Abstract

Keith Stuart’s 2016 novel, A Boy Made of Blocks, employs Minecraft as a technological utopia where the central characters -- Alex and his son Sam (who has been diagnosed with Autism Spectrum Disorder [ASD]) -- can “be free of themselves” (133). This techno-utopia is a space separated from their everyday lives where the pair can experience adventure within the safety of the game and build an emotional connection but is also informed by the neoliberal regime and evolving videogame culture. Alex is trapped in his roles of father, husband, son, and brother while simultaneously being expected to guide his son, conform to the 9-to-5 office environment as a mortgage broker, and support his family. Similarly, Sam is expected to follow the unspoken rules and etiquette of neurotypical society, to perform his role of son, student or friend in normate fashion. But Stuart’s novel leaves these expectations at the log-in screen. The virtual world removes the emotional barrier between the pair, allowing them to discuss excitement, happiness, and grief. Sam and Alex utilise Minecraft as a digital space, where “the logic is unerring”, to reconnect with each other (133).
As such, this chapter makes two arguments. Firstly, I argue that Alex and Sam’s performances as avatars in the novel enables Stuart to critique and simultaneously subscribe to aspects of post-millennial neoliberalist society, engaging specifically with self-help culture. Secondly, I show how the novel tackles cultural perceptions of ASD and how Sam’s representation interlinks with the novel’s representation of neoliberalism. This chapter interrogates A Boy Made of Blocks through a primary framework that engages with performance studies and affect theory, informed by videogame culture and I argue that Stuart’s novel navigates the complexity of building relationships in a neoliberal and digital age.