Word: playing
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Dates: during 2000-2009
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...truth is, you don't really play Mafia Wars; it plays you. It rewards you lavishly for doing next to nothing and for propagating its viral spores further and further into your social network, thereby perpetuating its existence. In fact, Mafia Wars isn't so much a game as a parasite: it lives in the petri dish of the social-networking sphere and feeds off your attention. Try to quit, and it begs and bribes you to fall off the wagon again. It's just a game, but it's like the real mafia in that one respect: just when...
...their seats an appreciated—and probably intentional—detail. After all, it could not have been lost on director Matthew C. Stone ’11 that British playwright Martin Crimp’s “Attempts on Her Life” is not a play that makes anyone feel like being close...
...four female players alternate as the lead role (the three males play more static supporting characters, filling roles as “anyman”), but each has her own personality—a strain of Anne’s personality—that is carried along with her physical representation throughout the show...
Similarly, the three other female characters play roles consistent in their appearances as Anne throughout the show. Ella Gibson ’13 pierces the show with a stern cool that permeates her part as the pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg...
...aspects of this primarily bare play, Stone has couched the palpable void in details that are brutally suited to the mood of the play. Props are minimal—table, black cube, coffee, or scotch. Spotlights focus on specific narrators. The technological longing, imbued in tracks by Panda Bear, Thom Yorke (with and without Radiohead), capture the melting, quiet terror of a modern generation; videos unveil landscapes and devastation upon the backdrop during “Faith in Ourselves,” and then, scenes later, the sleek curves of a new model vehicle...