In this episode of the Ludus Novus podcast, I discuss the election and GamerGate and how we can make a difference with games. I start with an excerpt from Austin Walker’s recent, amazing piece “A Note on Trump, Waypoint, and Why We Play.” I move on to discuss mirror neurons, Gone Home, my presumptuous racial awareness thanks to Grand Theft Auto: San Andreas, my plans to survive violent abuse, and the power of games to promote compassion.
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The theme music is “A Foolish Game (Vox Harmony Adds)” by Snowflake, Admiral Bob, and Sackjo22, available on ccMixter under a ccby3.0 license.
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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
Some games feel inspirational. They do something so different or clever or well-crafted that they make you want to learn from them, to use the same techniques in your own work. Ico and Shadow of the Colossus are big examples: they helped inspire everything from Knytt (still one of my favorites) to, surely, The Legend of Zelda: Twilight Princess. Half-Life did this for the entire medium, to the extent that we are still feeling the meager aftershocks every time we watch a scripted game event while we wait for an NPC to open a door.
Gone Home gives me that itching sensation of inspiration. I want to make a game like this, one that depends on exploration and exacting observation. One that feels calm but also ominous. One that explores themes like love and family, however sentimentally. Unfortunately, the game is singular enough that I have trouble imagining an inspired work that isn’t hopelessly derivative.
Continue reading Inspiration and Gone Home