The game I played this week was Florence, developed by the Australian studio Mountains and published by Annapurna Interactive. The platform of the game is on iOS, Android, Nintendo Switch, Windows, and MacOS and the target audience is broad, not specifically catered towards any age or specific identity, but is rather a game that explores the narrative around Florence Yeoh’s life. The type of player this game attracts is Socializers that want to explore Yeoh’s life as she navigates her career, relationships, and personal hobbies, discovering more about herself during the process.
The mechanics of Florence include putting puzzles together and solving mini games. For example, tapping the alarm clock in the beginning to stop the alarm, moving the toothbrush left and right, and putting puzzle pieces together during Florence’s conversations with Krish. Another important mechanic is the story’s narrative and chapter by chapter in an act progress. These mechanics come together to effect the dynamics of the game where players feel Florence’s emotions (e.g., dread, excitement, sadness), through the puzzles. One specific example that stood out to me from the game’s design was during Florence and Krish’s first date when the puzzles became easier and easier to solve, representing how the conversation flowed easily between them. This game design created fun through the game’s narrative, and the player really understood and felt connected to Florence’s coming of age story.
To play Florence as a feminist means “as a play of equality” (Chess, Chapter 4), meaning we play Florence consciously and critically to critique games and understand them deeply enough to imagine what features of the game are rooted in present day gender normative standards. When playing, I found Florence to be an amazing game that really tied in different aspects of life and how important intrinsic happiness is rather than what is typically expected of and for women. I do have one critique, which is that I wish the game spent a bit more time exploring her different relationships (family and friends), and how that affected the ending credits scene. I believe, although this game does address how Florence finds happiness with herself throughout the story, I think it would be nice to see her relationship with her mother, or a friend, develop more. The game intertwines with feminist theories, because in the end, Florence ends up painting and focusing on her true passion which is art, and she doesn’t end up with somebody. This relates to Shira Chess’ idea of what a good feminist story is, “one that is conversational, personal, and relays narratives that surpass the expectations we tend to have of those ushered in to and for patriarchal audiences” (Chess, Chapter 4). Florence, as a game, critiques the patriarchal idea that a woman is usually sad when she isn’t in a relationship, and when she does get into a relationship, she thrives in all aspects of her life. Instead, Florence attempts to prove that happiness must come from within.
We see that, when Florence starts a relationship, she is inspired from Krish’s passion for music, to begin painting. However, the relationship itself isn’t serving neither her nor him after a year. We see the progression of both Florence and Krish’s mental states and physical separation. Florence stops painting and Krish starts to lose his joy for music, not necessarily because of each other, but they ultimately weren’t feeling fulfilled in their lives. The pair separated and Florence, initially sad, now begins to paint again, her intrinsic purpose, and only from doing what she wants does she discover who she is and wants to do. Florence thrives because she is dedicating time to do what she wants –she calls her mother, she paints. In the beginning of the game (as presented in the images above), her mother called her, and the game allowed players to choose different monotone answers and replies to the mother’s unintelligible questions. The scene when Florence begins to take initiative is led by her calling her mother, and actually having a conversation with her, truly. When Florence begins to take control of her life with her own volition, that is when color is brought into her life–not necessarily because of her romantic relationship.
Other games in the coming-of-age, identity affirming, interactive video game genre are Emily is Away and Life is Strange. Florence is different from these other games because. the game doesn’t require dialogue for every scene. In fact, many of the scenes in Florence utilize show-not-tell but is just not, if not more effective to the player. Puzzles and interactive mini-portions in Florence are what represent Florence’s journey of self-discovery.
Overall, Florence is unique in the coming-of-age interactive narrative genre through its puzzle mini-games that drive the narrative of Florence Yeoh and her self-discovery journey, while subverting patriarchal expectations of women, because Florence finds fulfillment through her intrinsic passion for art.
