Book Reviews

versary of the signing of the Declarationof Independence. And, he also expands
his coverage to three-wheeled vehicles
by recounting his experiences riding in arikshaw in oppressively crowded Dkaka,Bangladesh, dubbed the “rikshaw capitalof the world” (p. 221).
A few years ago, I was cruising on
the Seine in France when I witnessed ayoung man on the shore heave his bike
into the river, a scene that illustrated firsthand Rosen’s point that today waterways
in France, England, and The Netherlands
have become common depositories forunwanted or stolen bicycles. (I think thefellow I observed had fallen off his bikeand gave it a watery burial in a fit of anger.)
So Rosen is cognizant of both the abuses
as well as the uses of this universal vehicle.
Rosen’s book is replete with information
like this, as well as his own experiences,that make it an engaging read.
A disappointment for me is that
Rosen barely mentions the importance ofbicycles to childhood and play. Not until
page 252 does he make the point that “achild’s first bike ride . . . enacts the flightfrom the clutches of adult caretakers.” Asanyone who grew up riding a bike canattest, this simple invention has been central to a youngster’s quest for freedom.
True, a kid might have used it to run
errands for the family, but mostly theirride was one of escape to join peers in actsof independent play and joy. Rosen’s use ofrecollections of such acts of release frominterviews and autobiographies or, better
yet, from young people’s own voices would
have enriched the book.
—Howard P. Chudacoff, Brown University,
Providence, RI

Cosplay: A HistoryAndrew Liptak
New York: Saga Press, 2022. Foreword,introduction, acknowledgments. 368 pp.
$24.99, paper. ISBN: 9781534455825
Andrew Liptak’s Cosplay: A History discusses the development, creativity, andplayfulness of fan costumes. In recentyears, cosplay (the dress-up and reenactment of fictional characters) has become
more popular at conventions and socialmedia. By now, it is a well-known practice within fan cultures and also known by
outsiders. Liptak’s book explores the history of these cultures in detail. Through its
many examples and cases, it paints a lively
picture of these cultures, as well as theirparticipants and their passion for costuming. The book provides insider views
as well, drawing from Andrew Liptak’s
experience as a journalist, historian, andmember of the costuming organization ofStar Wars’ The 501st Legion.
Cosplay: A History discusses thelong history of cosplay and cosplaying,including such traditions as Halloween.
Cosplay’s development happened alongside the growing popularity of fan conventions. Different competitions, groups,and scenes emerged and gradually became
more international, as Liptak explains.
Recent trends in cosplay are discussed aswell. Cosplay, for instance, is increasingly
mediated by internet platforms. Liptak
discusses the different technologies thatdrive cosplay and are used to create communities, share tutorials, photoshoots, andnew types of content. How have online
forums, social media, and gaming contributed to the success of cosplay? Liptak
traces the development of these different

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P L AYplatforms and also examines what formsof cosplay content have flourished lately,such as YouTube videos, TikTok dancing,and streaming.
The design of costumes takes a prominent role in the book as well. Liptak, forinstance, explores the ways in which fansand makers add to existing stories andcharacters. Why do fans choose to represent characters in costume, and what is therelationship between franchises and costuming? The book provides many insights
around this, as well as the maker culture ofcosplay. How do fans, for instance, movefrom amateur to pro and sell their own
costumes? What does professional cosplay
look like?
Furthermore, readers can findinsights on the legalities of cosplay, itseconomy, the aftermath of the COVID19 pandemic, and more. Liptak’s work
offers an insightful and comprehensive
guide of fan costuming as a practice, asstorytelling, and as a subculture. It is an
exhaustive work about this practice thatwill certainly be of use to media and fanscholars, and to fans interested in the practice. My only complaint is that the work
explores specific histories of costuming
at the expense of others. It focuses moreon the development of fan costumes in a
Northern American context than on thatin Japan and other countries. This limitation could have been corrected by drawing from other cosplay scholarship anddocumentation to compare more acrosscultures. However, the subcultures themselves, particularly in Western countries,
as well as their complexity, are studiedin great detail in this book. Liptak, forinstance, provides some nuanced reflections on gatekeeping in these commu-nities, as well as their sexist and racist
aspects. More broadly speaking, the bookalso includes sections on cosplay and politics and on protest cosplay and activism.
Although cosplay is not an inclusive hobby
yet, it can be used to spur change.
A key strength of the book is that it isvery accessible and outlines the history ofcosplay in a clear and thorough way. The
poignant cases and examples really bringthis volume to life. Overall, Cosplay: A History is a full guide to cosplay for newcomers and long-term fans. This is a fantastic
read if you have a passion for cosplay but
also if you want to know more as an outsider.
—Nicolle Lamerichs, Utrecht University ofApplied Sciences, Utrecht, Netherlands

Gaming Sexism: Gender andIdentity in the Era of Casual
Video Games
Amanda C. CoteNew York: NYU Press, 2020.
Introduction, conclusion,acknowledgments, appendix,
gameography, notes, bibliography, index,
and about the author. 280 pp. $30.00,
paper. ISBN: 9781479802203
Amanda Cote has undertaken an ambitious project in Gaming Sexism, whichseeks both to explore the already completed academic work about gaming sexism and to fill in the existing gaps. In aday and age when the attempts to reverse
women’s rights are growing in Western
society, it is particularly pertinent toexplore women’s experiences in all fields—