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In fact, sex in general remains a problem for game designers – titles such as Heavy Rain, The Witcher 3 and the Mass Effect series have featured sex, but the awkward character models often make the scenes look ridiculous. For one thing, a video game representation of oral sex is a difficult proposition. Here is where Yang’s representation becomes more abstract. The player’s perspective then shifts to crotch height.
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Peeing is your plausible deniability as to why you’re there.” If the object of your gaze is interested, however, enough careful eye contact fills a bar above his head, and he’ll abandon the urinal and approach the camera. “The funny thing is,” he says, “with tearooms you’re not there to pee at all. Ironically, Yang wanted to create his “technologically advanced urinal” (which you can aim a stream of urine into and also flush) as a response to the habit other video games have of providing bathrooms that serve no purpose. The player cannot move away from the urinal, so the only actions available to them when not soliciting or engaging in sex are to look around, perhaps glancing out of the window to check for cop cars, or to pee. If the other man doesn’t want to be looked at, a red eye with a line through it appears on screen. Yang wrote on his blog that this mechanic was difficult to design because – as he puts it – “decades of male heterosexual hegemony have trained gamers into thinking of ‘looking’ as a ‘free’ action, with few consequences or results.” Players who are used to works that pander to the straight male gaze may struggle to empathise with someone for whom a glance may be punished. It’s like a subversion of the stealth genre, as this time you want to be seen (though not by the cops). In the game, large icons clearly indicate when it is or isn’t appropriate to look towards the man at the other urinal. Stealth-genre subversion … large icons clearly indicate when it is or isn’t appropriate to look towards the man at the other urinal. A lot of it is eye contact, so they’ll be peeing and then they might look at you and then you look at them, and then you look away and then they look away. “ actually calls it a game, and tries to write out what the rules are and stuff, so it’s almost like a game design document. “A lot of it is based on this sociological study by Laud Humphreys called Tearoom Trade,” says Yang. Your goal is to engage in sexual acts with other men, but before that, you must wait for someone to enter, and then engage in a ritual that involves repeated periods of prolonged eye contact, all the while keeping an look out for the police. His latest game, The Tearoom, is about the experience portrayed in Jones’s documentary: cruising public toilets for anonymous sex.
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Robert Yang is an indie game developer and artist who has released a number of short, often funny games about gay sex and culture: Cobra Club is a dick pic simulator, Hurt Me Plenty explores consent and BDSM, and Succulent is inspired by “homo hop” music videos.
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Public bathrooms have long been a battlefield where LGBT people are targeted by the law. And with good reason: many of them were later arrested. The footage reveals the men involved were diverse in appearance – and presumably background – but all were wary. An artist named William E Jones, who was born in Ohio that same year, later found the footage online, edited out a voiceover that he described as “as illiterate and hateful a text as I have ever heard committed to film”, and released the result in 2007 as a “found footage” documentary called Tearoom (US slang for a public bathroom in which men meet to have anonymous sex). I n Mansfield, Ohio, 1962, police set up hidden cameras in a public bathroom to record consensual sexual activity between men.