An essay about the colonist propaganda in my childhood nostalgia, originally written for feminist magazine LOVER.

In “Fan Studies Methodologies“, the 2020 special issue of Transformative Works and Cultures, I described how, as an autistic gamer, I engage with games in a different way, showcasing how (dis)abled gaming, neurotypicality, fannishness, and sociopolitical responses are never independent from one another. All the examples I named in that “autiethnography” were from my adult life, but looking back, these differences in engagement were already very noticeable when I was a kid. Therefore, in the following essay, I would like to recreate my small piece of the history of the mid ‘90s Dutch video gaming culture, which was a sort of “produser community” avant la lettre.

Last week, I had to chance to brighten those dreary nights in November with a visit to Edinburgh and the lively “Fates of Frankenstein”, a two-day conference about Frankenstein’s legacies in popular culture. My presentation was about “Frankenstein Mermaids” and if you are interested, you can read read more about that in this article that was published in Foundation.