Category Archives: TLF

TLF: You Can Call Me Flower if You Want To

Many years ago, thatgamecompany released a game called Flower, in which the player plays… a flower. Their first game, FlOw, was available free on the web (and still is, here), although when they were picked up by PlayStation, they added several new levels. I like FlOw, and I highly recommend it on many levels.

Well, our household finally decided it was time to purchase a PlayStation product (PS4), so I now have access to other thatgamecompany games, like Journey (soon) and Flower. So I finally played Flower, and here’s why I thought.

TLF: “Jade for Beauty: Positive Female Characters in Video Games,” ep. 2

My TLF review of Anita Sarkeesian’s second video in the Positive Female Characters in Video Games series (on Jade from Beyond Good & Evil).

A lot of my frustrations with this episode are less to do with the specifics about what Sarkeesian says than a lot of the assumptions and implications of what she says. Overall, I actually think her video is a decent review of why she likes the game, which is actually pretty informative (and made me consider playing the game). However, there are a lot of “feminist pitfalls” to it that I find problematic (as a fairly militant feminist myself), such as the assumption that any game with violence subscribes to hegemonic male militarism (although I don’t think she uses that exact phrase).

My Game!: The Problem with Fan “Ownership”

So a recent (completely civil, polite, and even productive) exchange got me thinking about one of the problems with videogame culture, and, indeed, fan culture more broadly. This is the problem of fan “ownership”–of a game, a franchise, an entire genre…

On the one hand, creators want fans to feel a sense of ownership over the games (or whatever) they play so that they become invested in them on both the emotional and (of course) financial levels. And investment of that sort is a good thing. It’s good when audiences connect on a deep level to the things they consume because it means that those things are reaching them, engaging with them, and helping them to sort through problems. All these are good things.

This kind of investment leads fans to hold creators accountable, not only for errors in fact or continuity, but for sloppy work, lazy plotlines, rehashed tropes that no one wants to see anymore. It keeps creators pushing the edge, striving to be better, working to make sure that their product is an accurate representation of their ideas and ideologies. Also good things.

But there is, sadly, also too much of a good thing.

There are those fans (and, by the way, the exchange above did not sway into this territory) who come to feel that they really do own content by virtue of their fandom. These are the fans who say that an all-female Ghostbusters remake (which, by the way, does not erase the previous Ghostbusters films) “ruins” the franchise. These are the fans who demand that their games not contain the option to create a female protagonist, the fans who think that all content needs to cater to their–and only their–point of view.

These are the fans whose critical voices are not actually critical, but demanding and entitled. There is a difference between criticism and childish temper-tantrums. The former engages thoughtfully (and often also lovingly) with the content. The latter pitches fits with little basis and less maturity, often loudly and without consideration for the effort made. The former is about improving content and genre. The latter is about making the content into a personal fantasy.

The latter is not a good thing.

It stifles instead of expands creativity. It causes paranoia and is–by and large–a conservative force that keeps content constrained to the status quo. These are not good things.

What I’d like to see in games is a sense that fans can be invested, but that they recognize that, ultimately, they do not own the content of the games. They are participants in the sense that games are participatory, but they are consumers, not creators. They are audience, not actors. Yes, fans have the ability (and right) to respond to the content, to applaud it or boo it, to critique it, to buy it or boycott it. But they do not own it. It is not theirs. It is work–usually a lot of long, hard work–done by others, their brain-child, and fans need to remember this.

Remember, and respect. Because at the end of it all, while fans do have the right to criticize, they ought to do so with respect, recognizing that this thing about which they are posting or speaking or writing a ten-page screed is someone else’s thing, someone else’s idea, someone else’s work. And that deserves respect.


Edit: Reposted on TLF.

TLF/AIP Inquisition: Diplomacy, Conspiracy, & Necromancy (Part Seven)

Over at TLF things have been rather hectic, so there was a brief hiatus from my two As-I-Play series (Inquisition and Borderlands 2). But since things are getting put back together by the fabulous mistresses of the web-o-sphere, I have a new Inquisition As-I-Play up on my first trip to Halamshiral (amusingly, I just finished my second trip two nights ago) and Castle Adamant (which, by the way, is an allusion to Alfred Lord Tennyson’s poem “The Princess,” which was turned into a musical by Gilbert and Sullivan entitled “Princess Ida”). And yes, I know it’s not actually “Castle” Adamant in Inquisition, but I’m calling it that anyway.

And yes, the fact that Inquisition contains a reference to an obscure Tennyson poem that was made into an even more obscure–and hilarious–musical involving cross-dressing men who break into an all-women’s college (Castle Adamant) to try to get some makes me very, very happy.

TLF: Into the Friendzone

I have a new post–on an old topic–up over at TLF that discusses the changing mechanics of friendship and rivalry (approval and disapproval) in BioWare’s Dragon Age series as a whole. I’ve written about this before, at length, but it seemed like something worth discussing now that I’ve played through Inquisition (and then went back and replayed ALL the Dragon Age, and am working my way through Inquisition again).

TLF: Feminist Frequency’s Positive Female Characters in Video Games, “The Scythian”

So yesterday, Anita Sarkeesian and Feminist Frequency released a new video in a new series on videogames focused on positive depictions of women in games. It seems that these will be much shorter than those found in Tropes vs. Women in Video Games, and will focus specifically on a single character, rather than a laundry-list format.

On the one hand, this suggests that Sarkeesian is listening to some of her (rational) critics, who dislike the laundry-list format. And I think this is a good move – it allows for more focus, more nuance, and avoids the problem of rapid-fire lists. My write-up for TLF is here (includes links to video and transcript).

TLF – Memory Lane: A Review of Gone Home

So I finally got around to playing Gone Home, mostly because I put it on my syllabus to force myself to play it (in that “I keep meaning to but just don’t” kind of way – not the “oh god don’t make me” kind of way). My review of it is up on TLF, and it’s mixed.

My students’ reaction was also a bit mixed. Some of them got very immersed in the atmosphere, so much so that I had a few afraid to finish it in the wee hours of the morning because it made them feel like something was going to jump out and get them. I had others who were just confused, since they didn’t really feel like they were actually playing anything. And others who were bored, wanting something interesting to happen or wanting some kind of specific choice to make that would matter in the long run.

But it keeps coming up in class. Today we started Portal, and they immediately compared the narrative and exploration mechanics in Gone Home to the (lack of obvious) narrative in the first 10 rooms of Portal – although we’ll see how that comparison continues as the game develops.