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Kym Cavrak
Analogue: A Hate Story, the latest game from Digital: A Love Story and Don't Take It Personally, Babe creator Christine Love, came out a few weeks back. I've finally been able to sit down and explore this dark, sad detective story set on a ghost ship from the 25th century. Here's what I discovered.
You could technically call Analogue: A Hate Story a visual novel, but that would be a little like saying a panther was 'just a cat.' Analogue doesn't so much evolve the largely linear, information drip-feed structure of visual novels as mutate it wildly, chop it up into chunks then offer it up to you in a tin you can pluck the parts out of as you like. It's a detective story first and foremost, with you as the detective. A sort of space-Poirot if you like, but one whose only forms of communication are picking a left or a right answer to someone else's questions, rather than Belgian bon-mots and moustache-stroking.
The tale primarily revolves around two families of Korean extract, each of which was at one point seen as noble bloodlines among the population of indeterminate but apparently vast size on board the colony ship. How does their history of arranged marriages, quests for heirs and inter-familial arguments tie into the fate of the Mugunghwa?
It's not truly a science-fiction piece, however. The death of the Mugunghwa's population is essentially a framing device for an acutely close-up look at a society that believed men are born to rule and women are born to obey. That is not a fictional society: Analogue's gradually-revealed backstory is based upon Korea's five centuries-long Joseon Dynasty, and particularly its shocking oppression of women. On the ship, before everyone died, its female populace were little more than slaves and breeders, with their only meaningful communication conducted via private letters.
Fortunately, the escalations of and experiments with the visual novel form (and indeed Digital's design) make up for this, transforming Analogue into a many-layered onion of a narrative. It is inevitably headed in one overall (yet splintered) direction, whose full story only becomes clear as a result of your own deduction and reasoning, and of multiple playthroughs. Oh, and you even get some well-observed (in its deliberate slowness and frustration) pseudo-Linux terminal action to try and stave off a mid-game disaster.
Analogue is the missing link between visual novels and adventure games, with a touch of RPG-style NPC relationship-juggling thrown in, and while I suspect it's more a glorious aberration than a watershed moment for a genre many gamers have quite understandably struggled to understand the appeal of, it's certainly a great leap forwards for Christine Love. Yes, I do personally question the wisdom of using that visual style, on both a commercial level and in terms of atmosphere, but, putting that aside, Analogue is a sit-up-and-take-notice achievement in storytelling, in interface, in research, in mechanics and in moral ambiguity.
What the title says, so tired of story lines, long cut scenes, dialogue. It's cringe, just let me kill something or whatever. Didn't use to bother me but nowadays I can't filter anything by popular or high rating because everything is "the art is beautiful", "the soundtrack is amazing", "the story is so gripping".
Well how about in your backlog grooming sessions, instead of just reading the acceptance criteria and voting, use examples.
By using examples here, we can usually see how big or small a story is, the idea being to get a story done in close to a week. So the rule of thumb is usually 4 or 5 examples per story.
Maybe you get a story that has 10 examples, well we can split it here. Now we have two stories in the backlog ready to go. If for some reason some managers still need story points, grand we can just make sure all stories are roughly the same size. If each story has roughly 4 examples then pick your favorite number, 3 for example. All stories are then 3 or smaller.
The idea being to focus on delivering the value of story and not wasting time trying to guess points. Adding up the amount of time spent guessing these numbers will show you how much time we are wasting on this exercise. It reminded me of this Dilbert cartoon.
Say a new feature has 10 stories in it, and these ten stories have been groomed using specification by example. We can then say that each story should roughly take a week. Then the feature will be ready to go in roughly 10 weeks.
By getting better at our story sizing (which happens with practice) we can become predictable instead of trying to guess how long something will take.
Give it a go and let me know how you get on.
I have a long and complicated relationship with Duolingo . The hate side, in short, is that I think the way Duolingo models language and thinks/treats language is fundamentally atomistic and inimical to good principles of second language acquisition. The love side is that I actually enjoy and continue to use Duolingo daily, and gain a measurable benefit from it. In this post I want to explore and reflect on these two things in light of recent and long-term experience.
I gave this app to my son to practice his Chinese, the non paid version, just to see how it goes. Initially he did quite enjoy the way it worked, but because of the way it encouraged payment (penalties for incorrect answers ends the study session) he quickly began to hate getting that wrong answer prompt to the point where he was scared to get the incorrect answer and within a few days he hated it.
Danielle (she/her) is honored to be making her Intiman debut. Her work has been seen at The Old Globe, The 5th Avenue Theatre, Seattle Repertory Theatre, Dallas Theater Center, South Coast Repertory Theatre, The Goodman Theatre, St. Louis Shakespeare Festival, ACT Theatre, Village Theatre, Alabama Shakespeare Festival, and Cleveland Playhouse. Off-Broadway credits: Pity in History, No End of Blame, Gertrude The Cry, and Lovesong of the Electric Bear for PTP/NYC at the Atlantic Stage 2. Danielle holds an M.F.A. in Costume Design from the University of California Irvine and a curatorial certification for Japanese and Western costumes from the Kyoto Costume Institute. www.daniellenieves.com
Rajah is a multimedia artist based out of Seattle who specializes in projection and video based art. His installation videos often explore themes of media history and the ephemeral nature of the era of digital media.
Anthony Derrick (he/him) is an executive communications professional with a long history of public-sector work. He received his undergraduate degree in English Literature with a focus on Modern American Drama, and his senior thesis project explored themes of masculinity and homosexuality in the works of Arthur Miller and Tennessee Williams. He is passionate about the power of theatre to inspire conversation and change lives.
Kevin, A.K.A Captain Empathy, is a tech product leader and entrepreneur. He is a storyteller who brings the passion of arts and tech intersecting to help drive systemic changes and create spaces to empower communities.
Stefan is a Colorado native, Seattle-based actor/movement/performance artist & educator. After graduating from the University of Northern Colorado with a B.A. in Theatre Arts and Dance, he made his way to the PNW through the Intiman Emerging Artist Program in 2016 and has been a full-time artist in Seattle ever since. As a creative collaborator and storyteller, he believes in the power of storytelling and its ability to heal. The projects they seek to create and collaborate on examine and explore the intersections of stories and emotions related to physical space, natural movement within the body, and language/text. Some Seattle credits include Salvage Rituals (Tim Smith Stewart/Jeffery Azevedo), multiple educational touring shows with Book-It Theatre, Romeo y Julieta (Sophie Franco/Seattle Shakespeare), Black Bois (Dani Tirrel+Congregation), Time to Tell (Shawn Johnson), Pylon III (Tectonic Marrow Society), The Earth Shakes (Heron Ensemble), Carry We Openly (Amador/Stokes) and The House of Dinah (Andrew Russell/Dani Tirrell/Jerome Parker.) Stefan currently works as a teaching artist and administrator for South End Stories.
Francesca, aka Cessa, is an actor, intimacy director, facilitator, and administrator. She has worked as an artist & facilitator in Ireland, India, the Philippines, New York, Washington, Wisconsin, Maryland, Washington D.C., Florida, and internationally in the virtual world. She holds two BAs from Western Washington University in Theatre Arts and Sociology and has trained in Applied Theatre at the City University of New York. She is currently a facilitator for Art With Impact and Intimacy, Directors, & Coordinators. Her work is based in trauma-informed social/emotional arts practice, cultural competence, access, agency, and physical storytelling.
That said, I also know that so much misunderstanding exists around Kubler-Ross' work. Most people don't know her theory was developed as stages for people who were dying, not those who were grieving. Out of her hundreds of pages of writing, most people only know those five simple: denial, anger, bargaining, depression, acceptance. From there, they make assumptions, define things themselves, take a guess. I knew if I wanted to hate acceptance (and I did) I needed to know more than just the word.
So, rather than seeing 'happiness' as a state of pleasure, devoid of pain, Hayes says instead that "happiness is living in accord with your values in a way that is more open and accepting of your history as it echoes into the present".
That history for most people, certainly for those of us grieving, is a very mixed bag. It isn't being grateful for that past. It isn't being glad that it happened. Instead, it is acknowledging the reality of that past and accepting that history as part of our wisdom in the present. It is part of who we are.
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