The failure of satires of masculinity

Much belated, let’s talk about Pickle Rick.

“Pickle Rick” was a 2017 episode of Rick and Morty, and the only one I ever watched. After I saw it, I thought to myself, I don’t need to watch any more of this show. For me, the episode represents a common pattern in fiction, where the intention is to satirize masculinity, but at some level, it fails to do so.

In “Pickle Rick”, Rick turns himself into a pickle to avoid going to therapy with the rest of his family. He sets up a mechanism to turn himself back as soon as his family leaves without him, but something goes wrong and hijinx ensue. He has to use his limited means as a pickle to pull himself through a sequence of over the top action scenes. Eventually, he lands in therapy, where the counselor explains the absurdity of his actions to him.

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Eliza’s realist vision of AI

Content note: I’m not going out of my way to spoil the game, but I’ll mention some aspects of one of the endings.

Eliza is a visual novel by Zachtronics–a game studio better known for its programming puzzle games. It’s about the titular Eliza, an AI that offers counseling services. The counseling services are administered through a human proxy, a low-paid worker who is instructed to read out Eliza’s replies to the client. It’s an exploration of the value–or lack thereof–of AI technology, and the industry that produces it.

As a professional data scientist, media representation of AI is a funny thing. AI is often represented as super-intelligent–smarter than any human, and able to solve many of the world’s problems. But people’s fears about AI are also represented, often through narratives of robot revolutions or surveillance states. Going by the media representation, it seems like people have bought into a lot of the hype about AI, believing it to be much more powerful than it is–and on the flipside, fearing that AI might be too powerful. Frankly a lot of these hopes and fears are not realistic, or at least not apportioned correctly to the most likely issues.

Eliza is refreshing because it presents a more grounded vision of AI, where the problems with AI have more to do with it not being powerful enough, and with the all-too-human industry that produces it.

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Double standards in art

Some double standards in art are taken completely for granted. For instance, parents are expected to appreciate shows or concerts put on by young kids—as long as their own children are involved. And if you’ve ever enjoyed obscure or non-commercial art, such as fanfic, comics, music, videos, blogs, or just random people on social media, we tend to embrace its flaws and limitations, even when the same flaws and limitations may be unacceptable in mainstream media.

Another example, is the way that we often judge sequels in terms of the original. We might say that a video game sequel is worse than the first one, because it didn’t improve much on the original. Logically, if it improves on the original game by a nonzero amount, it’s a better game, but that’s not the logic we tend to follow.

And why is that? What theories of “goodness” are people using that allow these apparent double standards?  Here are several ideas for what might make the difference.

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Problematic fiction, and action

Lately, I’ve been seeing discussions of “anti-shipping” hit mainstream, for example in a Kotaku article trying to connect it to the latest video game controversies. I’m separated by two degrees from any anti-shipping arguments, but I’m aware it’s a clusterfuck, so I’m a bit apprehensive about this new attention. People who are involved in anti-shipping flame wars are notorious for pulling in complete strangers to the subject, and coercively classifying them on one side or the other. It’s a nasty flame war I prefer to keep at arms distance, although I find some of the underlying questions to be interesting.

Briefly, anti-shippers (or simply “antis” if you want to be enigmatic and ungoogleable) are people with moral objections to certain kinds of problematic ships. The precise content of anti-shipper or pro-shipper stances is slippery, but in my understanding anti-shippers commonly object to ships with characters that are canonically minors, and even label it pedophilia. If you’re familiar with the dominant culture in fanfic (AO3 in particular), and their habit of shipping basically every pair of characters, you can see how the disagreement is substantial and significant.

This raises several questions. What exactly counts as problematic or not? What does it mean to have a moral objection to problematic content, vs just not liking that content, or not wanting to be exposed to it? Once we’ve identified problematic content, what actions do we advocate taking in response? As a writer who has occasionally critiqued works of fiction from a social justice perspective, it is that last question that fascinates me.

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Trans representation in Tell Me Why

Tell Me Why is probably the highest profile example of a trans character in video games. Not the biggest game to feature a trans character, nor the game that places the most focus on trans characters, but something in the middle. A game with a trans protagonist, but not about trans issues, which was made by a medium-sized studio.

I didn’t think I would be playing this one, because I did not care for the writing in DONTNOD’s seminal game Life is Strange.  But, there’s a free giveaway for the month of June on Steam. Furthermore, I was intrigued by the controversy around the game, most clearly expressed by Dia Lacina’s review, “‘Tell Me Why’ Smothers Its Representation in Bubble Wrap“. Despite Lacina’s critical stance, it only made me more eager to form my own opinion.

cn: mild spoilers for events in the early game
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Art, success, and rewards

I recently read a story where an artist sold a recording for a flat fee, and then the song went on to become hugely popular, but the artist didn’t receive any royalties. It’s a familiar story of exploitation, especially of Black artists who systematically receive less credit than they are due in American music.

However, I was distracted by an alternative interpretation that came to mind. To some extent, the rights to royalties for a song is essentially a lottery ticket. Song popularity follows a power law distribution (I presume, based on how these things usually work), so that a few songs become extremely successful while the vast majority remain in obscurity. It makes sense to want to sell your lottery ticket–provided that you get a fair price for it. If you have a losing ticket–as most people do–then selling that losing ticket is a way to still make money.

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Review scores: a philosophical investigation

Normally, in the introduction to an article, I would provide a “hook”, explaining my interest in the topic, and why you should be too. But my usual approach felt wrong here, since I cannot justify my own interest, and arguably if you’re reading this rather than scrolling past the title, you should be less interested than you currently are.

So, review scores. WTF are they? I don’t have the answers, but I sure have some questions. Why is 0/10 bad, 10/10 good, and 5/10… also bad? What goals do people have in assigning a score, and do they align with the goals of people reading the same score? What does it mean to take the average of many review scores? And why do we expect review scores to be normally distributed?

Mathematical structure

Review scores are intuitively understood as a measure of the quality of a work (such as a video game, movie, book, or LP)–or perhaps a measure of our enjoyment of the work? Already we have this question: is it quality, or is it enjoyment, or are those two concepts the same? But we must leave that question hanging, because there are more existentially pressing questions to come. Review scores do more than just express quality/enjoyment, they assign a number. And numbers are quite the loaded concept.

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