Your recently viewed items and featured recommendations, Select the department you want to search in, Proceed to checkout ({qq} items) {$$$.$$}, + $18.53 Shipping & Import Fees Deposit to Netherlands. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. This centralizes the importance of texts like Video Games Have Always Been Queer in the growing field of game studies and serves as a broader reminder: Video games have always been queer, and they always will be. While 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 […] For the 2020 holiday season, returnable items shipped between October 1 and December 31 can be returned until January 31, 2021. It would have been easy to make a full stop at representation—a catalogue of queer characters, their impact and importance—but that is not enough. Ruberg gives us an important intervention in the field of game studies, opening up new modes of understanding and inquiry. "Ruberg offers a polemical intervention into game studies, discovering queer frisson through close readings of how games are played, from the touching shoulders of two men playing a Pong cabinet in the 1970s to the modern trend of speed running or glitching games that transforms the temporality and meaning of play". Trash is an understatement for this book. Video Games Have Always Been Queer focuses instead on how video games, on a conceptual level, enact and embody queerness, and how game players and developers are bringing queerness to their games. Each of the book's seven chapters offers new frameworks for reading games in depth and offers fully drawn-out, specific examples of the kind of inquiry being proposed. Robert Yang’s games like Hurt Me Plenty and Stick Shift look to re-complicate sex in gaming through both gay and kink lenses. Ruberg’s book on the nature of queer video games is, in itself, queer. To get the free app, enter your mobile phone number. This section takes a look at the queer failure in Burnout Revenge, a compelling section against the hegemony of fun and towards the queer potential of games that hurt, and the queer play behind speed runs and walking simulators. An essential contribution to the critical study of games! The section “Discovering Queerness in Video Games” is all about encountering queer experience in video games at large. We can also look at all the comical attempts to orchestrate new failures in gaming. Reviewed in the United States on April 28, 2019. Please try again. But we can go, as Ruberg has, beyond that. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. 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. 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. This idea of purposed self-destruction framed as counter-hegemonic action is central to Ruberg’s chapter against fun. Rather than a simplistic survey of queer characters in gaming, Ruberg seeks to demonstrate that video games, themselves, are fundamentally queer. Unable to add item to List. They are a remarkably lucid writer, able to communicate complex theoretical concepts clearly for scholars and students alike, and I can attest from personal experience as a professor that it works well as an undergraduate course reading. Ruberg opens the book by connecting Atari’s seminal classic Pong with Eve Kosofsky Sedgwick’s book Between Men. Video games and their discourse are still largely locked into and defined by the “hegemony of fun.” Games and play are fundamentally queer modes of human expression which, by extension, means that the study of these modes are likewise at least proximally queer. Submit an article Journal homepage. “Video games have always been queer”: This is the bold argument at the core of Bonnie Ruberg’s new monograph. The final chapter of their book closes with a few profiles of queer game developers and their games. What better place is there to start this reframing of games discourse than at the historic and discursive core of the videoludic, Pong. This framing of “discovering” and then “bringing” queerness to games does something interesting and, honestly, a little beautiful. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. Access this eBook from one of our digital partners. Read "Video Games Have Always Been Queer" by Bonnie Ruberg available from Rakuten Kobo. Rubeg cites the growing trend of “fail comps” as an example. It is under believable that someone actually wrote a book about this topic and is sooo bias with it. Video Games Have Always Been Queer argues that the medium of video games itself can―and should―be read queerly. Fun on a conceptual level, argues Ruberg, has been absorbed into the cultural hegemony. Video games have always been queer Search in: Advanced search. From my own childhood experience, there was nothing more fun than seeing how many remote mines my friends and I could stack in Golden Eye before we would inevitably destroy ourselves. Video Games Have Always Been Queer (Postmillennial Pop, 16). I’m especially happy that they focussed an entire section in the close of their text on the games of Robert Yang. This perspective is so liberating to see. There was a problem loading your book clubs. Our payment security system encrypts your information during transmission. It also analyzes reviews to verify trustworthiness. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. In dialogue with Jesper Juul’s look at failure in games in his book The Art of Failure: An Essay on the Pain of Playing Video Games, Ruberg argues for failure in games as being fundamentally queer. Top subscription boxes – right to your door, © 1996-2020, Amazon.com, Inc. or its affiliates. What makes this book so important is that it escapes the neoliberal absorption of LGBTQ discourse. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. 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. This, however, obscures a deeper truth. Queerness and video games are not, nor have they ever been, mutually exclusive phenomena. A great book for both research and teaching. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. 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. It’s fantastic to see Ruberg’s text give so much space to kink in the discourse of queer gaming. Find all the books, read about the author, and more. Through a series of close analyses of specific games from Pong to Portal and beyond -- both queer readings of ostensibly straight games, and examinations of queer/subversive forms of play -- they clearly articulate the value of putting game studies in dialogue with queer theory, to the mutual enrichment of both. Reviewed in the United States on April 30, 2019. 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. Sign up for our eNewsletters and receive 30% off your first purchase at NYUPress.org. The arguments that connect Pong to Between Men are formed by analyzing the physical spaces occupied when players step up to the arcade cabinet, the relationships formed between paddles as avatars only connected by a ball they bat back and forth, and the “queer geometry” of a game that, in Ruberg’s words, has “movement that never adds up ‘straight’.” Ruberg takes their argument down similar paths for the game Portal and D. A. Miller’s essay on Hitchcock’s cinematography “Anal Rope,” Octodad and a discourse on queer passing, and Realistic Kissing Simulator and Constentacle as designing games against heteronormativity.

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