Then again, had I done that I might not have gotten into grad school at all.
Anyway, for those who care, here's a link roundup of what I've been doing.
- “The Consumption Palace”: Gamers, misogyny, and capitalism
Violent anger is, almost without fail, how the privileged react when they perceive that their privilege is being threatened. But this is also about community originally built around wounded egos, and it’s about consumer capitalism and the sense of entitlement that invariably results. Put all of this together in the context of a racist, misogynist culture, and you have a recipe for horrific degrees of harassment and abuse.
- Writer-Creator vs. Gamer Consumer-King: an addendum
I could sit down tomorrow and write a novel in three months or so, and very possibly sell it in a few months more. I am not going to sit down and make an AAA video game. No one person can do that: they take entire development teams years and millions of dollars, and require the backing of large publishers to market and distribute. In other words, the barriers to entry are rather high. Considerably higher still if you’re not a white cisgender man.
- Not a REAL Gamer: Identity and conspicuous consumption
This isn’t just about consumption; it’s about conspicuous consumption. How high a priority are games for you? How much do you spend, how much of a premium do you place on getting something as soon as it’s out? These are some of the ways in which the lines are drawn and in which they’re maintained, and it’s about identity expressed as buying things.
On my author site (spoilers in both of these):
- On The Walking Dead S2, Sarah, and why it all matters
This was a game that did what so few games have the courage to do: show a world that is as rich and hard and haunting as the one in which we actually live, through people who are rich and hard and haunting as well. Basically, you guys did something amazing. And up until episode 4 of S2, I would have said you were on track to do the same.
- Thoughts on ludonarrative difficulties and The Walking Dead: Season Two
The most emotionally powerful stories are the ones that immerse you so completely that they (literally) place you in a trance state, a state of such intense hyperfocus that you forget you’re reading at all. The medium – the page (physical or digital) and the words – disappears, and all that remains is the story. If, at the climax of a game like TWD, I become aware that I’m playing a game, the game has failed.
Like I said, I wish I had gone with my gut and started doing this way earlier than I did. Oh, well.
This entry was originally posted (with comments) at my Dreamwidth.