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 into the ways in which Orson Scott Card's thoughts on heteronormativity are reflected through structural subtleties in the novel. The 2013 film adaptation of Ender's Game also includes an emphasis on the element of heterosexuality, which further reinforces Card's disgust 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 through Card's production choice to heighten the significance of heterosexual relationships in the film. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In the article "Kill the Bugger: Ender's Game and the Question of Heteronormativity," author James Campbell mentions several subtleties that, if read carefully, highlight Card's constant 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 a foreign planet. He is asked to save the Earth from the aliens who inhabit it, called "baggers". Implicit in the title of the response article, the term "bugger" is perhaps the most obvious sign. The word "bugger" is a British slang term for a homosexual male or a practice of sodomy. Ender is ordered to violently kill all these bastards, 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 called the aliens 'buggers'" (493). The paper probably also included the bastards in the story to serve as political scapegoats. According to Campbell, "the threat of the bastards is a propaganda ploy by the powers that be to frighten the population, 'because as long as people are afraid of the bastards, the IF can remain in power, some countries can maintain their hegemony' (Map 110 )” (500). As long as people are unsure how to understand and react towards homosexuals, the politically advantaged are able to remain in power. Card writes history in such a way that the enemy defines the accepted community, which corresponds to a quote from an article published by Card entitled “The Hypocrites of Homosexuality”: “[Gays] must, in other words, obey the rules that define what that community is rules should honestly admit the fact and withdraw from membership” (Paper par. 14). Similarly, Card expresses his feelings regarding the true purpose of homosexuals through Mazer Rackham's monologue on strategies for killing hives of bastards: “ Murder is no big deal to them. Only the killing of the queen, in reality, is murder, because only the killing of the queen closes a genetic path” (Map 270). According to Campbell, “for Card, genetic potential is synonymous with real life” (503). Using this point of view, Card implies that homosexuals are worthless because they provide no pro-creative benefit. Stating that the murder of bastards would be meaningless, he once again expresses his belief in the uselessness of homosexuals. There are also several characters whose traits reflect Card's beliefs. According to Campbell, Orson Scott Card created thecharacter Bonzo to represent the convergence of “homosexual desire and homophobic violence” (496). Ender emphasizes his physical attractiveness: “There was a boy, tall and slender, with beautiful black eyes and thin hips that hinted at refinement. I would follow such beauty anywhere, something inside Ender said” (Map 76). When Ender is transferred from the Battle School to the Commander School, Bonzo becomes angry and says, “Someday I'll take the piss out of you” (Card 88), which Campbell interprets as a reference to sodomy on the part of Card. When Bonzo enters the bathroom with his helpers to attack Ender, he chooses a time and place where Ender is most vulnerable: the shower. Campbell equates this scene with a fight in a prison shower or a 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 a further anti-homosexual symbol of Card. It is also arguable that since Bonzo dies shortly after making a violent homosexual advance on Ender, he is killed. This may be Card's way of subliminally pointing out that homosexuals face an inevitable end if they choose to act on their sexuality. Campbell also draws a parallel between the novel's physical structures and homosexual allusions. Campbell compares the layout of the battle room to sodomy, stating that this "may represent the greatest nudge and wink in the novel, the battle room itself" (Campbell 497), continuing to explain that "it doesn't take a reader unusually perverse to understand." locate sexual support: armies fight until the strongest team penetrates the opponent's corridor” (Campbell 497). Each player strives to shoot other players to freeze them and prevent them from penetrating the opponent's corridor. Campbell argues that this is a subliminal message from Card, implying that the common goal among humans should be to end sodomy practices. The players' desperate attempts to keep the opposing team from entering their hallway may symbolize Card's desire for all homosexuals to stop engaging in such relationships. In addition to the underlying similarities throughout the novel mentioned by Campbell, there are several distinct scenes in which Orson Scott Card's negative feelings surface about homosexuality. When Ender transfers to the Rat Army commanded by Rose the Nose, Rose tells him not to "mess with his [computer] desk" (Card 101). All the other children then laugh, and Ender realizes that it is because Rose "programmed her desk to display and animate a life-size image of male genitalia, which swayed back and forth while Rose held the desk on her bare knees " (Sheet 101). This scene makes the homosocial relationships in the novel more literal. Rose uses her computer to display her male power, explicitly telling Ender not to "screw" her genitals. Card writes this homosexual reference in a way that makes the other children laugh at Rose's phallic expression, which mocks homosexuality in a potentially offensive way. There are many other clear moments in history where homosexuality is portrayed negatively. Ender sends an anonymous message as “God” directed to Bernard over the communications system: “Cover your butt. Bernardo looks" (Map 55). This is a clear expression of Card's opinion on the unnaturalness of sodomy. Since the message came from “God,” we can assume that Card finds it divinely wrong and inappropriate on the highest level. Ender responds to this message with “I love your butt. Let me kiss it,” (Card 55) sentnamed “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 ruler of the room has been shattered. Now only a few remained with him” (Map 85). This shows that the quickest way to weaken an enemy in this story is to accuse him 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'" (Exhibit 69). The word "salaam" means peace, which should bring a positive reaction to Ender. However, Ender has an opposite feeling about this interaction: "Ender sensed that kissing and speaking were somehow forbidden" (Card 69). Although there is no direct disapproval from the bystanders, Ender feels deeply disconcerted by Alai's display of friendship. Card proves once again that any homosexual affection, be it 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 Salamander Army is so prevalent in the film, yet almost imperceptible in the book. When Ender joins the Salamander Army, Petra trains him to bring him on par with the other members of their team in the battleroom. There is very dramatic physical contact between Ender and Petra, and their eye contact is also cinematically emphasized. Through these intentional, yet awkward interactions, the relationship between Ender and Petra is highly sexualized and a strong emphasis is placed on heterosexual values. Although this romance was not written as a significant part of the novel, Orson Scott Card was credited as the film's producer, 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 purpose other than to add something to the plot. By emphasizing the value and importance of heterosexual relationships, Card expresses his opinion on the superiority of heterosexuality over homosexuality, without being offensive. Given that this was a multi-million dollar film, it's understandable that Card didn't want to scare his audience with blatant anti-homosexual references on screen. Many people are still against the film regardless. There is a campaign called “Skip Ender's Game,” made up of LGBT protesters trying to urge people not to see the film adaptation in theaters, 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 us sexual deviants and criminals. As an activist, he served on the board of the National Organization for Marriage and campaigned against our civil rights. Now he is the producer of the film Ender's Game. Don't let your box office money fuel his anti-gay agenda." In fact, Card has a history of fighting homosexuality which probably influenced his writing. In 1990, he supported criminalization.