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<jats:p> This article is a close reading of food and beverages in Bethesda’s acclaimed post-apocalyptic science fiction video game series, Fallout. Through a discussion of the visual design, narrative positioning, and in-game function of food and beverage consumption, this article demonstrates how Fallout uses food to critique the unchecked technological development, rampant consumerism, and environmental devastation of post-war American atomic culture. Specifically, pre-packaged, pre-apocalypse food is presented as a focal point for satire, while the irradiated meat harvested from the mutated creatures that populate this post-apocalyptic world is presented as abject and ambiguous. In this sense, food in the Fallout series, as in much science fiction media, can reinforce or challenge ideologies, beliefs, and cultural norms by evoking real-world anxieties. </jats:p>

<jats:p> Developer credit has been a contested issue in the video game industry since the 1970–80s, when Atari prevented its programmers from publicly claiming authorship for games they had developed. The negotiations over what constitutes a noteworthy contribution to video game development are ongoing and play out in the unregulated space of in-game credits. Here, some creators get top billing akin to film and television credits, while others struggle to be recognized for their work. By analyzing in-game credits of 100 contemporary games published between 2016 and 2020 and representing four major sectors of video game production (AAA, AA, indie, and freemium games as service), I identify recurrent patterns, such as opening credits, order, role descriptions (or lack thereof), and systematic credit omission, that both reinforce and subvert the notion of core development roles and above-the-line/below-the-line divisions. </jats:p>

<jats:p> Scholars have extensively studied video game labor practices (e.g., Bulut, E. (2015). Glamor above, precarity below: Immaterial labor in the video game industry. Critical Studies in Media Communication, 32(3), 193-207. https://doi.org/10.1080/15295036.2015.1047880 , Bulut, E. (2020). White masculinity, creative desires, and production ideology in video game development. Games and Culture, 16, 1555412020939873; Banks, J. (2013). Co-creating videogames. New York, NY: Bloomsbury Publishing; Kerr, A. (2010). The culture of gamework. In M. Deuze (Ed), Managing Media Work (pp. 225-236). London: Sage; O’Donnell (2009). The everyday lives of video game developers: Experimentally understanding underlying systems/structures. Transformative Works and Cultures, 2. https://doi.org/10.3983/twc.2009.0073 , O’Donnell (2014). Developer’s dilemma: The secret world of videogame creators. Cambridge, MA: MIT press; Johnson, R. S. (2013). Toward greater production diversity. Games and Culture, 8(136), 136-160. https://doi.org/10.1177/1555412013481848 , Johnson, R. (2014). Hiding in plain sight: Reproducing masculine culture at a video game studio. Communication, Culture &amp; Critique, 7, 578-594. https://doi.org/10.1111/cccr.12023 ); yet, few have exclusively examined the process of character design (e.g., Srauy, S. (2017). Professional norms and race in the North American video game industry. Games and Culture, 14, 478-497. https://doi.org/10.1177/1555412017708936 ). Using a grounded theory analysis of 19 interviews with games designers and developers, this work complements existing research with insights on how gender and gendered interactions, technologies, audiences, market logics, and corporate culture integrate and influence character design practices. We found that technological affordances (e.g., game engines and related software; see Whitson, J. R. (2018). Voodoo software and boundary objects in game development: How developers collaborate and conflict with game engines and art tools. New Media &amp; Society, 20, 2315-2332) converged with the masculine, heteronormative identities of game developers to shape normalized valued practices for character design, resulting in formulaic tropes that generally appealed to a masculine audience. Changes in status quo character design were attributed to diversity-conscious individuals, who operated within organizational practices privileging proven formulas over innovative designs. </jats:p>

<jats:p> World of Warcraft (WoW) Classic (released August 2019) allows players to return to the original game experience. This study considers how WoW players experience game content through media nostalgia and sense of place and investigates how social presence impacts these components of experience. Survey questions addressed 306 participants’ experiences in WoW, feelings of nostalgia and sense of place in Azeroth, and experiences with social presence in WoW; open-ended questions were asked about their motivations to play WoW. Prior overall WoW experience and higher sense of social presence increase personal nostalgia scores (replicating previous research). Sense of place scores increased with higher sense of social presence but were overall lower for current WoW Classic players. Social presence proved an important component of both personal nostalgia and sense of place. These findings expand and extend researchers’ understanding of the relationships between nostalgia, sense of place, and social presence within this unique site of study. </jats:p>

<jats:p> Although online racism occurs frequently and explicitly in online gaming (e.g., anti-Black hate speeches), no research has examined the psychological impact on racial/ethnic minority players. Thus, the current study examined the mediating role of online racism in the link between time spent in online gaming and psychological distress. Using data from 765 racial minority emerging adults in the United States and with gender controlled, time spent in online gaming predicted greater exposure to online racism, which in turn was linked to higher psychological distress. Post hoc multi-group comparison suggested that the findings were consistent with the Black group but neither the direct nor indirect effects of the model were significant for the Asian and Latinx groups. The results highlight the unjust digital burden and psychological costs of racism in online gaming among racial minority emerging adults, particularly among Black individuals. Limitations and implications for research are discussed. </jats:p>

<jats:p> This article examines how women construct their gameplay identities in relation to the hegemonic “gamer” discourse. The article is based on semi-structured in-depth interviews with women who occupy central roles in the Finnish gaming industry. We deploy Judith Butler’s theorization of performative identity construction to examine how the women negotiate their identity in relation to the hegemonic gamer discourse, focusing on how they both embrace and resist the hegemonic, masculine constructions of gameplay. The study shows the dynamics surrounding the gamer identity. While women submit to the hegemonic gamer discourse, reproducing the masculine gamer notions to gain recognition as a viable member of the gameplay community, the study also identifies how subversive opportunities arise as the women deploy new, alternative versions of gamer identity. The hegemonic discourse is subverted through the identity position of tech-savvy, which departs from the masculine connotations. </jats:p>

<jats:p> Few studies explore the progressive sociopolitical relevance of gamers. This study contributes to this exploration by investigating a common yet neglected type of gamer activism: struggles against the exploitation and control of game-worlds by game publishers. I analyze it with anti-corporate Chinese gamer activism between 2003 and 2010. I found seven recurring battlefronts on which gamers carried out violent protests, clicktivism, media campaigns, connective action, political consumerism, and litigation. They involved technical problems, publisher staff’s rent-seeking, termination of game-worlds, abusive game design, and the mishandling of the problems of duping, bots, and virtual property theft. Numerous groups including gold farmers and consumer associations were involved in these complex struggles. This study’s core dataset was collected between 2007 and 2011 from media reports on gamer activism, game industry reports, in-game observation, and documentary and video records of gamer mobilization. Supplementary data were collected between 2012 and 2015 and again in 2018 and 2019. </jats:p>

<jats:p> Game development and production practices are complex and highly reflected processes—worldwide. This explorative article discusses video game development as a cultural and creative industry in India, including the industry’s history and introducing recent trends which indicate profound transformations—the use and implementation of Indian cultural heritage in game settings. In the rather short history of Indian game development as compared to other countries—a significant number of games made in India first were produced around 2010—the industry has already lived through big changes and challenges. This article aims at introducing Indian game development and argues that especially independent (so-called indie) game studios in their search for their own, region-specific game development and stand-alone characteristics for Indian games increasingly turn to what they perceive as their own cultural heritage, including, for example, elements from history, art (music, dance, dress styles, and others), and architecture. </jats:p>

<jats:p> It seems intuitive to conflate the gamic gaze with the player’s act of looking. To do so, however, would be to inherit from the first wave of psychoanalytic screen theory a misleading presupposition that the gaze is synonymous with the look. Taking influence from new Lacanian film theorists such as Joan Copjec and Todd McGowan, this article contends that the gamic gaze is an object in the visual field of play that disrupts the mastery of the player’s look. I develop this argument through an analysis of the 2017 videogame Gorogoa. By confronting the player with the gaze, Gorogoa reveals that the jouissance (enjoyment) of videogame play consists in the player’s unconscious drive to fail rather than their conscious wish for pleasure or mastery. To borrow terminology from Copjec, the gamic gaze marks the point of the player’s culpability—rather than visibility—in the visual field of play. </jats:p>

<jats:p> This article explores how the process of designing videogames may be meaningful–that is, accomplish a larger existential fulfilment or purpose. We use a reflective methodology which triangulates the creative practice of making a videogame with reflections both during and post-practice against philosophical ideas of meaningfulness. Two ideas of meaningfulness emerged. The first is the generative capacity of subjectivity, where meaningfulness is anchored to our investment as creators, as well as in the intertwining of personal histories, experiences and memories between reflection and action. The second is the flourishing of the self in terms of inner growth and self-discovery out of journeying inherent in the game design process. The significance of our enquiry is three-fold: to more holistically understand videogames as being meaningful, to present a reflective methodology to facilitate such understanding, and to more broadly consider videogames as an instantiation of how media is itself existential. </jats:p>