Ep. 298 - X-Commies, with Lucy James

maybe not the thread for this but in the newest Patreon bonus ep, jaffe makes a very very good ico joke that I liked a lot

@“Jonks”#p126689 LMAO

Bless you Frank for reminding me of "Everything" for windows

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@“phylaxis”#p126874 jaffe makes a very very good ico joke that I liked a lot

I listened back and yeah that was pretty good. Thank you

@“Jaffe”#p126712 You couldn’t make ChatGPT jokes today!

My Oppenheimer game would be an Ocean SNES game. Mostly something like Jurassic Park where parts of the bomb were scattered around Los Alamos instead of dinossaur eggs.

@“Tradegood”#p126855 Soulja Boy game design challenge: Design a game that can be enjoyed equally by people who drink beer and get drunk, and people who smoke weed and get high.

@“whatsarobot”#p127075 why has this game been in QA for 5 years?!

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@“whatsarobot”#p127075 Soulja Boy game design challenge

Oh you mean the Souljam

i always heard shakespeare‘s romances and his ’problem plays‘ referred to somewhat interchangeably. the meme about the other plays is that you can tell which one it is because if it ends in a wedding it’s a comedy and if it ends in a death it's a tragedy, while the romances are distinguished because they leave the audience in a more ambiguous emotional space. (to be clear, this may be a total misconception/misremembering of what precisely constitutes the romance - i was into shakespeare in high school, which was [REDACTED] years ago!)

i wonder then if it might be worth thinking about the play genres not as, like, carrying specific frameworks within the text - comedies have jokes, etc - but as encouraging a certain relationship to the game space? it seems to me that a comedy game would encourage the player to approach its space as a toybox. _tears of the kingdom_ would therefore be a comedy; so would _minecraft_; so would _grand theft auto_. there might be specific challenges with specific solutions, but the joy isn't in figuring out, the joy is in the experimentation.

by contrast, a tragedy would encourage the player to treat its space seriously, not as a conduit for experimentation but as a serious and coherent world that stands on its own, usually with strict rules. most rpgs would be tagged as tragedies under this metric, but so would most single-player, story-driven games in general. this feels right to me somehow? shakespeare's tragedies tend to be taken more seriously than his comedies, and these kinds of games are usually the ones that feel prestige-y.

the romances, then, might be games that land in an in-between space, though this feels very hard to quantify... games that tacitly or explicitly encourage the player to work towards the limits of the space, that acknowledge that the game space is limited. i would slot _chrono cross_ in here, for instance, because of how ruthlessly it pushes against _chrono trigger_ - it diminishes the game experience down to 'just a game,' forces the player away from the fantasy. the line _earthbound_ draws between the player outside the game and ness inside the game feels relevant here too.

idk. mostly i am spitballing. i do not know how rhythm or puzzle or racing games might fit into this schema.

Little surprised that no one has mentioned Katamari Damacy as the quintessential comedy.

As I see it, it has the "organically funny" video game stuff, it has satire, it has the canned jokes...

Heck, even [that one British music gossip magazine agrees with me!](https://www.nme.com/features/gaming-features/why-katamari-damacy-might-be-gamings-purest-expression-of-comedy-through-play-3074052)

Outrun is definitely a racing game romance.

@“KingTubb”#p127261 I like to imagine a Junji Ito version of Katamari that plays it as a tragedy.

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