Bersani's (in)famous query, "should a homosexual be a good citizen?" 7 also resonates with the troubled history of videogames themselves concerning "respectability" and "civic service," as they are oft-scapegoated by society in the wake of traumatic events like mass shootings.
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Regardless of the criticisms that Edelman's antisocial thesis has received since it was first published (coincidently, less than a year after Saya no uta's release), 6 antisocial queer theory remains operative for resisting the notion that the endgame of queerness is its full assimilation into society's orthodoxy.
![the forest wiki film the forest wiki film](https://www.derekwinnert.com/wp-content/uploads/2014/02/262.jpg)
In 2004, Lee Edelman's No Future: Queer Theory and the Death Drive became widely discussed for its "polemic against increasingly popular forms of lesbian and gay normativity such as marriage, parenting, and military service." 4 For Edelman, the "queer" as a class stands for "ontological exclusion," 5 as the supreme embodiment of antifuturity, negativity, and abjection. This current of thought was energized by Leo Bersani's Is the Rectum a Grave? in 1987 and Homos in 1995. One such approach is the antisocial queer theory, a discordant snag in the history of queer theorizations with roots in the 1970s work of the French philosopher Guy Hocquenghem.
![the forest wiki film the forest wiki film](https://asianwiki.com/images/4/47/Forest_(Korean_Drama)-P1.jpg)
1 In fact, it may be more relevant than ever in light of a burgeoning body of scholarship on what Bonnie Ruberg calls "play beyond fun," i.e., games fostering "negative emotions that challenge how we imagine playing videogames can, does, and should feel." 2 The rise and current momentum of Queer Game Studies as a disciplinary field provides a timely opportunity to reevaluate challenging works like Saya no uta that fall outside the struggle for better LGBT+ representation and identity politics sensu stricto, 3 but merit attention from alternative conceptual frameworks. More than fifteen years after its 2003 release by the Japanese game company Nitroplus, the cosmic body-horror visual novel Saya no uta ( The Song of Saya) remains a crucial example of queer antisociality in videogames.