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UMA POC GAYMER ARRASANDO OS HÉTEROS: Comunidades Digitais, Sociabilidade LGBTQ+ E Resistência No Canal Do Youtube Samira Close1

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UMA POC GAYMER ARRASANDO OS HÉTEROS: Comunidades Digitais, Sociabilidade LGBTQ+ E Resistência No Canal Do Youtube Samira Close1 Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 42º Congresso Brasileiro de Ciências da Comunicação – Belém - PA – 2 a 7/09/2019 UMA POC GAYMER ARRASANDO OS HÉTEROS: comunidades digitais, sociabilidade LGBTQ+ e resistência no canal do YouTube Samira Close1 Bruno NEMER2 Luana INOCÊNCIO3 Universidade Federal Fluminense, Niterói, RJ Resumo Neste artigo, busca-se analisar a construção da identidade LGBTQ+ em jogos digitais por Samira Close, uma drag queen gamer que, em suas interações com jogadores randômicos, introduz discussões polêmicas pautadas na sexualidade e questões de gênero por meio do humor. Surge, então, a seguinte problemática: como se dão as interações sociocomunicativas de Samira e suas convidadas com o público dessa comunidade, predominantemente masculina, heteronormativa e intolerante? A discussão teórica parte do conceito de comunidades digitais e suas dinâmicas de sociabilidade em jogos online, entrelaçando-se com gênero e representatividade queer na comunidade gamer, a partir da análise de conteúdo dos vídeos de gameplays do canal de Samira no YouTube. Enquanto hipótese, acredita-se que a produtora de conteúdo reafirma a resistência e busca por visibilidade da comunidade LGBTQ+ no universo dos games online. Palavras-chave: Games; identidade LGBTQ+; YouTube; comunidades digitais; gaymer. Introdução Samira Close é uma drag queen gamer que possui certa notoriedade na internet e integra a comunidade gaymer - aglutinação de gay + gamer - brasileira, produzindo conteúdo desde 2016, contando com mais de 270 mil inscritos em seu canal no YouTube4 e 100 mil na plataforma Twitch5 - voltada para conteúdos desses jogos online. A prática comum adotada por ela, em seu material audiovisual, é a gameplay: a captura em vídeo de tela para a exibição do percurso e 1 Trabalho apresentado no IJ05 – Comunicação Multimídia, da Intercom Júnior – XV Jornada de Iniciação Científica em Comunicação, evento componente do 42º Congresso Brasileiro de Ciências da Comunicação. 2 Estudante de graduação do 2º semestre do curso de Comunicação Social (Publicidade e Propaganda) da Universidade Federal Fluminense. E-mail: [email protected]. 3 Orientadora do trabalho. Professora de Comunicação Social - Publicidade e Propaganda da Universidade Federal Fluminense. Doutoranda em Comunicação pela mesma Instituição (PPGCOM/UFF). Pesquisadora do Laboratório de Pesquisa em Culturas Urbanas e Tecnologias da Comunicação (LabCult/UFF). E-mail: [email protected]. 4 Disponível em: <https://bit.ly/2VROn03>. Acesso em: 30 jun. 2019. 5 Disponível em: <https://bit.ly/2fefW0K>. Acesso em: 30 jun. 2019. 1 Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 42º Congresso Brasileiro de Ciências da Comunicação – Belém - PA – 2 a 7/09/2019 táticas do jogo, sendo também gravados os sons emitidos por ela, tendo sua exibição feita em lives, frequentemente compartilhadas em sites de redes sociais. Em um segmento da tela, Samira insere sua câmera frontal para gravar suas próprias reações ao longo da partida, sempre montada como drag queen nos vídeos dos últimos anos, tendo uma interação maior com o espectador do vídeo, sendo um dos aspectos fundamentais do seu material. Em entrevista no canal no Youtube da drag queen youtuber Bianca DellaFancy6, ela descreve a experiência de ser uma drag queen fora do meio em que essa comunidade majoritariamente se insere - geralmente em performances artísticas, e de que a reconfiguração do conceito da arte de ser drag é uma característica singular do seu material, possibilitando mais uma desconstrução social do público que consome seus vídeos. Figuras 1 e 2 - Thumbnails de vídeos de Samira Close no YouTube. Fonte: <http://bit.ly/2XG2mKq>. O melhor exemplo da situação de interação foi a criação da personagem Ágatha Feroz para uma série de vídeos em meados de 2018, ao experimentar o jogo Grand Theft Auto V (GTA) com algumas amigas. Diversos trechos curtos destes vídeos foram compartilhados em comunidades LGBTQ+ no Facebook, notadamente em grupos fechados ou secretos como LDRV, Pandlr, Please Come to Brazil e This is Not a RuPaul‟s Best Friend Race Group7, que são pilares extremamente importantes para a circulação e popularização de conteúdos associados a memes e 6 Disponível em: <https://bit.ly/302hU8z>. Acesso em: 30 jun. 2019. 7 Cada grupo apresenta como singularidade a sua abordagem conteudista, mas todos se convergem em relação ao principal público atingido: a comunidade LGBTQ+. Eles surgiram como forma de sociabilidade independente no Facebook, impedindo que a reafirmação e o contato com os valores heteronormativos estejam presentes em um ambiente sem julgamentos, independente da expressão de gênero, sexual, ou de outro cunho. 2 Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 42º Congresso Brasileiro de Ciências da Comunicação – Belém - PA – 2 a 7/09/2019 virais (INOCÊNCIO, 2018) no cenário digital brasileiro, sendo essenciais para o destaque recebido por Samira desde então. A possibilidade da inserção prévia de jogadores escolhidos por Samira em suas partidas, que são compostas por duplas ou squads - times formados normalmente por 4 pessoas - contribuiu para que ela fosse inserindo personalidades da comunidade LGTBQ+ para participar dessa interação nos games em seu “squad”, sendo a situação inteira e suas reações gravadas, para o conteúdo dos seus vídeos. As figuras mais frequentes dessas interações são a também gaymer Rebeca Trans e as cantoras LGBTQ+ Kaya Conky e Danny Bond, todas se apresentam como drag queens que compartilham do mesmo amor por games e viés desconstrutivo desse ambiente de jogos digitais que Samira. Ao longo das partidas, diversos tópicos relevantes, muitos sendo considerados tabus, são abordados na interação entre elas e os jogadores randômicos, onde o potencial misógino, heteronormativo e tóxico da realidade gamer é evidenciado na gameplay e a necessidade de representatividade é exaltada por elas como forma de luta e transformação nesse ambiente homo/transfóbico. Nesse contexto, temos como objetivo analisar como se dão as interações sociocomunicativas da comunidade gaymer com o público do universo virtual, predominantemente masculino, heterossexual e intolerante; bem como o impacto da presença da comunidade queer em um ambiente homofóbico como forma de resistência e representatividade para os demais jogadores, apresentando uma desconstrução social da estrutura heteronormativa. Analisaremos, assim, os vídeos presentes no canal da youtuber gaymer Samira Close, onde acontecem diversos casos de marginalização da sua presença por fazer parte da comunidade queer por outros jogadores nos games digitais. Após colocar em evidência tais eventos, serão traçadas algumas características dessas ambiências online e seus jogadores com os valores de sociabilidade, gênero, sexualidade e representatividade queer. Primeiramente, uma análise da formação de comunidades digitais gaymers será feita, objetivando traçar sua importância como forma de resistência no universo dos jogos digitais. Em seguida, faz-se necessário o estudo da estruturação social gamer acerca das questões de gênero e sexualidade no contexto online, pois é a partir dele que se baseará o terceiro e próximo tópico de pesquisa: a toxicidade social como forma de manutenção desses valores heteronormativos, por meio do griefing, e a evidência da presença do humor como forma de luta contra tal marginalização. 3 Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 42º Congresso Brasileiro de Ciências da Comunicação – Belém - PA – 2 a 7/09/2019 Por fim, será articulada uma análise de conteúdo qualitativa, seguindo os fluxos metodológicos propostos por Bardin, tendo como objeto algumas amostras de vídeos do canal do YouTube de Samira. A seleção do corpus foi realizada a partir da aproximação quantiqualitativa, compreendendo-se os vídeos que evidenciam a sociabilidade entre os jogadores com a drag queen gamer, a performance de resistência através do humor e a manutenção heteronormativa. Além dos vídeos, serão coletados os comentários em textos a esses vídeos. Por fim, ocorrerá o tratamento dos resultados através de uma curadoria do conteúdo analisado, interrelacionando-o com a abordagem qualitativa. Ela será contextualizada com a pesquisa teórica, exemplificando-a com situações importantes para a pesquisa ao longo das gameplays. Formação de comunidades digitais gaymers como forma de resistência Conforme propõe Jacquier (2011), a singularidade das comunidades sociais, de forma geral, está no seu aspecto organizacional, pois, ao contrário das sociedades e associações, elas não se estruturam de maneira planejada, independentemente da vontade dos membros que a formam. Ao perceber o entrelaçamento cada vez mais intenso de participantes dos sites de redes sociais reunidos em comunidades virtuais, Recuero (2009) caracteriza estes grupos como um “conjunto de atores e suas relações que, através da interação social em um determinado espaço, constitui laços e capital social em uma estrutura de cluster, através do tempo, associado a um tipo de pertencimento”. O que diferencia, no entanto, essas comunidades e o restante da rede social online em si é a intensidade dos laços e os elementos de conexão, estabelecidos em torno de valores e ideologias em comum, mas principalmente, conforme indica Inocêncio (2018), em torno do consumo midiático, de preferências e gostos relacionados a bens do entretenimento. Sendo assim, inferimos que a composição das comunidades digitais
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