First Person Podcast Episode 47

Queer Representation in Gaming

Welcome to the 47th episode of First-Person Podcast and Happy Pride Month everybody! This episode we are going to be looking at and talking about queer representation in gaming. Whether it be queer theming, queer performativity, or explicitly queer characters, we want to try and open up the conversation a bit more looking at the way gaming media frames queer values and narratives. Join us as we look into both mainstream and indie games and discuss our experience with them. Continue Reading

Cinders and Fantasies of Womanhood

The figure of Cinderella has been divisive; its reception highlights oppositions present in feminist thought: namely the conflict between second-wave and postfeminism. Fien Adriaens (2009) describes second-wave feminism’s stance as “the idea that femininity and feminism are oppositional, mutually exclusive and that the adoption of one of these identities (feminine or feminist) can only be achieved at the expense of the other.” This positions second-wave feminism in critical opposition to “Cendrillon” as well as conservative retellings such as Disney’s 1950 film Cinderella. Indeed, critics have argued that fairy tales portray women as “weak, submissive, dependent and self-sacrificing” and that by example this encourages young girls to “adopt these desires, which are deemed appropriate within patriarchy” (Parsons, 2004, p. 137). Continue Reading

She’s Not There

Absent Agency in Video Games

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

A Better World

Examples of Disability in Overwatch

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

Savage Beasts

The Spatial Conflict Between Civilization and Nature in The Elder Scrolls V: Skyrim

It is hard to talk about playing the fantasy role-playing game (RPG) The Elder Scrolls V: Skyrim without talking about its digital environment. Its vastness. The freedom with which players can move through it. With an impressive “16 square miles” (Hong p. 42) of digital landscape on offer, there certainly is a lot of world to explore. Continue Reading

“The World Could Always Use More Heroes”

Why Overwatch Matters

Earlier this year, I presented my dissertation research in the Game Studies area of the Popular Culture Association / American Culture Association conference; the community among these interdisciplinary scholars was so great that I ended up sticking around for almost every panel on games for the rest of the weekend. And I was struck by a common theme: Blizzard Entertainment’s team-based first-person shooter Overwatch (2016) came up in almost every one! Continue Reading

It Gets Worse…

The Female Voice in Video Games

Despite their historically tumultuous relationship with issues of gender and representation, many scholars and game journalists have argued that video games are generally moving in the right direction (Lynch, Tompkins, van Driel & Fritz, 2016; McNally, 2016), at least visually. While progress on the image front has taken us from scantily-clad polygon Barbies to humbly-garbed warrior women, vocals – we argue – have done the opposite, regressing from synthetic vowels to overdramatized breathy moans. Continue Reading