Scattered thoughts on QGCon 2017

Early this month, the Queerness and Games Conference took place at the University of Southern California. This was the fourth time the conference was held, and the third for which I was a co-organizer. Aside from my usual organizer duties, I gave a microtalk and had two games on display in the QGCon Arcade: DomPam2 and The Truly Terrific Traveling Troubleshooter (which my collaborator, Jess, wrote a lot about here).

Here are some scattered thoughts on this year’s incarnation of QGCon:

This was the first year we held the conference in LA instead of Berkeley. It made sense to move it because most of us organizers are no longer based in or near the San Francisco Bay Area. There was a lot I missed in terms of the change in location — USC is not as centrally located to food and other amenities as Berkeley, and we ended up having an unfortunate issue with campus security that made our Saturday night karaoke party less well attended than usual. We’ve been floating around the idea of moving QGCon to different locations every year (I keep rooting for Montreal, of course, and not just because I live here now) but everything’s still up in the air for the moment. Stay tuned, I guess!

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QGCon 2017: falling in love in a cyberpunk dystopia

Below is the text of a talk I gave at last weekend’s Queerness and Games conference, as part of a microtalk series on the topic of “Out of Sheer Spite”, moderated by Kris Ligman.

This time last year, I went through the worst major depressive episode I’ve ever experienced. Up until then, I’d experienced periods of what I thought was depression, but could really be more described as melancholy. This time around, however, was a complete, utter breakdown. I’d alternate between states of heightened anxiety and uncontrollable crying spells. I lost my appetite. I had trouble sleeping. I couldn’t even write code without having to stop because I was too anxious.

I’ve known how to program since I was ten, to give you an idea of how drastic that was for me.

I’d moved to Montreal at the beginning of the year, eager to have a few months to myself to live alone in a tiny apartment and make some games while living off my savings, waiting to start my PhD in September. For as long as I can remember, I would have given anything for unstructured time where I didn’t have to work for a living and could just make art for a while.

Unfortunately, my brain had other ideas.

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Dominique Pamplemousse and Dominique Pamplemousse in “Combinatorial Explosion!”

In this sequel to 2013’s breakout musical hit, Dominique Pamplemousse in “It’s All Over Once The Fat Lady Sings!”, our favourite genderqueer private detective discovers that, through the power of multiple endings from the previous game, they have been cloned! Join the two Dominiques as they traverse surreal locations and interrogate increasingly bizarre characters in order to answer a very important question: which one of them is canon?

There is also plenty of singing. And feelings. And, of course, singing about feelings.

Download for Win/Mac/Linux

Related blog posts:
DomPam2: Letting the cat out of the bag…
DomPam2: Games are not for everyone
DomPam2: Art, politics, and Brecht

The Truly Terrific Traveling Troubleshooter

A radically soft physical/digital hybrid roleplaying game about emotional labour and otherness, which fits entirely inside of a carry-on suitcase. One player takes on the role of the Troubleshooter and the other is a Customer with a trouble. Assisted by the Troubleshooter’s toolkit, the SUITCASE (Suitcase Unit Intended to Cure All Sorts of Emotions), the players work together to find a solution to this problem. Made with Jess Marcotte.

About the game
Watch a gameplay video
View source code

Related blog posts:
Jess on TTTTT at QGCon 2017

CHESS FOR MEN: a game for Pippin Barr

This past semester, I took a class in Player Studies, where one of the assignments was to study one particular player and then design a game specifically for them. When I was given this assignment, I thought it would be especially fun to use another game designer as my test subject. I chose to work with the renowned Pippin Barr, not only because I’ve admired his work for a long time, but also because he happens to work in the same game lab as me and was therefore easily accessible.

What I found when playing games with Pippin was that there was a difference between the games that he designs versus the games he enjoys playing. Pippin’s design style is short, to the point, and “jokey”, with a low-fi aesthetic; he is perhaps best known for adapting the works of contemporary artist Marina Abramović into games, which really says it all. The games he enjoys playing, on the other hand, range from masocore (e.g. Terry Cavanagh‘s work) to lushly-rendered exploratory “walking simulator” games (e.g. everything by The Chinese Room). Another game we ended up playing together was chess, which we both played when we were younger, then stopped — though Pippin did take it up again recently, via play-by-mail with a long-distance friend. While we were playing, and as he was about to win, he uttered the following phrase:

“I’m not very good at winning games… actually, I guess I’m not very good at games at all.”

This both intrigued and inspired me. What is it about winning games that would make someone uncomfortable? Moreover, how can I, as a designer, enhance this discomfort? In contrast to the idea of a masocore game that is so difficult that constantly losing is part of the fun, what if the game were ridiculously easy, and the accolades you got for winning then felt completely and utterly meaningless? Moreover, what if the way to play and win the game was to be a complete, utter sociopath?

The result was that I made a game called CHESS FOR MEN.

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DomPam2: Art, politics, and Brecht

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.1 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.

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OPPRESSION OLYMPICS 2K16

A cheesy sports game lampooning the idea of the “oppression olympics”, a term used to describe when people of different marginalized groups “compete” against each other in order to prove who’s more oppressed. For best results, gather together some friends around a single keyboard and button-mash as fast as you can. Made for GAMERella 2016 with Jess Marcotte and Sarah Fay Girard.

Play online
View source code

DomPam2: Games are not for everyone

I feel like there’s a misconception among well-intentioned games people that to promote diversity in games, the goal ought to be to make a game that everyone can enjoy. While it’s a goal that sounds nice in theory, in practice, it tends to result in bland, uninteresting games that don’t really speak to anyone in particular. I personally feel that what we should really be doing is making more games for people who don’t typically have games made for them.

One of the most frequently repeated criticisms of DomPam1 was, in fact, that it wasn’t a game for everyone.1 To this day, I’m still frequently confused as to why this is even a bad thing: the vast majority of videogames in existence — the vast majority of works in any medium, even — are not for me, and I learned that lesson pretty early on in life. It occurs to me, however, that some folks do in fact go through life assuming that their tastes are universal, particularly those for whom the constructed “gamer” identity is a perfect fit. That is to say, if you play videogames, there are very particular reasons why you like videogames, and very particular games you hold up as gold standards for the medium. Generally speaking, you enjoy smooth-feeling gameplay that makes you feel empowered and as if your choices actually matter, and you like having impressive production values to go with that.

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