<p>The purpose of this paper is to investigate how gender and sexuality are made in the videogames <em>Prince of Persia</em> and <em>Fable II</em>, and more specifically to look at possibilities and limitations for the construction of gender and sexuality in these games. I understand videogames as an interactive media form that differs from other types of media like film and literature. It is a media form that depends on a player to be played. At the same time it is constituted by rules of how it can be played. I have analyzed my material by a method called close-playing. I ask questions about the conditions for play in terms of avatar design, ways of acting in and moving through the game by using Judith Butler’s notion of the heterosexual matrix and Gayle Rubin’s sex value system. I have found that <em>Prince of Persia</em> does not offer the player any possibilities to contribute to the making of gender and sexuality of the avatar. <em>Fable II</em> on the other hand provides a range of options that shape gender and sexuality. But at the same time the game rewards the player if he or she shapes the gender and sexuality of the avatar in a way that fits the heterosexual matrix. I argue that <em>Prince of Persia</em> carries rules for how you <em>can </em>shape gender and sexuality, and <em>Fable II</em>, carries rules for how you <em>should </em>shape it.</p>
| Identifer | oai:union.ndltd.org:UPSALLA/oai:DiVA.org:sh-2542 |
| Date | January 2009 |
| Creators | Chorin, Anne |
| Publisher | Södertörn University College, School of Gender, Culture and History |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, text |
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