#easy targets

[swan2swan]

“This was your father’s staff. And his father’s before him. So now it falls to you--RANDOM CHILD. That’s right, you’re not my daughter, that would be silly.”

[hymnrevival]

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[cherievsbullies]

Why The Quiet Ones Are Often Targets for Bullies

Why The Quiet Ones Are Often Targets for Bullies

  Quiet people are mysterious because they’re people of few words. Many of them are also stoic, which only makes it that much harder to peg them. Often bullies target these people for several reasons: 1. Quiet people are presumed to be easy targets. They think that if you aren’t loud and obnoxious, you must be weak, afraid, and least likely to fight back in an altercation.  2. They’re are…

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[andrea-c-soncini-fantasy]

How Far To Hitchin: Black Bead Eye

[yahos-remade]

fav things to cyberbully idols for:

being a twink

being catcholic

[hollenius]

Found this book at work. Wondering if a copy can be donated to the White House. You know. Just for reference...

[motheatonn]

The Division is bad but so are cheese sticks

WHAT SEPARATES The Division from any of the other criminal or war profiteering organizations in the game? The right answer is nothing, but it’s also the wrong answer. The other answer is point of view, and that is the operative, or mechanical answer that hopefully puts the boots on the gamer as position. A videogame does not have to account for nor accrue perspective. it can, but it never has to. I can fight every point of view in a game, hate every character interaction, hate my body’s movement and reactions to the world, and still enjoy myself. I can laugh as my puffy jacket gets glued to the wrong piece of cover, and name every enemy NPC Alex. The received tone is overrun by play, flow, and dopamine.

I don’t think videogames represent or present us with a forgone interpretation. In fact, much of the criticism about The Division that I have read kind of assumes, well, that their experience could be taken as a final say? When someone says that it’s boring, I agree that the encounters aren’t particularly dynamic – but this avoids the game’s progression, which is tied directly to this monotony. Leveling, getting upgrades and abilities is an overlay for play, much like everything else in the game; it’s a power fantasy and a shitty calculator and a highly detailed lampoon but also send-up of fear mongering and of homeland security and gentrification and... It teeters on idiot fascist stilts, and serves and protects our goals and egos. It asks us nothing but only to ask it of nothing as well. And so, I kind of laugh when someone says that they want more detail and conflicted and nuanced heroes within it, because all of the cardboard cutouts in post-dollar flu New York want the same thing.

I think the world in The Division is grimy and awful, its story and imagination are laughably bad (“YOU ARE ORDERED TO LEAVE THE BRONX”), and these things are what draw me into it and so I’m doing jumping jacks in the snow in a puffy jacket and handing out cliff bars to hungry civilians for hats with my friends. It’s disgusting. So, then I feel there is this problem with the sort of popular “criticism of this thing that I know is bad but that I know I enjoy,” as still a process for generating exceptions; trying to arch the argument as if criticism somehow absolves one of responsibility or complicity. But this is just one way that totality drags our experiences under some kind of tautology. We want to all be there fighting together; we want to all be there fighting each other. And we will.