[Commlist] Call for chapters: Playing with the Family: Mafias, Organised Crime, and Video Games

*Call for chapters: Playing with the Family: Mafias, Organised Crime, 
and Video Games *

*Key dates (submission guidelines below)*

Abstracts (500 words) due by 1 October 2024

Chapters (6-8,000 words) due by 1 February 2025

Discussions at the /History of Games /conference held at Birmingham City 
University, UK, earlier this year showed that, among the diverse themes 
explored in video games, the portrayal of the mafia stands out as a 
particularly rich and multifaceted topic. Mafia organisations (Paoli 
2020) have been a compelling subject in popular culture for decades, 
captivating audiences with a blend of glamour, power, and moral 
ambiguity (see, for example, Dowler, Fleming, and Muzzatti 2006; 
Larke-Walsh 2010). From literature and cinema to contemporary television 
series, the allure of the mafia has been a consistent theme (Di Ronco 
and Lavorgna 2018). Video games, with their unique capacity for 
interactive storytelling, offer a new dimension to this fascination, and 
the representation of organised crime in video games not only provides 
entertainment but also raises critical questions about the history, 
ethics, and cultural impact of these narratives (Pitroso 2020; Lupetti 
2023; Seiwald 2024). Through gameplay, players can engage with the 
intricate power dynamics, moral dilemmas, and violent realities of the 
mafia world, making choices that can lead to different outcomes and 
experiences.

The complexity of mafia organisations as cultural icons is reflected in 
their portrayal in video games. Titles such as the /Mafia /series 
(1998–2020), the /Grand Theft Auto /series (1997–2025), the /Yakuza 
/series (2005–2024), /The Godfather /(2006), /Hotline Miami / (2012) and 
/Hotline Miami 2: Wrong Number /(2015) provide a range of perspectives 
on organised crime, from the romanticised rise and fall of gangsters to 
the gritty, street-level view of criminal activities. These games often 
draw on historical events, cultural myths, and cinematic tropes, 
creating rich, immersive narratives that resonate with players.

The portrayal of the mafia in video games and other media is not without 
controversy, however. Issues of cultural representation, ethical 
implications, and the potential influence of these portrayals on 
players’ attitudes and behaviours are important considerations. For 
instance, the glamorisation of crime and violence, the reinforcement of 
ethnic and gender stereotypes, and the moral choices presented to 
players can all have significant impacts. Understanding these aspects 
requires a multidisciplinary approach, drawing on insights from game 
studies, history, cultural studies, criminology, sociology, and media 
studies, amongst other disciplines.

This edited collection seeks to explore the myriad ways in which the 
mafia, and organised crime more generally, is represented in video 
games, examining its impact on both the gaming industry and broader 
cultural discourses. By bringing together diverse perspectives and 
methodologies, we aim to provide a comprehensive analysis of the 
intersections between crime, culture, and digital narratives. We invite 
scholars, researchers, and practitioners to contribute to this edited 
collection, addressing a range of questions and topics related to the 
portrayal of the mafia in video games, including but not limited to:

*Historical Accounts vs. Fictionalisation *

  * The balance between historical accounts and creative storytelling
    about the mafia in video games.
  * Case studies of specific games that depict real-life mafia events or
    figures.
  * The history of the emergence of mafia-themed video games.
  * Mafia-esque games without any real-life equivalents.
*Representation and Stereotypes *

  * Analysis of ethnic and cultural representations within mafia-themed
    games.
  * The representation of women, gender, or sexuality in mafia-themed
    games.
  * The role of stereotypes and their implications for players’
    perceptions of different communities.
*Narrative and Gameplay Mechanics *

  * The narrative structures and tropes of mafia games.
  * Examination of gameplay mechanics that facilitate the mafia
    experience, such as open-world environments, mission-based
    storytelling, and moral choices.
*Ethics and Morality *

  * The moral dilemmas presented to players within mafia narratives.
  * Ethical considerations in the design and play of games featuring
    organised crime.
*Players, Audiences, Fandoms *

  * Discussions on the glamorisation of crime and its potential
    influence on players’ real-world attitudes and behaviours.
  * Player perceptions and audience reception of games that centre on
    the mafia and organised crime.
  * Fan work and player practices in relation to mafia games.
*Transmedia and Cross-Cultural Comparisons *

  * The portrayal of the mafia across different media (film, television,
    literature) and how these depictions influence video games.
  * Comparative studies of mafia representations in games from different
    cultural contexts.
*Politics and Industry *

  * The relationship between mafia-themed games and politics.
  * The link between real-world mafias and video games.
  * Insights from game developers, designers, and writers on creating
    mafia-themed games.
  * Market trends and the commercial success of mafia-related titles.

*Submission Guidelines *

Interested contributors are invited to submit a 500-word abstract (excl. 
references) outlining their proposed chapter, along with a brief 
biographical note (200 words) to Regina Seiwald ((R.Seiwald /at/ bham.ac.uk) 
<mailto:(R.Seiwald /at/ bham.ac.uk)>) and Nick Webber ((nick.webber /at/ bcu.ac.uk) 
<mailto:(nick.webber /at/ bcu.ac.uk)>) by *1st October 2024*. Full chapters 
(6,000-8,000 words) will be due by *1st February 2025*. All submissions 
will undergo rigorous peer-review to ensure the highest scholarly standards.

*References *

Di Ronco, Anna and Ania Lavorgna. 2018. “Changing representations of 
organized crime in the Italian press.” /Trends in Organized Crime /21: 
1-23. DOI: 10.1007/s12117-016-9270-7

Dowler, Kenneth, Thomas Fleming, and Stephen L. Muzzatti. 2006. 
“Constructing Crime: Media, Crime, and Popular Culture.” /Canadian 
Journal of Criminology and Criminal Justice/La Revue canadienne de 
criminologie et de justice pénale /48(6): 837–850. 
DOI:10.3138/cjccj.48.6.837

/The Godfather/. 2006. EA Redwood Shores, Headgate Studios, Page 44 
Studios/Electronic Arts. /Grand Theft Auto/. 1997–2025. Rockstar North, 
Digital Eclipse, Rockstar Leeds, Rockstar Canada/Rockstar Games.


/Hotline Miami/. 2012. Dennaton Games/Devolver Digital.


/Hotline Miami 2: Wrong Number. /2015. Dennaton Games, 
Abstraction/Devolver Digital.

Larke-Walsh, George S. 2010. /Screening the Mafia: Masculinity, 
Ethnicity, and Mobsters from /The Godfather /to /The Sopranos. 
Jefferson, NC: McFarland.

Lupetti, Matteo. 2023. “Tragic Heroes and Vicious Murderers: The Mafia 
in Video Games.” /Fanbyte/, July 13, 2023. Available at 
https://www.fanbyte.com/legacy/tragic-heroes-and-vicious- 
murderers-the-mafia-in-video-games, accessed July 27, 2024.

/Mafia/. 1998–2020. 2K Czech, Hangar 13/Gathering of Developers, 2K Games.


Paoli, Letizia. 2020. “What Makes Mafias Different?” /Crime and Justice: 
A Review of Research /49: 141–222.


Pitroso, Giulio. 2020. “Mafia and the Representation of Italians.” 
/Transactions of the Digital Games Research Association /5 (1): 45–76. 
DOI:10.26503/todigra.v5i1.110


Seiwald, Regina. 2024. “La Famiglia: The Mafia and Videogames.” Keynote 
at History of Games 2024, Birmingham, 23 May.


/Yakuza/. 2005–2024. Ryu Ga Gotoku Studio, New Entertainment R&D Dept., 
Syn Sophia/Sega, Deep Silver.


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