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

在过去的二十年里，变性人理论对性别认同和身体自主进行了概念化，倡导自我探索和政治肯定。这一关注点已经反映在游戏研究对视频游戏潜在的跨性别表征的兴趣上。然而，对中等特征的彻底的、批判性的调查，如角色定制、化身、讲故事和游戏中的玩家代理，仍然缺乏。这个项目通过解决独立的、跨肯定的游戏Dys4ria(2012)中的设计和玩家代理来填补这一空白，我们之所以在这里是因为那些不是(WAHBOTAN)(2020)和告诉我为什么(2021)，相对于具有类似功能的主流产品，如任天堂的MIIS(2006)、TheSims 4(2016)和赛伯朋克2077(2022)。关键问题出现了。谁在游戏中拥有变性人的表征，以及游戏作为身份探索的解放潜力是什么？中等特征如何支持变性人的肯定？变性人设计师在多大程度上能够从跨性别者主题的引入中获得合法性和利益？最终，视频游戏能在多大程度上促进变性人中介的出现？本项目通过将对媒介的批判性调查与自我人种学和玩家接受研究结合起来，分析变性人游戏在游戏行业的出现和挑战，从而解决这些问题。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。它专注于一系列独立的、跨性别玩家的游戏，这些游戏对跨性别玩家产生了影响，尽管与大片相比，这些游戏获得的成功有限。独立的跨性别游戏允许人们在互动故事讲述中分析跨性别代表与媒介特定特征、身体定制和代理之间的关系。这些与主流电影中出现的相似特征形成对比，在主流电影中，跨性别主题的引入可能符合表演平等的展示，这是受益于跨性别主题的文化挪用和彩虹洗涤的霸权文化的一部分。

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'.