Host
William, School of English
Guest
Joey, Communication Studies
在顺性别异性恋社会规范下，时间的感知与再生产冲动密切相关——及时进入一对一的浪漫关系、及时步入婚姻、及时生育。然而这种线性时间（chrononormativity）和与其相关的里程碑往往和酷儿们的生命体验相悖。当机构并不认可酷儿们的身份认同或亲密关系模式时，当他们得不到家庭保障和领养权时，他们当然也就无法与线性时间靠近；当酷儿们走进自己的社群，或在舞池中被环绕，看见有关自己的真实正在不停生长和绽放，他们也便选择主动离开线性时间；而当艾滋污名和恐慌的阴霾笼罩在自己朋友爱人的头顶时，又如何能够焦虑明天呢？当下性（nowness）对酷儿们因此更加珍贵。
游戏总能用特殊的方式阐释时间，或者说，游戏本身就是一种或多种替代性时间。暂停、重置、时限、回溯、平行时空……在一次文本游戏的制作过程中，我发现，游戏对时间的应用也有着多样化地表现酷儿生命体验的潜力。在那里，“失败”是我们必然的经历，明知必然会失败仍不断尝试是我们对世界和爱的无尽探索。在那里，世界末日即将来临，我们仍在漫无目的地游荡。——Joey
Materials Mentioned
Game:
Queers in Love at the End of the World (2013) by Anna Anthropy
Life is strange (奇异人生, 2015)
Film:
I Saw the TV Glow (2024) by Jane Schoenbrun
Literature:
Anthropy, A. (2012). Rise of the videogame zinesters : how freaks, normals, amateurs, artists, dreamers, dropouts, queers, housewives, and people like you are taking back an art form (1st ed.). New York: Seven Stories Press.
Chang, E. Y. (2017). Queergaming. In Ruberg, B. and Shaw, A. (Eds.), Queer Game Studies. pp. 15–24. Minnesota: University of Minnesota Press.
Freeman, E. (2010). Time Binds: Queer Temporalities, Queer Histories. Duke University Press.
Halberstam, J. (2005). In a Queer Time and Place: Transgender Bodies, Subcultural Lives. NYU Press.
Hanson, C. (2018). Game Time: Understanding Temporality in Video Games. Bloomington, Indiana: Indiana University Press.
Irvine, R.D., McPhee, J., Morgan, B., Tate, A., Davis, R., Enns, A., Evans, J., Hazelhurst, E.T., Joy, B.T., Keck, S. and Mercier, S. (2024). Digressions in Deep Time: Ecocritical Approaches to Literature and the Arts. Rowman & Littlefield.
Knutson, M. (2018). Backtrack, pause, rewind, reset: Queering chrononormativity in gaming. Game Studies, 18(3), 1-15.
Nitsche, M. (2007) Mapping Time in Video Games. Proceedings of DiGRA2007: Situated Play. Tokyo: U of Tokyo, pp. 145-151.
Ruberg, B. (2017). Permalife: Video games and the queerness of living. Journal of Gaming & Virtual Worlds, 9(2), 159–173. https://doi.org/10.1386/jgvw.9.2.159_1
