Mia Wong

And this all comes back to, again, like, you know, the sort of mythology, the basic mythology of the nerd is that they're like picked on like by the jock or whatever, right? That's like the fundamental base of their mythology, that they're like oppressed by this. But like,

And this all comes back to, again, like, you know, the sort of mythology, the basic mythology of the nerd is that they're like picked on like by the jock or whatever, right? That's like the fundamental base of their mythology, that they're like oppressed by this. But like,

it's just, like, the same masculinity bullshit all the way down, and you can watch, like, just, like, the worst people in fucking history just trick literally exactly the same people into thinking that they're fucking geniuses by using both of these fucking affects.

it's just, like, the same masculinity bullshit all the way down, and you can watch, like, just, like, the worst people in fucking history just trick literally exactly the same people into thinking that they're fucking geniuses by using both of these fucking affects.

it's just, like, the same masculinity bullshit all the way down, and you can watch, like, just, like, the worst people in fucking history just trick literally exactly the same people into thinking that they're fucking geniuses by using both of these fucking affects.

So, I want to read something, you know, in looking at the way that this stuff functions, the way that gaming functions, like, specifically in the culture, and, you know, why these people choose to use gaming as, like, you know, as this sort of affect they're trying to project into the world. I want to read something by a friend of the show, Vicky Osterweil, in a piece called Game Boys.

So, I want to read something, you know, in looking at the way that this stuff functions, the way that gaming functions, like, specifically in the culture, and, you know, why these people choose to use gaming as, like, you know, as this sort of affect they're trying to project into the world. I want to read something by a friend of the show, Vicky Osterweil, in a piece called Game Boys.

So, I want to read something, you know, in looking at the way that this stuff functions, the way that gaming functions, like, specifically in the culture, and, you know, why these people choose to use gaming as, like, you know, as this sort of affect they're trying to project into the world. I want to read something by a friend of the show, Vicky Osterweil, in a piece called Game Boys.

Video games also emerge at a time when technology facilitates an increasingly administered life, in which alienation and isolation feel like a prerequisite to social engagement. Consumer choice is a form of control, and unbounded economic competition produces widespread anxiety.

Video games also emerge at a time when technology facilitates an increasingly administered life, in which alienation and isolation feel like a prerequisite to social engagement. Consumer choice is a form of control, and unbounded economic competition produces widespread anxiety.

Video games also emerge at a time when technology facilitates an increasingly administered life, in which alienation and isolation feel like a prerequisite to social engagement. Consumer choice is a form of control, and unbounded economic competition produces widespread anxiety.

To structure as pleasurable the repetition, learning, and boredom that one once mastered to live under current economic conditions, Games rely on affects, moods, and ideas that are capable of producing not only forms of violence directed towards non-normative groups, but also forms of intimacy, fantasy, and play that point towards a horizon outside of capital's clutches.

To structure as pleasurable the repetition, learning, and boredom that one once mastered to live under current economic conditions, Games rely on affects, moods, and ideas that are capable of producing not only forms of violence directed towards non-normative groups, but also forms of intimacy, fantasy, and play that point towards a horizon outside of capital's clutches.

To structure as pleasurable the repetition, learning, and boredom that one once mastered to live under current economic conditions, Games rely on affects, moods, and ideas that are capable of producing not only forms of violence directed towards non-normative groups, but also forms of intimacy, fantasy, and play that point towards a horizon outside of capital's clutches.

Games provide different compensations for people who are differently situated in the social hierarchy. They give white men aggrandizing power and vengeance fantasies that modulate their sense of self-importance under conditions that disempower them. But they are also capable of giving everyone else the fantasy of an alternative to white supremacist patriarchal capitalism.

Games provide different compensations for people who are differently situated in the social hierarchy. They give white men aggrandizing power and vengeance fantasies that modulate their sense of self-importance under conditions that disempower them. But they are also capable of giving everyone else the fantasy of an alternative to white supremacist patriarchal capitalism.

Games provide different compensations for people who are differently situated in the social hierarchy. They give white men aggrandizing power and vengeance fantasies that modulate their sense of self-importance under conditions that disempower them. But they are also capable of giving everyone else the fantasy of an alternative to white supremacist patriarchal capitalism.

This has been particularly clear in how queer creators, writers, and fans have found space in and around games, despite the organized harassment campaigns, intensely misogynist industry advertising campaigns, and widespread critical and cultural degradation of games that aren't played by cis men.

This has been particularly clear in how queer creators, writers, and fans have found space in and around games, despite the organized harassment campaigns, intensely misogynist industry advertising campaigns, and widespread critical and cultural degradation of games that aren't played by cis men.

This has been particularly clear in how queer creators, writers, and fans have found space in and around games, despite the organized harassment campaigns, intensely misogynist industry advertising campaigns, and widespread critical and cultural degradation of games that aren't played by cis men.