So Anna Anthropy has written a book, Rise of the Videogame Zinesters. As you might guess from the subtitle ("How Freaks, Normals, Amateurs, Artists, Dreamers, Drop-outs, Queers, Housewives, and People Like You Are Taking Back an Art Form") the book is a rallying cry for the idea that everyone should make games.
April 19, 2012
I liked the book a lot, but there was a point of emphasis that didn't resonate for me, and I decided to try to put my response into game form. Actually, I was inspired to write not one, not two, but THREE games! I present the "Pr3vent Trilogy: DESPERADO DORIS, PEACEMAKER, and NERD NEEDS IDEA, BADLY". You can play any one you want, and I hope you pay attention to its message, whichever one you choose:
In her book Anthropy writes about the game: Calamity Annie (which is terrific btw, and you should go download and play it immediately)
There's a videogame about a dyke who convinces her girlfriend to stop drinking. Mainstream gamer culture by and large does not know about this game. I know about this game because I made it.The thing is I was lucky enough to be a playtester for this game (though admittedly never hunkered down to get good enough at it to see the plot conclude) but if someone asked me what it was "about", I would have said it was about gunfighting (the primary "play mechanic" is a very clever translation of the good 'ol Western gunduel into mouse-and-screen form, where you have to keep your mouse-driven crosshairs holstered 'til it's time to draw.) The story was a nice touch, but at the time I considered it mere "flavor text", the stuff that often adds layers of meaning to a game, but could be taken away or radically modified without changing the game's core.
In the book though Anthropy emphasizes the story-telling aspect of game-making and she has lead by example (her very personal dys4ia- another game you should play online right now, and this one you don't even have to download, just play online) but as a gamemaker, I just want to say: it's ok if the story is an afterthought, and it's valid when the purpose of making a game is to explore gameplay rather than to model to an external theme. My impression from reading the book, especially the lovely and poetic section What to Make a Game About? which begins
Your dog, your cat, your child, your boyfriend, your girlfriend, your mother, your father, your grandmother, your friends, your imaginary friends, your summer vacation, your winter in the mountains, your childhood home, your current home, your future home, your first job, your worst job, the job you wish you had.and continues for 10 more paragraphs and well over 100 more suggestions, is that she considers this central to the gamemaking mandate, and I'd just like to remind folks: it's ok if your game isn't "about" much of anything at all. (Personally, this is why I think videogames are interesting-- you can tell stories in many media, but only with videogames can you make real time, viscerally pleasing interactions.)
So, that off my chest, I want to ramble about one more thing: this book talks a lot about how gamemaking is a possibility for nearly everyone, and that you can make many fine games and tell many crucial stories as a lone auteur, or with the help of a few friends-- and I know the author's disdain for most big-budget "AAA" titles. But still, I have to grapple with the limitations of the tools the amateur has... there are certain kinds of game experience that are still far removed from what an individual can make on their own. In particular, there is a certain thrill and meaning present in games that strive for "living breathing worlds", ones that can put a player in a world close enough to our own that the empowerment ("I can fly!", for example) and differences (the permission to have a casual disregard for life and limb and property, for example) have greater resonance. These games have something you can feel in your gut in a way you won't with a retro, 2D, or otherwise iconically presented game.
I was trying to think of where the worlds of what an amateur can do and full, rich worlds overlap. The mod-ing community comes to mind: people who rip into the binary guts of, say, Grand Theft Auto: Vice City and make it more their own. If I try to envision a more general purpose "gameworld construction kit", something with the open-ness of ZZT but a world more like our own, it ends up looking a bit like "Second Life" which as far as I can tell is the most dedicated attempt to make Cyberspace and VR as presented in 80s and 90s cyberpunk a reality. I've never gotten into that realm, though I appreciate how it has been open to people creating in it, and sometimes even being financially rewarded for their creative efforts. (Though in practice I think the appeal is more for people who really dig creating an alternate persona for themselves than for 3D-physics junkies like me.)
Anyway, go get this book, and then go make some games!
Life is an illusion, but an illusion we must take seriously.