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Soft Body Dynamics

“I think there’s something wrong with the way her breasts don’t sway. A chest that large– they should have some bounce, shouldn’t they?”

Hiro was tired and his eyes burned. He bit the inside of his lip to distract himself. “Yeah, I suppose so.”

“You suppose so? Have you ever seen a well-endowed woman’s breasts? I mean in real life, like right in front of you. Not in a porno.”

“Sure– now and then.”

“Don’t lie. I can tell when you’re lying.” Kazu had the controller in his hands, making the girl crouch over and over.

Hiro took his glasses off and rubbed his face. Delineate deformable regions, grab acceleration data from the bone in the torso. “I can implement that, sure. You want it on all of the female characters?”

“Put it on the characters that make sense to you. I’ll review it later.”

After Kazu had gone Mayuko crept up behind him. “What was that about breasts?” she said conspiratorially.

“You’re a gossip. He wanted me to add bouncing to the breasts.”

Mayuko looked disappointed. “That’s it? I thought you were talking about real people.”

“No, in the game.”

“Boring. I suppose they do look pretty strange right now, though.”

“I think I’m beyond being able to even notice,” said Hiro, slouching in his chair. It was very late.

“You seem unhappy– are you upset about it being too sexual? Some kind of Christian morality thing?”

“That has nothing to do with it,” Hiro said. “It’s just, I guess for me, this is a little disappointing.”

“Tomorrow why don’t you try telling him what you think, then? Aren’t you old classmates?”

Hiro shrugged and slouched some more.

* * *

“What are you doing? Don’t look at idol movies,” said Kazu, the next day. “Watch an anime or something for reference. I don’t want the breast motion to be floppy and liquid. It should be springy and hold together.”

Hiro said, “Well, before, you were talking about experience with real women, so I thought you wanted–”

“Are you crazy?” said Kazu. “What about this character makes you think a realistic treatment is called for? Look at her design! Don’t be ridiculous.” He paused, studying Hiro’s face, then pulled up a chair and sat down. “What’s bothering you, classmate? Your eyes have been so heavy-lidded lately.”

“Nothing. I’m just tired. Maybe I’m a little worried about– I thought we were making something a little more universal. But lately the game seems more and more about, you know, fan service.”

“‘Fan service’ doesn’t mean the audience is only in Japan,” Kazu said. “You know, Gotoh just came back from a big convention in Los Angeles and said his most otaku-oriented titles are the ones that are selling the best abroad. Besides, how much more ‘universal’ can you get than a sexy character? That’s a language that everyone immediately understands.”

Hiro nodded, deciding not to explain he meant something slightly different.

“You still don’t believe me, I can tell. Let’s get a foreigner’s opinion right now– where’s Fastow?”

“Come on, we don’t need Fastow here,” said Hiro, but Justin was already close by, maybe close enough to have heard him say that.

“Uh, it doesn’t seem wrong to me,” said Justin, after they’d explained. “It will certainly attract attention– I can guarantee all the American blogs and message boards will make posts on it. But I don’t think it will exactly surprise anyone, either.”

“See?” said Kazu. “He likes it. You’re being overly prude, Hiroyuki. It’s the influence of your parents– your upbringing.”

Hiro hated the constant mention of his background as if that one detail explained everything about him. His parents were not overly censorious, and just because he was a rarity did not mean that was the whole of his being.

“I mean, sure, there’s sometimes a disconnect over the context in which each culture places sexualized content,” Justin continued, unaware that his role was already over, “But it’s not as if comics, anime and game fans haven’t been already exposed to these kinds of elements many times over. I think they’re used to it. Some Americans might think it’s embarrassing to admit enjoying such content, but they do just the same.”

* * *

Mayuko ordered another beer before he could refuse. “Go on, pour out your heart to me,” she said.

Hiro took a long sip. “How many is this? I’ve lost count.”

“Don’t worry about it. You can pay me back tomorrow.”

“Sure. Well in school I studied computer science because I thought that was my talent, but it took me a while to realize that it might not be my number one interest. As I’ve worked at this company I’m finding it harder and harder to be interested in the kinds of games we’re making, and I’m looking back on my life, just wondering where it went, and wondering where I can go next. What avenues are open to me? I don’t think there are any. I’ll always be implementing someone else’s vision, even if that happens to be not particularly inspiring.”

“That sort of talk reminds me of my grandfather,” said Mayuko, “He was a lathe operator in a machine shop for basically his entire life. I don’t think his generation had the same idea of ambition that people our age do. He just assumed he would always operate that lathe forever. The idea that money or power could be obtained was completely alien to him. So to excel inside the constraints he’d been dealt was the only thing he could do.”

“Whatever,” said Hiro. “No offense, Mayu-chan, but I’m not some long-suffering character in a sappy television drama about life after the war. I’m a programmer in the modern world, and I’m already thirty one, and I have things I want to do but I can’t do them because I’m stuck working for laughable wages for a ‘friend’ who thinks nothing of asking me to put in ridiculous amounts of overtime to make his insipid video games. For fuck’s sake, thirty one!”

“Why are you so worried about your age? A lot of people have–”

“Yoshinori Kitase directed Final Fantasy VII when he was thirty one.”

“You shouldn’t compare yourself to–”

“Hideki Kamiya directed Devil May Cry when he was thirty one.”

“Are you saying you want a–”

“Fumito Ueda directed Ico when he was thirty one.”

“Would you shut up for just one second?” said Mayuko. “You’re making random comparisons that have no meaning! You’re not them. You’re you. Why are you so worried about this? I had no idea you had this strain of ambition in you.”

Hiro took another drink. “I wouldn’t call it ambition, exactly. I just hoped for something more. Something a little better than implementing algorithms for breast bounce for my old classmate who, I should add, was always partying in school and got good grades anyway while I actually tried to study hard and did like shit.” He pounded his fist onto the bar like a cartoon character. “Is that okay? Is it alright to acknowledge I want more than this?”

Mayuko shrugged. “Sometimes it can’t be helped, right? Sometimes there’s nothing to be fought for, nothing to win, and the only thing on the line is your pride.”

“So you’re saying the only thing I can do is be proud of doing what I’m ordered to do? No matter what it is?” he said, and snorted. The izakaya’s loudness with its wall of chatter enveloped his head like a wet towel. Coding forgettable bits of soft-porn silliness might be all that he had any right to expect from his non-charmed life, but if that was the case he would just need to understand that human existence would not make him happy or fulfilled.

There was a long pause in the conversation (Mayuko seemed chastened by his acerbic ranting) and Hiro gazed drunkenly at the bar’s other patrons. Surely, playing the cards that the universe dealt was its own kind of art. Not everyone has talent and not everyone has skill. Not everyone is in the right place to take advantage of either, and even then the vicissitudes of the world operated under their own cruel inhuman logic such that a man’s power diminished into nothing but his ability to influence others and his meager personal understanding of craft.

Craftsmanship. Suddenly there was Mayuko’s grandfather in sepia tones hunched over a third-rate lathe making cheap tin toys in the aftermath of the war (what a schmaltzy thing to envision!), meaningless knickknacks that he poured his sweat into because it was the only thing he cared about– the only thing he could care about.

It was true that one could not always choose what work one did, or where, or how, or with whom. Sometimes, the only real choice was how seriously one could take that work, and to what degree it could be accomplished.

The Bible says: whatsoever thy hand findeth to do, do it with thy might–

“Well, that’s fine,” Hiro said abruptly, slamming his pint glass down a little harder than he meant to, his nose flaring with alcohol. “I’ve decided. I won’t program Kazu’s stupid feature for him just because he asked me to. I will do it for myself. And I will program the greatest goddamn breast physics in the world.”


Comments (14)

Jill Jackson:

A great read. I especially enjoyed the very subtle religion dynamic—Hiro is indeed a rarity if he was raised as his friend's jibes imply he was.

I do wonder, though, is this all a conjectured situation, or is it based on someone you're acquainted with?

wow, that's pretty good. shocked, i guess, because i always cringe when westerners try to write stories set in japan. it's not easy.

obdurate hater of rhythm games:

This is the inherent flaw of today's games: Style and imagination, sacrificed for the sake of the lowest common denominator. Breast physics could be replaced with World War II, one-hit kills or a generic sport franchise.

Geeze, that's depressing. Well done.

That's a good way of looking at things. You hear people complain so often about how they'd rather be doing something more important, something more *meaningful*... but there's something to be said for craftsmanship. Those works of art (literally or figuratively) that we admire are tremendous works of craftsmanship themselves.
An talented painter may create a hundred portraits and put a tiny piece of his soul into each one, but perhaps only one will ever hang in a gallery.

juv3nal:

Shades of Duncan Fyfe there. (that's a good thing)

a hilarious joker type:

What a fantastic short story. As a coder, that scenario is exactly why I've avoided getting involved with the games industry, despite it being something that I love.
I don't think I'd ever be able to get into that sort of mindset about work that I adamantly hated. Especially as I'd also know that the credit for my work would go to someone else.

However, I understand the point of the story and it's one that is well made.

As others have said, fantastic, although the first thing that came to mind was I am sure this is the exception, not the norm, for those stuck "being uncreative" specifically for breast physics, heh. (That, and if you hate it so much, why honestly continue doing it eh?).

obdurate hater of rhythm game:

I empathise with the frustrated artist, for I have theories I cannot test:

◦First, one must understand the context: I learned about recent evidence that suggested dreams, hallucinations, delusions and other altered states reflected the processes used by the brain. Many of the errors found in computer and video games are the same as those in altered states: Clipping errors, untextured areas, distorted time and other weird shit. I believe that my unconscious wanted to explain something that I was intelligent, but not wise--being unfamiliar with Psychology and Neurology--enough to understand:

My first dream: I was told to take a walk, did not want to do so but agreed. I discovered that I was in a First Person Shooter--where I had used a cheat code. This code caused bugs: The characters' heads became transparent and untextured. I awoke to a potential epiphany: I concluded that the bugs in games and altered states were caused by the same errors.

I had, apparently, learned too little from the first dream because another came to mind. It was vivid, yet the deatails were vague: A sports game, somehow, involving swimming and penguins. I awoke with another thought: Perhaps, we could measure and compare the electrical impulses produced in altered states and games. We might create simulations of altered states, measure the electrical activity, add intentional bugs to simulate the errors in altered states, then, again, measure the electrical activity. Perhaps, we could alter the brain's electrical activity in the opposite way and create more consistent experiences. We might gain insights into the natures of our brains, cure diseases such as schizophrenia, paranoia, delusions and mania and end bad dreams.

Best, though unrealistic, scenario: We might be able to feed old men and terminal patients D.M.T, use this information to create the maximum perceived distortion of time, prevent them from having bad trips and make them think that they are, indefinitely in Heaven. D.M.T, apparently, disappears from the body after 10 minutes, so overdosing should not be an issue. I should point that--as far as I know--untextured hallucinatory images are, solely, seen in D.M.T. trips and dreams.

I had a somewhat related theory: Perhaps, our brains manipulate the potential states of electrons--just as programmers do the bits in binary code. Programmers tend to arrange bits in series of eight, known as bytes--atoms are most stable when they have eight electrons on their outer energy shells. Electrons can be shared by two atoms at once, exist on two energy shells at once--or, as the Double Slit Experiment demonstrated, exist in two points, even on a macroscopic scale, at once. Electrons in the Double Slit Experiment have been shown to, apparently, split and act as both matter and energy, exist as either light or dark, and act like normal matter when obversed. Look at the shadow of a Ventian Blind, and see the effect in action: Some slits are dark, others light. 8=2^3, some programmers use hexadecimal, 16 or 2^4--I wonder if there is some sort of psychoquantum aspect to this sort of programming.

Anyone who is more familiar with Quantum Physics, Psychology or Neurology and can offer more insight into these theories, please, respond.

This is my daily struggle. It is important to do your best at whatever you're dealt. Each step in your career builds from the previous ones. It can be exceedingly hard to find the motivation, though, when you know that the string of games you are making don't represent your vision at all, other than being satisfactorily constructed.

Rick:

To obdurate hater of rhythm games and anyone else interested in sleep:

I recommend browsing through several papers by Matthew Walker and others found here:

http://walkerlab.berkeley.edu/papers.html

They take a neuropsychological approach to studying sleep. Some fascinating stuff there, if you want to find purposes behind sleep beyond merely "we do it because we're tired."

To keep this comment slightly on topic:
Boobs.

Good story. I'm there, right there, right now. Taking someone else's project, trying to do your best with it, push it in the right direction, find what's wrong with their ideas and improve it as much as they'll let you...it's easy, and it's comfortable. Breaking with all of that and starting something from scratch, and applying your exacting standards to your own ideas is much harder. And ambition is not guarantor of success, so there's always that fear of failure. But I personally don't think you have anything to worry about, in that regard.

To the obdurate hater who wrote:
"Perhaps, our brains manipulate the potential states of electrons--just as programmers do the bits in binary code."
I think you're close to a fundamental physical truth but you're missing the feature that makes observation possible - consciousness. No one knows why wave functions collapse under observation as they do; but whether you choose to believe the copenhagen interpretation or the Everett's many-worlds interpretation, one constant is the faculty of observation. My own interpretation is that quantization and wave function collapse happens according to which of many possibilities leads to the lowest future probability of the destruction of the consciousness observing it...or put another way, which has the least back-pressure created by futures which contain the unobservable for the observer. Maybe that's wishful thinking (it implies we're each individually immortal, for one thing) but an example of the principle working en masse is the conclusion reached by Nielsen and Ninomiya that the LHC is introducing a reversal of causality and sabotaging itself by its potential to create the world-destroying (i.e., unobservable) Higgs boson.

I have no idea what this has to do with Matt's story, but I thought it was worth commenting on.

Rick:

What has began as a conversation about breasts has devolved into one about quantum physics. If that is not a world-destroying reversal, I do not know what is.


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