This destabilization is ludologically intentional and highlights a sensitivity towards the performance of non-hegemonic masculinities. Henry is characterized as a hypermasculine protagonist, but the game actively refuses to let the player perform that masculinity, enabling instead the performance of a subtle, complex, and well-developed male character. This article explores how the walking simulator Firewatch (Campo Santo, 2016) successfully problematizes toxic, traditional videogame hypermasculinity, inviting instead the performance of a care-oriented masculinity. Walking, Talking and Playing with Masculinities in Firewatch by Melissa Kagen Abstract
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