non sum qualis eram

I'm a psychologist with a Ph.D. in Applied Experimental / Human Factors Psychology. I work at Riot Games as a user researcher. I like science, games, and things that are nice.

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suqling:

taking lane taunts to another level..

hodgman:

I needed to see.

Audible gasp.

hodgman:

I needed to see.

Audible gasp.

jpnvines:

待ち合わせ場所に彼氏が遅れた時VS友達が遅れた時 〜 Reika Oozeki

When your boyfriend is late to your meeting place VS when your friend is late 〜 Reika Oozeki

When your boyfriend is late to the meeting place:

Oh, you’re finally here! :)

If it’s a friend:

So you’re finally here you’re 23 minutes and 18 seconds late LJEJ$9*)$@&!!!

(Source: vine.co, via meesh-o-lantern)

Politics is not inserted into games by critics, but is in fact an integral part of the design process. I think this kind tweetable summary is the point where most people would start to have doubts, so we’re going to drill down on some sample games and make stunningly obvious observations about how their political context has influenced their design. Exciting stuff, right?!

kateordie:

I’ve been talking about The Mountain Goats a lot because I’ve just read John Darnielle’s book, Wolf in White Van. It’s incredible, by the way. This is my favourite song of his. I still want the opening lines tattooed on me, after all these years.

My fear is not merely that the geeks will never come to acknowledge their triumph, as comfortable as they are in their self-professed victimhood. I fear too that we have come to so thoroughly associate fandom with grievance that the two are now inextricable. That, I suspect, is the long-term consequence of the rise of the geeks: that we no longer know how to enjoy art without enjoying it against others. That’s a bitter, juvenile way to approach art, and if it’s the real legacy of the rise of the geeks, it’s an ugly legacy indeed.

—“Geeks, You Are no Longer Victims. Get Over It.”, Frederick deBoer, The New York Times, 2014. (via aintgotnoladytronblues)

(via machinery)