Still image from Chop Suey (1995).
On Friday, Rhizome published a restoration of three CD-ROM games from the 1990s by Theresa Duncan, which you can play here. Duncan's work has been largely and unjustly forgotten since the 1990s, and this restoration project was inspired, in no small part, by a 2012 article on Duncan's work by Jenn Frank.
Here, Nora N. Khan interviews her about her life in gaming. —Ed.
Acclaimed writer and games critic Jenn Frank is widely known for her excruciatingly intimate memoir essays, in which she often probes her family history and girlhood nostalgia to illuminate why games have been vital for her personally and, by extension, for many others. Her work also explores how players engage with, and imagine themselves, in relation to systems, to the sets of rules established by a game world.
Frank uniquely renders games as profoundly human, explicit articulations of longing, curiosity, awe, fear, and love. Her work is very important to me, and to many other writers and game developers, and when she stepped away from games journalism for a time last year because of harassment, it was a real blow. Now she is publishing again, cautiously, and in an effort to better understand her importance, I spoke with Frank over email about her personal history, her lifelong relationship to games, and her part in shaping games criticism as a form.
Nora N. Khan: Let's start from the beginning. Could you tell us a bit about where and how you grew up?
Jenn Frank: I primarily grew up in a small town in coastal Texas, which is a place very unlike what most people visualize when they think "Texas." This part of Texas is mostly little run-down beach communities: houses on stilts, palm trees, antique stores, fresh shrimp. It's humid; it looks and feels like Florida. Geographically, it's nearer to Mexico than it is to Dallas. It's also sort of remote, locked by land on all sides except the side that is the Gulf of Mexico.
And—I think this is important also to note—I moved here, no kidding, by myself when I was 7 years old, from Seattle, to live with my great-aunt and great-uncle, these much older relatives who eventually adopted me. Until then, I'd been bouncing around the Pacific Northwest to live with all these different people. By the time I was 7, I'd decided I should have myself sent to Texas, so my grandfather packed me up and put me on a plane. So I was still really young when I got here, but I experienced an extreme sort of culture shock anyway.
Meanwhile, my great-aunt and great-uncle, Midwesterners who'd never had children of their own, were really very conservative, even for Texas—not only because they were evangelical Christians, but also because of their age. So they held some very dated ideas about parenting. These people sent me to school each day in a party dress, patent leather mary-janes, and those little socks with lace eyelet at the ankles—every day until third grade. I looked like the main character from The Bad Seed! So my peers were right to be terrified of me. Elementary school was a very rough time.