Often, when I think about our notions of subjectivity in game criticism and the limits to how far we're willing to take them, I think about Pauline Kael, whose opinions so often ran contrary to, or at least fell outside of, what might be called critical consensus. https://twitter.com/JanetMaslin/status/1145572657779347456 …
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But Kael wasn't just some rando with an opinion, screeching "this sucks!" about things she hated. She wrote from the depths of her own individual experience and feeling, but in a way that was well-argued and knowledgable about film.
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Agree or disagree with her, there was value for readers in running up against the deep subjectivity of her writing. For me as a reader of film criticism, it's in reading those deep subjectivities that my appreciation for film has grown the most. I love those deep subjectivities.
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But I still feel in games crit that even many who are progressive and want a diverse range of voices don't really want a diverse range of deep subjectivities, to really run up against the deep difference of another's experience and perspective, or to fully embrace their own.
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