I’ve been wanting to write a post about Brechtian influences on DomPam2 for a while now, but with trying to wrap up course work this semester and dealing with other life things, it’s been hard to focus on things that don’t have immediate deadlines. My general stress level has, in part, been heightened by last month’s US election, which affects us here in Canada pretty significantly, even though I honestly am glad to be back.
In times like these, I believe it’s more important than ever for artists to engage with politics in their work, even as some folks seem to get all bothered about it. “Artists are supposed to make people smile, not think.” “Games are supposed to be fun.” That sort of thing. And, well, sure, what I want to do is not going to make me popular or garner me a lot of Steam sales, because most people who play videogames seem to want to have fun and feel good, at least as I understand it.  And yet, I’m at a point where I can’t not make games that express the things I’m thinking and feeling.
So, Brecht. I first encountered Bertolt Brecht‘s work sometime after I released DomPam1, when people much smarter and more well-read than me started comparing it to The Threepenny Opera, and Weimar Germany-era cabaret theatre in general. So, of course, I eventually started to look into the stuff I was being compared to, and found it resonated with me in a big way. I mean, gee, I can’t imagine why, in this current political climate, I’d find a lot in common with a playwright who worked during the rise of fascism pre-WWII, but there you have it.