This paper introduces the Techno-Biographical Reflexive Atelier (TeBRA), a collaborative autoethnographic method designed to explore how personal narratives intersect with sociotechnical systems over time. Drawing on three editions involving eleven participants, we examine how the method supports situated reflection, creative expression, and collective sense-making around lived technological experiences. TeBRA combines four interconnected elements: techno-biographical narratives, multimodal self-expression activities, retelling of others’ narratives, and collective reflection distributed across four sessions. Using participants’ reflections on artificial intelligence as an illustrative case, we argue that TeBRA supports collective reflection and can serve as a safe space for participants to share concerns, negotiate perspectives, and critically engage with contemporary sociotechnical transformations. We contribute a first-person methodological approach for HCI that expands collaborative autoethnographic inquiry through relational interpretation, multimodal expression, and reflexive engagement with the socio-cultural conditions shaping people’s relationships with technology.

The deep gender gap present in the digital games sector can be seen as a revealing function of gendered spaces. As such, it is essential to analyze the genderization's micro-processes in these specific contexts. This paper will explore the possible causes of female under-representation in the gaming sector through data collected in the qualitative research conducted with students and professionals employed in the Portuguese gaming industry. This study's main aim was to identify the factors that condition the professional (non) choice in Portugal's digital games area and how these differ according to the individual's gender. We conducted empirical research with students and professionals in Portugal's digital games sector, namely focus groups with students and interviews with professionals. In presenting and discussing the data, we prioritized the participants' narratives, using excerpts to illustrate the chosen analysis categories. In the analytical process, it was possible to identify that the professional (non)choice in digital games goes through the contact with video games since childhood, the experience of creating their games before entering college, family influence, and differs according to the gender. The results of this research suggest at least three different fallacies: 1) the fallacy of programming; 2) the fallacy of digital games' “unviability”; 3) and the fallacy of digital games as a gendered artifact. Overall, this study offers a contextualized analysis of the processes and practices that result in (and produce) gender inequalities in the digital gaming industry, specifically how these inequalities impact career (non) choice.