----------empyre- soft-skinned space---------------------- Hi Tara, I've been thinking a lot about Plague Inc as well. Thanks for your reflection, it's been on my mind too.
My 11 year old cousin was playing it about a year ago and it quickly became clear that if I wanted to sustain any kind of conversation with him I had to play too. I got as far as unlocking and beating "fungus" but I can't say I've been an avid player, and I have deliberately not logged into it since the pandemic started. It feels like too much, even though its time consuming nature appeals to me while cooped up at home. I thought at the time that the game was great for my cousin because he learned a lot about geography and epidemiology from playing. He would ask questions about the climate and population density of various countries, etc. And I learned a lot about epidemiology too. I feel like I've filtered much of my knowledge about the current. COVID19 pandemic through my experience with Plague Inc! For example, one of the ways to be a successful virus in the game is to infect as many people as possible without unusual or dramatic symptoms. Seeing that happen with COVID19 immediately made me remember Plague Inc. My cousin's mom played as well, again probably for social access to her child, and we have all been discussing the weird ways it has come "true." She sent me this meme: https://twitter.com/Joshua_Ajax_/status/1238571931009454086/photo/1 Anti-Asian hate crimes here in Sydney are keeping friends home not only for the sake of self isolation but in fear of violence on the normally safe streets nearby (a few days ago a bottle was thrown at an acquaintance accompanied by yelling "Chinese virus!"). At the very moment when going out in groups seems like the safest approach, that is not the right way to do it. I'm struggling to come up with ways to be a good ally to the Chinese community here while I am self isolating at home. Social support on the street has to happen, and has to happen in new ways. Take care everyone, Lindsay Dr. Lindsay Kelley Senior Lecturer Australia Research Council Discovery Early Career Researcher Award 2019-2021 Honorary Research Fellow Department of Gender and Cultural Studies, the School of Philosophical and Historical Inquiry, the Faculty of Arts and Social Sciences in association with Sydney Environment Institute, the University of Sydney she/her/hers UNSW Art & Design UNSW Sydney E: mailto:l.kel...@unsw.edu.au @bioartkitchen https://www.bloomsbury.com/us/bioart-kitchen-9781786730008/ @extremebaking https://research.unsw.edu.au/people/dr-lindsay-kelley https://student.unsw.edu.au/ally/faculty CRICOS PROVIDER CODE 00098G I acknowledge the Bidjigal and Gadigal peoples of the Eora nation as the traditional custodians of the land on which I work. I pay my respects to Elders past and present, and extend this respect to all Aboriginal and Torres Strait Islander people. Sovereignty never ceded. On 25/3/20, 11:07 am, "empyre-boun...@lists.artdesign.unsw.edu.au on behalf of Tara Fickle" <empyre-boun...@lists.artdesign.unsw.edu.au on behalf of tfic...@uoregon.edu> wrote: ----------empyre- soft-skinned space---------------------- To all of you out there somewhere -- I hope you're all keeping your spirits up as best you can during these uncertain, aleatory-feeling times. I've really enjoyed, and even looked forward to, the conversation on this listserv. Thank you to Alenda for keeping us going, and to all of you for your thoughtful contributions during a crisis moment that I've found to be mind-numbing and willpower-sapping. I was originally going to comment on the "global" aspect of this week's theme through the lens of my book, The Race Card (thanks for the shout out, Ed ❤️), which examines how gaming has historically provided a remarkably flexible language to reproduce racial and national stereotypes, specifically about Asians. I use the term "ludo-Orientalism" to capture this phenomenon, showing how 19c debates about Chinese gambling and the "cheapness" of immigrant labor that helped galvanize support for Chinese exclusion laws in the US (and elsewhere) find new life in contemporary discourses about the "robotic," "un-creative," "rule-abiding" model minority AND the "rule-breaking," "immoral" yellow peril. This is the ugly side of gaming "bringing people together," essentializing and conflating Asians and Asian Americans to form the potent combination of racist xenophobia (or xenophobic racism) that we're seeing right now with waves of COVID anti-Asian memes and even hate crimes. But all of this still feels inadequate for the current moment. Instead I decided to revisit an old (by current standards) game: Plague, Inc. (2012, U.K. - Ndemic), in the hopes of drawing others on this listserv into a conversation about how it feels to play a game about pandemics in the midst of one. (It's available for 99 cents through the App Store, and available in different platforms). The objective is simple: "Can you Infect the World?" I initially found some strange relief in downloading the game; an optimistic sense of being able to control, through the game, a situation which has made me feel powerless. People have spoken about this somewhat paradoxical same-but-different phenomenon in relation to many genres of games -- such as off-duty soldiers finding pleasure in playing war games and first person shooters. But actually, playing *as* a plague feels even more terrifying -- I felt *guilty*, almost. We often talk about games creating rare opportunities for empathy... but what does it mean to empathize with -- to *root for* -- a virus? Perhaps most startling for me was the opening screen of the tutorial (https://i.redd.it/vj3mnc8h1il41.jpg), which is a world map with text that reads: "First, you need to choose where your disease will begin. Start in China -- touch it to select it." Tutorials, by definition, disable agency. And this game was created in 2012; especially post-SARS, the tutorial's origin point makes historical sense. Nonetheless, the seamlessness whereby the narrative of "a Chinese virus" was reinforced... the inability to click anywhere else (and I tried, reader, oh how I tried.)... it was a painful reminder of the politics of "persuasive games" (Bogost's term), even those games that see themselves as neither political nor persuasive. Anyhow. I'll stop there, because, although I probably made the experience of playing sound horrific, it was also ... kind of *fun.* (The game was, after all, wildly popular.) And I want to hear other people's thoughts on it. Tara >>>> Tara Fickle Assistant Professor of English 1286 University of Oregon Eugene, OR 97403 mailto:tfic...@uoregon.edu https://tarafickle.com http://aiiieeeee.org https://nyupress.org/9781479805952/the-race-card/ (NYU, 2019) https://www.amazon.com/Aiiieeeee-Anthology-American-Classics-Literature/dp/0295746483/ref=sr_1_1?keywords=Aiiieeeee!&qid=1578100026&sr=8-1(University of Washington Press, 2019) From: empyre-boun...@lists.artdesign.unsw.edu.au <empyre-boun...@lists.artdesign.unsw.edu.au> on behalf of Alenda Chang <ach...@filmandmedia.ucsb.edu> Sent: Sunday, March 22, 2020 4:04 PM To: email@example.com <firstname.lastname@example.org> Subject: [-empyre-] Welcome to Week 4: games of empyre ----------empyre- soft-skinned space---------------------- Hello, empyre--thank you for sticking with us for this month on games during a time when it's especially hard to reach our innate sense of play and wonder. For our final week, we have a deep bench of guests with expertise in games and their multinational contexts. Tara and Chris and I were due to celebrate our recent book launches together at the now cancelled SCMS conference (along with Bo and Amanda), Kasyoka I met at last fall's SLSA, and Souvik and Phill I know primarily through their work. I know they can all help us to think about these questions and more: how can we expand or recenter games beyond a certain Anglo/Western/American imaginary? What are some neglected games and game histories? Geopolitical implications of games? How do we talk about games in relation to localization, region, translation, and colonialism and its aftermaths? Or, another possible starting point... in the foreword to Video Games Around the World (edited by Mark Wolf), Toru Iwatani (best known for the game Pac-Man) writes, "Most players appear to be playing games according to a set of rules, but they are actually playing with the developers' itareritsukuseri, which in Japanese means 'a gracious hospitality that is more fun and kindness than people expect'" (translated by Bryan Hikari Hartzheim). Does this apply to all games? Do we need comparative or regional game studies? Wouldn't that run into the same debates that have beset more traditional kinds of area studies? Excited to learn from this week's conversations. Sending the best to all, Alenda (Chang) -- Guest bios: Tara Fickle Tara Fickle is an Assistant Professor of English at the University of Oregon, and Affiliated Faculty of the Department of Ethnic Studies, the New Media & Culture Certificate, and the Center for Asian & Pacific Studies. She received her Ph.D. from the University of California, Los Angeles, and her B.A. from Wesleyan University. Her book, “The Race Card: From Gaming Technologies to Model Minorities,” (NYU Press, 2019), explores how games have been used to establish and combat Asian & Asian American racial stereotypes. More information can be found at tarafickle.com. Souvik Mukherjee Souvik Mukherjee is Assistant Professor of English Literature at Presidency University, Calcutta, India. Souvik has been researching video games as an emerging storytelling medium since 2002 and has completed his PhD on the subject from Nottingham Trent University in 2009. He did his postdoctoral research in the humanities faculty of De Montfort University, UK and at the Indian Institute of Technology in New Delhi, India where he worked on digital media and narrative analysis. Souvik's research examines their relationship to canonical ideas of narrative and also how video games inform and challenge current conceptions of technicity, identity and culture, in general. His current interests involve the analysis of paratexts of video games, the concept of time in video games and the treatment of diversity and the margins in video games. Besides game studies, his other interests are (the) digital humanities and early modern literature. Kasyoka Mwanzia Kasyoka Mwanzia is interested in cultural studies and digital media in the global South including: production, distribution, use, and consumption of video games; video games as active archives that make local knowledge discoverable and reusable; and critical making based on situatedness. At heart she is interdisciplinary and interested in real world linkages between scholarship, practice and use. Kasyoka received her MA in Media Arts Cultures from a consortium of universities in Austria, Denmark and Hong Kong. She will begin pursuing a doctorate in Cultural Anthropology at Duke University in Fall 2020. Christopher Patterson Christopher B. Patterson (Ph.D., U of Washington) is an Assistant Professor in the Social Justice Institute at the University of British Columbia, where he researches transpacific discourses of literature, video games, and new media through the lens of empire studies, Asian American studies, and queer theory. He is the author of Transitive Cultures: Anglophone Literature of the Transpacific (Rutgers University Press, 2018), and Open World Empire: Race, Erotics, and the Global Rise of Video Games (NYU Press, 2020). His articles have appeared in Cultural Studies, American Quarterly, Games and Culture, M.E.L.U.S. (Multi-ethnic Literatures of the United States) and other venues. He writes fiction under his alter ego, Kawika Guillermo, and his stories have appeared in The Cimarron Review, Feminist Studies, The Hawai’i Pacific Review, and other magazines. His debut novel, Stamped: an anti-travel novel (Westphalia Press, 2018), was a Finalist in Literary Fiction for American Book Fest, and won the 2020 Association for Asian American Studies Book Award for Fiction. His upcoming queer speculative novel, All Flowers Bloom, is forthcoming from Westphalia Press in March 2020. As an organizer and public scholar, Chris founded the podcast New Books in Asian American Studies where he is a current co-host, and serves as the Prose Editor for decomP Magazine. Phill Penix-Tadsen Phillip Penix-Tadsen is a specialist in contemporary Latin American cultural studies and regional game studies, focusing on the intersections between politics, economics, digital media and visual culture throughout Latin America today. He earned a Ph.D. from Columbia University and is Associate Professor of Spanish and Latin American Studies at the University of Delaware, where he regularly teaches courses on Latin American cultural studies and game studies. Penix-Tadsen is the author of Cultural Code: Video Games and Latin America (MIT Press, 2016) and editor of the anthology Video Games and the Global South (ETC Press, 2019). He has published work in journals including Feminist Media Histories, Letras Hispanas and Latin American Research Review. _______________________________________________ empyre forum email@example.com https://urldefense.com/v3/__http:/empyre.library.cornell.edu__;!!C5qS4YX3!Te54XxnpkFdlFi-v9TLbc7rAAr5nqXky8nfJlXUOjeyTPYu1DyPeUQqrY_azk9sjbw$ _______________________________________________ empyre forum firstname.lastname@example.org http://empyre.library.cornell.edu _______________________________________________ empyre forum email@example.com http://empyre.library.cornell.edu