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So the first thing I was doing was to draft on -- to write the story for this space game. We made the standard space epic. Player turns up through a wormhole, two people fighting against each other.

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If he joins one side, Fuck women in la romana are the bad guys, fights his way through the game with that side telling him what's going on. We had friendly fire in the game so he could blow up his own side. And that really becomes important in a pivotal moment of the game where he's told to attack this ship, and it's got pretty much no defenses and it's really slow-moving, and as they're firing at it, the player gets a message from it. And it's a medical ship Nasty woman in helsingor they're transporting war wounded away from the war zone and his troops tell him that it doesn't matter, they're still enemy combatants and he should still blow the ship up anyway.

And depending Voyeurweb hottest girls what the player does, if he blows the ship up, he joins the evil side, and he goes on to the end of the game to be bad ending, or he can turn on the people because he knows that he has friendly fire already and he can fight off that attack and escort the ship to safety where he joins the good guys and tries to fight back. Because we always said, "No one wants to play a game where it says, 'Do you want to be the good guy or the bad guy? We're the only ones doing that. Why did you not tell us? We had two NPCs. I wanted the good NPC to be a black man. Two corporations, superhero world.

I wanted the good corporation to be headed by a black man. And so we had this conversation. They're all white or superheroes. Is it just politically correct? So one day I went in and said, "I've been thinking about what you've been saying. I understand what you mean. Pay with debit card online adult sex dating doesn't matter if he's black, does it? He could be any color, 'cause it's just a texture, right? He could be green or purple.

The color of the character isn't important. But I still have all the concept art for that game. I had a black NPC that was gonna be the good guy back in the day. But it took fighting for that to happen. We're gonna talk a bit about things like that, but before I forget: You mentioned being in the room with the CEO talking. Looking out at the industry now, who do you feel like is being listened to more as far as leading the types of games being made? Do you think it's more marketing or do you think it's more -- It's marketing. Well, 'cause, and the thing this -- and this ties to your it got too big too fast.

Budgets are spiraling insanely out of control, and the more money it costs, the more they have to make money back, so they're only gonna make safe. But you don't think not taking risks is a risk? I think it is, but sales prove it's not. Everyone talked about all these great games that came out and how there was a diversity of developers onstage, but if you look, it's another first-person shooter in the chain of first-person shooters. Oh, look, it's a third-person action-adventure. And, yes, we had more women as lead characters in these third-person action-adventures, but at the end of the day it was more of the same, all the time. I even got excited -- and I'm slightly embarrassed -- because The Last Guardian seemed to be remembered.

But even then, it still looks like it's a clunky, terrible old game that they're just trying to shoehorn into Nasty woman in helsingor new platform because they just need to get that damn thing out now. But when the next-gen consoles came out, I wanted a console that was actually next-gen, and so I bought a Wii U. The last proper odd game I bought was Skylanders. I watched them talk at GDC about how they get kids in to play with all the models before they launch them and how the first line of attack, as it were, is the model on the shelf.

You have to look at that model on the shelf and instantly know what it does and how that will play in-game, and it has to be appealing. They did this huge talk about these fascinating set of presentations. So I went home and I bought a couple of start-up packs and now I can't go into shops where they're on the wall because now I look at them because I've been exposed to it. It's made for, you know, kids. But the design of it -- and even when you play it, it's properly old-school third-person run and shoot game. But it does it charmingly. And the figures -- having something that tactile is great.

The wife hates it. And then it makes me wonder, "Why haven't games workshop done that yet? Why don't I have a proper turn-based game of Warhammer when I go into a shop and buy a dragon, like, as if it were an original Warhammer game and I can actually play the game as it was intended? The end of point 'n' clicks and the beginning of real-time strategy games. So, like, late '90s? Starcraft,Total Annihilation, Wolfenstein maybe? I was in Berlin and Wolfenstein -- we played that at Crytek, and at that point it became really obvious. We had a conversation when I was in Scotland at that company.

We had a conversation because Deer Hunter came out. The utter ignorance of why Deer Hunter works still shocks me. I had meetings within the company where the creatives got together and said, "We need to make games that appeal to rednecks. So why don't we have games where it's a home invasion. So you're in a house or in a trailer maybe, and someone's trying to break into your house and you have to, like, protect your house? Just something something properly rednecky that we can sell them to, because clearly that's a market now. Played on low-spec machines and sold in stores where deer hunters frequented.

Do you not think that perhaps that had something to do with it? I never thought of it that way. But it showed a complete lack of understanding of the market. We could say that Deer Hunter was the first Disruptive Game. I wanted to ask you a bit about entitlement. There's a lot of tourism going on in it. The first time it really hit me was San Andreas. A lot of my -- because, obviously, GTA, made in Scotland. I met a bunch of people that were on the original top-down version, and then when the company I worked for went down in Glasgow, a lot of people went across and just started working on GTA.

So I know a lot of people who were making GTA at that time. And San Andreas came out and I was living in LA, and it was how lovingly they would talk about using 50 Cent's tattoo artist to make sure the gang tattoos were authentic, and how they really went onto the streets and made sure it was modeled properly. I remember driving through an area in-game and going, "Oh, that's Crenshaw! They're gonna sell this game with a gang banger with authentic gang tattoos driving down streets I know with the ability to shoot people that I drive past everyday, and they're gonna sell that to white, middle-class audiences? I'm not comfortable with this anymore. And so, I think, at that point it hit me.

And then of course later on you play things like Conan and you play a woman in Conan and she starts the game in a transparent sheet until you can get some armor. And while I know that that's very much the source material, it's still very odd playing a female character practically naked. We should let white folks kill black folks. Of being completely unaware. But Gamergate, the backlash of privilege there is horrifying. But it's what we're seeing everywhere. I mean, even to the point where in Europe you see refugees called "migrants. You know, we could stop the complaints about Gamergate by having every publisher come out and say, "For the next two years, all of our releases will only feature as leads females and people of color.

And if you don't want to buy those games, well, then, you can buy other games because that's what we're doing. Even at E3 this year. There was an indirect response, but no response. The market leader on acknowledging it is Intel. But only because they'd been suckered. Don't you think it's odd -- I don't know. I don't want to put questions or words in your mouth. Knowing the industry and the audience that I'm sending them into is miserable. And, yes, I think publishers should stand up and say something. But it's the constant -- every year at GDC, EEDAR does its awesome data about videogames and every year we're told that the average gamer is now in their thirties and more likely to be female than male.

Yet, the idea that games are still being made for teenage white boys holds. And then you get to that nitpicking of, "Well, women only play casual games. And the person that taught me to play Quake was a woman and she would regularly hand my ass to me. And the just rigid belief that, "No, games are meant to be made for us and us alone and everyone else is violating that space. And so you get into conversations. And I forget his surname, Rami [Ismail], who did the thing. He taught everybody Arabic. We go through, we learn Arabic letters. We learn words in Arabic, and then he shows us a screenshot of a game with the word "hotel" in English and then Arabic text on top.

He says, "What does that say? And he says, "Well, spell it out. But they've got it the wrong way 'round. Why should they play games with characters that don't look like them? A joyful, gleeful ignorance. It's not only with games. I just watched the county clerk from Kentucky [Kim Davis] be let out of prison yesterday, where both [Mike] Huckabee and [Tom] Cruz tried to run down and get photo ops with her. And everyone says she was jailed because she was Christian and it was persecution. And it doesn't matter. She wasn't jailed because she was Christian. She was jailed because she wasn't doing her job and she was in direct violation of the law. It was contempt of court.

That's why she went to jail. And it doesn't matter how many times you explain that to people. The prevailing wisdom is before that set of people that she was jailed for being a Christian. How do you think this stuff gets socialized in people? Tribes are really easy. We went to see -- and, again, GDC is a perfect example of this. Feminism at GDC, when they had all the main speakers, and Anita [Sarkeesian] was speaking, the first time they did the 1ReasonToBe panel, and it was the year of women in gaming. They had Felicia Day there, and at one of the main parties, an exec for one of a large game company -- never named -- came up to her and said, "What are you doing here?

I didn't think girls were interested in gaming. So I think the way it gets socialized is that it's tribal. And Gamergate, out of the Quinnspiracy, her jerk boyfriend wrote the web page multiple times until he just got it perfectly toned to cause her the most damage it could and then dropped it in the place he knew was populated by people who hated her anyways. He knew that because she had talked about her fears of those groups of people. And once you get into that echo chamber, it doesn't matter, any logic that gets put into it is lost. And then we have a press that conflates one side with the other.

There's obviously two sides to every story, and so we need to give weight to these people who are clearly batshit crazy and harassing women as we do to the woman who's being harassed because they wouldn't be harassing her if they didn't have a reason to or something. And so then you get legitimacy. And at that point it is off to the races. Tell me a little bit about what your short talk at GLS was aboutwhich is this notion of "diversity lite" in the game industry. I know before we started you said there's an embarrassing story about the lineage of it you wanted to tell. Got an invite to go. They asked, "Would you do a presentation? It's meant to have some impact and be provocative.

I can do that. The week before is the Roskilde Festival, which is our Glastonbury. So, to get a free ticket and not sleep in a tent in the mud pit, we worked the festival. So, a few days before, the wife and I are out putting up tents and just making sure the festival runs. I'm there for the entire week of the festival. And I come back, and I had a day to decompress, wash clothes, pack, fly out. So, throughout the entire festival I'm just drawing boxes and throwing ideas around, and one of the things I've had kicking around is I'm a bleeding heart socialist and coming from the UK and looking at the UK, demonization of youth is massive and we are stunting youth as it starts.

And we should be taking our knowledge and putting it into the hands of kids that can make games so that drug dealing and unemployment benefit isn't their only outcome. London burned a few years ago. It was a race thing that got kicked it off, but London just burned for two or three weeks. And rioters would break into supermarkets and steal baby-milk formula and diapers and that should probably tell you that there's a problem. And the government response was, "If we track the looters down and we find out they're living in government housing, we will evict them. Seemed like a great idea. So I was playing around with ideas like this.

But it was purely on the basis of -- and it's excuse? I -- I have no idea -- again. A talk that's provocative and blue-sky. And while it's something that I absolutely believe we should do, I didn't expect people coming up to me afterwards saying, "That's a really great idea. When you start this, we want to be involved. That's not quite how I expected that to go. I know how that goes. And coming from England, I've only worked in multicultural teams but primarily white because that's how it works. And we talk about diversity. In our department we talk about university, but I teach in Sweden, and 90 percent of the students are white.

And we don't mean it.

I suppose in that heartfelt way, we'd like to have more diverse classes and a more diverse culture. But not to the point helxingor we'd go out of our way and go helsinyor find those people and teach them and help them out. And helsinggor I think it does come to that point where we measure diversity by helsinngor color and gender of our classrooms, acknowledging that getting to our classrooms is already a rigged game. So, it is diversity Nastyy. It's diversity as long as these people look womman us and come from the same kind of background as we do because they're in the same circles that we're in.

Like, you had mentioned -- I Nasty woman in helsingor trying to find it again helssingor I also wanted to interview them. What was that organization you mentioned? Which, I did make contact with them, but I don't know if hlsingor active -- Yeah. I don't know, Single guy dating tips. And so you'd employ a couple of kids to repair PCs and clean PCs and Nasth like womah, and helsignor you'd franchise that studio out wman them and have them run that studio and then employ more kids and then you'd teach them to code super websites in more advanced languages so you promoted internally -- managers would go off and become coders and developers.

So, it seemed like there was that going on, but that was vastly different from their Urban Video Game Academy thing. You said in your emails that no one really talks about access and politics and respect in videogames, which is fantastic appetizer platter to go through here. Why does no one talk about this? I mean, there is that notion that if it's a game not being made by the industry, it's pretty much non-existent. You can look at Steam, but, you know, your average person doesn't even know what Steam is. And that's horrible, because I believe that you should pay for games because these people have made them and stuff, but I waited until the Borderlands: So, we -- at GDC, it was the feminist year, and that's such a horrible thing, but it's like the Black Oscars.

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