Theresa Duncan
[2] Duncan spoke out against market-tested girls' games characterized by an "earnest blandness" and a "perfunctory feminism [like] slapping the pink bow on Pacman".Smarty maintained Chop Suey's "warm, handmade, and folk-inspired" look, but was also "less messy, and more idyllic, with more carefully rendered perspective with "loose and painterly" backgrounds.She described it as something that "moves like Doom", and "involves survivors of a cataclysmic destructive event who find the few films that remain, which happen to be solely swanky thirties Thin Man-style flicks...[and attempt to recreate] life based on the Stork Club and Fortuny and the weapons of glamour".Writing for Salon, Matthew Debord described the work as "a merciless satire of New York's incestuous '90s cultural moment: fashion, art, celebrity and various downtown style tribes converge and are shredded for our delectation".At her blog, Duncan listed her interests as "film, philology, Vietnam War memorabilia, rare and discontinued perfume, book collecting, philately, card and coin tricks, futurism, Napoleon Bonaparte, the history of electricity."Kara Swisher wrote in 2007, "While the CD-ROM business proved to be a bridge technology and Chop Suey did not endure the onslaught of the Web, after seeing it, I have never forgotten it".[10] In 2012 in Motherboard, video games critic Jenn Frank called Chop Suey "timeless", and celebrated its bravery in representing "the criminally underrepresented: that is, the wild imagination of some girl aged 7 to 12".