And I've come up with a strategy for attempting this. Maybe it'll work -- probably it won't -- but I wouldn't be complaining so loudly if I didn't have some kind of strategy, right? And I think that my strategy may have some relevance to game designers so I presume to offer it tonight.
This is the point at which your normal J. Random Author trots out the doctrine of the Wonderful Power of Storytelling. Yes, storytelling, the old myth around the campfire, blind Homer, universal Shakespeare, this is the art ladies and gentlemen that strikes to the eternal core of the human condition... This is high art and if you don't have it you are dust in the wind.... I can't tell you how many times I have heard this bullshit... This is known in my field as the "Me and My Pal Bill Shakespeare" argument. Since 1982 I have been at open war with people who promulgate this doctrine in science fiction and this is the primary reason why my colleagues in SF speak of me in fear and trembling as a big bad cyberpunk... This is the classic doctrine of Humanist SF.
This is what it sounds like when it's translated into your jargon. Listen closely:
"Movies and plays get much of their power from the resonances between the structural layers. The congruence between the theme, plot, setting and character layouts generates emotional power. Computer games will never have a significant theme level because the outcome is variable. The lack of theme alone will limit the storytelling power of computer games."
Hard to refute. Impossible to refute. Ladies and gentlemen to hell with the marvellous power of storytelling. If the audience for science fiction wanted *storytelling*, they wouldn't read goddamned *science fiction,* they'd read Harpers and Redbook and Argosy. The pulp magazine (which is our genre's primary example of a dead platform) used to carry all kinds of storytelling. Western stories. Sailor stories. Prizefighting stories. G-8 and his battle aces. Spicy Garage Tales. Aryan Atrocity Adventures. These things are dead. Stories didn't save them. Stories won't save us. Stories won't save *you.*
This is not the route to follow. We're not into science fiction because it's *good literature,* we're into it because it's *weird*. Follow your weird, ladies and gentlemen. Forget trying to pass for normal. Follow your geekdom. Embrace your nerditude. In the immortal words of Lafcadio Hearn, a geek of incredible obscurity whose work is still in print after a hundred years, "woo the muse of the odd." A good science fiction story is not a "good story" with a polite whiff of rocket fuel in it. A good science fiction story is something that knows it is science fiction and plunges through that and comes roaring out of the other side. Computer entertainment should not be more like movies, it shouldn't be more like books, it should be more like computer entertainment, SO MUCH MORE LIKE COMPUTER ENTERTAINMENT THAT IT RIPS THROUGH THE LIMITS AND IS SIMPLY IMPOSSIBLE TO IGNORE!
I don't think you can last by meeting the contemporary public taste, the taste from the last quarterly report. I don't think you can last by following demographics and carefully meeting expectations. I don't know many works of art that last that are condescending. I don't know many works of art that last that are deliberately stupid. You may be a geek, you may have geek written all over you; you should aim to be one geek they'll never forget. Don't aim to be civilized. Don't hope that straight people will keep you on as some kind of pet. To hell with them; they put you here. You should fully realize what society has made of you and take a terrible revenge. Get weird. Get way weird. Get dangerously weird. Get sophisticatedly, thoroughly weird and don't do it halfway, put every ounce of horsepower you have behind it. Have the artistic *courage* to recognize your own significance in culture!
Okay. Those of you into SF may recognize the classic rhetoric of cyberpunk here. Alienated punks, picking up computers, menacing society.... That's the cliched press story, but they miss the best half. Punk into cyber is interesting, but cyber into punk is way dread. I'm into technical people who attack pop culture. I'm into techies gone dingo, techies gone rogue -- not street punks picking up any glittery junk that happens to be within their reach -- but disciplined people, intelligent people, people with some technical skills and some rational thought, who can break out of the arid prison that this society sets for its engineers. People who are, and I quote, "dismayed by nearly every aspect of the world situation and aware on some nightmare level that the solutions to our problems will not come from the breed of dimwitted ad-men that we know as politicians." Thanks, Brenda!
That still smells like hope to me....
You don't get there by acculturating. Don't become a well-rounded person. Well rounded people are smooth and dull. Become a thoroughly spiky person. Grow spikes from every angle. Stick in their throats like a pufferfish. If you want to woo the muse of the odd, don't read Shakespeare. Read Webster's revenge plays. Don't read Homer and Aristotle. Read Herodotus where he's off talking about Egyptian women having public sex with goats. If you want to read about myth don't read Joseph Campbell, read about convulsive religion, read about voodoo and the Millerites and the Munster Anabaptists. There are hundreds of years of extremities, there are vast legacies of mutants. There have always been geeks. There will always be geeks. Become the apotheosis of geek. Learn who your spiritual ancestors were. You didn't come here from nowhere. There are reasons why you're here. Learn those reasons. Learn about the stuff that was buried because it was too experimental or embarrassing or inexplicable or uncomfortable or dangerous.
And when it comes to studying art, well, study it, but study it to your own purposes. If you're obsessively weird enough to be a good weird artist, you generally face a basic problem. The basic problem with weird art is not the height of the ceiling above it, it's the pitfalls under its feet. The worst problem is the blundering, the solecisms, the naivete of the poorly socialized, the rotten spots that you skid over because you're too freaked out and not paying proper attention. You may not need much characterization in computer entertainment. Delineating character may not be the point of your work. That's no excuse for making lame characters that are actively bad. You may not need a strong, supple, thoroughly worked-out storyline. That doesn't mean that you can get away with a stupid plot made of chickenwire and spit. Get a full repertoire of tools. Just make sure you use those tools to the proper end. Aim for the heights of professionalism. Just make sure you're a professional *game designer.*
You can get a hell of a lot done in a popular medium just by knocking it off with the bullshit. Popular media always reek of bullshit, they reek of carelessness and self-taught clumsiness and charlatanry. To live outside the aesthetic laws you must be honest. Know what you're doing; don't settle for the way it looks just cause everybody's used to it. If you've got a palette of 2 million colors, then don't settle for designs that look like a cheap four-color comic book. If you're gonna do graphic design, then learn what good graphic design looks like; don't screw around in amateur fashion out of sheer blithe ignorance. If you write a manual, don't write a semiliterate manual with bad grammar and misspellings. If you want to be taken seriously by your fellows and by the populace at large, then don't give people any excuse to dismiss you. Don't be your own worst enemy. Don't put yourself down.
I have my own prejudices and probably more than my share, but I still think these are pretty good principles. There's nothing magic about 'em. They certainly don't guarantee success, but then there's "success" and then there's success. Working seriously, improving your taste and perception and understanding, knowing what you are and where you came from, not only improves your work in the present, but gives you a chance of influencing the future and links you to the best work of the past. It gives you a place to take a solid stand. I try to live up to these principles; I can't say I've mastered them, but they've certainly gotten me into some interesting places, and among some very interesting company. Like the people here tonight.
I'm not really here by any accident. I'm here because I'm *paying attention.* I 'm here because I know you're significant. I'm here because I know you're important. It was a privilege to be here. Thanks very much for having me, and showing m
e what you do.
That's all I have to say to you tonight. Thanks very much for listening.
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Document ID: 5b8d549d-6bf5-1014-903b-c67bd76825f6
Document version: 1
Document creation date: 02.06.2008
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The Wonderful Power of Storytelling Page 2