• he/him

one more cute disaster… it’s hard here in paradise

last.fm listening



mrhands
@mrhands

Almost a month ago, I received a newsletter from veteran game designer Jeff Vogel titled “The Heart of Gaming is the Power Fantasy.” His company Spiderweb Software has been surviving as a completely independent game developer for over 30 years, which gives him an extraordinarily rare perspective on the games industry.

Mr. Vogel is well-known for his at times controversial stances, but I think he opens this article in a very strong way:

Video games function best as power fantasies. This is a statement that can generate controversy, though fifty years of video game history show that it is true. […] Yet, relentlessly, through it all, the most popular and beloved games are almost universally about the exercise of power.

I’ve been thinking about this statement a lot and how it relates to adult gaming.

What’s a power fantasy, anyway?

In real life, you’re probably not a Gondorian Ranger who bonded with the wraith of the Elf Lord Celembrimbor, but you can play as one in Shadow of Mordor. And no matter your actual physical strength, your sword hits just as hard as everyone else’s when you press (X) on your controller. The game’s power fantasy then is being able to perform violent actions that would otherwise be frowned upon, like hitting orcs on the head with your sword until they die.

But games do not require violence for them to be power fantasies. Whenever you change your environment in a game, you fulfill a power fantasy. Whether that’s bonking orc heads in Shadow of Mordor, setting traffic policies in SimCity, or making characters kiss in Dragon Age.

Adult games as power fantasies

When you play an adult game, you fulfill a power fantasy as well. No matter your real-life physique, gender, or sexuality, you can make characters fall head over heels for you in Boyfriend Dungeon, and of course date multiple of the characters at once. Nobody bats an eyelash at these actions in the game; that’s the fantasy it provides.

In adult games, you have the power to forge relationships between characters in any way that you desire. There may be obstacles to overcome to keep things interesting, but you will likely be able to pick a route that suits you best.

That’s why polyamory is so common in adult games and why many characters are written as casually bi or straight-up pansexual; why deny players the opportunity to get off in a way that works best for them?

Designing around Sexual Vending Machines

Suffice it to say that I find Vogel’s lens of looking at games as power fantasies to be very useful. But what’s gnawing at me in the back of my head is the excellent book Passion and Play about adult game design. I wrote an in-depth review of the book last year, and one of the ideas the book brings forth is the concept of a Chemistry Casino design for romance and relationships.

The book draws a contrast between a game design that uses Kindness Coins versus one using a Chemistry Coins design. The first is your stereotypical dating sim game design: In order to get characters to like you, you keep doing nice things for them. First, you talk to them about their interests, then you give them gifts, and finally, you take them on dates. The criticism against this kind of design is that it treats characters kind of like Sexual Vending Machines: You keep putting coins in until your desired outcome rolls out, which is usually sex with hot women.

What a Chemistry Casino game design does then is do away with these types of “relationship bars.” It puts the desires of the characters in the game front and center. Instead of responding to direct stimuli, a character could respond positively or negatively to how you dress up your avatar or your actions during a mission.

From a game design perspective, this is very difficult to pull off. How do you make it clear to a player that their actions influence their relationships with other characters in such a subtle way? And how do you avoid player frustration when they can’t romance the characters they want? Worst of all, how do you communicate what’s going on to the player? The book does not dive too deeply into these questions because it’s ultimately about game design, not implementation.

If we apply Vogel’s lens to the question of why a Kindness Casino game design is so difficult to pull off, namely that all (successful) games are power fantasies, we can see what’s going on here. By making the player’s actions less direct, we are removing part of the player’s power fantasy of being able to steer characters and relationships to get what they want from them.

And this lens works for all kinds of supposedly more “innocent” games about relationships between characters, for example, The Sims and Stardew Valley. My wife will absolutely have her Sims chat with the new neighbor until they’re friendly, hug until they’re close, and finally, Woo-Hoo them. All in the same in-game day. That’s her fulfilling the power fantasy of controlling the social relations between characters.

Yes, there are awkward implications to being able to bludgeon NPCs into doing what you want at all times, but ultimately that’s what players are looking to get out of adult games. Jeff Vogel summarizes it this way for the action and strategy games he makes:

Steakhouses sell steak. Barbershops sell haircuts. We sell victory. It's not real, it's fantasy. But it feels real, and that's enough. There are other routes to profit making video games, but you have to work very hard to find them.

Life is already a complicated enough game for people to navigate; we game developers don’t have to make people jump through hoops to get their favorite blorbos to smooch. They’re here for steak; our job is to ask them how bloody they want it!

Conclusion

I don’t think Jeff Vogel’s idea that all games are power fantasies is immune to criticism. But this framing did shake some things loose in my head. I’ve been struggling to design and build my own adult game for well over five years now. That’s not just because I don’t work on my game full-time; it’s just really freaking hard. Adult games are a very interesting design challenge: How do you design a video game that is fun and sexy at the same time? I’ll let you know if I ever figure it out, but in the meantime, I will keep smashing my action figures together.

This article was originally published as Naughty List News #92, my weekly newsletter about adult gaming


You must log in to comment.

in reply to @mrhands's post:

:yeah:

You're both on opposite ends of the spectrum of game design, from Art to Product. While your game Where The Water Tastes Like Wine has helped launch the careers of multiple talented artists and is being used in classrooms as an interactive way for students to learn about American history, Vogel is stuck making the same games over and over again. That doesn't mean either of you is wrong in your approach, but it depends on what you value most when making games.

(I'm a centrist in this game design scale in that I've enthusiastically bought and praised WTWTLW, but didn't play it very much, and I've never played a Spiderweb Software game.)

Again, thank you for pointing me for your chost. I read Vogel's article, and while I disagree with some of his assertion, what I found more interesting is that he spend the whole article arguing about game should be power fantasies, he admit that he didn't do so when making Queen's Wish 2. According to his arguments, that should be seen as a failure on his part, and yet, he says it wouldn't have been "honest." That's interesting. That's very interesting. I get the impression he is writing the article more to convince himself than other people. But I will not continue psycho-analyzing the man. At the very least, I now have a clear sense of the argument people use when defending power fantasies, and that is going to be helpful when I argue against them. At least, if I do that. I have a tendencies to start chost and not finishing them.