Kowert & Oldmeadow, 2012), it remains relevant, but unclear, how this nonetheless hegemonic identity was constructed. If gamer culture is perhaps unfairly seen by male gamers as the site of paradoxically marginalized, white male “nerds” (cf. Indeed, much scholarship suggests a split, on the one hand, between the overrepresentation of white, male, cis-gendered heterosexual player identities within games and, on the other hand, the actual diverse player base that supports and plays these games (e.g., IGDA, 2019). Later, studies regarding gender, race, sexuality and class have followed suit (cf. The issue of ‘gamer’ identity has been a subject of study since at least 1983 (Kiesler, et al.) and analyses of the oversexualization of women have appeared since Justine Cassell and Henry Jenkin’s From Barbie to Mortal Kombat (1998). Recently, for instance, Real Games traces the boundaries of what ‘counts’ as real games (Consalvo & Paul, 2019), for a ‘gamer’ subculture that is uniquely tied to its medium of choice.
Since 2014, discussions about gamer identity have been topical, and they remain so. Framing the Gamer: A Study of Invented Marginalityĭe Wildt Lars Bonenfant Maude Therrien Carl Khaled RillaĢ020 DiGRA ’20 – Proceedings of the 2020 DiGRA International Conference: Play Everywhere
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