Publication: Queer game scene: fracturas en el mainstream e incursiones en la escena independiente
Authors
Sentamás, Tatiana ; Martínez Fabre, Mario-Paul
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Publisher
Universidad de Murcia
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DOI
https://doi.org/10.6018/284391
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info:eu-repo/semantics/article
Description
Abstract
La visibilidad y el asentamiento de la comunidad LGTBQI
en el espacio de la lúdica digital dista todavía de alcanzar lo
conseguido en otros ámbitos de la cultura como el cine, la música
o el arte. Sin embargo, desde hace poco más de una década, el
mercado oficial del videojuego ha comenzado a incluir en sus
productos, personajes, referencias y narrativas queer con una
cierta profundidad. Mientras, movimientos surgidos dentro
la escena indie como la queer game scene o el movimiento
gaymer, y desarrolladorxs independientes como Anna Antrhopy
o Mattie Brice, han iniciado también un importante proceso de
visibilización y vindicación. Para entender mejor estos cambios,
en el texto se revisan clichés, estéticas, narrativas, retóricas,
mecánicas, políticas, mercado, público y comunidades, en un
recorrido intercalado -aunque cronológico, que va desde la esfera
mainstream a la independiente
Visibility and settlement of the LGTBQI community in the digital playful space is still far from achieving what has been reached in other areas of culture such as film, music or art. However, for more than a decade, the official video game market has begun to include in their products, queer characters, references and narratives with a certain depth. Meanwhile, movements emerged within the indie scene as the queer game scene or the gaymer movement, and independent developers like Anna Antrhopy or Mattie Brice have also initiated an important process of visibility and vindication. To better understand these changes, clichés, aesthetics, narratives, rhetorics, mechanics, politics, market, public and communities, are reviewed in this text in an interleaved chronological journey, ranging from the mainstream to independent sphere
Visibility and settlement of the LGTBQI community in the digital playful space is still far from achieving what has been reached in other areas of culture such as film, music or art. However, for more than a decade, the official video game market has begun to include in their products, queer characters, references and narratives with a certain depth. Meanwhile, movements emerged within the indie scene as the queer game scene or the gaymer movement, and independent developers like Anna Antrhopy or Mattie Brice have also initiated an important process of visibility and vindication. To better understand these changes, clichés, aesthetics, narratives, rhetorics, mechanics, politics, market, public and communities, are reviewed in this text in an interleaved chronological journey, ranging from the mainstream to independent sphere
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Citation
Arte y Políticas de Identidad, Vol. 15 (2016)19-38
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