Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.
BhabhaH. (1994). The location of culture. New York, NY: Routledge.
4.
BlanchetA. (2016). France. In WolfM. J. P. (Ed.), Video games around the world (pp. 175–192). Cambridge: MIT Press.
5.
BonnellB. (1986). Les Passagers du vent[Amstrad CPC]. France: Infogrames.
6.
CarrD. (2002). Playing with Lara. In KingG.KrzywinskaT. (Eds.), Screenplay: Cinema/videogames/interfaces (pp. 171–180). New York, NY: Wallflower Press.
7.
CazenaveT.DesportesL. (1986). La Java du privé[Apple II]. France: Froggy Software.
EndersbyJ. (2016). Orchid: A cultural history. Chicago, IL: The University of Chicago Press.
15.
FincherD. (Director). (1997). The game. Universal City, CA: Universal Pictures.
16.
FoucaultM. (1984). L’Éthique du souci de soi comme pratique de la liberté. Concordia. Revista Internacional De Filosofia, 6, 99–116. Retrieved fromhttp://1libertaire.free.fr/MFoucault212.html
17.
FoucaultM. (1985). The history of sexuality (HurleyR., Trans.). New York, NY: Pantheon Books.
18.
GardaM. (2016). Nowa historia gier wideo?EKRANy, 2, 106–109.
19.
HineD. C. (1989). Rape and the inner lives of black women in the middle west. Signs: Journal of Women in Culture and Society, 14, 912–920. doi:10.1086/494552.
20.
hooksb. (1984). Feminist theory: From margin to center. Boston, MA: South End Press.
LerouxY.PépinM. (1986). Jeu sur micro-ordinateur et différences liées au sexe [Computer Games and Sex-Related Differences]. Revue Des Sciences De L’éducation, 12, 173–196.
33.
MarionC. (1986). Le créateur du mois: Clotilde Marion. Tilt, 28, 8.
34.
MeistermannN. (1988). Moi Jane, toi micro. Tilt, 56, 94–100.
35.
MitterrandF. (1964). Le Coup d’État permanent. Paris, France: Plon.
36.
MurrayS. (2018). Video games and playable media. Feminist Media Histories, 4, 214–219. doi:10.1525/fmh.2018.4.2.214
NacherA. (2016). Gry wideo wchodzą w dorosłość: w stronę lokalnej genealogii dyskusji wokół gier artystycznych [Video games are entering adulthood: into the local genealogy of discussions around artistic games]. Kultura Współczesna, 2, 46–56.
39.
NooneyL. (2013). A pedestal, a table, a love letter: Archaeologies of gender in videogame history. Game Studies, 13. Retrieved fromhttp://gamestudies.org/1302/articles/nooney
ŠvelchJ. (2013). Say it with a computer game: Hobby computer culture and the non-entertainment uses of homebrew games in the 1980s Czechoslovakia. Game Studies, 13. Retrieved fromhttp://gamestudies.org/1302/articles/svelch
48.
SwalwellM. (2008). 1980s home coding: The art of amateur programming. In BrennanS.BallardS. (Eds.), Aotearoa digital arts reader (pp. 193–201). Auckland, NZ: Aotearoa Digital Arts—Clouds.
