Adrienne Shaw

VA-11 HALL-A

Queer Spaces and Drug-dream Fantasy

Blake Planty

I first played VA-11 HALL-A (pronounced Valhalla, like the Norse hall of gods) the day it released while I was living in an indoor patio used to house dog kennels. I only had a mattress to my name and ate instant noodles just to survive. Such is the life that VA-11 HALL-A’s protagonist, Jill, lives in her pursuit to pay rent by the end of the month during a financial crisis plaguing Glitch City. This title is as much about escapist-fantasy as it is about survival all while trying to maintain a positive outlook on life. It’s a bittersweet title that wastes no time strapping its player into a queer world of cyberpunk nostalgia, winding conversations about life, and flirtatious drink-mixing. VA-11 HALL-A is preoccupied with the question of what does capitalism ultimately give us, and what do we receive in exchange for not just our physical labor, but our emotional labor, too. Continue Reading →

She’s Not There

Absent Agency in Video Games

Brandi Billotte

While a great deal of scholarship is devoted to the problematic aspects of female representation in the stereotypically male-dominated sphere of video games, less interest lies in an alternative depiction of women that, while not predominant, exists in some video games: that of the ‘absent woman.’ There are games that feature female characters that, though heavily represented throughout the game in various forms, are not physically depicted in any thorough way. This representation might take the form of the unseen character providing narration, leaving traces of themselves in notes, leaving behind memories and/or intentions that live on inside of other characters, to name just a few examples. Continue Reading →

Re-Imagining The Borderlands

A Review of Queer Game Studies

E. Deshane

There’s a scene that Bonnie Ruberg describes in the final chapter of Queer Game Studies (University of Minnesota Press, 2017), which still resonates long after I finished the work. It’s a scene of the inevitable social banter after a panel discussion at an academic conference where, as Ruberg states, she feels “pressured to either tone down my queerness […] or to perform it” (271). For Ruberg, her queerness is not evident in people’s assumptions of her while also simultaneously too evident in her research in queer gaming. She reminds herself to not mention her ex-girlfriend and to silence her kinkiness; she dresses the professional part to blend in and answers questions about her research with a smile on her face—and yet, she still deals with feelings of being “the weird grad student” and with people’s seemingly never-ending questions of “Queerness? And games?” with a twinge of disgust (272). Continue Reading →

Dimensions of Identity in Games

A Review of Gaming at the Edge by Adrienne Shaw

Lindsay Meaning 1 Comment

I have never identified as a ‘gamer’. I transitioned from casual to serious player in the months just prior to the drastic increase of online harassment campaigns, and the fierce attacks against diversity that characterized them. The toxic, sexist rhetoric that spread across gaming communities seems to have tainted the label of ‘gamer’ in my eyes. Of course, this movement did not go unopposed, and the calls for increased representations of diversity in video games have been numerous and vehement. An essential addition to this conversation is Adrienne Shaw’s book Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture. Gaming at the Edge offers an ethnographic study that explores the ways members of marginalized groups engage with video games, how the ability to identify with the characters represented in games shapes this engagement, and argues that ongoing conversations about diversity in games should be reframed to account for the intersectional nature of identity. Continue Reading →

Why Write About a Book?

An Editorial About Book Reviews

Michael Hancock

In fact, if there’s anything I regret from my tenure as review editor, it’s not going far enough to promote different perspectives. I wish I had dedicated more time to pursuing a wider diversity of reviewers, and, especially in the early days of FPS, I regret pushing reviewers to hit that formal, authoritative tone instead of pursuing their own voice and position. It’s to that end, in fact, that I’ve been very grateful for the review model pioneered by Elise Vist, as I think it really draws out the multitude of approaches that can be brought to bear on long-form criticism, asking what a given work meant to the reviewer’s research, to the field, the classroom, and to the reviewer personally. These are questions worth asking. Most of all, though, I regret not stepping further out of the academic field in terms of the books themselves. I’m proud of how multidisciplinary the reviews are—we’ve got reviews about ethnography and sociology, genre and gender, games for health and game culture. There’s some edging towards criticism outside of academia, but not enough. Further, I would have liked more reviews on things that blur the line of engagements with games entirely: gamebooks, game art books, longform criticism like Leigh Alexander’s Lo-Fi Let’s Plays. Chris will have his own vision of where the Book Reviews will go, but these are my own roads not traveled. Continue Reading →

The Tyranny of Realism

Historical Accuracy in Assassins's Creed III

Adrienne Shaw

I confess to having a love-hate relationship with Assassin’s Creed. Every game in the series is beautiful. The stunning landscapes, architectural and historical detail, acrobatic player-character and smooth (for the most part) gameplay are incredibly satisfying. Certainly there were many critiques of the repetitiveness of the first game. The modern-day component of the story and Matrix-esque Animus which acts as the deus ex machina to help explain why, as Desmond’s ancestor, the player can access databases full of historical information is arguably a bit cheesy (though no more so than most game narratives). Continue Reading →