Blog 1 - 12/12/2025 - What is the Memo...rial Museum?
Blog 0 - 12/4/2025 - Hello World!
Coming soon! “Eco-erotic Encounters with and in Videogames,” Media + Environment. 2026. Me & Laura
Incompleteness on Video Game Horizons Me Phil, 2023
From Spectators to Co-Players: Growing the Language of Live-Streaming Me, Lindsay, & Jeremy, 2021
Post-Procedural Composition: Writing Gameplay Criticism Me, 2021.
So with this article I wanted to complicate the idea of procedural rhetoric. I think procedural rhetoric is useful for addressing the question, "well if video games do have something to say, how do they say it?" The problem is that procedural rhetoric only addresses this question from the perspective of game designers and how designers use video games and their systems/mechanics to say things. By framing video game communication in this way, it gestures builds a theory of game design and play as authoritarian. Whatever a game designer authors, players have no choice but to obey and play itself is simply a form of obedience. Building from Galloway, I instead read games as co-created media that don't "exist" as anything but code until they are played. A game may use its rules, systems, and mechanics to varying degrees to "push" players towards various ways of performing in and experiencing a video game, but players are a counterforce. Speedrunners, machinima creators, glitch hunters, artists, streamers, and even regular players constant demonstrate that code is not deterministic through how they repurpose the rules, spaces, and vocabulary of play to articulate new and unexpected things with video games. And that's not always a good thing! While players can repurpose a video game's rules, systems, and mechanics to, for instance, engage in consenual sexual activity within game spaces that do not formally allow for such behaviors (as outlined in my article with Jordan on healslutting), they also use these techniques for griefing and harassment as documented by Gray. Bittani has also been demonstrating this point for years with the GAMESCENES blog, so my article is a very small attempt to advocate for greater acknowledgement of the agency that play has in shaping and expressing the meanings players make with and through video games.
Dear Punchy: Representing and Feeling Writing in Animal Crossing Me, 2020
Girly Game History on Paper Me & Chloe, 2020
The Pro Strats of Healsluts: Overwatch, Sexuality, and Perverting the Mechanics of Play Me & Jordan, 2019
Reading, Writing, Queering: Active Passivity in Walking Simulators Me & Chloe, 2019
Ecomods: An Ecocritical Approach to Game Modification Me, 2017
MissingNo.: Bug Type Pokemon Me, 2017
How World of Warcraft Could Save Your Classroom: Teaching Technical Communication through the Social Practices of MMORPGs Me & Melissa, 2014
Issue 2: Ecoplay, Digital Games, and Environmental Rhetoric Me & Melissa, 2018
Issue 1: Digital Animals Inhabiting the Intersections of Nature, Culture, and Technology Me & Melissa, 2016