{"id":1885,"date":"2025-04-23T16:12:04","date_gmt":"2025-04-23T14:12:04","guid":{"rendered":"https:\/\/lab.the-bunker.it\/2025\/04\/23\/how-to-queerly-hijack-a-video-game\/"},"modified":"2025-11-11T23:43:14","modified_gmt":"2025-11-11T22:43:14","slug":"how-to-queerly-hijack-a-video-game","status":"publish","type":"post","link":"https:\/\/lab.the-bunker.it\/en\/2025\/04\/23\/how-to-queerly-hijack-a-video-game\/","title":{"rendered":"How to Queerly Hijack a Video Game"},"content":{"rendered":"<ul>\n<li><a target=\"_blank\" href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https%3A%2F%2Fwww.the-bunker.it\" title=\"Facebook\"><\/a><\/li>\n<li><a target=\"_blank\" href=\"https:\/\/twitter.com\/intent\/tweet?text=%26amp%3Burl%3Dhttps%253A%252F%252Fwww.the-bunker.it\" title=\"Twitter\"><\/a><\/li>\n<li><a target=\"_blank\" href=\"https:\/\/t.me\/share\/url?url=https%3A%2F%2Fwww.the-bunker.it&#038;text=\" title=\"Telegram\"><\/a><\/li>\n<li><a target=\"_blank\" href=\"https:\/\/wa.me\/?text=https%3A%2F%2Fwww.the-bunker.it\" title=\"WhatsApp\"><\/a><\/li>\n<li><a target=\"_blank\" href=\"https:\/\/www.threads.net\/intent\/post?text=https%3A%2F%2Fwww.the-bunker.it\" title=\"Threads\"><\/a><\/li>\n<\/ul>\n<h2>\u00a0<\/h2>\n<h2 data-start=\"218\" data-end=\"849\">LGBTQIA+ communities have historically been underrepresented in the video game industry, which still bears the legacy of that decade\u0097from the late 1980s to the late 1990s\u0097when the medium and the very identity of the gamer were marketed by the mainstream industry as exclusive to young, cisgender, heterosexual men (and in the West, white men).<\/h2>\n<p data-start=\"218\" data-end=\"849\">Yet LGBTQIA+ individuals have always played video games. And ever since they\u0092ve had the opportunity, they\u0092ve also modified, created, and reimagined them\u0097giving rise to a vibrant scene of queer video game d\u00e9tournements that reinterpret commercial works or unveil their inherent queerness.<\/p>\n<p data-start=\"851\" data-end=\"1983\">\u00a0<\/p>\n<figure>\n\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Wingless-Fairies-Lily-Belmira-2024.jpg\" alt=\"\" srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Wingless-Fairies-Lily-Belmira-2024.jpg 1920w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Wingless-Fairies-Lily-Belmira-2024.jpg 600w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Wingless-Fairies-Lily-Belmira-2024-768x432.jpg 768w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Wingless-Fairies-Lily-Belmira-2024-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption>Wingless Fairies (Lily Belmira, 2024)<\/figcaption><\/figure>\n<p>Any video game can be treated like a toy\u0097<a href=\"https:\/\/www.the-bunker.it\/en\/luigi-mangione-has-ended-up-in-a-video-game\/]\">something that can be freely used to create infinite different games with different rules<\/a>. As Bo Ruberg writes in <em data-start=\"1006\" data-end=\"1042\">Video Games Have Always Been Queer<\/em> (NYU Press, 2019), \u0093in the hands of the player lies the power to bring queer experience to any video game.\u0094 They continue: \u0093Video games are a fundamentally interactive medium. They come to life not when their developers declare them complete but in the moment that players make contact with their control interfaces and step into their worlds. Between the player and the game stands a fluid space of possibility, an opening big enough for queer desires to take root and grow.\u0094 Modding\u0097the development of unofficial modifications (mods) for commercial games\u0097alters the toy itself. Some developers support this practice, even providing tools for mod creation. Others must be forced, hacked, sometimes with the help of unofficial software. Mods are shared freely, outside market logic, and can range from aesthetic tweaks to the main character to additional levels and even total conversions\u0097entire new games built on the code of the original.<\/p>\n<p data-start=\"1985\" data-end=\"2692\">It&#8217;s not uncommon for mods to be created with the goal of expanding the options and content of games deemed lacking in their representation of LGBTQIA+ characters and relationships. One example is the <em data-start=\"2186\" data-end=\"2221\">Platonic Partners and Friendships<\/em> mod for <em data-start=\"2230\" data-end=\"2246\">Stardew Valley<\/em> (Eric \u0093ConcernedApe\u0094 Barone, 2016), created by the NexusMods user Amaranthacyan (2021). <em data-start=\"2335\" data-end=\"2351\">Stardew Valley<\/em> is already quite inclusive and allows same-sex relationships, but this mod enables asexual\/aromantic relationships in addition to the romantic ones originally featured. Conversely, the far-right RPGHQ forum community has used modding to remove LGBTQIA+ characters from games. Modding thus becomes a battleground in the current culture wars.<\/p>\n<h4 id=\"thegem-heading-92d167a\" data-animation-name=\"lines-slide-up\" data-animation-interval=\"80\">Between the player and the game stands a fluid space of possibility, an opening big enough for queer desires to take root and grow<\/h4>\n<style type=\"text\/css\">#thegem-heading-92d167a {margin: 0;}#thegem-heading-92d167a {margin-left: auto; margin-right: auto;}#thegem-heading-92d167a > * {justify-content: center;}<\/style>\n<p>\u0093In theory, modding makes for fantastic critical interventions. It almost transforms criticism into a science,\u0094 says Robert Yang, creator of the\u00a0<em data-start=\"2839\" data-end=\"2851\">Radiator 1<\/em>\u00a0mod trilogy (2009\u00962015). \u0093For example, if I argue\u00a0<em data-start=\"2902\" data-end=\"2908\">Doom<\/em>\u00a0[(id Software, 1993)] would be better if it were gayer, then I can actually mod more gayness into\u00a0<em data-start=\"3007\" data-end=\"3013\">Doom<\/em>\u00a0and verify whether it\u0092s better. With queer mods, it\u0092s as if you can playtest your own politics. The main creative constraint of modding\u0097that your mod will always exist in relation to its base game \/ industrial product\u0097could work to your advantage, as long as you desire to be haunted like that. But just remember you\u0092ll also be haunted by the game\u0092s culture and community too.\u0094 Through modding, radical queer reinterpretations of the original games emerge.\u00a0<em data-start=\"3471\" data-end=\"3505\">R.O.T. stands for Realm of Tears<\/em>\u00a0by Vincent Moulinet (2023), a mod for\u00a0<em data-start=\"3544\" data-end=\"3568\">Doom II: Hell on Earth<\/em>\u00a0(id Software, 1994), transforms the journey of a space marine battling demons through Mars\u0092 moons, Earth, and hell into the journey of a sex worker searching for love (or at least sex) in a gay club. The muscular bodies of Doom\u0092s biomechanical monsters, its labyrinthine architecture, and its tension between threat and arousal are all reinterpreted in a radically queer way. \u0093Monstrosity and body horror is a deadly anticapitalist weapon,\u0094 writes Moulinet.<\/p>\n<figure>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist.jpg\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-title=\"LUPETTI_QUEER_THE BUNKER MAGAZINE_00\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTU0OTUsInVybCI6Imh0dHBzOlwvXC93d3cudGhlLWJ1bmtlci5pdFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNVwvMDRcL0NVUlNFRC1DYXJzb24tTHlubi0yMDIyLi1Db3VydGVzeS1vZi10aGUtQXJ0aXN0LmpwZyJ9\"><br \/>\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1080\" height=\"1080\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist.jpg\" alt=\"\" srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist.jpg 1080w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist.jpg 600w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist-300x300.jpg 300w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist-768x768.jpg 768w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/CURSED-Carson-Lynn-2022.-Courtesy-of-the-Artist.jpg 256w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/>\t\t\t\t\t\t\t\t<\/a><figcaption>!CURSED! (Carson Lynn, 2022). Courtesy of the Artist<\/figcaption><\/figure>\n<h5><em data-start=\"4028\" data-end=\"4046\">Wingless Fairies<\/em> by Lily Belmira (2024) is instead a <a href=\"https:\/\/www.the-bunker.it\/en\/luigi-mangione-has-ended-up-in-a-video-game\/\">plundercore<\/a> project\u0097a video game constructed using assets from commercial works. In this case, the 3D models of the <em data-start=\"4199\" data-end=\"4214\">Great Fairies<\/em> from Nintendo\u0092s fantasy series <em data-start=\"4246\" data-end=\"4267\">The Legend of Zelda<\/em> (1986\u0096ongoing) are reused for the main characters.<\/h5>\n<h5>\u00a0<\/h5>\n<p>Since <em data-start=\"4325\" data-end=\"4342\">Ocarina of Time<\/em> (1998), these characters have had a visual design seemingly inspired by drag culture. In <em data-start=\"4432\" data-end=\"4450\">Wingless Fairies<\/em>, they are no longer magical beings, but Belmira uses their bodies to tell the everyday stories of the people to whom such stereotyped portrayals refer. \u0093I have complicated feelings about the Zelda Great Fairies,\u0094 Belmira explains. \u0093I liked the idea of reinterpreting them as trans, but when the source material treats them as a throwaway joke, it\u0092s less about reinterpreting and more about humanising.\u0094 Queer culture has a long tradition of reclaiming offensive representations and terms once used pejoratively\u0097including the word \u0093queer\u0094 itself. According to Belmira, \u0093the way people are embarrassed or shocked or enchanted by these characters feels a lot like how people see me, or how I used to see other trans people as a kid. Making the player a fairy brings that context into the game: that androgynous character you thought was weird as a kid is you now.\u0094<\/p>\n<p>Two closely connected disciplines are machinima\u0097cinema made within or using tools from video games\u0097and virtual photography, the art of taking photos within video games. <em data-start=\"5483\" data-end=\"5493\">!CURSED!<\/em> by Carson Lynn (2022) is a multimedia project focused on the figure of the reanimated skeleton. It consists of the machinima <em data-start=\"5619\" data-end=\"5634\">Reversal Ring<\/em> and a series of collages combining digital screenshots from the dark fantasy world of <em data-start=\"5721\" data-end=\"5737\">Dark Souls III<\/em> (FromSoftware, Bandai Namco Entertainment, 2016) with images and texts drawn from memes and archives of queer zines\u0097often themselves made from collaged and recontextualised media. As with <em data-start=\"5926\" data-end=\"5934\">R.O.T.<\/em>, a game with a seemingly toxic hypermasculine aesthetic reveals a queer side: in the hostile, traumatic, absurd yet wondrous world of <em data-start=\"6069\" data-end=\"6081\">Dark Souls<\/em>, queer people recognise their own experience. The skeleton\u0097and more broadly, the undead\u0097tells of possibilities for life beyond binaries, even the binary of life and death. \u0093Hijacking a game can come in many forms, but the act of machinima\/virtual photography often goes hand-in-hand with the exploitation of game mechanics,\u0094 says Lynn. \u0093And that\u0092s the most appealing part to me: creating something with tools never intended for the purpose of creation.\u0094 Lynn tends to avoid games that simplify these practices by providing tightly regulated \u0093photo modes.\u0094 \u0093A game company can\u0092t regulate and censor machinima\/photography\/memes that exist outside of their walled gardens,\u0094 Lynn concludes.<\/p>\n<figure>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015.jpg\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-title=\"LUPETTI_QUEER_THE BUNKER MAGAZINE_00\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTU0OTIsInVybCI6Imh0dHBzOlwvXC93d3cudGhlLWJ1bmtlci5pdFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNVwvMDRcL1JhZGlhdG9yLTEtUm9iZXJ0LVlhbmctMjAwOS0yMDE1LmpwZyJ9\"><br \/>\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015.jpg\" alt=\"\" srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015.jpg 1920w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015.jpg 600w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015-768x432.jpg 768w, https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/>\t\t\t\t\t\t\t\t<\/a><figcaption>Radiator 1 (Robert Yang, 2009-2015)<\/figcaption><\/figure>\n<h5>Over the last 30 years, queer theory\u0097developed by thinkers like Judith Butler, Sara Ahmed, and Jack Halberstam\u0097has described queerness precisely as a deviation from normative paths, not only in terms of gender and sexuality, but more broadly. All video game d\u00e9tournements can be seen as queer, if we think of queerness as something that does not only mean being non-cis or non-heterosexual. Queer is challenging the imposed progression (in life as in video games), questioning what we\u0092ve been taught to desire, and redefining what it means to win or lose\u0097again, in both life and games. Queer is interrogating the rules of the game, and even the toy itself.<\/h5>\n<h5>Matteo Lupetti<\/h5>\n<p>Matteo Lupetti writes about art criticism, digital art and video games in publications such as Artribune and Il Manifesto and abroad. He has been on the editorial board of the radical magazine menelique and the artistic direction of the reality narrations festival Cretecon. His first book is &#8216;UDO. Guida ai videogiochi nell&#8217;Antropocene&#8221; (Nuove Sido, Genoa, 2023), a reinterpretation of the video game medium in the age of climate change and within the new multidisciplinary paths that foreground the non-human and its agency.<\/p>\n<h1>READ MORE<\/h1>\n<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"How to Queerly Hijack a Video Game\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/how-to-queerly-hijack-a-video-game\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Radiator-1-Robert-Yang-2009-2015-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1080\"  alt=\"LUPETTI_QUEER_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/how-to-queerly-hijack-a-video-game\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tHow to Queerly Hijack a Video Game<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/how-to-queerly-hijack-a-video-game\/\" rel=\"bookmark\">How to Queerly Hijack a Video Game<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Between Us and the Machine. 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srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/1-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/1-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"574\"  alt=\"NICCOLOCARRADORI_THEBUNKER_STATO_0\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/experiments-in-computational-democracy-how-ai-might-help-us-trust-the-state-again\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tExperiments in Computational Democracy: How AI Might Help Us Trust the State Again<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/experiments-in-computational-democracy-how-ai-might-help-us-trust-the-state-again\/\" rel=\"bookmark\">Experiments in Computational Democracy: How AI Might Help Us Trust the State Again<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"A Secret Third Fire\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/a-secret-third-fire\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/WhatsApp-Image-2025-01-21-at-21.31.31-1-thegem-product-justified-square-double-page-l.jpeg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/WhatsApp-Image-2025-01-21-at-21.31.31-1-thegem-product-justified-square-double-page-l.jpeg\" width=\"1000\" height=\"1200\"  alt=\"VIOLA GIACALONE_TERZO INCENDIO SEGRETO_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/a-secret-third-fire\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tA Secret Third Fire<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/a-secret-third-fire\/\" rel=\"bookmark\">A Secret Third Fire<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Syntax War\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/syntax-war-2\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Schermata-2025-03-17-alle-12.49.44-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Schermata-2025-03-17-alle-12.49.44-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1200\"  alt=\"MARTINA MACCIANTI_THE BUNKER MAGAZINE_SYNTAX WAR_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/syntax-war-2\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tSyntax War<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/syntax-war-2\/\" rel=\"bookmark\">Syntax War<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Luigi Mangione has ended up in a video game\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/luigi-mangione-has-ended-up-in-a-video-game\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/yuri-lowell-prints-a-gun-flan-2025-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/yuri-lowell-prints-a-gun-flan-2025-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1080\"  alt=\"MATTEO LUPETTI_PLUNDERLUDICS_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/luigi-mangione-has-ended-up-in-a-video-game\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tLuigi Mangione has ended up in a video game<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/luigi-mangione-has-ended-up-in-a-video-game\/\" rel=\"bookmark\">Luigi Mangione has ended up in a video game<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Is It Finally Time to Scale Down Expectations for Tech Tycoons?\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/is-it-finally-time-to-scale-down-expectations-for-tech-tycoons\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/eeeeeeeee.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/eeeeeeeee.jpg\" width=\"770\" height=\"513\"  alt=\"NICCOLO CARRADORI_MUSK_THEBUNKERMAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/is-it-finally-time-to-scale-down-expectations-for-tech-tycoons\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tIs It Finally Time to Scale Down Expectations for Tech Tycoons?<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/is-it-finally-time-to-scale-down-expectations-for-tech-tycoons\/\" rel=\"bookmark\">Is It Finally Time to Scale Down Expectations for Tech Tycoons?<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"The End of Fact-Checking: Meta Embraces Musk&#8217;s Model Balancing Free Speech and the Risk of Misinformation\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-end-of-fact-checking-meta-embraces-musks-model-balancing-free-speech-and-the-risk-of-misinformation\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Schermata-2025-01-09-alle-12.56.32-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Schermata-2025-01-09-alle-12.56.32-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1200\"  alt=\"NICCOLO CARRADORI_META_NEWS_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-end-of-fact-checking-meta-embraces-musks-model-balancing-free-speech-and-the-risk-of-misinformation\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tThe End of Fact-Checking: Meta Embraces Musk&#8217;s Model Balancing Free Speech and the Risk of Misinformation<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-end-of-fact-checking-meta-embraces-musks-model-balancing-free-speech-and-the-risk-of-misinformation\/\" rel=\"bookmark\">The End of Fact-Checking: Meta Embraces Musk&#8217;s Model Balancing Free Speech and the Risk of Misinformation<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Media Panic and the Sisyphus Syndrome\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/media-panic-and-the-sisyphus-syndrome\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/3-3-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/3-3-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"768\"  alt=\"FRANCESCO D&#039;ISA_MEDIA PANIC_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/media-panic-and-the-sisyphus-syndrome\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tMedia Panic and the Sisyphus Syndrome<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/media-panic-and-the-sisyphus-syndrome\/\" rel=\"bookmark\">Media Panic and the Sisyphus Syndrome<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"The girlies love the vibes and that\u0092s just what it\u0092s about\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-girlies-love-the-vibes-and-thats-just-what-its-about-eng\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/cc4cfec3-5144-46d7-a1b9-26ceea82847f.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/cc4cfec3-5144-46d7-a1b9-26ceea82847f.jpg\" width=\"720\" height=\"716\"  alt=\"VIOLA_GIACALONE_THE BUNKER MAGAZINE_VIBES_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-girlies-love-the-vibes-and-thats-just-what-its-about-eng\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tThe girlies love the vibes and that\u0092s just what it\u0092s about<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-girlies-love-the-vibes-and-thats-just-what-its-about-eng\/\" rel=\"bookmark\">The girlies love the vibes and that\u0092s just what it\u0092s about<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Neuromancer: The Novel That Questioned Our Identity in the Digital World\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/neuromancer-the-novel-that-questioned-our-identity-in-the-digital-world\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/green-light-with-bokeh-effect-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/green-light-with-bokeh-effect-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1200\"  alt=\"NICCOLO CARRADORI_NEUROMANCER_THEBUNKERMAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/neuromancer-the-novel-that-questioned-our-identity-in-the-digital-world\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tNeuromancer: The Novel That Questioned Our Identity in the Digital World<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/neuromancer-the-novel-that-questioned-our-identity-in-the-digital-world\/\" rel=\"bookmark\">Neuromancer: The Novel That Questioned Our Identity in the Digital World<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"What is Bluesky, the Social Network for X\u0092s Fugitives?\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/what-is-bluesky-the-social-network-for-xs-fugitives\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Bluesky-his-new-user-landmark-as-The-Guardian-leads-a-huge-X-odus-thegem-product-justified-square-double-page-l.webp 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Bluesky-his-new-user-landmark-as-The-Guardian-leads-a-huge-X-odus-thegem-product-justified-square-double-page-l.webp\" width=\"1000\" height=\"1080\"  alt=\"NICCOLO CARRADORI_BLUESKY_NEWS_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/what-is-bluesky-the-social-network-for-xs-fugitives\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tWhat is Bluesky, the Social Network for X\u0092s Fugitives?<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/what-is-bluesky-the-social-network-for-xs-fugitives\/\" rel=\"bookmark\">What is Bluesky, the Social Network for X\u0092s Fugitives?<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"ACIDS: new models of interaction between music and machines\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/acids-new-models-of-interaction-between-music-and-machines\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Un-frame-da-Convergence-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Un-frame-da-Convergence-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1113\"  alt=\"PIERLUIGI FANTOZZI_IRCAM_THE BUNKER MAGAZINE_00\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/acids-new-models-of-interaction-between-music-and-machines\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tACIDS: new models of interaction between music and machines<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/acids-new-models-of-interaction-between-music-and-machines\/\" rel=\"bookmark\">ACIDS: new models of interaction between music and machines<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Even AI gets bored at work\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/even-ai-gets-bored-at-work\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/I-cant-help-myself_NC-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/I-cant-help-myself_NC-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1080\"  alt=\"I can&#039;t help myself_NC\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/even-ai-gets-bored-at-work\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tEven AI gets bored at work<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/even-ai-gets-bored-at-work\/\" rel=\"bookmark\">Even AI gets bored at work<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"The digital future of China\u0092s cultural heritage\" style=\"max-width: 110%\" \/>\n\t\t<\/picture>\n\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-digital-future-of-chinas-cultural-heritage\/\">\t\t<picture><source srcset=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Hong-Kong-Heritage-Museum-di-Sha-Tin.-Ph-Xiaomei-Chen-thegem-product-justified-square-double-page-l.jpg 1x\"   sizes=\"100vw\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/Hong-Kong-Heritage-Museum-di-Sha-Tin.-Ph-Xiaomei-Chen-thegem-product-justified-square-double-page-l.jpg\" width=\"1000\" height=\"1200\"  alt=\"CAMILLA FATTICCIONI, THE BUNKER MAGAZINE 03\" \/>\n\t\t<\/picture>\n\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-digital-future-of-chinas-cultural-heritage\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\tThe digital future of China\u0092s cultural heritage<br \/>\n\t\t\t\t\t\t\t\t\t\t\t<\/a><br \/>\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.the-bunker.it\/en\/the-digital-future-of-chinas-cultural-heritage\/\" rel=\"bookmark\">The digital future of China\u0092s cultural heritage<\/a>\n\t\t\t\t\t\t\t\t\t<picture>\n\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lab.the-bunker.it\/wp-content\/uploads\/2025\/11\/transparent-thegem-product-justified-square-double-page-l.png\" width=\"1000\" height=\"1200\"  alt=\"Pergola is ready to blossom again thanks to the Blooming Fest\n<\/p>\n","protected":false},"excerpt":{"rendered":"<p>LGBTQIA+ communities have historically been underrepresented in the video game industry, which still bears the legacy of that decade\u0097from the late 1980s to the late 1990s\u0097when the medium and the very identity of the gamer were marketed by the mainstream industry as exclusive to young, cisgender, heterosexual men (and in the West, white men). Yet LGBTQIA+ individuals have always played video games. And ever since they\u0092ve had the opportunity, they\u0092ve also modified, created, and reimagined them\u0097giving rise to a vibrant scene of queer video game d\u00e9tournements that reinterpret commercial works or unveil their inherent queerness.<\/p>\n","protected":false},"author":8,"featured_media":1345,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[],"class_list":["post-1885","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/posts\/1885","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/comments?post=1885"}],"version-history":[{"count":0,"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/posts\/1885\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/media\/1345"}],"wp:attachment":[{"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/media?parent=1885"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lab.the-bunker.it\/en\/wp-json\/wp\/v2\/categories?post=1885"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}