(Note: This essay contains spoilers for both Analogue: A Hate Story and its sequel Hate Plus; in addition it assumes knowledge of the game and its story.)

"She seems ...well... like one of the most amazing villainesses I've ever encountered."
“She seems …well… like one of the most amazing villainesses I’ve ever encountered.” (Pictured, Oh Eun-a. The one with the cursor on her face is *Hyun-ae).

“I just can’t believe a woman is responsible for all of this!” exclaims *Hyun-ae as you finish reading the most revelatory letter in all of Hate Plus’ archives. Her fury boils over—the regressed patriarchal nightmare that had taken hold on her colony ship, the Mugunghwa, the ninth circle of hell she had awoken into when her stasis pod was shattered by a feckless noble in want of a marriageable daughter, the same man who would steal her voice with steel—all of this was sired by a woman who made of her ideology a terrifying suture to bind the wounds of womanhood.

Oh Eun-a, no less an emancipated woman than the President of Mugunghwa University herself. She was the architect of the neo-Confucian patriarchy that the Mugunghwa degenerated into.

If pressed to name my favourite character in the series, I would—to no one’s greater shock than my own—have to name Oh Eun-a, however. In a game series that is an epistolary tableau of complex and intriguing characters, she manages quite the feat by standing out the most. Oh Eun-a is perhaps most easily described—and effaced—as a mad social scientist. But she is so much more than this sideways twist on a hoary old cliché; indeed, she reveals both the impossibility of womanhood under patriarchy and the terrible burdens of idealistic scholarship.

Visual metaphors! M.C. Esher! Giant ants! This picture has it all! (Giant ants– at least I like to pretend they’re huge– walking around a wire-mesh mobius strip).

It’s been quite a while since I updated here. I’ve been exceedingly busy working on a research project in my sociology department and with some of my other commitments as well as a few personal problems I had to overcome. But, I’m back, and I thought that in the wake of Anita Sarkeesian’s struggle with a cavalcade of trolls over her proposed webseries it’s worth digging up a recent piece of writing I submitted as a final paper in one of my classes (Gender and Geography). This paper sought to chart out the geographic dimensions of cyberspace, particularly gamer subculture, through the lens of “the space of exception”.

I’ve excerpted a part of the paper that I think is quite relevant to what had just transpired with Feminist Frequency. In a section entitled “It’s Just a Game” I describe how the “unreal” nature often imputed to gaming space gives licence to abuse that would be intolerable outside of it. This “unreality,” I argue, is on the flip-side of a pleasurable “reality” that also manifests in gaming culture. It feels like the real world, and yet isn’t; because of this, many  gamers feel able to express themselves in a deeply violent and prejudicial way. It feels like reality, and thus being a bigot provides all the perverse pleasure that asserting dominance over another person often provides, but the “unreal”/”fake” virtuality of the space provides moral and ideological cover for this behaviour. What follows is my attempt to draw together various sociological, geographic, and philosophical ideas to provide a thumbnail sketch of how all that works.


Gaming cyberspace provides a virtual refuge for a certain kind of masculinity, and one that is consciously constructed in defensive opposition to a rapidly changing world. Sociologist Michael Kimmel argues that for modern young heterosexual men “the fantasy world of media is both an escape from reality and an escape to reality,” capturing the dualism that defines a space of exception. He goes on to point out that this “reality” is one that “many of these guys secretly would like to inhabit” and that video games “provide a way for guys to feel empowered,” (Kimmel 2008: 150). His analysis of men’s relationship to virtual space concludes that these men feel “it’s nice to turn back the clock and return to a time when men ruled—and no one questioned it” (156).

It is hardly surprising that some men wish to perceive this as a “virtual men’s locker room” threatened by the presence of women. It is often constructed as a refuge for hegemonic masculinity, particularly as expressed through technological mastery. Connell identifies two hegemonic masculinities that she argues have diverged and are sometimes in tension with one another: dominance-based masculinity, and expertise-based masculinity (Connell 2000: 194-195). It can be theorised that gaming in cyberspace folds these two back together with a violent world of hierarchical rankings, which allows for the virtual embodiment of conquistador-style masculinity through the mastery of technology, thus reuniting two patriarchal symbolic universes. The conflict between these two masculinities may play out more widely in the physical world, but in the space of exception furnished by cyberspace they combine to form a unique but also familiar expression of gender

But it is here that we come to a very critical distinction between the space of exception constituted by, say, the [internment or prison] camp, and the space of exception the virtual world represents. The marked difference between “exception” and “normal” is important for all such spaces, but only in the virtual world is there an equally clear, aggressively policed, distinction between “real” and “unreal” that constitutes both cyberspace and its social practises. This is a nontrivial distinction, but also a connection between the two– cyberspace and social practise therein. The purported exceptionality of time and place surrounding the internet as a whole gives licence to the abuses within, and the ostensible unreality of gaming, more specifically, licences abuse within its boundaries.

Sisters of Janus: Therese and Jeanette Voerman from Vampire the Masquerade: Bloodlines. Both blonde haired, pallid women, one wearing a dark grey business suit and black rimmed glasses, the other wearing a stylised schoolgirl's outfit, bra and thong visible, and a blood red choker. She also wears deep makeup.

When I play certain video games I get the strange feeling of wandering through the weird and lurid landscape of a Dali painting; beholding the familiar, albeit distorted in the strangest of ways.

One might expect this. After all, video games are not supposed to be realistic by default. They operate on their own internal logic, their worlds hewn out of something called ‘game design needs’ rather than say billions of years of geology and thousands of years of culture and history, for instance. But I came to realise it was something beyond that point which I could comfortably suspend my disbelief and immerse. What jarred me out of, almost consistently, was the fact that many games have had the pretension of being representations of the real.

A artificially warped landscape is a good and interesting thing so long as one does not purport that it is, in fact, akin to a photograph.

Rated M for Misconception

Whenever one hears the word “gritty” or “grimdark” appended to other adjectives used to describe a video game, you’ve likely stumbled on a game that does what I’m going to discuss in this article: promote a rather cliched perspective as ‘real’. Various other euphemisms for this include ‘adult’, ‘mature’, and the like. Let’s take Kieron Gillen’s review of Vampire the Masquerade: Bloodlines for Eurogamer and allow it to speak for itself:

“Bloodlines has the best script I’ve seen in a videogame since… well, since ever. In recent times, Planescape is probably hits the same peaks that Bloodlines does, and has the advantage of mass of words, but in terms of writing a modern, adult videogame, no-one’s come near. No-one’s even tried.

It makes cultural references with the casualness of someone who actually knows what they’re talking about – there’s a particularly memorable off-hand gag about fetish slang which dazzled me with the skill, audacity and comfort it showed. Where most games that try something similar come across as callow posturing, this was done as if it were the most natural thing in the world. It deals with the big adult topics – sex, death, whatever – in truthful and honest ways. It has characters who swear as much as anyone out of Kingpin – but they’re characters who swear rather than an attempt to turn the game into a noir thriller by lobbing a few four-letter words into the mix. Conversely, there are characters who have perfectly civil aspects. Troika has done the writerly thing – that is attempt to write people rather than ciphers. I can only applaud.

So ‘truth and honesty’ are themes in this game, apparently, of a rather dramatic sort. Vampire the Masquerade: Bloodlines is a roleplaying game set in a deeply noir Los Angeles, replete with weakly flickering neon, smoky back rooms, and the thrumming bass of rebellious club music set to the jingling chains of the mosh pit dancers. This game is nothing if not deeply possessed of atmosphere. You wander about as a newly initiated vampire in this world, a creature of the night learning the true meaning thereof in a fast-paced auto da fe of supernatural life. Aside from the cool colours of night and the chiaroscuro template of Gothy dusk that define the game’s palette, the other is of course red. A crimson that splatters many a wall.

VtM:B is a passionately violent game complete with murder, dismemberment, exploding bodies, torture, flesh eating, and, of course, rape. For how could one find true verisimilitude without sexual violation?

All of this begins to dissolve into the usual narrative that can be reduced to the following equation: “There will be blood, there will be tits; therefore there is maturity and realism.”

In my recent article for The Border House I took on a number of the arguments made by a few starry eyed technophiles in favour of ending the practise of online anonymity. This is a significant issue for me that, in its many facets, presents me with the ultimate intersectional landscape on which to grow my ideas about interpersonal politics. In other words, it is very easy to talk about sex, race, power, class, and a range of issues surrounding both individual and group behaviour (group psychology and sociology), identity, and just plain old techno-geekery. It touches on a myriad of issues that are important to me.

What follows is a refinement of what I wrote for The Border House and an expansion of it.

I.- Setting Information Free(?)

It is very much worth mentioning that the central idea behind the anti-anonymity advocate’s vision is the firm belief that the death of anonymity will allow information to flow more freely. The reality, however, is that the end of anonymity means a significant lever of personal control will be wrenched away.

To explain what I mean by this I should go into greater detail about the nature of the information being hotly debated at the moment. Invariably the two pieces of information most prized by the Zuckerbergs and their ideological fellow travellers are, in order of importance: legal names and recent, tasteful photographs. This is what I’ve long referred to as “driver’s licence info” and it is information of a very particular and discrete (if not discreet) type. Driver’s licence information actually has very little to do with your personality and who you are as a person. Such information can, in the case of some, affirm who they are (such as in the case of us trans folk) but even that is only the result of the primacy placed on this otherwise relatively un-telling data.

The reason it is so vitally important, the reason it is fought over like the bloodied scrap of earth it is, is because people in power have made that information a matter of life and death.

A name is what you decide to call yourself, and secondarily what others agree to call you. The ‘legal’ codification of it was merely a forerunner to the 20th century invention of serial numbers which are used to ‘identify’ us ever more finely as the owner of a legally sanctioned identity. Legal names are the foundation of this particular form of identification and are the essence of it. Their legality arises from governmental sanction, but it says nothing immediately genuine about who you are. The reason my own name speaks so powerfully to me is because I chose it. I sought to have it legally recognised because in our society where legal names are gold standards and wherein we must all have one, I felt the most self-empowering thing I could do would be to choose it. So indeed I have and my name is now recognised at various levels of officialdom.

But it was no less mine and no less true to me when it lacked legal recognition. It was my name from the moment I chose it in the company of a dear friend as I tepidly set out to claim a name as my own for the first time in my life. If anything my old legal name actually signal-jammed a good deal of truth that may have eminated from me years sooner, and equally blocked a lot that I might have otherwise taught myself. Obviously my old name was not solely responsible for this– a welter of other social conditions played their parts– but it had a starring role to play. We can discuss and debate the particulars but the fundaments of the matter are these:

My old legal name hid far more than it revealed, hindered more than it helped, and stifled far more than it liberated.

In other words it was actually an impediment to the free flow of information for it to be known and in the public record. It was an obstacle to me forging my own identity, right up to the multiple legal rigamaroles I had to endure in order to change it publicly.

Forcing me into a particular ‘legal identity’ closed doors, it did not open them. Who, precisely, is Mark Zuckerberg to adjudicate on which name is a person’s true name? These legal names are important, yes, but only for the same reason that, say, the institution of marriage is important: so many unjust privileges are bound up in it that we cannot help but pay close attention to its use. For precisely that same reason control of that information must remain in the hands of those with the least power. More broadly, it should remain in the hands of those who are the rightful adjudicators of such information: the people themselves.