the good, the bad, the funny.
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Just as Instagram makes bad photos look good and good photos look great, Facebook makes you look happy and loved if you’re not, and joyous and adored if you are. Self-brand and share. Filter, and share. Share the edited stuff, the varnished stuff, the stuff with the halo around it. Take a step away from truth for the sake of beauty. Dan Zak, in a day-after essay on how Facebook and Instagram were meant for each other. (via washingtonpoststyle)
Game-studies scholars (there are such things) like to point out that games tend to reflect the societies in which they are created and played. Monopoly, for instance, makes perfect sense as a product of the 1930s — it allowed anyone, in the middle of the Depression, to play at being a tycoon. Risk, released in the 1950s, is a stunningly literal expression of cold-war realpolitik. Twister is the translation, onto a game board, of the mid-1960s sexual revolution. One critic called it “sex in a box.” Tetris was invented exactly when and where you would expect — in a Soviet computer lab in 1984 — and its game play reflects this origin. The enemy in Tetris is not some identifiable villain (Donkey Kong, Mike Tyson, Carmen Sandiego) but a faceless, ceaseless, reasonless force that threatens constantly to overwhelm you, a churning production of blocks against which your only defense is a repetitive, meaningless sorting. Sam Anderson (via thebronzemedal)