Waiting for the Zelda Symphony in Chicago to start. Here is our view.
This auditorium is gigantic. I’m gonna get so many StreetPasses.
(Content note: ableism, slimepitter and GamerGate bullshit.)
Gotta discuss some housekeeping first. Skip to the fold for the review if you’d prefer.
While I didn’t exactly go looking for it, incoming traffic on my post eventually clued me in to this thread on KotakuInAction (CW: transantagonism within the first few comments — this is Reddit, and a GamerGate forum on Reddit no less, so it’s bound to be awful, right?) announcing my first Ethical Gamer post reviewing Mercenary Kings. The thread contains people simultaneously decrying Freethought Blogs and me as being unethical, expressing outrage that a Social Justice Warrior could possibly play video games and want to review them from a social justice perspective, and, strangely enough, comments lauding my outright expressing my biases up front. A few of them even calmly point out that most of my problems actually came from Mercenary Kings controlling poorly and becoming stale way too quickly. Judging by the name, the thrust of the original post and subsequent comments, the person posting it to that subreddit is clearly a slimepitter well versed in Freethought Blogs’ history and their mythologies about us, so it’s replete with the sort of Googlebombing of character assassination you have likely come to expect from their ilk.
It’s one of those Big Lie situations where they repeat any slander they can about a person as often as possible and to as many audiences as possible, to poison the well against us potentially being right about their rubbish ideologies. The goal, naturally, is to get the fence-sitters and people on the sidelines, to destroy the credibility of anyone who might present a valid criticism of their philosophy. And of course, to achieve its goals, it’s full of the least charitable interpretations of a bunch of things I’ve freely and under no duress discussed about my own past, about what shaped me into the person I am today and what gave me my ethical compass, misinterpreting and reinterpreting these events in order to paint a funhouse mirror distortion of me that hopefully someone might get outraged about because, you know, I’m Fair Game for being a Feminist Suppressive Person on the internet. Because, you know, Freeze Peach for thee but not for me? It’s a bit funny that a Slimepitter tried to sic Gamergate on me as His Personal Army, thinking he’d get sympathy because I dared use the phrase “ethical gamer” as my name, and most of them wouldn’t take the bait. It’s a bit difficult to tank for their more vulnerable targets when not even the slimers hoping to sic them on me can convince them my Threat is higher than, say, Anita Sarkeesian. Oh well.
The reason I named my series what I did is actually quite simple, and it has to do with ethics as a concept — especially, as a concept that right-wing reactionaries do not have a grasp on. Ethics is about having a sense of right and wrong that goes beyond simply what is within the laws or customs of society, about more than preserving the status quo for people like you. Good ethics requires empathy to work at all. Having good ethics means attempting to maximize good for as many people as possible — it’s about more than just revealing your personal biases or keeping liberal political statements out of video games, as the Gamergate narrative goes. It’s certainly not about getting revenge on a woman who dumped someone you’re sympathetic with, especially not by lying to everyone repeatedly to maximize her pain. It’s about looking out for the people who are traditionally disadvantaged, trying to make sure everybody gets a fair deal out of a transaction — especially when those traditionally disadvantaged folks are being stomped on for no good reason by a medium that’s actually just supposed to be about fun and pleasure. That’s why I started this feature, and why it has the focus it does.
The thread is, naturally, also replete with misinformation about this effort, like that I’m getting any money for reviewing anything. I’m not. I am lucky some months to break two digits in ad revenue for the whole blog, since my flow of content is down to a trickle for the past year-ish — my last cut of ad revenue was ten dollars and some change. These two (now three) posts are an infinitessimal fraction of that total traffic and ad revenue, so you can take that unevidenced rationale for my focus and cram it. I am also not getting review copies of any video games, unlike most of Gamergate’s favorite Youtube vloggers, nor am I affiliated with any of the games I review, like TotalBiscuit, another Gamergate favorite. (Meaning, of course, these actions are perfectly acceptable when they’re done by antifeminists and Gamergate sympathizers. Shocking that they might be tribal, right!?) And in the event that I AM affiliated with a game, I will either abstain from reviewing it, or make that affiliation plain as day. I don’t pretend I hold much sway, but if I’m too close to a topic, I can recuse myself.
I buy these games on my own, with my own hard-earned cash, usually through Humble Bundle purchases. I review them from my own personal perspective, which, since I’ve been blogging for almost ten years, you folks should know pretty well by now if you’ve got the same sort of longevity in readership as I have in authorship. I do it entirely for fun, to tell you about games that I enjoyed or games that I did not, and to discuss aspects of them that I might have found problematic. Further, I do it entirely recognizing — unlike some people — that it is perfectly possible to enjoy a game even if you dislike some bit of pernicious sexism or racism or what-have-you within it. It is also possible to criticize that aspect of a game without wanting to destroy an entire industry (see the preamble to every single Feminist Frequency video, which of course these folks ignore as well). And most importantly to me at least, I’ve stuck to only reviewing games thus far that are playable on Linux, because I’m a huge open source nerd and I’d like to make sure those games that are playable on Linux get a fair shot at being reviewed and treated as being worth your attention.
Having stumbled upon that post reminded me to complete this review of Rogue Legacy and post it.
I’m going to pull a Psycho Mantis on you and read your memory card. So, I see you like Castlevania. You also like platformers generally. RPGs, yes, yes. Roguelike games too? Excellent. Here’s a game that you might find right up your alley: Rogue Legacy. Plug your controller into port 2 and join me below the fold.
Writing a review for La-Mulana might be every bit as hard as actually playing it.
Games made by fans of the particular genre of video games known as “Castleroids” tend to be exacting, grueling affairs if done poorly; exacting, grueling and COMPELLING affairs if done exceedingly well. La-Mulana, in both its original (freeware) form and its 2012 remake manages to achieve just about the perfect balance of difficulty and depth, even where it leaves me needing frequent breaks. The Japanese indie outfit Nigoro originally created the game to be a PC retro game that apes an MSX game — the MSX being the Japanese Microsoft home PC during the Famicom era. In fact, Konami and Hudson Soft developed heavily for the system before moving on to the true consoles, including such titles as Metal Gear (an MSX exclusive, at the time).
I’m currently playing the 2012 remake of La-Mulana, having only briefly attempted a playthrough of the original game. Its graphics bring to mind a 32-bit game like Castlevania: Symphony of the Night, only much cuter and more cartoony. Your character, the one-block-high Professor Lemeza Kosugi, is a Japanese-American ninja-slash-archaeologist. The “ninja” part is evident in his choice of sub-weapons like caltrops and shuriken, and the “archaeologist” part is evident chiefly in his Indiana Jones attire and bullwhip main weapon.
And, I suppose, the setting — you’ve travelled to La-Mulana, the “cradle of civilization” and evidently a single ruin that contains references to numerous world cultures including Aztec, Egyptian, Greek, Babylonian and Japanese in a sort of Stargate sort of way. With your bullwhip, laptop and a million shuriken (which you have to buy at a gold apiece), you’ll have to unravel the mysteries of the ruins in order to beat your father and professional rival to the punch.
Content note: I complain about another game by this dev that involves “creepshots” type sexual assault. Highlight where the note is to read it.
I have the Mock The Movie transcripts still to finish — CA7746 is sending me subtitle files galore, and I have yet to upload them because they’re always a bit of a pain to attach within WordPress and link appropriately. (The fact that I have to upload them as .txt instead of .srt is not the least problem.)
After that, as promised, I’ll be doing short reviews of my cornucopia of Steam games, starting with, oh, let’s say Mercenary Kings. And don’t worry, they’ll be reviews from my Evil SJW Perspective.
In the meantime, let me remind you where you are.
Welcome to Lousy Canuck.
I like turtles.
Over the next little bit I’m going to be catching up mostly with Mock The Movie transcripts that I’ve been neglecting to post. I’m also fundraising for Geek Girl Con, so expect a livetweeting of both the soundtrack and movie proper of Glitter when we hit $2000, and a livestream of Zelda 2: Adventure of Link once we hit $3000. Last I heard, we were at $1780, but that was around noon on Sunday. Not sure where we’re at now, but I’m hoping at least a hair more — maybe even to the Glitter goal already.
Once I’m caught up on MtM and the GGC AoW, I’ll make you go WTF with a BBQ of all the Steam games in my library. I’ve been hurting for content that won’t be particularly likely to draw people’s unmitigated ire, and I honestly don’t have a lot of resources for serious conflict lately (no, honestly, I don’t). So, I got this bright and probably delusional idea that perhaps since I have bought so many Humble Bundles, and perhaps since I’ve not really talked about many of them outside of maybe a tweet here or there, I could do proper reviews of them. I’m also considering doing long-plays of various video games and recording the results, hopefully with my musings on the problematic bits, or the design parts that need critiquing, intermingled.
As though talking about video games from a social justice perspective is a totally safe and conflict-free vocation. It’s certainly worth a try, though! Maybe it’ll keep me writing, even where every other time I open my big trap I make shit explode for, as far as I can tell, no properly-scoped reason. Maybe video games will be different, he said knowing full well Gamergate exists.
We’ll see how all of that goes!
I’m just finishing a playthrough of Fallout: New Vegas, which I bought when it came on sale as a bundle with all the DLC — none of which I’d played my first time through. In this playthrough, I’m playing a female Courier (I’ve long said that if I always choose playing a woman in the games I get that give me the choice, I might come close to 40% female representation!). I have just completed Dead Money, during which playthrough I obtained Dean Domino’s tuxedo — on him, it’s a three piece with bowtie and albeit dirty, still looks damn dapper after two hundred years of consecutive use by its previous ghoul owner.
I put it on my Courier, and like the formal wear the tuxedo is based on, it becomes a pink dress. It’s still CALLED “Dean’s Tuxedo”, mind. But nothing in this game is more jarring than taking a piece of armour off of someone and having it appear completely different when you try to wear it yourself. Something similar would happen if I was playing a male Courier and I tried to wear Vera’s rose-adorned dress. Suddenly, it’s a red and black tuxedo, looking nothing like the piece of fabric I picked off that skeleton.
Today, I saw rumblings that apparently that sort of clothing metamorphosis will no longer happen in Fallout 4, which should have been a happy improvement in the series. That news was incidental, though, obvious only in a segment of trailer displaying a burly male protagonist playing dress-up for his dog through a series of bad-ass and silly outfits then suddenly the outfit is “red dress with a sledgehammer over one shoulder”. (At 9 seconds in, so you don’t have to wait long.)
So I am on some panels at CONvergence / Skepchickcon, July 2-5th!
Can you guess the theme of CONvergence this year without looking at their site?
I will also, as always, be helping out at the FtB party room, adjacent as always to the Skepchick party room. There will be snacks, there will be glow in the dark booze for those of age after 8pm, and there will be plenty of good conversations to be had.
Technology Won’t Destroy Us – Thu 5:00pm – Plaza 1
Renate Fiora, PZ Myers, Heina Dadabhoy, Dan Berliner, Jason Thibeault
Paranoid predictions about the technological downfall of mankind abound in media, but technology has also made human lives immeasurably better. We’ll talk about more realistic portrayals of tech, science, and human improvement.
Sci-Fail Returns – Thu 7:00pm – Edina
Christopher Hunter, Rebecca Watson, Jason Thibeault, Raychelle Burks, Ryan Consell (mod)
We’ll review the most egregious examples of Hollywood mangling science over the past year. Watch experts pass from denial, to rage, to sobbing as they are reminded that the budget for each film exceeds the global research budget of their field.
So You Want to Rule Dystopia – Sat 8:30pm – Plaza 1
Jennifer Cross, Jamie Bernstein, Jason Thibeault (mod), Heina Dadabhoy, Steph Montgomery
From 1984 to the Hunger Games, dystopian worlds are defined by their evil governments. We’ll discuss the different flavors of political systems that rule dystopian worlds and advise you on ruling your own dystopia.
Dystopian Video Games – Sun 9:30am
Donavon Indovino Cawley, Michael Black, Dani Price, Michael Carus, Jason Thibeault
Wasteland, Bioshock, Fallout, and more. What makes them fun and interesting?
FALLOUT 4. Now in Technicolor! It’s going to take place in Boston, because we don’t have enough New England as yet in the Fallout lore. *snrk*
I am so happy this is not an MMO. That would have been a monumental mistake, I think. And I really hope they don’t fragment the content the way Rocksteady just did with Batman: Arkham Knight and the pre-order bonuses.
For the uninitiated, the Fallout universe is not, actually, about an alt history with the Cold War resulting in the apocalypse, believe it or not. It sure looks that way, though, with its 1950s arrested development. Instead, in this universe, nobody invents the transistor during WW2, and instead we invest all our tech development on the vacuum tube. The Great War happens in 2077, over resources, because humanity never gets away from the larger and more resource-consumptive technologies. For some reason, culture is slowed drastically, and by the time of the Great War, America is roughly in the 1950s, only with a Mr. Handy helper robot in every kitchen. After the apocalypse — when India, China, Russia, North Korea and America all nuke the living fuck out of each other (and everyone else, for funzies) — the only survivors are those who went underground into Vaults. They emerge to a wasteland that is populated by mutants, ghouls, raiders and the very dregs of humanity.
I’m happy with this incarnation of the Wasteland. It is significantly closer to Fallout 1 and 2 in looks than 3 ever was, and at the moment, during my replay of Fallout: New Vegas, the only way I can stand to look at it for any length of time is with the Imaginator plugin that offers different colour palettes. (I am presently using the Trek Vaseline Cam palette, which makes the Mojave look a lot like that planet where Kirk fights the Gorn. You know the one.) So I’m looking forward to scavenging the wastelands with more varied landscapes, and with my dog inevitably named Dogmeat at my side.
The only way they could have made this better — at least in my mind — is to have the generic character at the end be a woman, because it’s *just* a generic character, and there’s nothing holding you to picking that specific dude they showed. Could you imagine the outrage from certain quarters? The only way I could think of to make hateful antifeminists lose their shit more than that, though, would be to force the character creation to only allow you to create women. In either case the resultant rage could power me for centuries.
At 12 noon sharp, CST, I’ll be launching an epic war to beat Battletoads, beginning to end. Jodi will be pinch-hitting to provide a running death count and add messages to the feed. It should be embedded below, but you can also go directly to my Twitch feed if you’d prefer.
If you’d like to donate, click the enormous button below the feed.
In case that doesn’t work, go here instead.
I’m no stranger to losing sleep over video games, though usually in a positive context, e.g. that the game is fun and I don’t notice the time. But what if I was to tell you the story of a video game that was literally designed to steal your ability to sleep… among other things? Sounds far-fetched, right? Read on, gentle reader.
In 1981, Atari had created an extraordinarily innovative video game called Tempest. This game, originally imagined as a 3-D remaking of Space Invaders, had players pilot a spacecraft on the near end of a “tube” that extended into the distance on a display, using now-primitive but then new and innovative colour vector-based graphics (as opposed to raster-based graphics, the more traditional pixellated, hand-drawn art). Vector graphics weren’t new at the time, having been used for other games like Asteroids, but the addition of colour with Atari’s “Color Quadrascan” shadow mask technology, developed to compete with raster games, was a significant step forward. The game also featured differing playing boards at each level, with different geometric shapes making up the “tube”, rather than the usual incremental difficulty increases on an identical board that video games til then had used to ratchet up the pressure on players as games went on. And it even featured the ability to choose your starting level based on performance in a previous game, so veterans wouldn’t necessarily have to play through the initial levels over again while attempting to cause the game to roll the level or points counts over. This marked the first video game continue option — though a later raster game called Fantasy implemented it in its more traditional form.
This post isn’t really about Tempest, though. I’m really just setting the stage for what the state of the art was in 1981. If you’ll believe the urban legends, the US government, at about that time, teamed up with a German developer named Sinneslöschen (loosely translated: “Sense Erase”) in an attempt to turn the nation’s Pac-Man Fever into something a little more useful for the empire: mind control. They created a video game that kids would become addicted to, would play at every opportunity, until the mind control would kick in and they’d lose the ability to sleep or even lose their memories.