asses.masses is a unique, 7-hour, live performance that uses video game logic to expand the narrative possibilities and social dramaturgy of experimental theater. With a single video game controller at the front of a movie theater with lights up so everyone can see each other, the audience must negotiate amongst themselves who will step up to play the next section of a narrative game that spans a wide range of different genres from 8-bit pixel art RPG representing the hyperreal to high-res, 3D open world walking simulators representing a fantasy idealized realm. The audience also has to negotiate how to make hundreds of collective decisions that come up in the game from dialogue tree options to which direction to to go to deciding which set of metaphoric political platform issues that should be prioritized for the ensemble cast of socialist Marxist donkeys. They lean upon the binge-watching culture to split the 7 to 8-hour run time into 10 total episodes split into 2-episode chunks that are broken up by 4 different intermissions where snacks and dinner are provided.

Here's a description of the story that's told in this long-form format:

The unemployed donkeys have one demand: the humans must surrender their machines and give all donkeys their jobs back. But revolution is never easy!

asses.masses is a custom-made video game about labour, technophobia, and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance, an immersive, cheeky, and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential.

Confronting automation-driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us.

asses.masses is Animal Farm meets Pokémon meets Final Fantasy, as exciting in form as it is in content. No previous gaming (or donkey) experience required.

asses.masses is one of the more unique immersive experiences that I've had a chance to have, especially when it comes to mashing up social behaviors that stem from video game culture, but set within a live theatrical context. I saw asses.masses at PAM CUT (Portland Art Museum's Center for an Untold Tomorrow) here in Portland, OR on March 29th, and I had a chance to remotely catch up with the co-creators Patrick Blenkarn and Milton Lim to unpack their journey of blending video games into how stories are told in a live theatrical performance. We also explore how they're exploring new modes of social dramaturgy that leverage insights from couch co-op, live Twitch streams, and video game logic where part of the performance is automated through the video game itself, but it's augmented by the emergent social dynamics of the audience that end up reflecting main narrative themes of managing flows of power, community-building, collective decision-making, and in the case of our screening some actual revolt against an theater nerd/gamer audience member turned heel.

Overall, the experience allowed the audience to exercise some muscles of social imagination beyond the Capitalist Realism baseline as elaborated by Mark Fisher's work, and there was a turn-taking between the more cathartic mode of Aristotelian drama and breaking the fourth wall of Brecht's distancing effect / alienation effect. The narrative was initially developed to serve a wide range of game-play mechanics in a live theater context, but the spaciousness of the extended run-time allowed them to explore many deeper philosophical, political, and economic topics that most stories do not have the time to get into. The ensemble cast of archetypal characters each have their own arc, and I found that the ending and epilogue really landed and stuck with me. If you have an opportunity to catch an upcoming scre...