Rise of the Videogame Zinesters Quotes

“What to Make a Game About? Your dog, your cat, your child, your boyfriend, your girlfriend, your mother, your father, your grandmother, your friends, your imaginary friends, your summer vacation, your winter in the mountains, your childhood home, your current home, your future home, your first job, your worst job, the job you wish you had. Your first date, your first kiss, your first fuck, your first true love, your second true love, your relationship, your kinks, your deepest secrets, your fantasies, your guilty pleasures, your guiltless pleasures, your break-up, your make-up, your undying love, your dying love. Your hopes, your dreams, your fears, your secrets, the dream you had last night, the thing you were afraid of when you were little, the thing you’re afraid of now, the secret you think will come back and bite you, the secret you were planning to take to your grave, your hope for a better world, your hope for a better you, your hope for a better day. The passage of time, the passage of memory, the experience of forgetting, the experience of remembering, the experience of meeting a close friend from long ago on the street and not recognizing her face, the experience of meeting a close friend from long ago and not being recognized, the experience of aging, the experience of becoming more dependent on the people who love you, the experience of becoming less dependent on the people you hate. The experience of opening a business, the experience of opening the garage, the experience of opening your heart, the experience of opening someone else’s heart via risky surgery, the experience of opening the window, the experience of opening for a famous band at a concert when nobody in the audience knows who you are, the experience of opening your mind, the experience of taking drugs, the experience of your worst trip, the experience of meditation, the experience of learning a language, the experience of writing a book. A silent moment at a pond, a noisy moment in the heart of a city, a moment that caught you unprepared, a moment you spent a long time preparing for, a moment of revelation, a moment of realization, a moment when you realized the universe was not out to get you, a moment when you realized the universe was out to get you, a moment when you were totally unaware of what was going on, a moment of action, a moment of inaction, a moment of regret, a moment of victory, a slow moment, a long moment, a moment you spent in the branches of a tree. The cruelty of children, the brashness of youth, the wisdom of age, the stupidity of age, a fairy tale you heard as a child, a fairy tale you heard as an adult, the lifestyle of an imaginary creature, the lifestyle of yourself, the subtle ways in which we admit authority into our lives, the subtle ways in which we overcome authority, the subtle ways in which we become a little stronger or a little weaker each day. A trip on a boat, a trip on a plane, a trip down a vanishing path through a forest, waking up in a darkened room, waking up in a friend’s room and not knowing how you got there, waking up in a friend’s bed and not knowing how you got there, waking up after twenty years of sleep, a sunset, a sunrise, a lingering smile, a heartfelt greeting, a bittersweet goodbye. Your past lives, your future lives, lies that you’ve told, lies you plan to tell, lies, truths, grim visions, prophecy, wishes, wants, loves, hates, premonitions, warnings, fables, adages, myths, legends, stories, diary entries. Jumping over a pit, jumping into a pool, jumping into the sky and never coming down. Anything. Everything.”
― Anna Anthropy, Rise of the Videogame Zinesters

“Smaller games with smaller budgets and smaller audiences have the luxury of being more experimental or bizarre or interesting than 12 million dollar games that need to play it as safely as possible to ensure a return on investment.”
― Anna Anthropy, Rise of the Videogame Zinesters

“The Guildhall was in the middle of Plano, Texas. Plano Texas, is brown and not much else. They have a Frito-Lay factory, parking lots, and a videogame school. At the time, I kept a strict vegan diet and didn’t drive. There was nothing to eat and nowhere to go. But the latter didn’t matter; when you were at the Guildhall you had no life outside the Guildhall. I remember the first day of orientation, sitting in a lecture hall with my future
classmates and the spouses they’d brought with them to this wasted brown land. One of the other level design students had his wife and their year-old child with him. “Give her a kiss and say good-bye,” the director of the school told him in front of the assembly.

“You’re not going to see her for two years.”

I was in Plano, Texas, for six months.

You’re at school from nine to five. You stay after and do your work with the teams they’ve assigned you to. Late at night you drag yourself home and do your actual
homework. Maybe you get a few hours of sleep. The idea behind the school is that you’re always in what the Big Games Industry calls “crunch time”: unpaid overtime. Your masters want the game done by Christmas, so you don’t leave the office until it’s done. This is why people in the industry aren’t healthy; this is why they burn out and quit games within a few years. This is why you miss the second year of your daughter’s life. This is their scheme: you put up with crunch time all the time while you’re in school, so when you work for a big publisher—or, rather, a studio contracted by a big publisher—you won’t complain about being told you can’t see your daughter until the game’s done. The Guildhall boasts an over 90 percent employment rate, and it’s true: they will get you a job in the games industry. That’s because they will make you into exactly the kind of worker the games industry wants. It’s that kind of school.

And it works; that’s the horrifying thing. My classmates were all self-identified gamers and game fans and were willing to put up with anything in order to live their dream of making videogames. That’s the carrot the industry dangles, and it’s what we take away from the industry when we create a form to which anyone can contribute. As long as the industry is allowed to continue acting as the gatekeeper to game creation, people will
continue to accept the ways in which the industry tramples the lives and well-being of the creative people who make games, rather than challenging the insane level of control that publishers ask over developers’ lives.”
― Anna Anthropy, Rise of the Videogame Zinesters: How Freaks, Normals, Amateurs, Artists, Dreamers, Drop-outs, Queers, Housewives,and People Like You Are Taking Back an Art Form

“Mostly, videogames are about men shooting men in the face. Sometimes they are about women shooting men in the face. Sometimes the men who are shot in the face are orcs, zombies, or monsters.”
― Anna Anthropy, Rise of the Videogame Zinesters