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Playing with Pleasure and Anxiety: Dark Play, Transgression, and Kink in Grand Theft Auto 5

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Playing with Pleasure and Anxiety: Dark Play, Transgression, and Kink in Grand Theft Auto 5 Playing with Pleasure and Anxiety: Dark Play, Transgression, and Kink in Grand Theft Auto 5 by Emily Jean Ketterling A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Law and Legal Studies Carleton University Ottawa, Ontario © 2018, Emily Jean Ketterling ii Abstract This project aims to explore how the lessons learned about feminist media analysis in the sex wars can help us develop more nuanced understandings of transgressive video games. Radical feminist approaches to pornography tend to focus on harm and use media-effects research to support their claims; I argue that these same arguments are being played out in a new arena: anti-violence in video games advocacy. Using autoethnography, hermeneutical textual analysis and in-depth interviews, I aim to re- read one particularly contentious title, Grand Theft Auto 5, in a way that acknowledges the complicated and contingent pleasures of transgression. Using a kink-informed lens, I push back against essentializing cause-and-effect readings of transgressive gameplay including GTA 5’s interactive violence, rape fantasy, and cross-racial play. In doing so, I aim to present “not only a critical but a political interrogation” of radical feminist approaches to video games.1 1 Clover, Men, Women, and Chain Saws. iii Acknowledgments I owe endless thanks to my supervisor, Professor Ummni Khan, whose enthusiasm, support, and mentorship have been an invaluable buoy and source of motivation. Thank you to the other members of my committee: Professor Aubrey Anable and Professor Benjamin Woo, for their time, effort, and invaluable feedback. Thanks also to Professor Stacy Douglas and Professor Dale Spencer for their support and encouragement in the early stages of this project and my degree. Thank you to my friends, family and colleagues who helped me throughout this project. In particular, I am grateful for Alexandra Killham’s friendship, enthusiasm, and help in editing; and to my parents and sisters for their steadfast support and encouragement. Thank you to Chris for the support he provided throughout my degree, as well as for showing me how to build my gaming computer and set up the Let’s Play technology. iv Table of Contents Abstract ...................................................................................................................... ii Acknowledgments....................................................................................................... iii Table of Contents ........................................................................................................ iv List of Figures ............................................................................................................. vi Chapter 1: Introduction ................................................................................................ 1 Chapter 2: Literature Review and Theoretical Background ............................................... 7 1. Grand Theft Auto ........................................................................................................................... 7 2. Feminism, violence and harm in pornography and video games .................................................... 9 A. The law and violence in videogames....................................................................................... 12 B. Media-effects models of porn and violent videogames .......................................................... 17 C. Feminism and Harm ................................................................................................................ 21 D. Radical Feminism and Harm ................................................................................................... 27 3. A Vocabulary for Talking About Video Games .............................................................................. 31 A. Games as unique vs. particular ............................................................................................... 31 B. Ludology and Narratology ...................................................................................................... 35 C. Immersion and identification .................................................................................................. 37 D. The Gaze, Voyeurism, and Spectatorial Pleasure .................................................................... 41 Chapter 3: Methods ................................................................................................... 44 1. Scope of research ........................................................................................................................ 44 2. Phenomenology ........................................................................................................................... 45 3. Autoethnography ......................................................................................................................... 47 4. Textual Analysis ........................................................................................................................... 49 5. Procedures:.................................................................................................................................. 50 A. Phase One: Autoethnographic Let’s Plays............................................................................... 50 B. Phase Two: Interviews ............................................................................................................ 52 C. Phase Three: Analysis.............................................................................................................. 53 6. Limitations ................................................................................................................................... 55 Chapter 4: Transgression and dark play ........................................................................ 59 1. Transgression ............................................................................................................................... 60 2. Dark Play ...................................................................................................................................... 64 Chapter 5: BDSM, Violence, and Pleasure in the Uncanny Valley .................................... 75 1. The Uncanny ................................................................................................................................ 77 2. The Uncanny in Fiction................................................................................................................. 81 3. The Avatar as the Double: The Cyborg Self. ................................................................................. 83 4. Case Studies: Torture Scenes ....................................................................................................... 87 A. Mr. K ....................................................................................................................................... 87 B. Lazlow ..................................................................................................................................... 91 5. Analysis ........................................................................................................................................ 92 A. Violator/Violated: Dark Play and Identification in Liminal Space ............................................ 92 B. BDSM and pushing limits ........................................................................................................ 96 v 6. Chapter 5 conclusions: Terrible tensions ................................................................................... 102 Chapter 6: Hood Safari: Digital Blackface and Race Play ............................................... 104 1. Digital Blackface ......................................................................................................................... 109 A. Video games as immersive spaces ........................................................................................ 113 B. Video games as educational spaces...................................................................................... 115 C. Glorification, reality and authenticity ................................................................................... 117 2. Racial iconography and race play ............................................................................................... 121 A. Race play porn and the blurring of fantasy and reality ......................................................... 122 3. GTA 5 as race-play ..................................................................................................................... 126 A. White desire and race play ................................................................................................... 130 B. Satire and Realism ................................................................................................................ 134 C. Race Humour ........................................................................................................................ 140 4. Chapter 6 conclusions ................................................................................................................ 147 Conclusion: BUSTED! Re-reading GTA 5 for pleasure and anxiety .................................. 149 Bibliography ............................................................................................................ 155 Cases
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