Reflective Games: Bodies in Pain

reflective games, research

[Content Warning: Chronic pain, bodies, bodily fluids, personal information related to said topics]

This week, I’ve been thinking a lot about instructions, deictics [1] and grammar related to situating the person receiving the instructions in the present. Using Alison Gibbons’ work as a starting point, I’m interested in the topic because of how it might help players identify with a character. In Blast Theory’s Ulrike and Eamon Compliant, this type of language brings the player closer to the identity of one of two terrorists, either Ulrike Meinhof or Eamon Collins.

I was planning to prototype an exploration of the subject matter this week, but became ill, which has led me to thinking through a much more personal subject than I had originally anticipated: pain, illness, and embodiment. As I write this I have a low fever and the flu. In this post, I’m going to position my own experiences with the aforementioned subjects, which means I’ll be talking a fair bit about my personal experiences with chronic pain and illness.

Nothing brings the notion of embodiment crashing back into view like a body that is ill or injured. In Elaine Scarry’s The Body in Pain, the author elucidates how our own pain is immediate but the pain of others is almost impossible to relate to. “Pain separates us,” Scarry notes. Even though we might be just a few inches away from someone who is in pain, their pain is remote. We “invoke analogies to remote cosmologies.” Scarry discusses how pain can rob a person of their speech and how others, even though they do not have direct access to a person’s pain, may explain or attempt to metaphorize their pain to bridge that gap. Direct descriptions of pain are passed through very quickly and instead we get “as if” and “as though” descriptions. These descriptions picture an external agent to pain, and bodily damage to accompany the pain. How these metaphors work is problematic because they do not adequately describe pain as divorced from violent actions, or from the act that may or may not have actually caused the pain — for example, “it feels as though a hammer is coming down on my spine.” As Scarry tells us, “Physical pain is not identical with (and often exists without) either agency or damage, but these things are referential. Consequently, we often call on them to convey the experience of the pain itself.”

Perhaps the fact that I live with a fair bit of chronic pain and illness is one of the reasons why I am so interested as a designer in the subject of embodiment. So rarely am I able to forget my own body completely and become “involved” (in Calleja’s sense of the word) that I rarely, if ever, forget the player’s body in my design work.

Just so that there are no surprises, and in case you’d like to skip over these sections, I am going to tell you about my experiences with chronic pain and other chronic conditions, starting with the back and leg pain that I live with.

From a young age, I had a tendency to hyperextend my knees when told to stand up straight. When I was fourteen years old, I wanted to join karate because I had a crush on a boy. As it turned out, there was no room in the junior class that he attended, but I joined anyway. I always have been into team sports, playing football from ages 7-12, and being on my school’s swim team. My brother soon joined me as well, and I attended karate for eight years, earning my blue belt, and stopping while training for my brown belt. It is through karate that I found out that I have an abnormally high pain tolerance. Karate, despite the kindness of my teachers, was occasionally a problematic, male-oriented space. Advanced belts were encouraged to join the advanced class, which I did, where I was generally the only non-dude. There was subtle encouragement to work and train through the various kinds of pain we encountered. We were barefoot at all times in the dojo, and began each class running around in circles on the hardwood floor. I made a habit of running on the balls of my feet (which is not good). I also had a wicked front and side kick (which put strain on my feet).

During the time that I was in karate I also worked for a number of years at a sushi shop. Once a week I would complete one twelve hour shift spent entirely on my feet. During this shift, and in other contexts, my feet were constantly sore. I used to tell myself that I must get sore feet from working that twelve hour shift, and since I only did it once a week my body could not get used to it. Eventually, I mentioned it to my doctor who sent me for X-rays. My doctor was astounded to find that I had multiple microfractures in my feet, which had healed poorly, and were leading to pain. I had basically broken my feet multiple times without noticing. This was the beginning of an ongoing saga involving my lower back, legs, knees, ankles, and feet. I somehow gave myself a stress fracture in my right arch, and for half a year could not do high impact sports. I saw a physiotherapist for both my knees and my ankles, which would give out on me painfully. I discovered that my tendency to hyper-extend my knees, as well as the microfractures in my feet, led to a number of other problems and alignment issues. My leg muscles are extremely tight. There is a nerve that runs from my lower back, to the outside of my thigh, into my knee, down the front of my shin, and into my ankle, in both of my legs, that is constantly being trapped by my tightened muscles. I have a number of stretches that help alleviate the pain, but when the pain is tolerable it can be hard to prioritize an hour’s worth of physiotherapy stretches in my everyday schedule. I also roll out my muscles every night with the help of my spouse, and I wear orthopedic insoles in my shoes. Truthfully, the pain never really goes away for long, and I have to be constantly vigilant for signs that it is worsening.

This next example deals with a normalized disability that plenty of people in the world have, and I want to contrast that experience with another chronic health issue that I have. From the time that I was thirteen until January 2017, I wore a combination of glasses and contact lenses for a fairly strong prescription. Since I needed them to do most sports that I was involved with, including scuba diving, swimming, and karate, I had a number of learned behaviours and rituals around my contact lenses. For example, when working at the Sushi Shop, I used to put in my lenses when I got to work. I had to wash my hands very carefully, and dry my hands with paper towels. These had to be the white paper towels, which we used for food preparation, and not the brown paper towels that we were supposed to use to dry hands, because the brown paper towels were much more likely to leave dust and filaments on my hands. Even with all this careful preparation I still often felt a foreign object sensation in my eyes after putting in my contact lenses. (I later discovered that I have dryer than usual eyes, a symptom of which is a foreign object sensation). Another learned behaviour that I have is never opening my eyes underwater as long as I wasn’t wearing a mask. I’ve also changed into my lenses in all sorts of contexts and locations, from the middle of forests, to outhouses, to truck stops, and gas stations. I always had to carry my glasses, a bottle of saline solution, my contact lenses, and a set of back-up lenses. I thought for sure that one day I was going to give myself pink-eye, or some other eye infection. Since glasses and minor sight problems are a totally normalized disability, I never thought twice about all of the preparation and ritual involved with my sight. Having laser eye surgery, although there were hassles in the short term, has been life changing in terms of how I travel and how I participate in sports. I’m only now learning to open my eyes again underwater, which I now realize was a constant low-level stressor throughout my scuba diving career. That is to say, the thought that I might lose my mask and be blind underwater was a constant stressful possibility.

At this very moment, I have the flu, and I may have in fact ignored the symptoms for a few days because of another chronic condition that I live with. This one is a good deal less easy for people to understand compared to glasses. I have a postnasal drip, which basically means that thicker than normal secretions run from my nasal passage down my throat. To be clear, the secretions part is normal, but they are usually thin enough that the average person just swallows them without noticing. My postnasal drip is constantly filling my throat with thick spit, which obstructs the passage and occasionally, when it is very bad, makes me feel like I am choking. I constantly have to clear my throat and spit, or deal with the feeling that I am choking. So, occasionally, when there are no other options, I have to spit outside in public, or have to use a napkin or other receptacle to clear my throat (and some people are less than understanding about this). Accompanying this is a constantly runny nose, most of it water. As a result, I carry a handkerchief everyday (the alternative being a large box of tissues), and blow my nose frequently. There is a corticosteroidal nasal spray that helps to alleviate the problem somewhat, although when my seasonal allergies are at their worst, it can have little effect. At night, I use a humidifier and an air purifier to help with allergy symptoms and prevent my mouth from drying out too badly, and I drink a lot of water.

Still, occasionally, my postnasal drip acts up and causes me to cough up a lot of spit, and since I had let my prescription for the nasal spray lapse of late (switching between Montreal and Fort McMurray has its challenges in terms of keeping prescriptions active), I thought that my coughing in the past few days was simply the aggravated drip. Today, I was running a fever, had the chills, and was coughing up phlegm that was decidely not mostly water, which brings us up to date.

My body, and I imagine the bodies of others, has grown accustomed to pain and to ignoring it, especially if new and exciting pain is drawing my attention. Still, pain is a constant presence in my life, especially in my back and legs. It affects what I am able to do, and it never completely fades from view.

Deictic language was useful in Blast Theory’s Ulrike and Eamon Compliant because it continuously pulled the player’s attention back and involved them in their immediate surroundings. Coupled with the use of “you” to address the player, and the simple actions that the player was called upon to perform while being addressed as either Eamon or Ulrike, deictic language helped players become involved and identify with the stories of a type of person that we would rarely want to be seen as identifying with — a terrorist.

Thinking through how this might connect up with embodiment and pain or illness, there are a number of practices from psychology that operate by creating a focus and awareness of the subject’s body. Many forms of meditation, relaxation, and hypnosis ask participants to focus on their breathing, for example, and taking slow deep breaths. Similar methods exist for controlling pain, such as the Lamaze method for childbirth.

My Master’s thesis, which attempted to translate the technical aspects of scuba diving into a readable dimension of a collection of short stories, often dealt with breathing, as this is core to the experience of scuba diving. Awareness of one’s own breath can make the difference between a long or a short dive, but also the difference between life and death. I found that, by mentioning breathing in these stories and making readers aware of their own breathing, these sections often had a dramatic effect. Readers reported feeling unsettled, claustrophobic, and in some cases, close to panic. This makes me wonder about the use of bodily awareness in player instructions for creating experiences in the vein of Ulrike and Eamon Compliant.

In my personal life, I constantly have to read the needs of my body, and am also quite bad about ignoring symptoms that I shouldn’t, due to my experiences with chronic pain. If I could see into another person’s experience with their body, since humans experience embodiment every day, I wonder how similar our experiences would be. Scarry’s work suggests that we cannot know another’s pain, even in relation to our own, and that furthermore, even our own recent pain quickly becomes inaccessible to us. Now, I’m not suggesting that I want to create a series of malevolent instructions that would cause players pain, but I wonder how creating bodily awareness and thinking through rituals related to caring for our bodies might be used in embodied game experiences.

[1] From ThoughtCo: “A deictic expression (or deixis) is a word or phrase (such as this, that, these, those, now, then) that points to the time, place, or situation in which a speaker is speaking.”


Blast Theory Theatre Company. (2009). Ulrike & Eamon Compliant. [Performance] Venice,
Italy: Venice Biennale.

Calleja, G. (2011). In-game. 1st ed. Cambridge, Mass.: MIT Press.

Gibbons, A. (2014). Fictionality and Ontology. In Stockwell, P. and Whiteley, S., eds., The Cambridge Handbook of Stylistics, Cambridge: Cambridge University Press, pp.410-425.

Scarry, E. (1987). The body in pain. 1st ed. New York: Oxford University Press.

ThoughtCo. (2017). Deictic Expression (Deixis). Website.

The Truly Terrific Traveling Troubleshooter at QGCon 2017

adventures in gaming, research

[My trip to QGCon 2017 and this writeup about the experience were sponsored by the lovely folks from ReFiG (Refiguring Innovation in Games). You can learn more at This blog post is cross-posted on their website, and was written for that venue, so my usual readers may be familiar with some of what I have written here – like, you know, who I am.]

The Truly Terrific Traveling Troubleshooter at QGCon 2017

Here is a bit of context for those who may not know me. The 2017 Queerness and Games conference was my first queer games conference as an out nonbinary queer person, having come out in 2016. It is only in the past few years that I have been exposed to language that described my personal experiences with gender and sexuality, and there was some time between knowing the words and deciding that I should come out. Going to QGCon this year, therefore, had a fair bit of personal significance for me. I started making games in January 2013, and my work as a designer addresses intersectional feminist issues.

[Photo by Jess Marcotte]

For this year’s Queerness and Games conference, I was there to showcase a game called The Truly Terrific Traveling Troubleshooter, which is a physical/digital hybrid game about emotional labour, radical softness, and the “traveling other.”

What I mean by emotional labour is “the frequently invisible work of caring, keeping others’ in mind and taking their needs into account, managing one’s own mood and masking so-called ‘unpleasant’ emotions for the benefit of others, managing other people’s emotions, both by not causing upset to begin with and by helping others feel better, and any number of other activities in line with these that are far too many to count” (Marcotte and Squinkifer 2017).

[Photo by Jess Marcotte]

When I talk about radical softness for this game, I am referring to both the physical construction and aesthetic of the game and to a specific mindset that is common to some feminist art circles. All the objects in the game were handcrafted by Dietrich Squinkifer and myself through traditionally feminine-coded crafts such as crochet, sewing, and embroidery. The objects are “cute” and “squishy”, but are contained within the hard shell of carry-on sized suitcase. Radical softness, both as an aesthetic and as a way of being in the world, can also refer to the conscious decision not to be “hardened” just because that is what the world seems to demand of us. It refers to making a choice to be vulnerable, embracing softness, cuteness and traditionally “femme” aesthetics. It also refers to finding strength in our most vulnerable moments, whether with respect to our feelings, to the challenges that we might face with mental or phyiscal illnesses, or the situations that we are faced with as a result of life in a kyriarchical society.

The “traveling other” is a concept that Squinky and I use to talk about the relative instability of some advisors and advice-givers over others. The classic figure of the traveling fortune teller, for example, is frequently “othered” due to their identity, which may be a marginalized one along several axes (gender, sexuality, class, race, etcetera). In contrast, white male advisors tend to be of high social status, perhaps advising nobility or holding a trusted position within a community.

In The Truly Terrific Traveling Troubleshooter, one player takes on the role of a trained Troubleshooter who specializes in activities such as active listening and problem-solving. The other player is a Customer who, through provided prompts, generates a made-up Trouble to be worked through. After hearing out the problem, the Troubleshooter raises the issue of (fictional) payment, which is then negotiated with the Customer. After they have agreed, the Customer represents their method of payment on a coupon, which they hold onto until the end of the game. Next, the Troubleshooter makes use of the objects in the SUITCASE (Suitcase Unit Intended To Cure All Sorts of Emotions) to inspire their discussion and reach a resolution. Once the Troubleshooter has examined the different angles of the trouble and given the Customer their advice, the Customer then decides whether or not the Troubleshooter has earned their pay. [You can read a longer description on the game’s website here:]

At least, in theory, the troubles are meant to be fictionalized (although there’s no rule against using a real trouble, and players are encouraged to generate a problem based on their lived experience). At the QGCon arcade, The Truly Terrific Traveling Troubleshooter was very warmly received, but I was surprised to find that very few Customers, when prompted, decided to raise a fictional trouble. Instead, most people asked for advice about real troubles. Although some were, upon further discussion, exaggerated or a situation that the player had faced in the past, most people raised real issues that they were currently facing, demonstrating a great deal of vulnerability and trust for the game (and for us, as designers). As I moderated the game or took on the role of Customer or Troubleshooter myself, I have to admit that I was very concerned about whether or not the game would be effective and feel safe for those who had just revealed a part of themself to a relative stranger. As it turns out, the attendees of QGCon proved to be sensitive and kind to each other, and the rules of the game helped them to give, overall, quite decent advice to one another. It was a heartening experience.

[Photo by Jess Marcotte]

One of the conference organizers who isn’t also a member of this game development team (Squinky was one of the organizers) played the game with me mid-Sunday afternoon. I won’t reveal what we discussed here, but at the end of the conference, during the closing session, organizers were asked to reveal their favourite moment of the entire conference. For that organizer, it was the experience of playing our game.

For me, these moments of human connection between players are the things that I most strive for in much of my design work. It is always excellent to see my and my team’s design decisions validated when players experience these unexpected instances of real feeling for another human, one that they might already know very well, or not at all. I was so glad to be able to bring this game to QGCOn.

[Photo by Jill Binder]

[As a result of my Arcade duties, I was only able to see a few of the many excellent sessions at QGCon this year. The highlights for me were the “Post Mortems: ‘Making Queer Games'” session featuring Josie Noronha, Kara Stone, and Yifat Shaik, the “Out of Sheer Spite” microtalks session moderated by Kris Ligman, and the roundtable on “Invisible Gender and Sexual Identities in the Queer Community,” which turned out to be a much broader intersectional discussion about identity, and T. L. Taylor’s keynote, “Play as Transformative Work,” about streaming communities.]


Marcotte, J. R. & Squinkifer, D. 2017, ‘Radically Soft Design and the Truly Terrific Traveling Troubleshooter’, paper presented to CGC: Imagined Realities, Carleton University, Ottawa, March 17th 2017.

GGJ 2017: Some Thoughts on rustle your leaves to me softly

adventures in gaming, critical making, game jams, research

rustle your leaves to me softly

It seems wrong to call this a postmortem given that the project was just born on the weekend and involves living creatures, so instead I’ll call these “some thoughts.”

Plants, wow! Plants are amazing! I’ve been thinking of plants as an example of an “other” that could be helpful in conceptualizing designs’ for entities besides the standard human user ever since some conversations last year with Ida Toft. Donna Haraway’s writings are especially relevant here, but here’s an easy-to-digest BBC article about plants and their various sensory abilities and complexities that might serve as an introduction to the subject.

I’ve just recently started to split my time between here and Fort McMurray, Alberta. As a result, I had been talking with Squinky about making a plant that people in our lab could take care of that would signal their care to me far away through the internet. To that end, I had ordered things for a tweeting plant project , so I had a sparkfun redboard, some breadboards, some moisture sensors, and some other odds and ends for working with plants.

It was only after I had ordered these parts that TAG’s local diversifier for Global Game Jam 2017, Sustainability, was announced. As part of this diversifier, one of this year’s TAG Global Game Jam co-organizers, Liane, acquired a bunch of plants. Our brainstorm quickly turned to what we could make with these plants, and I don’t regret it.

Initially, we were supposed to have a third team member, Six, but unfortunately, after the initial brainstorm, they weren’t feeling up to jamming. I just wanted to make sure to highlight their contributions to our conversation, which sent us down some interesting rabbit holes that ultimately lead to us making what I think is a really cool experience. It’s called “rustle your leaves to me softly” and it is an ASMR Plant Dating Simulator. I’ll try to take you through some of our process in this post.

This year’s theme was “Waves.” We began to talk a lot about soundwaves and Squinky half-jokingly mentioned ASMR — I of course wrote this down on our brainstorm. We began to brainstorm around the idea of an “ASMRchestra” played by touching various plants. Six suggested a more intimate relationship with one plant, with more varieties of interaction, including flex sensors, touch, sound detection which would activate sound and LEDs on the plant, possibly in an intimate space like the tent.

After Six let us know that they wouldn’t be jamming with us, Squinky and I had to scope the design in a bit more tightly to accomplish our work with two people instead of three. As we experimented with the simplest version of what the game could be, we discovered that rather than just being a switch, the redboard could detect consistent/predictable ranges of resistance when hooked up as a button (with a ground, a resistor, and a plain wire). With a strong enough resistor, the ranges of numbers we were receiving varied consistently with softer and firmer touches, and a variety of touch locations (as well as on the person doing the touching – some people are more conductive than others, based on their skin moisture).

The ASMRchestra and the more focused single-plant experience were both still possible avenues of exploration, but we didn’t determine right away which we wanted to do. Instead, Squinky focused on the programming, both physical and digital, of the Arduino, determining how things should be connected up, and programming a system that would let us detect the variations in resistance, and play sounds accordingly. They massaged the feel of the interaction with different numbers and adjusted how sounds faded in and out based on those numbers. They found and implemented what we would need to achieve fine grain control over the sound.

Meanwhile, I began to research ASMR more closely, writing down common traits of the voices and sounds that I was hearing, including what kind of sound combinations were common. Here are some of my notes:

Overall, the ASMR community seems to think that everyone can experience ASMR and it’s just a matter of finding the right triggers. That means that there is a huge variety of possible triggers. What helped us focus in on the kind of ASMR we would be creating was the notion of a reciprocal relationship between human and plant. The human inputs caresses, touches, and other inputs (such as blowing wind across the plant’s surface, or speech) and the plant, in this narrative, responds to the touches that it appreciates by outputting an ASMR soundscape that it hopes will be pleasing to the human. Respect for the ASMR community was important for us, despite what might be considered the inherent absurdity of humans and plants in a sensual relationship like this one (I don’t think it’s all that ridiculous – we are intimately linked to our environment). We wanted our attempts at ASMR to be sincere, despite our limited time to work on it.

While Squinky worked on programming, I took up asset creation, including physical crafting. My first task was to select robust plant specimens that would be the least likely to be harmed by our touches as long as we were respectful (I chose one plant with waxy leaves and several succulents).

Next, I worked on building controllers/homes for our chosen plants using ceramic cups, river rocks, dirt, copper tape, wire, electrical tape, and screws. The copper tape on the outside of the cup was a convenient and aesthetically pleasing place to put the ground, as people could grasp the cup to steady the plant as they touched it. With Ida Toft’s advice, we used the fact that both the plants and the earth in their pots contained moisture and were conductive to avoid attaching anything to the plants themselves. The screw provided a large contact that I could simply plant in the earth.

As usual, a jam involving a good deal of crafting meant that I took several trips to the Dollarama to find and repurpose objects there for the project. We decided early on that we wanted to avoid using screens as much as possible if we could, so, with that in mind, I made sure that what there was to look at instead (the plants, the electronics, the instruction booklet, the housing for the electronics, the table where the game would be played at) would look as unified and as pleasing as possible. Aesthetics when people won’t be completely focused on a screen are important (and of course I’d argue that they’re important in general, with or without screens). Right before the playtest, I found a quiet spot and decorated it with a green tablecloth, setting up just what was needed to play our game on the table. It was a bit removed from the rest of the space since audio was important to the game. I made signs to lead players to the game that said things like “4 plants in your area looking to meet” and the name of our game and team (we were “TEAM TINY CACTUS,” by the way – everytime Squinky and I work on a new project together, we give ourselves a new team name).

By Saturday evening, we knew that our game was no longer ASMRchestra, despite that being an excellent pun name. I was concerned that hooking up all the plants up at once would discourage people from discovering their individuality, that it would instrumentalize them in more ways than one: that people would cease to see them as living creatures and see them just as controllers, and that they would just try to play them as instruments simply making sounds instead of responding to the feedback they were receiving. The relationship between each plant and human, with the human taking the time to discover their differences, became an important part of how I was thinking about the game. We retreated to the jam space’s campground (complete with tent) to figure out a new name for our game. Names are important, because they’re conceptual tools — they help me figure out how to think about a game. As we giggled to each other in the intimacy of the tent, we settled on “rustle your leaves to me softly” – it immediately suggested something that we hadn’t considered before: poetry.

For me, this was the missing piece of the ASMR script. I would write a poem that could be randomized, line by line, from the plant’s perspective. We recorded the poem and other sets of words that night. Here are the word sets and the lines of the poem.

Sunday morning, I worked on the instructions and on creating housing for our electronics. The instruction booklet is another example of functionality and aesthetics combined. Using a book from the Dollar store as a base, I had to remove the metal spiral because I’m left-handed and planned to handwrite the instructions inside. I replaced the spine with twine, and painted the name of the game on the cover. crafted the book itself and the instructions to go in it. With safety of plants in mind. Respect for plants and their safety became a key concern for us. As I wrote the instructions, I realized that the plants already had built-in personalities based on their physical properties and their needs in terms of physical safety. As I wrote the instructions, I had to translate their needs and suggest interactions into the language of dating profiles. Here are what the instructions looked like:

You can read the full instructions here, including more plant dating profiles.

The conceptual thought behind the game is rather twisty. As designers, we were trying to take on the perspective of plants, thinking in ways that we thought a plant might think, where the plant in question was trying to conceive what a human would appreciate most from them, without understanding just what a human was, and thus thinking of it in plant terms. Based on what we decided plants would like in ASMR, the plants are then trying to please human tastes.

Since the sounds could be dropped in afterwards, collecting them and putting them into the game was one of our last tasks. I collected Creative Commons 0 attribution license ambient music tracks, water droplets, rain, rustling leaves, and other sounds (sources can get a bit tricky in the heat of a jam, so I usually use CC0 resources). Based on my notes about ASMR, Squinky and I then recorded a series of plant-related words and the individual lines of the poem that I wrote to be randomized. Squinky then figured out how to layer them beautifully, figuring out volumes and when sounds should stop and start in order for the plant to feel most responsive without the sound design being too busy.

As we playtested the game, I was surprised at the intimacy created by the experience. I was also surprised that the context was so transposed, and that the sound was working so well together, that I didn’t even mind listening to the sound of my own voice coming from a plant. It was eery and touching all at once.

The official jam playtest went well, but there were way more people that wanted to play than could be accommodated over the course of the time that we had. This was a good sign, although it was also a shame. Those who did play seemed to enjoy the game. Their first reaction was frequently laughter – I think they laughed out of surprise. Afterwards, they often got quiet, contemplative. Some seemed reluctant to stop playing, but felt the pressure of others waiting behind them to play. Some players also experienced ASMR sensations for the first time. Many seemed to discover that touching the plant felt good – and felt intimate. The textures, combined with the responsive sound, made for a pleasing sensory experience.

Thanks to the very talented Matthias Graham (@coraxincarna), who took photos and filmed for us, and Squinky, who figured out a way to record the sounds as people were playing, we were able to cut together a rough version of a video of what the experience is like — unfortunately, without the tactility and without the pleasure of that immediate connection between touch and sound — for those who haven’t had a chance to play.

We hope to set up the game at TAG sometime soon so that more folk can play it! There’s more to say, I think, about this game, but I wanted to get out a few thoughts as soon as possible after the jam before they faded away.