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Rules of the Father Last Us: Masculinity Among Ruins Neoliberalism
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Rules of the Father Last Us: Masculinity Among Ruins Neoliberalism
Current price: $49.99
Barnes and Noble
Rules of the Father Last Us: Masculinity Among Ruins Neoliberalism
Current price: $49.99
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Size: Hardcover
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Widely regarded by critics and fans as one of the best games ever produced for the Sony Playstation,
The Last of Us
is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes.
is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in
The
Last of Us: Left Behind
(DLC, 2014) and
The Last of Us II
(2020). Yet
also centers Joel, Ellie’s fatherly protector.
How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame
(2013).
On the one hand, the book is a close, extended study of
and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.
The Last of Us
is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes.
is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in
The
Last of Us: Left Behind
(DLC, 2014) and
The Last of Us II
(2020). Yet
also centers Joel, Ellie’s fatherly protector.
How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame
(2013).
On the one hand, the book is a close, extended study of
and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.
Widely regarded by critics and fans as one of the best games ever produced for the Sony Playstation,
The Last of Us
is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes.
is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in
The
Last of Us: Left Behind
(DLC, 2014) and
The Last of Us II
(2020). Yet
also centers Joel, Ellie’s fatherly protector.
How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame
(2013).
On the one hand, the book is a close, extended study of
and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.
The Last of Us
is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes.
is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in
The
Last of Us: Left Behind
(DLC, 2014) and
The Last of Us II
(2020). Yet
also centers Joel, Ellie’s fatherly protector.
How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame
(2013).
On the one hand, the book is a close, extended study of
and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.
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