Other Relevant Links

20 Black Women in Horror Writing (List 1)

Source: 20 Black Women in Horror Writing (List 1)


Web Crush Wednesdays: Black Girl Nerds

Lady Geek Girl and Friends

Gosh it’s fun being a nerd; keeping up with shows, collecting, cosplaying, the works. There’s something for everyone, really, and it’s a growing community. Recently, it’s becoming more well-known that nerds come in all shapes and sizes, races, genders, and sexualities. As a Black man, it’s been a great time for us. With people like John Boyega, Idris Elba, and Donald Glover being put into (or considered for) movie roles more frequently, our place in nerd-dom is being solidified more everyday! However, the hurdle for Black women seems to be a little harder to clear. This could be said of all women, but intersectionality makes it especially difficult for Black women. In a sense, Black women and girls are seen as sort of an anomaly in geeky/nerdy spaces. Luckily, there is a growing push for supporting these fans with this week’s Web Crush: Black Girl Nerds.

web crush wednesdays

View original post 418 more words

Book Review

, Sika. “Manifestations of the Mulatta Archetype across the Atlantic.” Review of Transatlantic Spectacles of Race: The Tragic Mulatta and the Tragic Muse, by Kimberly Snyder Manganelli and Mixed Race Stereotypes in South African and American Literature: Coloring Outside the (Black and White) Lines, by Diana Adesola Mafe. Safundi: The Journal of South African and American Studies, vol. 16, no. 1, 2015, pp. 107-11.

ED5863 – Digital Games and Learning: Racial hegemony in Bioshock Infinite

The Immersive World

bioshockinfinitecover The box art for Bioshock Infinite. Mafe brings this up as an example of how the game initially emphasizes a particular presentation of white masculinity and violence, never hinting at the racial issues that are a core part of the game’s narrative.

In Race and the First-Person Shooter: Challenging the Video Gamer in Bioshock Infinite, Diana Adesola Mafe argues that Bioshock Infinite uses the hegemonic trappings of the first-person shooter (FPS) videogame to initiate critical discussions about race. Mafe frames her discussion of race in two ways. First, how race is embodied, such as the type of avatar the player inhabits. Second, in how it is experienced, in terms of how the narrative and world-construction come together to highlight the main issues in the story. Mafe contrasts her point of view with that of games scholar Espen Aarseth, who argues that focusing on the appearance of videogame avatars is…

View original post 486 more words