#data's writing

[system-of-a-feather]

"For once in my life the thought of a future has put a smile on my face. All I have left to do is pray it is not yet another cruel joke. To be free from these shackles that bound my life. A gift like no other."

[biggest-gaudiest-patronuses]

the fact that shakespeare was a playwright is sometimes so funny to me. just the concept of the "greatest writer of the English language" being a random 450-year-old entertainer, a 16th cent pop cultural sensation (thanks in large part to puns & dirty jokes & verbiage & a long-running appeal to commoners). and his work was made to be watched not read, but in the classroom teachers just hand us his scripts and say "that's literature"

just...imagine it's 2450 A.D. and English Lit students are regularly going into 100k debt writing postdoc theses on The Simpsons screenplays. the original animation hasn't even been preserved, it's literally just scripts and the occasional SDH subtitles.txt. they've been republished more times than the Bible

[vidawhump]

(3rd Party Sites/Apps are any apps/sites that you use to store your writing stuff (ex. Scrivener, Trello, Fortelling, journalling apps, etc)

Edit: Hey y’all! I see now that I made this poll kind of shitty so I made a second version based off of what I read in your reblogs and comments. Hope this one turns out better :)

[celestialmaison]

And while we're talking about ai theft: turn. off. grammarly. Disable it. Delete it. Get that shit off of your computer ASAP.

I never realized how much of my shit is scanned by grammarly until today. It scans my emails, my text posts on this bewitched platform, my wips on google docs, my youtube comments--literally everything ive ever typed on my laptop is scanned by grammarly. And I've been allowing this to happen for years.

Turn. Off. Grammarly.

[steakout-05]

hey wait i just had a thought. what would Data's handwriting look like. do you think whenever he has to handwrite he just perfectly prints New Times Roman in size 14 onto the paper in three seconds or something. wait imagine if he wrote in Comic Sans

[bluerosefox]

A Fair Warning

It was only a matter of time, and a long awaited and well deserved comeuppance, when Joker tried to hurt the wrong person or people.

Not everyone was going to play his games like 'Batsy' does. Not everyone will hesitate or let him live should he put his hands on someone to hurt them. Not everyone will believe Arkham could 'fix' him, he just needed more time and help.

No.

This time Joker bit off more than he could chew when he kidnapped the newly hired Arkham psychiatrist Jasmine Fenton (and he had plans, so many plans, for her. With her mixture of Harley's mind and her looks matching Gordon's daughter would sure to cause some chaos and pain in memories) and the girl's visiting sister Danielle 'Ellie' (and did he laugh when he noticed the 'Wayne' adoptive looks the girl had, on the fun he'll have, maybe he'll beat her the way he beat the second Robin just for funzie's, it'll no doubt upset Batman) from Jasmine's apartment.

He had plans to keep the Bats guessing where he was and by the time they reach him it'll be far to late for them to save either of the two girls, he had just sent the little video he taped to the Bats and the police to get the ball rolling...

So...

So why did a shiver run down his spine for the first time in years when they both looked unafraid (it was their eyes that made him shiver, a look of already dead yet somehow alive, something he never seen before. He's seen the light fade from people's eyes before yes, he's even laughed as he watch people desperately cling onto life only for it to fade into nothing as they took a final breath but never have he seen someone, something alive yet dead at the same time before. It, their eyes, held a natural yet unnatural sense as they stared at him, stared at everything that made him Joker and it unnerved him), honestly they looked very bored, and one of them (the youngest of the two, and the one with more of the look of death than life in their eyes) said with a chill tune in their tone.

"Last chance to back out of this Freakshows Reject. You wont like what'll be waiting for you."

The tone alone was enough to send another bone deep chill down Joker's spine.

But instead of listening to his natural instincts, the deep inkling of run blaring at him, Joker merely placed a grin on his face, ignoring the strain he felt from doing so, and said as nastily as he could in order to scare the two girls (BOTH OF THEM STILL LOOKED BORED WITH HIM?!?! Not even a twitch of fear!)

"OH? And pray tell what is awaiting little ol' me hum?"

His mocking question got a wide feral grin from the smaller girl, a grin with sharp teeth and iris eyes beginning to bleed slowly from sky blue to neon green with each second he stared at her and he barely stopped himself from jumping in his spot when Jasmine answered his question.

"Your end."

-x-x-

By the time the Bats get to the warehouse Joker had taken Dr. Jasmine 'Jazz' Fenton and Danielle 'Ellie' Fenton they were prepared for anything and everything to go wrong. As much as they held the tiniest bit of hope that the two young women were still okay they knew better than to really do, this was the Joker that had them after all.

They had manged to narrow down his location much quicker than normal when they gotten Joker's first video and his little 'game' he was setting the Bats on, most locations he gave them were going to be red herrings or traps to keep them busy and it would had worked. Batman and the others would had been searching for hours for even a hint of the clue of where the Joker and his hostages were actually being kept.

It was nearly, not really, a shame all of Joker's plans went to waste when Red Hood had stumbled onto something when scooping out Jasmine's apartment with Red Robin.

You see, not only were they looking for clues at first but something about the apartment Jasmine rented seemed off, Red Robin noticed it first and called in back up encase there was more to oldest Fenton than what they could dig up (oldest daughter of Dr's. Jackson and Madeline Fenton, grew up in a small Illinois town, straight A student and a goal to become a psychologist, has two younger siblings, etc etc) and their suspension raised up more when the moment Red Hood entered the apartment and seemed to freeze for a moment.

Red Hood couldn't really explain it but he said it felt like something was... strange. Not evil bad danger strange but it felt familiar? Like he was a kid again on the streets and had walked into someone else's territory but knew the person wouldn't be too much of a hardass about it as long as he didn't stur up trouble or disrespect. A kind of... as long as you don't fuck around you won't find out feeling.

It was because of this feeling that Jason had manged to stumble across something in the room, his instincts telling him there was more to it, and they had discovered a clunky old custom PDA hidden away in a false floorboard in the office room. Thankfully Red Robin, was there in person because the old thing apparently had a rather ingenious firewall to keep others (aka Hackers) OUT but it did nothing against someone who held the main thing.

But still it took Red Robin almost frying the damn thing to get to open up, turns out the ghost and star stickers on the PDA was a rather large hint of the pass code. Once Red Robin was in the PDA he noticed some rather interesting files, one of them labeled "Gremlin Tracking" with a tiny green blob with red eyes and a green outlined star as the icons.

Curiosity taking a hold on the most curious of the Bats he opened it up, hoping it would need another password, and watched as the screen split into two maps, one was... strange, there was no land marks or anything but the star icon seemed to be right in the middle of wherever it was and the only hint of anything was the name "baby brother" and the map labeled as IR.

The other one showed an above map of Gotham, before zooming into the city, heading towards some abandoned warehouses Red Robin knew of and stopped right at one. This was the green blob icon, the short abbreviation for Gotham in the corner of the map, and the name for the icon was 'baby sister'

Red Robin immediately got onto coms to tell the others of what apparently was a tracker for Jasmine's younger siblings. Some questioned why the young woman had trackers on her siblings, though some of the others snarked back that "oh didn't know keeping trackers on each other wasn't normal. Mind if I loose the one you got on me than?"

After a quick sweep into the warehouses camera feeds, the very few up that could be accessed, done by Oracle they quickly discovered that yes the tracking on the younger girl of the two, Danielle Fenton, was correct and that was where they and Joker were at.

Despite this, Batman decided that in order to make sure Joker didn't have suspicion that they already know his actual location he made sure to send a few of the others to the fake locations.

So here they were now, staking out the warehouse where they could see a few of the Jokers goons walking around and looking for a way into the building without alerting any of them. As they talked low into coms, Robin mentioning a possible way in for Red Robin by how small it was, Red Robin hissing back a "just because you got a growth spurt doesn't mean you can poke fun at my height you little-"

"Wait!" Red Hood suddenly hissed shouted, his tone startling the rest of them and they all turned their heads to him. Batman made a quick and harsh grunt as a way to say "report."

Under his helmet Jason's eyes were wide and wild. He could feel something, something huge was on the rise, like something was out of sight but the energy of it was felt.

And if Jason could feel it from his spot, the Jokers goons all felt the same thing from the way they all dropped their weapons, turned toward the warehouse and looked ready to bolt like scared animals.

Jason opened his mouth to explain but fell silent when the feeling suddenly popped. Whatever was causing the feeling was here and like the calm before the storm he could only watch as the first drop of rain fall.

The next thing they know, was the noise and the screaming.

It was inhuman, a mixture of noise and sounds to hard to explain. The closest they could explain was a thousand voices coming in all at once mixing with radio static that kept changing volume so only few words could be even hinted at, and the angry cawing of crows along with the flapping of their wings as they took flight. The noise was so bad that many who heard it nearly ripped their coms out, or covered their ears. Thankfully it only lasted a few seconds.

Then, the air itself shifted. It felt like the coldest of winter nights and bone chilling shivers ran down their bodies for a moment. The air was suddenly that sharp cold that hurt to breathe sometimes.

The goons surrounding the warehouse fled in fear. Many scrambling to get far, far away from whatever was happening. If they felt even a fraction of what Jason could feel, he could understand. He honestly felt like a small animal cornered by a predator and there was no escape.

Then just as suddenly as it happened, everything shifted again. The noise of Gotham returned to normal, cars honking, a stray cat hissing or a dog barking, police sirens in the distance, hissing steam from a nearby factory. The air went from winter cold to a chill mid winter harbor feel now.

Once everyone registered what had just happened and not wanting to waste anymore time they bolted towards the warehouse, cautious and alert in case they needed to fight. Batman went in first, quickly making his way to the area he knew Joker would be with the Fenton sisters and wondered just what the fuck was that? Did Joker do something? Was he messing with things outside of his usual MO?!

He walked into the room and stopped.

There was nothing.

The room was in fact the room Joker had used to record his first message to them, the layout was correct and the evidence of two people who had been tied up were still there as well, ropes that weren't cut sitting on them, a lone lamp light above shining down from above no doubt to emphasize the two girls were meant to be the 'stars' of Jokers latest show. Thing was, the two weren't there despite the fact Oracle swore she could see them a few mins ago from a camera set up in the room, she would later explain that she heard the noise as well and that all her tech had glitched hard.

The only other thing in the room was, sitting innocently on one of the chairs was a green sticky note and on a tiny pillow was a tiny sickly green orb with hints of purple, white, and red swirling in it.

A note they would later read the following message written on it after carefully examining it over.

'Joker learned not to touch what is mine to protect. Sorry not sorry, but hey one less killer clown and he was warned not my fault he didn't take it seriously... The massive amount of souls wanting to rip apart the Joker's soul into nothing was quite a sight to be honest.

They were so ruthless. Best not mess with the vengeful dead am I right?

PS. I left a tiny gift for Jason Todd aka Robin Two. It's the tiniest piece of Joker's soul left over after everyone else got done. He can finish it off since he's a reverent and all, and well they need their revenge filled in order to peacefully move on later or else they'll be stuck forever in a loop of madness and revenge. So yeah. Hope he likes the gift.'

D.P.'

It took Jason less than a second after those words were spoken out to reach for the orb, ignoring the cautious and alarmed cries of the others, and could feel deep, deep, deep in his own soul the absolute pure weeping joy as he threw the orb onto the floor, the bottom shattering thus it didn't roll away and stomped hard with his reinforced boots. Crushing the broken orb into more pieces and if one listened closely they could hear the pure screaming terror that came from it.

And Jason for the first time in years felt his rage finally leave him.

[poorly-drawn-mdzs]

Thank you all for an incredible 500 days of love and support. I offer you: answers to questions that no one has asked.

(As always, more can be found in the tags <3)

[onfjre]

TUMBLR PHANNIES

hey everyone!! ive created a survey to compare/contrast phandom experiences by platform....and i really want to hear from you!

its abt a 5-15 min time commitment depending on your answers, but your feedback is invaluable and it's completely anonymous!! (i hope it doesn't need saying but this survey is run without platform bias and the last thing i want to do is pit people against each other! i just need a bigger sample size!)

thank you <3

[system-of-a-feather]

Today I was invited to the table of the game of life. Everyone here is playing their cards, some are playing Magic, others Pokemon, some Yugioh, some playing cards, and even one guy over there has been playing Baseball cards I think, but as absurd as this game looks, they all appear to be building to a greater image.

The call me to the table to add to the game.

I walk up and pull out my deck of one, singular Skip Uno card. I sit down and shout Uno and play my Skip Uno card. I have won.

The table looks at me - paused in bafflement; a silent stare of bewilderment

They tell me that is not how this game of life works. We each create combos, chains, strategies and skills and build this massive play to form a much greater game.

They tell me that there isn't any winning in this game of life; they tell me that I need to bring more cards to the table, draw some more and join in on creating chained webs and supportive suggestions.

I tell them this is all that I have, there is nothing more to how my plays work other than this singular Skip Uno Card. I play Uno, the only function of Uno is to remove your cards. There is a limited amount of chain and skillful strategy that can be played in the traditional game of Uno; even less when your entire deck is empty and all you have is a singular card.

We have an issue. My game doesn't work at this table. We are incompatible, my deck simply doesn't work with the nature of this collaborative game.

I turn to the ref, solutions my good man. I can't fix my deck, I can't generate new cards. I can't make a play other than Skip Uno, what can anyone ask of me.

The ref checks the book, he checks the rules; he looks up and with a quizzical suggestion, asks if I could ask for someone else's cards

I say no, I don't have a card for that, all I have is a single Skip Uno Card. I do not have a Draw 4 or Draw 2. I only have Skip Uno.

He looks at me. He turns to the other players. He whispers in their ears as they chatter among one another. They each pull from their decks, donating one card each and collecting them into a stack.

They hand me the deck. In it, a Preordain, a holographic Charizard, a single piece of Exodia, a four of spades, and Babe Ruth. These cards now sit around my single Skip Uno card.

I turn to the ref, raising an eyebrow at this strange deck built before me; uncertain if this solution would work, if these cards could even possibly be played at this table.

Even so, new options have been placed in my hand. The bizarre game resumes. I play the four of spades.

The turn roles by.

[mostly-natm]

Based on tags by @the-most-cubical-of-shapes!

[scificrows]

Okay, my brain refuses to think about anything other than Murderbot, so I looked at every use of the word "friend[s]" in TMBD and... created some pie charts. Normal human activities.

Some Thoughts™ I had while putting this together (under the cut):

In All Systems Red, Murderbot notes that the PresAux crew are all close friends (twice! and goes on to explain their internal relationships which I think is very cute). This is pretty much the only use of 'friends' in ASR, except for when Murderbot says that SecUnits can't be friends with each other.

It seems that this may be one of the first times Murderbot has ever really been around a group of friends before? Murderbot notes that this is not the norm for its contracts and admits that the fact that they are all friends and the way they interact with each other make it actually enjoy that contract (before!!!! the hostile attack, so it already enjoys this contract before they start seeing it as a person etc ghghhhh). [Inference: Friendship seems enjoyable.]

The first character that calls Murderbot its friend is ART in Artificial Condition. Murderbot immediately refutes this (and then goes on to call ART its friend to its clients for the rest of the book). [Inference: Maybe ART is Murderbot's friend. And maybe that is... agreeable]

Rogue Protocol has more than twice as many instances of the word 'friend' as any of the other novellas. Why? Miki. Friendship and its implications for non-humans are a central theme because Miki is friends with everyone. Murderbot initially scoffs at the notion that Miki and Miki's humans are friends. At the end of the book, after witnessing how desperately Don Abene tried to stop Miki from trying to save them, and her grief after its death, Murderbot has to admit that she had in fact been Miki's friend. [Inference: Humans can be friends with bots and can sincerely care about them]

In Exit Strategy, Murderbot tentatively uses the word "friends" for its humans for the first time (several times actually). It questions whether it can actually call them its friends or not and later realizes that it had been afraid what admitting that the humans are its friends would do to it. At the end of the book, Mensah tells Murderbot the PresAux crew are its friends, which is the first time a human has directly said that to it (at least on-page). [Inference: Humans can and want to be Murderbot's friends]

In Network Effect, Murderbot seems to be more habituated to the word 'friend', confidently calling ART and Ratthi its friends, like it is no longer just trying the concept on unsure if it fits. There are many instances in which other characters refer to MB as ART's friend or the other way around and Murderbot's humans refer to Murderbot as their friend several times. Generally, there seems to be less hesitancy, because yes, all of them are Murderbot's friends, why wouldn't they be. [Inference: SecUnits can have friends. This SecUnit has friends. They care about it a lot.]

Conclusion: The Murderbot Diaries tell the story of a construct that does not seem to consider the possibility of friendship for itself and is fine with that - until it accidentally starts caring a little too much and suddenly more and more people annex it as a friend (ew) to the point where it can no longer deny that this is happening and has to begrudgingly admit that yes, it has friends now and maybe that is actually not a bad thing.

[hadeswearsprada]

STAR TREK Picard Part 9 Vox Data and Geordi

[whereserpentswalk]

[stuckinapril]

the neurologist i shadow is so funny bc she has a valley girl accent and yet she's the smartest person in the room. this woman was casually doing case consenus ab a man w frontotemporal dementia in the highest girliest voice imaginable. i want to be her i think

[fireflysummers]

Heroes, Gods, and the Invisible Narrator

Slay the Princess as a Framework for the Cyclical Reproduction of Colonialist Narratives in Data Science & Technology

An Essay by FireflySummers

All images are captioned.

Content Warnings: Body Horror, Discussion of Racism and Colonialism

Spoilers for Slay the Princess (2023) by @abby-howard and Black Tabby Games.

If you enjoy this article, consider reading my guide to arguing against the use of AI image generators or the academic article it's based on.

Introduction: The Hero and the Princess

You're on a path in the woods, and at the end of that path is a cabin. And in the basement of that cabin is a Princess. You're here to slay her. If you don't, it will be the end of the world.

Slay the Princess is a 2023 indie horror game by Abby Howard and published through Black Tabby Games, with voice talent by Jonathan Sims (yes, that one) and Nichole Goodnight.

The game starts with you dropped without context in the middle of the woods. But that’s alright. The Narrator is here to guide you. You are the hero, you have your weapon, and you have a monster to slay.

From there, it's the player's choice exactly how to proceed--whether that be listening to the voice of the narrator, or attempting to subvert him. You can kill her as instructed, or sit and chat, or even free her from her chains.

It doesn't matter.

Regardless of whether you are successful in your goal, you will inevitably (and often quite violently) die.

And then...

You are once again on a path in the woods.

The cycle repeats itself, the narrator seemingly none the wiser. But the woods are different, and so is the cabin. You're different, and worse... so is she.

Based on your actions in the previous loop, the princess has... changed. Distorted.

Had you attempted a daring rescue, she is now a damsel--sweet and submissive and already fallen in love with you.

Had you previously betrayed her, she has warped into something malicious and sinister, ready to repay your kindness in full.

But once again, it doesn't matter.

Because the no matter what you choose, no matter how the world around you contorts under the weight of repeated loops, it will always be you and the princess.

Why? Because that’s how the story goes.

So says the narrator.

So now that we've got that out of the way, let's talk about data.

Chapter I: Echoes and Shattered Mirrors

The problem with "data" is that we don't really think too much about it anymore. Or, at least, we think about it in the same abstract way we think about "a billion people." It's gotten so big, so seemingly impersonal that it's easy to forget that contemporary concept of "data" in the west is a phenomenon only a couple centuries old [1].

This modern conception of the word describes the ways that we translate the world into words and numbers that can then be categorized and analyzed. As such, data has a lot of practical uses, whether that be putting a rover on mars or tracking the outbreak of a viral contagion. However, this functionality makes it all too easy to overlook the fact that data itself is not neutral. It is gathered by people, sorted into categories designed by people, and interpreted by people. At every step, there are people involved, such that contemporary technology is embedded with systemic injustices, and not always by accident.

The reproduction of systems of oppression are most obvious from the margins. In his 2019 article As If, Ramon Amaro describes the Aspire Mirror (2016): a speculative design project by by Joy Buolamwini that contended with the fact that the standard facial recognition algorithm library had been trained almost exclusively on white faces. The simplest solution was to artificially lighten darker skin-tones for the algorithm to recognize, which Amaro uses to illustrate the way that technology is developed with an assumption of whiteness [2].

This observation applies across other intersections as well, such as trans identity [3], which has been colloquially dubbed "The Misgendering Machine" [4] for its insistence on classifying people into a strict gender binary based only on physical appearance.

This has also popped up in my own research, brought to my attention by the artist @b4kuch1n who has spoken at length with me about the connection between their Vietnamese heritage and the clothing they design in their illustrative work [5]. They call out AI image generators for reinforcing colonialism by stripping art with significant personal and cultural meaning of their context and history, using them to produce a poor facsimile to sell to the highest bidder.

All this describes an iterative cycle which defines normalcy through a white, western lens, with a limited range of acceptable diversity. Within this cycle, AI feeds on data gathered under colonialist ideology, then producing an artifact that reinforces existing systemic bias. When this data is, in turn, once again fed to the machine, that bias becomes all the more severe, and the range of acceptability narrower [2, 6].

Luciana Parisi and Denise Ferreira da Silva touch on a similar point in their article Black Feminist Tools, Critique, and Techno-poethics but on a much broader scale. They call up the Greek myth of Prometheus, who was punished by the gods for his hubris for stealing fire to give to humanity. Parisi and Ferreira da Silva point to how this, and other parts of the “Western Cosmology” map to humanity’s relationship with technology [7].

However, while this story seems to celebrate the technological advancement of humanity, there are darker colonialist undertones. It frames the world in terms of the gods and man, the oppressor and the oppressed; but it provides no other way of being. So instead the story repeats itself, with so-called progress an inextricable part of these two classes of being. This doesn’t bode well for visions of the future, then–because surely, eventually, the oppressed will one day be the machines [7, 8].

It’s… depressing. But it’s only really true, if you assume that that’s the only way the story could go.

“Stories don't care who takes part in them. All that matters is that the story gets told, that the story repeats. Or, if you prefer to think of it like this: stories are a parasitical life form, warping lives in the service only of the story itself.” ― Terry Pratchett, Witches Abroad

Chapter II: The Invisible Narrator

So why does the narrator get to call the shots on how a story might go? Who even are they? What do they want? How much power do they actually have?

With the exception of first person writing, a lot of the time the narrator is invisible. This is different from an unreliable narrator. With an unreliable narrator, at some point the audience becomes aware of their presence in order for the story to function as intended. An invisible narrator is never meant to be seen.

In Slay the Princess, the narrator would very much like to be invisible. Instead, he has been dragged out into the light, because you (and the inner voices you pick up along the way), are starting to argue with him. And he doesn’t like it.

Despite his claims that the princess will lie and cheat in order to escape, as the game progresses it’s clear that the narrator is every bit as manipulative–if not moreso, because he actually knows what’s going on. And, if the player tries to diverge from the path that he’s set before them, the correct path, then it rapidly becomes clear that he, at least to start, has the power to force that correct path.

While this is very much a narrative device, the act of calling attention to the narrator is important beyond that context. 

The Hero’s Journey is the true monomyth, something to which all stories can be reduced. It doesn’t matter that the author, Joseph Campbell, was a raging misogynist whose framework flattened cultures and stories to fit a western lens [9, 10]. It was used in Star Wars, so clearly it’s a universal framework.

The metaverse will soon replace the real world and crypto is the future of currency! Never mind that the organizations pushing it are suspiciously pyramid shaped. Get on board or be left behind.

Generative AI is pushed as the next big thing. The harms it inflicts on creatives and the harmful stereotypes it perpetuates are just bugs in the system. Never mind that the evangelists for this technology speak over the concerns of marginalized people [5]. That’s a skill issue, you gotta keep up.

Computers will eventually, likely soon, advance so far as to replace humans altogether. The robot uprising is on the horizon [8]. 

Who perpetuates these stories? What do they have to gain?

Why is the only story for the future replications of unjust systems of power? Why must the hero always slay the monster?

Because so says the narrator. And so long as they are invisible, it is simple to assume that this is simply the way things are.

Chapter III: The End...?

This is the part where Slay the Princess starts feeling like a stretch, but I’ve already killed the horse so I might as well beat it until the end too.

Because what is the end result here?

According to the game… collapse. A recursive story whose biases narrow the scope of each iteration ultimately collapses in on itself. The princess becomes so sharp that she is nothing but blades to eviscerate you. The princess becomes so perfect a damsel that she is a caricature of the trope. The story whittles itself away to nothing. And then the cycle begins anew.

There’s no climactic final battle with the narrator. He created this box, set things in motion, but he is beyond the player’s reach to confront directly. The only way out is to become aware of the box itself, and the agenda of the narrator. It requires acknowledgement of the artificiality of the roles thrust upon you and the Princess, the false dichotomy of hero or villain.

Slay the Princess doesn’t actually provide an answer to what lies outside of the box, merely acknowledges it as a limit that can be overcome. 

With regards to the less fanciful narratives that comprise our day-to-day lives, it’s difficult to see the boxes and dichotomies we’ve been forced into, let alone what might be beyond them. But if the limit placed is that there are no stories that can exist outside of capitalism, outside of colonialism, outside of rigid hierarchies and oppressive structures, then that limit can be broken [12].

Denouement: Doomed by the Narrative

Video games are an interesting artistic medium, due to their inherent interactivity. The commonly accepted mechanics of the medium, such as flavor text that provides in-game information and commentary, are an excellent example of an invisible narrator. Branching dialogue trees and multiple endings can help obscure this further, giving the player a sense of genuine agency… which provides an interesting opportunity to drag an invisible narrator into the light.

There are a number of games that have explored the power differential between the narrator and the player (The Stanley Parable, Little Misfortune, Undertale, Buddy.io, OneShot, etc…)

However, Slay the Princess works well here because it not only emphasizes the artificial limitations that the narrator sets on a story, but the way that these stories recursively loop in on themselves, reinforcing the fears and biases of previous iterations. 

Critical data theory probably had nothing to do with the game’s development (Abby Howard if you're reading this, lmk). However, it works as a surprisingly cohesive framework for illustrating the ways that we can become ensnared by a narrative, and the importance of knowing who, exactly, is narrating the story. Although it is difficult or impossible to conceptualize what might exist beyond the artificial limits placed by even a well-intentioned narrator, calling attention to them and the box they’ve constructed is the first step in breaking out of this cycle.

“You can't go around building a better world for people. Only people can build a better world for people. Otherwise it's just a cage.” ― Terry Pratchett, Witches Abroad

Epilogue

If you've read this far, thank you for your time! This was an adaptation of my final presentation for a Critical Data Studies course. Truthfully, this course posed quite a challenge--I found the readings of philosophers such as Kant, Adorno, Foucault, etc... difficult to parse. More contemporary scholars were significantly more accessible. My only hope is that I haven't gravely misinterpreted the scholars and researchers whose work inspired this piece.

I honestly feel like this might have worked best as a video essay, but I don't know how to do those, and don't have the time to learn or the money to outsource.

Slay the Princess is available for purchase now on Steam.

Screencaps from ManBadassHero Let's Plays: [Part 1] [Part 2] [Part 3] [Part 4] [Part 5] [Part 6]

Post Dividers by @cafekitsune

Citations:

Rosenberg, D. (2018). Data as word. Historical Studies in the Natural Sciences, 48(5), 557-567.

Amaro, Ramon. (2019). As If. e-flux Architecture. Becoming Digital. https://www.e-flux.com/architecture/becoming-digital/248073/as-if/

What Ethical AI Really Means by PhilosophyTube

Keyes, O. (2018). The misgendering machines: Trans/HCI implications of automatic gender recognition. Proceedings of the ACM on human-computer interaction, 2(CSCW), 1-22.

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Amaro, R. (2019). Artificial Intelligence: warped, colorful forms and their unclear geometries.

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