The Last of Us, Part 2 and the Christian Limits of "Jewish Representation" in Corporate Art.
In this article I present a case study of one of the most massively popular, hugely expensive, and globally influential works of culture ever made, the video game The Last of Us, Part 2 (2020), with particular attention to its creators' deliberate effort to offer "Jewish representation" to its audie...
| Publicado en: | Jewish Social Studies Vol. 30; no. 1; pp. 1 - 35 |
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| Formato: | Artículo |
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Indiana University Press
Spring/Summer2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=186138500&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 186138500 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00216704 JWS jtl: Jewish Social Studies issn: 00216704 maglogo: N pubinfo: dt: Spring/Summer2025 vid: 30 iid: 1 pid: 211 pub: Indiana University Press artinfo: ui: 186138500 10.2979/jss.00021 ppf: 1 ppct: 34 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: The Last of Us, Part 2 and the Christian Limits of "Jewish Representation" in Corporate Art. aug: au: Lambert, Josh su: Video games Strategy games Jewish identity Hegemony Genealogy sug: subj: Video games Strategy games Jewish identity Hegemony Genealogy keyword: Jewish representation survival video games ab: In this article I present a case study of one of the most massively popular, hugely expensive, and globally influential works of culture ever made, the video game The Last of Us, Part 2 (2020), with particular attention to its creators' deliberate effort to offer "Jewish representation" to its audiences. I survey contemporary discourse about "Jewish representation" and Jewishness in video games, and attend in detail to the strategies of this particular game's creators for including Jewish characters and content. Drawing on Adam Y. Stern's recent "theological-political genealogy" of "survival," I demonstrate that when a corporation spends hundreds of millions of dollars to produce a cultural product for a global audience, even what that product's creators earnestly intend as "Jewish representation" can, instead, reflect Christian hegemony. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Jewish Social Studies is the property of Indiana University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Jewish Social Studies holder: Indiana University Press dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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