- Registrado
- 28 de Dic, 2014
They're addicted to being victims and GG has a lot of angry nerds who do shit they can portray as being "victimized" and "bullied" but without any real risk of actually being physically harmed.
💼 Careercow Keith Michael Petit / Carolyn Petit / Carolyn Michelle Petit / @CarolynMichelle - Insane Tranny Who Wants to Be Leigh Alexander
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🇵🇦 Nuestro primer dominio localizado está en español en kiwifarms.pa. Our first localized domain is on Spanish on kiwifarms.pa.
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They're addicted to being victims and GG has a lot of angry nerds who do shit they can portray as being "victimized" and "bullied" but without any real risk of actually being physically harmed.
- Registrado
- 6 de Oct, 2014
I've never been a big Zelda fan, but I doubt knowing all the lore would make that text-wall make anymore sense.
- Registrado
- 24 de Sep, 2015
Nintendo's Princess Zelda was named after Zelda Fitzgerald. This sperg must've read it in some wiki and ran with the theme.
- Registrado
- 3 de Feb, 2013
Because it isn't some sane thing. It isn't an insane rambling either. It's a shitty shitty attempt at satire where the author tried to reverse the gender argument but fails miserably. This author isn't completely insane. Just bad. She finds work and has a fanbase. However when she tries to venture out of her normal writings into humor, it's just utter shit.
I do not know how much more of a lolcow she is outside of a terrible attempt at being clever, but we can only hope
- Registrado
- 16 de Jun, 2013
A movement pretending to be about civil rights will naturally attract people pretending they're minorities. Maybe there's more to it than that, but it seems pretty simple to me. After all, you know what they say - "fakes of a feather flock together"...
Exactly. This is nothing to get excited about - as cat says, it's "a shitty attempt at satire" and nothing more. Reminds me of the sort of silly-clever stuff I used to read on the old Adequacy.org site, way back when - only this isn't half as competent.
- Registrado
- 12 de Abr, 2014
"Reverse the genders" is meant to highlight when people react differently to things happening to men or women. It's sort of like holding up a mirror. In doing so, it assumes that mainstream gaming/nerd culture hates women as much as they hate men, which is a ridiculous assertion. That's why it goes off the rails so hard. But it does serve one useful purpose. By reversing the genders, it illustrates just how fucking retarded the Linkle bitching is, and that we should laugh even harder.
- Registrado
- 24 de Sep, 2015
So what exactly was this supposed to satire?
- Registrado
- 27 de Jun, 2014
10 things I've learned about Carolyn Petit in less than Half an Hour thanks to @cat
1. She's personal friends with absolute nutjob/Feminist Frequency Secretary Katherine Cross
She practically fellated Cross' severed tranny dick on her Tumblr.
2. Spergy outbursts aside, she has practically no personality of her own on Facebook.
Her facebook is a seamless flow of other peoples' content.
3. Her Tumblr, however? SOLID GOLD. I didn't expect I was going to find something to rival her Zelda post - I did in the span of twenty seconds searching her Tumblr. Behold, yet another nugget of solid autism, in which she spergs - for pages - about an NPC car in a 1980s sega Genesis game:
4. Almost every single post she writes on everything hits exactly one note, rather like Springtrapp, Zhane, and numerous other Social Justice Assholes we've covered. And yet, she's so much better. She's like the unholy result of TJChurch fucking Navgtr, and giving the resulting spawn a Gender Studies degree and sex change. Sophistry runs rampant in every posts she makes, and she often goes into such long-winded, insane tirades that you can't help but laugh, in equal parts confusion and legitimate hilarity.
5. That case of what she did in the topic? Only the tip of the iceberg. In her safe space, she bitches about her EXPERIENCES, and how gaming never lives up to them because THERE'S NO SUPER ULTRA DEEP EMOSHUNAL PLOT AND THAT IS ALL THAT MATTERS when bitching about fucking Mario Maker. She has a joyboner for Dragon Age: Inquisition that's so ridiculous it borders on the love Chris has for Sonic. Everything she does integrates somehow with her transitioning and she mentions it every twelve seconds. Shes's also a complete nutjob, as this quotable from her bitching about trailers and accusing multiple games of racism proves:
6. She is the only person I've read anything from so far who thought Sunset was unironically good.
7. She doesn't understand games at all unless they allow her to express something or they involve some sort of narrative jiggery-pokery. She was triggered like crazy over Battlefield: Hardline and Bloodborne gave her the vapors because it's a Lovecraftian story and that means everyone is comprehensively fucked. She'll bitch about any game outside the SJW overton window being nothing but a male power fantasy and how if something doesn't appeal to feminists it's automatically problematic. The only area she differs than her peers in this regard is that she'll bitch about the most hilarious shit.
8. Her Youtube is nothing of substance. Her Vice, however, is essentially her Tumblr given a platform. Seriously, she's being paid to do the same madness.
9. Her Patreon indicates she wants to be Leigh Alexander.
10. She's flanked on all sides by people better than her, and it's driving her nuts.
1. She's personal friends with absolute nutjob/Feminist Frequency Secretary Katherine Cross
She practically fellated Cross' severed tranny dick on her Tumblr.
2. Spergy outbursts aside, she has practically no personality of her own on Facebook.
Her facebook is a seamless flow of other peoples' content.
3. Her Tumblr, however? SOLID GOLD. I didn't expect I was going to find something to rival her Zelda post - I did in the span of twenty seconds searching her Tumblr. Behold, yet another nugget of solid autism, in which she spergs - for pages - about an NPC car in a 1980s sega Genesis game:
In March, around the release of 3D OutRun on the 3DS, I wrote a post called The Women in the White Convertible.
OutRun is one of the essential games of my life. But in that post, I wrote,
I was aware that while OutRun was a fantasy, it wasn’t entirely my fantasy. On the long road trips my family sometimes took, I’d often look at another driver and escape from my own life for a while by wondering who that person was, where she might be going, what her life might be like.
This would happen when I played OutRun, too. I didn’t give a damn about this guy in the Ferrari with a lady by his side. His California adventure was not the story I was really interested in. Always when I saw the convertible with what I interpreted as two women in it…
…I started wondering who they were. I wanted them in the center of the screen, and the Ferrari with the man behind the wheel and the woman in the passenger seat to be just another car I was outrunning on the road. I wanted their California adventure. Were they good friends or lovers? Were they getting away to San Francisco for the weekend? Would they go on wine tastings? What did 25-year-old women even do together, I wondered. Whatever it was, that was the life I wanted. And even in this fantasy world, I was still denied it.
In OutRun, male experience is literally centered. Women exist in the periphery. Now, as if in answer to my longings, here comes Wheels of Aurelia, a narrative road trip game set in 1978 Italy, centered on a female protagonist, the restless and stylish Lella. Upon launching the game (which is currently in beta), I was immediately reminded of OutRun. The first thing you see here are arcade-style high score screens listing the times at which drivers have reached each of the game’s endings, and OutRun, famously, is a driving game in which you try to reach one of five destinations, choosing your path at forks in the road.
In some ways, this comparison I couldn’t help making does not benefit Wheels of Aurelia. In OutRun, driving is a core part of the experience. The shimmering music and the idealized California settings are what make OutRun memorable, but if the driving weren’t pleasant, none of that would have saved it. I came to Aurelia expecting to similarly enjoy coasting along its Italian roads, but Aurelia’s driving is not fun, at least not yet. It’s too limiting to be enjoyable and yet too involved for you to ignore it altogether. I almost wish I could ignore it, and just take in the scenery and the conversation. I figure Lella’s a seasoned enough driver that she doesn’t have to think about it much, so why should I? Let it be almost automatic, like it is in another game about driving and talking at the same time, Three Fourths Home.
Lella’s conversations with her passengers take priority but they don’t mesh well with the driving. The game divides my focus between cycling through possible responses to my passenger’s last comment and navigating the turns ahead, and the conversations suffer as a result, dragged down by my diverted attention. I was also repeatedly frustrated when I’d encounter a hitchhiker and had no choice but to stop to pick him up, which abruptly interrupted the flow of a conversation I’d been enjoying.
And yet, for all that, I came away from the game with my brain buzzing, exhilarated by an encounter with something I still so rarely come across in games or even films: women who are intellectually and emotionally alive, whose lives as women are centered, and who talk about their own experiences as if they matter. On my one brief playthrough, conversations touched on political systems, feminism, sex and abortion and children and religion.
These conversations are not the stuff of what some might nonsensically dismiss as games writing with a political agenda, but rather an example of writing that acknowledges that life as individuals and as women within social systems is inherently political, and that women actually talk about their lives in ways that recognize this. If you don’t think women actually talk about these sorts of things, you get too many of your ideas about women from movies and television.
Why are such depictions of women so rare? Where are all the thoughtful characters who are passionately invested in the intrinsically political nature of their own lives at a particular time and place? As if responding to my thoughts about how refreshing it was to see two women discussing the social forces shaping their own lives and not just, say, talking about men, at one point my passenger said something like “To hell with men! They always want you to talk about them!”
In her great piece Green Screen: The Lack of Female Road Narratives and Why it Matters, Vanessa Veselka writes,
Whereas a man on the road might be seen as potentially dangerous, potentially adventurous, or potentially hapless, in all cases the discourse is one of potential. When a man steps onto the road, his journey begins. When a woman steps onto that same road, hers ends.
Siddhartha wants liberation, Dante wants Beatrice, Frodo wants to get to Mount Doom—we all want something. Quest is elemental to the human experience. All road narratives are to some extent built on quest. If you’re a woman, though, this fundamental possibility of quest is denied. You can’t go anywhere if you can’t step out onto a road.
True quest is about agency, and the capacity to be driven past one’s limits in pursuit of something greater. It’s about desire that extends beyond what we may know about who we are. It’s a test of mettle, a destiny. A man with a quest, internal or external, makes the choice at every stage about whether to endure the consequences or turn back, and that choice is imbued with heroism. Women, however, are restricted to a single tragic or fatal choice.
And in the preface to the 1999 edition of her novel Girls, Visions and Everything, Sarah Schulman writes:
If I could stretch to universalize to Jack Kerouac, then the dominant-culture reader must be able to reciprocate by universalizing to me. This last goal has not yet been realized. Yet over the years, it has become clearer to me what that shift in subjectivity would require. And, of course, being able to imagine a cultural progression is the first step toward achieving it.
And that’s what I find so exhilarating about Wheels of Aurelia. Road trips and quest narratives have always spoken to me deeply. But from Jack Kerouac to the driver in OutRun, these experiences and narratives have almost always centered men. And I universalized those men. But what I was grasping at when I wrote The Women in the White Convertible was the longing–really, the need–to have women’s quest narratives be universalized, too. In OutRun, I wanted to know who those women were, what their relationship was to each other, what they were running from, what they were running to. Aurelia gives me a glimpse of what that might look like.
We’re nowhere near the point where these kinds of stories, when they have women at the center, can be seen as universal, but Schulman is exactly right when she says that being able to imagine a cultural progression is the first step toward achieving it. Wheels of Aurelia left me buzzing because it nudges us ever so slightly closer to that world.
I think back to OutRun, and how you, as a male driver, choose your path at those forks in the road. The woman is just along for the ride. How that seemed perfectly normal, yet how strange it would it have seemed in 1986 if you were driving as a woman who was forging her own path. Typically men are the doers, and women are the ones affected by the actions of men.
Veselka wrote, “True quest is about agency, and the capacity to be driven past one’s limits in pursuit of something greater. It’s about desire that extends beyond what we may know about who we are. It’s a test of mettle, a destiny. A man with a quest, internal or external, makes the choice at every stage about whether to endure the consequences or turn back, and that choice is imbued with heroism.”
How political, how heroic it is for a woman to get behind the wheel and hit the road.
OutRun is one of the essential games of my life. But in that post, I wrote,
I was aware that while OutRun was a fantasy, it wasn’t entirely my fantasy. On the long road trips my family sometimes took, I’d often look at another driver and escape from my own life for a while by wondering who that person was, where she might be going, what her life might be like.
This would happen when I played OutRun, too. I didn’t give a damn about this guy in the Ferrari with a lady by his side. His California adventure was not the story I was really interested in. Always when I saw the convertible with what I interpreted as two women in it…
…I started wondering who they were. I wanted them in the center of the screen, and the Ferrari with the man behind the wheel and the woman in the passenger seat to be just another car I was outrunning on the road. I wanted their California adventure. Were they good friends or lovers? Were they getting away to San Francisco for the weekend? Would they go on wine tastings? What did 25-year-old women even do together, I wondered. Whatever it was, that was the life I wanted. And even in this fantasy world, I was still denied it.
In OutRun, male experience is literally centered. Women exist in the periphery. Now, as if in answer to my longings, here comes Wheels of Aurelia, a narrative road trip game set in 1978 Italy, centered on a female protagonist, the restless and stylish Lella. Upon launching the game (which is currently in beta), I was immediately reminded of OutRun. The first thing you see here are arcade-style high score screens listing the times at which drivers have reached each of the game’s endings, and OutRun, famously, is a driving game in which you try to reach one of five destinations, choosing your path at forks in the road.
In some ways, this comparison I couldn’t help making does not benefit Wheels of Aurelia. In OutRun, driving is a core part of the experience. The shimmering music and the idealized California settings are what make OutRun memorable, but if the driving weren’t pleasant, none of that would have saved it. I came to Aurelia expecting to similarly enjoy coasting along its Italian roads, but Aurelia’s driving is not fun, at least not yet. It’s too limiting to be enjoyable and yet too involved for you to ignore it altogether. I almost wish I could ignore it, and just take in the scenery and the conversation. I figure Lella’s a seasoned enough driver that she doesn’t have to think about it much, so why should I? Let it be almost automatic, like it is in another game about driving and talking at the same time, Three Fourths Home.
Lella’s conversations with her passengers take priority but they don’t mesh well with the driving. The game divides my focus between cycling through possible responses to my passenger’s last comment and navigating the turns ahead, and the conversations suffer as a result, dragged down by my diverted attention. I was also repeatedly frustrated when I’d encounter a hitchhiker and had no choice but to stop to pick him up, which abruptly interrupted the flow of a conversation I’d been enjoying.
And yet, for all that, I came away from the game with my brain buzzing, exhilarated by an encounter with something I still so rarely come across in games or even films: women who are intellectually and emotionally alive, whose lives as women are centered, and who talk about their own experiences as if they matter. On my one brief playthrough, conversations touched on political systems, feminism, sex and abortion and children and religion.
These conversations are not the stuff of what some might nonsensically dismiss as games writing with a political agenda, but rather an example of writing that acknowledges that life as individuals and as women within social systems is inherently political, and that women actually talk about their lives in ways that recognize this. If you don’t think women actually talk about these sorts of things, you get too many of your ideas about women from movies and television.
Why are such depictions of women so rare? Where are all the thoughtful characters who are passionately invested in the intrinsically political nature of their own lives at a particular time and place? As if responding to my thoughts about how refreshing it was to see two women discussing the social forces shaping their own lives and not just, say, talking about men, at one point my passenger said something like “To hell with men! They always want you to talk about them!”
In her great piece Green Screen: The Lack of Female Road Narratives and Why it Matters, Vanessa Veselka writes,
Whereas a man on the road might be seen as potentially dangerous, potentially adventurous, or potentially hapless, in all cases the discourse is one of potential. When a man steps onto the road, his journey begins. When a woman steps onto that same road, hers ends.
Siddhartha wants liberation, Dante wants Beatrice, Frodo wants to get to Mount Doom—we all want something. Quest is elemental to the human experience. All road narratives are to some extent built on quest. If you’re a woman, though, this fundamental possibility of quest is denied. You can’t go anywhere if you can’t step out onto a road.
True quest is about agency, and the capacity to be driven past one’s limits in pursuit of something greater. It’s about desire that extends beyond what we may know about who we are. It’s a test of mettle, a destiny. A man with a quest, internal or external, makes the choice at every stage about whether to endure the consequences or turn back, and that choice is imbued with heroism. Women, however, are restricted to a single tragic or fatal choice.
And in the preface to the 1999 edition of her novel Girls, Visions and Everything, Sarah Schulman writes:
If I could stretch to universalize to Jack Kerouac, then the dominant-culture reader must be able to reciprocate by universalizing to me. This last goal has not yet been realized. Yet over the years, it has become clearer to me what that shift in subjectivity would require. And, of course, being able to imagine a cultural progression is the first step toward achieving it.
And that’s what I find so exhilarating about Wheels of Aurelia. Road trips and quest narratives have always spoken to me deeply. But from Jack Kerouac to the driver in OutRun, these experiences and narratives have almost always centered men. And I universalized those men. But what I was grasping at when I wrote The Women in the White Convertible was the longing–really, the need–to have women’s quest narratives be universalized, too. In OutRun, I wanted to know who those women were, what their relationship was to each other, what they were running from, what they were running to. Aurelia gives me a glimpse of what that might look like.
We’re nowhere near the point where these kinds of stories, when they have women at the center, can be seen as universal, but Schulman is exactly right when she says that being able to imagine a cultural progression is the first step toward achieving it. Wheels of Aurelia left me buzzing because it nudges us ever so slightly closer to that world.
I think back to OutRun, and how you, as a male driver, choose your path at those forks in the road. The woman is just along for the ride. How that seemed perfectly normal, yet how strange it would it have seemed in 1986 if you were driving as a woman who was forging her own path. Typically men are the doers, and women are the ones affected by the actions of men.
Veselka wrote, “True quest is about agency, and the capacity to be driven past one’s limits in pursuit of something greater. It’s about desire that extends beyond what we may know about who we are. It’s a test of mettle, a destiny. A man with a quest, internal or external, makes the choice at every stage about whether to endure the consequences or turn back, and that choice is imbued with heroism.”
How political, how heroic it is for a woman to get behind the wheel and hit the road.
4. Almost every single post she writes on everything hits exactly one note, rather like Springtrapp, Zhane, and numerous other Social Justice Assholes we've covered. And yet, she's so much better. She's like the unholy result of TJChurch fucking Navgtr, and giving the resulting spawn a Gender Studies degree and sex change. Sophistry runs rampant in every posts she makes, and she often goes into such long-winded, insane tirades that you can't help but laugh, in equal parts confusion and legitimate hilarity.
5. That case of what she did in the topic? Only the tip of the iceberg. In her safe space, she bitches about her EXPERIENCES, and how gaming never lives up to them because THERE'S NO SUPER ULTRA DEEP EMOSHUNAL PLOT AND THAT IS ALL THAT MATTERS when bitching about fucking Mario Maker. She has a joyboner for Dragon Age: Inquisition that's so ridiculous it borders on the love Chris has for Sonic. Everything she does integrates somehow with her transitioning and she mentions it every twelve seconds. Shes's also a complete nutjob, as this quotable from her bitching about trailers and accusing multiple games of racism proves:
Carolyn Petit dijo:
6. She is the only person I've read anything from so far who thought Sunset was unironically good.
7. She doesn't understand games at all unless they allow her to express something or they involve some sort of narrative jiggery-pokery. She was triggered like crazy over Battlefield: Hardline and Bloodborne gave her the vapors because it's a Lovecraftian story and that means everyone is comprehensively fucked. She'll bitch about any game outside the SJW overton window being nothing but a male power fantasy and how if something doesn't appeal to feminists it's automatically problematic. The only area she differs than her peers in this regard is that she'll bitch about the most hilarious shit.
8. Her Youtube is nothing of substance. Her Vice, however, is essentially her Tumblr given a platform. Seriously, she's being paid to do the same madness.
9. Her Patreon indicates she wants to be Leigh Alexander.
10. She's flanked on all sides by people better than her, and it's driving her nuts.
- Registrado
- 28 de Dic, 2014
That shit is massively tl;dr for what it is, which appears to be an incredibly huge description of a beyond autistic headcanon about a decades-old arcade game. (Out Run was a pretty great game, actually.)
This is way too much thought about an ancient video game. What's next, the two dudes from Toobin' were gay lovers and giant million word slash fic about them?
- Registrado
- 25 de Mayo, 2015
Mainly attention and pity money, but also they want to be an Anita/Zoe figure.
It's always trans women too because trans men don't exist according to their clique.
- Registrado
- 23 de Feb, 2013
Soccer moms are heroes, you guys.
- Registrado
- 27 de Jun, 2014
She's done one on Mario, one explaining that Legend of Zelda's second quest was something about transitioning, a series of clusterfuck posts about Dark Souls 2, and more.
- Registrado
- 8 de Jul, 2015
Goddammit, you had to ask, didn't you? Oh dear, this might take a while...
Theories is all I have to offer, too. I am pretty sure that mine only cover one of a multitude of reasons, why Anti-GG (and SJW-ism as a whole) has its own Trannycopter-swat. Looking at those trans-gendered people, there are a few similarities that stick out like a sore thumb. These people are all male-to-female, these people are all white (as fuck). If we 'broaden our horizon' a little, we see that there are more instances of persons that try to undergo some sort of 'transformation', in order to better fit into the 'group of the oppressed' - like Rachel Dolezal. Why do people undergo such a transformation you ask? Well let me put a little detail on this:
Schopenhauer
People go to great lengths to be 'right' - even if they are not. I don't tell you guys anything new, if I say that Anti-GG or SJWs aren't about who has the 'best ideology', or who is the 'most morally sound'. It's about to be entitled, it's about making other people comply. As we say in my country: "Recht haben und Recht bekommen sind zweierlei Dinge."
( Translation: "Being right and being entitled to something are two different things." but you can also read it as: "Being right and to win your case are two different things.")
People will say and do the most idiotic (and devious) things to get some form of validation that they are 'right'. People will also blow every tiny 'victory' out of proportion, just to strengthen their position. These people try to turn Linkle into some form of "victory for feminism", although a more likely explanation for Linkle's existence may be a survey in Nintendo's marketing department, or that some male game-designer saw a ton of rule 63 stuff on the internet and pushed the issue. No matter what it was, SJWs grasp for any straw that might strengthen their ideology.
S.P.E.C.I.A.L.
Those people like to get attention.
Those people like to be right.
Those people like to be special.
And having all three of those things gives you the illusion of power, the power to change peoples minds and perceptions, the power to challenge the norm. For them, not being heard, not being right, not being special would mean that they are powerless and mediocre.
The problem these people have, is that they are purely driven by emotion. They believe they are right, they want to be right, so they can't allow any form of criticism or evidence that challenges their believes. So every argument from the other side is quickly debunked by them as 'racist' or 'misogynist', in the hope that this person shuts up. But what if the person doesn't shut up? What if someone has a good argument? These people see it as a personal loss, if they are proven to be wrong. Admitting that there is some fact or study that contradicts them, or that there is some logical fallacy in their arguments, not only weakens their 'movement', but also their standing inside this movement. Because of this, they will do anything to be 'on the right side of future history': Marking those people as racists etc., doxxing people to make them shut up, up to downright defamation.
#NotYourShield
These people will also up any form of 'armor' they can find, to shield them from such attacks in the first place. It is the 'Victim Defense': You can't do anything wrong, because something really, really, really bad happened to you in your past. These people try to be above criticism: "You can't criticize me because, someone like you did something horrible to someone like me. Since you disagree with my standpoint, you must be like that person who did that horrible thing." But this isn't anything logical, it's a sociopathic exploitation of basic human empathy, to strengthen one's position.
TL;DR
Am I saying that some people will cut their dick off, just to be special, marginalized and therefore get attention be above criticism?
Yes, that is exactly what I am saying.
People are capable of crazy feats and it wouldn't surprise me, if many of those trans-gendered Super-SJWs people didn't suffer from gender dysphoria at all. And this is the reason why we see so many "trannies": They are the loudest, they are the biggest attention whores. In fact they are such big attention whores, they were crazy enough to go through STS just to get more attention, to be more special and to be above criticism.
Edit:
Mixed up dysphoria and dimorphism, my bad. Corrected it.
Última edición:
- Registrado
- 16 de Jun, 2013
Does it? I thought the whole point of the article was that in gaming culture, men and women receive different treatment - that "male experience" is, by default, considered to be universal, while "female experience" is something unique to the female gender. In response to which, my inner voice screams, "well, so what?"
I'm reminded of something I read on this person's Patreon page:
Are games inherently political? Only in the sense that everything's political. And though I can see how games (like all media) might serve as a mirror of contemporary culture, I can't see how gaming culture could possibly serve as the jumping-off point for any sort of serious political change. I mean, they're just games, after all.
You might as well claim that...oh, I don't know - MLP or Steven Universe could serve as inspiration for some sort of mass cultural... Oh, my god.
Recently, in another thread, a Kiwi asked why so many tumblr/twitter/Patreon-type people are prone to assume that vidya and politics go hand in hand. Well, I think I've got the answer:
It's because they're overgrown children who are desperate to think of themselves as intelligent, mature adults.
"When I was a child, I spoke as a child, I understood as a child, I reasoned as a child. But when I became a man, I put away childish things."
MiloWuCollusion
kiwifarms.net
- Registrado
- 4 de Ene, 2015
So she got worse after being kicke... Let go from Gamespot.
- Registrado
- 1 de Oct, 2014
So has this bitch never seen Thelma and Louise?
I'm kind of insulted by the implications of this essay that women are apparently incapable of going on an adventure, not just in fiction but possibly in real life as well.
Look, just because you've been living as a woman and you spend all your time on the internet writing bizarre essays about alternate history video games and eating pizza bagels in your jammies instead of going out and hitting the road, doesn't mean we're discouraged from doing so by society or whatever. Hell, isn't the whole point of road stories being about free spirits that go against society's expectations in their thirst for adventure in the first place? Isn't it a bit contradictory to say society is the only thing keeping female free spirits in their place, when being a free spirit would imply that nobody can keep you in place?
Shit, I feel like grabbing a friend and just going for a ride to nowhere in particular just to spite her.
- Registrado
- 27 de Jun, 2014
Didn't like half of us basically do that during the last Kiwi Meet-Up?
- Registrado
- 1 de Oct, 2014
I've done it a few times to meet Kiwis.
I wonder if Carolyn has ever been on an adventure. Really, it's what you make of it, just driving a long time with friends on the scenic route, listening to good music and enjoying the journey.
If not, that's incredibly sad.
- Registrado
- 21 de Mayo, 2014
So I found carol in this:
it is an hour long video taken at some fag convention where a bunch of neo-eunuchs and a lesbian talk about genderqueer issues in gaming. As we all know, genderqueers are a largely unrepresented group in the video game scene and while most cis pigs would attribute that to a near non-existent audience to market to, these female game designers, also carol, lay it down that it's actually the jock culture in internet gaming that is keeping queers out of video games. Violence in games is very unladylike and only exists to entertain the males. this masculinity is so triggering it keeps queers out of gaming. these people know what they're talking about when they criticize violent white male video games, because two of them helped develop the Last of Us. We need to give these beautiful women a voice, guys. We need more queer games in the media. dont conform to the norm, be you. also donate to our patreons.
Última edición:
Spellskite
kiwifarms.net
- Registrado
- 20 de Jun, 2015
I kinda forgot about her after all the flak that she got after this idiotic tweet. She was fired not too long after, right?
