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    Live Your Gay Millennial Pandemic Fantasy in Stardew Valley

    In the farming RPG, I can enjoy a life of pastoral domesticity. IRL, I’m a lesbian urbanite struggling through the pandemic.Fed up with his soulless corporate job, a young man moves to the farm he inherited from his grandfather, where he joins a quaint community and meets his future husband. That’s not the plot of a new gay Hallmark movie — it’s the story of my pixelated alter ego in the video game Stardew Valley.In February 2016, Eric Barone, known online by his alias ConcernedApe, released Stardew Valley for PC. The simulation role-playing game quickly became a hit. In the pandemic, Stardew Valley fever is back with a vengeance. Thanks to the popularity of the Nintendo Switch and a massive game update released in December, it recently sold its 10 millionth copy.Since its debut, Stardew Valley has been lauded for its relaxing, immersive gameplay, a Harvest Moon-inspired simulator sure to delight lovers of Animal Crossing. Players create their own farmer avatars, who then leave the city for Stardew Valley. There, they manage their farms while honing skills, completing quests and, if the player desires, romancing an eligible villager. The game’s wholesomeness is universally appealing, but its particular blend of same-sex romance options, anti-corporate sentiment and pastoral Zen makes it even more tailored to escapists like me — gay millennial urbanites stuck in an endless pandemic slog. I grew up thinking any adult could easily have access to the simple life. Now I’m pretty sure I can only get it from a computer game.In real life, I’m a single lesbian in Brooklyn trudging through my second year working from home. My most productive days involve a move from Office A (the desk in my bedroom) to Office B (my coffee table). On Thursdays, I wake up excited to water my houseplants. I cope with stir craziness by watching TikToks of mushroom foragers, expert hikers and cottagecore lesbians. These people all seem to live in a universe sans Gmail, Zoom or masks, their rents paid by birdsong and dried lavender.In Stardew Valley, life can also be that simple. My farmer’s days usually go like this: He wakes up and gets coffee for his husband, then kisses said husband and their two toddlers before setting about his agrarian duties — collecting eggs, making goat cheese, planting sunflowers. His biggest problem right now is a voluntary quest to ship 500 fruits by the month’s end. There are no consequences for failure. I can redo any bad day with the click of a button.During same-sex weddings, the officiant charmingly stumbles through pronouncements of “husband and husband” or “wife and wife.”Stardew ValleyThough inclusive romance has increasingly become an option in open-ended, role-playing games like Stardew Valley, it is rarely the default in video games. Players take on straight male personas by rote in blowout franchises like Halo, Zelda, Grand Theft Auto and Mario. And same-sex romance — much less same-sex domesticity — is already scarce in media of all kinds. When depicted, that romance is often necessarily fraught with real-world problems: coming out, finding a community, combating prejudice. In Stardew Valley, my farmer’s gayness is a nonissue. I had him woo his husband, the town doctor, by bringing him fruits and vegetables.Yet gayness is not so embraced as to become invisible. If you have your farmer pursue a younger villager of the same sex, cut scenes sometimes show the young person shyly acknowledging their first gay crush. During same-sex weddings, the officiant charmingly stumbles through pronouncements of “husband and husband” or “wife and wife.”This balance between inclusivity and acknowledgment can feel especially heartwarming given the game’s small-town setting. A 2019 report by the think tank Movement Advancement Project found that, although between 3 and 5 percent of rural Americans identify as lesbian, gay, bisexual or transgender, their environments come with significant challenges. “On average, public opinion in rural areas is relatively less supportive of L.G.B.T. people and issues,” the report states, citing discriminatory legislation and political representation as additional barriers.There is one notable blind spot in the game’s sunny outlook: You can customize your avatar to have a darker skin tone, but your farmer would join a minority in Stardew Valley. There are only three characters in the game’s preset, 41-person world with dark skin, making this pixelated paradise more alienating for people of color.There are no consequences if the avatar fails at his tasks. The player can redo any bad day with the click of a button.Stardew ValleyEven if I did want to change my career, overcome those obstacles and live out my gay farm fantasy, homeownership feels even less realistic to me, at 26. According to a recent survey, most millennials reported they do not have enough saved up to make the average U.S. down payment. Even if I could get a mortgage, it’s difficult to imagine I could pay it off with fresh dairy and organic parsnips.In Stardew Valley, corporate greed is a far more oppressive force than homophobia. JojaMart, the Amazon-meets-Walmart conglomerate from which your farmer escapes, hopes to take over the town by replacing the community center with a warehouse. Competition drives prices up at the local seed shop, and two villagers struggle with poverty and alcoholism. In order to rebuild the community, players must grow, craft and forage a series of goods. From there, it’s practically impossible to spend your hard-earned Stardew Valley cash maliciously. After exhausting your options for farm buildings and house expansions, all that remain are ways to uplift the town, like upgrading a fellow villager’s trailer home to a house.As I scroll social media, I see my peers indulging their own fantasies with mood boards and TikTok videos of beautiful weddings, humble woodland cottages and biodiverse lawns. These things are attainable in theory, but to many young gay people today, they can feel more like daydreams. I don’t think my farmer avatar will be able to harvest his 500 crops before the clock runs out, but at least he comes by those simple pleasures easily. More

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    'Colette,' From the Video Game Medal of Honor, Wins an Oscar

    “Colette,” which was featured in the virtual-reality video game Medal of Honor: Above and Beyond, took home the award for best documentary short.It was a night of firsts: First Korean actor to win an Oscar, oldest performer to win best actor, first woman of color to win best director.And, for the video game industry, its first Oscar recognition for best documentary short.The statuette was for “Colette,” a short film featured in the Oculus virtual-reality game Medal of Honor: Above and Beyond, which is also the first Oscar for Facebook. (It owns Oculus, the virtual-reality group that produced the documentary short along with EA’s Respawn Entertainment.)The 24-minute film, directed by Anthony Giacchino and produced by Alice Doyard, follows a survivor of the French Resistance, Colette Marin-Catherine, as she returns to Germany for the first time since the end of World War II to visit a concentration camp where the Nazis killed her brother, Jean-Pierre.“The real hero here is Colette herself, who has shared her story with integrity and strength,” Mike Doran, the director of production at Oculus Studios, said in a statement. “As we see in the film, resistance takes courage, but facing one’s past may take even more.”Medal of Honor, which is set during World War II and casts players as an Allied agent trying to outwit the Nazis, did not garner much acclaim as a video game. Many reviewers criticized it for its huge system requirements, which were largely the result of the inclusion of so much historical and documentary footage.But now that the film has won an Oscar — well, that might change a few minds. Or at least get it in front of the eyes of nongamers. You can watch “Colette” free online on Oculus TV or YouTube, or on the website of The Guardian, which later acquired and distributed the film.“We hope this award and the film’s reach means” that the memories of all of who resisted “are no longer lost,” Doran said. More

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    Review: Living the ‘Dream,’ on Your Laptop or Phone

    Gorgeous but thin, this half-hour experiment from the Royal Shakespeare Company turns Puck into an avatar and “theatergoers” into fireflies.Do you know of a site where the wild thyme blows? You do now.“Dream,” an interactive experience from the Royal Shakespeare Company, which runs through Saturday and lasts about as long as a power nap, transports its thousands of viewers to a sylvan grove, then to a rehearsal space in Portsmouth, England, for a live Q&A. Tickets are free, though those who prefer a lightly interactive experience can purchase seats for 10 British pounds (about $14) and appear onscreen as fireflies.Inspired by Shakespeare’s “A Midsummer Night’s Dream” — in the wispiest, most gossamer way imaginable — “Dream” signifies a bounding leap forward for theater technology and a short jog in place for theater itself.A different “Dream” was meant to open in Stratford-upon-Avon about a year ago, as a showcase for Audience of the Future, a consortium of institutions and tech innovators assembled in 2019 and tasked with exploring new ways to make and deliver theater remotely. (Theater on your phone? They saw it first.) The 2020 “Dream” would have played to both a live audience and a remote one, integrating actors, projections and live motion-capture into a verdant whole.Jamie Morgan as Peaseblossom, a character rendered as sticks and flowers.Stuart MartinBut in-person audiences are rare these days, and this remote “Dream,” however gorgeous — and it is gorgeous, enormously gorgeous — feels thinner for it, less a forest of imagination and more a small copse of some really lovingly rendered trees. It begins with Puck (E.M. Williams), that merry wanderer of the night, imagined here as an assemblage of pebbles in the approximate shape of a human body. Why render Puck — nimble, fleet and girdling the earth in the time it takes most of us to load the dishwasher — as a pile of rocks? Dunno. Looks cool.In traveling around the forest, Puck encounters Shakespeare’s other fairies, like Moth (an accumulation of moths), Peaseblossom (sticks and flowers) and Cobweb (an eyeball inside a squirrel’s drey). Apparently, Puck also met Mustardseed (more sticks?). I missed it. And the singer Nick Cave contributed some voice acting! I missed that, too.“Dream,” performed live, is exquisite, denatured and almost entirely contentless. It isn’t quite theater, and it isn’t precisely film, though it could pass for a highbrow “Avatar” short. For stretches, it resembles a meditative video game, but it isn’t that either, mostly because the interactive elements (clicking and dragging fireflies around the landscape) are wholly inconsequential.Those who purchase tickets are represented onscreen as fireflies.Paul MumfordWatching it, I felt inexplicably cranky, like a toddler who has been offered a variety of perfectly nice snacks but doesn’t want any of them. Because maybe what the toddler really wants is to safely see an actual play in an actual theater with an actual audience. And that just isn’t available right now.So I don’t really know what to say about “Dream.” Because it represents an obviously fruitful and seemingly happy collaboration among top-of-their-game actors, directors, designers, composers and technicians, many of whom assumed some physical risk in the making of it. (Among them are Robin McNicholas, credited with direction and narrative development; Pippa Hill, credited with script creation and narrative development; and Esa-Pekka Salonen, the production’s music director and co-composer.) It also signals real progress in the use of live motion-capture (something the Royal Shakespeare Company has already experimented with) and offers a tantalizing glimpse of how that technology might be used when proper in-person theater returns.But this isn’t proper theater. Or even improper theater. It’s a sophisticated demonstration of an emergent technology. Shakespeare is the pretext, not the point. The pentameter, pushed into random virtual mouths, helps us better appreciate the software architecture — which is great if you like software and less great if you like the language itself, or the original play’s plot or characters or keen insights into our big, dumb, desiring hearts. This “Dream” is beautiful. Wouldn’t it be nice if we could all wake up now?DreamThrough March 20; dream.online More

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    ‘A Midsummer Night’s Dream,’ Sprinkled With High-Tech Fairy Dust

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘A Midsummer Night’s Dream,’ Sprinkled With High-Tech Fairy DustA new online production from the Royal Shakespeare Company uses motion-capture and video game technology to create a virtual world.E.M. Williams performing in a motion-capture suit as Puck, in rehearsal for “Dream,” which will be performed live and streamed online starting Friday.Credit…Stuart Martin/Royal Shakespeare CompanyMarch 12, 2021, 7:29 a.m. ET“A Midsummer Night’s Dream” may be one of Shakespeare’s most performed plays — but its latest version from the Royal Shakespeare Company will be unlike any seen before. Titled “Dream,” the 50-minute streamed production fuses live performance with motion-capture technology, 3-D graphics, and interactive gaming techniques that let the audience remotely guide Puck through a virtual forest.As live theater sprinkled with some seriously high-tech fairy dust, “Dream” promises to bring “a most rare vision” of the play to our screens, to borrow a line from Shakespeare. It will be available to watch online once a day at various times from Friday through March 20.“It’s part of our ongoing engagement with this brave new world,” said Gregory Doran, the Royal Shakespeare Company’s artistic director. In 2016, the theater’s production of “The Tempest” used live motion-capture technology to create a 3-D digital avatar that was projected above the stage.The difference this time is that everything in the play — the performers and their surroundings — will be rendered virtually.A cast of seven will perform in a specially built studio in Portsmouth, southern England, wearing Lycra motion-capture suits outfitted with sensors. They will be surrounded by a 360-degree camera rig, made up of 47 cameras, with every movement almost instantaneously rendered by digital avatars, which are relayed to viewers via the stream. These magical figures move seamlessly through a computer-generated woodland, and the action is narrated in husky tones by the Australian singer-songwriter Nick Cave as the forest’s voice.For audiences watching at home, the virtual fairies moving through a digital forest will look more like a video game or a CGI blockbuster than your average Royal Shakespeare Company show. But the performances are delivered live and in real time. Every night’s performance will be unique.With its abridged running time and a much-reduced cast of characters, “Dream” is not a full-scale production of “A Midsummer Night’s Dream”; rather, it is a narrative inspired by it, focusing on Puck and the fairies. But don’t expect any cute digital wings: These are elemental, mysterious forces of nature.Naomi Gibbs, left, and Alex Counsell, right, fine-tune E.M. Williams’s motion-capture sensors.Credit…Stuart Martin/Royal Shakespeare CompanyThe arts collective Marshmallow Laser Feast, which works with virtual, mixed and augmented reality, has created digital avatars for the actors so they look sprung from the natural world. Puck is formed of pebbles and stones, while Titania’s fairies are made up of moth wings, cobwebs, earth or roots. The fairies are shape-shifters that coalesce into recognizable human and animal forms onscreen, and grow or shrink so that they are small enough to “creep into acorn-cups,” as Puck puts it.“It’s a form of puppetry,” said the Royal Shakespeare Company’s director of digital development, Sarah Ellis. “Those avatars come alive when they breathe, and how they breathe is through the live actor.”The software that drives the performance, called Unreal Engine, is used across the video games industry and is behind popular titles like “Gears of War” and “Fortnite.” Since 2013, the company that developed it, Epic Games, has been branching out to create interactive 3-D content with the tool for film and TV, and, increasingly, for live events such as music festivals, museum exhibitions and theater productions.Layering the tech with live performance, and relaying it instantly via a web player to thousands of devices, is an experiment for both Epic Games and the Royal Shakespeare Company. And then there’s the interactive component.Up to 2,000 audience members for each performance can become part of the show, and will be invited to guide Puck through the forest. Onscreen, the chosen spectators will appear as a cloud of tiny fireflies: By using their mouse, trackpad or finger on the screen of a smart device, they will be able to move their firefly around the screen, and Puck will follow their lead through the virtual space.“Without the fireflies — the audience — Puck wouldn’t be going anywhere,” said E.M. Williams, who plays the role. “The audience are very much the fuel, the energy, of the show.”Steve Keeley operating the technical platform in rehearsal.Credit…Stuart Martin/Royal Shakespeare CompanyIn a traditional stage production, the “tech” rehearsals come last, after weeks of work by the actors on character and narrative. For “Dream,” the process began with fittings for the motion-capture suits, so the players could calibrate their movements. Their digital avatars were refected on giant LED screens around the studio to orient the performers within the virtual environment.“It looks so 3-D, like it’s coming out the screen sometimes,” Williams said of the computer-generated forest. “There are times when if I touch it, I expect to feel it. It’s thinning the veil between the technological world and the real world.”The Royal Shakespeare Company has long been seen as a bastion of traditional British theater: reverent toward text and verse, powered by great actors. Did the company anticipate any resistance to its high-tech, experimental approach? Several reviewers said its motion-capture “Tempest” was gimmicky.“There’ll be some criticism, of course,” said Doran, the company’s artistic director. But, he added, he hoped “Dream” could speak to a traditional theater audience, as well as viewers drawn in by the technology.Besides, the genius of Shakespeare means his plays can take whatever new inventions are thrown at them. “It’s the same as an experimental production of any of these plays,” Doran said. “Shakespeare is robust: He’ll still be there.”DreamPresented online by the Royal Shakespeare Company, March 12-20; dream.online.AdvertisementContinue reading the main story More