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Society in a Media Age, ed. Andreas Hepp and Friedrich Krotz. New York: Palgrave McMillan, 2014. Print. Crawford, Christina. Mommie Dearest. New York: William Morrow & Co., 1978. Print.
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Wu, Weihua, Steve Fore, Xiying Wang, and Petula Sik Ying Ho. “Beyond Virtual Carnival and Masquerade: In-Game Marriage on the Chinese Internet.” Games and Culture 2.1 (1999): 59-89. Print. Yates, Gayle Graham. What Women Want: The Ideas of the Movement. Cambridge: Harvard University Press, 1975. Print. Zuidervaart, Lambert. “Feminist Politics and the Culture Industry: Adorno’s Critique Revisited.” Feminist Interpretations of Theodor Adorno, ed. Renée Heberle. University Park: Pennsylvania State University Press, 2006. Pp. 257-276. Print. 1 Hereafter I will refer to The Game without capitalization or italics, because I interpret the generic name as a gesture toward broad identification, rather than as a hyperbolic claim about this game’s superiority over other games. 2 Neither am I the first to offer a queer feminist vision of philosophical thought. Sara Ahmed’s Queer Phenomenology: Orientations, Objects, Others serves as a major inspiration for this project. As she says of her own inquiry, “To queer phenomenology is also to offer a queer phenomenology. In other words, queer does not have a relation of exteriority to that with which it comes into contact” (4). She goes on to point out how her approach is strategic, and thus her “aim is not to prescribe what form a queer phenomenology should take, as if the encounter itself must take the form of this book. After all, both queer studies and phenomenology involve diverse intellectual and political histories that cannot be stabilized as objects that could then be given to the other” (5). This strategy is fundamental to my understanding of interdisciplinary inquiry, because the work of telling a story from diverse political and intellectual perspectives is daunting, although I believe it must be attempted. 3 Both published in 2008, Tobin Siebers’ Disability Theory and Michael Davidson’s Concerto for the Left Hand: Disability and the Defamiliar Body articulate a theory of disability grounded in aesthetics. Siebers defines complex embodiment as a middle ground between the social and medical models of disability, which “views the economy between social representations and the body not as unidirectional, but as reciprocal. Complex embodiment theorizes the body and its representations as mutually transformative” (25). 4 Here I am indebted to Sandvoss, who argues that it is in the “little breakages’ between fan and object of fandom in the relationship, which leaves fans disillusioned and sometimes disenfranchised, that fandom’s progressive negative potential lies” (164-165). Drawing from Adorno, Sandvoss argues that “fandom reflects the conflicting forces of modern consumption – its importance as a symbolic resource in the formation of identity and the integration of the self into the dominant economic, social and cultural conditions of industrial modernity, on the other – it is, in every sense, a mirror of consumption” (165). My approach differs from Sandvoss’ in my willingness to linger over the distance between the formation of identity and the integration of the self into society, which is staged as a transmedial relationship in The Guild. 5 I borrow this term from Jason Mittell, whose 2006 work on the subject forged a strategic way to talk about trends in contemporary television series without delving into debates about their politics and perceived “quality.” Despite this effort, Michael Z. Newman and Elana Levine later argued that Mittell’s willingness to take part in this apparently objectively-grounded cultural legitimation of television came at the cost of the politics that make television so exciting to many of us. The debate is ongoing, and the intervention I wish to make includes both Mittell’s generative concept and Newman and Levine’s valid critique. Because my major inspiration is Adorno’s interdisciplinary approach to cultural history, which dictates that aesthetics and politics ought never to be separated, I provide the supplement of medium-grounded poetics only where I feel it clarifies my broader argument about Felicia Day’s particular innovation in woman-authored transmedia storytelling. 6 Warhol has also written extensively on the importance of feminine affect in understanding contemporary narrative structures. Her book, Having a Good Cry: Effeminate Feelings and Pop-Culture Forms explores “reading as a physical act,” and proposes that literary criticism ought to take on the task of establishing “a language for talking about the reader’s body” (ix). Like Lee and Ngai, Warhol innovates an approach for doing so, in her case, feminist narratology. Warhol’s use of contemporary and Victorian examples of “effeminate” serial and repetitive reading practices sets an important precedent for my experiment with Day’s transmedia storytelling practices. 7 The scholarly version of this approach would be the aca-fannish, a hybrid term popularized by Henry Jenkins. 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