Since the #GamerGate controversy erupted in 2014, anti-feminist gamers continue to lash out at feminists and supporters of progressive and inclusive gaming content. A key strategy in this discourse is the sharing of content via links on Twitter, which accompany messages positioning the sender on either side of the debate. Through qualitative analysis of a data set drawn from 1,311 tweets from 2016 to 2017, we argue that tweeted links are a salient tool for signaling affiliation with gaming communities. For anti-feminist gamers, the tweeted link defines masculinist gamer identity and constructs social boundaries against the increasing diversification of video game culture reflected in higher overall rates of feminist tweets. Links can be construed as revelatory of boundary work and thus can help shed insight on the extent to which #GamerGate discourse was intended to defend gaming culture as an exclusively masculine space.
I argue that videogames are structured by conscious fantasy. This project traces two fantasies (tether and accretions) that combine into the genre of the role-playing game, providing a rough timeline for the evolution of these fantasies in videogames. It also engages in close readings of individual works that highlight important aspects of each fantasy. This study can serve as the basis for a formal analysis of games that is reinforced by their divided nature (game and story). Fantasy can serve as an intermediate term between game and story, and as such can incorporate the player into a game's formal analysis. I also argue that videogames teach us that fantasy is a better term for describing media convergence than story. Note that ''fantasy'' here does not refer to the literary genre but rather to a dynamic psychological concept related to play.
This paper reviews and synthesizes ideas in the philosophy of play and relevant psychology research in order to address videogame medium specificity, with particular focus on the notion of videogame play as simultaneously “rule-bound” and “make-believe.” It offers the sustained analogy of “trellis and vine” for provisionally sorting through the tangle (the “mess” or “assemblage”) of function and fiction in games.
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