Growing Ripples

I don't have much to say, except that I'm absolutely thrilled to know that there are people out in the world that I went to high school with, some that I would have never considered close friends by any means, who have donated to the UN project. And others that have found connections to share the story of the project with. It's truly heartwarming to watch those ripples of awareness and support grow and spread. I can only hope that they continue to do so until we have reached our goal of $250,000.

Don't let the ripples die off before it happens!

The Absolutely True Conundrum of Sherman Alexei

So the rest of conference day 2 was a bit up and down. I listened to a panel presented by a group from MIT who were using puzzles published in their student newspaper and posted around campus to teach students about the tools available through the library. Very cool, makes me wish I were better at making cryptograms and psuedo-sudoku that embed a necessary recognition of ISBN numbers and how to request materials from archives.

Then, local writer/poet/playwright/comedian Sherman Alexei gave a keynote speech. Having read his bio in the program, I came into the session wondering what he could possibly say that was at all related to information literacy. Sadly, I came out of the session thinking the answer was "not much at all." Don't get me wrong, he was an entertaining speaker, quick with his words and unabashed in his self-expression, but I was frankly surprised that his talk was so much about himself and his perception of the world. I am left wondering now if he was tasked with being the mid-conference keynote speaker simply to provide a pick-me-up for the attendees.

On my way out, however, someone turned to me on the escalators and said she recognized me from my presentation earlier in the day. We had a brief conversation about gender studies, and I wish I had gotten her name to continue the conversation. For me, that was the pick-me-up needed.

Tools of the Trade

Okay, so I haven't blogged since September. I'm a bad person, I know. I would argue that my life is busy, but the whole point of blogging is often for me to share my ideas quickly with a handful of incredible but widely scattered people. If I have lost anyone's interest by taking so long to get back on the ball, I'm sorry!

I definitely haven't written for lack of things to write about. I gave a speech at the EMC's Grand Opening about a month ago, and I just got back from the Montreal International Game Summit. It is for the latter reason that I now write, and that I now force myself to publish the post without leaving it drafted for another three weeks. There are many things to consider and share about my time at MIGS, but I'm going to break them down into chunks that are easier for me to commit to writing.

So, the first thing that became a pretty strong trend over the course of the conference: meaning in games. I will have to stay away from commenting on Jonathan Blow's final keynote speech on the subject because I left early to help out at the glorious Gamma 3D party, but I did catch enough of his presentation to know that he was addressing the issue. I also attended a panel discussion on the subject, however, which was followed by a round table. In that time, I noticed a very interesting dilemma.

During the panel discussion, it was easy to observe that the men lined up before me to debate the issue of meaning in games were not new to the industry; they looked at least a little seasoned and comfortable in their shoes as creative directors (Although Jason Della Rocca was on the panel and isn't a creative director, he looked quite comfortable anywhere I saw him over the course of the conference). At the round table after, I was struck by the fact that 95% of the participants were students. What does this mean?

To me, it means that being able to inject meaning into games, or even being able to stop and think about it seriously with others, is a privilege within the industry. In college, we are pushed to experiment and question and theorize in ways that we cannot when there are jobs on the line. Once you've climbed the latter and find yourself resting on a sturdy rung, you can then return to the thought that you should hold firmly to values and create meaningful experiences.

At least that's the way it looks right now. If I turn to Warren Spector's opening keynote speech on the game industry, it was clear that he had a great amount of faith in the upcoming generation as design pioneers, ready to take the foundations of game development and utilize them in previously unforeseen and unfeasible ways. I hope that his was an accurate forecast of times to come. If it was, I would be legitimately excited to immerse myself in the game industry and to create something that is both meaningful and engaging. However, it was made abundantly clear that this is not industry standard at present.

One of the first sessions I attended was a talk by Eric Chartrand in which the paradigm of games was identified as unrealistic and inaccessible to most members of the new game audience. He pushed for games that would appeal to larger markets, and for doing so by questioning the facts of games we take for granted. They were humorous rules, noting that all good things must come in crates and that every few minutes a huge bad ass monster boss fight will occur, but he made an important point. We have established a language of games that is neither comprehended nor appreciated by a vast majority of human beings.

Randy Smith went on to reference similar aspects of games in his talk on games as art. Observing that games are able to make as much or more money than films when only targeting a small slice of the audience that movies touch, he called for a shift in beliefs away from the fact that games have to be fun and for more informed design choices that speak to a real message. This is not necessary in all games, but it is important to compare movie and literature genres to game genres. How long has it taken for us to begin to encompass not only sci-fi and fantasy, but horror, comedy, historical and realistic fiction? When will we get to the documentaries, dramas, and biographicals? How lightly do we touch on these genres without ever getting beyond the surface? When will there be games that feel like short films, or even poems?

I have reached the conclusion that if I get into the gaming industry without veering off in the direction of serious games entirely, I will want to make a game like a poem. A really epic poem.

A Living Cycle

I feel like I'm the only one who hasn't blogged about this yet, but whew, UN orientation...some definite highs and lows, scary and otherwise. I'm excited about the group as a whole, though sad to see that all the familiar faces I've worked with before were drawn away from me. It's not that I don't like new groups by any means. It's simply that every new group has so many quirks, goals, ambitions, motivators, outside influences on behavior, and so on. I often love learning these nuances of people, perhaps as part of the human frequencies I wrote about before, but it is admittedly draining. After having taken all summer to finally crack the last few members of my Info Lit team, it feels like it may take just as long to do the same with this new group, although there are only about half as many students. I think as far as managing other people and driving them towards both productivity and enjoyment of their work, this summer's project has been the most taxing by far. But I feel like it's something I should be comfortable doing, which I am. That said, the school year promises to be one of my most challenging yet, I think.

Now that I've accidentally written part of an assignment for the project, I'll move on to something else that I've been contemplating: the role of women in video games. It's easy to say that they're unrealistic, made to be either objects of male possession or quippy, foxy heroines. Much the same level of fantasy is achieved in most male roles in video games as well. But what about the women that have no names and well-defined parts in games? How often do they come up? How many shooting games have females thrown into the NPC (non-player character) population? Does it change the way you play if there are any?

Most instances of female filler characters I can think of are civilians: random women walking down the street in the Grand Theft Auto series, women carrying pots on their heads in Assassin's Creed. Sometimes there are entire throngs of women without any men, as in Legend of Zelda: Ocarina of Time's Gerudo Valley. But how often do we really see men and women stacked up against the hero of a game? Why is it that nothing springs to my mind?

There may be several reasons for this, one being that I do not play the plethora of games that other kids my age do. Another reason may be that if you're only going to make one model with slight variations to populate a game, males are to be expected and are also easier to model. That aside, I'm now quite curious to know whether or not making a more balanced population in games, let alone one that might accurately represent the 60-40 distribution of women vs. men on this planet, would have any impact on the players. Would the players even notice? Would they have the sense of something being different without being able to place their fingers on it? Would they pick up on it right away? Would they treat the women computer characters any differently than the male counterparts? Too many questions, no way to study them at this point in time.

This whole idea is just one that I'm not sure has been taken into consideration yet for this project. Yes, video games are popular among young men. But the role of women in these games is often one of low or disrespectful status. As in society, is that what the target demographic will expect in any video game? Is that going to be a difficult hurdle to overcome? My answer is yes, but I also see many ways in which it could be done. The most prevalent in my mind at the moment is only half baked, but I have this overwhelming feeling that if we want to convince these boys that things are not as nice the way they are as they might believe, we must first present them with what they expect to see in a game, and then turn it completely on its head, in steps that are gradual enough that they would not confuse the player or make them lose interest.

Just some things kicking around my head on this first weekend after our commencement of the project. Developing this strategy any further, or developing any strategy for design at all, is still far in the future. However, I cannot stop these thoughts from being a dominant part of my mindset when going into the research. Hopefully that will prove to be a good thing.