Bo Ruberg

What video games teach us about building a better world What does it mean to build a world? Worldbuilding is traditionally understood as an expression of storytelling across media forms. Yet, as video games show us, worldbuilding does not necessarily need to center narrative elements. Instead, new worlds can allow us to reimagine existing structures, conventions, and constants. Doing so gives us the tools to queer the world around us. How to Queer the World argues that video games provide us with keen insight into worldbuilding. With these insights come a new understanding of the ever-elusive ideals of queer worldmaking. Video games challenge us to address how worlds are built through underlying systems rather than surface-level representation. They also offer opportunities to envision alternate and queer ways of living, loving, desiring, and being. Each of the chapters in this book presents a close reading of a video game that illustrates one way of building worlds and encoding them with meaning, focusing on elements of digital media often overlooked as technical rather than cultural. From the design of game mechanics and user interfaces to the use of graphics software and physics simulations, Bo Ruberg argues that these aspects of video games represent a critical toolkit for seeing the work of worldbuilding differently—in video games and beyond. Simultaneously, each of these video games models an approach to what Ruberg terms “queer worldbuilding.” Queer worldbuilding radically remakes the world by destabilizing the fundamental logics of our own universe: who we are, what we can do, how our bodies move, and how we exist within time and space.

Radical Worldbuilding Through Video Games

How to Queer the World

Johanna Brewer

Amanda L. L. Cullen

Christopher J. Persaud

The cultural ramifications of online live streaming, including its effects on identity and power in digital spaces. Some consider live streaming—the broadcasting of video and/or audio footage live online—simply an internet fad or source of entertainment, yet it is at the center of the digital mediation of our lives. In this edited volume, Johanna Brewer, Bo Ruberg, Amanda L. L. Cullen, and Christopher J. Persaud present a broad range of essays that explore the cultural implications of live streaming, paying special attention to how it is shifting notions of identity and power in digital spaces. The diverse set of international authors included represent a variety of perspectives, from digital media studies to queer studies, from human-computer interaction to anthropology, and more. While important foundational work has been carried out by game studies scholars, many other elements of streaming practices remain to be explored. To deepen engagement with diversity and social justice, the editors have included a variety of voices on such topics as access, gender, sexuality, race, disability, harassment, activism, and the cultural implications of design aesthetics. Live streaming affects a wide array of behaviors, norms, and patterns of communication. But above all, it lets participants observe and engage with real life as it unfolds in real time. Ultimately, these essays challenge us to look at both the possibilities for harm and the potential for radical change that live streaming presents.

Live Streaming Culture

Real Life in Real Time

Investigating and reimagining the origin story of the sex doll through the tale of the sailor’s dames de voyage. The sex doll and its high-tech counterpart the sex robot have gone mainstream, as both the object of consumer desire and the subject of academic study. But sex dolls, and sexual technology in general, are nothing new. Sex dolls have been around for centuries. In Sex Dolls at Sea, Bo Ruberg explores the origin story of the sex doll, investigating its cultural implications and considering who has been marginalized and who has been privileged in the narrative. Ruberg examines the generally accepted story that the first sex dolls were dames de voyage, rudimentary figures made of cloth and leather scraps by European sailors on long, lonely ocean voyages in centuries past. In search of supporting evidence for the lonesome sailor sex doll theory, Ruberg uncovers the real history of the sex doll. The earliest commercial sex dolls were not the dames de voyage but the femmes en caoutchouc: “women” made of inflatable vulcanized rubber, beginning in the late nineteenth century. Interrogating the sailor sex doll origin story, Ruberg finds beneath the surface a web of issues relating to gender, sexuality, race, and colonialism. What has been lost in the history of the sex doll and other sex tech, Ruberg tells us, are the stories of the sex workers, women, queer people, and people of color whose lives have been bound up with these technologies.

Bo Ruberg

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