• she/they/whatever man

disaster biracial.
in my somewhat offline era.
two thirds of Black girl magic.
fighting game player.
healthgoth drip queen.
extreme metal enthusiast.
i will never stop cussing.
frequent commenter &not sorry.
99.9% chance i'm taller than you.






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professional pixel artist & animator.
https://charlenemaximum.itch.io/


currently:
focusing on my own creative work.


previous work;

The Last Faith | Defender's Quest | Duelyst | Kingdom Death 2D | Telepath Tactics | Together In Arms | Skullgirls | Thor: God of Thunder (DS) | Knight Club +
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amateur musician & DIY audio engineer
@ "NEW HORIZONS SOUND GARAGE"
N.Excelsia Audioworks

@NOCTORAN | solo
Ixrillia | solo
Bog Sirens | guitar, vocals
Excelsia/Shannon | guitar, bass
TRON MAXIMUM | solo
solarinception | solo
B/\GG/\GE | bass (2017-2018)
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founder, director, producer & lead game designer @DNGRHRT.
The Joylancer: Legendary Motor Knight (TBD) | Bullet Sorceress (2024)



lead artist & scenario writer for
Mechanical Star Astra w/ @boghog
https://boghog.itch.io/mechstarastra
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founder & web admin @ shmups.wiki
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follow me on last.fm :)

last.fm listening
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discord / youtube
@charlenemaximum
N.Excelsia Audioworks (discography)
tronmaximum.bandcamp.com/
Noctoran (solo black metal)
noctoran.bandcamp.com/
DANGER HEART ENT @ itch
danger-heart.itch.io/
Pixeljoint (Charlene Excelsia)
pixeljoint.com/p/227007.htm
tip jars
paypal.me/excelsia | cashapp&venmo @queencharlene420

boghog
@boghog

I think game design as a field is (almost) fundamentally dishonest & scummy because of its heavy reliance on exploiting psychological weaknesses & technocratic nature. Certain pressures such as hardware limitations & the arcade format kept its more exploitative tendencies at bay. Now there's not much holding it back beyond the will of individual game designers.

A lot of game design stems from the same basic psychological concepts heavily used in gambling & marketing such as operant conditioning, various cognitive biases, simulated accomplishment, audiovisual feedback meant to hook you, ownership, nudging, etc. with some extra crap like flow theory mixed in. What we do is try to find the blind spots of human brains and exploit them for our own gain.

Just as games have an internal logic, so does game dev - our internal logic is that of drug creators and dealers. We try to get people hooked on simulated experiences and coerce them into wasting their precious time doing simple repetitive actions that they might not even want to do, for things that don't benefit them. The final form of a video game is a drug, an experience machine, anything else is an imperfect attempt at creating that.

Everything that's meant to reward real, tangible, beneficial interactions with the real world and other people gets redirected into games. Challenge and accomplishment happen in something that's solved by design. Creative expression is forced into a tiny box and suffocated. The learning process is made frictionless and automated. The player is made to keep playing compulsively. They are meant to have constant new goals and get a sense of forward momentum that leads nowhere. The ultimate goal is long term engagement without much resistance. Which doesn't force the player to acknowledge the outside world or even themselves. Even the concept of "fun" is reduced to optimized, frictionless, almost automatic and mindless learning.

Is it any wonder that microtransactions, heavy progression that adds nothing to the experience besides keeping people hooked, bloated level design drip feeding you useless pieces of small junk & gacha games have risen? Or that games are increasingly becoming flow-optimized to the point where engaging with them feels like being in a stupor? All the pre-requisites were already there, they are built into the very logic of game design.

It's hard to get away from brain hack design even if you try to, as well. There are certain tension points where it creeps back in, usually things like risk vs reward balancing, telegraphing & learning of any kind. No matter whether you view games as formal systems, or if you view them as artistic pieces that are meant to make the player reflect on themselves & the world, or if you view them as vehicles for self expression for the dev, psychology always has a habit of making its way back into your analysis. That said, it's always worth trying even if the attempts aren't fully consistent.

I don't really have a good solution or alternatives for this, I just think it's important for developers to know what they're doing. It's a central belief of mine which informs my ideas on game design. I am hoping that by recognizing this and using it as a basis, I can move into a more positive direction. My love for certain styles of games like arcade games - their rawness and limitations make them more honest in ways that somewhat get away from this style of design, even if not by too much. In this day and age, they are almost hostile to you playing them, and there's something pure about that - you need to stick with them in spite of their hostility, it's a fully voluntary agreement.


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in reply to @boghog's post:

An accomplishment which

  1. Is meaningful as a result of a game's internal logic, its simulation. You have to opt into an internal ruleset, or worse yet be manipulated into opting in.
  2. Doesn't have tangible, real benefits in your actual life.

https://youtu.be/GNe4u5TzjBs?t=41

you could see this as a reaction to material conditions -- if the younger generations are so poor and have so few opportunities, no wonder we go to games that are rooted in the endless acquisition of stuff with limitless possibilities. when the world you actually live in has been so closed off, no wonder you want to go boot up an open world

however, this is cope, and actively makes the described situation worse. the solace is that if you can program a computer, making a video game is probably one of the least tangibly harmful things you could be doing with that skillset to attempt to earn a living

Yea you're right that it's pretty harmless atm, but I do sometimes worry about the technocratic tendencies cuz society's increasingly more gamified and that encourages gamedevs to embrace their inner technocrat and try to optimize & manipulate society just as they do their players

I'm sorry, but that's such a Twitter take.

You might not be in a great place at the moment, if that's really the way you feel about your chosen craft, so I'm hesitant to engage, but wow! Maybe try saying something similar with a straight face, like "literature as a field is (almost) fundamentally dishonest & scummy"?

can't help but agree with this, unfortunately.

despair is very understandable right now as the industry is self destructing and retrenching to even more conservative creative territory. but i think it's really important to hold on to the fact that the industry and the medium are not the same thing, and that the former could collapse overnight but people would still want to make interactive thingies, for no other reason than that it's an interesting way to communicate with other humans. that is what i have devoted my entire 24 year career to, not "fun", certainly not "addictive" (i remember writing a screed 20 years ago about how pathetic it was for a designer to think of themselves as a drug dealer). i have tried to articulate my principles in so many ways over the years, and even though i've done commercial work i don't really feel like i've ever truly betrayed them. there are absolutely unethical practitioners out there but the same is true of doctors (and of course the US healthcare industry is a waking nightmare designed to keep people from obtaining care). i just don't buy that "game design is scummy". this seems like it's way more about how you're feeling at the moment than anything else, and i promise you that can change. carry this clearly expressed self-awareness - game designers can do harm, yes, because in the most general sense art matters - with you, and let the rest - the self-recrimination, the baggage-laden "we" - slough away. and if you're still feeling stuck in engagement-land, work on something completely different. good luck. i believe in you.

Very well put! Exhaustion gets to us all, but I feel I can add some thoughts now:

First of all, there are lots of different motivations one might have when practicing game design. I would agree that, more often than not, they're far from humanistic and much more banal and nerdy in the worst possible meaning of the word. But, when we're talking fundamentals, people do have a need to play. Hell, animals have a need to play! So, working to satisfy that need is not intrinsically bad. Play is good. Play teaches you things and allows you to exercise skills - whether those are relevant to people's actual lives or not is a matter of choice, not a fundamental rule of some sort. It's not even a necessity, I'd argue. Escapism is also a thing that can be good and useful.

Secondly, I wrote some other stuff here at first, but fuck it. Disillusionment with the status quo can be a strong motivator in its own term, so @boghog, you're absolutely welcome to ignore any detractors and simply put those feelings to work. I do think the original post expresses a pretty reductive view of what games can be, but hey - the thinking behind it could very well lead to expanding the term! In the meantime, people like me and "the craft" as a whole will just have to find a way to survive the insult. :D

Thanks, that's the hope! I rewrote the post a bit cause I realized that without prior context, it sounds like I'm giving up and embracing drug lord design, instead of using my frustration with this type of design as a jumping off point LOL

I don't feel bad about this, its just a fundamental belief I use for both analysis and to try and develop my own framework which hopefully moves away from the built in incentives of game design.

I don't mean that games themselves or their creation is scummy, they can be anything including the exact opposite of what I described. I mean the more formal field of game design is scummy. Key concepts like depth, flow theory, ownership, etc. have a basic assumption that frictionless, compulsive endless play and smooth learning is something to strive for. Raph Koster even outright defines the fun of games as a kind of optimized learning. A lot of other concepts are more about creating signifiers that fool players into engaging as well - social elements, kinaesthetics, progression, dynamic pacing, all that shit. One of my favorite bits of writing on dev, Derek Yu's Risk Assessment article, is in part based around lying through signifiers (the other part is resisting elegant design).

I probably don't have to tell you all this because its obvious when you design games, a lot of the thought process boils down to stuff like "how do I trick the player into engaging". Arguably thats the hard part of dev, cuz making a game thats fun for yourself is trivial, making a game fun for others is not.

The idea of a more artistically or formally driven approach to game dev is appealing to me but the main issue is that its gonna have a hard time taking any foothold becuase momentum is against it, AND it gets hard to justify at certain points cuz like I said, these more manipulative concepts make their way back in sooner or later. Im also generally pessimistic about the viability of those approaches long term since they make games hard to sell and thats what it will come down to for the vast majority of devs. So while there will always be a lot of cool devs who resist the tide and are even successful because of it, they won't affect the field's overall trajectory all that much.

OK, this clarification makes me very excited, because I'm 100% on board that a huge part of how people talk about game design and share game design knowledge is indeed about the dishonest and scummy parts!

I'll still maintain there's a huge distinction between attempting to create something enjoyable and attempting to trick people, but I can see where you're coming from. The mechanical formulas that can be recreated and optimized regardless of artistic intent are indeed a crutch that can be used in video games that literature doesn't have in such an explicit form. That's the "nerdy in the worst possible meaning of the word" thing I mentioned. Having spent some time in screenwriting circles, though? They definitely grasp at formulas - "this needs to happen on page X, that needs to happen before page Y" and so on. It seems to be a function of both industrialized creative work and people trying to market themselves as gurus who'll unlock the secrets of the craft for newcomers.

The thing games have going for them, though? I'd say it's that they're much bigger. Movies are something you watch at theaters or on TV for about two hours. Books are something you buy at a bookstore and then pretend you'll read at some point. Games can be on your phone, in VR, they can be websites, they can be cardboard boxes, they can be with or without graphics, language or other players, they can be VNs without zero challenge or arcade games with zero story, they can last a few seconds or thousands of hours - they can be so many things! It's hard for me to accept a pessimistic view of the overall trajectory of video games because I just can't accept the premise that there is an overall trajectory of video games! :D

There's definitely ways of making games in ways that aren't blatantly exploitative, I just think a lot of the concepts are too deeply ingrained in how people think & talk about games. Like depth being inherently valuable and all that shit

I wonder if it'd be helpful if devs just outright talked to players. Not the whole "show don't tell" stuff, but actually directly communicated their artistic ideals. Usually it's gonna come off as kinda pretentious, but in a particularly good game that stuff can be really effective at not only shaping people's tastes but also helping them rethink how they view games. Miyazaki mentioning that "difficulty wasn't the point" in a few interviews did a ton of work to change people's view of difficulty in games, overall for the better IMO. The same can be done with a lot more stuff, if developers get more bold.

That said, I think this is more of a problem for various types of action games, more narrative heavy stuff embraced its artistic nature waaaay more than the mechanics & challenge oriented stuff

I don't agree that game design is scummy, just that's how economic forces propel anything. Everything needs to earn progressively more money over time, which means cut labor, raise prices, build new revenue streams, ensure more consistent revenue.

When incentives are aligned this way, we won't see art, we'll see capital attempt to squeeze water from a stone using whatever tricks it has. And we'll see creatively impoverished artists make whatever gets them a paycheck instead of imagining any type of more fulfilling design.

It's absolutely true but then the question is - which economic forces? Cause with resources, capital, etc. it's a lot more clear cut, if people's needs were met then people would be a lot more free to create art the way they want.

But then if you consider the attention economy and just general mass appeal, I think it becomes a lot harder to untangle negative incentives from game design, especially because games live & develop as a result of player engagement with them. If you want to, say, create an optimization-based, experimental game, you will need to grab people's attention to understand how your expriment's gonna work out in practice, and that's when economic thinking creeps back in.

Games designed in this exploitative way make more money than ones that don't, and profits must grow bigger and bigger and bigger over time for you to continue to exist, to continue to please shareholders, for a CEO and board or directors to keep their jobs, and get a payout.

And this is the economic force that is affecting everything. Everything is becoming more exploitative, and everything is competing with things that are more exploitative.