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Hugh Africa, Council on Higher Education (South Africa)

Games are rapidly becoming a site where cultural ideas are explored and consumed and have recently become an arena for debate around representations of gender. This chapter draws attention to key debates occurring in the field of video games that are also applicable to film studies. This interdisciplinary approach demonstrates the relevance to game studies of a rich vein of scholarship on the gendered action body in film studies. Drawing on research by Yvonne Tasker (1993, 2015), Lisa Purse (2011) and Jeffrey Brown (2011), this chapter seeks to unpick the tensions around gender and violence in the reception of The Last of Us Part II (Naughty Dog, 2020), particularly regarding the surprisingly vehement backlash against the unconventionally muscular deuteragonist Abby.

This chapter asks what happens when the ‘spectacular’ and ‘hard’ bodies of the action heroine enter the soft virtual world of the video game. A focus on whether Abby's body is realistic in the reception of the game leads to a discussion of the ontological status of games as a virtual medium. I argue that the process of motion capture and the real-world reference of CrossFit athlete Colleen Fotsch trouble the conventional dichotomy that understands the medium of games as virtual and film as indexical. Throughout, I use the more ambiguous and ambivalent historical reception of the body of Lara Croft as a useful point of contrast. I argue that the obsessive, hysterical response to Abby's muscular body is indicative of larger tensions between conservative ‘hardcore’ fandoms and the industry's recent drive for progressive change. By denying Abby's authenticity such players also deny female access to traditional masculine pursuits and identities, whether that be bodybuilding or gaming. This is because virtual female action stars, just as much as their real-world counterparts such as Linda Hamilton, trouble the gendered norms that underpin both second-wave feminist accounts of muscular women and the audience of hardcore video game players. As Fron, Fullerton, Morie, and Pearce (2007) critique in their article ‘The Hegemony of Play’, a double standard therefore exists in which such women must justify the reality of their musculature through a kind of ‘proof of process’. Ultimately, I conclude that a similar demand is made of the emergent female audience of gamers, who are continuously made to justify their right to play in a traditionally male space.

This chapter explores how data-driven methods such as Artificial Intelligence pose real concerns for individual privacy. The current paradigm of collecting data from those using online applications and services is reinforced by significant potential profits that the private sector stands to realize by delivering a broad range of services to users faster and more conveniently. Terms of use and privacy agreements are a common source of confusion, and are written in a way that dulls their impact and dopes most into automatically accepting a certain level of risk in exchange for convenience and “free” access. Third parties, including the government, gain access to these data in numerous ways. If the erosion of individual protections of privacy and the potential dangers this poses to our autonomy and democratic ideals were not alarming enough, the digital surrogate product of “you” that is created from this paradigm might one day freely share thoughts, buying habits, and your pattern of life with whoever owns these data. We use an ethical framework to assess key factors in these issues and discuss some of the dilemmas posed by Artificial Intelligence methods, the current norm of sharing one's data, and what can be done to remind individuals to value privacy. Will our digital surrogate one day need protections too?

Weapons systems and platforms guided by Artificial Intelligence can be designed for greater autonomous decision-making with less real-time human control. Their performance will depend upon independent assessments about the relative benefits, burdens, threats, and risks involved with possible action or inaction. An ethical dimension to autonomous Artificial Intelligence (aAI) is therefore inescapable. The actual performance of aAI can be morally evaluated, and the guiding heuristics to aAI decision-making could incorporate adherence to ethical norms. Who shall be rightly held responsible for what happens if and when aAI commits immoral or illegal actions? Faulting aAI after misdeeds occur is not the same as holding it morally responsible, but that does not mean that a measure of moral responsibility cannot be programmed. We propose that aAI include a “Cooperating System” for participating in the communal ethos within NSID/military organizations.

The situating of pimatisiwin as a framework for spatial justice and self-determination aids educators in strengthening their understandings of Indigenous knowledges to support an authentic inclusion of Indigenous students with disabilities. Through the sharing of Canada’s colonial history, and by critically examining the principles of care within special education, the author exposes its relationship with ableism, normalcy, eugenics, and white privilege to show how Indigenous peoples continue to be marginalized in the twenty-first century. This justice work asks educators to shift their perspectives of inclusion and wellness through the insertion of an Indigenous lens, one to help them see and hear the faces and voices of disabled Aboriginal children and their kinships. The chapter discusses the social model of disability, the psychology of Gentle Teaching, Indigenous ethics, and principles of natural laws through the voices of Nehiyawak and other knowledge keepers, in order to suggest an agenda for educators to come to an understanding of an emancipatory and gentle education. Spatial justice and Indigenous epistemologies merge as synergistic, inclusive, and holistic entities, to support Aboriginal children and youth as both they and those who teach learn to celebrate disabled ontologies. The chapter concludes by presenting how Gentle Teaching and Indigenous ways of knowing should be honored in this quest of creating an equitable, caring, and inclusive society for all disabled Indigenous children and youth.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.