The list of IGF nominees can be found here. That includes the games nominated in the narrative category, for which I was one of the jury members. I’m excited about this, and I also know that this is the point at which some people are sad, either that they didn’t place or that the IGF isn’t doing everything everyone would like from it.
I’m not sure this is possible to solve, and I do think the IGF is worth doing anyway. However, I also know that just telling people “oh, hey, if you weren’t nominated, that’s not necessarily a judgment on you!” isn’t as comforting as it could be.
Hence, this year I’m going to try to be as transparent as reasonably possible about my own judging process. (I have cleared this with the organization.) We are discouraged from discussing other people’s votes and reasoning: it should be pretty obvious why that is, I think, but in any case these conversations need to happen in confidence. I absolutely do not speak for the whole of the jury in what follows, and other people had other views. But I’m allowed to talk about my thinking.
Continue reading “IGF Narrative noms are out!”
Cibele is Nina Freeman’s game about being a 19 year old college student who spends a lot of time in an online game, and who meets an Internet Friend who becomes more; and about what happens to their relationship next.
It intersperses non-interactive video (in which Freeman plays her younger self) with largely agency-free segments where you’re playing the game (mostly endlessly clicking on enemies to attack them) and hearing voice dialogue between Nina and her new friend. There are also some more exploratory elements – you can poke around a bit on Nina’s computer and look at her email and the selfies she’s been taking to send to her internet companion, but they’re fairly limited and none offer diegetic agency that I can see. This is pure dynamic fiction in which the actual events will unfold in the same way regardless of what you do.
I’m not the first person to see Cibele as a kind of bookend piece to Emily is Away. (I am, for the purposes of this article, not getting into the concerns I had about consent in Emily is Away, which the author has said were not intended; there’s more that could be said there, but I’ve already talked about it elsewhere. Cibele does not present similar issues – it does directly show you how some of the main character interactions go down – and in comparing the two pieces for the rest of the article I am comparing the rest of the experience of playing EiA.)
So. These games are both stories of internet relationships that go wrong between people who have some difficulty articulating their feelings to one another, difficulty listening to one another. They’re about people who are too young and inexperienced to be skilled at relationships yet. They both trade on the likelihood that the player has actually had a relationship somewhat like this, sometime in the past, whose details can be pasted in even though the actual characters in each game are minimally specified.
Continue reading “Cibele (Nina Freeman)”