Design practices and transgender agency in video games in independent and mainstream contexts (2005-2022)

在过去的二十年里，跨性别理论已经概念化了性别认同和身体自主，为自我探索和政治肯定辩护。这一焦点已经反映在游戏研究对视频游戏潜在的跨性别表现的兴趣上。然而，对诸如角色定制、化身、故事讲述和游戏内玩家代理等媒体特定功能的彻底、批判性调查仍然缺乏。这个项目填补了这一空白，通过解决设计和玩家代理在独立，trans-affirmative游戏Dys 4 ria（2012），我们在这里，因为那些不是（WAHBOTTAN）（2020）和Tellme Why（2021），与具有类似功能的主流产品维斯，如任天堂的Miis（2006），TheSims 4（2016），和赛博朋克2077（2022）。关键问题出现了。谁拥有游戏中的跨性别表征，游戏作为身份探索的解放潜力是什么？媒体的特定特征如何支持跨性别肯定？跨性别设计师在多大程度上能够从引入跨性别主题中获得合法性和利益？最终，电子游戏在多大程度上可以促进跨性别机构的出现？本项目通过将对媒体的批判性调查与自我民族志和玩家接受研究相结合来解决这些问题，以分析游戏行业中跨性别游戏的出现和挑战。这项研究的重点是跨性别游戏意味着什么，以及谁拥有这些游戏并从中受益。它关注一系列独立的跨性别游戏，这些游戏对跨性别玩家产生了影响，尽管与畅销产品相比，它们的成功有限。独立的跨性别游戏允许人们分析跨性别表现与特定媒体特征、身体定制和互动故事讲述中的代理之间的关系。这些都是比较类似的功能，出现在主流的标题，其中跨主题的引入可能有资格阿萨表演平等的显示，霸权文化的一部分，从文化拨款和彩虹洗跨'主题'的好处。

In the past two decades, trans theory has conceptualised gender identity and bodily autonomy, advocatingfor self-exploration and political affirmation. This focus has been reflected in game studies' interest forvideo games' potential for trans representation. Yet, a thorough, critical investigation of medium-specificfeatures, such as character customisation, embodiment, storytelling, and in-game player agency, is stilllacking. This project fills this gap by addressing design and player agency in independent, trans-affirmativegames Dys4ria (2012), WE ARE HERE BECAUSE OF THOSE THAT ARE NOT (WAHBOTTAN) (2020), and Tellme Why (2021), vis-à-vis mainstream products sporting similar features, as Nintendo's Miis (2006), TheSims 4 (2016), and Cyberpunk 2077 (2022).Key issues arise. Who owns transgender representations in games, and what is the emancipatory potentialof play as identity exploration? How do medium-specific features support transgender affirmation? Towhat extent are transgender designers able to draw legitimacy and benefit from introducing transgenderthemes? Ultimately, to what extent can video games facilitate the emergence of transgender agency?This project addresses these issues by blending a critical investigation on the medium withautoethnography and player reception studies to analyse the emergence and challenges of trans-affirmative games in the gaming industry. The research focuses on what trans games mean and on whoowns and benefits from them. It focuses on a series of independent, trans-owned games that have beenimpactful for trans players, despite garnering limited success compared to blockbuster products.Independent trans games allow one to analyse relations between trans representation and medium-specific characterisation, body customisation, and agency in interactive storytelling. These are comparedto similar features that appear in mainstream titles, where the introduction of trans themes may qualify asa display of performative equality, part of a hegemonic culture that benefits from the culturalappropriation and the rainbow-washing of trans 'themes'.