为电子游戏的奇异潜力辩护
虽然关于电子游戏中古怪的流行讨论通常集中在大名鼎鼎、以LGBTQ角色为特色的主流游戏上，如大众效应或《龙腾时代》，但邦妮·鲁伯格将游戏中古怪的概念推广到了表象之外，探索如何以古怪的方式玩、解释和设计电子游戏，无论它们是否包含明显的LGBTQ内容。电子游戏一直都很奇怪。他认为，电子游戏的媒介本身可以——也应该——被奇怪地解读。
在第一本致力于将游戏研究和酷儿理论联系起来的书中，鲁伯格抵制了一种常见的、简化的叙事，即游戏只是现在变得更加多样化。鲁伯格展示了雷丁·D·A·米勒（reading D.A.Miller）可以为2007年流行的视频游戏门户网站带来什么，或者伊芙·塞奇威克（Eve Sedgwick）为Pong提供了什么，他模拟了游戏世界为玩家提供探索酷儿体验、情感和欲望的机会的方式。当玩家试图在《八达》中“过关”或探索《倦怠：复仇》中失败的乐趣时，鲁伯格断言，即使在一个被证明公开敌视那些被视为不同的人的主导游戏文化中，酷儿也总是属于电子游戏——因为电子游戏实际上一直都是酷儿。
Video Games Have Always Been Queer
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.
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