Queer videogame scholars have focused on the work of documenting queer games and their histories, and on unpacking theories of вЂњqueer playвЂќ and вЂњqueergamingвЂќ that resist the heteronormative, hegemonic structures of videogame convention (Phillips, 2020 Ruberg & Shaw, 2017). Keywords: queer game studies, Fire Emblem: Three Houses, Fire Emblem, shippers, slash, fandom, queergaming, catalyzers, canonizers, creators Introduction: вЂњEach battle, a chance to growвЂќ We ultimately argue that the fan-practices of the FE3H slash-shipper community extend previous definitions of queergaming and suggest that game studies has much to learn from slash-shippers about finding queer life in videogames. We show how this effort is structurally supported by fan labor in the community at three levels: creators (e.g., fan artists, fanfic writers), catalyzers (e.g., event hashtags and organizers, data miners) and curators (e.g., voice actors, zine-makers). By looking at slash-ship hashtag networks, we show how the FE3H gay shipping fandom works to not only resist heteronormative structures but visualize and center queer life through FE3H characters. In this study, we perform an analysis of 115,268 tweets using four slash-ship hashtags related to the videogame Fire Emblem: Three Houses (Intelligent Systems, 2019) - a Nintendo Switch game with a legacy of queerbaiting. Scholarship has emphasized how fans repurpose and remediate games through вЂњqueer playвЂќ and countergaming (Chang, 2017) - reimagining the possibility for queerness in games. The fields of queer game and fandom studies have fostered critical discussions about the way fan communities perform meaning making in response to queerbaiting.

Dance With Me, Claude: Creators, Catalyzers and Canonizers in the Fire Emblem: Three Houses Slash-Ship Fandom by PS Berge, Rebecca K Britt Abstract

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