But the speaker’s questions effectively reveal that the only differences are that of outward appearance and material possession. Thus, the Class Game is irrelevant, and is a “game” that should not be played. Her questions make those onlookers who “wince” at her seem profoundly shallow and thoughtless. This is the speaker’s goal throughout the poem – to point out the foolishness of playing the Class Game. In the end, however, she does not care what other people think when she walks by. She is proud to be part of the working is proud that her mother has worked hard and taught her the value of hard work. She is proud that her brother is a dock worker, and she is proud of everything about her class from the way she dresses to the way she speaks. Her final question to her critics asks them, “Why do you care what class I’m from?” This is the question that sticks in the mind of those who have criticized others for their social class, and it is the question the speaker wants to resound in the minds of her readers.
Along with its narratives, Illmatic is also distinct for its many portrayals and descriptions of places, people, and interactions.  In his songs, Nas often depicts the corners and boulevards of Queensbridge, while mentioning the names of streets, friends, local crews and drug dealers, and utilizing vernacular slang indigenous to his hometown.  Poet and author Kevin Coval describes this approach to songwriting as that of a “hip-hop poet-reporter...rooted in the intimate specificity of locale.”  Commenting on Nas's use of narrative, Sohail Daulatzai, Professor of Film and Media Studies at University of Southern California , compares the album to cinema , citing its "detailed descriptions, dense reportage, and visually stunning rhymes..." In Born to Use Mics: Reading Nas's Illmatic , he writes: "Like the 1965 landmark masterpiece film The Battle of Algiers , which captured the Algerian resistance against French colonialism, Illmatic brilliantly blurred the lines between fiction and documentary , creating a heightened sense of realism and visceral eloquence for Nas's renegade first-person narratives and character-driven odes.”