Analytical Otaku

Robots are the coolest thing to ever come out of the human imagination. I don’t care if they will one day enslave humanity, they are still pretty flipping sweet. But which robots are the sweetest of all robots? I decided to take a trip down memory lane, revisiting my favorite robots from all walks of media. This is not a comprehensive list. I’m just one person, and I can only consume so much sci-fi media in the average day. However, the following are my personal favorite machine men (and women). These are the awesomest of automatons, picked for their ability to blend great sci-fi with fascinating characterization.

On the outside she looks like your typical otaku fantasy material. An emotionless girl in the same line as Rei Ayanami, who is more puppet than personality. However, that is part of Nagato’s appeal. She is a convincing robot, simply because she does not understand human feelings. Her motivation is that of a machine: fulfill her programming by preventing an oblivious, reality altering teen from destroying the world. And yet, throughout the series, hints are dropped that she desires more than this mundane task. She reads voraciously, although expresses little interest in stories. She plays a mean video game, although is apparently unconcerned about the outcome. Her true self, the things that make her more than a machine, are hidden below the surface. It’s up to the audience to spot them. In a way, it is the audience’s observance that makes her human. She herself doesn’t notice her own feelings. It takes the better part of the series for her to develop a self-awareness of the fact that she is more than a machine, much to her own surprise.

From his droopy eyes to his love of musicals, Wall-e is one of those creatures so cute that it should come with a warning for diabetics. Everything he does is designed for maximum Awwwwww. In fact, when you get right down to it, there isn’t a lot to the character. He is a simple machine with simple wants and desires. But that is part of what makes him effective.

Wall-e is an interesting experiment with the uncanny valley. He doesn’t look or move like a human. As such, the audience views him more as a charming dog than a person. This allows him to have simple emotions and motivations that still resonant with us. He isn’t as complex or intricate as a human, but he doesn’t have to be. His simple, barebones view of the world comes across as a sort of child-like wonder that the audience can sympathize with. He invites compassion because of his simplicity. Our would-be electronic overlords could learn a thing or two from him, and how less is more when it comes to earning the trust of the meatbags.

We all need someone we can laugh at and mock, to feel better about our own pathetic existence. Marvin satisfies our schadenfreude beautifully. He is so miserable and useless, and yet he possesses one of the greatest minds in the galaxy. So when bad stuff happens to him, we get to be assholes and laugh at both the smart people in our lives and the technology we are slaves to.

Marvin explores what it would mean to be vastly intellectually superior to everyone around you. It would absolutely suck. He is so much more intelligent than all the other life forms around him that he is utterly alone and bored. It just goes to show that being smart doesn’t make you happy. Quite the contrary. It makes you absolutely miserable. Marvin is an exploration of what it would really mean to be an ultra-intelligent robot trapped in a society of mind-numbed humans, all wrapped in Adams’ hilarious satire.

Part of the reason Octus is included on this list is because the show he comes from is so damn badass. It’s not so much the essence of the character, but the way he is handled. He has this child-like wonder about even simple things, like the way teenagers talk, but he is also capable of making astute judgments about relationships and the social order. He is developed as a character, becoming increasingly intelligent and sympathetic, without ever losing his robot essence. In fact, his journey isn’t the cliché “become more human.” He accepts the fact that he is a robot, and he is aware of the fact that he is capable of emotions. And he can also morph into a giant city-stomping mecha, so he has that going for him.

It’s nice to know that even after the apocalypse, Japanese hardware will still be functioning. At least, I think BEEMO’s accent is Japanese. In any case, the little video game console that could is an adorable addition to the Adventure Time cast. It is a quirky, androgynous little fella. It is chipper, upbeat, and always ready for everyone’s favorite activity: video games!

Part of BEEMO’s appeal is nostalgia. From its innocent world view to its chunky interface, it harkens back to the gaming days of yore. This helps the adult viewers feel a connection to it and to their childhood. BEEMO isn’t just a machine; it is the living incarnation of those lazy days fighting over who got to be player one on the NES.

Look, I don’t want this to get personal, but if you never watched The Iron Giant then we just can’t be friends any more. Especially since it has one of the greatest robots of all time. The Giant isn’t a very eloquent destroyer of worlds. He says very little, and for the most part he is content to chill with his best friend, an awkward little kid. The two hang out and have good, wholesome fun times. Until the government has to ruin everything.

What is best about the Giant is how well it communicates one of sci-fi’s most powerful themes: technology is amoral. It is only how we use it that determines good or bad. It’s a common message in many sci-fi works, but The Iron Giant manages to get the message across with half the bullshit. It lays it down straight: just because you have the weapon does not mean you pull the trigger. Because you are not agun.

KOSMOS is most likely the product of some Japanese man’s confused sexuality and power fantasy. She is a robot. Shaped like a scantily clad woman. Who can fire a planet destroying canon from her abdomen. She is part sexy anime chic, part merciless death machine (full-time lover).

Okay, all joking aside, KOSMOS is a fairly simple concept taken to ridiculous extremes. She is hyperbolic in her power and blatant in her fetish-fuel. But the world she inhabits, Xenosaga, takes itself so deadly serious that those things don’t matter. The game’s heavy-handed narrative counteracts the silliness of the concept, making KOSMOS something you end up accepting and understanding.

Indulge me in my innermost hipster for a moment while I rant about how I liked Gir before he became a Hot Topic whore. Yes, he is overused, and yes, half the people who wear those shirts have never seen Invader Zim. That doesn’t make Gir any less awesome. He is living proof that computers are only as smart as the people who make them, and so the only thing we have to fear is our own stupidity.

Gir really is like the Earth dog he badly masquerades as. He is stupid, oblivious to the damage he causes, but also with that cheerful demeanor that makes it hard to blame him for anything, even when it is clearly his fault. In a way, he fulfills my childhood dream of a talking dog. Sure, he wasn’t designed to mimic dog behavior, but he’s stupid and he will eat whatever shit you throw at him. That’s enough dog-like charm to win me over.

If I was a robosexual lesbian, GLaDOS would be my lover of choice. Yeah, she is psychotic and manipulative and cruel, but she’s also incredibly funny, and isn’t that what really matters? It’s hard to stay mad at her, even if she does repeatedly try to kill you. She’s just so clever with her insults, it doesn’t matter if they are directed at you and designed to corrode your self-esteem.

But seriously, GLaDOS is an extremely complex, multi-faceted character. She’s like this black hole of passive aggressiveness. You know she is a terrible person (machine), but discovering exactly what makes her that way is such a fascinating experience that it makes up for everything else. It says something that even after a whole game of trying to kill you in the first Portal, players are glad to hear “Still Alive.” You don’t want her dead, because she is such a rich and complex personality, it would be a shame for her to cease to exist. It would, however, be hilarious for her to be put into a potato.

I remember when Futurama first premiered. I was nine years old, way too young to appreciate the intricate social commentary, the superb characterization, the dedication to a well-sculpted sci-fi world. All I knew was that I loved Bender. He is one of my favorite character types: an unrepentant asshole. My mom hated this show, and I was technically not allowed to watch it. But I still persisted, begging and pleading and turning it on anyways. Because to echo the words of Phillip J. Fry himself, I always wanted a robot best friend.

Bender is a raging alcoholic, womanizer, gambler, and convicted felon. He is the exact opposite of everything a robot is supposed to be. That’s what makes him so awesome. Futurama is all about how the future and technology won’t magically solve all our problems. It doesn’t matter if Bender is made of metal, he still falls prey to the weakness of the flesh. It doesn’t matter if he has a super computer for a brain, he still makes terrible decisions due to his own ego. Human nature, or at least the nature of self-interested sentient beings, will always prevail over technology and reason. It is at once kind of disappointing and relieving. Bender shows us that perfection is impossible, even through digital means. But at least we can always bury our problems in alcohol. And really, isn’t that a lesson worth learning?

Did I forget to list any of your favorite robots? Give them an honorable mention in the comments!

And if you liked this post, you might want to check out these articles:

The Ultimate Nerd Test

Winning Terms: How Goals in Video Games Influence Players

In Defense of Vocaloids: What is Artificial?

It’s time to shine the spotlight on another ace Vocaloid producer! This time it the multitalented myGOD-P. Yes, that is his name. Before he settled on that bold moniker, he went by the handle G9fried@GRM. As you might be able to guess from his names, his music is eccentric. It leans towards techno/rock, but he’s covered genres as varied as opera and ballads. His works are weird and wonderful, and every Vocaloid fan should listen to a few. So pop in your earbuds and let’s take a listen to a sampling of myGOD-P’s works.

One of his earliest songs is titled “BAND of CATS.” It’s jazz influenced, with some nice piano work in the background. While the song itself is kind of bland, it’s worth listening to in order to see just how varied myGOD-P can be. This work shows him beginning to experiment with genres, adding overtones of ballad music and melancholy vocals to a swinging jazz number.

http://www.nicovideo.jp/watch/nm6202066

“Exclamation of my heart” is another early song, and it still shows the developing stages of myGOD-P’s over-the-top style. However, it is very catchy. Pay attention to the echoey vocals. This is prominent in his later works. Once again, this song comes across as an experiment, more playing with the technology and seeing what it can do. It is still a highly interesting listen.

http://www.nicovideo.jp/watch/nm6231394

If you want versatility, check out his Kagamine opera, titled “Garasu no Kutsu.” This piece shows that he is a master of the slow and sorrowful as well as the frenetically upbeat. Seriously one of the most moving Kagamine pieces, it is filled with orchestral swells and vocals that speak of hope and longing. There aren’t very many Vocaloid songs out there like this.

Skip ahead to his song “Virgin Glory,” featuring Hatsune Miku. This song is weird as all get-out, with a funky, screechy guitar line and a pulsating beat. It has simplistic yet nonsensical lyrics. The whole thing feels off-kilter, like a normal techno song turned on its side. What is also significant about this work is the MMD accompanying it. It’s very simplistic, but the sheer absurdity of it would also become a hallmark for myGOD-P’s videos.

If you thought the last song was strange, get a load of “Battle in TAKAMAGAHARA.” Once again, it’s a techno/rock song that is just a little out of the ordinary. The lyrics alternate between lofty and beautiful to hoarse and grunting. There’s a lot going on at once, like the song is trying to see just how over-the-top it can make itself. That is classic myGOD-P. Once again, it has a MMD accompanying the song that is just…baffling. Check out MEIKO and KAITO rocking those guitars. Yeah baby.

And the awesome just continues to escalate with “HYPER TIME!” This work bears the traditional repetition of techno buzzes and beeps with the complex guitar solos of rock and roll. The vocals are heavily distorted, to the point where he lists Yowane Haku as the singer instead of Miku. MyGOD-P loves messing with the vocals, turning them inside out until they no longer sound like a human singing. The result is slightly unsettling but totally cool. Did I mention that deino made the character models? If you don’t know who deino is, you haven’t been to the dark side of Vocaloid. 

“take the field (FULLMOON)” is one of my favorite Vocaloid songs. It even has the underused LOLA adding backup, along with a sexily distorted KAITO. The guitar is rocking, the beat is strong, it’s really something you can bang your head to. At the same time, the scratchy singing and unusual choice of background harmony make the whole song feel like some otherwordly rock concert. The music video gives the same effect. It’s simple, yet weird. It really feels like you tuned into the MTV of another world (provided their MTV actually plays music, unlike ours). The frantic pace of the song makes it feel like it ends all too soon, but that’s what replay buttons are for.

Returning to his Kagamine roots, “I WANNA TRUST YOU” is an upbeat duet between the twins. Compare this to his earlier works and you can see how distinctive his style has become. There’s his signature blend of techno/rock, but with a brass accompaniment that speaks of jazz. Once again, myGOD-P isn’t afraid to blend genres as it pleases him. The vocals are deeply satisfying, with an alternating between a deep, confident Len and a high, energetic Rin.

“Posterization” is another song that seems to be commenting on the media saturation in society. It’s bizarre enough that I can’t be sure. The MMD is minimal but effective. MyGOD-P uses repetitive lyrics that slowly build to an explosive finale of noise.

Finally, no survey of myGOD-P would be complete without mentioning his Girl and Boy series. This is a sequence of songs that tells the story of an ill-fated couple. It was actually based around a doujinshi story, and then myGOD-P made songs out of it and got artists to illustrate it. His most recent work is a medley of the songs that includes a PV. Unlike his techno-explosions, this series represents his softer, more heartfelt side. The songs still show traces of his style, with the guitar backgrounds and occasionally distorted vocals, but for the most part they sound more “normal.” This doesn’t mean they are bland. Instead, they are just story-focused, more reliant on the message of the lyrics. This series is a must listen if you love narrative songs.

So there we go: my GOD-P in a nutshell. Of course, he is an extremely prolific artist (up until about a year ago). He has a huge catalogueof songs to look through. So if you liked the stuff you saw in this spotlight, go check out his other work!

Do you have a Vocaloid artist you want spotlighted? Let me know in the comments below, or shoot me a message.

And if you are looking for other cool Vocaloid artists,check out my spotlight on Iwashi-P.

Or, if you like narrative songs, be sure to check out my post about them.

I’ve been watching Shakugan no Shana, because I was curious about why the show was so popular. After much investigation, I have a startling deduction. People like Shana. Why? Because tsundere. There is something about those grumpy little lolis that drive people crazy (in the best way possible). I like ‘em too, as they are a far more compelling romantic lead than the usual hopelessly insecure high school girl. But why are tsunderes so fun to watch? After many hours of psychoanalysis (ie me sitting on my bed having a Toradora marathon) I have developed a theory. Tsunderes are popular because they are the perfect combination of hard-to-get, emotionally fragile, and flattering.

People like a challenge. It validates your existence when you do something that ordinary people can’t. So the idea of a tsundere, or someone who is not normally cold, suddenly being torn by their emotions, is captivating. Being in a relationship is hard enough. But winning over a tsundere is like completing a marathon with one leg tied to spare tire. It’s not something the average mortal can do.

But in a nice little paradox, most tsunderes are emotionally fragile, which means that they would be easy to be in a relationship with. Like Shana, who emotionally withdraws because she doesn’t know how to handle her own emotions, tsunderes are a “go at your own pace” romance. Tsunderes are too stubborn to admit they like someone and enter a relationship. At the same time, they immaturely refuse to let someone go. This leads to a sort of push and pull, a sweet-spot of noncommittal love. The merry-go-round of emotion means that a relationship with a tsundere can continue indefinitely without ever being constricting or binding. They aren’t ready to completely commit to a relationship, so why should you?

 But let’s not forget the most important aspect of any hypothetical relationship: they make you feel good about yourself. Tsunderes are usually tough, hardened people. Like the ferocious Palmtop Tiger from Toradora, they are quick to judge and condemn. But their special someone magically makes them melt into a pile of squishy goo. Surely someone capable of such a marvelous feat must be amazing! Either that or the designated male-lead. But the fact remains that tsunderes are flattering because their love is so begrudgingly given.

It would be an oversimplification to say this is a complete analysis of what makes tsunderes the go-to for romantic leads. There are a wealth of other factors out there. However, you can’t deny that there is something so psychologically satisfying about the love-hate dynamic. So if you can’t get enough tsundere, have some recommended viewing:

Zero no Tsukaima

Toradora!

Lovely Complex

Hayate the Combat Butler

Hidan no Aria

Pandora Hearts

The Melancholy of Haruhi Suzumiya

Full Metal Panic

And if you liked this post, check out my other articles!

How to Get Your Friends Addicted to Anime: Spread the joy of anime!

Shounen: Soft-core Porn for Girls: An explanation of why shounen is so popular with the ladies.

In Defense of Vocaloids: A series of posts about why Vocaloids are so dang awesome.

Oh, and if you want to make me really happy, check out my novel, Peter Pays Tribute. You can get it for free with the coupon code YP65T.

Pewdiepie and Tobuscus are two awesome people. They make money playing video games, for crying out loud! It doesn’t get much cooler than that. Yet for some reason, many of their fans don’t think the internet is big enough for both of them. They claim one is better than the other. This is the internet, so stupidity isn’t shocking. What is shocking is what we can learn by studying these primitive tribes of fans. Or re-learn, as the case may be. Some chump named Erik Erikson noticed this decades ago.

The short story: human beings enjoy excluding others. It’s built into our systems. Still have a shred of faith in humanity left? Read on, and allow me to destroy it for you.

Humans go through several stages of psychological development. One of the most painful (or most hilarious, if you are an outside observer) stages comes in adolescence: Identity vs. Role Confusion. Once kids hit the magic of puberty, they realize that the real world can be a scary place. They also realize they are worthless chumps who can’t hope to make it on their own. So what do they do? They form primitive packs (I believe the cool kids call them cliques).

 However, it isn’t enough just to be in a pack. The way our amazing human brain works is that we define ourselves with negative assertions almost as much as positive assertions. So it isn’t “I like rock music,” but “I do not like dubstep. Therefore, I am not like the people who enjoy dubstep.” And so now not only do they hate dubstep, they hate everything associated with the people who like dubstep.

Enter a new generation of youngsters: ones who don’t have social skills and never go outside. They can’t form real-life packs, so what do they do? They form packs based around internet celebrities. So we can’t all join hands and sing a rousing Ole dole doff/ I can swing my sword melody. Nooooooooo. Instead, we have to argue in the comments about who’s better.

So there you have it. A scientific explanation for why people are annoying. And the next time you see a little Pewd/Toby war going on, you can just smile to yourself, knowing that the whiners are still psychologically immature adolescents desperately vying for a place in a world that doesn’t want them. I’m sure glad I’m nothing like them < /hypocrisy>.

Did you like this post? Then please check out some of my other articles.

Ultimate Nerd Test: A very extensive test to see just how nerdy you are.

The Rhetoric of Video Games: A series of articles where I talk in depth about video game design and how it impacts the player.

Abridgers Wanted: A post talking about abridged series and what the heck happened to them.

Are you as excited for the next season of Korra as I am? If you are, you’ve probably spent a fair amount of time wondering what’s going to happen in Book Two. Who knows what the writers are going to come up with? Whatever they do, there are a few things I hope they avoid. Let’s face it, even great writers make mistakes, and if they aren’t careful, they could write the show into an early grave. Here are five mistakes that could make the next season of Korra seriously suck.

Of course, you'd have to be actively trying to make this show fail.

Mistake One: Loads of new characters!

With seasons that are only 13 episode long, there isn’t enough time to develop a ton of characters. Yes, some fresh blood might be nice, but the show already has existing characters that could be fleshed-out. Tahno, anyone? Don’t just forget about these characters. Reintroduce them and build on their existing background. But if they have to introduce next characters, they should avoid…

Tahno never was the same after his swag was taken away.

Mistake Two: Having all expert benders

Don’t get me wrong, I love to see awesome benders like Tarrlok and Lin Beifong throw it down. The amazing bending battles are always a treat, and seeing the creative ways they use their abilities makes my inner nerd sing. However, there’s also something magical about watching a character blossom. In the original Avatar, I loved seeing Katara grow as a bender and watch her develop her own style of bending. If everyone in the series is a seasoned pro (like most of the cast is now) then we lose out on an opportunity to explore the nature of bending through the eyes of a novice.

Mistake Three: Keep the focus on pro-bending

Pro-bending is officially my favorite fictional sport (take that, Quidditch!). I love its complexity and how the writers used it to set the stage for a larger plot. But that’s just it: pro-bending was a placeholder until the real conflict could develop. A sports event does not have high enough stakes to base an entire season around. I don’t want it to disappear completely, but for every episode that’s about pro-bending, that’s one less episode about, I don’t know, saving the world or something.

Mistake Four: M0ar love triangle fun!!!11!

“The Spirit of Competition” is my favorite episode from last season. Watching Bolin cry and run away like a little girl helped justify my own cruel existence. But the writers need to be careful. Bryan and Michael are amazing trolls when it comes to shipping. However, you can only have Korra flip back and forth a couple of times before she starts to look like a callous asshole. Instead, they should develop her relationship with Mako. I know, I don’t like Makorra, either. But I might if the writers give me a reason to. Flesh out the existing relationships instead of playing up shipping for a cheap laugh.

It takes a big man to cry. It takes a bigger man to laugh at that man.

Mistake Five: Introduce a new conflict

The bending/nonbending conflict is fascinating. It was a great way to showcase how the world has changed, showing villains sporting new technology and providing Korra with a serious, multi-faceted issue to face. While reusing Amon probably isn’t a good idea, the writers could build on the anti-bending struggle. It’s a great chance to see an Avatar mediate a conflict, instead of just fight some pseudo-Nazi regime (aka the Fire Nation).

So there you have it. Five ways the writers could screw up. But relax, I’m sure the next season is in good hands. And if it isn’t, I’ll have something to complain about for an entire year!

For more complain-tastic posts, check out these articles:

I Demand Stephanie Brown: A list of reasons why DC needs to bring her back.

No One Likes a Faker: Just a few reasons why wannabe nerds are annoying.

In Defense of Vocaloids: A series of articles about why people shouldn't look down on Vocaloids just because they are electronic.

Friendship is Heroic: To all the neigh-sayers (see what I did there) of My Little Pony.

Last time we talked about how perspective influences the player’s relationship with the main character. This time, let’s look at how view point changes how the player feels about other characters in the game. Let’s talk about god.

 

Okay, god perspective (I had you worried for a second, didn't I?). God-perspective is a top-down view used in simulation and strategy games. The player views things from high up and far away, as if they were a spiteful god. Oftentimes they act like one, too. See, the god-perspective puts a lot of distance between the player and the miniscule figures onscreen. It allows the player to observe humanity impartially. It also allows them to be an enormous jerk. No game demonstrates this better than The Sims.

In The Sims, while the player does create and control characters, none of the individual characters are integral to the game. The player can delete and create new characters at any time. This, combined with the looking-down-from-heaven view, makes the Sims dispensable. The player is free to do whatever the heck they want without feeling responsible. While the ambiguous goal of the game is to earn money and build a merchandise-filled house, many players choose to make their Sim’s life miserable. In an online chatboard, players brainstormed fun things they could do with their Sims. Responses ranged from “make a huge family and kill them all and make a new family move in ... in the same house” to “refuse to use the bathroom” to even “Make your Sim cheat on their husband/wife and see how long it takes them to get caught.”¹ Players feel no guilt about what they force the Sims to do, because the remote perspective reduces the Sims to mere playthings.

Likewise, in the strategy game Civilization, the player is a ruler of a country, and the goal is to build the best empire (or as an albino mouse might put it, try to take over the world). This involves sending troops to war. When the player is at war, their forces are referred to as “units.” Their soldiers and people are not given an identity or any individuality. There is no reward for keeping them alive, other than the fact that they can be reused as more cannon fodder. Once again, the top-down perspective gives the player a sense of being above the action, both literally and figuratively. Because of this, the player is detached from the struggles of the NPCs.

Contrast this with Valkyria Chronicles, a war game that uses the same perspective. At the beginning of every turn, the player views a map showing the position of their soldiers and the opposing forces on the field. However, when the player selects a soldier to move, the game switches to 3^rd person perspective, and the player controls that unit directly. Not surprisingly, the soldiers all have an individual identity, complete with a unique character model, names, and even personal likes and dislikes that influence the way they perform in battle. By knowing the strengths and weaknesses of their soldiers on an individual basis, the player can use them more efficiently. This play style reinforces the plot, which is also heavily character driven.

The Pokemon series uses a similar technique to spotlight the fantastical freaks of the franchise. Every new “generation” of games has a new, silent protagonist. This protagonist never speaks or shows any personality. Again, the top-down perspective of the games detaches the player from the onscreen character, making the human avatar seem disposable and unimportant. When a Pokemon battle starts, the perspective switches. Suddenly the player views the battlefield from ground level, from a perspective that may or may not be the player character. When Pokemon are sent out to battle, the player views them up close and personal. You could argue that this is to better show off the violence, but the joke’s on you because Pokemon is about as non-violent as animal fighting gets.  Instead, this makes the player more likely to care about their Pokemon, whom they see first-hand fail and succeed, than the player character, whom they see only from a distant view. 

Last post we talked about how viewpoint influences how responsible players feel for their actions. Viewpoint also changes how the player feels about a character. For example, Ultimate Spiderman shows two perspectives. The player alternately controls Spiderman and Venom. Because the player also controls Venom, he cannot be the antagonist. Unlike other mediums, where a villain can share a large portion of screen time and parts of the story can be told from their perspective, in video games the player sees their avatar as an extension of themselves, and thus as a protagonist. Most players don’t mind doing villainous deeds for shits and giggles, but there is a difference between villainy and being the villain..

This framing gives the story more emotional depth. When the final battle comes and it’s time for Spiderman to beat Venom, it’s not clear who the player should root for. Yeah, Venom’s a sick abomination who would eat your Granny, but he is also an extension of the player. Players want to succeed in games, so when they controlled Venom their goal was to help him achieve whatever the heck he wanted. Then they are put in a position where one side has to lose. This creates a bittersweet victory.

The same thing happens in Fire Emblem: Radiant Dawn. By allowing the character to control both sides of a war, the player cannot see either side as a villain. What’s more, much of your time in the game is spent trying to keep your troops from dying. Once a character dies they are gone for good, so you will spend many a battle resetting over and over. And then you are put in a fight against yourself, where the goal is to defeat your other team. All of a sudden all that frustration spent keeping characters alive is fruitless. Kind of like war itself. This dynamic allows the designers to build a compelling picture of war as a two-sided issue where neither faction thinks they are wrong.

Perspective can also serve as a cosmetic tool. In games like World of Warcraft, where the primary goal is raising and developing a character, the game uses 3^rd person perspective. Players are drawn to these games because they want a chance to create an alternate persona. The character that the player designs is a “’vacuum into which [their] identity and awareness are pulled,’” allowing them to step out of their real-world self.¹ If you want to be some sort of ninja cat person, you be that ninja cat person. Because so much emphasis is placed on creating a new identity through a fictional character, being able to see the character is paramount. Also, the 3^rd person perspective allows the players to see their avatar within a fantasy realm.

Skyrim, on the other hand, allows players to switch between 1^st and 3^rd person perspectives. In an online forum, players discussed what viewpoints they preferred. While opinions differed, several players remarked that they used 1^st person perspective for battle and 3^rd person perspective for exploration. While part of this is due to the interface, where 1^st person is better-suited to combat, part of it is also because of the rhetorical effects of the perspectives. As one commenter put it, he enjoys a “mix of both for me. I like combat in first person, but I do a lot of exploration in third. It's nice to be able to see your character and the changes new gear makes, and the models/animations look much better than I expected they would.”² Players like to experience the triumphs of combat in 1^st person, but when it comes to building a character and exploring a world, 3^rd person is better-suited.

World exploration is integral to many platforming games, because part of the joy comes from discovering new and imaginative worlds. Psychonauts is a platformer that takes place within the mindscapes of other people. The worlds are as colorful and varied as the characters, and much of the joy comes from seeing the onscreen character interact with the environment. For example, in one level the player is in the subconscious of a giant mutated fish who just so happens to be terrified of people. This manifests as the player-character being a towering colossus rampaging through a surprisingly sophisticated cityscape. The player is suddenly a Godzilla-esque force in a field of buildings that collapse when you stomp on them and denizens that running shrieking from your approach. While this set-up would still be hilarious in 1^st person, the ability to see the panorama of destruction the player causes adds to the enjoyment.

Katamari Damacy also allows the player to destroy parts of the environment by combining them into an ever-growing ball. Allowing the player to see the stripped-bare land behind them gives them a satisfaction in knowing that they have the power to change the way the land looks. It also allows them to see the citizens fleeing in panic. You leave a wake of destruction and desolation, like a colorful avenging angel. The 3^rd person perspective allows players to see the effects of their actions on the environment, which is why it is useful for platforming games and other genres where the focus is on exploration.

But wait! We're not done exploring the joys of perspective yet. Join us next time for an exploration of being a dick in The Sims.

Part 1 of perspective here.

Part 3 of perspective is here.

Main directory of video game rhetoric here.

1.                  Wolf, Mark J.P.. "Abstraction in the Video Game." The Video Game Theory Reader. Ed. Mark J.P. Wolf and Ed. Bernard Perron. New York: Routledge, 2003. Print.

2.                  "Skyrim: 1st or 3rd person?." 12 Nov 2011. N.p., Online Posting to Gaming Outsiders. Web. 28 Mar. 2012. 

Video games are pretty awesome. That is self-evident. However, why are video games so cool? It’s because video games are a powerful, interactive medium. They engage players in ways that books or movies can only jealously dream about. Because it is interactive, video games employ a different kind of rhetoric than other entertainment. This rhetoric is the why. Over these next few posts, I am going to explore how video games engage players. So come with me, and together we can explore exactly what makes video games so darn awesome.


There are so many areas of rhetoric in video games, it would be TL;DR central if I crammed them into one post. Different topics are in different posts for your reading convenience. Click on whatever topic looks interesting!

Perspective
Sharing Sight: The use of perspective controls the degree of separation the player has from onscreen events. 

Seeing is believing: Perspective influences how emotionally attached a player will feel to the character, depending on whether or not they view them as an extension of themselves. 

Looking Down from Heaven: An explanation of why torturing Sims is both fun and rhetorically effective.

Goals/Objectives
Winning Terms: What do the goals of a game say about the beliefs of the creators?

Your Objective is Anarchy: Learn how questioning authority and free-thinking can be built into the medium using goals.

Madness in the Method: The developers betray a lot about their own belief system in the way they program their game. 

In video games, the perspective, or view point, is one of the biggest determining factors in play style. It’s crazy to think that something as simple as where the camera is placed could change a game, but it’s true. The way the player sees the game changes how personal events are. Used effectively, view point can make the difference between a compelling drama and an uninteresting conflict.

The two most common perspectives are 1^st person, in which the player sees directly out of their controlled character, and 3^rd person, in which the camera is placed behind a character. Many competitive shooters, such as Call of Duty and Halo, use a 1^st person perspective, hence the label “first-person shooter” (FPS). This view is preferable when the game focuses on precision aiming, because the player can aim directly without an avatar’s body getting in the way.

Perspective determines how the audience relates to the story and the main character. In a 1^st person game, players rarely see the character they are controlling. The player can “transfer [themselves] into the video game character, experience the intensity of the challenge, and achieve the sense of mastery and exhilaration of success.”¹ This allows the player to feel like they are directly responsible for the victories and achievements in the game. Call of Duty is widely liked for its competitive aspect. Players compete online against one another, trying to outgun and outlast their fellow players. Part of its massive success and popularity might be due to the perspective. The players cannot see their own avatar, thus there is one less constant reminder that they are playing a video game. 1^st person perspective allows the player to feel like they are the ones responsible for victory instead of the character they control.

Another popular FPS, Halo, goes so far as to have the character be both faceless (constantly wearing a helmet) and voiceless. Because the character has no distinct personality of its own, players can project themselves into the game. So it’s not the story of how Master Chief saves the world, it’s the story of how you save the world. The player becomes Master Chief. So when they make it through a particularly grueling level, they know it’s the result of their skill as a player and not because of Master Chief.

Sometimes developers may want to limit the amount of responsibility a player feels. In Sucker Punch’s Infamous, the game takes a 3^rd person approach. Even though a majority of the combat relies on aiming, the game does not go into 1^st person perspective. Instead, the camera zooms in to Cole, just above the shoulder so that players can aim accurately. Infamous also has a lot of platforming elements, and being able to navigate the environment is a must, so the 3^rd person camera helps players see their position relative to other objects around them.

However, the 3^rd person perspective also has the side-effect of providing a constant reminder to the player that they are not physically in the game. Because the main character is always on the screen, there is distance between him and the player. Infamous’s main draw comes from its morality system, where players can choose between “good” and “evil” alignments determined by their actions. “Evil” actions take the form of injuring innocent bystanders, killing police officers and basically being a giant douche. By distancing the player from the character, the player is also distanced from their actions. This allows the player a greater sense of moral freedom, because they do not feel directly responsible for the acts they commit. If they decide it would be funny to blow up a car with a bunch of snotty kids in it, well, it’s not them doing it, it’s Cole.

 1.     DeMaria, Rusel. Reset: Changing the Way We Look at Video Games. San Francisco: Berret-Koehler Publishers, Inc., 2007.Print.

There is a plague on the internet, haunting forums and message boards like an old woman haunting a bingo hall. It is called My Little Pony: Friendship is Magic. The over-night internet sensation has bred a fandom that calls itself “bronies,” and they are by and large grown men who should be too old for cartoon unicorns.

Despite the overwhelming reception of MLP, it isn’t all love and tolerance for the ponies. In February 2011, 4chan temporarily banned anyone who posted MLP related material. This is the same site that is infamous for its “no rules” in posting images. This prompted the brony fan base to start their own image board, ponychan. However, apparently that still didn’t put enough cyber-distance between them and 4chan, as members of 4chan later raided the separate imageboard, temporarily causing the servers to crash.

What caused such a vehement reaction? The main line of protest is that MLP is a show for little girls, and therefore should not be appealing to guys. If a grown man likes MLP,they are accused of being feminine or a disgrace. However, you can’t judge the worth of a series by its candy-colored wrapping. Just because there are magical talking ponies, and just because a series is aimed at kids, doesn’t mean that a work is immature. In fact, MLP demonstrates protagonists taking on real-life problems in non-hypocritical, meaningful ways. The realistic, relatable heroes of the series are what make the show more than just a “girl cartoon,” and give it such a strong adult following.

Most toddler-friendly cartoons are so saturated with saccharine happiness that too much exposure to them can cause diabetes. Shows like Mickey Mouse Clubhouse and Dora the Explorer are devoid of conflicts that transfer to the real world. Problems are watered-down and often solved through illogical or unrealistic means. For example, all Dora has to do to deter Swiper the Fox from thievery is shout “Swiper, no swiping!” three times. There is no relation to real-life conflict. Any adult (or anyone over the age of two) who tried to solve a conflict this way would be laughed at and then promptly robbed beyond all reason.

On the other end of the spectrum, some kid shows like Care Bears have protagonists that spout ideologies of endless love and acceptance, but still use violent means to solve their problems. The “Care Bear Stare” is really just a rainbow-hued death ray. The bears literally zap their opponents into submission. Within the mythology of the series, the “Care Bear Stare” is supposed to represent concentrated care and joy. So why do the Care Bears have to use this ultimate weapon? Why can’t they just use love and kindness to solve their problems?

The answer is that most kid shows are caught between trying to show realistic conflict and keeping themselves kid friendly. Supposedly, many shows aimed at toddlers want to instill good values in their audience. They want to show them how to be peaceful and friendly and a good member of society, etc. However, real life isn’t kind to those ideals. Being nice to other people doesn’t mean they’ll be nice back, and telling someone they are hurting your feelings isn’t going to guarantee a pouring out of forgiveness and kindness. So the writers have to settle for making protagonists who are unrealistically idealistic or unbearably hypocritical. The characters can be like Dora, and solve problems in over-simplified, or they can be like the Care Bears, and preach love while practicing hate.

Except MLP is different. The protagonists may be a bunch of talking ponies, but they respond and react like real people. They aren’t some distorted, unreachable ideal. Instead, they are heroes that an audience can both relate to and emulate. They encounter real-life problems, and they solve them in real-life ways.

 Go ahead, watch an episode. You know you want to.

The characters have distinct personalities, which makes them more interesting and complex enough for an adult audience to enjoy. In the episode “Dragonshy,” timid little Fluttershy has to help her friends calm down a dangerous dragon. Fluttershy was always presented as the sweet, gentle, timid pony of the group. She is good with animals, but has trouble asserting herself. However, when the dragon threatens her friends, Fluttershy becomes a force to be reckoned with. She faces the dragon and commands him to behave. She isn’t just a wilting flower. She has multiple facets to her personality, just like a real person. In many children’s cartoon, even the first series of My Little Pony, the characters were often only distinguishable from one another by one-dimensional traits, like being grumpy or funny. However, Fluttershy is more than just the shy one. She is gentle, but she is also compassionate enough to become protective when her friends are in danger.

Another character who shows unexpected depth is Pinkie Pie in the episode “Party of One.” Pinkie Pie comes across as an extremely eccentric cloud cuckoo lander. She routinely breaks the laws of physics, has non-sequitur moments about oatmeal, and throws parties on a regular basis. However, when the other ponies start avoiding her, she quickly becomes paranoid about people not liking her. Instead of laughing it off (a very standard Pinkie reaction), she broods in her house. She is no longer the bouncy, joy-filled pony of sun shines and smiles, but is instead self-conscious and hurt. She acts completely different than normal. This makes her that much more of a realistic character, because people often act differently under different circumstances. When Pinkie experiences exclusion, she is quick to loose her sense of joy and bounciness. Her hurt helps the audience relate to her, no matter what their age is.

Another example of complex characters comes in the episode “Look Before you Sleep.” Applejack, the resident tomboy, and Rarity, the fashion diva, are forced into spending the night at Twilight’s house. At first, their archetypical details mesh about as well as one would expect. Applejack is laid back, and in Rarity’s eyes very sloppy. On the other hand, Applejack sees Rarity’s eye for detail as obnoxious perfectionism. The two are able to come to terms and learn to enjoy each other. However, it isn’t because Applejack learns to be more girly or Rarity learns to be more of a tomboy. Instead, Rarity admires Applejack’s resolve and work ethic despite her tendency to be a slob. In turn, Applejack appreciates Rarity’s sensitivity towards the feelings of others and her attention to detail. Unlike most children’s shows, the characters are given traits beyond being “girly” or “tomboyish.” They have distinct traits that they can admire in each other that are independent of their placement on the sliding scale femininity. Because there is more to them than how deep their wardrobe is, people besides little girls can relate to them.

 The best thing about adult fans is they can do awesome stuff like remixes

Once again Rarity shows that she is more multi-faceted than a diamond in the episode “A Dog and Pony Show.” When Rarity is taken captive by a group of jewel-grubbing dogs, the other ponies fear that she won’t be able to protect herself. When they do finally come to her rescue, though, they see that Rarity was never in need of assistance. She was able to fend for herself against the dogs with some clever verbal parrying. Even though she is girly, Rarity didn’t panic in the face of conflict. She was able to hold her own, proving that there is more to her than an insatiable need for clothes.

The characters also have faults and make mistakes, which makes them more realistic. Like in the episode “Boast Busters,” when Trixie the enormous brag comes to town and starts showing the other ponies up. Twilight is afraid to stand up for her friends because she doesn’t want to be seen as a show-off, either. The conflict doesn’t merely arrive from some character doing bad and the other characters trying to show them the right way. Instead, it comes from the moral dilemma when a character is presented with a conflict where they aren’t sure what the right choice would be. Twilight expresses genuine fear over loosing friends. She is not some moral titan who automatically knows what is right.

Then, in the episode “Suited for Success,” Rarity, the resident fashion designer, decides to make dresses for all her friends. Unfortunately, her friends’ fashion taste is lacking, and they don’t like the clothes Rarity poured so much effort into. It’s rude; it’s ungrateful; it’s mean. However, Rarity swallows her pride and changes the dresses according to her friend’s suggestions. They turn out hideous looking, but Rarity wants to make her friends happy. Unfortunately, when people see the ugly designs, Rarity’s reputation as a fashion designer is ruined. Her friends realize their mistake, and decide to put on a fashion show with Rarity’s original designs so people can see how talented she really is. This isn’t a glorified depiction of friendship. Sometimes, friends make stupid mistakes and hurt each other. The cast of MLP isn’t perfect. They are occasionally ungrateful or insensitive. However, they learn from their mistakes. Rarity was willing to give her friends the dresses they wanted, even if they hurt her feelings. She does express hurt, but she is willing to put it aside for the sake of her friends. In turn, when her friends realize that they selfishly hurt their friend, they are willing to make amends.

Sweet little Fluttershy also has her faults. In the episode “A Bird in the Hoof,” she abducts Princess Celestia’s pet bird because she feared the bird was not being well taken care of. When Twilight finds out, she panics, and persuades Fluttershy to bring the bird back without letting the princess know what they did. Both characters are guilty of dishonesty, because they do not want to admit their mistake to the Princess, so they sneak around and try to bring the bird back covertly. Fluttershy also thinks that she knows what is best for the bird even though it is out of her jurisdiction. She is prideful and that pride eventually leads to them getting caught. However, after realizing that her actions were selfish and hurtful, she expresses regret and a desire to make amends. Unlike some children’s shows MLP isn’t afraid to show the characters doing misdeeds if the characters are going to grow as a result.

Another example of the characters not being perfect is in “Bridle Gossip,” when a zebra named Zecora comes to town. The other ponies have never seen anything like her, so they react with fear. Initially, Twilight acts as the moral light. However, after a few misunderstandings, she too misjudges Zecora and gives in to gossip. When she finds out she was wrong, and Zecora really is nice, she feels guilty. All the ponies do, because they were all in the wrong. Because the characters were mean, they were able to learn from their mistakes. If a character is perfect, they can never progress. However, Twilight was fearful enough to make the mistake of labeling and excluding someone. This makes the lesson more powerful, because it gives the show the chance to show the characters correcting their mistakes. After all, if a character never makes mistakes, then there is nothing to learn from.

The third sign of maturity in MLP is the stakes. The conflicts are real, and the characters are at risk of losing. For example, in the episode “The Ticket Master,” Twilight Sparkle is given two tickets to a very high profile party. Unfortunately, she has five friends, and she has to choose which one to take. As each pony-friend tries to bribe and curry favor, Twilight realizes that there is no way to avoid hurting somepony’s feelings. Instead of candy-coating the dilemma in eternal friendship, the show provides a real problem. Twilight is genuinely concerned about loosing a friend, and no magic way out appears. In the end, Twilight decides she wants to give up her tickets, because if she can’t enjoy it with all her friends, then she isn’t going to enjoy it at all. Of course, in the end Princess Celestia gives her enough tickets for all her friends, but Twilight was willing to make a sacrifice for her friends. MLP doesn’t hide the fact that sometimes there is no perfect solution to a problem. Instead of a solution appearing out of thin air, Twilight has to face her problem head on. Her solution is realistic, meaning that the audience can relate to her problem. The viewers don’t feel cheated by the resolution. Instead, they feel like they learned a valuable lesson about friendship that they could use in their own lives.

Then, in the episode “Winter Wrap Up,” the ponies must clean up winter in order to make way for spring. While the concept is clearly fantastical, in pony world Winter Wrap Up is serious business. If the ponies don’t learn how to work together, then they risk being trapped in winter. The show establishes that the actions of the ponies will have an effect on the environment, for either the positive or the negative. What they are doing matters within the context of their world, so the audience is invested in the outcome. A good ending is not assured, because the ponies are doing something where failure will mean extended cold and an inability to grow food. Because there is a real risk of negative consequences, it highlights the struggle against it and makes the lessons learned more meaningful.

Animation, and cartoons especially, are often accused of being inherently childish. While it is true that most cartoons are marketed at children, that does not mean that they have to be childish. It is the result of lazy writers, not the medium, when a show presents flat characters and minimizes content. However, as studios like Disney and Pixar have shown, kid’s entertainment does not have to be equated with dumb entertainment. It is a matter of the writing staff to choose whether or not they are going to weave a story that is complex or one that is laughably simplistic. In the case of MLP, the producer Lauren Faust decided that she wanted to create a series where the life lessons actually were applicable. Since humanity is the same whether you are age four or forty, a show that realistically relates themes of friendship and dealing with other people can still be a valuable experience.

People might still argue that men should not be watching something girly like MLP, but should instead seek hero symbols in more masculine series. This argument is inherently sexist and flawed. First, it assumes that a show that tries to relate to females will somehow be of lesser quality or will not be applicable to men. This is false. Unless the authors reduce femininity to stereotypes like materialism and fashion, the characters should still think and feel. And according to the observations of leading authorities, females are still human. Therefore, their thoughts and feelings should relate to the human experience as a whole. This means that if a series does its job well, by portraying realistic characters and conflict, then people can still find heroes to look up to regardless of gender.

The conflicts in MLP aren’t sanitized versions of reality. Yes, the world is Technicolor, but it isn’t filtered with rose-colored glasses. It presents real problems that aren’t clear-cut and easily solved. This makes room for the heroes to be realistic. They react like actual people would. This is the secret behind MLP’s wild success. The audience can actually relate to the characters. The ponies have attributes that are admirable, but at the same time they are realistic. There’s no guardian who always has the right answers. The characters can’t solve their problems by spouting the word “friendship” three times fast. MLP gives the audience a colorful cast can show them how ideals like friendship and caring can be applied in real-life. That’s something an audience can appreciate, no matter what gender or age they are.