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Activist Critical Making in Electronic Literature
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature Laura Okkema University of Central Florida Part of the Digital Humanities Commons, and the Game Design Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Okkema, Laura, "Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature" (2019). Electronic Theses and Dissertations, 2004-2019. 6361. https://stars.library.ucf.edu/etd/6361 HEARING THE VOICES OF THE DESERTERS: ACTIVIST CRITICAL MAKING IN ELECTRONIC LITERATURE by LAURA OKKEMA M.Sc. Michigan Technological University, 2014 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Arts and Humanities in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 Major Professor: Anastasia Salter © 2019 Laura Okkema ii ABSTRACT Critical making is an approach to scholarship which combines discursive methods with creative practices. The concept has recently gained traction in the digital humanities, where scholars are looking for ways of integrating making into their research in ways that are inclusive and empowering to marginalized populations. This dissertation explores how digital humanists can engage critical making as a form of activism in electronic literature, specifically in the interactive fiction platform Twine. -
It's About Ethics in Games Journalism? Gamergaters and Geek
SMSXXX10.1177/2056305116672484Social Media + SocietyBraithwaite 672484research-article2016 SI: Making Digital Cultures Social Media + Society October-December 2016: 1 –10 It’s About Ethics in Games Journalism? © The Author(s) 2016 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav Gamergaters and Geek Masculinity DOI: 10.1177/2056305116672484 sms.sagepub.com Andrea Braithwaite Abstract #Gamergate is an online movement ostensibly dedicated to reforming ethics in video games journalism. In practice, it is characterized by viciously sexual and sexist attacks on women in and around gaming communities. #Gamergate is also a site for articulating “Gamergater” as a form of geek masculinity. #Gamergate discussions across social media platforms illustrate how Gamergaters produce and reproduce this gendered identity. Gamergaters perceive themselves as crusaders, under siege from critics they pejoratively refer to as SJWs (social justice warriors). By leveraging social media for concern-trolling about gaming as an innocuous masculine pastime, Gamergaters situate the heterosexual White male as both the typical gamer and the real victim of #Gamergate. #Gamergate is a specific and virulent online node in broader discussions of privilege, difference, and identity politics. Gamergaters are an instructive example of how social media operate as vectors for public discourses about gender, sexual identity, and equality, as well as safe spaces for aggressive and violent misogyny. Keywords Gamergate, gaming cultures, geek masculinity, online harassment, social media At the end of August 2014, many online gaming communities situate themselves as the “real” victims, oppressed by calls erupted into vicious arguments—ostensibly about ethics in for diversity and at risk of losing “their” games to more video game journalism, but more pointedly about gender, inclusive ones. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
The Limits and Strengths of Using Digital Games As "Empathy
United Nations Mahatma Gandhi Institute Educational, Scientific and of Education for Peace Cultural Organization and Sustainable Development WORKING PAPER 2017 - 05 | DECEMBER 2017 THE LIMITS AND STRENGTHS OF USING DIGITAL GAMES AS “EMPATHY MACHINES” Matthew Farber, Ed.D., University of Northern Colorado Karen Schrier, Ed.D., Marist College Mahatma Gandhi Institute of Education for Peace and Sustainable Development / UNESCO Working Paper: The Limits and Strengths of Using Digital Games as “Empathy Machines” THE LIMITS AND STRENGTHS OF USING DIGITAL GAMES AS “EMPATHY MACHINES” United Nations Mahatma Gandhi Institute Educational, Scientific and of Education for Peace Cultural Organization and Sustainable Development UNESCO MGIEP United Nations Educational, Scientific and Cultural Organization | Mahatma Gandhi Institute of Education for Peace and Sustainable Development 35 Ferozshah Road, ICSSR Building,1st Floor, New Delhi- 110001, INDIA. December, 2017 © UNESCO MGIEP Author: Matthew Farber, Ed.D., Assistant Professor, University of Northern Colorado Karen Schrier, Ed.D., Associate Professor, Director of Games & Emerging Media, Marist College The opinions expressed in this publication are those of the authors and are not necessarily endorsed by UNESCO MGIEP. UNESCO MGIEP is not responsible for discrepancies, if any, in data and content. Any communication concerning this publication may be addressed to: UNESCO MGIEP [email protected] Printed in India THE LIMITS AND STRENGTHS OF USING DIGITAL GAMES AS “EMPATHY MACHINES” Matthew Farber, Ed.D., University of Northern Colorado Karen Schrier, Ed.D., Marist College Mahatma Gandhi Institute of Education for Peace and Sustainable Development / UNESCO Working Paper: The Limits and Strengths of Using Digital Games as “Empathy Machines” Mahatma Gandhi Institute of Education for Peace and Sustainable Development / UNESCO Abstract This working paper grapples with questions related to the intersection of digital games and empathy. -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Writing Video Game Narratives to Battle Sexism
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Quest for Change: Writing Video Game Narratives to Battle Sexism A Master of Arts Thesis By Moana Minson Massey University, 2018 Can video games be used to break down sexist attitudes and behaviours in their own community? This research investigated the intersection between narratives being able to inform users, games as highly immersive narrative sites, and how to deliberately design a game narrative with the goal of informing and building empathy in players about a social problem. This project investigated the question through several kinds of textual and field- work based research methods. First: a reflexive, auto-ethnographic exploration of the researcher’s own position in the community, plus a review of current literature, and game-player interviews were combined to establish a contextual knowledge base about negative gendered concepts and attitudes in gaming. These elements were then used to inform the construction of a game narrative which sought to, while being a great game, expose sexist attitudes and behaviours, challenge gendered stereotypes, and stimulate empathy and understanding towards the ‘other’. A portion of this narrative was turned into a playable game which was used to perform player testing, which revealed elements of how games create affect in users. These research stages were then combined to build a set of guidelines for use by other game developers; guidelines designed to suggest effective ways to shape game narratives which seek to break down sexist attitudes and behaviours within the gaming medium and community. -
Of Your Co-Workers Are Gone: Story, Substance, and the Empathic Puzzler
Journal of Games Criticism Volume 2, Issue 1 All of Your Co-Workers are Gone: Story, Substance, and the Empathic Puzzler Michael James Heron & Pauline Helen Belford Abstract Narrative games such as The Walking Dead, Gone Home, Dear Esther and The Stanley Parable are difficult to situate into the general framework of game genres that are popularly, albeit informally, understood by mainstream audiences. They are too unabashedly contrarian with reference to the generally accepted definitions that the field uses—indeed, questions have been raised as to whether or not they can even truly be considered games at all. In this paper, the authors argue that these games are properly differentiated into two key categories. The Walking Dead and The Stanley Parable are branching narratives that are spiritual successors to the Choose Your Own Adventurer style game-books. Dear Esther and Gone Home are freeform narratives that are best understood as tools for generating, interrogating and integrating empathy through the exploration of characterisation through situated spatiality within an emotion- ally resonant environment. It is the very lack of narrative structure in any linear or branching format that argues for these to be considered as a game genre of their own—one we have termed the “empathic puzzler”. They are related to more engi- Author Biographies Dr. Michael James Heron is a lecturer in computing at the Robert Gordon University. His research work focuses on accessibility, video games, accessibility in video games, and issues of choice and morality. He is also the lead developer and administrator of the online text MMO Epitaph Online. -
(In)Equality on Reddit
DICTATING THE TERMS: GAMERGATE, DEMOCRACY, AND (IN)EQUALITY ON REDDIT Shane Michael Snyder A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2019 Committee: Radhika Gajjala, Committee Chair Laura Landry-Meyer Graduate Faculty Representative Sandra Faulkner Timothy Messer-Kruse © 2019 Shane Snyder All Rights Reserved iii ABSTRACT Radhika Gajjala, Committee Chair In late 2014 the mainstream press reported about a far-right movement that sought to discredit feminist, anti-racist, and trans-inclusive interventions in the video games industry, its products, and its consumer culture. Called GamerGate by its devotees, the movement began when American game designer Zoë Quinn weathered public harassment after her ex-boyfriend published a five-part essay falsely alleging she had sex with a game journalist to collect a positive review for her game Depression Quest. GamerGate activists launched a smear campaign against Quinn but attempted to absolve themselves of harassment by rebranding the movement as a game consumer revolt against unethical journalists and leftist academics. Almost five years later, GamerGate continues to grow in membership on its official subreddit, /r/KotakuInAction, which is a self-governed community hosted on the popular discussion forum-based social media platform Reddit. Shortly after /r/KotakuInAction materialized, a conscientious objector created the pro-feminist /r/GamerGhazi to resist GamerGate. Despite Reddit’s massive user base, its 1.2 million subreddits, and its ubiquity in American culture, it remains an underexplored space in the academic literature. Academics have neither adequately addressed Reddit’s role in promoting far-right communities like /r/KotakuInAction, nor the efficacy of using Reddit as a space for staging feminist resistance to such communities. -
"Vidya Games Are for Nerds Like Us": Identity Deployment in the Gamergate Controversy Matthew .J Rogers University of Connecticut, [email protected]
University of Connecticut OpenCommons@UConn Master's Theses University of Connecticut Graduate School 10-20-2016 "Vidya games are for nerds like us": Identity Deployment in the GamerGate Controversy Matthew .J Rogers University of Connecticut, [email protected] Recommended Citation Rogers, Matthew J., ""Vidya games are for nerds like us": Identity Deployment in the GamerGate Controversy" (2016). Master's Theses. 1010. https://opencommons.uconn.edu/gs_theses/1010 This work is brought to you for free and open access by the University of Connecticut Graduate School at OpenCommons@UConn. It has been accepted for inclusion in Master's Theses by an authorized administrator of OpenCommons@UConn. For more information, please contact [email protected]. Matthew J. Rogers MA Thesis Introduction In February of 2014, video game developer Zoe Quinn released Depression Quest, a web browser game based on the subjective experience of depression. The game received several positive reviews from gaming journalists. On August 16th of the same year, Quinn’s ex-boyfriend Eron Gjoni published “the Zoe post” on his blog, in which he accused Quinn of having sex with a reviewer from the gaming website Kotaku in exchange for a favorable review. Users of the website 4chan quickly seized on these accusations. Quinn was harassed and one of her social media accounts was hacked. She was subsequently doxed—a practice of posting personally identifiable information online—and subjected to death and rape threats. This harassment later coalesced into an online movement under the hashtag “#GamerGate”. The hashtag was first used by actor Adam Baldwin when he tweeted a link to a pair of videos attacking Quinn. -
That Dragon, Cancer: Contemplating Life and Death in a Medium That Has
That Dragon, Cancer: Contemplating life and death in a medium that has frequently trivialized both Gareth Schott University of Waikato School of Arts New Zealand 0064-7-856-2889 [email protected] ABSTRACT As a game mechanic, death has primarily been used to punish players for mistakes and failure. Over-reliance on screen-death possibly constitutes one of the most dated aspects of digital games as a contemporary medium. This paper considers why this artefact of historical forms and content persists (Zimmerman, 2007), and in doing so, how it continues to trivialize the otherwise irreversible nature of the cessation of human life, and the sense of loss and grief experienced by those who are close to the deceased. In particular, this paper discusses the game That Dragon, Cancer (Numinous Games, 2016) for the manner in which it contributes towards a redefinition of the relationship between gaming and death. It is argued that the game allows the medium to tackle contemporary Western issues associated with the experience of death, and avoids contributing further to the ‘emotional invigilation’ (Walter et al., 1995) of death via its re-appropriation as an entertainment form. That Dragon, Cancer’s status as a game is also commented on, and defended, in terms of the player experience it offers. Keywords post-self, social death, screen-death, personal experience games, That Dragon, Cancer. INTRODUCTION Even though the profound essence of war is death (Silcock et al., 2008), the treatment given to war within entertainment mediums stands in stark contrast to the way the public digest war as a news event in the modern era. -
Gay Engines: Imagining a Queer Development Platform for Video
Gay Engines: Imagining a Queer Development Platform for Video Games Cass Zegura MCM 1990: Honors Thesis/Project in Modern Culture and Media April 5, 2020 1 Preface The story of this project begins in the fall of 2017, at a crowded tapas bar in downtown Providence. My aunt and uncle, who live in Boston, had come down to visit and take me out to dinner. It was a perfectly ordinary night except in one regard: when I told my aunt and uncle about the classes I was taking that semester, a strange look crossed their faces. I thought the source of their confusion might be the computer science course I had mentioned, an upper-level design class called Independent Study in 2D Game Engines. I assumed that they, like I, had never heard of the term “game engine” before and thus did not know what it was. And as I launched into my explanation (which I won’t repeat here—I’ve already written an entire chapter dedicated to this question), the confusion diminished, but only somewhat, and we soon changed subjects. On a phone call with my mom a few days later, I learned the true source of my aunt and uncle’s befuddlement. In that noisy restaurant, the word “game” had transformed into the word “gay.” They thought that I was taking a class on 2D gay engines. No wonder they were confused! I would’ve been too. What the heck is a gay engine anyway? Of course, I didn’t know then that I was going to spend my senior year trying to answer that question.