CFP: In The Queer Art of Failure, Halberstam suggests, “Under certain circumstances failing, losing, forgetting, unmaking, undoing, unbecoming, not knowing may in fact offer more creative, more cooperative, more surprising ways of being in the world.” In reimagining what it means to fail and what it means to succeed, queer games can offer rich experiences that move beyond the goals and practices of the hegemonic status quo of mainstream games. Queer design perspectives, particularly when they fail to meet the expectations of the status quo, can bring “difference” to “our discussions of video games and the experience of play” (after Ruberg 2015), and we want to hear all about it. Continue Reading
Rebeccah Redden is a Kitchener-based filmmaker, writer, and science fiction nerd. She spends most of her day living with mental illness and helping kids do 3D printing and virtual reality. She enjoys having an opinion on everything and reminiscing about… Continue Reading
I wake up sad, but I ignore the mood and continue with my day, taking care of my needs, going to work. When I return home, I file reports on my computer, cancelling the impulse to talk to my desk, as the reports will take longer if I do. I keep progressing, always a forward trajectory: I become charismatic, get promotions, work towards my aspiration by learning to play chess and keeping a half-built spaceship in my backyard. I am developing a friendship that might become more than that with a neighbour who constantly sports a tweed newsboy cap and a blue silk shirt. I’m playing The Sims 4 and my character is my first intentionally “insane” character. Continue Reading
Video games, like any other cultural product, reflect the cultural values that influence their creation; these values then influence perceptions on what is normal and acceptable in a social context (Flanagan and Nissenbaum 2014). Mass media shapes the perceptions of disability by influencing the language used to talk about disabilities, including what is (or -perhaps more significantly-, what is not) covered by news outlets and other mass media (Haller 2010). The invisibility of those with disabilities continues to be normalized when they are left out of media such as video games. Continue Reading
Content Notification: reference to self-harm
The first time I saw Poison Ivy, I fell in love with her. But I didn’t get to play Ivy. I had to play Batman. And Batman punished Ivy for being a Mad queer femme. He played the role of the legal system, and the legal system punishes people like her, like me. The logic of the game was patriarchal, sanist, ableist. The game made me hurt us.
CFP: Disabled characters tend to appear as villains, sidekicks, and/or background props to add “flavour” to games, rather than as protagonists. These media representations both infantilize disabled bodies and perpetuate harmful stereotypes. Access to games and gaming culture remains exclusive to the assumed able-bodied player. This special issue invites Mad and crip perspectives on games, play, and gaming culture. Continue Reading
Since its inception, the camera has captured and confounded us. The introduction of recording devices ranging from the phonograph to the photograph marked an astounding technological achievement: we could now collect moments in time. Relatively recently, this affordance has been extended to our gaming experiences. Consoles have incorporated screenshot functions into their operating systems, like the PlayStation 4’s dedicated “SHARE” button for recording and sharing gameplay. More dynamic “photo mode” features are creeping into many of the most visually compelling games as of late, such as Shadow of Mordor, Grand Theft Auto IV and V, Uncharted 4, and Batman: Arkham Knight. Continue Reading