WEEK IN GEEK: This week, Andrew enthusiastically plays the 2nd edition of Pathfinder, despite not fully enjoying the first edition, while D. Bethel gets really excited to play an adventure game based on one of his favorite comics, Blacksad, but gets horribly disappointed by Blacksad: Under the Skin.
WEEK IN GEEK: This week, Andrew takes some dungeon mastering advice from Mike Shea aka “Sly Flourish” and his The Lazy Dungeon Master book while Dan becomes smitten by the new Marvel’s Spider-Man game by Insomniac Games.
D. Bethel’s Good Day Sacramento appearance in support of CrockerCon:
Also, the completed drawing D. Bethel did for the Good Day Sacramento appearance:
ANNOUNCEMENEWSBLASTCAST: Instead of focusing on their respective Weeks in Geek or having an extended conversation, Andrew and D. decide to cover a lot of news that dropped this week including the trailer to season 2 of Marvel/Netflix’s Jessica Jones, 20th Century Fox’s Deadpool 2 trailer, the reveal of the video-game-based-on-a-tabletop-game-based-on-a-tabletop-card-game, Sentinels of Freedom, the upcoming Dungeons & Dragons lorebook, Mordenkainen’s Tome of Foes, and the passing of John Mahoney.
WEEK IN GEEK: Andrew dives into Paizo’s newest RPG, Starfinder (starts at 2:34), while D. Bethel checks out the premier episode of Disney XD’s reboot of DuckTales (19:46).
REAL MONSTERS: (30:45) Dan and Andrew just hang back and have a conversation rather than a guided discourse about Nazis in popular culture. They go all over the place, but hover around the topic of how (and why) they’re used in fiction.
A large talk that basically started the whole GamerGate mess had to do with representation in video games, specifically with how female characters were presented and utilized within gameplay and narrative with the obvious and problematic conclusion being that female playercharacters were either underrepresented or, if present, lacked the variety or depth of the male protagonists.
However, the newest critical focus––and just as important––looks away from the screen and toward both the community and the developers. If the more forward-looking fans of gaming out there want more representation in games, we should also be asking ourselves about representation in the making of games. With regard to the community, there is a harrowing documentary that I discussed on the show awhile ago,GTFO, about female pro gamers and critics that I guarantee will have you wanting to throw a chair against the wall.
The Kotaku article discusses the story behind––and of––a new book, Women in Game Development: Breaking the Glass Level-Cap, that deals specifically with female developers and their road to being professionals in the field and how that road is paved with sacrifices, shame-dodging, and prioritizing aspects of their identity that males in the same positions never had to make. It’s infuriating how human beings are being treated in a field that, at the core of it, everyone loves so very much.
In a bit of selfish rank-pulling, I’m using “Worth a Look” as a “Save for Later” bookmark for myself. This article discusses Dungeons & Dragons as it is used in the recent Netflix hit, Stranger Things (which will be my “Week in Geek” in this week’s episode). Stranger Things has been a Facebook darling, especially for nerds born in, or who lived through, the 1980s and for good reason.
Stranger Things is less a snapshot of life in the 1980s and more of an evocation of 1980s adventure movies: The Goonies, E.T.: The Extra-Terrestrial, Stand By Me, Explorers, and the like. By mentioning those movies, I don’t mean that is nostalgically mining those movies for characters, plot points, or in-joke references; I would argue that’s not the case at all. Instead, it feels like those movies. The Duffer Brothers (and their directors) have seemingly “figured out” how those movies were paced, how they sounded, and how they looked to feel like a long-lost sibling to those earlier movies. It’s meta-eerie on top of the creepiness of the show itself. It’s able to capture what J.J. Abrams tried to capture (and did pretty well) in his excellent Super 8. But Stranger Things just does it right in an ephemeral way.
The show is framed (or so the article tells me, I haven’t finished the series) around Dungeons & Dragons, which Kunzelman decides to parse not only as a narrative bookend, but also as a thrust, arguing that the game “functions as the primary metaphor for how these young nerdy boys are able to communicate and cooperate with one another and how they contextualize the challenges they face.”
I am eager to read the article, but not as eager as I am to finish the show. It’s so good.