This is an updated translation into English of the
one-question interview with pjorge (based on Darren Rowse’s
one-question interviews idea) in which
Javier Candeira (
Barrapunto co-founder and editor among many other things, and a good, loved friend of mine) comments about an interesting game of his creation that’s being
exhibited in Barcelona and that deals with the fears many parents have towards the Internet and the new enterntainment technologies and videogames. The game code will be released as GPL, even though the game data will have a non-free Creative Commons (with a non-commercial clause).
The game has a really interesting approach, and mixes the concept of pinball games with that of graphics generated with
“paper dolls” techniques, to try to make people think about the ideas mainstream media are pushing, and the way they try to tell everybody how to raise their kids. You might like it or not, but it will probably won’t leave you indifferent. That’s what art is about, in fact, isn’t it?
What is ‘El rei de la casa’?
‘
El rei de la casa‘ (an expression that in Catalan and Spanish means “the precious child”) is an exhibition and a
videogame. The exhibition deals with the cultural construction of the idea of childhood, and can be visited until September 24 in the Palau de la Virreina in Barcelona. From there. Among other works, in the exhibition there are photos by Loretta Lux and Bego a Egurbide, paintings by Marc Ryden, Kiki Smith and James Reilly… it’s really worth a visit.
The videogame is a commission from Andr s Hispano and Marc Roig, curators of the exhibition. They wanted to portray Internet and videogame arcades (or cybercafes, which are their modern equivalent) as one of the “new forests”, these places where parents don’t dare allow their children go alone for fear of the dangers (real or imagined) that may lie in ambush.
The Internet has entered into the collective imagination, and one of the memetic niches that it has crept into is that of the bogeyman, the scapegoat that bears the brunt of all the evil that happens in society. It is enough to look at the news programmes from right-wing TV stations with their adversative Internet coverage: “it’s good, but…”. All over the media you see headlines like “gang of pedophiles arrested who sold child pornography *on the internet*”. They conveniently skip that pedophiles filmed those poor kids *in a flat*, and that they did it *on a bed* and used *videocameras* just like those used by the reporters now sounding the alarm. But no, what’s bad is *the Internet*.
The other theme that we wanted to touch on with the pinball game is how videogames are presumed to corrupt childhood. When pinball games were introduced, the North American authorities laid down the law: it was an infernal machine that incited gambling and even lust. From the religious right to the secular left, every moral guardian has denounced the supposed harmful effects of videogames on childhood: because of them children and teenagers engage in murder, robbery, truancy, bad school grades and even untidy bedrooms and doubtful personal hygiene.
For this reason, the “new forest” of the Internet and videogames had to be a videogame, proving once more that games are cultural vectors, a form of artistic, political or commercial expression like any other. It also had to be a videogame about the a triangle: on one side the children, on the second one the children minders (parents and society at large), and finally the Great Scapegoat: the Internet.
After many
abandoned and reworked proposals we arrived at the
present design for the game: an emulated pinball game presented on a panoramic TV screen, and having two levels: one set in the real world and named after the exhibition, and a second one set in a more or less conventional cyberspace. This second level is called “Prey of the Net”, and portrays the vision of the Internet that a Fox viewer may have: you have Spam, game-playing killers, kids making more money than their parents, S&M gear, dildos… in short, everything that is scary and nothing that is comforting, at least to some.
All the illustrations for this pinball, both on the gameplay field and on the scoreboard, are by
Mauro Entrialgo. For the scoreboard I asked him to prepare a set of drawings similar to KISS dolls (like the cut-up dolls that kids still played with in the last century). Thanks to these dress-up dolls the scoreboard shows more than the score (which grows randomly anyway); it also portrays the state of the boy or girl protagonist of the game. I say “boy” or “girl” because in the game, just like in real life, you have a 50/50 chance of starting the game of life with either sex.
The fist level, ‘El rei de la casa’, portrays the stress that families feel when facing children’s media consumption. The targets trigger lines from the parents: “All day in front of the Idiot Box!” when you hit the tv, or “without a degree, you are nothing” when you hit the school. There are four targets on the right, which can be reached shooting the ball with the left flipper (the one representing the parents): school, museum, church and reading. On the left, and reachable from the right flipper, representing the kids’ id, are the TV, the kid’s peers and the videogame console; at the top of the playing field, towering above it, the internet-enabled computer. As the ball hits the different targets, the scoreboard dresses the kids in a housecoat, a leather jacket, and gives them a mortarboard or a saint’s halo. They are the pride of their parents, kids still not perverted by the Internet.
It is cheap symbolism, I confess, two-dimensional sociology, but that was also something we aimed for. After all, pinballs have always been complicated allegories rather than complex ones.
In a first design I planned to make computer accessible only under certain conditions, but that is not something that would have work in this exhibition: some people just play and play (which gives me an immense joy), but other people can’t or won’t give it much effort. It’s best to make it easier for everyone, so they can send the ball into the next level even without meaning to.
The second level, “Prey of the Net”, is accessed when the player puts the ball through the PC’s screen. Here the character on the scoreboard keeps smiling while the game dresses them in a straightjacket, S&M headgear, or leaves them in their underwear, with their hands full of money, playing cards, bloody knives and sex toys… to their parents’ horror. The player has no fixed goal here, only to make the ball go through the
pachinko and the spinning spider. These elements work as an atrocity generator and a rebuke distributor. Parents’ voices scold the player, faced with the horrors of the Internet. But the star is the scoreboard. Mauro rocks.
Right now the code and content for downloadable game are done, and the people responsible for the ISO are giving it the final touches. It will be a bootable liveCD with some Debian variant that (hopefully) will run on any PC bought in the last two or three years. We will treat the computer as a games console, which may or may not be symbolic (if you want it symbolic, we can make it symbolic!).
The game itself is under the GPL license (the pinball part is based on Henrik Enkvist’s
Emilia, which is
packaged in Debian), and only the graphic resources will be under a non-commercial Creative Commons license. The music is also under a non-free Creative Commons license because of the status of the original samples, but I recommend you download it and play it because its author is none other than man, the Barrapunto founder and sometimes editor.
Having passed all requirements for the Doctor of Philosophy, I had
my graduation today.
To summarize, I left 
