Manning, Paul

This thesis critically engages with the historic site Sainte-Marie among the Hurons. The most visited historic site in Ontario anchors a vivid and pervasive story of early Canada while archaeological excavations and reconstruction have a history of their own. It is intertwined with the Martyrs' Shrine and regional sites of significance and pilgrimage in the Catholic world where veneration as saints of Jesuits collectively known as the Canadian Martyrs takes place. Through a panoramic perspective and participant-observer experiences within the sites, in present-day Wendake, Québec, and at a Jesuit mission in Chiapas, Mexico, dimensions of landscape, temporality, materiality, and identity are explored. Development of this history and place in relationship to Indigenous peoples, the Catholic Church, and the Canadian public are examined with consideration for findings of the Truth and Reconciliation Commission, advancement in archaeological knowledge, and ongoing tensions in the practice of archaeology in Ontario.

Author Keywords: Canadian Martyrs, Huron-Wendat, Jesuits, Landscape, Sainte-Marie among the Hurons, Truth and Reconciliation Commission

The purpose of this research is to highlight the limitations and opportunities for playful expression of gender identity in character creation systems of virtual worlds, and how these might work to reinforce, or disrupt, the heteronormative imperative. The primary sites considered in this analysis are the video game World of Warcraft and the live action role-playing game Amtgard. I provide evidence that while the World of Warcraft's character creation system is sexist and works to reinforce heteronormative ideology, Amtgard's relatively ambiguous design provides opportunity for disruption of these norms. Participant research with Amtgard players demonstrates actual instances of Amtgard's more flexible character creation system being utilized in expression and exploration of gender identity which resists the heteronormative imperative. Based on this, I call on game developers to reject designs which necessitate selection of gender from within the traditional binary and embrace more ambiguous design in development of character creation systems.

Author Keywords: Avatars, Game Design, Games, Gender, Identity, Virtual Worlds

Why show things that aren't people acting like people? In the field of animation, it's a surprisingly big "why?", because it's a "why?" that doesn't lead to any sort of doctrine of ontology, of inevitability, of manifest destiny, or of anything like that. But it does lead to another "why?"—"why did anthropomorphic depictions of animals and non-human entities come to define an entire era of American short-form animation?" When we think about 'classic era' cartoon shorts, the first names that come to mind are likely to be those of anthropomorphic animal characters—Mickey Mouse, Bugs Bunny, and a list of others so numerous that any machine Wile E. Coyote tried to build to count them all would probably explode. This can make us lose sight of the fact that human characters had their place as well in these films: Bugs and Daffy regularly tangled with Elmer Fudd; the studio that made cartoon stars of Betty Boop and Popeye produced no famous animal characters at all in its heyday. And yet, it's the animals that steal the show in the animated shorts produced by major studios in America from the 1920s through the 1960s. Part of their appeal lies in the fact that they were useful and recognizable substitutes for humans. Without making things too 'personal' for the audience, they could be used to examine and deconstruct social practices in the full-speed-ahead period that took America from World War I to the war in Vietnam. Animals weren't the only ones to get a full-on anthropomorphic treatment in these shorts. Machines and other artefacts came to life and became sites of interrogation for contemporary anxieties about the twentieth century's ever-expanding technological infrastructure; parts of the natural world, from plant life to the weather, acted with minds of their own in ways that harken back to the earliest animistic folk beliefs. No matter when or how it's being used, anthropomorphism in animation is a device for answering, not one big "why?", but a lot of little "why?"s. What you're about to read is an exploration of a few of those little "why?"s.

Author Keywords: America, Animation, Anthropomorphism, Cartoons, Deconstruction, Popular Culture

This thesis studies a subset of players of video games called "power-gamers" who play games in a way that mirrors labour as opposed to leisure. Through ethnographic fieldwork and exploration this thesis examines what constitutes "power-gaming" and seeks to unpack the differences between skill, fun, and labour. Chapter One analyzes how ethnographic fieldwork is performed in virtual worlds, and the necessary frameworks inherent to this. Chapter Two explores facets of technical hobbies, masculinity, skill, and how they relate to power-gaming. Chapter Three explores how different cultures globally choose to play-games, and the forms of sociability involved in this play. Chapter Four examines reality in relation to virtual worlds, and how players in virtual worlds explore and unpack their surroundings, which mirrors many scientific practices in the real world. Chapter Five explores narrative structure in games, and their relation to power-gaming practices. Chapter Six concludes with a discussion of power-gamers as a neo-liberal workforce.

Author Keywords: game design, neo-liberalism, playbour, power-gamer, sociability, virtual-ethnography

On Tilt: The Inheritance and Inheritors of Digital Games accepts and extends Eric Zimmerman's contention that literacies currently being developed during video-game play will be more broadly applicable (outside games) in the next hundred years as Western work, education, entertainment, and citizenship spaces become ever more shaped like video games.

To the end of better understanding both video games and the players and literacies contiguous with them, this dissertation interrogates comparisons between video games and... non-digital games, film and other fictional texts and worlds, blogs, casinos' games of chance, and the strategies employed by face-to-face criminals, always asking about the roles and responsibilities the human participants in these systems take; that is, this dissertation investigates what video games inherit from other forms of art, including non-digital games, and what the gamers and audience of today and tomorrow inherit through their contact with video games.

The dissertation examines in detail works by Jodi Dean, Bernard Suits, Bruce Sterling, T. L. Taylor, Walter Benjamin, Gavin de Becker, N. Katherine Hayles and Nicholas Gessler, and Katie Salen and Eric Zimmerman, considering their work, the video game, and gamers, in terms of power gaming, genre, fiction and suspension of disbelief, audience, motivations, fungibility, the zombie vs. the robot, value vs. meaning, agency, slipstream, capitalism, and ontology.

Ultimately, the dissertation suggests that there are two disparate strains of gamification building Zimmerman's future, arguing first that the penetration of video games into culture is changing the way we behave and exist as audience and more generally, and, second, that what is at stake, in terms of the attitudes, labels, and gameplay that we accept in terms of games and gamification is significant to what it means to be human, especially within systems that are only partly human, in the next hundred years.

Author Keywords: digital, gamification, genre, literacy, new media, videogame