Category: 52.3

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“You telling me my ass isn’t a werewolf”: Science fiction ontology and representing queerness in Gail Carriger’s Parasolverse

Jack Murray

This paper is the result of a number of questions about how representation functions within SF works that construct complex worlds with mechanisms that change how they are understood through their own internally consistent logic. I approach this through the lens of queerness as a way to describe slippery and hard-to-define subject positions and by placing it alongside Gail Carriger’s Parasolverse. I then describe an approach to reading science fiction that I refer to as “science fiction ontology” by drawing on Seo-Young Chu’s lyrical mimesis as a way to understand how science fiction performs the work of representation. Science fiction ontology demonstrates the ways that representation occurs through the internal structures of the fictional world that determine how characters understand themselves as subjects in that world. This differs from allegorical representations which shift the world to be understood primarily from the external perspective of the readers. I read the narrative arc of Biffy the reluctant werewolf alpha, a side plot within Carriger’s Parasolverse, through the framework of science fiction ontology to show how queerness exists within Carriger’s work and how it can be read as a blueprint for queer masculinity. 

Gail Carriger’s Parasolverse is a collection of science fiction novels set in an alternate steampunk version of Victorian England. The series consists of three major multibook arcs and several standalone stories that take place between 1850 and the turn of the twentieth century. Within the Parasolverse supernatural elements have influenced the social, cultural, and imperial development of Carriger’s British Empire. The supernatural set is made up of ghosts, vampires, and werewolves, each being a form of the afterlife enabled by the presence of excess soul. When someone with excess soul dies the remaining soul tethers the spirit to their body until the body decomposes and the tether dissipates. Vampires and werewolves, on the other hand, preempt this through a kind of ceremonial death. New vampires are created through the bite of a vampire queen and new werewolves from that of an alpha werewolf, and they become a member of the hive or pack respectively. Carriger positions representations of monstrous beings alongside the social intricacies and romance of Victorian London steeped in science fiction world-building that tends towards the “harder” end of the genre. Representing queerness is complicated in the Parasolverse by the presence of characters whom readers would already understand as queer alongside monsters that are often used allegorically to stand in for queer subjects. Troubling the process of representation also raises questions about how to read representations of queerness in science fiction and fantasy. 

Identifying what does and does not count as queer within science fiction literature is particularly difficult due to the inherent ambiguity of the term; the word “queer” expresses a variety of different ideas and performs a variety of linguistic functions. Queer as an identity category gestures towards a multitude of possible gender, sexual, and other identity categories. As Hannah McCann and Whitney Mongahan observe, “queer theory finds its radical potential as a term to challenge, interrogate, destabilize and subvert” (1). The implication is that queer theory is a way of talking about the things that resist definition, description, or otherwise exist outside structural boundaries. Constructing “queer” as a political identity that is “inclusive of all those who stand on the outside of the dominant constructed norm of state-sanctioned white middle- and upper-class heterosexuality”(Cathy Cohen 411) is at the core of queer theory’s critical praxis. Cathy Cohen explains that queerness is necessarily an intersectional analytic that “recognizes how numerous systems of oppression interact to regulate and police the lives of most people”(411) which subsequently expands what it means to be queer. Queer theory identifies structures such as desire and sexuality, then asks how power relations determine what and who get to count as “normal.” Anyone outside of the normative determinations can be said to be queer. Queerness describes an ontological position couched in acknowledging difference while also attending to the concerns about sexuality and gender that give rise to queerness, or as Bo Ruberg poetically puts it, queerness is “a way of being, doing, and desiring differently” (7).

The second part of the question stems from how representation is approached in science fiction and fantasy. If queerness is a question of ontology, then representation is a question of epistemology. That is to say, there is a tension between how we come to know a world and how a diegetic world is known within itself. In a world where the conditions of existence differ radically from ours, how is queerness understood differently? The supernatural and steampunk elements in Carriger’s work disrupt an otherwise familiar Victorian London that would cause a fundamental difference in the characters’ understanding of their world compared to our understanding as readers. After all, how might conceptions of queerness change for a culture where supernatural metamorphosis, monstrous transformation, and definitive proof of the soul’s impact on one’s afterlife is an accepted and commonly acknowledged faction of reality? 

Reading the text from our frame of knowledge might approach vampires and werewolves as allegorical for “race, gender, sexuality, our perception of difference, our tolerance towards its expression” (J. J. Cohen 52). Monster theory describes this plethora of intensely transdisciplinary approaches to mapping our own semiotic interpretations onto monstrous bodies. Indeed, part of the appeal of using monsters as signifiers, as queer readings are wont to do, is “the realization that meaning itself runs riot” (Halberstam, Skin Shows 2). This type of analysis is useful for examining many themes and anxieties regarding cultural, racial, queer, and othered bodies (J. J. Cohen; Wright; Bildhauer; Creed; Asma; Puar and Rai) as well as positive possible potentialities related productive conceptions of monsters (Lioi; Haraway; MacCormack). These readings are almost always focused on the relationship between the self and underlying queerness or an unknowable other. But what does it mean for monsters to represent queer people, when they also already exist and are actively present in the narrative? Instead, could we use monsters to understand the ontological structures of queerness in Carriger’s world? 

These questions propose a method of approaching representation that differs drastically from approaches to reading gothic horror and other fiction genres that frequently address the monstrous. Genre boundaries are points of contention and working through this methodology of reading representation in fiction will necessitate describing how I approach science fiction. Indeed, one could rightly describe Carriger’s novels as fantasy, yet I have been primarily referring to them as science fiction. I turn to Seo-Young Chu’s conception of science fiction as “a mimetic discourse whose objects of representation are nonimaginary yet cognitively estranging” (3), a definition that synthesizes broader discourse within the science fiction community. Chu’s use of mimesis refers to the propensity of art to imitate or represent the real world, a definition which preempts the complex history of mimesis and postulates “the capacity of language to reflect a reality ontologically prior to representation” (2). In many ways I accept the idea that science fiction operates at a level beyond mimetic representations of the real world because science fiction worlds must be ontologically distinct before signification can occur. Allowing a work to create its own internally consistent ontology functions similar to mythology, in that the ontology of a myth exists prior to what it is attempting to represent and allows meaning to emerge through the act of reading within extended contexts. In the previous examples from monster theory, the object being interpreted points to any number of possible objects. Similarly, myths read as parables rely heavily on the storytelling process to influence the production of meaning. This is possible because fiction exists on a spectrum of mimetic intensities that is bounded by a work’s referents’ capacity to be comprehended. On one end are works that are interested in representing concrete objects “ highly susceptible to understanding and amenable to representation”; on the other hand are “referents virtually unknowable, referents that all but defy human language and comprehension” (Chu 6). Chu positions genres of realism at the low intensity end of the mimetic spectrum, while science fiction and fantasy tend towards higher intensity. A text’s position on the spectrum is determined by the relative difficulty of their representational tasks and the difficulty of representation is a function of is the property of referents to be “impossible to represent in a straightforward manner” yet “absolutely real” (Chu 3), what Chu describes as cognitive estrangement. Cognitive estrangement is borrowed from Darko Suvin’s definition of SF as a genre of cognitive estrangement induced through imaginative frameworks that differ from the author’s actual material reality. In contrast to Suvin’s claims that SF’s form of representation as non mimetic and purely imaginative, Chu suggests that “all reality is to some degree cognitively estranging” (7) because it is impossible to completely know and understand a referent. The implication is that all works of representation are, at some intensity, science fiction. Affective vertigo is a similar concept to cognitive estrangement in that each “calls into question (their, anyone’s) epistemological worldview, highlights its fragmentary and inadequate nature, and thereby asks us . . . to acknowledge the failures of our systems of categorization” (Mittman, qtd. in Weinstock 3). The difference is that one precedes the other. Inducing affective vertigo is necessary to conceptualize a cognitively estranging referent. Science fiction as outlined here relies on a literalization of figurative formations within a narrative ontology. 

Queerness induces affective vertigo by design and as such, queer subjects are often associated with monsters or the monstrous. Characters are forced to confront queer subjects or their own queer subjectivity through their relationship to the monstrous. Fiction is well suited to the task of representing queer identities, while representing the already slippery concept of queerness which necessitates understanding of being within the work of fiction. What I propose is reading a system of mimesis in a way that draws on extensive worldbuilding to understand how cognitively estranging referents are understood from within the story world. Admittedly this method of reading a text or group of texts is most effective with more expansive collections or texts that have a strong interest in world building. The text can more easily represent the unrepresentable by codifying the rules of the world and ensuring they function consistently. This has the added bonus of allowing the author to subvert or break the rules for dramatic, narrative, or moralizing effect. Being a work of fiction, the author’s episteme impacts the production of the narrative and subsequently its ontology as well as our reading of it. This method and traditional methods are not mutually exclusive. Traditional readings of representation cannot and should not be abandoned; rather, the two approaches supplement one another to encompass a wider scope of analysis. 

My interest in Carriger’s Parasolverse is twofold. First, the presence of werewolves seeks to induce an affective vertigo, which Carriger leans into by disrupting understandings of werewolf monstrosity by embedding them within the veneer of high class Victorian Culture, a move that corresponds to contemporary monster theory’s focus on how “subjects are ‘monsterized’ and the implications of this process” (Weinstock 25). Specifically I am interested in the process of metamorphosis via death and how queer desire, affect, and power interact within pack dynamics and London high society. Second, Carriger’s inclusion of a diegetic scientific approach the monstrous and its ability to represent queerness as function of science fiction’s “capacity to perform the massively complex representational and epistemological work necessary to render cognitively estranging referents available both for representation and for understanding” (Chu 7). As noted earlier, the epistemological underpinnings of queerness are predicated on disrupting and upsetting interpretative and cognitive categories. Just as Weinstock identifies the emergence of the monster as “the catch-all conceptual category for things that don’t fit” at the moment of affective vertigo (Weinstock 2), queerness comes into being at the moment it is identified as queer. Queerness emerges in relation to nonnormative ways of being, knowing, and desiring that destabilize dominant systems of categorization. Werewolves represent affectively destabilizing subjects and their presence in the world of Carriger’s science fiction comes to represent a construction of queerness.

This analysis will draw on Biffy’s story beginning in the five-book Parasol Protectorate arc as a minor character and then continues through to the follow-up series, The Custard Protocol, and into a number of standalone novellas where he takes on a more central role. In Soulless, Biffy is described as a dandy with extensive espionage training, a marked preference for men, a penchant for women’s fashion—hats in particular—and lover to flamboyant vampire Lord Akeldama. In Blameless, Biffy is kidnapped as part of a hostile vampire plot and is rescued by Lord Maccon and Professor Lyall, the London Pack’s Alpha and Beta, respectively. During the rescue Biffy is fatally shot, and to prevent him from dying Lyall convinces Lord Maccon to metamorphose Biffy into a werewolf. Biffy’s successful change causes friction between the pack and Lord Akeldama. In Heartless we get glimpses of Biffy’s struggle to reconcile the loss of his potential future as a vampire alongside Lord Akeldama with his new place as a werewolf within the London Pack. In Parasol Protectorate book 5, Timeless, it is discovered that Biffy has the traits of an Alpha werewolf and plans are made for Biffy to replace Lyall—who has also become Biffy’s new paramour— and become Lord Maccon’s Beta before taking eventually over as pack Alpha when the strain of holding the pack together eventually forces Lord Maccon to retire. This replacement occurs during the second book of the Custard Protocol series after which Biffy and the London Pack’s stories are picked up in the standalone novellas Romancing the Werewolf and How to Marry a Werewolf. 

Werewolf metamorphosis is a literalization of becoming-wolf as Deleuze and Guattari describe it: when man and wolf are made from matter shifted into different configurations, an individual’s relationships with social assemblages and desire is fundamentally restructured. Desire is “never separable from complex assemblages” and “results from a highly developed, engineered setup rich in interactions” (Deleuze and Guattari, A Thousand Plateaus 251). The restructuring of desire comes at the expense of previously existing social flows (Deleuze and Guattari, Anti-Oedipus). In becoming-werewolf, Biffy’s shifting conceptualization of death fundamentally alters his relationship with desire and social subjectivity. Carriger provides insight into the precarious nature of mortal and immortal desire through Biffy’s reflection on changed relationships with mortal friends and newfound empathy for his former lover, 

Lord Akeldama’s love, such as it was, was always transient and shared. Now Biffy understood why. True, Biffy was a young immortal, but he was almost fifty, and he’d seen his mortal friends grow old while he had not. Or die in the attempt to become like him. He wasn’t yet old enough to have grown the protective thickness around his heart, the one that made Lord Akeldama’s smiles brittle, but Biffy knew why it was there. (Carriger, Romancing the Werewolf 21)

Desire is a productive force with real, tangible effects (Deleuze and Guattari, Anti-Oedipus). Another way of expressing this idea is to think of desire according to Eve Sedgwick’s definition: “the affective or social force, the glue, even when its manifestation is hostility or hatred or something less emotively charged, that shapes an important relationship” (Sedgwick). Sedgwick uses this framing to describe homosociality as the desiring relationship that invests men in the affairs of other men as a way to uphold forms of masculinity. 

Carriger’s werewolf packs disrupt the common conception of normative homosociality with a queer homosociality centered on a politics of care where pack members are attuned to each other’s emotional wellbeing. In keeping with wolf tropes, status within the pack outwardly seems to be determined via physical capability; however, Carriger’s world building shows status based on affective capacity and emotional sensitivity to the pack. The tethers that effervesce from the soul remaining post metamorphosis are a literalization of the relationships between pack werewolves. The network itself centers on a tripartite relationship between the pack’s Alpha, Beta, and Gamma described by Carriger as:

The balance of the pack, the rule of three. Alpha for the head, evolving, shifting, holding too many tethers, burning brighter than the rest of the pack until he snuffed himself out in madness. Beta for the heart, beating a steady rhythm of care, love, resilience, ever steadfast. Gamma for the strength in arms, the warrior, the challenger, the weapon, to remind the pack of what they really were – hunters, trackers, fighters. (Carriger, How to Marry a Werewolf 159)

Biffy’s conceptualization of the dynamic of the pack is somewhat incomplete as a result of the impromptu nature of his metamorphosis. As Alpha he recognizes his duty to keep his pack anchored without fully comprehending the bidirectional nature of the relationship. Professor Lyall explains to Biffy, “when you became Alpha of this pack, you tethered to them, to each and every member. Your tether is the last of your soul, so in a way the pack becomes the Alpha’s soul. And you are theirs” (Carriger, Romancing the Werewolf 102), indicating that while the Alpha provides a stabilizing presence, they also rely on the connection of the pack to stay grounded. Biffy’s metamorphosis is a total disassembly of his prior social assemblage and as a result his integration into the pack goes poorly. The multidirectional flows of affect are demonstrated as Lord Maccon and Lyall bring Biffy into a stabilizing relationship with the pack through his participation in investigations related to the pack’s overall wellbeing as well as the gradual romantic connection between Biffy and Lyall. As Biffy settles into the pack, his capacity for sensing the flow of affect ultimately identifies him with Alpha werewolf potential (Carriger, The Parasol Protectorate, Volume One; Carriger, The Parasol Protectorate, Volume Two). 

The mechanics of the soul and its relationship to supernatural metamorphosis and pack dynamics is the focus of the Parasol Protectorate. Excess soul is assumed to be the primary determinant in surviving metamorphosis. The only known indication of excess soul is an individual’s penchant for creativity, though the correlation is presented as speculative at best. Throughout the Parasol Protectorate there are elements of an anti-supernatural cadre of scientists attempting to determine a way of measuring one’s soul for the purpose of identifying those who have supernatural potential. The readings of queer identities are very made very apparent. The efforts to measure soul echo the ways Foucault identifies scientific pathologizing deviant sexuality (63-70) and the way that Halberstam describes medicine’s domain over gender identify categories (Trans* 24-29). Scientific measurement of the soul is an attempt to identify and discipline non-normative bodies. However, the science fiction ontology of Carriger’s world represents queerness as cognitively estranging, something that produces affective vertigo in characters who exist within the narrative world. Rather than representing sexual orientation or gender identity, the politics of the soul represent anxieties around the possibility of being otherwise and the fear associated with being preyed upon by those who exist or desire in non-normative ways. This theme is also present in Biffy’s initial resentment and resistance to becoming a werewolf. The possibility of escaping normative structures following death is perhaps one of the prime draws for metamorphosis as “Werewolves, like vampires, have always been less bound by the limits humans pose on their own desires” (Carriger, Romancing the Werewolf 136). The London Pack is never shown to be interested in maintaining normative sexual desires as long as “Both parties [are] agreeable and willing, and capable of undertaking an informed decision” (136), a view that reflects the same values held in regard to the process of metamorphosis that necessitates education in Pack protocol through serving as a claviger. Many pack members and clavigers can be identified as being what we understand as queer, while the protocols themselves represent queer homosociality predicated on ethics of care. 

Scientifically foreclosing the possibility of transformation with the threat of permanent death is a mechanism by which power attempts to retain its influence. This functions in a manner that preys upon a natural fear of loss and death. Where queer desire is subsumed by a desire for oppression. This is not to ideate suicide as a liberatory alternative. Suicide, or the act of desiring one’s own death (Deleuze and Guattari, A Thousand Plateaus), is a tool of what Achille Mbembe identifies as necropolitics that sees power incorporate death into the assemblages of biopower (83-92). Instead, in the Parasolverse, becoming-werewolf is a drastic destruction of the social via embracing queerness that, as Lee Edelman says, “must redefine such notions as ‘civil order’ through a rupturing of our foundational faith in the reproduction of futurity” (17). The immortality of werewolves is a fundamental rejection of “the death drive of the dominant order” (17) in the most literal sense. However, the werewolf does not reject the possibility of futurity, instead they “represent a mode of being and feeling that was not quite there” (Muñoz 9) that remains to embrace José Esteban Muñoz’s queer potentiality that is “spawned of a critical investment in utopia” (Muñoz 12). The werewolf metamorphosis and pack dynamic based on desire represents the slippery, cognitively estranging idea of queerness in a way that is useful to queer theory because “power centers are defined much more by what escapes them” (Deleuze and Guattari, A Thousand Plateaus 254). The literal becoming-wolf of Carriger’s werewolves “contains blueprints and schemata of a forward-dawning futurity” (Muñoz 1) which places the subjects in a new relation to the structure of normative power by placing one outside the structures and instead positions them within networks centered on an ethic of care. 

Biffy allows us to understand queerness from within his frame of reference as he exists in the world. Treating science fiction worlds as ontologically distinct allows for representation that exist beyond the purely allegorical, opening rendering the unrepresentable visible within the expansive body of a text. By reading the Parasolverse as a science fiction ontology, the werewolf pack is tasked with representing a diagram of queerness that escapes structures of normative power and reimagines the how individuals exist in relation to one another. Using this method of reading ontological representations of queerness in conjunction with allegorical representation and direct representations of queerness allows us to interrogate who gets to be queer, what it means to be queer, and how we understand queerness in relation to the narrative elements of a work of fiction. 

WORKS CITED

Asma, Stephen T. “Monsters and the Moral Imagination.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2009, pp. 289-94.

Bildhauer, Bettina. “Blood, Jews, and Monsters in Medieval Culture.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2003, pp. 192–210.

Carriger, Gail. How to Marry a Werewolf (in 10 Easy Steps). 2018.

—. Romancing the Werewolf. 2017.

—. The Parasol Protectorate. Volume One. SFBC Fantasy, 2011.

—. The Parasol Protectorate. Volume Two. 2012.

Chu, Seo-Young. Do Metaphors Dream of Literal Sleep? A Science-Fictional Theory of Representation. Harvard UP, 2010.

Cohen, Cathy J. “Punks, Bulldaggers, and Welfare Queens: The Radical Potential of Queer Politics?” GLQ: A Journal of Lesbian and Gay Studies, vol. 3, no. 4, Jan. 1997, pp. 437-65. DOI.org (Crossref), https://doi.org/10.1215/10642684-3-4-437.

Cohen, Jeffery Jerome. “Monster Culture (Seven Theses).” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 1996, pp. 37-59.

Creed, Barbara. “Horror and the Monstrous-Feminine: An Imaginary Abjection.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 1999, pp. 211-25.

Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Bloomsbury Academic, 1987.

—. Anti-Oedipus: Capitalism and Schizophrenia. Translated by Robert Hurley et al., Bloomsbury Academic, 2019.

Edelman, Lee. No Future: Queer Theory and the Death Drive. Duke UP, 2004.

Foucault, Michel. The History of Sexuality Vol. 1. Translated by Robert Hurley, Vintage Books ed, Vintage Books, 1990.

Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Duke UP, 1995.

—. Trans*: A Quick and Quirky Account of Gender Variability. U of California P, 2018.

Haraway, Donna. “The Promises of Monsters: A Regenerative Politics of Inappropriate/d Others.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 1997, pp. 459-521.

Lioi, Anthony. “Of Swamp Dragons: Mud, Megalopolis, and a Future for Ecocriticism.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2007, pp. 439-58.

MacCormack, Patricia. “Posthuman Teratology.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2012, pp. 522-40.

Mbembe, Achille. Necropolitics. Duke UP, 2019.

McCann, Hannah, and Whitney Monaghan. Queer Theory Now: From Foundations to Futures. 2020.

Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. NYU Press, 2009.

Puar, Jasbir K., and Amit S. Rai. “Monster, Terrorist, Fag: The War on Terrorism and the Production of Docile Patriots.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2002, pp. 374–402.

Ruberg, Bonnie. Video Games Have Always Been Queer. NYU Press, 2019.

Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. 30th anniversary edition, Columbia UP, 2016.

Weinstock, Jeffrey Andrew. “Introduction: A Genealogy of Monstory Theory.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2020, pp. 1-36.

Wright, Alexa. “Monstrous Strangers at the Edge of the World: The Monstrous Races.” A Monster Theory Reader, edited by Jeffrey Andrew Weinstock, U of Minnesota P, 2013, pp. 173-92.

Jack Murray is a Ph.D. Candidate in the Texts and Technology Program at the University of Central Florida. He received a B.S. Software Engineering and a M.A. in arts, technology, and emerging communication from the University of Texas at Dallas. His research interests include critical game studies, emergent storytelling, and narrative systems.  Jack’s current research is focused on the intersection of analog and digital games. He is a frequent collaborator with the Narrative Systems Research Lab,  Studio for Mediating Play, and the Center for Humanities and Digital Research @ UCF.

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Same As It Ever Was?: Portrayals of Appalachia in William Gibson’s The Peripheral

Jennifer Krause

This paper will investigate representations of Appalachia and Appalachian communities in William Gibson’s The Peripheral. In his novel, Gibson sets one of two alternative futures in Appalachia, though he does not clearly name it as such. Yet instead of leaning into one-note depictions of backwoods drug dealers and fundamentalist preachers preying on rural white trash, Gibson presents a complicated picture of the region that views Appalachia as an internal colony within the United States. He also layers his near future Appalachia within a second layer of colonialism, a colonialism defined by the far future reaching into the past to monetize and manipulate alternate versions of history. This layering allows Gibson to create an intriguing commentary about place-specific stereotyping and the need to create communities that insulate themselves from critique. I therefore posit that by presenting Appalachia as an internal colony within the United States and emphasizing the idea that place matters, The Peripheral complicates and questions both the colonialism more overtly present in the relationship between the different timelines in the novel, as well as the usefulness of colonial models for understanding such complicated and paradoxical relationships. 

To begin such an analysis, we need to look into Gibson’s ties to the mountains. Gibson was born on the coast of South Carolina, but lived most of his early life in Wytheville, Virginia. As Gibson mentions in his autobiographical essay “Since 1948,” his experiences in southwest Virginia influenced his own interest in things not of this world. He notes, “I’m convinced that it was this experience of feeling abruptly exiled, to what seemed like the past, that began my relationship with science fiction” (Gibson, Distrust 22). In a question-and-answer session during a book signing in 2015 at Joseph-Beth Booksellers in Lexington, Kentucky, someone in the audience asked Gibson where the book was set. Gibson answered that he had originally thought the book was set in southern Ohio, somewhere rural, but the more he thought about it, the more he suspected that the book was set very close to Wytheville, where he grew up (“Questions”). In an earlier interview for Tor.com in 2014, Gibson is less willing to point to Wytheville as the setting of the novel, however. He mentions that he wanted the setting to be in Pennsylvania, “right across the Virginia line” (“Gibson on Urbanism”). Yet Gibson goes on to say, “But inevitably, in spite of my wanting that, I think what happened was that my experience of my own childhood colored it all. And so it feels more like a southern small town than anything else. [. . .] There’s a kind of inadvertent generic quality to it that stems from that idea I had that I could make it kind of Everytown. But in the end I guess it’s not really.” Interestingly, all the locations Gibson mentions fall within the traditional boundaries of Appalachia, so even if the novel does not take place in Wytheville exactly, it is still affected by its location somewhere in Appalachia. And though, as Steve Fisher notes in a discussion of Appalachian cultural identity and political activity, “many use the term ‘Appalachian’ in a way that glosses over the diversity of the region and some ugly parts of its history,” there is still a cultural (mis)understanding of the region that allows readers to pick up The Peripheral and know exactly where it takes place (Fisher 58-59). The main character’s hometown may not be Wytheville exactly, but its feel, its undercurrents, and its customs reflect an Appalachian way of life, even if its geography doesn’t. 

We must therefore next tackle an understanding of how popular notions of Appalachia and Appalachian stereotypes play out, in scholarship concerning the region as well as in popular adaptations, including Gibson’s novel. The Appalachian way of life most readers will pick up on is usually based on very specific stereotypes. In a discussion of stereotypes in Appalachia, Barbara Ellen Smith mentions that “within the national imaginary, Appalachia is a land of backward, inbred (always implicitly white) hillbillies whose very degradation—in the manner of most binary oppositions—functions to valorize the intelligence and culture of the normative, middle-class American, who is decidedly not from Appalachia” (54). The hillbilly, as a representation of all who live and work and function in Appalachia, is therefore the opposite of everything America stands for, yet still resides within the limits of American culture: worth less than the rest of country, but still white; and deserving of poverty and ridicule and hopelessness perhaps because of their rejection of the rules and strictures they are supposed to live up to. 

To combat this view of Appalachia, Helen M. Lewis and Edward E. Knipe suggest the colonialism model as a way to understand Appalachian social, cultural, and economic structures. This model:

describes the Appalachians as a subsociety structurally alienated and lacking resources because of processes of the total economic political system. Those who control the resources preserve their advantages by discrimination. The people are not essentially passive; but these ‘subcultural’ traits of fatalism, passivity, etc. are adjustive techniques of the powerless. They are ways by which people protect their way of life from new economic models and the concomitant alien culture. (15)

Viewing Appalachians as native inhabitants attacked by alien invaders calls into question multiple assumptions made by the stereotypes projected onto the region by both internal and external sources.

In their study, Lewis and Knipe therefore turn to a definition of colonialism, specifically internal colonialism, first introduced by Robert Blauner in a 1969 study of African Americans in the inner city. Blauner’s definition includes multiple steps in the ongoing act of colonization, including “a forced, involuntary entry,” “rapid modifications in values, orientation, and the way of life of the colonized,” “a relationship by which members of the colonized group tend to be administered by representatives of the dominant group,” and finally, “a condition of racism” (Lewis and Knipe 16). A comparison between the situation of African Americans in the late 1960s and inhabitants of the Appalachian region is overtly problematic, on multiple levels, yet the introduction of a social model that considers issues of colonization in the region have been fruitful and provide a useful way to think about how Appalachia is often seen. 

So how does all this come together in the novel itself? To begin my analysis, we first need a quick overview of the novel’s plot. In the introduction to an interview with Gibson, Tasneem Raja quips, “The new book, meanwhile, stars a bunch of downtrodden trailer park residents who get caught up in the deadly games of some time-warping elites from 70 years hence” (61). Though this description sums up the plot quickly, it also reveals inherent biases. Yes, the novel’s heroes are rural and poor and trapped by a society that has no use for them, but the main characters don’t live in a trailer park, nor are they as downtrodden as the word implies. The stereotypes in such a description highlight the ways in which place matters in the text. A better description of the plot might read: “The book follows a woman, Flynne, and her community as they deal with the impact of what happens when a group of time travel hobbyists from seventy years in the future decide to meddle with the past. Flynne witnesses a murder in the future, though she thinks she is playing a video game. This leads to two rival powers from the future using her present as a gameboard for their ongoing feud. Flynne must therefore travel to the future through the use of a peripheral body, which allows her to live in her world but interact with theirs, in order to personally identify the murderer and stop the violence that rages in her own timeline.”

This is where a reading of the text from an Appalachian studies perspective becomes useful. If we read Flynne’s hometown as doubly colonized, invaded by the future and internally ostracized by the rest of the United States, we can begin to understand not only how we are supposed to react to her world, but also how we are supposed to reflect revelations within her world back onto our own society. The far future’s colonial attitudes toward the near future are introduced very clearly in a conversation between three main characters. No one knows much about this time-travel hobby, so Lev, a prominent hobbyist, tries to explain it. He says, “The act of connection produces a fork in causality, the new branch causally unique. A stub, as we call them” (Gibson, Peripheral 103). Lowbeer, a high ranking member of what amounts to a police force in the future, asks, “But why do you? [. . .] Call them that. It sounds short. Nasty. Brutish. Wouldn’t one expect the fork’s new branch to continue to grow?” (103). Lev replies, “We do [. . .] assume exactly that. Actually, I’m not sure why enthusiasts settled on that expression” (103). In response to this confusion, one of Lev’s employees interjects, “Imperialism [. . .] We’re third-worlding alternate continua. Calling them stubs makes that a bit easier” (103). This conversation very clearly introduces an imperialist, colonialist agenda into the novel’s use of time travel. Thinking back to the definition of internal colonization Lewis and Knipe use, we can read this as “a forced, involuntary entry,” one recognized as blatantly capitalist and hypocritical by onlookers who are not enthusiasts (16). 

This becomes all the more complex if we view the near future, Flynne’s world, as an internal colony within greater U.S. culture. We can see that internal colonization within the fabric of Flynne’s community even before it is touched by Lev’s hobby. The “forced, involuntary entry” in this case is not coal companies that Lewis and Knipe highlight in their study, but drug manufacture, a clear reference to the opioid crisis in rural America. In an assessment of the economy in Flynne’s timeline, one of Lev’s employees in far future London states, “County’s economy is entirely about manufacturing drugs” (Gibson, Peripheral 108). Tommy, a cop in Flynne’s world, explains to Flynne that building drugs is the only way to make real money in their community: “if we all woke up one day and [. . .] that building economy had been taken up to heaven, after a few weeks most people around here wouldn’t have any money for food” (233). The drug trade therefore serves as a mechanism of colonization, bringing a type of predatory capitalism into the region that, like coal, doesn’t actually boost the economy or bring any development for the region or investment in the people. 

For Lewis and Knipe, the second step of internal colonization is “rapid modifications in values, orientation, and the way of life of the colonized” (16). We can see this second step both within Flynne’s world before the intervention of far future London as well as through that intervention. Flynne’s community reflects these modifications, as the novel contrasts her childhood home and the homeplace feel of much of the countryside with the modernization and capitalist neglect of the town and its drug dealer leaders. Flynne’s world, though ruled by technology in some respects, is grounded in its sense of place: the endless fields, the rushing creeks, the wind in the trees. This closeness with nature is contrasted by one of the novel’s villains, Corbell Pickett, a politician and community celebrity who also runs the local drug syndicate. His power serves as a reference to the third aspect of internal coloniality that Lewis and Knipe also reference: “a relationship by which members of the colonized group tend to be administered by representatives of the dominant group” (16). When characters drive to Pickett’s home, they pass “a long stretch of white plastic fence, fabbed to look like somebody’s idea of Old Plantation” (Gibson, Peripheral 291). As for the house itself, “They’d painted everything white, she guessed to tie it together, but it didn’t. Looked like somebody had patched a factory, or maybe a car dealership, onto a McMansion, then stuck an Interstate chain restaurant and a couple of swimming pools on top of that” (292). All of these details speak to Pickett’s status as both a colonizer and a representative of the effects of colonization. Pickett’s home, like Pickett himself, reflects a different worldview than Flynne’s homeplace. While Flynne’s family has been in their home for over a century, and that home reflects its connections to the past and to family ties, this is obviously a new building, frankensteined together out of consumerist kitsch. The influence of the drug trade is stark here, revealing the paradox of the region: the modifications the drug trade has made to the community and the power money has over everything else. 

The interaction between far-future London and Flynne’s world only deepens the us versus them mentality set up against Flynne and her community. The changes in their way of life, as well as the implication that Flynne’s world is not actually in charge of what is going on, is most clearly obvious in a conversation Flynne has with Macon, a friend of Flynne’s who is one of the first know that they are dealing with interference from the future. Macon asks:

“Know what ‘collateral damage’ means?”
“People get hurt because they happen to be near something that somebody needs to happen?”
“Think that’s us,” he said. “None of this is happening because any of us are who we are, what we are. Accident, or it started with one, and now we’ve got people who might as well be able to suspend basic laws of physics, or anyway finance, doing whatever it is they’re doing, whatever reason they’re doing it for. So we could get rich, or get killed, and it would all still just be collateral.” (Peripheral 279)

Flynne, her brother, her friends, her family, all have to deal with the reality of this situation. They are part of this plot not because of who they are, but because they were originally preyed upon by Lev and his hobby. All of this randomness leads to Flynne and Macon and all the rest being collateral damage, for good or ill. 

This is also where an understanding of Appalachia and the internal colonial model reveals a more nuanced reading of the text. This model creates an intriguing picture of insider versus outsider and what that means for how we can read communities and citizens who have been stereotyped as backward and dispossessed and downtrodden. Barbara Ellen Smith and Steve Fisher lay out why such a model is so enticing for Appalachian scholars, even as it is also problematic. They note:

The analytical power and emotional appeal of the internal colony model lie in its capacity to interrelate spatial or place-based exploitation (Appalachia as dispossessed region) with cultural degradation (Appalachia as America’s Other). It thereby creates Appalachia as a regional collectivity, no longer pathologized but oppressed, and enables us to situate ourselves within a shared cultural geography that recognizes all residents as heirs to a special, place-based identity. Although [. . .] this depiction obscures internal class processes and relationships (along with much else), the stark invocation of thievery, arrogance, and smug condescension by outsiders draws an undeniably powerful line between innocent victims inside the region and profiteering elites on the outside. (Smith and Fisher 76)

The internal colony model allows citizens of the region to create a narrative that sets them not as the Other, but as the protagonist in a plot aimed against them. This understanding of self, founded on a place-based myth of righteousness against outside aggressors, gives Appalachians a way to see themselves as heroes, innocent victims, and righteous underdogs. 

Within that context, we can begin to understand why it is so easy for readers to side with Flynne and her community against outside forces, be those forces internal colonizers or colonizers from the far future. Flynne’s identity as part of an already marginalized group helps us to understand her plight and allows us to easily see her as capable and heroic, even if she does live in a place and time that most would consider backwards and primitive. Interestingly, Gibson’s description of his inspiration for The Peripheral echoes these sentiments. In an interview in Mother Jones, Gibson says:

I’m interested in how we came to automatically think of the inhabitants of the past as having been rubes. [. . .] The people in my 22nd century initially assume that anyone they’re dealing with back in 2025 or whenever is just kind of a hick” (Raja 62)

Just like the inhabitants of Appalachia, the inhabitants of the past are much more than they seem, and the internal colony model reinforces the agency, intelligence, and resourcefulness of people who have normally been overlooked or underestimated. 

This doubled coloniality in the novel bolsters how we might view the end of the story, too. The final two chapters of the book present a conclusion that seems a bit too easy. The story jumps several years ahead, presenting Flynne happily married to Tommy, with a child on the way. Most of Flynne’s family and friends seem to have paired off nicely, and everyone lives together in new buildings in and around Flynne’s original homeplace. Several critics, scholars, and reviewers have called it a happy ending and left it at that. Others, however, see it as rather more sinister. This ending—which Gibson himself has said, “gave me the creeps!” (“Gibson on Urbanism”)—becomes that much more creepy when read from the vantage of a doubled coloniality . In explaining his rationale for being disturbed with how the novel ends, Gibson continues, “Really, its potential for not being good is really, really high. [. . .] I mean, she’s lovely, but what are they building there? It’s got all kinds of weird third-world bad possibilities. . . . I wasn’t expecting that actually, and it completely weirded me out, and I still haven’t really gotten my head around it” (“Gibson on Urbanism”). Gibson’s reference to “third-world bad possibilities” brings Flynne and her community back to where they started, in a sense, though they are no longer the poor denizens of Appalachia just trying to make some money and get ahead. Now, Flynne and her people have joined the colonizers, both in the future and in their own society. We want to root for Flynne because she is an underdog, one of the oppressed workers in Appalachia, but once she crosses the line and can no longer be seen as an underdog, we must question what we think of her and her future. 

This becomes especially apparent if we read the end through an Appalachian studies lens. One of the major arguments against the internal colonial model is that it hides what Smith and Fisher call internal exploiters. They note:

[B]laming “outsiders” for regional economic problems is an over-simplification, if not outright distortion. When we focus on where people are from as the main problem, we run the risk of exonerating everyone in the region as good and implying that we who live here are, in this most fundamental respect of residence, all the same in our righteousness. Race, class, gender, sexual orientation—all are secondary to our zip code. Perhaps most important, this perspective conceals and exonerates internal exploiters [. . .] without whose actions the exploitation of Appalachia would not be possible. (47)

From this perspective, using the internal colony model to help understand Gibson’s text, Flynne and her family can seem to have a happy ending, and we can feel good for them because their potential for chaos and harm is hidden from view by the assumption that where they are from defines who they are. Their hillbilly-ness, their rural ways and Appalachian values, mask the possibility that they could be something else, something far more in keeping with their own colonizers than anyone, including the reader, would want to acknowledge. 

Place is therefore of utmost importance in this novel, even if that place is never clearly stated outright. Flynne’s world, as both situated in a version of the past that is our near future, as well as situated in an Appalachia eerily similar to today’s, is ruled by multiple colonialities. This doubled coloniality questions both temporal and geographical stereotypes because of the way Gibson approaches his characters and their places in both time and space. The complex nature of the internal colonial model, however, causes us, as readers, to make certain assumptions about the characters. We see them as capable, intelligent individuals, but they are also flattened because they are defined by place in a way that homogenizes them, ignoring the complex intersectionalities of the region as well as the lived reality of people who are there right now. The internal colonial model that seems to be written into the cosmology of the text therefore also affects our understanding of how the future looks back at the past. Whether or not Flynne’s community is able to save themselves, they still have to rely on the future for security, money, and power. The colonial model in that scenario flattens them as well, creating temporal myths that counteract stereotypes but also build a future that is probably going to look very much like the one they are trying to avoid. Saving the world probably doesn’t actually save the world. The Peripheral, then, asks us to pay attention to how place matters in the text. It also asks us to interrogate the usefulness of colonial models, not only for understanding place-based marginality, but also for expressing the complexities of communities that can’t and shouldn’t be defined by just one thing. 

WORKS CITED

Fisher, Steve. “Claiming Appalachia—and the Questions That Go with It.” Appalachian Journal, vol. 38, no. 1, Fall 2010, pp. 58-61.

Fisher, Steve, and Barbara Ellen Smith. “Internal Colony—Are You Sure? Defining, Theorizing, Organizing Appalachia.” Journal of Appalachian Studies, vol. 22, no. 1, Apr. 2016, pp. 45-50. JSTOR, https://doi.org/10.5406/jappastud.22.1.0045.

Gibson, William. Distrust That Particular Flavor. Putnam, 2012.

—. Question and Answer Session. Joseph-Beth Booksellers, Lexington, Ky.

—. The Peripheral. Putnam, 2014.

—. “William Gibson on Urbanism, Science Fiction, and Why The Peripheral Weirded Him Out.” Interview by Karin L. Kross, 29 Oct. 2014, Tor.com, https://www.tor.com/2014/10/29/william-gibson-the-peripheral-interview/.

Lewis, Helen M., and Edward E. Knipe. “The Colonialism Model: The Appalachian Case.” Colonialism in Modern America: The Appalachian Case, Appalachian State University, 1978, pp. 9-31, https://www.jstor.org/stable/j.ctt1xp3n1t.5.

Raja, Tasneem. “William Gibson’s Peripheral Vision.” Mother Jones, vol. 39, no. 6, 11 Dec. 2014, pp. 61-63.

Smith, Barbara Ellen. “Transforming Places: Toward a Global Politics of Appalachia.” Appalachia in Regional Context, edited by Dwight B. Billings and Ann E. Kingsolver, University Press of Kentucky, 2018, pp. 49-68. JSTOR, https://doi.org/10.2307/j.ctt1z27j0k.6.

Smith, Barbara Ellen, and Steve Fisher. “Reinventing the Region: Defining, Theorizing, Organizing Appalachia.” Journal of Appalachian Studies, vol. 22, no. 1, Spring 2016 2016, pp. 76-79. MLA International Bibliography with Full Text, https://doi.org/10.5406/jappastud.22.1.0076.

Jennifer Krause is an assistant professor in the English Department at Emory & Henry College in southwest Virginia. Her research interests include cyberpunk, the New Weird, dystopian fiction, and posthumanism.

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Understanding the Modern Episteme through H. G. Wells

Noah Slowik

At its core, H. G. Wells’s novel, The Island of Dr. Moreau (1896) is a story about scientific ethics. Specifically, it asks how far scientists should be allowed to go to make their contributions successful, even if it causes harm to either animals or humans in the process. One figure in particular whom Wells seemed to be directly addressing is Charles Darwin. The obvious parallels between Moreau and Darwin push the reader to consider the aforementioned ethical question as they read the novel. When put in comparison, Moreau seems like a more malicious figure than Darwin was, but that is part of the artistic liberty Wells takes in this small science fictional island-world he creates. Certainly, the overexaggerated dystopian tone of the novel highlights the way literature offers a distinct opportunity for audiences to make sense of the fragmentation of the real world. Michel Foucault, in The Order of Things: An Archaeology of the Human Sciences (1966), wrote at length about the power dynamics of what he referred to as the modern episteme. Instilled within Foucault’s epistemology are questions that revolve around the validity of potentially oppressive concepts like evolution. As Wells examined in his novel, however, sometimes the ideas in and of themselves are not dangerous, but it is the means as well as what we do with the knowledge that can become problematic. Therefore, I explore in this paper how Wells’s The Island of Dr. Moreau is an exemplary representative of the modern episteme as defined by Foucault in The Order of Things.

Foucault saw Darwin as one of the most important figures of the modern episteme because he was using pre-existing natural sciences to create new ways of thinking about the world. In this way, Darwin was a positive figure because of his subsequent impact on science. On the other hand, exactly like Moreau, his logical conclusions have potentially racist implications, exemplified by the survival of the fittest mentality of social Darwinism. As an illustration of this influence, one need not look further than the diction employed by Darwin and Wells. Much work has been done on the impact that SF language has had on vocabulary used in the actual sciences. [1] When thinking about what words to use for a certain theory or material in science, literature offers a good starting point because of its creativity. The science fiction canon—Wells undoubtedly included—would be one place to look for this linguistic influence. In the words of Foucault, “What civilizations and peoples leave us as the monuments of their thought is not so much their texts as their vocabularies, their syntaxes, the sounds of their languages rather than the words they spoke . . . the discursivity of their language” (87). Taking this one step further, literature influences science just as much as science influences literature. Based upon this logic from Foucault, one might wrongfully assume that Wells was the one influencing Darwin, but Darwin died when Wells was still only a teenager. Building upon Foucault’s point, there is a crucial element of the recursiveness of language here, in addition to the discursivity.

According to Foucault, there was a logical line of thinking that led humans to believe they gradually became stronger and smarter over time. In other words, it makes sense that a figure like Darwin emerged during the modern episteme. Interestingly, Foucault did not necessarily see the superiority of humans over other animals as the deciding factor; rather, he saw the connectedness of humanity to nature as the driving force. Foucault wrote, “‘evolutionism’ is not a way of conceiving of the emergence of beings as a process of one giving rise to another; in reality, it is a way of generalizing the principle of continuity and the law that requires that human beings form an uninterrupted expanse” (152). He acknowledges progress as a fundamental force of the modern episteme. What he fails to mention, however, is the cost of such progress—enter Wells’s The Island of Dr. Moreau and other dystopian science fiction. Wells conveyed that humanity’s power over the natural would eventually lead to civilization’s demise in a way that Foucault did not. Through mad scientist figures like Moreau or even Victor Frankenstein, literature posits representations of the simultaneously positive and negative contributions to science for the real-world example of Darwin. Foucault wrote, “The quasi-evolutionism of the eighteenth century seems to presage equally well the spontaneous variation of character, as it was later to be found in Darwin” (153). We can see how the theories of Darwin are necessitated by the line of thought Foucault lays out. Subsequently, it makes sense that a person like Wells would come along to produce Moreau as a mediating character to help the reader make sense of Darwin. In short, important past contributions to science cannot be ignored no matter what means it took to attain them. It seems, however, that Foucault is too complacent with the problematic nature of Darwin, whereas Wells did not shy away from the horror and the terrible implications to follow.

Wells highlights the madness of Moreau through contrast with the degeneration of the protagonist, Edward Prendick. When Prendick is picked up early in the story in a little dinghy somewhere near the Galapagos in the Pacific Ocean, he makes it clear that he is familiar with the dominance of science as a field having studied under T. H. Huxley, but it is not his area of expertise. He says, “I told him my name, Edward Prendick, and how I had taken to natural history as a relief from the dulness of my comfortable independence.” Prendick goes on to explain, “He was evidently satisfied with the frankness of my story, which I told in concise sentences enough—for I felt horribly weak,—and when it was finished he reverted presently to the topic of natural history and his own biological studies” (Wells 11). This being said, Wells is establishing that there is going to be a metacognitive awareness of arts and sciences in the novel. In other words, by Prendick drawing attention to his familiarity with both natural history and biological studies from the start, he is revealing that they  will eventually be central components addressed throughout the story. In the context of Foucault’s The Order of Things, it is also interesting to think about the development of science as a concrete subject originating around the Renaissance roughly aligned with what he refers to as the Classical age. Talking about conducting surface-level analysis versus a truly formal one, Foucault wrote, “one is limiting one’s view of language to its Classical status. In the modern age, literature is that which compensates for (and not that which confirms) the signifying function of language” (44). Like what was discussed above with the influence of SF on real science vocabulary, one may see a way in which Wells is capitalizing on the linguistic sophistication of scientific terms over time. The fact that Wells is demonstrating this sequence of thought articulated in language is part of what makes it a perfect representative of the modern episteme. In addition to discursivity, Foucault clearly saw intertextuality as one of the indicative markers of the thought from this time—more so than times preceding—especially as it pertains to looking backward for informing future progress. While the titular character, Moreau, is the most obvious subject that comes to mind when thinking about a comparison to Foucault’s modern episteme, Prendick shows how Moreau’s work can be dangerously influential in an everyday philosophy.

Given the interconnectedness of thought in the modern episteme, Prendick is plagued by an uncanny feeling of remembrance when he first meets Moreau. It is as if the figure of Moreau was inevitably going to become naturally actualized regardless of whether it was Moreau himself  or someone else. To highlight how far back Moreau is reflecting in history, Prendick notices texts from antiquity while Montgomery, the stereotypical evil henchman, is showing him around their little island’s base hut: “He called my attention . . . to an array of old books, chiefly, I found, surgical works and editions of the Latin and Greek classics—languages I cannot read with any comfort” (Wells 32). Drawing upon the aforementioned epistemological nature of Foucault’s project, this is no surprise because one would expect Moreau to be well-versed in ancient teachings since a compilation of previous knowledge is one of the central elements of the modern episteme. Once again, however, the reader’s attention is pulled toward Prendick’s interpretation of Moreau as opposed to prompting us to come up with an objective judgment of the mad scientist ourselves. From the outset, we see the amount of respect the stranded visitor has for Moreau, and this is something that he toils with throughout the novel. While Prendick really wants to believe there is some scientific benefit behind Moreau’s creations, he cannot look past the immoral means of achieving such advancements. At any rate, this dilemma is evident from the first utterance of his name: “‘Moreau,’ I heard him [Montgomery] call, and for the moment I do not think I noticed. Then as I handled the books on the shelf it came up in consciousness: where had I heard the name of Moreau before?” (Wells 32). As the first mention of Moreau’s name mostly functions to foreshadow the eerily despicable actions to come, it also serves the purpose of showing how the scientist is somewhat of a universal character representing the many dangers of modern science. Just because something—like vivisection, for example—could be possible does not mean that we should experiment and find out, but that desire is the inescapable drive of the modern episteme.

Like Darwin, a significant figure of the modern episteme, Moreau draws upon past scientific practices to inform his own. Foucault understood the importance of implementing revolutionary methods unlike anything that has been conducted before for the purposes of generating new knowledge. Moreau, explaining to Prendick the origin of his experiments, notes, “mediaeval practitioners who made dwarfs and beggar cripples and show-monsters; some vestiges of whose art still remain in the preliminary manipulation of the young mountebank or contortionist. Victor Hugo gives an account of them in L’Homme qui Rit” (Wells 72). This line of thinking is representative of the modern episteme because Foucault acknowledged that people were conceptualizing science and engineering epistemologically in a way that has never been done before, hence the emergence of groundbreaking technological movements during the Industrial Revolution. Wells’s novel is getting at the heart of a crucial question of whether innovative scientific ideas can be executed without malicious acts. For example, Moreau references other manipulative, deformative sciences that inspire his Beast People: “creatures as the Siamese Twins . . . And in the vaults of the Inquisition. No doubt their chief aim was artistic torture, but some at least of the inquisitors must have had a touch of scientific curiosity . . .” (Wells 72). Interestingly, these examples Moreau references are only possible through the colonization of vulnerable populations. Again, that makes the novel a perfect representative of the modern episteme because it takes a postcolonial world to make scientific discoveries like Darwin did, something Foucault recognized. While Moreau enlisted the corporeality of the Kanakas (native Hawaiians) as slaves to help him create his Beast People, the accomplishment of his abominations is still impressive. If anything, the colonial element of The Island of Dr. Moreau is what sets it apart as more representative of the modern episteme than, for example, Mary Shelley’s Frankenstein (1818). Victor Frankenstein’s monster was made using the body of a white man combined with animals, whereas Moreau abuses the labor of the colonized to make his creations. Embedded within Moreau’s philosophy, therefore, is a dense history of exploitation never before represented in this manner.

Prendick’s adoption of Moreau’s interdisciplinary approach to life and science at the end of the novel exemplifies Foucault’s use of multiple disciplines to represent the modern episteme. After Prendick eventually makes it back home off the island and re-enters normal, civilized society, one might expect him to commune with others given the traumatic experience of interacting with Moreau, the henchman Montgomery, and the Beast People. On the contrary, Prendick returns to a life of seclusion and study not dissimilar to the lifestyle he observed by Moreau: “I have withdrawn myself from the confusion of cities and multitudes, and spend my days surrounded by wise books, bright windows in this life of ours lit by the shining souls of men” (Wells 131). This hermetic existence goes to show that the problem with Moreau did not lie in his approach to science—in actuality, Moreau is a terrible but accomplished doctor the same way Voldemort is a terrible but great wizard. When Prendick decides to live his life similar to how Moreau lives after his adventures on the island, it reinforces Foucault’s emphasis on the ability of concentrated effort in a single discipline influenced by many to produce substantive, positive change: “What new modes of being must they have received in order to makes all these changes possible, and to enable to appear, after scarcely more than a few years, those now familiar forms of knowledge that we have called, since the nineteenth century, philology, biology, and economics?” (Foucault 220). To put it simply, Prendick represents everything that is good about the modern episteme while Moreau represents everything that is bad. The difference between the two of them lies in their sets of ethics that they implement in their approaches to scientific practice. Therefore, the last lines of the novel beg the reader to speculate whether Prendick will go on to make great contributions to science given everything he has learned: “There it must be, I think, in the vast and eternal laws of matter, and not in the daily cares and sins and troubles of men, that whatever is more than animal within us must find solace and its hope” (Wells 131). There is potential in all knowledge to change the world for the better, but it is entirely dependent on what is done with said knowledge. To a certain extent, Moreau is a perfect example of a modern scientist because he saw a gap in the research and praxis, and he then went on to perform experiments that he thought would fill that gap based upon his area of expertise. The problem was in his horrific use of animal brutality through vivisection with the enslaved labor of Indigenous peoples. In other words, the ends are not problematic for Moreau, but the means through which he arrives at those ends are. As Wells suggested at the end of the novel, and as Foucault wished for the modern episteme, Prendick and other real-world scientists like him should be able to arrive at those desired ends without the use of such malicious means.

NOTES

[1] See, for example, B.L. King’s “Is That From Science or Fiction? Otherworldly Etymologies, Neosemes, and Neologisms Reveal the Impact of SF on the English Lexicon.”

WORKS CITED

Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. 1970. Translated by Alan Sheridan, Vintage Books, 1994.

King, B. L. “Is That From Science or Fiction? Otherworldly Etymologies, Neosemes, and Neologisms Reveal the Impact of SF on the English Lexicon.” SFRA Review, vol. 51, no. 3, 2021, https://sfrareview.org/2021/07/20/is-that-from-science-or-fiction-otherworldly-etymologies-neosemes-and-neologisms-reveal-the-impact-of-science-fiction-on-the-english-lexicon/. Accessed 12 July 2022.

Wells, H. G. The Island of Dr. Moreau. 1896. Penguin Classics, 2005.

Noah Slowik (he/him) is a second-year English M.A. student at the University of Vermont, a graduate research assistant for the Writing in the Disciplines Program, and a consultant for the Graduate Writing Center. His thesis is on the biopolitics of H. G. Wells’s utopian science fiction, advised by Sarah Alexander. He worked as a teaching assistant for a Geology, Physics, Philosophy, and Literature interdisciplinary Extraterrestrial Life course. Next fall, Noah is taking an independent study, “Science Fiction Film,” with Todd McGowan. Lastly, he will be presenting his project, “Taking the Multiverse Seriously in Everything Everywhere All at Once” at the Midwest Popular Culture Association (MPCA) Conference on the panel, “A Critical Analysis into the Popularity of A24 Films.”

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“But the planet’s what matters, right?”: The Entangled Environmentalism of Three Final Fantasy VII Remake Communities

Andrew Barton

An evil corporation siphons energy from the planet, slowly converting natural resources into money as the world slowly suffers and dies. The corporation, intent only on generating profits, disregards any environmental concerns from the general public, leaving vocal citizens limited avenues in which to redress complaints against the corporation. Such is the world of late stage capitalism. This is Shinra, the megacorporation-turned-world-government featured in Final Fantasy VII. But it could also describe Square Enix, the publishers of the game, who recently announced their intention to sell NFTs as an additional revenue stream. Within the game, a team of disaffected youths join together to stop Shinra and save the bioenergy of their planet, often engaging in violence and ecoterrorism to advance their cause. Similarly, fans of the game have condemned Square’s embrace of environmentally devastating technology and noted the company’s hypocrisy in the endeavor, though they have yet to endorse violence in support of the environment. As such, the team within the game, the fans of the game, and the publisher create three communities with different outlooks on environmentalism. This entangled environmentalism of these three communities demonstrates how video games, despite largely being produced by huge multinational corporations, can metatextually provide opportunities for fans to engage in critiques of capitalist ventures, especially/in particular in FF7 as they relate to the desolation, destruction, etc. of the natural world.

Cloud, the player character in Final Fantasy VII, is hired as a mercenary to help a group called AVALANCHE stop Shinra’s abuse of nature. Slowly, Cloud (and the player) become embroiled in AVALANCHE’s politics. Despite his aloofness, Cloud finds himself supporting his new teammates, and actively works to support their goals out of genuine interest, not merely for his paycheck. Barret, the leader of the local chapter of AVALANCHE, is more radicalized than the larger organization, and orchestrates an act of ecoterrorism: destroying a reactor to limit Shinra’s ability to convert mako, an energy source connected to the planet’s health, into electricity. Barret and the rest of the player’s party members frequently engage in similar violent tactics, attacking Shinra soldiers and destroying its infrastructure. 

Cloud and his party illustrate the strained relationship that often occurs in late capitalism between a concerned, politically active group and megacorporations. Nick Dyer-Witheford and Grieg de Peuter refer to this as a conflict between “activists” and a “multinational conglomerate” that operates as a “weapons developer” turned “world government” which “cause[s] massive ecological destruction” (236). Here, we should recognize AVALANCHE’s status as activists rather than ecoterrorists. Dyer-Witheford and de Peuter validate the party’s stance with this tacit approval. Activism downplays the violence of AVALANCHE’s methods, and condones their actions as an appropriate response to the damage caused by Shinra. In contrast, Shinra’s description emphasizes the facelessness and ultimately violent nature of the company. Shinra’s recognition here focuses on its role in weapons manufacturing rather than their efforts at city-building, modernization, and the supply of electricity to a city of millions of people. Here, Shinra is cast as the violent one and the player’s party is innocent, or at least absolved of any implication of instigating violence. Shinra is the guilty party, and with the megacorporation’s monopoly on violence, the player is forced into violent actions as the only remaining resort. Thus, the player and their party are validated: destroying power reactors is an acceptable choice when faced with a potential biological collapse. The locus of violence is clearly situated with Shinra and not the AVALANCHE cell. Within this conflict, the small collection of individuals is heroic, and the corporation-governmental entity is antagonistic.

We should note that the ecopolitics of the player’s party are made all the more appealing by their depiction as cool, attractive people who want to better the world in which they live. Dyer-Witheford and de Peuter refer to the party as “fantastically good-looking ideal characters” and “disaffected youth” fighting against a “multinational conglomerate [. . .] whose attempt to drain the planet’s vital energy sources makes it both a world government and the cause of massive ecological destruction” in “a saga that strangely connects the postnuclear legacy of the dissident shin jinrui to today’s anticorporate movements” (17). Shin jinrui, which here translates to new breed or new generation, references a youth movement of dissident politics and engagement that roughly corresponds chronologically with the punk movement in the United States. Games critic Jessica Howard echoes this analysis, claiming Final Fantasy VII is “an extremely punk game, abundant with political sentiments,” (Howard) and the party members certainly resemble that aesthetic, with their machine-gun hands, exposed hardware sticking out of their armor, and wild spiky haircuts. The party embraces punk; their angry, disaffected edge makes them relatable to young players of the game. Their status as righteous ecowarriors only enhances the cool: they care, and so should the player, because that is the only way things can change.

The game channels the party’s cool energy and desire for change into the conflict with Shinra, and we must recognize that this conflict originates from a capitalistic desire to extract profits from natural resources. Dyer-Witheford and de Peuter connect mako to Foucault’s concept of biopower: by harnessing a substance that sustains all life on the planet, Shinra asserts control over all the people—or all the living creatures—in its domain (236). In this way, access to mako enables Shinra to reach otherwise unattainable levels of power to regulate and control any biological entities within their influence. Mako provides Shinra with significant riches, granting a capitalistic power to the corporation, and also allows the company to tap into the metaphysical life force of the planet, so that Shinra’s reach extends beyond economic power and into a mystical control of not just humanity but indeed all forms of life. Shinra dictates who lives, who dies, what occupations are available to individuals, and even conducts experiments on citizens. Possession of mako energy is thus significantly valuable along multiple avenues of control, and ties to its position as a natural resource. Shinra’s control of mako is a severe environmental concern. This is why the player’s first mission in the game is to destroy the mako reactor: AVALANCHE intends to cause significant loss of capital to Shinra, and simultaneously deny the corporation the ability to consume as much mako, thus protecting the planet’s life force. In retaliation, Shinra flexes its biopower by destroying a section of the city, killing thousands of people, and blames the attack on AVALANCHE, calling it a second terrorist attack. Shinra is able to use this as a pretense to assume tighter political control over the populace, enhancing their biopower. All these exertions of influence, control, and even the conflict between Shinra and the player’s party are expressions of how the exploitation of natural resources can be used to create biopower. 

The heroic representation of the party in Final Fantasy VII as plucky underdog ecowarriors in a noble fight to save the natural world has had a profound effect on the fanbase of the series. In his focused discussion on how fans react to game narratives, Mattias van Ommen suggests that an affective component plays a crucial role in connecting the players with the characters and world of Final Fantasy VII, asserting “[t]his narrative approach towards emotions can help clarify why certain games, featuring narratives in which the player guides forth the growth of characters over the course of many hours and play sessions, may be more successful in producing a longer-lasting affective relationship between player and game world than games in which each play session concludes a mini-narrative” (24). Jessica Howard reinforces van Ommen’s analysis when she calls a member of the player’s party a “childhood friend of mine,” and demonstrates how this game “abundant with political sentiments and messages regarding the distribution of power, our treatment of the environment, and the evil found in complicity” ultimately speaks to her. Hence, game narratives, especially longer ones, hold a special ability to elicit affective reactions in their players, and, as van Ommen recognizes, Japanese Role-Playing Games often take a distinctly narrative-forward approach, which indicates that Final Fantasy VII engenders a stronger affective relationship with its players than many other games in different genres that feature shorter narrative elements. In this way, players may respond affirmatively toward narrative decisions made by party characters that are nonetheless out of the player’s control; the affective relationship between player and party encourages the player to view characters just as they would friends, supporting their actions and adopting their ideological outlook.

Moreover, we should note that such connections are not limited by the narrative components of the game, but rather that the ludic mechanics also contribute to strong affective responses with players. Gameplay structures within Final Fantasy VII induce a deep emotional association within players, who are allowed to customize the various party members and experience a steady growth of character statistics, which rewards the player for significant investment of time and engenders a sense of ownership over the characters. Such customization may, for example, take the form of equipped weapons, magical augmentations called materia, how the player chooses to respond to in-game questions, or even whether or not to indulge in side quests. As van Ommen observes, “statistical progression and creative customization are often at the core of creating a personalized experience, which has the potential to generate affective relationships with character worlds that are simultaneously intimately personal as well as shared with other fans” (23). This personalized experience invokes an even deeper affective connection to the in-game characters and world than may be otherwise possible. By tailoring the various characters to their personal whims and desires, the player forms an affective bond with the party. Personal stylings through equipment and upgrades, as well as minor choices in gameplay, such as how Cloud answers questions, do not affect the narrative at all, and yet gives the player a sense of ownership over their gaming experience, inextricably drawing the player in closer to the characters and the world. In this way, the affective response here is made all the stronger through the gameplay mechanics. Players thus feel invested in the party’s success within the narrative, and this affective association may help the players adopt some of the party’s ideology, such as with friendships and relationships, mental health, or, most aptly, environmentalism. As Stephen K. Hirst recognizes, “the game’s radical environmental themes and Shinto-tinged philosophies wound up influencing a generation of environmentalists,” specifically pointing out multiple high-ranking officers of environmental organizations such as Tyler Kruse, the senior communications director at Greenpeace (Hirst). These examples point to the depth of resonance that players feel with the game’s narrative; investment of time and energy into the characters and narrative fosters a strong affective relationship with the game and its outcomes. The Final Fantasy VII fan community has embraced a position of environmental concern and activism, largely influenced by the affective response from the game. 

It is with this fanbase that, toward the end of 2021, Square Enix announced it would incorporate NFT technology into its games. NFTs, or non-fungible tokens, are units of cryptographic data stored on a blockchain, which acts as a deregulated ledger of ownership, and allows for the sale of data stored on the blockchain. However, because of the computational energy required to process transactions on the blockchain, it has been condemned as an environmentally devastating waste of energy consumption, which some scholars have estimated to be equivalent to that of a small nation in order to process only a few transactions (Das and Dutta). Despite these concerns on the ecological impact of blockchains and NFTs, Square Enix already incorporated the technology into several smaller games, and in November of 2021, suggested an interest in pursuing blockchain gaming with a more “robust entry,” according to games industry analyst Daniel Ahmad (@ZhugeEx). This mirrors other large corporations within the gaming industry, such as Ubisoft, who incorporated NFTs into their popular Ghost Recon series in late 2021; EA, whose president Andrew Wilson called NFTs “an important part [. . .] of the future of our industry” (qtd. in Makuch); Take-Two, whose president Strauss Zelnick is a self-described “big believer” in NFT technology (qtd. in Makuch); or smaller publisher Team-17, who famously announced support of NFTs and then backtracked less than 24 hours later after backlash from fans. In short, Square is just one more company searching for an additional revenue stream—one they can exploit to generate significant profits with comparatively little labor. Square’s interest in NFTs and blockchain gaming indicates a capitalistic desire to extract wealth rather than some sort of artistic pursuit.

In its declarations of interest in NFT and blockchain technology, Square has yet to acknowledge the environmental impact this technology may have. In his “A New Year’s Letter from the President,” Square Enix’s President Yosuke Matsuda redoubles the company’s desire to incorporate NFTs and blockchain gaming, specifically noting different incentives to engage new kinds of players, differentiating between the so-called “play to earn,” “play to have fun,” and a new “play to contribute” (Matsuda). Matsuda equates the first with the third, suggesting “explicit incentives” could be used to encourage players to develop user-generated content, with the understanding that we may see “advances in token economies [result] not only in greater consistency in [players] motivation [to contribute], but also creating a tangible upside to their creative efforts.” In essence, Matsuda sees these players as a potential expansion of the workforce, who may be rewarded with a percentage ownership of any NFT generated as a result of the content they create. Matsuda’s view here is explicitly capitalistic. He doesn’t speak on any artistic value or merit in the technology, he neglects to point toward any user-generated content he finds to be particularly compelling, and he never mentions any creative innovation in game mechanics, art design, or narrative structures that could arise from incorporating NFTs or blockchain. Matsuda dismisses “play for fun” immediately after mentioning that as an option; their objection to these new technologies are “reservations,” and Matsuda never elaborates on how these trends will enhance the experience for “play to have fun” players. Any interest expressed by Matsuda in NFT and blockchain technology is couched solely in the financial. Square is in this to make money.

Despite (or perhaps because of) Square’s gleeful interest in the capitalistic side of NFTs, fan response has been less enthusiastic. Final Fantasy VII primes its audience to be receptive toward environmental politics, and when ecological concerns entered a realm the players felt secure in—that is, the gaming industry—they were ready to act. Stephen Duncombe claims gamers get “intense pleasure” from a game because it “offers power, excitement, and room to explore” in ways that political involvement often doesn’t (72). Thus, if politics can offer similar avenues of pleasure, gamers may become more politically active. Duncombe continues to suggest several methods through which play can be used to recruit gamers, but sometimes, players have the propensity to mobilize themselves. Square’s announcement of its decision to invest in NFTs triggered a perfect storm for players: a political issue that the players had been taught to care about was entering an arena they were passionate for, all because of the hypocrisy of a corporation betraying the themes of a beloved game. Now, they could bring play to politics.

And play they did. Across social media, players have denounced Square Enix’s enthusiasm for NFTs, trolled official company accounts, mocked the decision, threatened piracy in response, and even gone so far as to weaponize Square’s own games against them. Twitter user @TheIshikawaRin declares the company is “sinking lower and lower” because of “the NFT scam” before ending with the very declarative “Fuck you Square-Enix [sic]” (@TheIshikawaRin). @Nicodemus82 says “if you start putting NFT’s [sic] in your games, I’m gonna pirate every single game you put out going forward. Sincerely, A fan” (@Nicodemus82). Other responses attached screenshots from the game featuring the characters, turning these examples of Square’s capitalism into tools that point out the company’s hypocrisy. Such images often feature Barret, perhaps the most outspoken critic of Square’s—I mean, Shinra’s—exploitation of the natural world. One such screenshot features the dialogue subtitled at the bottom of the screen, “You gonna stand there and pretend you can’t hear the planet crying out in pain?,” drawing the viewer’s eye toward Barret’s machine gun-arm. Crying out in pain indeed. Another features an altered screenshot of the original game, featuring an early moment in which Barret addresses Cloud, and therefore the player. The original dialogue reads “The planet’s dyin’, Cloud!” to which has been appended “And these crypto-fuckers are trying to get us to burn down half the rainforest for [a] damn JPEG?” These examples, and countless others, speak to the passion of the fan response. Players have enthusiastically rejected NFTs in gaming more broadly, but Square’s interest seems to be an especially brutal betrayal because of the environmental themes of Final Fantasy VII, which holds a special place in many players’ hearts. And yet, despite this, and despite the retractions made by many other game companies, Square has yet to change course.

This is where we stand as of this writing. Square remains committed to incorporating NFTs into games, and fans remain committed to making fun of them for doing so. But I think the important takeaway for now is rather the mobilization of game fans. Often, video game fans have experienced negative portrayals in popular media, are castigated by public officials, and have become a go-to example of the lazy and aimless. However, the situation around Final Fantasy VII demonstrates exactly how that negative image is incomplete—how games can be a positive force on players. Because of the experiences, both narrative and ludic, in Final Fantasy VII, many players find themselves politically aware and engaged. They learn that it’s okay to be passionate about issues that may be minimized by other people. And, by incorporating a sense of play in political action, we may see a growing involvement of game players. Their new passion can even be directed at the company behind this original lesson, showing the depth of their commitment to the cause. After all, as AVALANCHE member Biggs asks Barret after the party successfully blows up the mako reactor, “But the planet’s what matters, right?”

WORKS CITED

@Nicodemus82. “@SquareEnix I love you, and have been buying your games for the past 25_ years, but if you start putting NFT’s in your games, I’m gonna pirate every single game you put out going forward. Sincerely, A fan. #keepthatshitoutofgames” Twitter, 31 December 2021 10:07 p.m., https://twitter.com/Nicodemus82/status/1477129452832317443?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1477129452832317443%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.itechpost.com%2Farticles%2F108550%2F20220103%2Fsquare-enix-loves-nft-games-metaverse-fans-hate.htm. 

@TheIshikawaRin. “Wow, Square-Enix really do keep sinking lower and lower. First it was the Epic Games exclusivity stuff, then it was the ridiculous pricing of said exclusive games. Now it’s getting it on the NFT scam? Fuck you Square-Enix.” Twitter, 1 January 2022 7:51 a.m., https://twitter.com/TheIshikawaRin/status/1477276328265199622?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1477276328265199622%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.itechpost.com%2Farticles%2F108550%2F20220103%2Fsquare-enix-loves-nft-games-metaverse-fans-hate.htm. 

@ZhugeEX. “Square Enix is also looking into entering the blockchain and NFT games segment. – Shi‐San‐Sei Million Arthur mobile was proof of concept. – Believes games are expanding from centralised to decentralised formats – Expect to benefit as NFTs and token economies take hold.” Twitter, 5 November 2021 4:16 a.m., https://twitter.com/ZhugeEX/status/1456551027168137216. 

Das, Debojyoti and Anupam Dutta. “Bitcoin’s energy consumption: Is it the Achilles heel to miner’s revenue?” Economics Letters, vol. 186, no 1, 2020.

Duncombe, Stephen. Dream: Re-imagining Progressive Politics in an Age of Fantasy. The New Press, 2007.

Dyer-Witheford, Nick and Greig de Peuter. Games of Empire. U of Minnesota P, 2009.

Final Fantasy VII. SquareSoft, 1997.

Final Fantasy VII Remake. Square Enix, 2020.

Hirst, Stephen K. “How Final Fantasy VII radicalized a generation of climate warriors.” Ars Technica, https://arstechnica.com/gaming/2021/07/how-final-fantasy-vii-radicalized-a-generation-of-climate-warriors/. Accessed 1 June 2022.

Howard, Jessica. “Final Fantasy VII Is A Timeless Tale of Hope, Growth, and Love.” Gamespot, https://www.gamespot.com/articles/final-fantasy-7-is-a-timeless-tale-of-hope-growth-and-love/1100-6500280/. Accessed 1 June 2022.

Makuch, Eddie. “GTA and EA Executives Are Big Believers in NFTs.” Gamespot, https://www.gamespot.com/articles/gta-and-ea-executives-are-big-believers-in-nfts/1100-6497712/. Accessed 1 June 2022. 

Matsuda, Yosuke. “A New Year’s Letter from the President.” Square-Enix, https://www.hd.square-enix.com/eng/news/2022/html/a_new_years_letter_from_the_president_2.html. Accessed 1 June 2022. van Ommen, Mattias. “Emergent affect in Final Fantasy VII and Japanese role-playing games.” Journal of Gaming & Virtual Worlds, vol. 10, no. 1, 2018, pp. 21-39.

Andrew Barton is a lecturer in the Department of English at Texas State University, where he graduated with a Master’s in literature. His research centers on medieval literature and medievalism in popular culture, especially in Game Studies and speculative fiction. His particular areas of interest include the interplay between narrative and ludic elements in games, ecocriticism, and gender studies. Current projects Andrew is working on include an examination of fan studies and environmentalism in games like Final Fantasy VII Remake and Death Stranding, as well as a study of gender, representations of feminism, and fan response in The Legend of Zelda: Ocarina of Time, in which he argues that the game’s depiction of women is better than most others in games media, yet work remains to be done within the game.

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