f~artsy digitalist, tree-huggin', dirt-worshippin' gardener, knitter, up/re-cycle-; See me4 altar-d art, archaelogy (other alphas, bettas, thru omega and beyond). Also fairly constant, consistent need of organization/storage (tho less so after June 2014). A sometime physical science~math~digital~arts teacher/producer, e/infp, aqueerian sun, leo moon, gemini rising (cusp-y back to cancer)....
Did you see One Little Word is on Instagram? No? Go check out @olw_wordup and come join the fun. My take on WILL, this months #wordup #olw, is an art journal page. Come play with us. I promise i play nice ;)
Some days, it feels like we’re at a crossroads in games, that the power of thoughtful transformative work is pushing us forward. But then the death threats start up again and we’re reminded that the process of untangling gaming culture from toxic misogyny is still very much a work in progress.
Despite (or because, as keen observers suggest) of the hard work that has made game culture more inclusive, backlash against female designers and critics who push vocally for change has become near constant on social media. This past month, game developer Zoe Quinn has been at the center of a perfect storm of hate-speech-laced conspiracy theorizing. Quinn is an accomplished developer best known for her game, “Depression Quest” an innovative indie title that explores depression and mental health. In August, an ex-boyfriend published a lengthy account of their breakup online, which launched a campaign of harassment by online vigilantes that spiraled into physical threats on her life.
Swirling amid the free-floating hatred and sex-shaming of Quinn are infuriating questions about her work. Message boards and comment sections are awash with armchair investigators claiming her relationships with journalists were tantamount to jury-rigging the reception of her critically acclaimed game. Putting aside the irony of attacks that involve hacking and theft of personal information over what is being characterized as an issue of “journalistic ethics,” or that charging cultural critics with “corruption” is profoundly missing the point of how critics have always been integral to the development of art and culture—what often goes unmentioned is that none of these alleged acquaintances ever reviewed Depression Quest and that (unlike your typical racketeer) Quinn released her game for free or pay-what-you-wish. It’s a situation women in every professional field are made to fear: that unfair judgments about our personal lives will not only follow us to work, but that at any moment a rumor can be weaponized to tear down our hard-won success.