Digital games are increasingly part of a cyberculture engendered by digital platforms. With this in mind, we approach in this work some considerations about World of Warcraft players as fans and content producers and the narrative disputes that emerge about the game on fan work publishing platforms (Archive of Our Own and DeviantArt). We analyzed a vast set of fanfics and fanarts collected on these platforms, showing a textuality that involves not only the digital game, but a whole network of fan production that expands beyond the act of playing. Our observations show that, despite the popular perception that World of Warcraft fandom is mostly male and heteronormative, women and LGBTQI+ people are a large participatory audience and produce a lot of content, especially in the fanfic universe. The works created are also quite marked by narratives of dissident bodies and sexualities. However, despite the presence of these subjects and narratives in the fandom, this content is made invisible in DeviantArt, which privileges male artists and heteronormative fanarts of a commercial nature.

翻译：数字游戏日益成为数字平台所创造的网络文化的一部分。 牢记这一点,我们在此工作中将一些关于魔兽玩家作为粉丝和内容制作者的世界的考虑,以及粉丝作品出版平台(《我们自己的艺术》和《邪恶的艺术》)游戏中出现的叙述性争议。 我们分析了这些平台上收集的一大批粉丝和风扇,展示了不仅涉及数字游戏,而且涉及整个粉丝制作网络的文本质量,它不仅涉及数字游戏,而且涉及超出游戏行为范围的粉丝制作网络。 我们的观察显示,尽管人们普遍认为魔兽狂热世界大部分是男性和异族的,但妇女和LGBT和LGBTQI+的人是一个广泛的参与性受众,产生了许多内容,特别是在粉丝世界中。所创作的作品还相当有异见身体和性生活的描述。然而,尽管在风扇中存在这些主题和描述,但Deviant艺术中却看不到这一内容,它赋予男性艺术家和具有商业性质的异性色彩的粉丝。