Sunday Loot: Top Tweets From This Week

At this point, it’s pretty obvious that the team here at FemHype loves to tweet. Since the sheer number of poignant, 140-word quips all but summarize our mission statement, we figured a weekly “looting” post was in order. So! Check back every Sunday while we round up the tweets we think are hella rad. As always, the best is saved for last.

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A Comedy of Errors: Reviewing WildStar

I really wanted to like WildStar. I also really wanted WildStar to be a good MMO, but you can’t always get what you want. The promise of a fun, cartoony sci-fi game drew me in, and while Carbine Studios delivered on two out of three of those promises, I was still let down in the end. That’s the trouble with following a major game from its early stages of development—the finished product will never exactly align with your expectations. Even so, I never imagined WildStar would turn out as badly as it did.

But before I start picking at the game’s current scabrous state, let’s jump back to 2013 when my hopes were still high. I enjoy role-playing in MMORPGs in spite of years of finding myself amongst characters with dark pasts and eyes that changed color with mood, so I was excited when Carbine’s staff actually seemed to give a shit about WildStar’s nascent role-playing community.

WildStar
Adventure awaits! And so does disappointment.

The game’s lore, bits and pieces of which were dropped like breadcrumbs by the devs, made me confident that WildStar would be fun. I told myself that even if the game itself was mediocre, I could make my own fun with other role-players. Here’s the point where I pause for audience laughter.

As I write this, the state of WildStar’s role-playing community is about what you’d expect for a half-dead game, with a few diehards desperately holding together what little remains. A good portion of the staff members I knew are gone now, and the rest are just as desperately trying to keep the game itself afloat.

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Designing Romance: In-Game Marriage Mechanics

Mass Effect, Liara, Commander Shepard

Mawige! Mawige is what bwings us togtheh today!

But yes, marriage and romance are what I’m going to talk about today, so it is fitting. A number of RPGs have a built-in mechanic whereby the player can establish a romance with a non-player character that may or may not affect gameplay. I first noticed this particular relationship mechanic in Final Fantasy VII. This romance subplot was first brought to this country in Japanese RPGs thanks to it being a feature in a number of their own games. In FFVII, depending on conversation options chosen and who you had in your party the most, you could go on a date with either Aerith or Tifa when you reached The Gold Saucer. Now, if you ignored both girls equally through the game, then you could go on a date with Barrett. Fun stuff—and it didn’t really affect gameplay other than who was with you in the cut scene.

That humble beginning has taken us to where there is a whole genre of relationship/romance games in Japan, some of which are more sex-based as opposed to romance-based. Also, due to the success and popularity of some of the games with this in them, Western game designers have added romance elements into their games. In some games, a relationship you can’t affect is the motivating factor for play, such as you need to save someone who you don’t actually interact with. I far prefer when you can interact with the NPCs and create a reason to care about them.

Three games I have played with very different mechanics to bring these relationships/romances about are the Mass Effect series, The Elder Scrolls: V Skyrim, and Dragon Age: Origins. These three show vastly different methods of creating relationships/romance in-game and provide an interesting commentary as to how game designers view relationships.

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Setting the Scene: Atmospheric Music & Narrative

Skyrim, The Elder Scrolls

What elevates a game from moderately entertaining to irresistibly addictive? The kind of game where you tell yourself you’ll put your controller down, but four hours later … Anyway. It’s partly the story structure. Graphics that aren’t too hard on the eyes is also a plus. But in my experience, the soundtrack is what hooks me, engaging me in the story in ways I couldn’t escape if I tried.

As in other forms of media like movies and television, video games are similarly shaped and, essentially, all but narrated by the music that accompanies it. I’d be willing to bet the much-lauded Skyhold cutscene in Dragon Age: Inquisition wouldn’t have had quite the same impact without the swell of strings and crashing drums to carry the theme itself. Music is an absolutely imperative component to the gaming experience, and without it, a game will almost certainly fall flat.

From the vast expanse of soundtracks across all genres, I’ve rounded up my top favorite atmospheric songs that exemplify the different variances in storytelling techniques. Let’s start with the more seasoned contenders and analyze what, exactly, these forms of music add to the narrative and overall gaming experience. If you can put the controller down once one of these songs starts up, there’s no hope for you. Unless you ordered a pizza, in which case, carry on.

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Ain’t So Simple: Story Structure in Gaming

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What is it that sets video games apart as a medium from, say, film or literature? The answer lies right in your hands: the controller. Video games require direct interaction between game and player in a way that no other medium does.

When analyzing literature, theorists and critics often talk about the “contract” that is made between author and reader when a reader picks up a book. It’s a promise implicit in every work of fiction: read this and you will be entertained. What form this entertainment takes depends on what kind of book; it might be informative, thrilling, hilarious, inspiring, terrifying, or any number of experiences. But it must be entertaining or the reader will simply put it down and move on.

The same principle holds true for film and, of course, for video games. But with video games, the need for player interaction adds an extra dimension to the promise made by the medium. The promise is not simply “this game will provide you with entertainment,” but also “you, the player, will help shape this story.” This ‘shaping’ of story can be as basic as determining whether the hero succeeds or fails, or as complicated as choosing what pixel to place where in an infinite digital space.

This demand for interaction complicates the creator’s already challenging process of telling an interesting story. The player must be allowed to weigh in on the story at some level, or they’ll feel betrayed by the medium, the creator/player promise having been broken. So game creators must construct stories that are not simply told to the player, but also adapt and change based on how the player chooses to interact with the game.

The types of stories that game creators construct to deal with this problem fall broadly into three categories: linear, multipath, and RPG/open-world. Obviously, there are many games that straddle the line between two of these categories, or plant themselves in one category but borrow elements from another. Because of this, it’s perhaps easiest to think of these categories as benchmarks on a sliding scale, rather than strict divisions.

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That Time Dragon Age Made Me a Feminist

Morrigan, Dragon Age: Origins, Bioware

It’s hard to believe it’s only been five years since my ‘feminist awakening’ so to speak, but then again, I was still posturing as a straight woman back then. I guess the core of one’s self-identity really can change in a small amount of time. Is it all circumstance? Did Bioware help push along what I already knew to be true, but just couldn’t accept? If that’s true, I owe a lot more to the franchise than just my money (but you can continue taking that too, please and thanks).

Come with me back to 2009 when Lady Gaga was just hitting the music scene and the Twilight craze was reaching its zenith. Now, this was around the time I was watching 4PlayerPodcast (now known as 4PlayerNetwork) almost every day. They were, as far as I could tell at the time, one of the only male-centric Twitch channels that weren’t laden with misogynistic and otherwise unsavory commentary, which made watching a painless affair. It was with them that I began my journey into Thedas, and subsequently, my second introduction to RPGs: Dragon Age: Origins.

As any avid Bioware fan and initiate into the wide world of character creation, I spent an embarrassingly long time shaping my Cousland to suit absurd expectations. (I’ve restarted the game so many times I can recite Duncan’s speech verbatim. “The Chantry teaches us that it is the hubris of men which brought the darkspawn into our world …” C’mon, I know you know it.) The start of the game went as expected—insofar as my Cousland was surrounded by men (with the exception of Wynne, who I wrote off immediately as a grandmother figure) and all the men commented on the fact. “You know … It just occurred to me that there have never been many women in the Grey Wardens.” No shit, Alistair.

For all intents and purposes, I’d settled into my play style secure in the fact that I (Cousland) was being permitted into a male space primarily due to necessity and circumstance (all other Grey Wardens were presumed dead) and that the women I’d meet along the way would fit neatly into the usual brand of virgin/whore subset.

And then I met Morrigan. That’s when things started to change.

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