I think that games and mythology are both about a search for an identity, a person who may be depressed in real life but can gain a sense of achievement in the world of games. Mythmaking partly comes from practice, fabulation involves resistance to the world as it is perceived or understood.
The resistance is to the utilitarianism that comes from society.At the same time the satirical critique implicitly suggests that we already know what a positive value system is.
we might think about how performance fictioning is not merely performative – it does not just involve acting something out. Rather, such practices explore new percepts or a different sense of the world or new ways of existing together, through experimenting with embodiment and with desire, consciousness and the senses (including their potential and limita-tions).
The default belief is that entertainment helps to restore the body and mind. In the time without technology, people relied on myths and novels to relax.
With the development of technology and the Internet, they have become more familiar with the visual symbols used on television, computers, the Internet and mobile phones.
They choose these cultures to clear their minds of the fatigue that comes from boring schoolwork or tedious work.
Myth and fiction, as well as games, are a form of communication that critiques reality. So I think that using fiction as an intervention and augmentation of existing reality, playing a key power when opposed to it. Or in a reality that can give direction in finding prospects.
Games in the form of games to help create realistic jobs can bring more happiness to people. Games teach us how to create opportunities to do freely chosen, challenging work that keeps pushing the limits of our abilities. These lessons can be transferred to reality. The most pressing problems we face, such as depression, helplessness, social alienation and the feeling that nothing we do matters, can be effectively addressed by incorporating more playful work into our daily routines.
Art is resistance: it resists death, slavery, infamy, shame. (Deleuze 1995b: 174)
Just like the Black Panther Party, mentioned in the book
The way that they dress, they create a symbol of their own from the outside.
It was also like the people in the Drag ball, in the ballroom people found a sense of belonging regardless of their status or sexuality. But the glitter only existed in the ballroom, they didn’t belong in America at the time, they displayed their fantasy and imitation of white mainstream culture in the ballroom. They could only burn themselves out in that utopia where they belonged, searching for their own Paris.
I think they may have challenged the hegemony of orthodoxy with their dress and behaviour, engaging in ‘ritual resistance’, art as resistance, resistance to death, slavery, humiliation and shame. In the process of resistance their bruised egos were symbolically satisfied.
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