![]() (We're taking this to the limits in '˜Fable III' by bringing on a star-studded cast that includes Sir Ben Kingsley, John Cleese and Simon Pegg, who truly understand what it takes to bring characters to life in complex ways and add new dimensions of blockbuster entertainment to '˜Fable III.') (This is my first experience voicing a video game, so what drew me to it was the team, how committed they are, how well organized everything is and how beautiful the game is,) said Sir Ben Kingsley in the video documentary. (The '˜Fable' franchise has always been recognized for its unique take on drama, morality, and of course, humour,) said Louise Copley, head of the (Fable) franchise. Romance can be seen as the frame of a conversation between the designers and the players.And here's the press release: Lights, Camera, Action! Hollywood All-Stars Deliver the Art of Drama and Humour in (Fable III) Simon Pegg, John Cleese, and Academy Award winner Sir Ben Kingsley headline this October's revolutionary action-adventure experience LONDON 28 September 2010 - It takes a village, so goes the popular adage, and never has this been truer than in (Fable III.) As you embark on your own revolution to seize the throne from an evil tyrant in (Fable III,) starting on 29th October exclusively on Xbox 360, you'll be flanked by a supporting cast that features some of Hollywood's most renowned talent, with film accomplishments that include (Monty Python,) (Star Trek,) (Harry Potter,) (The Lord of the Rings,) (Pirates of the Caribbean,) (Alice in Wonderland,) and the upcoming (X-Men: First Class.) Available today, the latest instalment to the popular (Inside Lionhead) video documentary series features the talented cast, including Sir Ben Kingsley, Michael Fassbender, Simon Pegg and more, as they reflect on their experiences working on (Fable III.) From topics such as Sir Ben Kingsley picking up a Welsh accent to how Michael Fassbender prepared to take on a villain's role in his first video game voiceover project, watch what happens when the star-studded cast applies their craft to (Fable III,) this October's most anticipated title. The article has no intention to describe all of the current gaming culture, but to illustrate some trends in mainstream games regarding representation and player freedom in the design of gender and sex. ![]() So, if games are performances, is our performance within them gendered? That is, are we reproducing our learned performativity or breaking away from it? Is the game a procedure we follow or an instrument we use to express ourselves? In this article, I use game analysis tools and theory to describe if and how three particular games, Dragon’s Dogma (Capcom, 2012), Fable III (Lionhead Studios, 2010) and Dragon Age: Inquisition (BioWare, 2014), each coming from a different territory: Japan, Europe and the United States – give the player freedom and opportunity to perform gender, and how they include pluralism and/or diversity. Ludofictional worlds have an ingrained idea of ‘reality’ that we can take at face value or explore, even question. Every game gives us a set of actions, or mechanics that we use at will to achieve goals following clear rules, and these rules and actions are precisely the building blocks of a game. Representation – how the game elements can be seen to articulate meaning – and performance – how the player uses the game to complete and modify this meaning – cannot be separated in game analysis. When we play, we shape the discourse by ‘doing’. ![]() Video games are cybertexts with configurative performances, that is, the act of playing is a constant performance that affects not only the creation of meaning, but the resulting text of the game as well. People define their gender by ‘doing’, often unknowingly, through manners, gestures and practices. Gender, as Judith Butler argued, is performative.
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