Upon learning more about activism and the many methods of resistance, I know there are parts of me that come up against and even alienate people of certain radical politics.
I can count the number of times I’ve worn this swimsuit on both hands. It’s a black one piece, with an exposed back and halter straps tied behind my neck. The ruffles spilling down the front are tattered from living in the corners of various bay area dresser drawers, giving that Jackie-O look I usually […]
I find that we don’t often pay attention to how we are affected by play, just that games affect and we are affectable.
What is it that we want?
I’m going to get right to it: any critique or reporting on games that doesn’t include an intersectional perspective on the presence capitalism in games is incomplete.
I’ll be the first to admit that the first dozen or so articles I wrote about games bore a strong resemblance to undergrad critical theory essays.
What does it mean when critics and creators can’t afford to keep up with the tech race?
The worth of my writing and advocacy is constantly augmented by my relationship to money. In order to keep up with critical conversation, I must constantly buy games. And not the cheaper ones, but the sixty dollar hits that many of my peers get for free.
The cultural politics that voice acting implies, however, often escape analysis.