We Are the Champions? Performing whiteness in ASCENSION: DAWN OF CHAMPIONS

Abstract

Background. Building on previous studies on racism and whiteness in video games, this article investigates how deck building games provide platforms for identity tourism, the symbolic appropriation of marginalised experiences, through their coupling of mechanics and racial stereotypes. Aims. The aim is to contribute to our understanding how dominant ideologies are expressed through simulation and gaming in a deck building context and how games similar to ASCENSION: DAWN OF CHAMPIONS (henceforth A: DOC) perpetuate racism and coloniality through gameplay design. This is part of an ongoing game studies effort to critique white supremacist and imperial structures in games. Method. In this article, I conduct a first-person close reading of A: DOC as an emblematic case study for contemporary deck building design. Using critical whiteness theory, I pay special attention to the gameplay design of the four Champion characters Nairi, Kor, Sadranis, and Dhartha in order to demonstrate the interplay of ludic, racial, and social performative elements in the construction of playful identities. Analysis. The deck building principles of A: DOC provides a racial pedagogical arena which creates affective links between gameplay and white supremacist values. In coupling digital deck building mechanics with stereotypical fantasy characters, the game invites players to take the roles of fantasy tourists and thereby become implicit in white supremacist play. Even though the characters Nairi, Kor, Sadranis and Dhartha are leaders of different genders and races, their “diversity” is established via popular racial cybertypes like the white female diversity advocate, the technologically advanced white male emperor, the aggressive Black male, and the Asian male exotic Oriental.

Right-Wing Extremism in Mainstream Games: A Review of the Literature

“…This exclusion of marginalized groups and female players was evident in game narratives (Nae, 2018), representations (Russworm, 2018), and mechanics (Salvati, 2019). War, science-fiction, and fantasy themes rose in prevalence, as well as stories revolving around an exceptional white male protagonist fighting enemy invasion or conquering land or space (Harrer, 2020; Leonard, 2006; Nae, 2018). The games that portrayed women at all rendered them either weak, sexualized, or both (Euteneuer & Meints 2020; Leonard, 2003).…”

“…Game developers help promote and maintain white dominance as the social norm by allowing stereotypes to guide depictions of individuals from marginalized groups (Aguilera, 2022; Daniels & LaLone, 2012; Harrer, 2020; King & Leonard, 2016; Leonard, 2006; Russworm, 2018; Salvati, 2019). Asians are often depicted as criminals or martial artists (Hutchinson, 2017; Leonard, 2006), African Americans appear as violent antagonists or athletes (Daniels & LaLone, 2012; Leonard, 2003; Ong, 2016), and female characters are often sexualized and positioned as victims or prostitutes (Daniels & LaLone, 2012; Euteneuer & Meints, 2020; Leonard, 2003).…”

“…The setting and narrative of mainstream games also often promote notions of white superiority. War games situated in the Middle East (e.g., Call of Duty (2003), Medal of Honor (1999)) are seen to justify American imperialism and to promote the notion of a war against black and brown people in real-life conflict zones (Grewal, 2017; Harrer, 2020; Leonard, 2006; Mckeand, 2021; Steeby, 2019). Real-time strategy games such as Civilization (1991) and Hearts of Iron (2016) often appeal to right-wing extremists for their emphasis on playing out fantasies of nationalism and imperialism (Khosravi, 2017; Salvati, 2019; Vaux, Gallagher, & Davey, 2021).…”

“…Mainstream videogames are culturally appealing to right-wing extremists beyond a shared sense of white male aggrievement and home-grown extremist game builds or mods. Many mainstream games advance in-game representations, narratives, and mechanics that reflect existing racial and structural inequities and even align with extremist worldviews (Harrer, 2020;King & Leonard, 2016;Leonard, 2003Leonard, , 2006Nae, 2018;Salvati, 2019). As King and Leonard (2016) describe, "Games such as World of Warcraft (2004), Resident Evil (1996, Killzone (2004), Grand Theft Auto III (2001), Grand Theft Auto: Vice City (2002), and various World War II games are ubiquitously cited as both sources of fun and games that allow for the celebration or promotion of white nationalism" (p. 113).…”

Hot, fancy, and dangerous: The representation of female characters in three popular video games: Multimodal discourse analysis

“…The first is procedural rhetoric proposed by Bogost (2008) saw video games as a medium to transfer ideological perspective. Previous research using procedural rhetoric is Higgin (2009) His research investigated the different representation between white and black; in addition Harrer's, (2020) research addresses the same problem, and the other example is Hall's (2018) research which addressed how English as lingua franca can turn into a lethal weapon in video games Metal Gear Solid V: The Phantom Pain. The second one is game design analysis from the work of Adams (2010).…”