Mitchell, Liam

This research examines the digital game through the subject of the Apocalypse, both in its literal revelatory form and its colloquial disaster form. To accomplish that, it employs Louis Althusser's concept of structural causality as a springboard for a structure-based interrogation of interlocked systems. Drawing a comparison between Ian Bogost's definition of black-box analysis and Althusser's concept of ideology, I suggest the apocalypse is a valuable subject matter for understanding digital games, and in turn digital games provide media-based insight on complex systems of subjectivations. These positions are accomplished in two ways. First, I focus on five different apocalyptic games - The Last of Us (2012), Tokyo Jungle (2012), Mass Effect (2008), Doki Doki Literature Club (2016), and Persona 4 Arena (2012) – and how they express radically different visions and scopes of apocalypse. More specifically, I focus on the digitality of these games and how their technical construction in light of their suggested themes reveal hidden relations between apocalypse and ideology. Second, I expand on a research-creation project focused on the production and dissemination of a game, specifically as a means of using what has been discussed in previous chapters to attempt to expand on the subject matter of ideology and apocalypse. The aim of this is to discuss the process of expressing a procedural argument following several chapters interpreting them. It is also to expand on additional tensions between human and system which are underplayed or obscured in the playing process. It concludes that apocalypse, in the process of using systems, remains an elusive topic and to produce meaningful texts as commentary on ideology requires different, difficult considerations.

Author Keywords: Althusser, Apocalypse, Bogost, Digital Games, Ideology, Jameson

Is trauma representation possible without re-traumatization (of self or other)? Developed through the creation, performance, and critical analysis of Titty Cakes: A Recipe for Radical Acceptance—an autobiographical, ritual-performance rooted in lived experiences of breast cancer and gang rape—this thesis argues that trauma representation is (im)possible: possible only by accepting its impossibility. To navigate this paradox, I propose the ethics and aesthetics of absence: a performance theory that resists "trauma porn" by refusing direct representation in favour of rupture, remains, and ritual. Absence is neither void nor lack; it is an ethical imperative and aesthetic strategy through which trauma is held rather than exposed, allowing the unspeakable to be witnessed. Ritual becomes the vessel for this holding: it activates affect without spectacle, invites witness without voyeurism, and fosters communitas without demanding closure. Titty Cakes stages absence as presence; where the scar, not the wound, becomes the locus of meaning.

Author Keywords: Breast Cancer, Performance Studies, Research-Creation, Saint Agatha of Sicily, Sexual Violence, Trauma Studies

Games immerse players. Through immersion, players can see themselves embodied in their avatars. There is space for meaningful experimentation of gender through these avatars as embodied players can blur the lines between their real-life and virtual selves. The player's avatar becomes that person — in terms of personality, feelings, and gender identity/expression. In virtual reality, the player becomes a virtual actor in the world of the game, allowing the player to explore their avatar directly. Through various games, books, and anime, I demonstrate how players can find embodiment and how games can achieve a rigid sense of embodiment. Using an intersectional lens of cultural and gender studies, this paper aims to provide a framework for embodied gender exploration that future games can build upon. This framework is enacted through a look at embodiment and how the player is able to find an authentic self in the virtual world.

Author Keywords: Avatars, Embodiment, Embodiment studies, Gender euphoria, Video games, Virtual Reality

This dissertation sought to examine how reactionary influencers on YouTube are able to create 'gateways' towards audience tolerance and even desire to enact violence against marginalized groups, particularly those groups relating to gender performance. for the purposes of YouTube moderation. This dissertation uses the perspectives of affect theorists Ahmed, Berlant, and Tomkins, and the gender theories of Connell and Butler to divide the examined influencers into two categories, gurus and prophets. Prophets, such as Tucker Carlson or the Prager U platform, presented already existing hegemonic narratives about gender norms as ontological truths that were key to the coherence of both society and individual identity. Meanwhile, gurus like Andrew Tate presented themselves as teachers whose ability to embody hegemonic masculine norms gave them both the wisdom and authority to convert loyal viewers into successful men like them. Both categories of reactionary influencer were examined with a focus on both rhetoric and modelling of masculinity and the performance thereof. While both categories worked to align viewers with fascist ideology through emphasizing hatred, fear, and anger towards real-world events while connecting feelings of hope, joy, and desire to quasi-gnostic mythic perspectives around masculine sovereignty, they presented significant differences in method and target audience. This has significant implications for attempts at deradicalization and resistance to the increasing tide of fascism in mainstream society. Another significant finding was that affective connections to reactionary beliefs were almost all found to originate with mainstream narratives around gender norms, particularly with regards to masculine success and authority under capitalism. Overall, this dissertation's findings strongly counter mainstream assumptions that extremist reactionary ideology comes from a discrete fringe source rather than as a direct result of existence within a vicious capitalist social system that prioritizes White male comfort over the ability of ethnic and gender minorities to express any shred of agency.

Author Keywords: Affect, Extremism, Fascism, Internet, Masculinity, Performativity

Beginning in the 1970s, games went from being trivial and innocuous elements of childhood culture to major touchstones of North American popular culture. Games came to symbolize the dangers of a rapidly shifting technological and cultural landscape. This led to a series of moral panics that were centered upon these new, often complex, and increasingly realistic games that were apparently a source of moral corruption for children and teenagers. This view of games as a moral hazard for young people was often taken up by the news and mass media, opening the path for many moral entrepreneurs to leverage 'common sense' Media Effects thinking and gamer stereotypes for their own personal gain. This thesis tracks the historical development of these interrelated phenomena from Death Race in 1976, the Satanic Panic of the 1980s, the Mortal Kombat hearings and finally to Doom and the Columbine Massacre in 1999.

Author Keywords: Media Effects, moral entrepreneurs, moral panic, realism, role-playing games, video games

Games, and especially video games are fast becoming the most pervasive media form, and live streaming games is fast becoming the most pervasive way of experiencing those games. This thesis looks at the history of broadcast, the practices of technological hobbyists, the social and technological aspect of games, gaming communities that transform game narratives, and gaming communities that transform political narratives. It demonstrates how the study of video game live streaming can be used as a model to study and analyze the production, consumption, and reciprocal relationship between the producers and consumers of media.

Author Keywords: Bill Gates is the Devil, Broadcast, Gaming, Ham Radio, Live Streaming, Video Game Live Streaming

Games immerse players. Through immersion, players can see themselves embodied in their avatars. There is space for meaningful experimentation of gender through these avatars as embodied players can blur the lines between their real-life and virtual selves. The player's avatar becomes that person — in terms of personality, feelings, and gender identity/expression. In virtual reality, the player becomes a virtual actor in the world of the game, allowing the player to explore their avatar directly. Through various games, books, and anime, I demonstrate how players can find embodiment and how games can achieve a rigid sense of embodiment. Using an intersectional lens of cultural and gender studies, this paper aims to provide a framework for embodied gender exploration that future games can build upon. This framework is enacted through a look at embodiment and how the player is able to find an authentic self in the virtual world.

Author Keywords: Avatars, Embodiment, Embodiment studies, Gender euphoria, Video games, Virtual Reality

This thesis examines the ways in which body image is discussed in online settings. There are three different communities discussed: body positivity, proED (pro-eating disorder), and body neutrality. Both body positivity and proED content are fairly popular online, and both have found significant support and followers on various social medias. In this thesis, I argue that both of these types of content cause significant harm to those who engage with them, primarily because both communities (though different in their approaches to body image) work to uphold the thin ideal. I then bring up the third type of content: body neutrality. Body neutrality has not been given the same academic attention as body positivity and proED content, likely due to its relative infancy. In this thesis, I propose body neutrality as a much healthier way to frame body image online because of its completely neutral stance on fat, thinness, and general body image. Though any work relating to social media is quickly out of date, I hope that this thesis provides an overview of body neutrality and how, in its current form, it provides a more balanced approach to online body image discussions.

Author Keywords: body image, body neutrality, body positivity, eating disorders, social media

The purpose of this research is to highlight the limitations and opportunities for playful expression of gender identity in character creation systems of virtual worlds, and how these might work to reinforce, or disrupt, the heteronormative imperative. The primary sites considered in this analysis are the video game World of Warcraft and the live action role-playing game Amtgard. I provide evidence that while the World of Warcraft's character creation system is sexist and works to reinforce heteronormative ideology, Amtgard's relatively ambiguous design provides opportunity for disruption of these norms. Participant research with Amtgard players demonstrates actual instances of Amtgard's more flexible character creation system being utilized in expression and exploration of gender identity which resists the heteronormative imperative. Based on this, I call on game developers to reject designs which necessitate selection of gender from within the traditional binary and embrace more ambiguous design in development of character creation systems.

Author Keywords: Avatars, Game Design, Games, Gender, Identity, Virtual Worlds

This thesis examines what the term "transgender narrative" represents at this particular time and location. I do this by examining various methods of transgender storytelling through different forms of media production, including autobiography, film, novels, and online platforms such as Tumblr and YouTube. In chapter one, I look at the production of novels and the value system by which they are judged ("gender capital") in transgender publics and counterpublics. In chapter two, I examine the history of the autobiography, along with the medical history closely associated with transgender identity and bodily transformation. The third chapter examines notions of violence and memorial behind the deaths of transgender people and the ways in which certain political revolutions are formed within a counterpublic. I deconstruct varying notions of identity, authorship, and cultural production and critically examine what it means to be transgender and what it means to tell stories about transgender people. I will conclude with how these stories are being shaped through social media to become more innovative and move away from the rigid value system of gender capital previously mentioned.

Author Keywords: autobiography, gender, sex, social media, transgender, transsexual