This week, our partnership with game criticism site Critical Distance brings us picks from Kris Ligman on topics ranging from the historical case for playable women in Assassin's Creed to everyone's opinion on Phil Fish. All that Fantasy Jazz At Game Crit Chats, Kaitlin Tremblay and Javy Gwaltney hold a conversation on the unexpected staying power of Fire Emblem Awakening, and in particular, their fondness for its seemingly endless rabbit holes of character dynamics. At The Appendix, Alex Golub traces how the word 'mana' went from a word with a specific meaning in many Polynesian languages to be adopted as the default term for magical energy in fantasy games and novels. Lastly, on her own site Infinite Lives, Jenn Frank has been playing Tomodachi Life and finds herself reflecting not just on the imperfect simulation it offers, about recollections in general, and people, and family. Liberty, Equality, Unity In his regular column at The Escapist, Robert Rath takes a look at Assassin's Creed: Unity and tracks why, for multiple reasons, relegating women to NPCs in a game set during the French Revolution betrays the spirit of its time period, where women frequently formed the front ranks of political upheaval:
I find it particularly inappropriate in the French Revolutionary period, when women made a concerted effort for representation only to be marginalized and even killed by the government they'd helped bring to power. Though I'm certain Unity's campaign will shed some light on these issues, I worry Ubisoft will tell the story without hearing the lesson. Simply put, we should be able to play as a woman in Assassin's Creed: Unity because playing as a woman is in itself a revolutionary act.
At Go Make Me A Sandwich, meanwhile, wundergeek has doodled an entertaining series of illustrations for why developing playable women in games is so difficult. My favorite is definitely: "Female pixels can only be harvested from special flowers that grow on the moon." Not too long ago, Anita Sarkeesian's Tropes vs Women in Games series tackled the narrative device of "fridging," whereby important figures in a character's life (usually women) are killed off to catalyze the character's development. At Ontological Geek, Bill Coberly grabs hold of the concept and takes a particular look at fridging in the context of Baldur's Gate 2, where it treats the death of two characters, one man and one woman, very differently. Speaking of Anita Sarkeesian, the first in the next leg of her games-oriented Feminist Frequency videos, "Women as Background Decoration" has gone live. In it, she particularly challenges the repeated portrayal of women as sex workers to be used and discarded. (Content warning: apart from the scenes of sexual violence Sarkeesian warns for, I should note that some of the video's language regarding sex work is poorly chosen and ends up, consciously or not, communicating the idea that sex work is inherently demeaning or lacks agency. Hopefully the second part of this arc will address this criticism.) At Game Design Reviews, Krystian Majewski also responds to the video. While not rejecting Sarkeesian's criticisms of sexism, he takes exception to her assertion that depictions of violence against sex workers in games are "worse" than in other media because of interactivity:
If the argument was true, the opposite should also be true. Games ought to teach more effectively. Games ought to makes us more virtuous by portraying morally positive themes. Games ought to convey stories in an even more gripping way. Games ought to make art even artier. However, this argument never seems to be made. Even in the Games for Change movement, the understanding is that games need to be specifically designed for tease out the positive effects. Meanwhile the negative influence seem to be always there whether intended or not.
To end this section on a warmer note, in The New Yorker we find Simon Parkin recounting what is, to the best of my understanding, the most complete telling to date of the origin of same-sex relationships in The Sims. Big Fish In this widely circulated video, Ian Danskin advances the argument that the highly visible negativity directed at Fez developer Phil Fish stems largely from a system of internet celebrity, in which Fish's public statements are only part of the equation. Problem Attic developer Liz Ryerson directly responds to Danskin's video as being too charitable toward the primary actors involved, instead asserting that there is a pervasive background noise of masculine entitlement which undergirds the behavior of love-to-hate-them indies like Fish or Jonathan Blow -- and it is part and parcel with the increased commercialization of the indie scene:
[Danskin's video], in its inert, smug navel-gazing, merely reflects back the entitlement of the indie world. in the end it offers no particularly controversial or new insights about celebrity culture, but creates a sense of being a relevant and no-holds-barred commentary to those who are intimately aware of the subject matter. it attempts to exonerate Phil Fish to a lot of the young white dudes who are involved in the indie game community and probably want to identify with Fish. [...] but this sudden well of empathy seems to dry up once it's applied to an outsider like [Anita] Sarkeesian.
In a similar vein though leading to a much different artery, at Eurogamer Richard Cobbett
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