Mohammad Farraj

DMS 448

Blog Post Week 12  

Within the gaming world, players can escape to whatever realm they desire and transform into any entity they please. This world is welcoming to anyone with a passion of video games and would not turn anyone away no matter their gender, identity, sexual orientation, etc is. Unfortunately, even within the gaming world, there are members/individuals that making an intended bright and opening world dark. That is why writers such as, Webster and Condis portray in their writing how in the gaming world, members unfortunately bring bigotry and hate and brain wash targeted players that they know how unaware they are on such issues. Thus ultimately having a driving force in which society needs to understand that game developers/companies need to improve the quality of their gaming servers. Writers in the gaming world have proven to society that members within the gaming world have brought bigotry and hate speech which ultimately corrupts society.

            With the use of dark humor and bigotry, members are able to enter gaming services and ultimately brain wash young and even innocent members into hatred towards other groups such as people of color, members of LGBTQ, etc. In the text, it is stated how individuals who are opposed to any alt-right members values are taught how such angry and hatred are normalized. Ultimately, disguising such beliefs an humorous manner to prevent such bigotry from being detected. The text states, “Those who exhibit curiosity about white nationalist talking points or express frustration with the alt-right’s ideological opponents such as feminists, anti-racism activists and “social justice warriors” are then escorted through a funnel of increasingly racist rhetoric designed to normalize the presence of white supremacist ideology and paraphernalia through the use of edgy humor and memes” (From Fortnite to Alt-right). By using this tool of memes and dark humor, targeted audience members that the alt-right prey on are and can be oblivious too. Thus, not realizing what is truly happening to them (i.e being brain washed). From this quote, it is imperative to understand how a simple curiosity can take a dark turn. Members of the alt-right recognize such curiosity in young individuals and take advantage of not only their innocence but ignorance as well. As well as, use anger towards other groups and fuel it for their own agenda. This is controversy becomes even worse when such individuals start to harass other. In the text, “ How League of Legends could make the internet a better place”, by Andrew Webster, it states how reducing/banning “toxic players” barely impact the overall negative behavior in such games. The text states, “The conventional wisdom at the time was that most abuse came from a few particularly toxic players, and that if you simply banned them from the game, the problem would be solved…Those kinds of overly toxic players only account for about 1 percent of the community, and even if you ban them all, it still only reduces negative behavior like harassment by 5 percent” (How League of Legends could make the internet a better place). What this shows is that not only the percentage of this negative behavior barely made an impact within the community, but shows how there is a larger issue at hand. To analyze this even further, game developers can only ban players for so long, such manner can become mute. If this issue was to be resolved, then these developers need to implements rules and regulations that eliminates such issues at its source. Thus, fully understanding how this issue in the gaming community needs to be addressed.

 

 

 

                                                            WORK CITED PAGE

Condis, Megan. “From Fortnite to Alt-Right.” The New York Times, http://www.nytimes.com/2019/03/27/opinion/gaming-new-zealand-shooter.html.

Webster, Andrew. “How League of Legends Could Make the Internet a Better Place.” The Verge, http://www.theverge.com/2015/3/6/8161955/league-of-legends-online-happy-place.

 

Authors such as Toupin and Hablerstam break down communities within the gamming world. As members of said world, it is hard to come believe that there is issues of sexism, racism, alienation, etc, but unfortunately that is the truth the world needs to accept. As member of such community it is our duty that everyone of all backgrounds and identities are accepted. With the support of feminism, would support the acceptance of individuals of all backgrounds in be properly included.  Writers such as Toupin and Halberstam explore this conversation more to help society include the gaming industry to become more welcoming to all backgrounds and identities.

            Writer such as Toupin help articulate that gaming companies needs to include a more diverse set of content, to help include more diversity within gaming communities. With the support of feminism, different identities and backgrounds can be understood and recognize within a safe space. However with that being said, the idea behind feminism within the text, need to be understood and not limited too, class, religion/culture, gender etc. Toupin states that, “Intersectional feminists argue that feminism cannot be studied, understood, or practiced from a single, immediate, standpoint… understanding requires engagement with culture, class, sexuality, ethnicity, gender and other power structures which engender inequality” (Toupin 2). Analyzing this piece of text, supports the idea that not only feminism is and can be a powerful force to have a true sense of diversity within the gaming community but shows how its cover and is understood in various forms. Such as culture, class, sexuality, gender and much more. In doing so, anyone who isn’t straight, white, male can be (and should be) represented in a safe space where they can openly talk about issues within the gaming community. As well as, express their thoughts in which can ultimately improve the quality of games. With that being said, Toupin also makes the point that members are being harassed of different extreme levels due to the fact that they are identify in a different manner than the mainstream audience (i.e, white, straight, male).  The author states, “Individuals shared experiences, documenting instances of sexism, sexual harassment and discrimination which arose in the course of their relationships with geek culture” (Toupin 3).  What this shows is that, with the presence of Geek culture, individuals are targeted due to the arise of different ideas and perspective within the gaming community. Therefore, making it more difficult to not only change the space for other gamers but society as a whole. Overall, Toupin raises these points to help articulate how gaming companies needs to include a more diverse set of content, to help include more diversity within gaming communities.

            Hablerstam purposes the stance in which games have more representation. In the text, it is stated how games need to be revised to help be more a diverse audience. It is stated that, “I believe the question of what contribution gaming might offer to queer theory requires rethinking the concept of the game, the purpose of the game, the differentials within the game between winning and losing, and the modes of identification and desire that any given game requires” (Hablerstam 189). What this shows is that, in order for games to essentially evolve, developers need to incorporate the purpose and other factors of their games with the inspiration of queer theory.

                                                            WORK CITED PAGE

Toupin, Sophie. “Feminist Hackerspaces: The Synthesis of Feminist and Hacker Cultures.” https://learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5e00ea752296c/6402654?response-content-disposition=inline; filename*=UTF-8”Toupin%20-%20Feminist%20Hackerspaces%20The%20Synthesis%20of%20Feminist%20a.pdf&response-content-type=application/pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200420T010406Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY/20200420/us-east-1/s3/aws4_request&X-Amz-Signature=de219d4e7bcfc5b0d8d2a60077ffb869835a80221e90894327b4d87924dd4047.

Halberstam, Jack. “Queer GamingGaming, Hacking, and Going Turbo.” https://learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5e00ea752296c/6402658?response-content-disposition=inline; filename*=UTF-8”Halberstam%20Queer%20Gaming.pdf&response-content-type=application/pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200420T011610Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY/20200420/us-east-1/s3/aws4_request&X-Amz-Signature=ff6c667626393e9f1ae42be1deacb11c77d32289c3de71765b26508007b0c036.

Mohammad Farraj

DMS 448

Throughout history, any work force that is fully analyzed, one could see how it is either male dominated or highly male influenced. The unfortunate truth of a patriarchy is present and causes the opposite gender (i.e women) to push themselves to receive the same treatment, pay and balance that men receive. To make matters worse and even more dark, this type of behavior/concept has reached the gaming industry. Video games in general, were implemented to grant the player to become and create any identity they wish and ultimately have the freedom express themselves whoever they are. Thus completely contradicting the whole idea of both the gaming industry and gaming world. Writers Justin Cassell and Henry Jenkins not only prove this but analyze this as well, with the text, “Chess For Girls? Feminism and Computer Games”.

            In the text, it is portrayed that on a marketing scale, the general audience were for male gamers. Exploring the text, it is stated how a study is shown that proves how these said games are meant for boys. Thus, ultimately having a market of video games for males primarily. In the text, it states how, even, “Too often, the study of computer games has meant the study of boys playing computer games…In fact, too often the very design of computer games for children has meant designing computer games for boys” (Cassell and Jenkins 5). What this shows is that, a study is present to prove that in this time, computer games were programed for males as their targeted audience. This presents a problem because ultimately programming video games for one specific gender is not only sexist but fuels the concept of a patriarchy that too is present in society. Therefore, when gaming companies are unaware of this issue it fuels sexism and ultimately creates a division between the genders.

            In the text, the writers also make the point in how there is a false connections amongst genders. The authors state how, certain genders carry specific roles or attributes because of cultural perspectives. Due to these connections from the genders, it creates class system. In the text, it states how, “Today, however, the binary opposition between the sexes carries much weight, and leads us to speculate about “mas-culine” and “feminine” qualities, likes and dislikes, and activities. We are used to seeing “masculine” and “feminine” as natural dichotomies—a classification system that mirrors the natural world. (Cassell and Jenkins 6). What this shows is that, this ideology that certain genders and identities have certain interests based on who they are have create a space where sexism exist and fuels gender inequality. In addition, this creates the false notion that just because a gender or identity is different, they have certain interests that may be completely false. Ultimately like stated before, this supports the patriarchy that is present within society and has made certain genders second class citizens.  Overall, the writers within this article have proven that gaming companies portray certain genders falsely and market towards males specifically.   

                                                                        Work Cited Page

 Cassell, Justine, and Henry Jenkins. Chess For Girls? Femminism and Computer Games. The MIT Press , 1998, learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5e00ea752296c/4772298?response-content-disposition=inline; filename*=UTF-8”Cassell%20and%20Jenkins%20-%20Chess%20For%20Girls%20Feminism%20and%20Computer%20Games.pdf&response-content-type=application/pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200413T032144Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY/20200413/us-east-1/s3/aws4_request&X-Amz-Signature=2793258970cb2c6a23ac07392670de5f80738d4af329da1e993297abfb1e6f60.

Mohammad Farraj

DMS 448

Blog Post

Growing up, the idea of sexual orientation within video games was not brought to light until game developers was faced with criticism from the gaming community. The lack of representation in sexualities that aren’t heterosexual related made true gamers within the LBTGQ demand more from the same gaming companies that they invest in. Reflecting to previous classroom discussions, in which the break down of harassment and cyber bullying of LBTGQ streamers and gamers. Writers such as Brianna Dym, Jed Brubaker, Casey Fiesler and Merritt Kopas, explore this issue in their writings. Therefore, with the support of the gaming community, game developers will invest the time to accurately represent both the identity of a member of the LBTGQ community and life.

             Game developers in the game “Gone Home” have received feedback from the gaming community and managed to incorporate the internal struggles of an individual who is learning more about her own sexual preference. In the game itself, the player experiences an ominous and uneasy feeling while experiencing the game. In terms of the game mechanics, players use the mouse to look around and interact with their environment. On the same note of environment, based off of previous let’s play from classroom discussions, the game sets the ominous tone/feeling  like previously stated. Luckily, Kopas breaks this down as well as “expectations” of a character who is depicted as a member of the LBTGQ community. Kopas states how as a player, “you’re kind of on edge because the lights are flickering and every once in a while the house creaks in the storm and you don’t know what’s going to come first, the beginnings of a lesbian tragedy suicide sequence or something jumping out at you from a dark corner” (pg. 146 Kopas). What this shows is that, expectations of a jump scare, acts of violence or fear inflicting images are in place due to the score and overall setting of the game. When in actuality (based off of the in class gameplay), the player just searches a big empty house for clues and reveals the thoughts in her head. This is key to recognize because it breaks the social expectation of a tragic death of a member of a LBTGQ community who is in her teenage/adolescent years. Therefore, thanks to members of the gaming community such as Kopas, game developers can accurately represent members within the LBTGQ community in video games.

            Members of the gaming community voice their concern of characters within games not being represented equally. In the text, “They’re all trans Sharon: Authoring Gender in Video Game Fan Fiction” by Brianna Dym, Jed Brubaker, Casey Fiesler, states how the terminology of “queer” doesn’t equally benefit or even represent individual identities that are queer. In the text, the writers state, “does not benefit all queer identities equally… in society, the use of “queer” to refer to non-straight sexualities and non-cisgender identities…to clarify, we need to distinguish between the two as “queer sexualities” and “non-cisgender identities” — the former represented more often within games” (they’re all trans sharon: Authoring Gender in Video Game Fan Fiction, 2018). What this shows is that, in video games, the identities of queer character are shown to be treated and portrayed unequally. To prove this even further, this quote proves that society needs to understand the individuals who believe their physical bodies doesn’t match their sexuality and be represented more accurately. None the less, members of the gaming community have voiced their concerns and provided feedback for gaming companies to work off of.

                                                            Work Cited Page

Dym, Brianna, et al. “Game Studies.” Game Studies – “Theyre All Trans Sharon”: Authoring Gender in Video Game Fan Fiction, gamestudies.org/1803/articles/brubaker_dym_fiesler.

Kopas, Merritt. On Gone Home.

Mohammad Farraj

DMS 448

Blog Post 7

            As time progresses, ideas are created, technology advances and goals are accomplished. In the creative space such as media, game studies and technology, when scholars surpass an idea or invent a piece of technology, those ideas and inventions become a piece of the past. But as these achievements are accomplished, we look back to these ideas  and recognize that they aren’t in the past and forgotten. They are not only seen as lessons but seen as way we as a society (and its individuals) could grow. In relation to this idea, the word “Nostalgia” becomes the turning point of said conversation. In the article, “Nostalgia and the Dystopia of History in 2K’s Bioshock Infinite” by Martin Buinicki, shows how the gaming community (including it’s developers) grow from the past and learn from it. Overall, nostalgia helps the community grow and learn in order to improve.

In the article, “Nostalgia and the Dystopia of History in 2K’s Bioshock Infinite” by Martin Buinicki shows how the idea of Nostalgia helps guide the gamming community to improve themselves and it’s products. In the text, Buinicki states how in one game called “BioShock Infinite”, looks back into it’s product (the game itself) and analyzes how it has displayed people of color in such a racist manner and whitewashed history to display such gameplay. In the text, it states, “In a similar way, as Bioshock Infinite unfolds, players learn Columbia’s Rockwell-inspired exterior hides multiple racist depictions of African Americans, Native Americans, the Irish, and the Chinese…The horror of the raffle forces players to recognize what has been absent in the hazy, peaceful set pieces of Columbia, and, subsequently, in their own idealized views of the past… The degree to which nostalgia serves to obscure oppression is one facet of the considerable debate regarding the uses and abuses of nostalgia (Buinicki 727). What this shows is that, within the game Bioshock, game developers have depicted people of color are portrayed in a racist manner that gamers are exposed too. In doing so, players are witnessing the whitewashed methods that developers have placed for players to play through. However, as time progresses, developers have looked back at their work and made progress in understanding the lessons from gamers reactions, blogs and gameplays through said game. What this shows is that, by looking back at nostalgic events within their work, game developers are able to improve themselves and their product. Reflecting back from DMS 448 class discussions, nostalgia is originally used as a term to look back into previous times and recognizes this idea of vintage, classical time(s). However, in some cases such as this, that may not be the case. Game developers look towards nostalgic moments in their companies and work,  and use it to progress and build themselves. In doing so, that is how they grow as a company and franchise. Therefore, this article and the concepts with it, help both companies and gaming communities improve for society to witness.

                                                                        Work Cited Page

Buinicki, Martin T. Nostalgia and the Dystopia of History in2K’SBioshock Infinite. learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5e00ea752296c/6391964?response-content-disposition=inline; filename*=UTF-8”Buinicki%20-%202016%20-%20Nostalgia%20and%20the%20Dystopia%20of%20History%20in%202K%27s%20Bios.pdf&response-content-type=application/pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200315T193719Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY/20200315/us-east-1/s3/aws4_request&X-Amz-Signature=b6fae982c8f16f8011995e3889f5f94d0de23a70994286178134a7e307c58ca7.

Mohammad Farraj

DMS 448

BLOG POST 6

            Throughout this week we have discussed various topic within the gaming world. These topics range from stereotypes to understanding the controls for games. These topics within the gaming world peak interests due to the reward system that some games have, involving dehumanizing actions towards women. To not only understand this discussion, writers Robert Yang and Miguel Sicart proves have these issues both technical and social are present within the gaming community. Therefore, their pieces will help readers understand the phenomenon present in such community and how they need attention from both consumers and developers.

            Technology within the gaming community provides a foundational issue that needs to be addressed. In the article, “Queering The Controller”, Sicart states how technology ultimately needs to be updated to modern times due the out dated equipment it provides. In addition to this, he also states that those same controllers and equipment needs to have an alternative access. In the article, he states, “While games mature into the future of creative expression, we still control them with technologies developed decades ago” (Sicart, 2017). What this shows is that, if gamers truly desire to reach their top creative levels within video games, the technology they are using are needs to be updated. Sicart believes that, the controllers for video games haven’t been resourceful the last couple decades. Therefore, due to this, gamers have been held back in reaching their ultimate potential within video games. Sicart also goes in depth about the accessibility these controllers bring fourth to gamers. In the article, he states how, “the culture of “alternative controllers” like those showcased at alt.ctrl.gdc …does little to reassure me… We don’t need alternative controllers, we need controllers for the alternative emotions, alternative bodies, and alternative experiences that games now foster” (Sicart 2017). What this shows is that, the presented controllers that gamers receive are not enough for gamers. The technology and design of these controllers are being demanded by the gaming community in which they should accommodate to gamers emotional and  physical state. In doing so, this will support gamers ability to reach their next level of skill and creativity within whatever game they are immersed in. Therefore, Sicart proves why technology within the gaming community needs to be up to date with modern technology, to ultimately improve the gaming experience for gamers.

            Video games are proven to show acts of violence and provide dehumanizing stereotypes towards women. In the article, “Feminist Whore Purna”, Yang provides evidence of disturbing acts towards women within video games and gamers are ultimately rewarded for it. In the article he states how, “The game Red Dead Redemption rewards the player with an achieve-ment trophy called “Dastardly” for placing a “hogtied” NPC woman (and only a woman) on train tracks and watching her get run over by a speeding locomotive… It specifically requires you must place her there, you must watch her die before it will reward the player with five Xbox Gamerscore points (Yang 100). What this shows is that, gamers need to forcefully capture a woman in the game, brutally tie said female up and lay her down on a set of train tracks. Then to ultimately watch that same woman die and players are required to watch this act of violence in order to get rewarded. This shows the dehumanizing act towards woman within the game because emphasizing on the detail where players need to watch this woman being killed and being rewarded for it only proves the negative representation of women in video games. Therefore, this proves how there is a presence of dehumanizing stereotypes and violence of women in video games.

                                                            Work Citated Page

Sicart, Miguel. “Queering the Controller.” Analog Game Studies, 23 Dec. 2019, analoggamestudies.org/2017/07/queering-the-controller/.

Yang, Robert. On “FeministWhorePurna” and the Ludo-Material Politics of Gendered Damage Power-Ups in Open-World RPG Video Games. https://learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5e00ea752296c/5412910?response-content-disposition=inline; filename*=UTF-8”Yang%20On%20FeministWhorePurna.pdf&response-content-type=application/pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200308T043317Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY/20200308/us-east-1/s3/aws4_request&X-Amz-Signature=8ce45b2210a8970fbe44cd72ab8d5b891ee45067ad36b52d803de63e0fbdb7f8.

Mohammad Farraj

DMS 448

Blog Post 5

            The beauty behind video games is that, as the player/consumer we get to decide how we can portray ourselves in these games. We as gamers are able to enter a world or simulation and essentially being anyone or anything we want. Examples include discussions from DMS 448, where the class had to download World of Warcraft and get a feel for the game. In doing so, the class was able to pick and design avatars that they saw fit for themselves. What was interesting and even fascinating about that discussion is that players design/create their avatars in a certain way. The reason supporting this, is because as they enter this alter world/reality their characters are created but their desires are reflected in their avatars. What this means is that players avatars are a reflection of what they want to essentially be in the real world or shows how they are drawn to the game itself. For an example, players who are tired of playing as humans in video games could be drawn to a game because they have the option to becoming a mutant. This shows how they are drawn into the game and how their interests are expressed. Thus having a foundation of understanding of the motives behind why players design their avatars a certain way. In the text, “He Could Be A Bunny For All I Care”, written by Shaw, supports the motive to why players design their avatars in a certain way.

            In the text, Shaw states how the alternate realities in video games attract players and motives them to make their unique avatars. In the text she states, “Some of my interviewees said that digital games’ interactive prop-erties made them feel more connected with their characters” (Shaw 99). What this shows is that, during these interviews, gamers were pulled into by the idea of how items can be apart of their avatar. To analyze this even further, when it came to digital games, gamers felt that the ability to use certain props provided a unique feeling to the game and their avatar. By doing so, this will have a butterfly effect on both the game company and game community. The reason behind this is because ultimately the common factor is success due to the publicity and sales of the game. Also, in doing so, this effect will provide players to expose each other to new avatar ideas. Analyzing this quote from my personal experience, I as a gamer enjoy having as many options given to me. In any game that allows me to do so, I want to stand out in a way that is not only appealing to me but my peers as well. I feel that more game developers should take this into consideration because it will not only inspire creativity within the gaming community but other companies as well. Overall, Shaw did a good job in helping us understand why gamers are attracted to different kinds of avatars.

                                                            WORK CITED PAGE

Shaw, Adrienne. He Could Be A Bunny Rabbit For All I Care!

Mohammad Farraj

DMS 448

Blog Post 2

            Over the years, the gaming world has released an abundant amount of games that has been very accepted in the community. To prove this, sales have shown to grow the companies profits and even on  streaming scale, Youtubers have taken the liberty in producing “lets play’s” or even “walkthroughs” to show the over all content of the game. More importantly, these factors such as profits, walk throughs, let’s play, shows how strong the narrative within these games are. Without these narratives, the concept of being a successful video game would vanish. However some members of the gaming community would disagree and dismantle this perspective. Therefore, the narrative within a video game ultimately helps define it.

            With the support of different mediums such as films, it helps inspire and cultivate the foundation of video games narratives. Over the course of the years, the gaming community has witnessed different mediums such as films essentially transforming into video games with compelling and interactive choices within the narrative. This includes examples such as an interactive film on Netflix called, “Black Mirror: Bandersnatch”. In the article, “Black Mirror interactive film: Inside the 2 Year Journey of “Bandersnatch” by Jackie Strause, challenges the idea of what is a video game and how the players choices can define the story. In the gaming community, “people have never seen this before, so they could come to it with preconceived notions, especially if they think this is a video game or a heavy definition of what interactive is” (The Hollywood Reporter). What this shows is that, it raises the standards for both film and video games by having both components from each medium (i.e video games and films). To analyze this even further, the narrative within these mediums help provide a structure within these simulations. By having this design structure where players can pick their fate and essentially see the “Butterfly effect” this helps cultivate the narrative in their own way. Thus, having their own unique input on the experience itself. Ultimately, supporting the stance on how narratives build a videogame. However, there are members in the community that believe in how a narrative doesn’t define a video game.

            Members such as Ian Bogost, don’t believe that narratives make a videogame. In the article, “Video Games Are Better Without Stories”, by Ian Bogost, states how as the narrative contines within video games, it becomes hard to contain or even control it. He states how, “the problem becomes increasingly intractable over time. But those worlds feel even more incongruous when the people that inhabit them behave like animatronics and the environments work like Potemkin villages” (The Atlantic). What this shows is that, Bogost believes that as the narratives progresses, the player faces the challenge in trying to maintain the understanding and grasp of the narrative. That the environment within the story makes the player loose themselves and their objective as they are transformed into robots with an empty goal. Thus proving why he takes the stance in why the narrative doesn’t define or support a video game.

                                                            WORK CITED PAGE

Strause, Jackie. “’Black Mirror’ Interactive Film: Inside the 2-Year Journey of ‘Bandersnatch’.” The Hollywood Reporter, 20 Dec. 2019, http://www.hollywoodreporter.com/live-feed/black-mirror-bandersnatch-netflixs-interactive-film-explained-1171486.

Bogost, Ian. “Video Games Are Better Without Stories.” The Atlantic, Atlantic Media Company, 25 Apr. 2017, http://www.theatlantic.com/technology/archive/2017/04/video-games-stories/524148/.