The dating sim has been experiencing something of a reexamining of late, finding itself in the broader public eye as iterations upon its core tenants are warped, distorted, and pushed past their typical use cases.
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It literally places you in the shoes of someone who could be thought to be on the receiving end of some “When two or more people think they are playing the same game, but are in fact negotiating different rules, and when each player’s meta-participation in the game that they think they are playing is through the self-aware persona of a player (of those different games), then decoding the signal, niche, and response boundary cues of who is saying what to whom about what and why lends to interpersonal conspiracy theory and comic obliviousness.” able to pin down what the men are saying, as it’s backed by their words, pulled from the material they’ve contributed to discourse around “the game.” Washko uses this ground truth as an inflection point, and injects her own game in front of the game that people like Roosh V and Blanc are to be playing, forcing each “player” to reckon with the the realities of the other.
Washko is giving a voice to those that are forced to be a target of the tactics of these men, empowering the player to simply not be a consenting agent to the taught tactics of a pickup artist’s This agency given to the player, to be implicated in both their game and their own, is important.
It rejects the notion that a potential partner is hetrosexual ( continuing to push the dating sim forward by reflexively focusing on dating itself.
Upending the idea that the game must only tangentially acknowledge real-life dating, Washko’s latest exhibit titled centers around its female protagonist’s interactions with real-life Pickup Artists like Julien Blanc and Roosh V—people whose work focuses on teaching men how to get women to have sex with them.
Fortunately, indie designer Anna Anthropy specializes in friction.