The article is a shortened transcript which was presented as a keynote address at the 2014 Queerness & Games Conference by Naomi Clark and Merritt Kopas. They use the term “queer”, not just mean homosexuality, but rather a more intrinsic explanation of the relationship between humans and games. They also explain how a phenomenon can be encoded when it encounters a specific mechanism.

As play comes to resemble work under capitalism, play, like labour, becomes alienated.

The game is conveyed through play by portraying a kind of cultural fantasy about how we believe in our world and what we want to believe. Participation in the game space is also derived from playfulness. I totally agree that current games are devalued and excluded from the means of true pleasure simply comes from meaningless repetition of rewards through some quests.

We create the possibility of envisioning new ways to relate to games, rather than fixing on the prospect of locating queerness within games themselves and we can begin to imagine ways of relating to games that are more multifarious, human, and liberatory.

Game is designed to compete with other players or system. Also, there are many crucial moments to overcome. Some will success to go through but some will fail. Why we always challenge even we know there is a fairly high probability of failure and experience that repeatedly. In the process of game playing, failure makes us to think more and find a resolution to get out of our test not just escape from the situation. It is the most different action of people who are in game or not. We usually afraid to be failed in the real world because the consequences of our actions will come back to us. In contrast, game gives us a sense of disappointment lightly and we will achieve a thrilling victory after then. They draw game as an alternative methodology. Game is applied in various field to come up with a way to solve complications.

Some scholars like Colleen Macklin argue that games themselves are inherently queer because play provides a safe space for failure and indeed, many games emphasize repeated failure as a part of a learning process.

As described in the paragraph above, I agree that the world in the game does not really exist when compared to the real world, so there is little burden of failure in any case. But I can not agree that it is always safe. There may be players who perceive the game world as bigger than reality. For them, failure in the game causes tremendous resentment and it may not lead to the process of repetition and learning. Conversely, you may consider shutting down the play itself and shutting down the game on a single failure. Of course, this will be a minority, but I think there are too many variables to generalize them.

This announcement ends with an argument for the future of queerness and play. However, the most concentrated part of me was that the game played a role as a medium for human communication with society. As in most media, there are people who design their intentions in games and those who experience them indirectly. The player can explore the intended world of the designer according to the information provided and change the perception structure of the player depending on what impressions this experience has left. We define our identity through connections with the world that surrounds us. Also, the pieces of the various identities attached to it act as a filter to look around the world. The point of the relationship and expansion between two or more worlds, whether it is physical or psychological, lies in intervening. I would like to experiment in this task which should affect the relationship between conscious objects and environment through a certain design process, and what kind of unfamiliar experience will make sure that the experimenter creates a gap to accept another world. For example, after assuming an impractical and unrealistic environment, we will look at what experience the experimenter felt to be more effective when designing different approaches to it. There may be ways to read text, to use sensory information through the body, to make it feel real through a kind of performance.