
Bioware RPGs
When Canadian developer BioWare introduced homosexual romance options in their RPGs back in 2009, it was a big step for male gay games. But while the inclusion of these queer relationships is a positive development, it is important to consider the terms of this representation and who benefits from it.
While a good portion of recent RPGs do allow players to pursue same-sex romances, some still don’t include any options at all. This includes Dragon Age: Origins, Fallout 3, Fable and a few other titles.
The RPG community has also been squabbling heavily over the concept of playersexuality, which can be defined as a character being sexually interested in the protagonist. This has led to a lot of negative feedback from male gamers, particularly conservative ones. For example, a commenter on one Bioware forum complained that the queer characters in Baldur’s Gate 3 were being shoehorned in to satisfy diversity quotas.
Adding to this is the perception that these LGBT+ characters are not complex enough and only serve as a way for men gamers to sexually express themselves. This view has become common among male gamers and is an unfortunate part of the gaming culture. This perception is fueled by outside perspectives and a desire to consume a game’s story for entertainment purposes, rather than as a means of activism. This can be seen in reviews and videos that parrot diversity and inclusivity as key selling points of a gay men game.
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Final Fantasy
Video gay male game remakes are a common sight these days, allowing players to revisit beloved titles with updated graphics and systems. However, with increased demand for quality LGBTQ representation, it’s time that male gay game makers held their remakes to the same (or higher) standards as their original releases. Unfortunately, many of these older games feature offensive LGBTQ content that demeans those characters for shock value or laughs. While some of these scenes may not have been considered egregious when they were first made, they should never be allowed to return to the spotlight with the knowledge of the newer demands and awareness of the gaming community.
For example, in Final Fantasy XVI, the character Dion Lesage is revealed to be gay, and he is the lover of Terrance, his devoted right hand. Despite this, the pair is not given much screen time, and the romance is portrayed as one of the most boring in the entire men game gay. In contrast, Clive and Jill’s romance is given more attention – but it is still not very compelling.
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Regardless, Dion’s inclusion set a high standard for LGBTQ representation in the gay mele game that it is unable to match even now. This is not to say that Square Enix should abandon the franchise entirely – but it needs to recognize that it has the opportunity and responsibility to do better in this regard, especially when making a remake of a classic title.
Mass Effect
It’s a shame it took three male games and half a decade of outrage over the sex scenes in Mass Effect for Bioware to finally give players an option to romance a male Shepard. In ME3 a human squadmate named Kaidan Alenko expresses interest in the player, and they can choose to out him, or to leave him be. This marks a major shift in the series, as the Shepard canon had previously posited that he was exclusively heterosexual – which arguably reinforced stereotypes of effeminate masculinity.
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In ME3 it’s also possible to romance a female Shepard, a smuggler named Jack, or an Asari engineer called Gil Brodie. However, these are primarily short flings rather than full-on squadmate romances. Reyes and Gil only have a few dialogue prompts to work with, while the main romantic options like Liara or Kelly Chambers can provide lengthy conversations that add depth and resonance to the romance scenes.
Despite these omissions, the gender-nonconforming possibilities in ME3 demonstrate that the genre’s queer potential is more than just a checkbox on a character sheet. This men gay game is a great example of how, as game studies has come to understand it, queer gaming can be applied to examine the multifaceted complexities and ambivalences of non-hegemonic identities constructing meaning in the ludic realm. This is what makes it such a powerful tool for critical inquiry and resistance in a world that desperately needs it.
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