Essay

Playing with Identity

Otherness & Sexuality in The Witcher 2

JASON HAWRELIAK

One of the ironies of writing a Game Studies dissertation is that after a while, there isn’t really time to play any games. At some point I had to focus all my attention on writing and just get it over with. So once I finished writing, my “to-play” list had grown quite large. As a fan of “open-world” games, I was looking for a game that I could lose myself in for dozens of hours. I asked around, and a friend recommended CD Projekt Red’s The Witcher 2: Assassins of Kings. I picked it up and overall, I’m glad I did. Although it didn’t really satisfy my open-world itch, I found it to be a robust and rich experience. It’s also one of the few games where I was more compelled by the narrative than the “gameplay,” if the two can be separated. For this commentary, I’d like to give my thoughts on its narrative, and then more specifically, on its representations of otherness and sexuality. Continue Reading →

Autis(i)m & Representation

Auti-Sim, Disability Simulation Games, & Neurodiversity

Sarah 7 Comments

Auti-Sim was developed during the 2013 Hacking Health Vancouver hackathon, an event designed to foster collaboration between health experts, programmers, and designers. The first-person simulation game, created in the unity engine and playable in browser, immerses the player in a children’s playground and uses overpowering sound effects and visual distortion to raise awareness of auditory hypersensitivity. During my own trial of the game, my first action was to move closer to a circle of kids that I spotted near the play structure. As I approached them, a static television effect overtook the game world and the background chatter intensified. Continue Reading →

The Greatest Victory

Ernest Becker, Lara Croft, & Death in Tomb Raider

JASON HAWRELIAK

As Tadhg Kelly wrote in 2011, All games are about death. I tend to agree with Kelly, though I’d say that all games are partially about death, and some more than others. After all, some of the earliest games (e.g. 1962’s Spacewar!) framed success and failure within thanatological terms, and even games without anthropomorphized/organic avatars tend to do the same. For example, why does a game like Brickbreaker, which features only inanimate objects, frame success and failure within thanatological terms? Why do I start with 3 lives, and whose lives are lost when I fail to hit the ball? Is Brickbreaker perhaps exploring non-organic modes of being, a la Object Oriented Ontology? I don’t think so. I think life and death are just the clearest indications of success and failure we have. At a very basic level, to die is to fail, and we understand this at a primordial level. Thus, this thanatological shorthand simply lends itself very well to videogames, which are often concerned with success and failure. But death is a very unpleasant subject, so why is it such a prevalent ludic metaphor? Continue Reading →

Voluntary Constraints

How Players Can Impose an Ethical Critique

Rob Parker 5 Comments

Developers and publishers may seek to define what constitutes gaming capital through engagement with the player community, but it is the players that typically have the final word on what gaming capital is and how best to accrue it. As such, the production of more paratexts through player-authored walkthroughs, popular YouTube channels or mod communities has a sympathetic relationship with the exchange of gaming capital. Consalvo concludes the book by re-articulating the shaky definition of “cheating” in games and how that relates to “cheating” outside of games, where players that would never cheat outside of digital worlds think nothing of tapping out IDDQD for god mode in Doom. She uses this fracture to suggest that “we need a better understanding of how ethics might be expressed in gameplay situations, and how we can study the ethical frameworks that games offer to players.” (187). I’d like to extend some of Consalvo’s work on paratexts and gaming capital into the realm of voluntary or non-coded constraints that players impose upon themselves. Continue Reading →

Allegorithmic Art

The Art of Making Games and the Game of Making Art

LAUREN BURR

Are videogames art? The question has sparked heated debate in recent years, perhaps most notoriously in 2010, when film critic Roger Ebert published a piece in the Chicago Sun-Times stating quite brashly that “Video games can never be art.” Although Ebert later issued an apology, it seems that the gaming community has been fighting to prove him wrong ever since. Continue Reading →

Acting Social

Prom Week & Performative Authorship

Stephen Fernandez

Recently, my research on new media performance has led me to investigate the interface between performativity and video games. Having played the one-act interactive drama game, Façade (2006), whereby the player is invited to salvage the failing marriage between Grace and Trip through a series of dialogical exchanges with them, I am interested in examining the player’s ability to shape the narrative of an interactive drama game that features more than two characters who are engaged in dramatic intrigue. In particular, I want to know how the player can propel the dramatic action of game by performing different relationships with various characters in the virtual game world. Building on the interactive dramatic gameplay in Façade (2006), Prom Week (2012) seeks to test the limits of interactive narrative in game design… Continue Reading →

The Other Difficulty Mode

What Halo Can Tell Us About Identity & Oppression

Samantha Allen 4 Comments

If being a “straight white male” is, as John Scalzi argues, like playing a game on the easiest difficulty, then those of us who are less privileged are playing on a harder difficulty. While I think that this metaphor is a sound tool for initial conversations about privilege, its underlying theory of power is too simplistic. This metaphor splits the world into straight white men and everyone else, leaving the reader with no way to account for the many different kinds of oppression that affect us (racism, homophobia, transphobia, classism, ableism, etc.) and the specific ways in which these oppressions interact. Difficulty settings in games also tend to be arranged on a bipolar line with predictable, quantifiable changes being made to the gameplay as the difficulty increases. Our social identities, by contrast, are multidimensional and we cannot simply arrange them on a line from “most oppressed” to “least oppressed.” Continue Reading →