To the Moon, perhaps more than any of the other games on the syllabus, had me excited to talk about its story with others. I first played the game on the recommendation of a close friend shortly after its release in 2011, and I only ever had that friend with whom I could discuss the … Continue reading Memory Loss in and about “To the Moon”
—— By Addie Barron —— The Sick Woman is all of the “dysfunctional,” “dangerous” and “in danger,” “badly behaved,” “crazy,” “incurable,” “traumatized,” “disordered,” “diseased,” “chronic,” “uninsurable,” “wretched,” “undesirable” and altogether “dysfunctional” bodies belonging to women, people of color, poor, ill, neuro-atypical, differently abled, queer, trans, and genderfluid people, who have been historically pathologized, hospitalized, institutionalized, … Continue reading Not Yr Sick Girl — A Polemical Disability Reading of Kan Gao’s To The Moon
I was struck by the occasional old pop culture references that the characters made in To the Moon. There were a few in particular that left a lasting impression on me. The first one was obvious: the game required I learn a detail about the Animorphs young adult novel series in order to continue. (According to … Continue reading Pop Culture References in “To the Moon”
The past couple of weeks of class have felt like a real attempt to reach outside the boundaries of mainstream games and engage with the narratives of “outsiders”—the queer, those that are all too often othered by society. In playing games like Dys4ia, Mainichi, and Problem Attic, we have been exposed to the intimate experiences … Continue reading Games as a Medium for Empathetic Engagement
Mainichi was extremely subtle and allowed me, as the player, to gain some insight into what it is like to live as a trans-woman. Compared to Dys4ia, I felt like Mainichi was much more subtle, and through that subtleness, I was able to better understand the micro-aggressions towards trans-individuals. Aesthetically, Mainichi was very reminiscent of … Continue reading Subtlety in Mainichi
Reading through the “Blue Company” archive homepage, I am struck by the prevalence of dramatic language used to describe the work. It is initially described as a “novel in e-mail,” but also as a work that “has been performed twice…for a paid subscription audience.” In my mind, the term “performance” is more closely tied to … Continue reading Blue Company – Novel as Performance?
Dys4ia’s levels often presented words/phrases that described the internal and external state of the transgender protagonist that implied the game mechanics instead of providing the actual instructions. One of the reasons the game felt different to me was the fact that its series of mini-game stages lasted only 4-5 seconds. Because of this extraordinary pace, … Continue reading Dys4ia’s narrative vs game mechanics