Ender's Game, a novel by Orson Scott Card, is a form of anti-homosexual propaganda. The essay "Kill the Bugger: Ender's Game and the Question of Heteronormativity" by James Campbell delves deeper into how Orson Scott Card's thoughts on heteronormativity are reflected through the structural intricacies of the novel. The 2013 film adaptation of Ender's Game also emphasizes the element of heterosexuality, which further reinforces Card's distaste towards homosexuality. Card's anti-homosexual thoughts are expressed through the underlying analogies in the novel mentioned by Campbell. His views are emphasized in specific scenes throughout the novel, as well as in Card's production choice, to increase the importance of heterosexual relationships in the film. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"?Get an original essayIn the article "Kill the Bugger: Ender's Game and the Question of Heteronormativity", author James Campbell mentions several subtleties that, when read carefully, highlight Card's continued insults toward homosexuals. Ender's Game tells the story of Ender Wiggin, a six-year-old boy who is recruited to attend Battle School to train to command an army to attack an alien planet. He is responsible for saving Earth from the aliens who inhabit it, called the “buggers”. Implied by the title of the response article, the term "bugger" is perhaps the most obvious sign. The word "bugger" is a British slang term for either a male homosexual or the practice of sodomy. Ender is tasked with violently murdering all these buggers, implying Card's desire to eliminate all homosexuals. As quoted in "Kill the Bugger," literary analyst Norma Spinrad said, "It is hard to believe that Card was unaware of the obvious sexual connotations when he named the aliens 'buggers'" (493). Card probably also included the buggers in the story to serve as a political scapegoat. According to Campbell, “the threat of the buggers is a propaganda ploy by the powers that be to frighten the population, “because as long as people are afraid of the buggers, the IF can stay in power, certain countries can keep their hegemony.” (Map 110) » (500). Until people know how to understand and respond to homosexuals, the politically privileged can remain in power. Card writes the story in such a way that the enemy defines the accepted community, which corresponds to a quote from an article Card published entitled "The Hypocrites of Homosexuality": "[Gays] must, in other words, obeying the rules that define what homosexuality is. this community is. Those who are unwilling or unable to obey the rules must honestly admit this and withdraw their membership” (Map par. 14). Similarly, Card expresses his feelings about the true purpose of homosexuals through Mazer Rackham's monologue about strategies for killing bugger hives: “Murder is no big deal to them. In reality, only the killing of queens is murder, because only the killing of queens closes a genetic pathway” (Map 270). According to Campbell, “for Card, genetic potential is synonymous with real life” (503). By employing this view, Card implies that homosexuals are worthless because they provide no procreative benefit. By asserting that the murder of the buggers would be insignificant, he once again expresses his conviction about the uselessness of homosexuals. There are also several characters whose traits reflect Card's beliefs. According to Campbell, Orson ScottCard created the character of Bonzo to represent the convergence of “homosexual desire and homophobic violence” (496). Ender emphasizes his physical attractiveness: “There was a boy there, tall and slender, with beautiful dark eyes and slender hips that gave a glimpse of refinement. I would follow such beauty anywhere, says something inside Ender” (Card 76). When Ender transfers from Combat School to Commander School, Bonzo angrily says, "I'll have your ass one day" (Card 88), which Campbell interprets as a reference to sodomy by Card. When Bonzo enters the bathroom with his henchmen to attack Ender, he chooses a time and place where Ender is most vulnerable: the shower. Campbell likens this scene to a prison shower fight or gang rape: “such acts have a violent and sexual component” (Campbell 496). Ender ends Bonzo's life by kicking him in the groin, which Campbell sees as another anti-homosexual symbol of Card. It can also be argued that because Bonzo dies shortly after making a violent homosexual advance on Ender, he is killed. This could be Card's way of subliminally pointing out that homosexuals have an inevitable end if they choose to act on their sexuality. Campbell also draws parallels between the novel's physical structures and homosexual innuendo. Campbell compares the arrangement of the fight room to sodomy, stating that it "may represent the greatest nudge and wink of the novel, the fight room itself" (Campbell 497), continuing to explain that “it does not take a particularly perverse reader to detect a sexual basis: armies fight until the strongest team enters the opposing lane” (Campbell 497). Each player strives to shoot other players to freeze them and prevent them from entering the opposing lane. Campbell argues that this is a subliminal message from Card, implying that the common goal of humans should be to end sodomy practices. The players' desperate attempts to prevent the opposing team from entering their lane could symbolize Card's wish that all homosexuals stop engaging in such relationships. In addition to the underlying analogies throughout the novel mentioned by Campbell, there are several distinct scenes where Orson Scott Card's character negative feelings about homosexuality surface. When Ender is transferred to the Rat Army commanded by Rose the Nose, Rose tells him not to "mess around with his desk [computer]" (Card 101). All the other kids then laugh, and Ender realizes that it's because Rose "programmed her desk to display and animate a larger-than-life image of male genitalia, which wiggled back and forth while Rose held the desk on his bare knees.” (Map 101). This scene makes homosocial relationships more literal in the novel. Rose uses her computer to show off her masculine power, while explicitly telling Ender not to "fuck up" his genitals. Card writes this homosexual reference in a way that makes the other children laugh at Rose's phallic display, which mocks homosexuality in a potentially offensive way. There are several other clear moments in the story where homosexuality is portrayed negatively. Ender sends an anonymous message as "God" addressed to Bernard over the comm system: "Cover your butt. Bernard looks” (Card 55). This is a clear expression of Card's opinion on the unnatural nature of sodomy. Since the message comes from "God", we can assume that Card finds it divinely false andinappropriate at the highest level. Ender responds to this message with “I like your butt. Let me kiss him” (Card 55) sent under the name “Bernard”. This message angers Bernard and he sees it as a challenge to his sexuality and, more profoundly, to his superiority: “Bernard's attempt to be the master of the room has been shattered. Only a few remain with him now” (Map 85). This demonstrates that the quickest way to undermine an enemy in this story is to accuse them of being homosexual. Card's beliefs about homosexuality are expressed through the effectiveness of this method of attack, implying that being homosexual is a diminishing quality. A third direct reference to the forbidden nature of homosexuality is demonstrated through another character interaction. When Alai sends Ender to the salamander army, “Alai suddenly kisses Ender on the cheek and whispers in his ear. 'Salaam'” (Card 69). The word "salaam" means peace, which should elicit a positive reaction from Ender. However, Ender feels the opposite of this interaction: "Ender guessed that the kiss and the word were somehow forbidden" (Card 69). Although there is no direct disapproval from the onlookers, Ender feels deeply disconcerted by Alai's display of friendship. Card demonstrates once again that any same-sex affection, whether it is a sign of peace, sexual attraction, or friendship, is wrong and should not be tolerated. The film adaptation of Ender's Game, directed by Gavin Hood, increases the role of heterosexual relationships. – suggesting that heterosexuality is dominant over homosexuality. The sexual tension between Ender and his friend Petra in the Salamanders army is so prevalent in the film, and yet barely noticeable in the book. When Ender joins the Salamanders army, Petra trains him to bring him up to par with the other members of their team in the battle room. There is a lot of dramatic physical contact between Ender and Petra, and their eye contact is also emphasized cinematically. Through these intentional but awkward interactions, Ender and Petra's relationship is highly sexualized and there is a strong emphasis on heterosexual values. Although this romance was not written as a significant part of the novel, Orson Scott Card was credited as producer of the film, so it is likely that he initiated or approved this insertion. Especially because the characters are so young – especially too young to engage in romantic relationships – this romance feels forced and probably serves a different purpose than adding to the storyline. By emphasizing the value and importance of heterosexual relationships, Card expresses his opinion on the superiority of heterosexuality over homosexuality, without being offensive. Since this is a multi-million dollar film, it's understandable that Card doesn't want to scare his audience with blatant anti-gay references on screen. Many people are still against the film. There is a campaign called "Skip Ender's Game", made up of LGBT protesters who are trying to urge people not to see the film adaptation in theaters, in order to prevent Card from making more money. Their message on the front page of their website states: “Ender's Game author Orson Scott Card is more than an 'opponent' of marriage equality. As a writer, he spread degrading lies about LGBT people, calling them sexual deviants and criminals. As an activist, he served on the board of directors of the National Organization for Marriage and campaigned against our civil rights. He is now a producer on the film Ender's Game. Don't let your box office dollars fuel his agenda.