scholarly journals Christus verus Luciferus, Demon est Deus Inversus

Author(s):  
Tero Pasanen
Keyword(s):  

This article focuses on a Spiritism board, Yhteyslauta, designed in the mid-1970s by occultist neo-Nazi Pekka Siitoin. The board represents an unexplored occult subchapter of Finnish gaming culture and exhibits the Finnish esoteric tradition. In addition to analysing Yhteyslauta’s game-like elements, the article explores the board’s themes and imagery, and situates these components in the context of Siitoin’s vernacular esoteric doctrine and cosmogony.

Loading ◽  
2022 ◽  
Vol 14 (24) ◽  
pp. 70-89
Author(s):  
Cody Mejeur ◽  
Amanda Cote

While media studies have frequently assessed the importance of representation, research in this area has often been siloed by institutional and methodological norms that define academics as “gender”, “race”, or “class” scholars, rather than inclusive scholars of all these and more. This paper thus responds to recent calls for more intersectional work by simultaneously addressing the overlapping representations of race, gender, and gamer identity, and their relation to Lorde’s concept of the mythical norm, in the popular webseries, The Guild (YouTube, 2007-2013). Via a detailed, inductive thematic analysis of the show’s two characters of color, Zaboo and Tinkerballa, we find a doubly problematic intersection between standard “gamer identity” tropes and gendered Asian/American stereotypes. The show forecloses on its potential to be truly diverse and reinforces the oppressive, marginalizing practices it tries to mock, suggesting that gaming culture will not change until we address its intersecting axes of power and exclusion. This research also demonstrates how the constructed identity of media audiences-- in this case, stereotypical “gamer” identity-- can exacerbate and reaffirm existing power disparities in representation. We suggest that media scholars remain attentive to the intersecting articulations of media consumer and individual identities in considering how representation can influence systems of inclusion and exclusion, as well as viewers’ lived outcomes.


Author(s):  
Ирина Семеновна Слепцова

Статья посвящена рассмотрению произведений литературы Древней и Средневековой Руси и раннего Нового времени, направленных против языческих верований и практик, как источника для описания игровой культуры. Привлекаются главным образом нормативные, канонические и дидактические сочинения, а также исповедные тексты, в которых содержатся сведения о развлечениях и играх. Основное внимание уделено играм в узком смысле слова (играм с правилами), как наименее изученному феномену культуры данного исторического периода. Это расширяет представления об игровом репертуаре, месте и статусе игры в празднично-обрядовой и повседневной жизни, а также дает возможность проследить процесс десакрализации игры, ее переход в сферу «мирского». Выявленные в письменных памятниках сведения об игровой культуре Средневековья и раннего Нового времени раскрывают их включенность в языческую обрядность и демонстрируют связь с магическими практиками, что было основанием для их преследования и запрещения. Это обстоятельство определяет ограниченность использования данных источников для реконструкции игрового репертуара. В список игр попадают только те, которые расценивались церковью как языческие или нарушавшие социальный порядок и нравственные правила. Упомянутые в древнерусских и средневековых источниках формы народного веселья обнаруживают истоки ряда народных игр, бытовавших в XIX–ХХ вв., и объясняют их включенность в календарную обрядность. The article is devoted to the consideration of the works of literature of Ancient and Medieval Russia and the early modern era, directed against pagan beliefs and practices, as a source for describing the game culture. Mainly normative, canonical and didactic compositions are used, as well as confessional texts, which contain information about entertainment and games. The main attention is paid to games in the narrow sense of the word (games with rules), as the least studied cultural phenomenon of this historical period. This expands the understanding of the game repertoire, the place and status of the game in festive and ceremonial and everyday life, and also makes it possible to trace the process of desacralization of the game, its transition into the sphere of the «worldly». The information about the gaming culture of the Middle Ages and the early modern times revealed in written monuments reveals their involvement in pagan rituals and demonstrates a connection with magical practices, which was the basis for their persecution and prohibition. This circumstance determines the limited use of these sources for the reconstruction of the playing repertoire. The list of games includes only those that were regarded by the church as pagan or violating social order and moral rules. The forms of folk fun mentioned in ancient Russian and medieval sources reveal the origins of a number of folk games that existed in the 19th – 20th centuries and explain their inclusion in calendar rituals.


Author(s):  
Amanda C. Cote

In 2012, video gaming culture saw an interesting, paradoxical divergence. On one hand, game journalists and trade organizations testified that gaming had significantly diversified from its masculine roots, with women comprising nearly half of all gamers. On the other hand, gaming spaces witnessed increasing, public incidents of sexism and misogyny. Gaming Sexism analyzes the video game industry and its players to explain the roots of these contradictory narratives, how they coexist, and what their divergence means in terms of power and gender equality. Media studies scholar Amanda C. Cote first turns to video game magazines to assess how longstanding expectations for “gamers” are shifting, how this provokes anxiety in traditional audiences, and how these players resist change, at times employing harassment and sexism to drive out new audience members. She follows this analysis by interviewing female players, to see how their experiences have been affected by games’ changing environment. Interviewees reveal many persistent barriers to full participation in gaming, including overtly and implicitly sexist elements within texts, gaming audiences, and the industry. At the same time, participants have developed nuanced strategies for managing their exclusion, pursuing positive gaming experiences, and competing with men on their own turf. Thus, Gaming Sexism reveals extensive, persistent problems in achieving gender equality in gaming. However, it also demonstrates the power of a motivated, marginalized audience, and draws on their experiences to explore how structural inequalities in gaming spaces—and culture more broadly—can themselves be gamed and overcome.


Video Games ◽  
2018 ◽  
pp. 193-207 ◽  
Author(s):  
John A. Velez ◽  
Melissa R. Gotlieb ◽  
Geoffrey Graybeal ◽  
Alan Abitbol ◽  
Jonathan A. Villarreal

Throughout this book, the authors have disproved the dominant White, heterosexual, teen gamer image through highlighting current gamer facts and figures, as well as the research and literature in the area. However, despite these facts, figures, and previous research findings, it is apparent that the industry designs games for a White, heterosexual, male audience. Females tend to be underrepresented in games. This chapter looks at how female characters are often missing from games, especially as main characters, and when females are represented in games, they are often secondary characters and stereotypically represented most often in a hyper-sexualised way. This chapter identifies how computer games are designed for a male audience leaving female gamers as “other” within computer games and the wider gaming culture. It Discusses how females are underrepresented in games and the wider gaming culture reinforcing the “otherness” of the female gamer. It Reviews how the industry sexualises and eroticises women, and it considers how this might impact both male and female gamers as well as perpetuate the image that computer games are for boys.


Author(s):  
Anne-Marie Schleiner

‘Tilting the Axis of Global Play’ presents an historical review of East vs. West tensions between the United States and Japan, drawing past game studies literature. I posit that an East/West framework, although rightly recognizing national and regional cultural differences in the emergence of the game industry, has limits that a South/North perspective better addresses transnationally. Like other industries, the game industry leverages globalization to exploit Southern labor in the fabrication of game consoles and other game hardware. And predominant Northern cultural paradigms are disseminated globally in the fictional scenarios of highly produced Triple A games. Despite this disequilibrium, I make the case that in the global South, players and other gaming culture participants contribute meaningfully to transnational gaming culture.


Author(s):  
Christopher P. Johnson ◽  
Patrick R. Goncalves

Gamification is defined as: the process of adding games or game-like elements to something (such as a task) so as to encourage participation. There are many examples of gamification in higher education; games have been shown to motivate students to engage more with their study tasks. Even though the use of gamification (as an engagement and recruitment strategy in higher ed) has been utilized since 1999 (Fairmont State), only a select few universities have leveraged gamification as a tool for engagement and recruitment over the last 18 years. The strategy overall has not garnered much research but since gaming culture is now more ubiquitous than ever (67 percent of American households own a device used to play video games) it is inevitable that more gamified-based recruitment strategies will start to take shape in the near future.  


2019 ◽  
Vol 15 (8) ◽  
pp. 982-1003
Author(s):  
David O. Dowling ◽  
Christopher Goetz ◽  
Daniel Lathrop

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.


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