I’m not writing as much as I once did. This is partly because 2013 has been a transitional year for me (having a job that pays well and has regular hours, many different circles of friends, and a boyfriend), and I’ve found I am less satisfied with the same-old. Therefore, it’s not wholly surprising to find most of the writing of which I am proud this year can be found in little odd side projects.
Take, for instance, my work with re/Action this year. I wrote about the question of historicism (heavily influenced by my professor Dr. Rhoades) about what are the stories that are passed on to us in games, and how much can we trust them in terms of their authenticity. Who is telling us this story, and what stock do we place in this? For the most part, so far, we’ve been able to trust our narrators (the exceptions burning a brand in our mind, the likes of which we blazon on t-shirts, blog posts, and memes).
The second instance hits more close to home, as I explain being an ethical slut and and explaining how I am in an open relationship and how I am disappointed at what being a slut in games typically means. At a certain point I stopped counting the number with whom I slept. When I went in for a recent STI screening, I answered, “More than 100 and less than 500” in the number of people with whom I slept with last year. I take my precautions, and they have worked for me so far. More importantly, the people with whom I’ve slept have been people, not just another notch in my masculinity, straight-acting or otherwise.
There was also my contribution to Five Out of Ten, which served to highlight my thoughts on gender and how I explored games in their earlier days (for me, in the late ’80s and early ’90s).
Further, in Memory Insufficient I discuss how the idea of families in a heteronormative context can fit for some queer ideals, but when introducing queer characters, brings up the idea of non-heteronormative methods of passing on culture and tradition. This was raised in part by the successful funding and acceptance of the Massive Chalice Kickstarter (which I did back).
Lastly, I contributed to Ghosts In The Machine, which was a collaborative creative exercise exploring what questions the digital game space opens us up to in terms of larger questions. My own was the ethics of forced-upon violent rhetorics: whom they serve, and what they seek to enterprise out of the audience to whom they speak. I’m not sure whether or not I was successful, but it does beg the question of further exploration among game-like themes.
Surprisingly, for the first time in many years, I played a number of newer releases, about which I would love to share further thoughts, but rest assured I am currently working on a further explication of Gone Home (which I named my GOTY for Sparky Clarkson), and another short story. Whether or not I am ever as prolific as I was before (however sparse that may have been), I hope to still be around and offering.