Latest Steven Universe Episode Changes EVERYTHING

The most recent episode of the Carton Network series Steven Universe, entitled "A Pale Rose" dropped a stunning revelation that affects the entire series' backstory as well as existing relationships in the show.

I'm going to review the reveal, some of the hints that I think were dropped along the way, and what it means about the show's characters AND characterization.

Discussion in this post from here on out will be a gigantic spoiler, so I've put the rest of the post behind a "read more" link. Click below to read the rest of the post.

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.

Shining Some Light On Solarpunk's Politics

Artwork courtesy of T.X. Watson

If you're a regular reader of this blog, you've probably heard of steampunk. I've also covered steamfunk and silkpunk. There's a cyberpunk off-shoot that started via artist tumblrs and has grown from aesthetic to a speculative near-future with some interesting political underpinnings: solarpunk.
It's been the prompt for at least one game jam, and has an oversize influence in visual domains: There's a seemingly endless scroll of solarpunk pinterest boards, and the concept has worked its way into webcomics and concept art for Black Panther.

Writing for Medium, Andrew Dana Hudson has an in-depth look at the vision behind this speculative future, and the politics behind the genre. An excerpt:

Let me say from the outset: the world of solarpunk is this world. The here, the now and the very soon. Burdened with all that that’s been slung across our backs. While you might set your solarpunk stories in far off futures or fantasy universes (I won’t stop you), great speculative fiction always reflects the fears and aspirations of the time and place it was written. This is what I’m interested in: what solarpunk can tell us about the civilization we have right now, where it’s going and what we’ll be living through.
I’ll also offer up my own ideas about what exactly we should be doing with this strange bloom we’ve found. Solarpunk feels like a cathartic uncorking of a pent up imagination, and that energy can be channeled in different directions. A genre explores ideas through motifs, variations on a theme. A movement provokes change through iterations of strategy and deed. I love the former, but we need the latter.

The entire article is fascinating reading, so I implore you to read the whole thing. Then, once you've done that, have a look at the impressive body of work from the late, great Solarpunk Press, where you can find art, podcasts and fiction that explore the genre.

Guest Post: Home, Heartbreak And Undertale

This post contains story spoilers for Undertale.

I spent most of my playtime with Undertale scared and depressed. This is probably not a normal or even, perhaps, sensible reaction. The game is pretty hilarious. It’s full of fantastically written characters. It’s an overall enjoyable, fantastic experience that I’d recommend to anyone. But it really upset me, and that’s still hanging around whenever I think about it. And it’s all Toriel’s fault.

Well, maybe that’s a bit harsh. But it certainly feels that way.

Toriel is the kind of character I wish there was more of in fiction. I’ve been experimenting with a character like her (though quite, quite different) for awhile now in my own writing. She’s caring and incredibly genuine. She’s feminine, and given many “grandma” sort of qualities. But at the same time she’s strong, she’s powerful, and she makes things happen. She has agency. She calls back to this ideal person I dreamed of being when I was little: mom-like, but without the dependence that was connected in my head. Who I am has changed a lot since then, of course, but there’s still a real strong connection there. I could do a lot worse to look back at my life and realize I resemble Toriel. I loved her, from when she first takes your hand in the game. It was something so ridiculously intimate-feeling, a gesture you just don’t see in games like this. How could I not?

And not long after, the game forced me into a situation where I had to essentially hurt her. Now, yes, of course, there’s a pacifist solution, and I used it, but I really hurt her emotionally by leaving. I knew she’d be upset. But she gave me a phone, and her phone number, so she’d always know I was safe. So I called her, and she didn’t pick up. I called Toriel approximately every 10 minutes of game time for the entire game, and she never picked up.

Now, from a narrative standpoint, this makes perfect sense. To her, me leaving was another death, of many. Another mistake of her ex-husband she couldn’t stop. To Toriel, she was grieving for me. (Even more true once it’s revealed she was really grieving for the me of long ago, the character you control in the game not being you.) Why would she increase her pain by talking to me? I wasn’t going to make it, just like the rest. I was already gone. I understand why it’d be hard to pick up the phone.

But to me, personally, it was devastating. I’ve been working really hard on my brain problems recently, and I’ve discovered something about myself. I have an anxiety disorder, and it all comes from this fear that people I care about are going to leave me, or abandon me. That I can’t be the thing they want. Someday they’ll realize it, and off they’ll go. Toriel wanted me to stay with her, enjoy a simple life with her, and I tried. I tried so hard to do that. I wasted almost an hour trying to figure out a way to not tell Toriel I wanted to leave the RUINs. I liked her. I wanted to be that for her, if that’s what she wanted. I couldn’t. It was a game of adventure. So I had to press on, because that’s the game. And she left me for it.

The moment I called her after walking out of the RUINs, and she didn’t pick up, I nervously told myself it was too quick for another event with her, and she’d pick up soon. I played a tiny bit more, and nothing. And I realized she would never pick up. And I vowed to stop playing the game right then and there. I couldn’t take her leaving me. It reminded me of my recurring nightmare I have. I used to have it every night. These days, I’m doing better, and it’s a couple times a month. But I’m always somewhere I want to be, and I realize, at some point, someone I care about has disappeared because of something I did. Maybe it’s my parents, maybe it’s my fiance, maybe it’s someone else, but they’re gone. I run and search and cry and can never find them. I knew I wouldn’t find Toriel either, a character who said she’d love it if I called her “mom,” since I brought it up. I couldn’t take it. I had that nightmare that night, just to seal the deal.

I couldn’t stop thinking about the game, and Toriel, though. Everyone else was enjoying it. I was going to miss something important, wasn’t I? So I asked around, talking to people who had beaten it, trying to find a reason to play more. “Will Toriel pick up the phone? Will it be okay? Will she talk to me?” They told me it would be alright. But the whole way through the game, I called, over and over again. And she never picked up. I held on to the pie she had given me. I couldn’t bring myself to use it, because I knew it would probably say something in the use text that would upset me, because it’d be about her. I laughed at the jokes, I got to know other great characters, I enjoyed the game, sure, but most of it I was on edge. I was worried. I was scared. What if it didn’t work out? What if she doesn’t pick up the phone?

Of course, in the True Pacifist ending, you are reunited. Toriel comes back as part of the dramatic finale, and you can give her the family she wants. But what you can’t do is apologize for hurting her, making her worry. And what she doesn’t do is apologize for not answering the phone. You tell her you want to live with her, and she remarks that you should have said so from the beginning. But I couldn’t do that. I tried, but I couldn’t, just like so many things I wanted to be for my parents, because they wanted it so badly, but I couldn’t. And just like my parents, Toriel abandoned me, for a time.

I saw those ending scenes, and I went, “Oh, good, that’s what I wanted.” But even now I can’t completely get into the fantasy of it. I’m still worried about it. She left me once, for doing something I had to do. Can I really be sure she won’t leave again? She made a joke out of me wanting to call her “mom,” after all. Is this as serious as I want it to be? I don’t know. There’s no more game to tell me.

A friend of mine commented (or maybe retweeted, I can’t remember) that it’s wonderful that Toriel has already basically become a mom for furries who don’t have that sort of thing. And that’s something I really understand, and that idea makes me happy. I kind of feel that way too, not because I don’t have a wonderful mother (mine’s pretty great, all things considered) but because can you ever really have too many moms? Too many people that show concern for you? And I’m glad she had an arc, of sorts, in the story, as a writer. It all worked well. I know she, in particular, is going to stick with me for a long time, and that’s the sign of a good character.

But I’ll never get to tell her I missed her. And she’ll never get to tell me she’s sorry for leaving me alone for so long.

Maybe that’s silly or ridiculous to be so hung up on. But I am. Such is the power of an interactive medium.

This post originally appeared at On The Stick and is reprinted with permission. Alexis Long writes cool stories you should read at poetfox.com.

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.

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!