(2014-PRESENT) 

This is a book project about cute aesthetics, affect and play. As popular aesthetics cute and kawaii have been described as both playful and sentimental; they project happiness and evoke emotions. This books looks at the use of cuteness in videogames, the emotions that this style can provoke and the types of play it invites.

The project takes it’s title from the San-X kawaii kyarakuta collective, The Sentimental Circus

(2013-2015) 

This is a project about gender and gaming funded by the SSHRC. The current phase of the project is a visual ethnography concerned with historical representations of women as players and how advertisements, coverage in magazines, as well as depictions of the feminine player in film and television are part of the current misogynistic melancholia in gamer culture. This archeology seeks to understand the role of images in gaming nostalgia and how this shapes attitudes about gender and play. 

(2015)

Critically informed quiz game and companion piece to feminist forensics project about the history of gender discourse in games culture. This project was made in GameMaker and used as presentation material at conferences to support research papers. 

                                                                                                   

                                                                                                   

(2015)

A time travel choose your own teletext adventure game based on real life events of watching Bill and Ted's Excellent Adventure. Autobiographical experiment in Ren'py. 

(2014) 

I am guest editing the current issue of Well Played Journal, published by ETC Press. This issue is inspired by the Incredibly Strange volumes and asks for critical perspectives of the weird of gaming as well as readings and post-play narratives of weird game texts. 

(2013-Present) 

I am Research Assistant on one of the Prove it To Me (PiTME) pilot schemes. PiTME is project designed to offer empirical data regarding games as educationally meaningful media. Under the supervision of Professor Jennifer Jenson, the team is investigating how games might be used in Elementary level language and narrative curriculum. 

(2012-PRESENT) 

Dear Ada is a modern epistolary founded by myself and Mitu Khandaker. The site follows the great feminist tradition of letter writing and hosts communications and thoughts in gender and games. 

This project was supported by Feminists in Games and a response to the personal correspondence between the founders exploring their own feminism as women in gaming culture. 

(2012) 

Digital Romance Lab is a group of writers, researchers, designers and gamers interested in how games tweak the emotions associated love, romance and flirting. It is both a discussion space and a repository for ideas. 

 

(2014)

A deck of ideation cards to use in game design oriented learning environments. These are particularly inspired by Mary Flanagan's Grow-A-Game which promotes the creation of games that are socially engaged. 

(2016)

Inspired by a presentation at DiGRA 2016, I am developing an online resource for game instructors which details ways to create a more inclusive classroom, to recruit a more diverse student body and offering concrete ways to introduce feminist themes into your curriculum. 

(2015-PRESENT) 

Refiguring Innovation in Games (ReFiG) is a SSHRC supported Partnership Grant that is social justice oriented, particularly promoting gender-based equity in gaming cultures.

(2016)

Sad Sad Girl is a game that is not as sad as it sounds. This is an exploration of the 'sad girl' movement, its philosophy and manifest performances on social media. This game takes place on the desktop of an anonymous 'sad girl' and the player explores their universe as well as the complicated politics of performing sadness and the cultural appropriation involved in the sad girl persona.