I started a blog post here and decided it belonged on the Future Proof Games devblog. It’s called “On Cultural Appropriation,” and in it I talk about the phenomenon of cultural appropriation, how critics muddy the waters to try and get people to dismiss it as an issue, how we’re complicit in cultural appropriation in our game Exploit: Zero Day, and how we’re working to make sure we behave respectfully.
If I point out that something in a work is problematic, it doesn’t mean I’m condemning the whole work. Critics of social justice often react to concerns about a work by pretending that people are saying the work is unredeemable. Again, this reframes the discussion in such a way that the concerns can be ignored. Avatar is a great show; how could you question the way it uses Inuit cultural elements? You’re saying it’s a terrible show! End of discussion.
Don’t do that.
Read more and comment at the Future Proof Games Development Blog.
Glass Bottom Games‘s noir, mystery-solving metroidvania Hot Tin Roof: The Cat That Wore A Fedora is queer. Maybe it’s better to say that it queers: it takes the normative and twists it in the direction of the feminine, the feminist, the genderfluid, and the non-hetero. It’s a joyful celebration of subversion.
Continue reading Hot Tin Roof Is Queer
In this episode of the Ludus Novus podcast, I present a new game, “Countdown,” in spoken word form. Trigger warning for self-injury.
Countdown: A Game For Two Players
The rules are arbitrary in the wherever,
but here, in this circle, they are real.
Of course, this membrane is porous.
It flutters and flows and lets pass
certain realities and unrealities.
The game isn’t the same if the world changes.
And games can change your world.
But the magic circle creates a promise of escape.
At any time, you can step outside the circle.
At any time, you can make this stop.
The music for this episode is “Third Moment – A Road Through the Forest” from Three Moments by Darrell Burgan. It’s available under a ccby3.0 license.
Any feedback is welcome in the comments.
I’ve been running a Dungeons and Dragons 4e game called “Urgo” for almost five years. All of my original five players have been replaced except one. It was always a high-magic, swashbuckling campaign featuring airships and demigods, and it’s escalated from there. The player characters are level 16 of 30 and we’ve reached a point in the game where it takes some effort to maintain the tone and even more effort to properly prepare. For some background, here’s the current situation:
Continue reading The Perils of a Long D&D Campaign
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Gone Home is an amazing work. Yes, it’s a bit sappy and its ending is a bit pleasant and optimistic, but screw that. “Sentimentality, empathy, and being too soft should not be seen as weaknesses.” Gone Home is sweet, although certainly not sickeningly so; it is the sweet of a “sour” candy where the sour sanding soon fades away.
I’m writing about a single cabinet in the game. This one:
Continue reading The First Cabinet in Gone Home: A Close Reading