Monthly Archives: April 2017

Star Wars’ Newfound Dearth of White Guys

The Star Wars video game Battlefront 2, the follow-up to 2015’s Battlefront, was revealed a couple weeks ago, and the sequel seems to be righting a lot of the mistakes of the first game. It boasts more interesting combat, the return of classes, multiple eras in which you can play, and Jedi Rey as a playable character (which, right there makes me wanna preorder it). Unlike the first, which was basically online multiplayer only, there’s also going to be a proper narrative single-player mode, that follows an Imperial special forces commander from the destruction of the Second Death Star through the rise of the First Order – which sounds cool!

What’s interesting both as a shooter game and as part of the Star Wars franchise is that the protagonist is a woman named Iden Versio, as was revealed in the trailer when the commander removes her helmet, thus continuing Lucasfilm’s new trend of creating a character who isn’t a white guy every time they need a new protagonist.

We know this from the two new films that relaunched the series, with Rey, Finn, and Poe in The Force Awakens and Jyn and Cassian in Rogue One. But this new emphasis on diversity extends to a lot of the other Star Wars stories in the new canon. The first comic with a protagonist created for the new comics is this year’s Doctor Aphra, where the titular woman Indiana Jones-es around the galaxy. The tv show Rebels, which has been around since 2014, might star the vaguely-caucasian Ezra, but the other humans in the crew are the decidedly Asian-looking Mandalorian Sabine, and Kanan, whose ethnicity is open to interpretation but is played by part-hispanic actor Freddie Prinze, Jr. Point is, over the past couple years, Star Wars has been getting a lot less exclusively white and male.

So now we have Iden Versio, commander of Inferno Squadron, the protagonist of the New Big Star Wars Game and a character voiced by – and resembling – an Indian woman. Iden marks the extension of the trend towards diversity from other areas of the franchise into video games. Throughout the dozens of Star Wars video games released throughout the years, the protagonist has, with a handful of exceptions, always been a white guy. Even games like KoToR and Jedi Academy where you can customize character’s gender and skin tone; later books would canonize the protagonist as being a white guy (KOTOR II’s Jedi Exile is the exception to this). So we see Iden as a shift away from this precedent. Furthermore, it’s not only her appearance which sets her apart, but also her role as a military commander, not a Jedi – Star Wars is taking what’s usually seen as a male role (commando) and giving it to a woman. It’s a subversion of expectations, one that also says “Hey, women can be military leaders too!”

Like I said, Lucasfilm has clearly taken a really strong line on diversity, promoting women and people of color in just about everything they’ve put out over the past couple years. The trade off is that white guys are being put on the back burner.

But if we want more representation in the Star Wars galaxy, that’s the way it has to be. Look, there are forty years of Star Wars stories, especially if you include the old Expanded Universe (I do), and for the vast majority of them, the central main character’s a white guy. Luke Skywalker, Anakin Skywalker, Corran Horn, Kyle Katarn, the list goes on. The spotlight is now being shifted in another direction in what appears to be an attempt on the part of Lucasfilm to even the tally by mandating that all new protagonists not have to be white guys and insisting that other people get featured It means that Rey gets to be the chosen one now. It means that the badass Imperial commander’s an Indian woman. It means, that the people making Star Wars are looking at characters, asking why not, and putting minorities in the lead. It’s a drastic departure from most of the franchise’s history to be sure, but it’s a strong step forward to bridging the gap — and has clearly not hurt the quality of the stories.

‘cuz look, making room at the table sometimes means having to give up a chair. If we want to see a more diverse world in media, it means having to actively curate that world, it means having to have stories that aren’t about white guys for a bit. And at the end of the day those forty years of stories are still there. Making Iden Versio the protagonist of Battlefront II doesn’t undo all those Kyle Katarn stories, Rey doesn’t invalidate Luke. It’s a big, big galaxy a long time ago far far away; there’s room for stories about all sorts of people. Just means that white guys might not be the main characters for a while.

Now, there is that Han Solo movie coming out next year. After that, though, I’m game for Star Wars not having a white guy in the lead for another thirty-six years.

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Book Listening

I’ve been a huge Trevor Noah fan since he showed up on Jon Stewart’s Daily Show and started ragging on misconceptions of contemporary Africa by comparing it to the rural US. I found his stand-up special, African American, on Netflix and was delighted to hear him cracking jokes about growing up mixed. Though mine was in no way identical, there was enough familiarity there to really connect. Also, he’s funny. So I was one of the five people who was really keen on him taking over The Daily Show and I also got a chance to see him live last fall in New York when he taped his new special.

Point is, I’m a big fan of Trevor Noah. So when his book, Born A Crime, was available for free on Audible, I got audible and the free book. And by book I mean audio book. A book you listen to. Not read.

As was made plenty clear last week, I have Many Feelings about the Physicality of Books. I got a hold of the audio book because it was ~free~ with the intention of probably intentionally buying the physical version to actually read.

Because who has time to listen to a book?

When I read I like having my full attention on said reading. If I’m listening to music it’s gonna be instrumental (Current favorite: The Transistor soundtrack). I’m the sort who gets distracted easily and can end up reading a page and a half before realizing I was thinking about what to cook for dinner. So listening seems counterintuitive. A little too easy to get distracted.

That said, I did end up listening to a couple hours of Born A Crime while on a long car ride. It’s a great listen, and as a perk it’s narrated by Noah himself and so rife with accents and proper pronunciation of the Xhosa names. It’s a charming listen, and I don’t really feel like I’m missing out on anything I would from reading.

Except for the whole bookiness thing.

Look, I like turning pages. I like glancing back. But one thing that Audible does that I really like is that I can bookmark chunks and write notes down. Well, type notes up. So I can take the recording back to the place where he discusses how his grandmother saw him as being white growing up or how he used language as a kid to jump between social spheres at school. It’s neat, to be sure.

That said, one thing that’s nice-but-daunting is that it clearly says how long each chapter will take you. I’m gearing up to start the next one, but it’s gonna take twenty-two minutes and I don’t know that I have twenty-two minutes. Sure, I could break it up; listen to ten minutes now and twelve later, but it feels like I’m interrupting his train of thought. More so than a book ‘cuz I can’t skim the past couple of pages. I can rewind back a minute or so, but I can’t skim. But I can now consume a book while doing something else, like playing video games. Which is how I usually watch The Daily Show or stand-up anyway. So not all bad – but Born A Crime is a pretty meaty book in some parts, so, again, full attention is better. But hard. Because I’m sitting around doing nothing.

Now, Born A Crime is a bit of an oddity, in that it’s read by Trevor Noah, a person known for talking. Where most audio books are read by someone who’s not the writer, with this we get to actually hear it ‘as intended.’ So does that make it truer to its ideal than the written version? I’m not sure. I lean towards the understanding that if something is presented one way, it is intended to be seen that way. Movie scripts are great and all, but they’re supposed to be movies. A stand-up special doesn’t work as well on the page, for obvious reasons. So does a work that’s meant to be read work as spoken word? Especially if it’s spoken by the dude who wrote it?

I don’t know. I do know that I’m enjoying the book, but I wonder if I’d enjoy it more read. I do know that I will be picking up a physical copy eventually to reread and annotate. Will I listen to another book down the line? Hard to say, ‘cuz half the reason I like reading is, well, the reading part.

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Page Feel

I read a lot. This is partly a byproduct of having grown up a bookworm and partly having taken a course of studied that meant a lot of reading. Like a lot a lot. Since graduating, I’ve kept it up best I can and I’m sitting at fifteen-odd books in the past eleven months.

Like I said, reading a lot.

A side effect of this is that I have a wonderful bookshelf. You’ve got Ulysses there and the first volume of Saga there with CS Lewis’ Of Other Worlds. I like it, in part because it’s an egotistical testament to All The Books.

I mean, it’s kinda why I had a BluRay collection for a while. I love special features and stuff, but there’s also the fun of being able to tell a lot about a person based on what movies, games, books, music they own. But I’ve slowly been relying more on Netflix, etc for movies and tv with only really special things (Star Wars) getting bought. So books is the thing on my shelves.

And I’m moving in a couple months, which means packing everything up and hauling it down six(!) flights of stairs and to wherever I’m off to next. Which means packing up All The Books. And carrying All The Books elsewhere.

Which then begs the question: Why the crap don’t I have a Kindle? It’s light, I can fit All The Books inside and would make things so much easier. Also, once the thing is paid for, arguably cheaper. So there’s no real cons.

But the bookshelf.

And the books.

I like writing in my books. My copy of Ulysses is covered in my scrawls. Some books only have the occasional comment or underline. The Chinese in America has a lot of notes in the margins. Sure, you can do that on a Kindle and typed notes is easier to read than my handwriting, but there’s the process. Pen on paper. Flicking through a book looking for those notes. The feel of the pages.

There’s the bookshelf too. Maybe it’s an egotistical thing where I like having a monument to All The Books I Have Read in my apartment and to make sure people visiting can see All The Books. It’s a way for me to tell any visitor that I have a diverse array of interests (why yes, that is Mark Mazzetti’s study of the CIA, The Way of The Knife, next to Ready Player One; behold for I am cultured). It means that when some friends and I are a few drinks deep and talking about 80s movies or Ulysses I can pull a book off my monument to All The Books I Have Read and point to a passage relevant to our discussions. Like I said, it’s egotistical, but it has a purpose.

But maybe that egotism has a deeper root in a declaration of identity. Books are, to an extent, more personal than, say, movies. You don’t just go read a book at random, usually. Bookshelves represent what you’re into and what you’re enjoy, what you’ve studied and what you read for pleasure. They work as a summation of your interests and are thus reflexive back on you as a person. If you’re someone with The New Bloomsday Book you take reading important books seriously, but The Hitchhiker’s Guide To The Galaxy lets everyone know you know how to have fun. By curating a bookshelf, you’re displaying a facet of yourself. You don’t get that on a Kindle.

I think that’s something that we lose when we go digital. Sure, it’s a bit of a luddite’s perspective, but I like recognizing a book a stranger’s reading on the subway or having an immediate icebreaker when you recognize a book on someone’s shelf.

So will I get a Kindle? Maybe. Probably eventually. Let’s see just how much I complain about lugging these books to a new apartment.

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This Is You In This Story

There’s this thing with good stories where you have this gut response of “I wanna do that!” Video games thrive on immersion, by letting you enact what these characters do; meanwhile movies, tv, books, comics, etc let you vicariously experience events.

But what if you do get to be that character? Metal Gears Solid 2: Sons of Liberty and Star Wars: The Force Awakens both explore that, by making the protagonist of each story very much a surrogate for the audience, but beyond just being a lens through which the audience can view the world, Raiden and Rey both exist in narratives where they very much are the embodiment of an audience member.

Raiden in MGS2 was very much deliberately envisioned as a pastiche of the player. Where the player played the first Metal Gear Solid, Raiden trained in VR simulations of the first game’s Shadow Moses Incident. This isn’t just backstory, it’s pointed out several times by Raiden’s support team – and outright criticized by Snake (MGS1’s protagonist) as being insufficient training. Raiden has no combat experience, he just assumes he’s gonna be awesome because he’s so good at his VR training. Over the course of the game, MGS2 proceeds to remind the player that they – and Raiden – are not Solid Snake, but rather someone playacting as him.

It’s a fascinating exploration of the relationship between player and game, one that criticizes the power fantasy many games employ by showing how futile it is to try and be a character you’ve played as in a video game. MGS2 deconstructs the relationship between player and game; you get to be the protagonist (or more the protagonist has many similarities to you as a gamer) but as it turns out, it kinda sucks. It’s only when Raiden stops trying to be Solid Snake that he’s able to strike out on his own path. That’s also right about where the game ends.

Similarly but not, The Force Awakens gives Rey a mindset like that of a viewer. Well, maybe a viewer closer to my age. Like me, Rey has grown up with the stories about the Rebel Alliance and the exploits of Luke Skywalker. She knows the same stories we do. Rey, however, exists on the fringe of all that; she puts on an X-Wing pilot’s helmet and dreams of flying, but doesn’t leave Jakku until her adventure begins. Again, that’s like a kid who grew up with Star Wars. Rey is, essentially, a fangirl. Like the viewer, like me.

But Rey meets BB-8 and Finn, borrows the Millennium Falcon, and gets swept up in a grand adventure. Basically, Rey gets to live out the Star Wars fantasy: she gets to meet the heroes of the Rebellion and become a Jedi. Now, this is all heightened through Rey’s similar point of view to that of the viewer makes it that much more visceral. Rey is, essentially, us.

In MGS2, the narrative uses Raiden and the player’s commonality to savage the escapist fantasy of video games, steadily dressing down Raiden (and the player) until Raiden stops trying to be Snake and does his own thing. The game is able to talk directly to the player because Raiden is effectively a placeholder for the player. Meanwhile, The Force Awakens uses Rey to drive the series romanticism to new heights. Luke was the farmboy on Tatooine who dreamed of more; Rey’s that, but she’s also someone who idolizes Luke Skywalker and his adventures and now gets to take part in them.

Immersion is a part of good stories and it’s something that can be accomplished by a variety of means – just look at the effect of good prose. Stories can also leverage a protagonist who embodies the same point of view as the audience to add new facets to a narrative. It’s not just to immerse the audience more, though, sometimes they’re actually there to do stuff.

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Emerging Exploration

Mass Effect: Andromeda is a magnificently glitchy game. I have seen a crewmate go through osmosis while talking to him, I’ve fought an alien dinosaur that suddenly stopped moving its body (but still glided along the jungle floor and attacked me), and, through cunning manipulation of my space-car’s six wheel drive and boost functions, have successfully driven up a vertical cliff face (though arguably that’s a feature, not a bug). Of course, there are weirder visual flaws, like most of a character’s face not moving while they speak or the world being so big that the game forgets to load the people I have to talk to to complete my quest. It’s frustrating sometimes – and downright baffling other times that a AAA game would ship like this.

But, my god, it’s fun. I’ve sunk way too many hours into exploring the Heleus cluster of the Andromeda Galaxy since the game came out and have no intention of slowing down; far as I can tell I’m 30 hours and maybe 25% in. I’m having a blast. And yes, a lot of the fun is through scripted missions, where I’m told to go to x planet and do y thing; but the world of Andromeda is so big that there are so many random adventures to get to.

Like the time on Eos where I woke the Architect, a colossal robot hellbent on killing me that I alternately shot at or hopped in the Nomad (the space-car of before) and chased so I could shoot it some more. Or going spelunking in ancient ruins looking for loot and coming face to face with my first Destroyer, a war machine that put up a heckuva fight. Or – so many ors – deciding to storm a Kett base on Eos with an offensive that started with me ramming the Nomad into a few bad guys and wedging on top of an automated turret. Bugginess be damned, there’s fun to be had! With some well-crafted quests and a vast and interesting world, Andromeda’s side quests make even fetch quests feel somewhat purposeful.

What really helps it out, though, is the emergent fun that comes from the game. Emergent gameplay, as opposed to structure, is an aspect of the game that is not hard-wired into the system, but emerges from it being played. To cite an example from Jesper Juul, there is no explicit rule in Monopoly that a player will go bankrupt, but it happens because of the rules. Emergences. Hence the name.

So Mass Effect: Andromeda and emergent gameplay. Let’s take driving the Nomad through a bunch of Kett and sending them flying. At no point in the game does it say you can use your space-car as a weapon, and yet, it works. Even the self-imposed challenge of climbing up rock faces isn’t hardcoded into the game, but it’s ridiculously fun. Andromeda gives you a playground where the missions are cool, but the fun you make for yourself is fantastic.

Which makes me think back to Destiny, a game with a barebones story and an amazingly fun gameplay. My fondest memory of the game is easily the Vault of Glass raid where me and five other players navigated a treacherous maze and took on – and defeated – Atheon. Sure, the level design and all is fantastic, but what makes it so great were the folks I teamed up with: our banter and teamwork. That’s something wonderfully special that was not intended by the game’s framework, but rather encouraged and permitted. 

Mass Effect: Andromeda is a single player game, so there’s less chances of impromptu dance parties (seriously: every multiplayer game needs dancing emotes). But it is still host to one of the best things about games: the freedom to explore a virtual space and, ignoring intended intentions, finding new ways to interact with the world.

Which in my case has been a fine-tuned assault strategy involving charging right in with my space-car and hoping for the best.

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