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Anita Sarkeesian, whose excellent Tropes vs Women in Video Games series is an important contribution to the discussion of gender and games, has been driven from her home by enraged male gamers whose stalking, and explicit, credible threats of sexual violence against her and her family convinced her to go into hiding.
In so doing, these men have ably demonstrated the point Sarkeesian sought to make all along: that gaming is riddled with misogynistic violence, and that this violence reflects a real-world misogyny rampant within the gaming world.
Trolls drive Anita Sarkeesian out of her house to prove misogyny doesn’t exist [Adi Robertson/The Verge]
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born there, who takes the city for granted and accepts its size, its turbulence as natural and inevitable. Second, there is the New York of the commuter—the city that is devoured by locusts each day and spat out each night. Third, there is New York of the person who was born somewhere else and came to New York in quest of something. Of these trembling cities the greatest is the last—the city of final destination, the city that is a goal. It is this third city that accounts for New York’s high strung disposition, its poetical deportment, its dedication to the arts, and its incomparable achievements. Commuters give the city its tidal restlessness, natives give it solidity and continuity, but the settlers give it passion. And whether it is a farmer arriving from a small town in Mississippi to escape the indignity of being observed by her neighbors, or a boy arriving from the Corn Belt with a manuscript in his suitcase and a pain in his heart, it makes no difference: each embraces New York with the intense excitement of first love, each absorbs New York with the fresh yes of an adventurer, each generates heat and light to dwarf the Consolidated Edison Company… — E.B. White, ‘Here is New York’