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In 2017, the American game designer Momo Pixel released the single-player, browser-based game Hair Nah. In this game, you play as Aeva, a Black woman taking trips to locations that include Osaka, Havana, and the Santa Monica Pier. As you move through levels on your journey—taking a taxi ride, traversing airport security, sitting on an airplane—you must slap away increasingly aggressive white hands that reach into the frame to touch your hair. Though Hair Nah taps into the genre of a casual button-mashing game, this interactive experience also explores the topic of microaggressions via unwanted hair touching. If you slap away enough hands on your travels, you reach a screen welcoming you to your destination with the message “YOU WIN!” but the caveat, “The game is over, but this experience isn’t. This is an issue that black women face daily. So a note to those who do it STOP THAT SHIT.”
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This article addresses the seeming absence of the HIV/AIDS pandemic in video games from the 1980s and 1990s, the height of the US AIDS crisis. As Adrienne Shaw and Christopher Persaud have noted, stories about HIV/AIDS were pervasive across American popular media during this period, which also represented a boom in video game development. However, documentation remains of only a handful of early video games that mention HIV/AIDS. This article argues that, far from being absent from video game history, HIV/AIDS and the US AIDS crisis were actually influential in shaping a number of the design elements and narrative genres that have become important to contemporary video games. Scholars like Cait McKinney have demonstrated how people living with HIV/AIDS in America played a crucial part in the evolution of internet technologies that now form the backbone of video games. Through a comparative reading of two games by C. M. Ralph, Caper in the Castro (1989) and Murder on Main Street (1989), this article demonstrates how HIV/AIDS has also manifested in the content and form of video games, even (and perhaps especially) when it seems absent. Derritt Mason has explained how Caper in the Castro, widely celebrated as the first LGBTQ video game, contains clear echoes of the AIDS crisis. Yet, as this article demonstrates, HIV/AIDS remains a powerful presence even in Murder on Main Street, Ralph’s “straight version” of the game. Together, these games offer a microcosm through which to explore larger tensions between HIV/AIDS and video games, with the AIDS crisis representing a key element of what Cody Mejeur has termed the “present absence of queerness in video games.”
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Independent Videogames investigates the social and cultural implications of contemporary forms of independent video game development. Through a series of case studies and theoretical investigations, it evaluates the significance of such a multi-faceted phenomenon within video game and digital cultures. A diverse team of scholars highlight the specificities of independence within the industry and the culture of digital gaming through case studies and theoretical questions. The chapters focus on labor, gender, distribution models and technologies of production to map the current state of research on independent game development. The authors also identify how the boundaries of independence are becoming opaque in the contemporary game industry – often at the cost of the claims of autonomy, freedom and emancipation that underlie the indie scene. The book ultimately imagines new and better narratives for a less exploitative and more inclusive videogame industry. Systematically mapping the current directions of a phenomenon that is becoming increasingly difficult to define and limit, this book will be a crucial resource for scholars and students of game studies, media history, media industries and independent gaming.
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While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like 'Mass Effect' or 'Dragon Age', Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. 'Video Games Have Always Been Queer' argues that the medium of video games itself can-and should-be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D.A. Miller can bring to the popular 2007 video game 'Portal', or what Eve Sedgwick offers 'Pong', Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in 'Octodad' or explore the pleasure of failure in 'Burnout: Revenge', Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games-because video games have, in fact, always been queer.
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Game Devs & Others: Tales from the Margins tell the true stories of life in the industry by people of color, LGBTQIA and other marginalized identities. This collection of essays give people a chance to tell their stories and to let others know what life on the other side of the screen is like when you’re not part of the supposed “majority”. Key Features This book is perfect for anyone interested in getting into the games industry who feels they have a marginalized identity For those who wish to better diversify their studio or workplace who may or may not have access to individuals that could or would share their stories about the industry Includes initiatives aimed at diversifying the industry that have a positive or negative impact on the ongoing discussions Coverage of ajor news items about diversity, conferences aimed at or having diversity at its core of content and mission are discussed Included essays are written with as little game dev specific jargon as possible, makeing it accessible to people outside the industry as well as those in the scene but that may not have all the insider lingo
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Gaming Representation' offers a timely and interdisciplinary call for greater inclusivity in video games. The issue of equality transcends the current focus in the field of Game Studies on code, materiality, and platforms. Journalists and bloggers have begun to hold the digital game industry and culture accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged behind. Contributors to this volume examine portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, 'Gaming Representation' pushes gaming scholarship to new levels of inquiry, theorizing, and imagination.
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The in-depth, diverse, and accessible essays in Queer Game Studies use queerness to challenge the ideas that have dominated gaming discussions. This volume reveals the capacious albeit underappreciated communities that are making, playing, and studying queer games, demonstrating the centrality of LGBTQ issues to the gamer world and establishing an alternative lens for examining this increasingly important culture.
Explorer
1. Approches
- Analyses formalistes (2)
- Approches sociologiques (3)
- Étude de la réception (2)
- Étude des industries culturelles (4)
- Étude des représentations (7)
- Genre et sexualité (7)
- Histoire/historiographie critique (1)
- Humanités numériques (3)
- Méthodologie de recherche décoloniale (2)
- Théorie(s) et épistémologies des médias (2)
- Théories postcoloniales et décoloniales (3)
2. Auteur.rice.s et créateur.rice.s
- Auteur.rice LGBTQ+
- Auteur.rice noir.e (2)
- Auteur.rice PANDC (3)
- Autrice (4)
- Créateur.rice autochtone (1)
- Créateur.rice LGBTQ+ (3)
- Créateur.rice noir.e (1)
- Créateur.rice PANDC (2)
- Créatrice (3)
- Identités diasporiques (1)
4. Corpus analysé
- Amérique centrale (1)
- Amérique du Nord (7)
- Asie (2)
- Europe (4)
4. Lieu de production du savoir
- Amérique centrale (1)
- Amérique du Nord (7)
- Asie (1)
- Europe (3)