TY  - BOOK
AU  - Ruberg,Bo
TI  - Video Games Have Always Been Queer
T2  - Postmillennial Pop
SN  - 9781479831036
AV  - GV1469.17.S63 R83 2019eb
U1  - 794.8 23
PY  - 2019///]
CY  - New York, NY : 
PB  - New York University Press, 
KW  - Gays
KW  - Gender identity
KW  - Queer theory
KW  - Video games
KW  - Social aspects
KW  - SOCIAL SCIENCE / Media Studies
KW  - bisacsh
KW  - Between Men
KW  - Burnout
KW  - Consentacle
KW  - Halberstam
KW  - Juul
KW  - LGBTQ experience
KW  - LGBTQ game-makers
KW  - LGBTQ
KW  - Musgrave
KW  - Octodad
KW  - Pong
KW  - Realistic Kissing Simulator
KW  - Sedgwick
KW  - Squinkifer
KW  - arcade games
KW  - avant-garde
KW  - chrononormativity
KW  - close reading
KW  - cultural logic
KW  - degamification
KW  - design
KW  - failure
KW  - game studies
KW  - gamification
KW  - heteronormativity
KW  - independent games
KW  - interactive systems
KW  - intimacy
KW  - methodologies
KW  - non-normativity
KW  - queer theory
KW  - queerness
KW  - regamification
KW  - spatiality
KW  - speedrunning
KW  - temporality
KW  - transgression
KW  - walking simulators
N1  - restricted access
N2  - Argues for the queer potential of video gamesWhile popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can-and should-be read queerly.In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games-because video games have, in fact, always been queer
UR  - https://www.degruyter.com/isbn/9781479893904
UR  - https://www.degruyter.com/document/cover/isbn/9781479893904/original
ER  -