Critical and historical studies of games
A freelance writer turned documentary filmmaker, my first short film was featured at the BFI Flare Festival and received the Rising Star award at the Transforming Cinema festival: Skeleton in a Beret. I have previously published three books on the design history of games: Dreamcast Worlds, Delay, and Digital Bodies.
As Senior Curator of Critical Distance, I am in charge of one of the largest and longest-running archives of games criticism, as well as the main editor for all site content. In 2013 I founded Memory Insufficient, which focuses on the history and craft of game development, and aims to act as a home for in-depth, long-form critical writing. It is now a publication of the nonprofit Silverstring Association for Critical Discourse. I am a PhD student in Sociology at the University of Lancaster, studying how games have mediated people’s relationships with emerging technologies such as mobile phones, social networking, and VR.
I am a professional Japanese-English translator working primarily on academic articles. I have also done translations for the games industry in the past, and contributed interactive translations of classical Japanese text to a game anthology.
I’m particularly interested in small, expressive projects that use game engines to do something surprising – I’ve used Pico-8 to make an art tool, and I’m currently using VR to make sculptural environments. I consult on game projects with a narrative element, particularly projects that aim to make players feel like they are in a different time and place, or like they are talking to someone with vastly different experiences that their own.
Having previously been based at Rotherham Open Arts Renaissance, I have recently moved my practice to an art studio in a working steel forge in Sheffield. Locating my work primarily in the arts sector allows me to take a more connected view of game development and critical writing: I think of games as part of the art world as well as part of the tech world.