#Firewatch delilah voice simulator#

By playing with genre and subverting player expectations, Firewatch enables players to practice and perform masculinities beyond the hyper.ĭrawing on Janet Murray (1997), Katie Salen and Eric Zimmerman (2004), and other previous proposals, this article conceptualizes player agency as the possibility space for “meaningful” choice expressed via player action that translates into avatar action, afforded and constrained by a videogame’s design. This feminized labour is reflected in the gameplay as well, highlighting the divide between 'hardcore' games (typically characterized as masculine) and the 'hard' work associated with femininity. The kind of labour the character performs, compared with the adventuring accomplished by most videogame protagonists, underscores the complexity of his identity though Henry works hard, his hard work is mostly confined to the realm of emotional labour and therapeutic self-care. As the denouement reveals, the danger that loomed was centered in real world challenges like environmental protection and familial guilt, better solved through conversation and patience than violent heroics. Henry's macho presentation is belied not only by the genre of the game he inhabits, but by multiple feminizing factors in the text, including the prologue, the dialogue mechanic, and the way the game constructs the character's (and the player's) paranoid sense of mystery. If traditional games enable players to live out a fantasy life of performing hypermasculine acts, then walking simulators reestablish an anxious homogeneity of passive non-performance. This destabilization is ludologically intentional and highlights a sensitivity towards the performance of non-hegemonic masculinities. Henry is characterized as a hypermasculine protagonist, but the game actively refuses to let the player perform that masculinity, enabling instead the performance of a subtle, complex, and well-developed male character.

#Firewatch delilah voice simulator#

This article explores how the walking simulator Firewatch (Campo Santo, 2016) successfully problematizes toxic, traditional videogame hypermasculinity, inviting instead the performance of a care-oriented masculinity.