Although I have mentioned it elsewhere on social media, I haven’t discussed my games here much. Over the last few years, I’ve been dabbling in making hypertext games and stories using Twine, a wonderfully simple and flexible platform. It proved the perfect tool for making tiny little mini-games, light-weight and playable in a couple of minutes. Bearing in mind, of course, that the several minutes of gameplay took several hours to write, code and test.
It took some time before I was comfortable enough with Twine to create something that I could call a complete product. Once I did, and uploaded the final product to the lovely philome.la, the page seemed a little desolate. I looked at it and wanted it to be full of links to different games! Well, creating a portfolio of games takes some time and effort, even if they’re the sort of games that can be completed inside of six hours. But if a writer is not going to be realistic about their goals, they can at least be brave for them.
My first complete Twine adventures, the “Unicorn Trilogy”:
“Box of Unicorns“, a cute cotton-candy colored romp where you collect small colorful unicorns to no apparent end.
“Box of Unicorns: the Gritty Reboot” a.k.a. Unicorn Hunt, a low-rent grimdark post-apocalyptic parody, based on code almost identical to its predecessor, but with the added possibility of a bad end.
“Unicorn Wars“, a heroic pseudo-epic in which you are called to defend unicorn-kind against sundry enemies. Slightly more complex gameplay with a countdown and a bad end.
I have been thinking lately on why I have such a great fondness for cold women. When I say cold women, I mean of course fictional characters. Like most people, I’m fascinated by a great many types of characters whom I would never tolerate in reality. By cold women, I mean both women who are socially chilly and reserved, as well as women who operate based on cold numbers logic, and consequently make a lot of ethically questionable choices.
The initial impetus for this was The 100. Part of the reason I love the show so dearly is exactly this. It is a show that deals with characters trapped in impossible situations and constrained by violent power dynamics, repeatedly pushing them into morally untenable situations. Unlike a lot of other “morally grey” narratives, it allows women to, on multiple occasions, occupy the role of the decision-maker. The leader, the one who makes the call that no one else could make. The one that historians will debate about for years to come.
Traditionally, women are seen as warm. In Western mass-media, and in a lot of other contexts as well. In another show with a similar premise, a bright-eyed girl would occupy a help-meet role as a moral foil to the male leader. A personal moral anchor, or a political rival who fervently — emotionally — argues for a position of interpersonal ethics, as opposed to global ethics. Because women are emotional and men are logical. That one, that’s also a repeating canard.
You get a little bit of that in The 100, too. Arguably, though, Abby serves more as a Bones to Kane’s Spock, with Chancellor Jaha caught in the middle. But the dynamics between Clarke and Bellamy are quite different. Early on there’s a contrast between them, but the main axis of disagreement centers around adherence to the old social order. Questions of cruelty and compassion, when they surface, are argued based on the merits of the way things are done versus the possibility of building a new society from the ground up.
Clarke isn’t a typical cold, calculating, tough-decision-making character. Part of the impetus behind her character growth is the struggle of being thrust into a reality where the rules she learned to follow — the rules that protected her — no longer apply. In contrast, Bellamy is habitually lawless because the rules never protected him or his family, and the society he lived in taught him that it was built for people like Clarke.
Lexa, I suppose, is a more traditional cold character. She is a leader born and bred, after all. She has the kind of skills and, more importantly, charisma that allow her to give orders to warriors twice her age and have them followed, and she was raised in the same harsh environment that Clarke and the Arc people are struggling to adapt to. Her position as a warrior gives her practice in making killing choices, even when she is face to face with her enemy. As a leader, she has also developed the kind of social aloofness and emotional containment that Clarke lacks.
I often find myself trying to write the kind of cold women characters I so enjoy in the media that I consume. It’s a constant balancing game, trying to keep them on-point while at the same time giving the reader an opening to sympathize with them, or at least comprehend their motives. Writing a character like Clarke, who takes on the role though she lacks the corresponding temperament, is a challenge that I believe is still beyond me. Still, I keep looking to media to see what new and fantastic ways I can discover to expand this particular archetype.
Hazel Gold 