While this trend could be viewed as a more “mature” approach by the standards of the game industry, it could also be a result of what developers perceive as the shifting desires of an aging male gamer demographic, perhaps newly interested in tales of heroic fatherhood. This trend has been noted in titles such as BioShock 2 (2K Marin 2010), Heavy Rain (Quantic Dream 2010), Red Dead Redemption (Rockstar San Diego 2010), The Walking Dead: Season One (Telltale Games 2012), Dishonored (Arkane Studios 2012), BioShock Infinite (Irrational Games 2013), The Last of Us (Naughty Dog 2013), and The Witcher 3: Wild Hunt (CD Projekt Red 2015), among others. On the other hand, some game critics have critiqued what they label as the “dadification” of video games as simply another means for developers to valorize violent male agency ( Brice, 2013 Joho, 2014). Games journalist Stephen Totilo ( 2010) has celebrated what he calls the “daddening” of video games as a maturation of the industry. Her work focuses on race and gender representation in digital games and other media.Īs game critics and scholars have noted, the past decade has seen a remarkable number of critically acclaimed big-budget video games featuring paternal protagonists ( Brice, 2013 Joho, 2014 Voorhees, 2016). She recently completed her Master’s degree in Cinema and Media Studies at York University. Sarah Stang is a first-year PhD student in the Communication & Culture joint program at York and Ryerson Universities in Toronto, Ontario.
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