From #Gamergate to the 2016 election, to the daily experiences of marginalized perspectives, gaming is entangled with mainstream cultures of systematic exploitation and oppression. Whether visible in the persistent color line that shapes the production, dissemination, and legitimization of dominant stereotypes within the industry itself, or in the dehumanizing representations often found within game spaces, many video games perpetuate injustice and mirror the inequities and violence that permeate society as a whole. Drawing from groundbreaking research on counter and oppositional gaming and from popular games such as World of Warcraft and Tomb Raider, Woke Gaming examines resistance to problematic spaces of violence, discrimination, and microaggressions in gaming culture. The contributors of these essays seek to identify strategies to detox gaming culture and orient players and gamers toward progressive ends. From Anna Anthropy�s Keep Me Occupied to Momo Pixel�s Hair, Nah, video games can reveal the power and potential for marginalized communities to resist, and otherwise challenge dehumanizing representations inside and outside of game spaces. In a moment of #MeToo, #BlackLivesMatter, and efforts to transform current political realities, Woke Gaming illustrates the power and potential of video games to foster change and become a catalyst for social justice.

Interviews with female gamers about structural sexism across the gaming landscape When the Nintendo Wii was released in 2006, it ushered forward a new era of casual gaming in which video games appealed to not just the stereotypical hardcore male gamer, but also to a much broader, more diverse audience. However, the GamerGate controversy six years later, and other similar public incidents since, laid bare the internalized misogyny and gender stereotypes in the gaming community. Today, even as women make up nearly half of all gamers, sexist assumptions about the what and how of women’s gaming are more actively enforced. In Gaming Sexism, Amanda C. Cote explores the video game industry and its players to explain this contradiction, how it affects female gamers, and what it means in terms of power and gender equality. Across in-depth interviews with women-identified gamers, Cote delves into the conflict between diversification and resistance to understand their impact on gaming, both casual and “core” alike. From video game magazines to male reactions to female opponents, she explores the shifting expectations about who gamers are, perceived changes in gaming spaces, and the experiences of female gamers amidst this gendered turmoil. While Cote reveals extensive, persistent problems in gaming spaces, she also emphasizes the power of this motivated, marginalized audience, and draws on their experiences to explore how structural inequalities in gaming spaces can be overcome. Gaming Sexism is a well-timed investigation of equality, power, and control over the future of technology.

In Intersectional Tech: Black Users in Digital Gaming, Kishonna L. Gray interrogates blackness in gaming at the intersections of race, gender, sexuality, and (dis)ability. Situating her argument within the context of the concurrent, seemingly unrelated events of Gamergate and the Black Lives Matter movement, Gray highlights the inescapable chains that bind marginalized populations to stereotypical frames and limited narratives in video games. Intersectional Tech explores the ways that the multiple identities of black gamers—some obvious within the context of games, some more easily concealed—affect their experiences of gaming. The normalization of whiteness and masculinity in digital culture inevitably leads to isolation, exclusion, and punishment of marginalized people. Yet, Gray argues, we must also examine the individual struggles of prejudice, discrimination, and microaggressions within larger institutional practices that sustain the oppression. These “new” racisms and a complementary colorblind ideology are a kind of digital Jim Crow, a new mode of the same strategies of oppression that have targeted black communities throughout American history. Drawing on extensive interviews that engage critically with identity development and justice issues in gaming, Gray explores the capacity for gaming culture to foster critical consciousness, aid in participatory democracy, and effect social change. Intersectional Tech is rooted in concrete situations of marginalized members within gaming culture. It reveals that despite the truths articulated by those who expose the sexism, racism, misogyny, and homophobia that are commonplace within gaming communities, hegemonic narratives continue to be privileged. This text, in contrast, centers the perspectives that are often ignored and provides a critical corrective to notions of gaming as a predominantly white and male space.

In Extra Lives, acclaimed writer and life-long video game enthusiast Tom Bissell takes the reader on an insightful and entertaining tour of the art and meaning of video games. In just a few decades, video games have grown increasingly complex and sophisticated, and the companies that produce them are now among the most profitable in the entertainment industry. Yet few outside this world have thought deeply about how these games work, why they are so appealing, and what they are capable of artistically. Blending memoir, criticism, and first-rate reportage, Extra Lives is a milestone work about what might be the dominant popular art form of our time.

Combining research-based perspectives and current examples including Minecraft and Animal Crossing : New Horizons, We the Gamers shows how games can be used in ethics, civics, and social studies education to inspire learning, critical thinking, and civic change.

A lot of work has been done talking about what masculinity is and what it does within video games, but less has been given to considering how and why this happens, and the processes involved. This book considers the array of daily relationships involved in producing masculinity and how those actions and relationships translate to video games. Moreover, it examines the ways the actual play of the games maps onto the stories to create contradictory moments that show that, while toxic masculinity certainly exists, it is far from inevitable. Topics covered include the nature of masculine apprenticeship and nurturing, labor, fatherhood, the scapegoating of women, and reckoning with mortality, among many others.

Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter. In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates. Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture.