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Around the mid-nineties multinational entertainment corporations consolidated, engulfing small companies. What changed? A growing market attracted growing capitals.
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The hardware and software industries feed off each other in the same way movies full of over the top special effects justify are justified by purchase of home theater systems and tickets at state-of-the-art multiplexes. In a perverse race to high fidelity and “realism”, games became increasingly bloated and started to require continuous updates to be enjoyed. Now, we look at the latest FIFA running on a Playstation and mistake it for an actual televised game.
With few resources and rudimentary technology, software houses competed mainly in terms of playability and innovation. When our ancestors crossed eyes to focus on Sensible Soccer’s tiny, frantic sprites, video games were still a handmade product made by small independent teams. We can no longer consider the medium of video games as a marginal component in the production of our collective imagination. Moreover, we are witnessing more and more frequent incursions of game culture in the fields of literature, cinema, art and traditional media. Of course this data is provided by the Entertainment Software Association who strives to make a case for a “maturation” the medium, but it still give us an idea of the entity of this phenomenon. Kids from 7 to 16 old play on average 7.6 hours a week, not too far from the 6.5 hours a week of the entire gaming population.
Gamers have less and less acne, not due to the beneficial effects of monitors’ radiation, but due to their increasing age which currently averages at 29.
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The phallus-joystick is gradually disappearing and the game industry’s revenue worldwide has now surpassed that of the movie industry. Today, video games are still seen by many as dry masturbation for male teens, but trends suggest otherwise. In front of these screens and behind thick glasses, nestled the flaccid maladjusted geeks that would soon lead the computer revolution. Few large pixels and a lot of imagination. Shortly after the extinction of dinosaurs, waves of monochrome trails began to appear across the first computer monitors. Soft as the gray matter, a battleground contended by services and commodities soft as the matter that swallows and produces: software. Understanding and subverting the deepest videogame mechanics without resorting to dull antagonistic translations or artsy self-referential divertissement. Molleindustria advocates for the independence of games from the market’s domain and its radical transformation in media objects able to criticize the status quo. She is daughter of cognitive labor, of shared information, of entertainment that becomes politics and vice versa. Molleindustria was born in the soft core of Capital’s processes of valorization.
Molleindustria is theory and practice of soft conflict – sneaky, viral, guerrillero, subliminal conflict – through and within videogames. Naive and tortuous prose aside, it’s nice to see how certain propositions are now… closer to common sense, while the scenario of grassroots activists embracing games as tactical media didn’t quite materialized as I hoped, in part compensated by the increasingly more common work of independent game developers incorporating social commentary in their games. To celebrate the anniversary I decided to republish the project’s press release and the manifesto from the same year, which has never been translated in English.
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Molleindustria was meant to be a short-term tactical project in line with the alternative media experiments happening in Italy at the same time (pirate TV street and Indymedia above all), I certainly didn’t think it would have been such a big part of my life a decade after. Ten years ago, in December 2003, I launched this website along with three small games: Tamatipico, originally released in Spring 2003, Tuboflex and the Orgasm Simulator.
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