Sex games, part 2: sex as gesture / sex as poking

This post is part of a series about "sex games."

There were so many games about sexual poking that I had to give them their own category. I mean, poking is a very distinctive gesture. It's a very brief moment with a very small surface area, but we place so much significance on it anyway.

Early Facebook was witness to "poking wars" where Facebook friends exchanged pokes with each other -- but you couldn't just poke anyone, right? There was just something so so wrong about parents poking their children on Facebook. Instead, poking seemed tailor-made for situations like when you poked that cute boy from your biology class, and then he poked you back, and now you have to decide What All This Means. ("Well, he waited two whole days before poking back, so I guess he hates me?")

Poking is immature, yet also tantalizingly ambiguous and demure. It's the stuff that meet cutes are made of. But the sex-poking games I'm going to discuss now? They're still immature, utterly rolling around in their immaturity and silliness, but they are definitely not ambiguous -- instead they are gratuitous and deliberate gestures all at once, like some exaggerated caricatures of poking.

Sex games, part 1: sex as bodies

This post is part of a series about "sex games", based on a talk I gave at GaymerX3.
(CONTENT WARNING: these posts have sexual images and content.)

One definition of sex that I'm going to use here is "a negotiation between bodies." The shape and form of that negotiation will obviously vary, but so can the shape and form of the bodies themselves. Which bodies do we sexualize, and which do we de-sexualize? And if we are sexualizing a body, is it with the body's consent and knowledge?

To a certain extent, every game in this entire blog post series is about bodies. Just because I put a game in this category doesn't mean it doesn't belong in other categories. I selected these games based on the story I could tell around them, and in this post the story is about how these different games think about bodies. Because bodies are made of carbon and water, but they're also made of ideas.

Let's start with the amazing game that inspired the name of my talk ("That One Time I Repeatedly Gave Birth to Fully Grown Wolves, and Other Gay Sex Games That We Deserve") ...

Sex Games, part 0: the sex games awaken

This post is part of a series adapted from my talk at GaymerX. No, I don't know when the video recording will be uploaded, sorry.

So, let's talk sex games. As a possible "GAYmer" at GaymerX, maybe you're thinking of games like Mass Effect or Dragon Age, or hot Ryu, or Mario and Luigi, or maybe even some games like Fallout which have specific game systems that support gay roleplaying.

These are OK, I guess, but none of these games are primarily about sex. In fact, they are mostly about jumping around and killing shit... which isn't bad, but it's not gay sex. Now, where am I going with this?...

"That One Time I Repeatedly Gave Birth to Fully Grown Wolves, and Other Gay Sex Games That We Deserve" at GX3 on December 12 in San Jose, California

I'll be in San Jose next week for GX3, a video game expo, to deliver a talk entitled "That One Time I Repeatedly Gave Birth to Fully Grown Wolves, and Other Gay Sex Games That We Deserve" about my recent gay sex video games as well as many other peoples' gay sex games.

The talk is motivated a lot by my experience as an independent game developer who sees countless players plead for more diversity from the triple-A game industry. Mainstream representation is important, but why limit your support only to the mainstream? Also, my industrial peers are good at many things, but gayness is definitely not one of those things, so why should people look to them for artistic leadership on this? Answer: they shouldn't, but they might because they're not aware there's an alternative...

You don't have to beg for gay scraps. You don't even have to settle for a game with a gay side dish, with some token gays sprinkled on top -- real people are already making real games where gayness is the center-stage MAIN ATTRACTION, and these games exist right now in the present, not in some distant future dream utopia.

In my talk, I'll be talking about 20+ different games that think about sexuality outside of a standard cis-hetero-monogamous-missionary paradigm. If you follow me or my peers, you'll probably be familiar with some of them -- but I'm betting I'll discuss at least a few hidden gems you'll have never seen before -- and to the majority of the GX3 audience, I'm guessing a lot of these games will be mind-blowing.

See you there, and feel free to say hey.

That's why they call it the Diamond City Blues

WARNING: This post "spoils" an early quest in Fallout 4 and a later quest in Fallout 3.

The "Diamond City Blues" quest, one of the better quests of Fallout 4, begins at an upper-class bar in Diamond City. Most of the bar patrons are snooty rich one-percenter caricatures who will categorically refuse to talk to poor people like you, even though you're richer than God and they literally sleep on filthy mattresses in trash shacks, so you basically kind of hate these people from the beginning.

Over at the bar counter, a woman is drinking to forget her unhappy marriage, while the grizzled bartender-owner dude implies he's having an affair with her. Suddenly, her weak jealous husband tries to confront the two but he ends up getting humiliated.

When you run into the jealous husband again, outside of the bar, he wants to hire you to help confront the bartender. So you go back to the bar...

"Rinse and Repeat" technical post-partum / how to do over-complicated wet skin shower shader effects in Unity

This is a technical overview of how I built certain parts of Rinse and Repeat. It spoils the game, so you should probably play it first if you care about stuff like that.

Rinse and Repeat took about 1-2 months to make. For these sex games, my development process can basically be summarized as "art first" -- my very first in-engine prototypes are usually about establishing mood and texture, and setting up the character you'll be staring at, and these are by far the most important parts of the game.

The limits of a conceptual VR student game; and what would a "better" game about 9/11 look like?

The internet has been abuzz about "8:46", "a narrative driven experience designed for virtual reality, which makes you embody an office worker in the North Tower of the World Trade Center during the 9/11 events."

The game itself suffers from a lot of problems. If I were to ignore the politics, there's plenty of production values to critique -- the characters have blobby sculpts, inconsistent lighting, and stilted voice acting -- the particles are really really awkward -- and the one thing I like is the floorplan, especially the cramped corner office you begin in, which feels like a pretty authentic detail of old NYC office buildings.

But who are we kidding, this game is totally a political work, and it is much more generous to the developers to interpret it that way. Most people are just going to talk about this game instead of actually playing it, which is OK, and that's what compels me to write about it: I think this is a very flawed conceptual work, and I want to talk about why that is.

(1) TECHNOLOGY. Using virtual reality was not a good idea for this project, especially in this early generation of VR where it is mostly positioned as a nascent platform and consumer market that desperately needs to prove itself. Anything using VR in these early years is, inherently, saying, "look at me, I'm using VR!"

That's an OK thing to say, but it centers the technology instead of what you're saying with the technology, which is probably not what you want to do for a 9/11 game that's supposedly about respect for the dead rather than how this cool new peripheral? To be clear, I think you could make a game that powerfully critiques Western attitudes toward the dead and who is allowed to talk about the dead; I don't think this is that game.

"Psycho-material geographies" of 3D spaces, and The Beginner's Guide by Davey Wreden et al

This post gives vague conceptual SPOILERS for The Beginner's Guide, and spoils a few specific moments. You really shouldn't worry about it, I mostly just talk about me in this.

I was one of the people who secretly played The Beginner's Guide long before its public release. Why was I given access, and not someone else? Well, that's kind of what the game's about: a "Davey" who is talking through his relationship with another designer named Coda. Who did Coda want to play their games?

In her own excellent post about TBG, Emily Short argues that the game has a very spare "personality-light" kind of style compared to what Short regards as more distinctive contemporary experimental designers like "Stephen Lavelle, Michael Brough, Pippin Barr, [... or] Robert Yang." That shout out (thanks!) is what stirred my memory...

I remember playing this seven months ago (back when it was simply codenamed "The Author") and suddenly thinking... wait, is Coda supposed to be me?