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Doxy: A Roleplaying Game of Sex and Skulduggery

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Secondly, I focus on the palimpsestic web that connects the two games to the 1999 film American Pie.

com (with the exception of commercially designed browser games such as those made by Nutaku, the MindGeek-owned studio, which is a leader in this domain). According to Linda Hutcheon, parody is “repetition with critical distance, which marks difference rather than similarity” (1985/ 2000, 6).

In the present case study, this process is already visible in the similarity between the games’ titles where, by altering only one letter (the replacement of “n” with a second “d”), the original game’s title shifts from one that is merely descriptive to one that is in itself a crass, sexualised joke. Ultimately, this double case study allows me to highlight an especially troubling aspect of humour in general: its ability to maintain contradictory ethical positions in suspension, with no resolution in sight. It is widely acknowledged that sexual fetish forms only a small portion of the furry experience, if it is at all present (in fact, many furries insist that while role-playing is a part of their experience, sexual furry role-play is not). While such parodic adaptations have long been a mainstay of filmic pornography and have, as such, received a good deal of attention from pornography scholars (in particular Constance Penley), the use of humour in the movement from game to porn game has received less.

The furry community is a vast and diverse universe that encompasses a multiplicity of identity expressions as well as understandings of what being furry or taking an interest in certain aspects of furry culture might mean. Since games and pornography scholars are just beginning to pay extensive attention to pornographic video games, there is as yet no agreed-upon lexicon in place for referring to such objects. We Never Took Deconstruction Seriously Enough (On Affects, Formalism, and Film Theory): An Interview with Eugenie Brinkema. Throughout this chapter, I use the term ‘furry’ to describe cultural artefacts that are coded in a certain way; I have not conducted any field work and am presenting textual analyses of contents found online, often without much reliable context, as well as my own interpretations of them—these analyses in no way aim to speak for or represent any particular lived experience, nor do they intend to say anything substantial about parts or the entirety of the furry community. For discussions of parodic adaptations in and as pornography, see, for instance, Booth 2014, Buscombe 2004, Hines 2012, Jones 2013, Lehman 1996, Penley 1997, Smith 2012.

Handy step-by-step guides, put together by dedicated players, detail the succession of actions that must be taken to unlock all of the game’s sex scenes (8 in total) and achieve the best ending, which emulates the language of Undertale endings and reads: “You got the Best End. radical formalism” is a deeply humanist approach to media texts that reads for affective and, increasingly, ethical expressions within the aesthetic, material, and narrative forms of media objects themselves (see Brinkema 2014, 2016, Anger and Jirsa 2019).

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