Investigating and reimagining the origin story of the sex doll through the tale of the sailor’s dames de voyage. The sex doll and its high-tech counterpart the sex robot have gone mainstream, as both the object of consumer desire and the subject of academic study. But sex dolls, and sexual technology in general, are nothing new. Sex dolls have been around for centuries. In Sex Dolls at Sea, Bo Ruberg explores the origin story of the sex doll, investigating its cultural implications and considering who has been marginalized and who has been privileged in the narrative. Ruberg examines the generally accepted story that the first sex dolls were dames de voyage, rudimentary figures made of cloth and leather scraps by European sailors on long, lonely ocean voyages in centuries past. In search of supporting evidence for the lonesome sailor sex doll theory, Ruberg uncovers the real history of the sex doll. The earliest commercial sex dolls were not the dames de voyage but the femmes en caoutchouc: “women” made of inflatable vulcanized rubber, beginning in the late nineteenth century. Interrogating the sailor sex doll origin story, Ruberg finds beneath the surface a web of issues relating to gender, sexuality, race, and colonialism. What has been lost in the history of the sex doll and other sex tech, Ruberg tells us, are the stories of the sex workers, women, queer people, and people of color whose lives have been bound up with these technologies.

"A new history of sex dolls that challenges how contemporary society understands tech designed for sex"--

This scholarly study of the centuries-long history of fornicatory dolls examines the enduring obsession with creating an idealized, silent female sexual object and the manifestations of this desire through the ages in mythology, literature, art, philosophy and science. This particular sexual impulse has been expressed in a great variety of forms such as statues, mannequins, sex dolls, and gynoids (robots). In particular this study focuses on the evolution of the sex doll through its original incarnation as a sack cloth effigy, through the marketing of inflatable dolls, to the current elaborate cyber-technology figures, in an attempt to discover the hidden drives and desires which fuel this ongoing fantasy of creating a perfect, powerless, silent partner.

In The Queer Games Avant-Garde, Bonnie Ruberg presents twenty interviews with twenty-two queer video game developers whose radical, experimental, vibrant, and deeply queer work is driving a momentous shift in the medium of video games. Speaking with insight and candor about their creative practices as well as their politics and passions, these influential and innovative game makers tell stories about their lives and inspirations, the challenges they face, and the ways they understand their places within the wider terrain of video game culture. Their insights go beyond typical conversations about LGBTQ representation in video games or how to improve “diversity” in digital media. Instead, they explore queer game-making practices, the politics of queer independent video games, how queerness can be expressed as an aesthetic practice, the influence of feminist art on their work, and the future of queer video games and technology. These engaging conversations offer a portrait of an influential community that is subverting and redefining the medium of video games by placing queerness front and center. Interviewees: Ryan Rose Aceae, Avery Alder, Jimmy Andrews, Santo Aveiro-Ojeda, Aevee Bee, Tonia B******, Mattie Brice, Nicky Case, Naomi Clark, Mo Cohen, Heather Flowers, Nina Freeman, Jerome Hagen, Kat Jones, Jess Marcotte, Andi McClure, Llaura McGee, Seanna Musgrave, Liz Ryerson, Elizabeth Sampat, Loren Schmidt, Sarah Schoemann, Dietrich Squinkifer, Kara Stone, Emilia Yang, Robert Yang

Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games—because video games have, in fact, always been queer.

When La's car gets a puncture out in the countryside, the man who lives nearest proves recalcitrantly helpful. She ends up falling asleep in his armchair and wakes to intense guilt at neglecting her daughter back in Reykjavik, followed by shock at what she finds in her helper's back room - half-finished, life-size silicone women hanging from hooks. Sveinn, her host, is a craftsman; he makes sex dolls. In his workshop La is overcome with a surprising reverence, and acting on a mad notion of salvation, she steals one of the dolls for her troubled daughter Margret. For the first time ever, La finds she is a thief. And worse, when her friends and family greet her plans with incredulity, she finds that there is another more awful theft, beyond her expectations and her understanding. Bereft and adrift, how can La save her daughter from herself and what can she learn from Sveinn's loneliness? Two people who fear responsibility putting themselves in harm's way, Sveinn and La dance a fascinating dance in this striking novel from Iceland's most celebrated young novelist.

'Illuminating, witty and written with a wide open mind' Sunday Times The idea of the seductive sex robot is the stuff of myth, legend and science fiction. From the myth of Laodamia in Ancient Greece to twenty-first century shows such as Westworld, robots in human form have captured our imagination, our hopes and our fears. But beyond the fantasies there are real and fundamental questions about our relationship with technology as it moves into the realm of robotics. Turned On explores how the emerging and future development of sexual companion robots might affect us and the society in which we live. It explores the social changes arising from emerging technologies, and our relationships with the machines that someday may care for us and about us. Sex robots are here, and here to stay, and more are coming. Computer scientist and sex-robot expert Kate Devlin is our guide as we seek to understand how this technology is developing. From robots in Greek myth and the fantastical automata of the Middle Ages through to the sentient machines of the future that embody the prominent AI debate, she explores the 'modern' robot versus the robot servants we were promised by twentieth century sci-fi, and delves into the psychological effects of the technology, and issues raised around gender politics, diversity, surveillance and violence. This book answers all the questions you've ever had about sex robots, as well as all the ones you haven't yet thought of.