual game mechanics: Pattern and Threadsteading.

Both games use craft in its literal sense—the act of making something—as well as as a storytelling theme, in a more abstract way. They bridge the perceived gap between technology and craft, a perception that Shoop discusses, too: "I loved the fact that there is a perception—usually wrong—that there's a world of computer (soulless, technical, 'geeky') and a completely different domain such as knitting (traditional, 'female', craft)—yet there is a clear overlap." 

Pattern is knitting as binary made literal, using crochet as the craft of choice. Like knitting, crochet uses patterns. Grow's game intends to teach players to decipher a pattern's programming-like expressions; she wanted to highlight the math, systems, and equations she saw in crochet—the ones and the zeroes.

The entire article is an interesting exploration of the way knitting as a mechanic bridges the gap between technology, craft, code and personal memories. Read the whole article here.
dddd

Video: Diversity Makes Cooler Games For Everyone

Youtuber MrBtoungue took a break from his usual fare to expound upon the biggest complaint had had about gaming in 2015: it wasn't diverse enough. How did that affect him, a dude who described himself as "a comfortable cis white male with a lump of coal where my heart should be"?

Part of the reason is that two of his favorite games of the year, the Witcher 3 and Bloodbourne, could only have happened as unique products of their respective developer's times and culture. As he puts it, diversity is an asset:

I see something like an undiscovered country's worth of talent. Right here, within our own borders, a country full of people who want to make and play games-- and would be making and playing games in greater numbers if we didn't keep throwing obstacles in their path. I always wonder over the years how many From-Soft's-worth of talent we've driven off by us constantly asking to see their tits. How many projects' worth of creativity have we driven off with behavior that's racist or homophobic and transphobic or just generally abusive?
The cost of unequal representation and games is not only unfairness but wastedpotential.

You can watch the entire video below:

Make Cool & Weird Game Stuff With No Prior Experience

So you have been inspired to want to make your own video game, You saw something artistic or cool or weird, or maybe you want to try a new way to make art... but you're feeling intimidated. Or maybe you've been making art but want to incorporate that into a game with no idea how.

Well, today is your lucky day. Bronson Zgeb and G.P. Lackey of the artist-run gaming studio KO-OP have created a step by step guide with easy to follow and understand instructions. As they explain in the introduction:

This tutorial is about empowering people who feel constrained by their lack of experience. For example, programmers who feel like they need artists to make cool things, or artists who think they need programmers to make cool things, or even people who are neither of those who want to make cool things. 

The tutorial is written for folks who have no experience with Unity or 3D modelling.

So what are you waiting for? Go check it out! Maybe make something cool, or weird, or meaningful!

Gotta Go Fast: How Speedruns Unlock Awe

Description: Altered screenshot from NES game Ninja
Gaiden: close-up on the eyes of a man in ninja mask
saying "Holy crap!"

Speedrunning is the act of playing a video game to completion as fast as possible. Born in the late '90s during the era of first person shooters like Doom and Quake, speedrunning has given rise to enthusiast communities across the globe, wikis, you tube channels. twitch subscriber channels, and long-running charity events. The most prominent example of charity benefit speedrun events is the twice-yearly Games Done Quick week-long marathon; GDQ has collectively raised a little over six million dollars for charity over six years.

While the question "What interests you in speedrunning" is likely to have as many different answers as there are people answering the question, author Carolyn Petit has a pretty interesting take on why she watches speedruns-- they have given "the soul of the game" back to her. She explains:

Speedrunning reveals to me just how little I know and understand about the games that I thought I knew and understood so well, games like Super Mario Bros. and The Legend of Zelda: A Link to the Past. Speedrunning reveals to me that almost every game is full of secrets; not the kinds of secrets that designers place in games for players to find, but secrets that the designers don’t even know about or intend, secrets that are the game’s own, things borne out of the process of its creation.

She has a great example of what is quite possibly a word-record-breaking Super Mario Bros speedrun in her essay, too, so give it a look.

SJW: Social Justice Witcher

Lawrence Richards, writing for gaming site The Leveller, recently took on a special challenge playing through The Witcher 3 (which we've previously discussed here):

I wanted to see if instead I could play a character whose interests were a bit less tedious than being some empty, unquestionable Nietzschean superman. I wanted to test the so-called freedom of what is clearly the most groundbreaking open world game of our generation, to see if I could reject the usual triple-A heroism and play a character who is sensitive, humble, committed to social justice rather than self-aggrandisement. 

I wanted to play a male character who could be an actual ally to the empowerment of his female co-stars, a-la the new Mad Max, rather than just the tough guy who saves them. I wanted to immerse myself in this world committed to freeing its inhabitants from their miserable feudal bondage, rather than just saving the day and making sure that the system can survive. I wanted to play a hero that Gamergate couldn’t wank over.

Giving some of the series' reputation for cringeworthy misogyny, The Witcher 3 may seem like an odd choice for Richards to try to play the character in this way. However, the developers have played up the nuanced choices available, and there are supposedly 32 different ending depending on how you play the game. Many reviews have called The Witcher 3 out as a good example of an expansive sandbox action game. With this in mind, he decided to play the game as an anarcho-feminist. Was he sucessful? Kind of.

There's also a neat little side-diversion on game economics and NPCS:

I tried to keep those ideas of money and exchange and autonomy in mind as I freed numerous entrepreneurs through the world. But ultimately it was all done in good faith, as well as a sense of resignation that there was no way for me to guarantee helping cottage industries was going to help the workers. There were very rarely apprentices, which made each smithy and merchant’s shop a kind of Ayn Rand utopia in which the only visible labour is that of the brilliant entrepreneur, the source of all value and creativity. This, though subtle, was for me one of the blandest features of the game, because it is an accidental trope rather than a philosophical decision.

What do you think? Sound off in the comments!