extrinsic rewards

Meta/stasis: Little Red Lie

Ian Bryce Jones1 Comment

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Are “personal games” a thing, in 2017?

They most certainly were a thing back in 2013, as evinced here, and here, and here. I think the case can be made that they were still a thing in January 2016, when That Dragon, Cancer, one of the most buzzed-about “personal games” in existence, finally released. But are they a thing in 2017?

Signs point to “no.” Not in the sense that people stopped making them—au contraire. What happened was that the floodgates opened. Digital distribution made its way to the masses, in the form of itch.io, and Steam’s post-Greenlight non-exclusivity. Twine went from a footnote in Anna Anthropy’s Rise of the Videogame Zinesters to a designated week in every digital media course offered in North America. People are even making and distributing dreary anti-consumerist Super Mario Maker levels.

So, the games themselves have not abated. But the writing about them, the treatment of them as a definable “scene”: yeah, I think that has gone away. Part of this might be about queasy caution among game journalists, who pointedly remember how a non-existent review of Zoë Quinn’s Depression Quest (2013) sparked Gamergate. But mostly, I think, it’s that there are now just far too many of these games to keep track of, and treat as a coherent thing. Now that seemingly everyone is making games about their deepest and most private anxieties, there is little incentive to build any sort of critical consensus on how to survey the how to survey the zinester scene, who to determine what games are worth checking out (if only to pointedly critique), and which creators should be checked in on every now and then, to see if they’ve done anything interesting.

Case in point: in 2013, Will O’Neill released Actual Sunlight. The game became a central text in the conversation around “personal games” movement, and cemented O’Neill as a figure to watch in the interactive fiction/visual novel scene. Fast forward to June of 2017. Will O’Neill (now operating under the moniker WZO Games Inc.) releases Little Red Lie, to absolutely no fanfare whatsoever. It is by sheer chance that it didn’t slip under my radar entirely. As of this writing in November, I have found precious little writing about it anywhere online.

Which is a shame, because Little Red Lie deserves to be talked about. So I’m going to do my own part.

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The Process Genre in Videogames: Walden, a game pt 2

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Today marks the 163rd anniversary of the publication of Henry David Thoreau’s Walden; or, Life in the Woods. I am celebrating the occasion by resurrecting my old “Process Genre in Videogames” blog post series, and turning an eye toward the USC Game Innovation Lab’s recently-released Walden, a game, across two posts.

In this series, I borrow the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies. According to Skvirsky’s definition, “process genre” films are films about labor, films that focus on processes of doing and making, that are fascinated with seeing tasks through to their completion. They are deliberately paced, meditative, and often political. In this series of posts (you can see them all here), I examine games that strike some of the same chords.

Yesterday, I compared and contrasted Walden with Minecraft, including a consideration of the Life in the Woods: Renaissance mod pack, which heightens Minecraft‘s Thoreauvian aspects. Of central concern was each game’s treatment of the natural world as a collection of resources. Today, I turn to the matter of “inspiration,” and how Walden, a game transforms enlightened, deliberate living into a game.

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The Process Genre in Videogames: Sunset

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In all seriousness, call your elected representatives and tell them to oppose defunding the NEA and NEH.

Ian here—

This post is part of a series that borrows the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies, and explores its utility for videogame analysis. A quick definition: “process genre” films are films about labor, films that focus on processes of doing and making, that are fascinated with seeing tasks through to their completion. They are deliberately paced, meditative, and often political, in that they cast a penetrating eye on labor conditions. Are there games that the same chords? Posts in the series so far can be seen here.

I reserve the right to sporadically post future entries in this series, but with Sunset (Tale of Tales, 2015), it really does feel as if things have come full circle. As I laid out in the first post in this series, the process genre finds its most archetypal manifestation in Belgian filmmaker Chantal Akerman’s Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975), and Skvirsky has been tracking its development in contemporary Latin American cinema. Sunset was created by Belgian artist duo Auriea Harvey and Michaël Samyn, and is about the daily life of a housekeeper in a (fictional) Latin American country. The parallels are easily drawn, but there’s also more going on here than this brief description suggests.

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