I can’t decide if I’m going to play Persona 5 or not. It’s 2 AM, my eyes are fixed on the searing blue of my computer screen, and I’m railing on Atlus with the two people closest to me, a week’s worth of frustration and feeling condescended to by randos, peers, and friends alike pouring out. I don’t love Atlus. Well, scratch that, I want to love Atlus, and that’s what makes this so painful — like a specially tailored hurt that’s at once callus and personal.
I wouldn’t be writing this piece if I didn’t care. I do care about these games, and I find immense value in having played them. It was in my freshmen and sophomore years of high school that I took the Atlus plunge headfirst into Persona 3 and 4. I was sick back in those first two years of school, mostly bedridden and trapped in a bubble of close yet distant friends. Two friends — no, then one friend — were the only social interaction I had every Friday night, and my schooling consisted of a personal tutor in a public library for around two hours a day. I couldn’t walk without a cane, and the level of exhaustion I felt always tethered me back home.
In his recent review of Persona 5, Kirk Hamilton described the game as an ideal high school sim, but for me, these games took on a special meaning — a perfect escapist fantasy where I could explore themes of identity and friendship during a time when I felt so hollow. I could have a small shred of wonderment satisfied, suspend disbelief, ignore my social famine, and pretend to soar outside myself.
While I used to feel so strongly tied to these games due to their affect on my life, it’s been just over a year since I began transitioning, and my perception has changed. Those early months were something of a marketplace, where a feeling of gut-sinking betrayal was the currency paid to gain an understanding of my place in the American medical, political, and social cosmos. I could no more identify with my old icons than find any solace in them. It felt like a betrayal of the value I once found in these games.
[Editor’s Note: All screencaps are courtesy of littlenancydrewthings.]
When Her Interactive (HI) was still a division of American Laser Games in 1995, there were at least 128 titles in the main Nancy Drew book series and a handful of spin-offs, including the darker and more intense Nancy Drew Files. I can only imagine it was not an easy task for developers to choose a precise starting point and tone when adapting a single game or even a series from these books.
A lot can be said about the books and games individually, but I haven’t come across anything — apart from the occasional HI board topic or Arglefumph book review — that directly compares the books to the games upon which they are based. On the one hand, they shouldn’t have to. The Nancy Drew games must be able to stand on their own, and they definitely do. You don’t need to read the source material to understand the stories or characters because you can appreciate them as they are.
But are there instances where the game missed opportunities that the book provided? Or even moments when the game actually managed to surpass the book? It’s more complicated than an absolute yes or no, as the games are only loosely based upon the books. Generally, they are used as a blueprint in order to set up the mystery and suspects rather than as an absolute rigid guideline.
Therefore, I’m not going to cover every single book that was adapted or write an in-depth ‘book versus game’ analysis for the entire series (or, at least, not in one article). Instead, I’ve chosen select titles among the ones I’ve read that were adapted into games. Namely, the books that two of my absolute favorite games in the entire series were based: Stay Tuned for Danger (STFD) and Secret of the Scarlet Hand (SSH). [Warning: Major spoilers ahead!]
I never really had a ‘crew’ like the one at FemHype before. The first real online community I joined was on YouTube. I had been actively following content and watching videos since 2008 — and probably even earlier — but I never really found my niche. So I bounced from community to community in search of one. I liked certain platforms, but I never really connected with anyone.
Then FemHype became a huge part of my life. First my sister started it and then, a year later, she invited me to join the team as Social Media Manager. I had always loved video games, but never really got involved online. Despite my lack of knowledge, you all welcomed me with open arms. I don’t know if I ever said thank you, so here goes: thank you.
When we were recording videos and creating content, I was struggling with really bad anxiety. I had panic attacks every week, and sometimes even twice a week. Still, the comments were upbeat, the feedback was genuine, and the response was far more positive than I had hoped for. I didn’t realize that I even needed a community like FemHype until I had one.
Everyone here opened dialogues for me that I had never felt comfortable discussing before. You taught me the patience and grace necessary to learn from varying perspectives and to know when to listen. Not only that, but when I finally opened up about my anxiety, you encouraged me to reconnect with myself and validated what I was feeling.
Across every genre, horror is one of the few anomalies otherwise dominated by men that we, as an audience, are regularly exposed to. When you think of horror movies, a series of scrappy women likely parade through your mind. Many of the most famous horror movie franchises feature women at the center: Halloween, Scream, Alien, Friday the 13th, The Silence of the Lambs, Texas Chainsaw Massacre, as well as foreign films such as The Ring and The Grudge, just to name a few. In fact, horror is one of the few film genres that produces more movies with women leading the narrative than men.
Yet, for whatever reason, this preference for women is not as readily apparent in its sister medium: video games. Though by no means devoid of women, there is a clear tendency toward men in many of the most popular horror games.
For instance, last year, GamesRadar compiled a list of the 20 best horror games of all time, and only four out of the 20 had leads who were explicitly women: Alien: Isolation, Resident Evil 2, Fatal Frame II, and Until Dawn. Even then, only two of those four games had a protagonist who featured a woman as its sole lead, and the other two games split the narrative between a woman and a man.
The protagonist is often a man even in first-person perspective horror games that feature a lead with no character design or voice actor. For instance, the named protagonists of the popular Five Nights At Freddy’s games are men, and even the unnamed protagonists are implied to be men.
Perhaps the most interesting thing about The Legend of Zelda: The Wind Waker is that, as the player, it’s not your job to prevent the end the world. Rather, your goal is to ensure an apocalypse that has already occurred is not reversed. In an ironic role-reversal, it’s the villain of the game, Ganondorf, who wants to save the world by correcting a cataclysmic ecological disaster. He is not wrong to do so. Why, then, is he the villain?
The Wind Waker encourages the player to understand that the natural world must be allowed to transform itself at its own pace without drastic human intervention. Ganondorf is not wrong for wanting to save the world, but the deeper message of The Wind Waker is that the world does not, in fact, need to be saved.
The Wind Waker has a backstory that is surprisingly dark and complicated for a game with such cute graphics. It’s difficult to explain how the apocalypse that proceeds the game happened, but suffice it to say that, because of an environmental apocalypse, the once-flourishing land of Hyrule lies beneath a seemingly endless body of water referred to only as “the Great Sea.” No one remembers the ancient kingdom, and people live on small islands rising from the waves.
Link’s journey begins on one such island, appropriately named Outset Island. A giant bird suddenly appears and kidnaps his sister Aryll, so he hitches a ride with a passing gang of pirates who deliver him to another island called “the Forsaken Fortress,” which is rumored to serve as the base of operations of someone searching for girls with pointed ears — a marker of the ethnic heritage of the royal Hylian race.
The master of the Forsaken Fortress is Ganondorf, and he is in fact searching for the descendent of Princess Zelda. Before Hyrule was flooded, the Hylian kings and queens guarded a magical artifact called the Triforce, which was said to have the power to grant the wishes of anyone who touched it. Knowing that Zelda’s descendent will be able to lead him to the Triforce, Ganondorf scours the Great Sea for her, hoping to use the Triforce to make the waters of the Great Sea vanish. Link’s sister turns out to not be Zelda’s descendent, but this has nothing to do with the boy’s desire to rescue her, and so his quest begins.
From childhood bullying to fake concern from friends and family to society physically and emotionally rejecting your body, being fat has always been hard. Where can a fat person turn to for an ounce of respite? Video games might be a viable option, but alas, they are sprinkled with all the fat-shaming a person finds in the real world. I decided to dig deeper into how fatness is portrayed within video games and I found the impossible: a positive portrayal of fatness. However, before I can showcase that example, I need to explain a bad one, which will be easy due to the abundance of negative portrayals.
I decided to pick a character from the games series that I am currently playing. It is called Atelier, a typically super cute series that features adorable girls. These games revolve around a central protagonist (sometimes two) who is an alchemist. They must either solve some kind of overarching problem with their alchemy or simply train to become a better alchemist.
In Atelier Sophie: The Alchemist of the Mysterious Book, Sophie is our main protagonist. She desires to improve her alchemy skills, and one day, she finds a book from her late grandmother … that can talk. This book ultimately guides her through becoming an alchemy master, however, the book has lost all its old memories. While Sophie continues to build upon her skills, she looks for a way to recover what was lost. Sounds cool, right? I mean, I like them. They can be a bit corny (okay, a lot corny), but sometimes a girl wants corny games.
The character from Atelier Sophie who is shown as fat is named Oskar Behlmer. Although he actually looks realistically fat and not like a balloon, the game still ends up making his weight a crucial part of his personality. He is described as extremely lazy and irresponsible, and throughout the game, Oskar leaves his mother to maintain their shop alone while he lays around in nature. Except his special ability is talking to plants. Who wouldn’t want to be around nature if they could talk to plants?
Sadly, Atelier Sophie portrays Oskar’s love of plants as shirking his duties. Even on the Wikipedia page for his character, Oskar is described as “lazy and unfit.” He also constantly gets fake concern from literally every single character in the game; from comments like “Wouldn’t you feel better if you lost weight?” to the grossly inappropriate “You would be so handsome if you lost weight!”