by Mike O’Brien
Like many other video gamers (nearly eight million, in fact), I have spent no small portion of recent weeks in the robot-infested, post-diluvian wastes of late-22nd-Century Italy, looting remnants of a collapsed civilization while hoping that a fellow gamer won’t sneak up and murder me for the scraps in my pockets. This has been much more fun than the preceding description might lead you to believe, if you are not a fan of such grim fantasy playgrounds. It has also, interestingly, afforded rather heart-warming displays of the better side of human nature, despite the occasional predatory ambush or perfidious betrayal. It helps somewhat that nobody really dies in this game; they just get “downed” and then “knocked out” if not revived in time, leaving behind whatever gear they were carrying (except for what they were able to hide in their “safe pocket”, the technical and anatomical details of which are left to the player’s imagination).
This is the world of Arc Raiders, a game that has been in development and re-development for about five years, finally releasing at the end of October after a few public testing sessions elicited an outburst of anticipation from professional and recreational gamers alike. Developed by Sweden’s Embark Studios, it was created by veterans of the Battlefield series of military shooters, who left Battlefield developer DICE when it was clear that the company was losing the plot to its own franchise. Battlefield 4, released in 2013, is still my favourite game of the series and of the genre (that genre being large-scale military shooters pitting one team against another in a combined arms conflict, with soldiers, planes, tanks, boats and other bits of kit fighting for control of various points across a sprawling map).
Arc Raiders is a very different game from Battlefield. Players are not assigned to opposing teams in a binary struggle for victory. There are no flags to capture or defend. It is a wide-open experience with little in the way of explicit instructions or rules. It was originally conceived as a player-vs-enemy (PvE) cooperative multiplayer game, where human players joined together to fight the robots that have taken over Earth’s surface. In this original conception, it bears much similarity to another favourite game of mine, Generation Zero. Read more »

Chiharu Shiota. Infinite Memory, 2025.
S. Abbas Raza: You may have heard of 

Preparing a worksheet with negative-number calculations where all the digits are sixes and sevens. Telling myself it’s meant to take the fun out of it for them – like a sex ed teacher having their students say ‘penis’ one hundred times before starting the unit. Definitely not the whole story, but plausible: as a middle school math teacher I am more than justified in trying to tame the phenomenon. In fact, I have drawn a firm line; just seeing a 6 anywhere in an exercise is decidedly not an appropriate reason for doing the meme. Really, we need to get on with the lesson now; I will count to five.
Antonio Gramsci’s theory of hegemony helps explain how the power structure of modern liberal-democratic societies maintains authority without relying on overt force. Many definitions of hegemony point out that it creates “common sense,” the assumptions a society accepts as natural and right.




Art is dangerous. It’s time people remembered that and recognized the fullness of it. For if art is to remain important or even relevant in the current moment, then it’s long past time artists stopped flashing dull claws and pretending they had what it takes to slice through ignorance. We need them swallow their feel-good clichés and to begin sharpening their blades. We need dangerous art, and we cannot afford much more art that its creators believe is dangerous when it is not.
Emma Wilkins’ excellent piece “




