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Article summary:
1. This paper examines representations of sex work in Watch_Dogs 2 to understand how the game distinguishes between differently socioeconomically classed neighbourhoods.
2. Drawing on concepts from sound studies, the paper assesses the affordances of soundwalking as part of a combined method for doing feminist class analyses in game studies.
3. The analysis shows how sound can work in tandem with other game elements to establish the player-character’s sexuality and shape their relationship to the sexuality of sex worker characters.
Article analysis:
The article is written by Lyne Dwyer, an experienced researcher in digital games and socioeconomic class, which lends credibility to her claims and insights. The article is well-structured and provides a clear overview of the project's aims and objectives, as well as its theoretical framework. It also provides a detailed analysis of Watch_Dogs 2's representation of sex work, drawing on concepts from sound studies to assess the affordances of soundwalking as part of a combined method for doing feminist class analyses in game studies.
The article does not appear to be biased or one-sided; it presents both sides equally and acknowledges that while Watch_Dogs 2 arguably offers a more humanized understanding of sex workers’ lives, it still distances itself from sex and the realities of paying for it in ways that reinforce the stigmatization of sex work both within and beyond the game. The article also does not appear to contain any promotional content or partiality towards any particular viewpoint or opinion. Furthermore, possible risks are noted throughout the article, such as how videogames' tendency to privilege visuality limits what soundwalking can accomplish in isolation.
In terms of missing points or evidence for claims made, there is no mention of any counterarguments or unexplored perspectives that could provide further insight into this topic; however, given that this is an academic paper rather than a comprehensive review or exploration into all aspects related to this topic, this is understandable. Additionally, there is no discussion about how different players may interpret these representations differently based on their own experiences with gender identity or sexuality; however again this could be due to space constraints rather than an oversight on behalf of the author.
All things considered, this appears to be a reliable source with trustworthy information about representations of sex work in Watch_Dogs 2 and its implications for understanding socioeconomic class distinctions within digital games.