This document discusses online gaming and social interaction. It covers Massively Multiplayer Online games (MMOs) like World of Warcraft and Second Life, which allow users to interact through avatars. MMOs provide a space for social interaction beyond home and work. Relationships can form in MMOs, even between family members playing together. Avatars give a sense of protection and allow users to escape everyday roles and statuses. However, analysis of game data found excessive profanity, sexual references, and racial slurs commonly used in online discourse and verbal interactions between players.
AQA Project
PAPATHANASSIS D., PANTAZIS P., TRAKAS I., PANTAZIS L. (Junior High Doukas School)
Supervisor: Yannis Kotsanis
The Glogster EDU version...
http://game4.edu.glogster.com/game-history
AQA Project
PAPATHANASSIS D., PANTAZIS P., TRAKAS I., PANTAZIS L. (Junior High Doukas School)
Supervisor: Yannis Kotsanis
The Glogster EDU version...
http://game4.edu.glogster.com/game-history
Hi there, this is a PowerPoint presentation on Gaming technology. Feel free to use it for education and presentation purposes. Follow me on Instagram.
Id:thunderbird_boy99
Introduction to Game Development and the Game IndustryNataly Eliyahu
Talk about games and the game industry at She Codes meeting at the Weizmann Institute of Science.
Basic introduction to the game industry and what to learn to get into game programming.
This publication attempts to introduce the industry of eSports to the average person.
eSports is a growing industry, and it is my belief that it is currently positioned to make a radical impact to today's society - not only through the lens of entertainment and media - but many other ways society operates.
With increasing viewership, prize pools, and influence, eSports has evolved to more than just a game.
Hi there, this is a PowerPoint presentation on Gaming technology. Feel free to use it for education and presentation purposes. Follow me on Instagram.
Id:thunderbird_boy99
Introduction to Game Development and the Game IndustryNataly Eliyahu
Talk about games and the game industry at She Codes meeting at the Weizmann Institute of Science.
Basic introduction to the game industry and what to learn to get into game programming.
This publication attempts to introduce the industry of eSports to the average person.
eSports is a growing industry, and it is my belief that it is currently positioned to make a radical impact to today's society - not only through the lens of entertainment and media - but many other ways society operates.
With increasing viewership, prize pools, and influence, eSports has evolved to more than just a game.
Сравнительный анализ древних (по словарю Махмуда Кашгари) и современных тюркских языков. Лексика тюркских языков сравнивается по стословному списку Сводеша.
Indie Games Developer Pitch Deck templatePaul Gray
Bubble Gum Interactive has produced this pitch template for Indie Games developers to use when seeking investor funding.
This template is free to use by anyone, anywhere.
Good luck with your pitching!
The Psychology of the Player & Game Character Design and Representation by Sh...Sherry Jones
Dec. 6, 2015 - This presentation explores many psychological theories that can help us understand how players think, and how game characters should be designed.
The Metagame Book Club is a K-12 and College professional development institution that offers free webinars, discussions, live chats, and other interactive activities on the topics of game-based learning, game studies, gamification, and games in general.
Interested in joining us? Visit our website here:
The Metagame Book Club
http://bit.ly/metagamebookclub
Session slides prepared for MAC281. Material is concerned with ludology and narratology in relation to video games. Also touches on issues surrounding emergent narratives
Loading… The Journal of the Canadian Game Studies Association.docxsmile790243
Loading… The Journal of the Canadian Game Studies Association
Vol 9(14): 40-54
http://loading.gamestudies.ca
Renegade Sex: Compulsory Sexuality and Charmed
Magic Circles in the Mass Effect series
Meghan Blythe Adams
The University of Western Ontario
[email protected]
Abstract
This article examines portrayals of sexuality in video games, particularly in terms of the increasing
inclusion of queer and non-normative sexuality. This increasing diversity of representations
remains rife with problems, however, ranging from the privileging of female queer identity over
male queer identity in much of the Mass Effect series, to the “gay button” issue of having queer
content only accessible through player effort to locate it. In order to examine both this progress
and its problems, this article primarily uses close readings of game texts including the Mass Effect
series, supplemented by key existing critical work on in-game sexuality (Consalvo, 2003; Shaw,
2009; Greer, 2013). The article begins with an application of Adrienne Rich’s concept of
“compulsory heterosexuality” to game worlds and examines the privileging of certain sexual
activities and identities in games using Gayle S. Rubin’s concept of the “charmed circle”. Both of
these concepts are applied to games more generally, and then to the work of game development
studio BioWare particularly with a focus on their Mass Effect series. This article concludes with a
consideration of some work by independent developers that both expand and critique the
hierarchies of sex and what the mainstream game development community could learn from these
projects.
Author Keywords
Sexuality; video games; Bioware; charmed circle; compulsory heterosexuality
Introduction
This analysis aims to raise questions about the mandatory performance and privileging of
particular sexual identities in video games, first through examining the explicitly heterosexual
narratives of classic game series like Super Mario, and then the more narratively and
performatively diverse romantic side-quests in modern Role Playing Games (RPG) like Mass
Effect. In BioWare’s Mass Effect series in particular, the romantic side-quest has progressed, with
some difficulty, beyond the compulsive heterosexuality of the classic video game. Specifically,
this compulsive heterosexuality is a particular iteration of Adrienne Rich’s (1980) “compulsory
heterosexuality”; the key difference between the two is that while “compulsory heterosexuality”
is a privileged societal norm than can be refused, the compulsive heterosexuality of the classic
video game demands that the player perform a heterosexual player-character or cease playing the
game altogether.
41
The scope of choice in a video game literalizes and ultimately closes Gayle S. Rubin’s “charmed
circle” of sexuality (1984, p. 153), rendering what falls outside the circle impossible for the player
to enact. Normally, ...
"The Gamer Identity and Representations of Gender and Race in Games" by Sherr...Sherry Jones
November 9, 2014 - This is my Game Studies presentation for the Metagame Book Club titled: "The Gamer Identity, Representations of Gender and Race in Games."
Interested in joining fellow educators to learn more about gaming in education? Access the free book club here:
Metagame Book Club
http://bit.ly/metagamebookclub
Co-creative meaning and Resident Evil Outbreak : Re-writing Representations i...Joanna Robinson
Discusses the concept of co-creative media and how representations of gender are co-created by audiences as participants in Resident Evil Outbreak, drawn from my Masters research into gender representations and identity in REO.
This is the Powerpoint used for my guest lecture at the Popular Culture Forum at Brock University March 2, 2007.
Argument may be difficult to follow without the rest of my verbal explanation, but I wanted to share it anyway.
2. Contents of Presentation
Online Gaming and MMO‟s
„Second Life‟ and Social interaction
Application of Social interaction to Online Gaming
Relationships in MMO‟s
The „Avatar‟
Online Verbal and Expressive Discourse of Communication
Analysis of Data
Conclusion
3. Online Gaming and MMO‟s
An interaction that has grown substantially since the
releases of the 2nd and 3rd Generation consoles (PS2 and
Xbox to Xbox 360 and PS3) onwards.
4. Online Gaming and MMO‟s
MMO
Massive Multiplayer Online Games
Also Associated with
MMORPGS (Massive Multiplayer Online Role Playing Games)
World of Warcraft
Second Life
MMOs are graphical two-dimensional (2-D) or three-dimensional (3-D)
videogames played online, allowing individuals, through their self-created
digital characters or „„avatars,‟‟ to interact not only with the gaming software
but with other players (Steinkuehler and Williams 2006: 886).
A new form of social interaction that involves both sitting in front of a screen
and interacting.
… a bonus, instead of just being in front of a tv screen you can also socially
interact while being in front on the screen.
5. „Second Life‟ and Social
Interaction
What is Secondlife? (0.01-1.10)
http://www.youtube.com/watch?v=O62GHcIVKS4
Second Life Dispute in Virtual Club
http://www.youtube.com/watch?v=UtYfxhvhEeE&feature=rela
ted
Mimic of the real world in terms of
business and social discourses.
6. Application of Social
Interaction to Online Gaming
“by providing spaces for social interaction and
relationships beyond the workplace and home, MMOs
have the capacity to function as one form of a new „„third
place‟‟ for informal sociability” (Steinkuehler and Williams
2006: 885)
Evidence suggests that some people enjoy playing alone
or in a „„pseudo-social‟‟ fashion (Ducheneaut, Yee, Nickell,
& Moore 2006).
7. Relationships in MMO‟s
Yee (2006) reveals that individuals who game with romantic
partners or family find that such joint engagement in the „„other
world‟‟ of MMOs allows them to redefine the nature and
boundaries of their offline relationships, often in more equitable
terms than what may be possible in day-to-day offline life.
“In regard to gaming with her daughter, one interviewee
remarks:
I think it has enhanced our relationship, we both treat each other
more like equals and partners in our private life. It is much
easier to talk to her now and I have found her talking to me
about much more of her life and ideas. (Yee, 2006)”
(Steinkuehler and Williams 2006: 891).
8. Application of Social
Interaction to Online Gaming
„people can be sociable only when they have some protection
from each other‟ (Sennett 1977: 331).
Goffman‟s dramaturgy is affected by MMO‟s and other forms of
online gaming
Front stage becomes inert in the virtual world as the performer
is backstage most likely in a living room or bedroom.
In the virtual world the player is still assuming the roles of a
performer, the actions in the game contribute to face in the
virtual world but in many ways the percussions of the
performance will not carry through to the real world.
The „Avatar‟ or „Role‟ as a form of protection of self and others.
Reduction of Social Boundaries.
9. The „Avatar‟ as Protection
Excerpt from an in-game interview with a renowned guild leader in Lineage I
illustrating how avatar-mediated social interaction can foster a more level playing field
10. The „Avatar‟
Steinkuehler and Williams identify that the Virtual World
character in role-playing games gives the player as sense
of leadership, power and belonging.
Individual‟s rank and status in the home, workplace, or
society are of no importance (Oldenburg, 1999)
“The boundary of the game world creates a sense of
moratorium from everyday roles” (Meyrowitz, 1985)
11. Online Verbal and Expressive
Discourse of Communication
Language Discourse of Sexual and Aggressive verbally
oriented communication.
Mediated Identity
12. Online Verbal and Expressive
Discourse of Communication
Caution High Levels of Profanity
Modern Warfare 3 Gameplay
http://www.youtube.com/watch?v=1SfWWoY00RM
Halo Reach Teabagging
http://www.youtube.com/watch?v=Y7JMMOgV6IE&feature=r
elated
13. Analysis of Data
Secondlife Dispute in Virtual Club
According to Second Life users “Club Booty” as representative
of many second life virtual clubs.
High Levels of Profanity with sexual and racial connotations
The tern nigger was used at total of 72 times in the 5 min clip
The words “Mother Fucker, Fuck etc” used 43
Example of sexually oriented profanity is the use of “you dick riding
ass nigger”.
• The Language frame identity position suggests that there is a
struggle between to avatars in „club booty‟. According to the
gamers based on the comments the excessive use of profanity
and open public disputes is the norm of the virtual club
environment.
• There is an obvious power struggle between the two individuals
attempting to prove who is the better role player.
14. Analysis of Data
Call of Duty, Modern Warfare 3 Gameplay
High use of profanity
High levels of sexual and racial references
“my knife just went in your fucking balls nigger, you can eat that shit for breakfast and
dinner homeboy”
“This dirty ass, bitch ass, African looking , furball, dick sucking, hoe ass, nigger man, oh
my god”.
“Your mumma said you look like a fucking deformed fucking fat bitch with not tits”.
• The Language frame identity position suggests that „stuntman‟ has control over the
game chat and controls it through excessive rambling and the use of profanity.
• Not a dispute rather a loud ramble to his friend and other gamers in the in game chat,
it is important to identify that he has muted the other players besides his friend in the
game chat stopping himself from hearing the response of others. There is no power
struggle as the other players have been muted, the only power struggle that exists is
within the game itself.
15. Analysis of Data
Halo Reach Teabagging
Exemplifies the norm of sexually oriented expressive
gameplay common across the entire online gaming industry.
16. Conclusion
Based on the Data and the information presented the
online gamer in online games including MMO‟s are
surrounded by social interaction dependent on the real
world. The player can remain „back stage‟ while
performing virtually through a computer or gaming
console. The Avatar or role that is assumed by players
reduces the social barriers of the physical world and face
to face interaction allowing the common language of
casual profanity to assume its position in the system.