No Show 2012 - Deirdra Kiai - Men In Games

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In this satire-drenched and badly-photoshopped image-filled presentation, participants will be invited to imagine an alternate universe where women are people and men are… well, men. The videogame industry, as such, is heavily female-dominated, with “boy games” being a niche, low-budget genre mainly enjoyed by middle-aged househusbands. Most representations of men in mainstream, triple-A “female power fantasy” games are as little more than sex objects, and all of them promote a very narrow ideal of what a man’s body ought to look like. Men who play multiplayer games are continuously subjected to flirtatious comments, unsolicited game-related favours from other players, and demands for pictures of themselves. While a number of male gamers arguably find this sexualisation “empowering” (because we all know that men enjoy being attractive, and women enjoy looking at attractive men!) others, unfortunately, find it exploitative and degrading, reinforcing the stereotype of gaming being a female-only hobby. Furthermore, very few men themselves feel inclined to enter the game industry, both due to this perception of a “girls’ club” and to the discouragement given to boys from an early age in pursuing math and engineering as careers. Men tend to feel unwelcome in the presence of Playgirl pinup posters on cubicle walls, corporate meetings at Chippendales and similarly objectifying establishments, and the proliferation of “booth dudes” at game conventions. It’s easy to say that women are pigs and/or socially awkward nerds who don’t know any better, but, as many of us are happy to point out, “we’re not all like that!” Clearly, we can do better. Fortunately, there are many inroads being made today in making men feel more welcome in our industry, from Men in Games social gatherings (to which women are also invited, of course!) to MENtorship programmes in college/university engineering programmes to companies such as Him Interactive and Binary Brothers creating games “by real men, for real men”. These initiatives do have their detractors in the “but women are objectified in games too!” sense (because, you know, they’re always so strong and muscular and powerful and all) as well as the “why does everything have to be about GENDER, anyway; why can’t we all just make GAMES?” sense. However, unless and until some kind of worldwide social upheaval takes place, well, we’re just going to have to take what we can get, right?

Technology Entertainment & Humor

I'm not posting a picture of that, so here's a
toaster instead.

Something something
about our hunter-gatherer
ancestors...

Men don't like fantasy and
imagination; they want
realism!

How is this not ridiculous
when the genders are
flipped around?

No Show 2012 - Deirdra Kiai - Men In Games

Dominique Pamplemousse in “It’s All Over Once The Fat Lady Sings!” is a point-and-click adventure game about gender and the economy that features hand-made stop motion puppets constantly bursting into song. Conventional game industry wisdom would have you believe that a game like this shouldn’t exist, but it does, thanks to a nail-biting Indiegogo campaign and a hell of a lot of passion and dedication. In this presentation, you will get a rare inside look into how this weird little game was made, from technical considerations to story inspirations to self-promotional… perspirations? Something like that, anyway. Oh, and there may also be a song and dance number involved. You have been warned.

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In this presentation we will examine one of gaming’s most culturally contentious and well-known genres: fighting games. Specifically, this is a historical tour through the genre’s humble beginnings, with games like Karateka and Kung-Fu, right up to the current explosion of online-capable, arcade-perfect 2D and 3D battlers. Our goal is to weave together the development of fighting game mechanics — what are the stylistic and gameplay choices that make a fighting game and how have they developed? — with the concurrent development of their boisterous and exciting but often highly problematic player culture. Using emblematic examples from fighting game’s history — some well-known, some not — we will look at the history of the genre holistically, exploring technological, cultural, and design elements that have brought both the games and the players to their current state. One of the core concepts we will explore is the idea of fighting games as a meritocracy: that as long as a player is skilled, they can succeed and will be welcomed. This theme runs rampant in both the design of the games themselves, and in the community. Players demand that characters must, in theory, be ‘balanced’ so that skill is the determinant of victory… yet ‘broken’ characters, which are inevitable, can attain a certain cult status. Meanwhile the community expends serious effort mining and observing game data to create things like ‘tier lists’ and ‘frame data’ — efforts towards achieving that perfect ideal of balance. This creates a tension between a culture that demands perfect balance and games that can never entirely offer it. Overall, this presentation will combine an understanding of the evolving mechanics of fighting games with the philosophical and cultural underpinnings of their player culture to demonstrate how, in gaming, these two factors often converge and influence each other.

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Interactive Fiction (IF) has a somewhat deserved reputation for being hard to get into if you’re not already familiar with the medium’s conventions. Facing just a blinking cursor with no or few initial instructions, together with often unhelpful error messages, requires more than the usual amount of effort from the player to climb the initial steep slope of the learning curve. Developers of modern AAA titles like Call of Duty on the other hand can’t afford to exclude any players from buying the game so they have spent considerable effort to make the treshold to enter as low as possible. Could their techniques be adapted to text-based games, making them easier to learn and play for a wider audience? In this presentation we’ll take a look at some of the methods IF has historically used to educate players and the methods AAA first person shooters employ, and discuss what IF and other indie games could learn from them. We’ll also see demonstrations of some of the latest advancements in user interface technology that make these techniques possible.

Level Criticism

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Paint is limited by physics of light and mass, and buildings are limited by the physics of materials and load… similarly games are limited by “digital physics”, the computational power of today’s computers and a developer’s ability to feasibly express ideas in a digital mode. I argue that effective games criticism must take technical constraints into consideration, and those same constraints influence the social norms, values, and diversity of developer communities. I also want to model a type of inquiry for other developers to consider — this idea of “reflective practice”, to critically deconstruct why we craft games the way we do, and the assumptions embedded within our craft… basically, I’m just going to play some first person levels, and talk about how these levels work / how they are constructed / the technical considerations that went into designing them.

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Twine has recently exploded as a tool for DIY game creation, but it has a long, tangled development history. This talk takes an honest look at this history from the point of view of its original creator, providing both an inside look at everything from early attempts that didn’t quite hit the mark to ongoing work on a browser-based rewrite. This talk will also cover the joys and frustrations of leading a small open source project. In particular, it will discuss the decisions that led to Twine development bogging down and what factors led to the success it has found.

No Show 2012 - Clara Fernández-Vara - Environmental Storytelling

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Whenever there is a talk about narrative design, it tends to end up being a laundry list of examples of how the environment can be used to communicate the backstory of the game world without cutscenes. This talk is different: rather than just focusing on the backstory, we are going to explore how environmental design creates opportunities for gameplay. The focus will be on leaving traces and indications in the space, both by the designers and the players. This is called “indexical storytelling,” because interpreting and engaging with these traces is the core of narrative gameplay. These traces are systematically classified depending on their type: they can turn the player into a detective, help create an identity, teach the player what to do (or not) and how, give a sense of progress or mess up with other players. Although there will be a couple of requisite mentions of Portal and Bioshock, some of the core examples come from games as diverse as Phoenix Wright: Ace Attorney, Myst, Super Mario 64, Metal Gear Solid, Demon’s Souls and Colossal Cave Adventure.

No Show 2012 - Mitchell Smallman - At Least Your Parents HAVE a Basement

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How poor is too poor for video games? Gone are the days where a quarter got you the same play as everyone else. Millions of dollars of capital are being sunk into games for phones and tablet devices costing $600 or more, and each generation of console games are costing more and more at launch than inflation can account for. Today's market prompts many questions. Are gamers being expected to earn more than in the past? How can we ensure our development process is profitable without gearing our design the highest earners? Does our current base of developers represent those we are selling our products to effectively? This talk will cover the history of the economic class of your "average" gamer, a comparison of the markets being targeted by the current sections of the industry and the strategies being used, and some analysis of the challenges economic class plays in maintaining an creative development culture. Not all doom and gloom, this talk will also highlight positive strides in the industry in recent years, proven strategies and case studies, (yes, yet another talk with a Kickstarter section!) and as many discussions of people getting it right as discussions of the problems our industry faces.

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No Show 2012 - Bryant Drew Jones - Designing For Togetherness

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Games are tools to connect you with the people you love (or those you want to get to know). But how can we effectively design games for the purpose of bringing people together? This talk presents a design philosophy for “Heads Up” gameplay — gameplay that brings your attention to your environment and the people around you rather than your screen. A “Heads Up” game embodies these values: Eye Contact: Players engage in face-to-face interactions with each other Conversation: Players actively converse with each other using a relatable vocabulary that’s easily understood by spectators Physical Contact: The game encourages playful physical contact between players Context: The game makes use of the physical environment it’s being played in Flexibility: The game adapts itself to different environments and skill sets Personality: Players can express their personalities through their chosen style of play These qualities, when working effectively together, create a memorable shared experience for those involved. To demonstrate how to practically apply the “Heads Up” design philosophy, this talk presents a series of prototypes and finished games that explore this space. Each game will be related back to the “Heads Up” design values as a measure of its success. At the end of the talk, attendees will understand both the value of “Heads Up” design as well as the practical ways to incorporate these values into their own designs.

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No Show 2012 - Deirdra Kiai - Men In Games

2. Hi, everyone!

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No Show 2012 - Deirdra Kiai - Men In Games

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