Laura Hudson calls Left Behind “the most emotionally powerful experience” she’s ever had in a video game: “It’s difficult enough to find a game where a woman is the main character. Finding one where you play as a woman and have positive, meaningful interactions with other women? It’s like spotting a goddamn unicorn.”
Mary Flanagan considers the complexities and issues of gender stereotypes in games and toys: “Parents may argue that girls like being addressed as a particular demographic, and social pressures force them to buy ‘girlie’ toys. I’ve heard many swear girls are born from the womb wanting princess dresses. Yet we know this is not entirely true if we look at the history of advertising toys and see how play is represented. What may seem quite ‘natural’ is wrapped in images on television, in games, and in ads.”
We all know that girls need better role models in toys and movies. However, Rachel Marie Stone argues that boys need better role models, too, than the action-loving, muscle-bound superheros currently marketed towards them.
The Sisters of Mercy and Andrew Eldritch were basically a goth version of Meat Loaf, and “This Corrosion” is their masterpiece. “As much as The Sisters are called goth, this is not music for shrinking violets. It became the anti-anthem of a jingoistic decade in dire need of one: aggressive, decadent, magnetic, metallic, and in the case of ‘This Corrosion,’ downright operatic.”
When my brother, who’s a huge Final Fantasy video game fan, got married, he incorporated some of Nobuo Uematsu’s theme music into the service. However, he and his wife could’ve taken it one step further and had a true Final Fantasy wedding.
Steven D. Greydanus revisits The Incredibles 10 years after its initial release and finds that it’s just as delightful as ever, if not moreso: “Of all the films I reviewed in 2004, The Incredibles is surely the one I’ve rewatched the most — and the one I would most readily rewatch again.” I heartily agree. I love Finding Nemo and the Toy Story films, but The Incredibles is by far my favorite Pixar movie. Here’s hoping we don’t have to wait too much longer for a sequel.
Greg Knauss describes the Internet as an “empathy vacuum”: “Exposed to the entire spectrum of human enthusiasms, it’s basically impossible not to judge. Our empathy overloads and gives up and we sit, staring at the screen aghast, that somebody, somewhere might actually believe that what they’re doing is OK, is acceptable, is even appropriate… Everybody is somebody else’s monster.” Via
The Digital Comic Museum has thousands of public domain “Golden Age” comics available as free downloads. You won’t find any Spider-Man or Batman adventures, but you will be able to finally complete your Black Cobra, Space Detective, Fighting Yank, and Nyoka The Jungle Girl collections.
Edward Frenkel wants to teach kids about the timeless beauty of mathematics: “In elementary and middle school and even into high school, we hide math’s great masterpieces from students’ view. The arithmetic, algebraic equations and geometric proofs we do teach are important, but they are to mathematics what whitewashing a fence is to Picasso — so reductive it’s almost a lie.”
Earlier this year, I linked to an article concerning the spiritual aftermath of Japan’s 2011 earthquake and tsunami. Now, Rebecca Solnit looks at the social and political upheaval caused by the disaster. “An earthquake can be a great social leveller at first, but policy and prejudice will decide who gets aid and recompense and compassion later, and it will never be equitable, as this farmer knew well. Disaster solidarity often fractures along these lines.” Via
In light of the upcoming Noah movie, Michael Cieply looks at Hollywood’s relationship with religious movies. In response, Noah Millman wonders what makes a film “religious” anyway?
It’s the end of an era: Carl Kasell is retiring from Wait Wait... Don't Tell Me! this spring. And in a fitting tribute, people can leave him “thank you” voicemails.