The dollhouse is a place to prepare for real life. Of course, most toys, most play has often served that cultural role. Play becomes a space in which children can try on different roles and practice their conceptions of those roles for the future. We play, we practice, and we prepare.
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Any game of The Binding of Isaac begins with a naked little boy whose eyes are streaming with tears. Every successful ending to a game of The Binding of Isaac ends with a grotesque monstrosity whose eyes are streaming with tears.
The titular protagonist of The Binding of Isaac is like many video game characters, a kind of paperdoll. In this game, though, the bare canvas that the player begins the game with, this naked little boy, perhaps, makes that function of the video game character as a form of dress up doll that much clearer.
Save the world. Save the princess. Save yourself. Moonkid is a video game about what you can’t do. It isn’t a power fantasy. It’s a fantasy of powerlessness.
It’s appropriate that the titular character, Moonkid, is the role that the player takes on in a story about not saving the world. After all, a child represents the opposite of what most video game characters normally do. Children are vulnerable, often incapable, lacking in skills and abilities that we think are requisite to accomplishing “important” tasks. Instead, children bear witness to the world.
So, a trailer appeared yesterday that indicates that the forthcoming release of Grand Theft Auto V for the newest generation of consoles will include a mode in which you can play the game from a first person perspective.
Which is fine, I guess.
I’m sure that there are fans of the series out there for whom this announcement will provoke great excitement, players who really love a first person playstyle and would love to experience one of Rockstar’s open world from this perspective. Which, again, is fine. I don’t have a problem with the option to play the game from different perspectives. Knock yourself out.
It’s one of the more exciting gunfight sequences in recent cinema. Having just witnessed the death of his mentor, Django Freeman, a former slave and a man searching for his wife and revenge against her captors, takes on all comers in a gun battle on the first floor of a plantation house.
It’s a sequence that is defined by Quentin Tarantino’s love for blaxploitation cinema, a genre interested in representing empowerment and justice through spectacles of violence. In this scene in Django Unchained, Django proves his worth and even the just nature of his cause in his proficiency in exacting revenge against his oppressors. Cowboys die in droves, blood splatters the walls, and his killing spree is only halted by a threat of violence against his wife, the woman he loves and his chief motivation for action throughout the movie.