This document provides an overview of a research paper examining how the video game industry appeals to and repels female consumers. It begins with introducing the topic and outlines the paper's focus on identifying the appeals of video games and how they correlate with preferences of female demographics. The document then discusses the appeal of video games in terms of converging one's ideal and actual self, player immersion and gaming experience. It also examines female concerns with video games related to gender portrayal, violence, social interaction and competitiveness. Finally, it categorizes types of female gamers into power gamers, moderate gamers and non-gamers, describing their characteristics and preferences.
The role of structural characteristics in problem video game playingMarcelo Pesallaccia
This document provides a review of the literature on structural features of video games and their potential role in excessive video game playing. It discusses how features like variable ratio schedules of reinforcement, concurrent tasks, and grinding behaviors may influence player involvement, even when not enjoyable. However, more research is still needed to better understand how specific game features impact normal versus problem players. The review calls for future studies using experimental and longitudinal methods to assess key features and identify what problem players seek from games.
This dissertation examines gender representation of female and male video game characters in reviews published on select video game journalism websites. The literature review discusses previous research that found female characters are often portrayed negatively as hypersexualized objects, damsels in distress, or in subordinate/subservient roles. Meanwhile, male characters tend to be depicted positively as capable heroes. Exposure to such portrayals through video games and their coverage in journalism can influence societal attitudes about appropriate gender roles and behaviors. The study aims to analyze screenshots and text from websites like IGN, Kotaku, GameSpot, and GameInformer to determine how reviews represent gender.
This document provides a research statement and plan for a study on entertainment experiences in video games. The study aims to explore if the model of entertainment experiences applied to films, which looks at hedonic (pleasure) and eudaimonic (appreciation) experiences, is also valid for video games. The study will survey hardcore players of the real-time strategy game Total War: Attila about their experiences using validated scales. The expected results are that the study will provide insights into the relationship between video game components and players' hedonic and eudaimonic experiences.
Med122 digital games: narrative and playRob Jewitt
This document discusses debates around how digital games are understood and analyzed. It outlines the narratology and ludology approaches, where narratology focuses on games as storytelling media and ludology emphasizes games as systems of rules and player interaction. The document also discusses how games combine both narrative elements and principles of play, challenging the notion that these are mutually exclusive. It provides examples of games studied through each lens and debates around player agency, character design, and the relationship between gameplay and narrative.
"Narrative Design and the Psychology of Emotions and Immersion in Games" by S...Sherry Jones
Nov. 23, 2015 - This presentation discusses various psychological theories employed in game design to induce player emotions and sense of immersion.
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
This document provides an introduction to a cultural analysis of massively multiplayer online games (MMOs) as a form of sport. It discusses how MMOs allow millions of users to interact through avatars in a virtual environment in team-like and sporting ways on a daily basis. The introduction examines previous research on gaming and argues that MMOs deserve unique study due to their social and persistent virtual worlds where cooperation and competition between players is important.
This document summarizes a research paper about how video games can teach essential life skills. It discusses how video games may enhance critical thinking, complex problem solving, empathy and sympathy, and visual spatial processing. It provides examples of how games like Uncharted 4, Metal Gear Solid V, and Portal teach these skills. The document concludes that while more research is still needed, many studies have shown video games' potential to impart important skills beyond just entertainment.
The document discusses eliciting different emotions through videogames, including sadness. It summarizes a study that tested players' emotional responses to 14 games. While emotions like surprise, anger, disgust, fear and happiness were successfully elicited, interactive sequences did not elicit sadness. Sadness was only elicited through non-interactive cutscenes. The document proposes designing games to elicit sadness through creating attachment to characters, rupturing attachments, and allowing passive player interaction through virtual body touch to create empathy. Overcoming challenges in interactive sadness could help address problems like low female demographics and diminishing interest from lack of depth.
The role of structural characteristics in problem video game playingMarcelo Pesallaccia
This document provides a review of the literature on structural features of video games and their potential role in excessive video game playing. It discusses how features like variable ratio schedules of reinforcement, concurrent tasks, and grinding behaviors may influence player involvement, even when not enjoyable. However, more research is still needed to better understand how specific game features impact normal versus problem players. The review calls for future studies using experimental and longitudinal methods to assess key features and identify what problem players seek from games.
This dissertation examines gender representation of female and male video game characters in reviews published on select video game journalism websites. The literature review discusses previous research that found female characters are often portrayed negatively as hypersexualized objects, damsels in distress, or in subordinate/subservient roles. Meanwhile, male characters tend to be depicted positively as capable heroes. Exposure to such portrayals through video games and their coverage in journalism can influence societal attitudes about appropriate gender roles and behaviors. The study aims to analyze screenshots and text from websites like IGN, Kotaku, GameSpot, and GameInformer to determine how reviews represent gender.
This document provides a research statement and plan for a study on entertainment experiences in video games. The study aims to explore if the model of entertainment experiences applied to films, which looks at hedonic (pleasure) and eudaimonic (appreciation) experiences, is also valid for video games. The study will survey hardcore players of the real-time strategy game Total War: Attila about their experiences using validated scales. The expected results are that the study will provide insights into the relationship between video game components and players' hedonic and eudaimonic experiences.
Med122 digital games: narrative and playRob Jewitt
This document discusses debates around how digital games are understood and analyzed. It outlines the narratology and ludology approaches, where narratology focuses on games as storytelling media and ludology emphasizes games as systems of rules and player interaction. The document also discusses how games combine both narrative elements and principles of play, challenging the notion that these are mutually exclusive. It provides examples of games studied through each lens and debates around player agency, character design, and the relationship between gameplay and narrative.
"Narrative Design and the Psychology of Emotions and Immersion in Games" by S...Sherry Jones
Nov. 23, 2015 - This presentation discusses various psychological theories employed in game design to induce player emotions and sense of immersion.
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
This document provides an introduction to a cultural analysis of massively multiplayer online games (MMOs) as a form of sport. It discusses how MMOs allow millions of users to interact through avatars in a virtual environment in team-like and sporting ways on a daily basis. The introduction examines previous research on gaming and argues that MMOs deserve unique study due to their social and persistent virtual worlds where cooperation and competition between players is important.
This document summarizes a research paper about how video games can teach essential life skills. It discusses how video games may enhance critical thinking, complex problem solving, empathy and sympathy, and visual spatial processing. It provides examples of how games like Uncharted 4, Metal Gear Solid V, and Portal teach these skills. The document concludes that while more research is still needed, many studies have shown video games' potential to impart important skills beyond just entertainment.
The document discusses eliciting different emotions through videogames, including sadness. It summarizes a study that tested players' emotional responses to 14 games. While emotions like surprise, anger, disgust, fear and happiness were successfully elicited, interactive sequences did not elicit sadness. Sadness was only elicited through non-interactive cutscenes. The document proposes designing games to elicit sadness through creating attachment to characters, rupturing attachments, and allowing passive player interaction through virtual body touch to create empathy. Overcoming challenges in interactive sadness could help address problems like low female demographics and diminishing interest from lack of depth.
This document provides an overview of gamification and how it can be used to improve user retention on websites. It defines key elements of games and gamification, explaining that gamification aims to harness intrinsic motivation to motivate users to complete goals. A case study of TOMS' rewards program is presented, along with analysis of user data from the travel site Border Tramp. The document proposes applying gamification principles such as achievements, leaderboards, and charitable donations to Border Tramp in order to increase user engagement and retention.
The document is a 2011 report from the Entertainment Software Association (ESA) that provides sales, demographic, and usage data about the computer and video game industry. Some key facts include:
- 72% of American households play computer or video games, with the average gamer age being 37. 29% of gamers are over age 50.
- The average age of the most frequent game purchaser is 41. 52% of frequent purchasers are male and 48% are female.
- 55% of gamers play games on their phones or handheld devices. 65% of gamers play games with others in person.
- 91% of parents are present when games are purchased and
Disempowerment Fantasies: How taking power away from players can create bette...Valentina Tamer
I've held this talk at Intel® Buzz Workshop Berlin 2018, on February 2nd 2018. The slides were designed as a visual supplement and summary of my talk. If you are interested in this subject matter, feel free to contact me.
-
Video games have often been regarded as power fantasies. Yet many releases contradict this assumption and center gameplay around powerlessness, like the survival horror genre. This talk seeks to deconstruct the role of power in video games, analyze the various mechanics of disempowerment and suggest how actively taking power from the player may serve as a tool for making better games.
"Everything I need to know I learnt from World of Warcraft": why we might nee...Martin Oliver
Ascilite 2010 keynote
"Everything I need to know I learnt from World of Warcraft": why we might need to start asking better questions about games, simulations and virtual worlds
Like many areas of educational technology research, a lot of the work that focuses on games, simulations and virtual worlds consists of case studies that demonstrate proof of concept, enthusiastic position pieces or success stories. All of this is important: we need to know what sort of things we can use these technologies to do, so as to build a broader repertoire of teaching practices. However, this kind of focus neglects a range of other questions and issues that may prove more important in the longer term.
For example, educational research about games typically emphasises the way that playing motivates players; it ignores how successful games (such as massively multiplayer online games) often feel like work, and it also glosses over the way that bringing a game inside the curriculum changes the way that 'players' relate to it. There are also inconsistencies in the way games are thought about: the idea that they cause violence is often criticised as over-simplistic, yet the idea that they cause learning isn't. In virtual worlds, opportunities to create new identities is widespread, but questions about how this relates to our embodied relationships are rarely asked. In simulations, 'realism' is celebrated - but this means that simulations will always be second best to actual experiences, and it ignores how groups can disagree about whether something is realistic or not. Across this work, the complexity of learning and teaching seems hidden by the desire to promote the value of these technologies.
This talk will offer some examples of work that, in small ways, try to engage with these kinds of issue. Different priorities will be suggested, which invite a new kind of engagement with research and practice in this area.
Post 911 the rise of nationalist video games that capitalised on ideologies a...Alaistair Ashe
This document discusses how some post-9/11 video games capitalized on nationalist ideologies and portrayed "the other" in a way that could influence public opinion and be used as recruitment tools. It analyzes two specific games, Syphon Filter 3 and Medal of Honor: Rising Sun, noting how Syphon Filter 3's plot about terrorism was deemed too sensitive after 9/11 and delayed, while Medal of Honor depicted the Pearl Harbor attack in a way that drew parallels to 9/11 and portrayed Japanese enemies as fanatical and suicidal. Scholars cited argue that video games can reinforce dominant ideas and indoctrinate ideologies, so it is important to educate people on how games spread certain views of nationalism and "
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
This document discusses three entry points for brands to engage with gamers:
1) Integrating brands directly into existing games to raise awareness in a non-intrusive way, like Ford promoting their cars in The Sims.
2) Partnering with popular games and movies to create special branded levels and apps, like Universal Pictures working with Doodle Jump.
3) Creating their own branded games, though it notes brands often had limited success with this in the past and now focus more on partnering with popular titles.
The overall message is that gaming is a massive social activity and brands can benefit by finding subtle ways to engage users within these interactive communities rather than interrupting gameplay with obvious ads.
This document discusses why games are fun and why educators should care about games. It begins by defining what a game is, examining previous definitions of games, and proposing that a game exists in a unique mental state called the "gamestate." The document then outlines eight elements of successful game design: sensation, fantasy, narrative, challenge, fellowship, discovery, expression, and submission. It discusses specific considerations for educational games, including individual and interpersonal motivations. The document concludes by discussing gamification and thanking the audience.
The document compares the sci-fi films Divergent and The Hunger Games. Both films have a female protagonist who demonstrates bravery - Tris in Divergent volunteers to jump from a building, while Katniss volunteers for the Hunger Games instead of her sister. Their societies are divided into factions/districts that isolate people from one another. The films also share superb cinematography with fluid camera movements during chase scenes, as well as futuristic settings like control systems and serums that alter perceptions. Overall, the document analyzes the similarities in characters, themes and techniques between the two popular dystopian films.
Video games are electronic games that involve interaction with a user interface to generate visual feedback. They are played on various platforms like computers, consoles, and mobile devices. Over time, video games have evolved from simple arcade and console games to include different genres like casual, serious, and core games. They can provide entertainment but also convey information through genres like serious and tactical games. Video games now generate billions in annual sales worldwide.
"Studying Video Games as Ideological Texts" by Sherry Jones (October 24, 2014)Sherry Jones
My presentation for Metro State University of Denver's Teaching and Learning with Technology Conference 2014, held on October 24, 2014.
Educators! Register now for the #Metagame Book Club! The book club will run from November 1-21, 2014. I will be your Track 1: Game Studies facilitator. We will be reading interesting and enlightening academic papers on current theories and controversies in gaming and game studies.
#Metagame Book Club Registration Page
http://bit.ly/metagamebooksignup
#Metagame Book Club Home Page
https://sites.google.com/site/metagamebookclub/
This chapter traces the early history and development of video games from their origins in the late 1940s through the rise and fall of Atari in the late 1970s-early 1980s. Some key events and developments discussed include:
- The invention of the cathode ray tube in 1947 which enabled early experiments in interactive electronics and games.
- The creation of early games in the 1950s-1960s like Nimrod, OXO, Tennis for Two, and Spacewar!.
- The release of Computer Space in 1971 and the Magnavox Odyssey home console in 1972 which helped commercialize the emerging video game industry.
- The breakthrough success of Atari's Pong arcade game in 1972
Game Studies Download 2009 - Top 10 Research FindingsJane McGonigal
Ian Bogost, Mia Consalvo, and Jane McGonigal present a curated list of the top 10 most interesting, surprising, and useful findings from game studies research over the past year. Presented at the 2009 Game Developers Conference
The Emotional Spectrum Developed by Virtual StorytellingNelson Zagalo
The document summarizes a study on eliciting emotions through virtual storytelling and video games. Researchers tested subjects' emotional responses to sequences from 14 games. They found that games could successfully elicit emotions like surprise, anger, disgust, fear and happiness. However, sadness was only elicited through non-interactive cutscenes, not fully interactive gameplay. This suggests virtual storytelling has limitations in eliciting certain emotions interactively, like sadness, which may lower engagement from certain demographics.
Gamification is a process of using game thinking and mechanics to engage users. This concept can be applied to both customer facing applications and employee facing applications in the company’s business model. Enterprise architects must be ready to manage a variety of “player types” (achievers, socializers, explorers and killers) and deployment scenarios. BBVA Innovation Edge' is the first corporate iPad magazine focused on innovation. Each edition features articles, analysis and huge information about a particular theme. The main purpose of the magazine is to express the new trends and the upcoming technologies that may impact to the financial industry.
The document discusses the concept of "flow" which refers to a state of complete focus and engagement in an activity where one's skills are fully utilized and challenges are at an optimal level. Key aspects of flow include clear goals, direct feedback, and a loss of self-consciousness. Researchers have found it typically takes years to experience flow in an activity through building skills. However, video games are designed to quickly immerse players in a challenging experience that can induce a state of flow.
This document provides instructions for a case study assignment on video game addiction. Students are asked to choose a game released in the last 5 years and discuss its terminology, audio design, genre characteristics, graphics, and engines. They must also include a paragraph quoting an article on video game addiction. Sources for the addiction section and a sample paragraph are provided.
On the Explicit and Implicit Effects of In-Game AdvertisingSimon Usiskin
In this thesis, a study is reported on the effects of in-game advertising. The study combines qualitative and quantitative methods. Interviews with in-game advertising professionals have been conducted to help understand the current thoughts of professionals about the effectiveness of in-game advertising and how it is currently used within the industry. After that an experiment was conducted to investigate the effectiveness of in-game billboards using a paper questionnaire and an Implicit Association Test. The professionals were pessimistic about the current state of in-game advertising, optimistic about its possibilities and potential, but noted that game developers were hesitant to conduct research themselves out of fear for unbeneficial results. The experimental results provide evidence for the positive effects of in-game brands on the explicit and implicit attitudes and possible moderating effects of cognitive capacity. Additionally, it was found that recognition may play an important role in the effects of in-game advertising on the explicit attitude.
Graphics, playability and social interaction, the greatest motivations for pl...Beatriz Marcano Lárez
Abstract (http://naerjournal.ua.es/article/view/v3n1-5)
War videogames raise a lot of controversy in the educational field and are by far the most played videogames worldwide. This study explores the factors that encouraged gamers to choose war videogames with a sample of 387 Call of Duty players. The motivational factors were pinpointed using a non-experimental descriptive exploratory study through an online Likert-type survey that was valid and reliable (Cronbach’s α = 0.897, Kaiser-Meyer-Olkin coefficient, KMO: 0.903). A factor analysis with varimax rotation was applied, which yielded 7 dimensions: graphics/playability; social interaction; learning; challenge/overcoming; fantasy; fun; and competition. Considering the score obtained for each dimension, it can be concluded that the most influential motivational factors were game graphics/playability game and the social interaction allowed by its multiplayer online status, both of them being factors determined by game design elements. These aspects should be considered in the design of educational activities so as to make them impactful and motivational.
The Psychology of Aggression and Video GamesSandra Knecht
This document reviews research on the relationship between violent video games and aggression. It discusses foundational research on observational learning of aggression and the differences between video games and other media. Studies have found both short-term increases in aggressive behaviors and attitudes from playing violent video games as well as potential long-term effects. However, the direction of the relationship is unclear, as trait aggression may influence game preferences as well. More research is still needed to fully understand the complex interaction between individuals and gaming experiences over time.
This paper examines the debate around whether violent video games increase aggression in young people. It provides background on the rise of video game violence since the 1970s and increasing exposure of adolescents. The paper then reviews the debate, noting challenges in defining and measuring aggression across cultures. It presents the General Aggression Model, which proposes that violent media can activate aggressive knowledge structures through proximal and distal risk factors. The paper summarizes three studies that provide evidence for the model, finding short-term increases in aggression from violent games and longitudinal links between game violence exposure and later hostility and aggression. While more research is still needed, the paper argues the evidence supports causal claims about the effects of video game violence on aggression.
This document provides an overview of gamification and how it can be used to improve user retention on websites. It defines key elements of games and gamification, explaining that gamification aims to harness intrinsic motivation to motivate users to complete goals. A case study of TOMS' rewards program is presented, along with analysis of user data from the travel site Border Tramp. The document proposes applying gamification principles such as achievements, leaderboards, and charitable donations to Border Tramp in order to increase user engagement and retention.
The document is a 2011 report from the Entertainment Software Association (ESA) that provides sales, demographic, and usage data about the computer and video game industry. Some key facts include:
- 72% of American households play computer or video games, with the average gamer age being 37. 29% of gamers are over age 50.
- The average age of the most frequent game purchaser is 41. 52% of frequent purchasers are male and 48% are female.
- 55% of gamers play games on their phones or handheld devices. 65% of gamers play games with others in person.
- 91% of parents are present when games are purchased and
Disempowerment Fantasies: How taking power away from players can create bette...Valentina Tamer
I've held this talk at Intel® Buzz Workshop Berlin 2018, on February 2nd 2018. The slides were designed as a visual supplement and summary of my talk. If you are interested in this subject matter, feel free to contact me.
-
Video games have often been regarded as power fantasies. Yet many releases contradict this assumption and center gameplay around powerlessness, like the survival horror genre. This talk seeks to deconstruct the role of power in video games, analyze the various mechanics of disempowerment and suggest how actively taking power from the player may serve as a tool for making better games.
"Everything I need to know I learnt from World of Warcraft": why we might nee...Martin Oliver
Ascilite 2010 keynote
"Everything I need to know I learnt from World of Warcraft": why we might need to start asking better questions about games, simulations and virtual worlds
Like many areas of educational technology research, a lot of the work that focuses on games, simulations and virtual worlds consists of case studies that demonstrate proof of concept, enthusiastic position pieces or success stories. All of this is important: we need to know what sort of things we can use these technologies to do, so as to build a broader repertoire of teaching practices. However, this kind of focus neglects a range of other questions and issues that may prove more important in the longer term.
For example, educational research about games typically emphasises the way that playing motivates players; it ignores how successful games (such as massively multiplayer online games) often feel like work, and it also glosses over the way that bringing a game inside the curriculum changes the way that 'players' relate to it. There are also inconsistencies in the way games are thought about: the idea that they cause violence is often criticised as over-simplistic, yet the idea that they cause learning isn't. In virtual worlds, opportunities to create new identities is widespread, but questions about how this relates to our embodied relationships are rarely asked. In simulations, 'realism' is celebrated - but this means that simulations will always be second best to actual experiences, and it ignores how groups can disagree about whether something is realistic or not. Across this work, the complexity of learning and teaching seems hidden by the desire to promote the value of these technologies.
This talk will offer some examples of work that, in small ways, try to engage with these kinds of issue. Different priorities will be suggested, which invite a new kind of engagement with research and practice in this area.
Post 911 the rise of nationalist video games that capitalised on ideologies a...Alaistair Ashe
This document discusses how some post-9/11 video games capitalized on nationalist ideologies and portrayed "the other" in a way that could influence public opinion and be used as recruitment tools. It analyzes two specific games, Syphon Filter 3 and Medal of Honor: Rising Sun, noting how Syphon Filter 3's plot about terrorism was deemed too sensitive after 9/11 and delayed, while Medal of Honor depicted the Pearl Harbor attack in a way that drew parallels to 9/11 and portrayed Japanese enemies as fanatical and suicidal. Scholars cited argue that video games can reinforce dominant ideas and indoctrinate ideologies, so it is important to educate people on how games spread certain views of nationalism and "
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
This document discusses three entry points for brands to engage with gamers:
1) Integrating brands directly into existing games to raise awareness in a non-intrusive way, like Ford promoting their cars in The Sims.
2) Partnering with popular games and movies to create special branded levels and apps, like Universal Pictures working with Doodle Jump.
3) Creating their own branded games, though it notes brands often had limited success with this in the past and now focus more on partnering with popular titles.
The overall message is that gaming is a massive social activity and brands can benefit by finding subtle ways to engage users within these interactive communities rather than interrupting gameplay with obvious ads.
This document discusses why games are fun and why educators should care about games. It begins by defining what a game is, examining previous definitions of games, and proposing that a game exists in a unique mental state called the "gamestate." The document then outlines eight elements of successful game design: sensation, fantasy, narrative, challenge, fellowship, discovery, expression, and submission. It discusses specific considerations for educational games, including individual and interpersonal motivations. The document concludes by discussing gamification and thanking the audience.
The document compares the sci-fi films Divergent and The Hunger Games. Both films have a female protagonist who demonstrates bravery - Tris in Divergent volunteers to jump from a building, while Katniss volunteers for the Hunger Games instead of her sister. Their societies are divided into factions/districts that isolate people from one another. The films also share superb cinematography with fluid camera movements during chase scenes, as well as futuristic settings like control systems and serums that alter perceptions. Overall, the document analyzes the similarities in characters, themes and techniques between the two popular dystopian films.
Video games are electronic games that involve interaction with a user interface to generate visual feedback. They are played on various platforms like computers, consoles, and mobile devices. Over time, video games have evolved from simple arcade and console games to include different genres like casual, serious, and core games. They can provide entertainment but also convey information through genres like serious and tactical games. Video games now generate billions in annual sales worldwide.
"Studying Video Games as Ideological Texts" by Sherry Jones (October 24, 2014)Sherry Jones
My presentation for Metro State University of Denver's Teaching and Learning with Technology Conference 2014, held on October 24, 2014.
Educators! Register now for the #Metagame Book Club! The book club will run from November 1-21, 2014. I will be your Track 1: Game Studies facilitator. We will be reading interesting and enlightening academic papers on current theories and controversies in gaming and game studies.
#Metagame Book Club Registration Page
http://bit.ly/metagamebooksignup
#Metagame Book Club Home Page
https://sites.google.com/site/metagamebookclub/
This chapter traces the early history and development of video games from their origins in the late 1940s through the rise and fall of Atari in the late 1970s-early 1980s. Some key events and developments discussed include:
- The invention of the cathode ray tube in 1947 which enabled early experiments in interactive electronics and games.
- The creation of early games in the 1950s-1960s like Nimrod, OXO, Tennis for Two, and Spacewar!.
- The release of Computer Space in 1971 and the Magnavox Odyssey home console in 1972 which helped commercialize the emerging video game industry.
- The breakthrough success of Atari's Pong arcade game in 1972
Game Studies Download 2009 - Top 10 Research FindingsJane McGonigal
Ian Bogost, Mia Consalvo, and Jane McGonigal present a curated list of the top 10 most interesting, surprising, and useful findings from game studies research over the past year. Presented at the 2009 Game Developers Conference
The Emotional Spectrum Developed by Virtual StorytellingNelson Zagalo
The document summarizes a study on eliciting emotions through virtual storytelling and video games. Researchers tested subjects' emotional responses to sequences from 14 games. They found that games could successfully elicit emotions like surprise, anger, disgust, fear and happiness. However, sadness was only elicited through non-interactive cutscenes, not fully interactive gameplay. This suggests virtual storytelling has limitations in eliciting certain emotions interactively, like sadness, which may lower engagement from certain demographics.
Gamification is a process of using game thinking and mechanics to engage users. This concept can be applied to both customer facing applications and employee facing applications in the company’s business model. Enterprise architects must be ready to manage a variety of “player types” (achievers, socializers, explorers and killers) and deployment scenarios. BBVA Innovation Edge' is the first corporate iPad magazine focused on innovation. Each edition features articles, analysis and huge information about a particular theme. The main purpose of the magazine is to express the new trends and the upcoming technologies that may impact to the financial industry.
The document discusses the concept of "flow" which refers to a state of complete focus and engagement in an activity where one's skills are fully utilized and challenges are at an optimal level. Key aspects of flow include clear goals, direct feedback, and a loss of self-consciousness. Researchers have found it typically takes years to experience flow in an activity through building skills. However, video games are designed to quickly immerse players in a challenging experience that can induce a state of flow.
This document provides instructions for a case study assignment on video game addiction. Students are asked to choose a game released in the last 5 years and discuss its terminology, audio design, genre characteristics, graphics, and engines. They must also include a paragraph quoting an article on video game addiction. Sources for the addiction section and a sample paragraph are provided.
On the Explicit and Implicit Effects of In-Game AdvertisingSimon Usiskin
In this thesis, a study is reported on the effects of in-game advertising. The study combines qualitative and quantitative methods. Interviews with in-game advertising professionals have been conducted to help understand the current thoughts of professionals about the effectiveness of in-game advertising and how it is currently used within the industry. After that an experiment was conducted to investigate the effectiveness of in-game billboards using a paper questionnaire and an Implicit Association Test. The professionals were pessimistic about the current state of in-game advertising, optimistic about its possibilities and potential, but noted that game developers were hesitant to conduct research themselves out of fear for unbeneficial results. The experimental results provide evidence for the positive effects of in-game brands on the explicit and implicit attitudes and possible moderating effects of cognitive capacity. Additionally, it was found that recognition may play an important role in the effects of in-game advertising on the explicit attitude.
Graphics, playability and social interaction, the greatest motivations for pl...Beatriz Marcano Lárez
Abstract (http://naerjournal.ua.es/article/view/v3n1-5)
War videogames raise a lot of controversy in the educational field and are by far the most played videogames worldwide. This study explores the factors that encouraged gamers to choose war videogames with a sample of 387 Call of Duty players. The motivational factors were pinpointed using a non-experimental descriptive exploratory study through an online Likert-type survey that was valid and reliable (Cronbach’s α = 0.897, Kaiser-Meyer-Olkin coefficient, KMO: 0.903). A factor analysis with varimax rotation was applied, which yielded 7 dimensions: graphics/playability; social interaction; learning; challenge/overcoming; fantasy; fun; and competition. Considering the score obtained for each dimension, it can be concluded that the most influential motivational factors were game graphics/playability game and the social interaction allowed by its multiplayer online status, both of them being factors determined by game design elements. These aspects should be considered in the design of educational activities so as to make them impactful and motivational.
The Psychology of Aggression and Video GamesSandra Knecht
This document reviews research on the relationship between violent video games and aggression. It discusses foundational research on observational learning of aggression and the differences between video games and other media. Studies have found both short-term increases in aggressive behaviors and attitudes from playing violent video games as well as potential long-term effects. However, the direction of the relationship is unclear, as trait aggression may influence game preferences as well. More research is still needed to fully understand the complex interaction between individuals and gaming experiences over time.
This paper examines the debate around whether violent video games increase aggression in young people. It provides background on the rise of video game violence since the 1970s and increasing exposure of adolescents. The paper then reviews the debate, noting challenges in defining and measuring aggression across cultures. It presents the General Aggression Model, which proposes that violent media can activate aggressive knowledge structures through proximal and distal risk factors. The paper summarizes three studies that provide evidence for the model, finding short-term increases in aggression from violent games and longitudinal links between game violence exposure and later hostility and aggression. While more research is still needed, the paper argues the evidence supports causal claims about the effects of video game violence on aggression.
The document discusses how gaming and identity may shape children's futures. It explores research on both the positive and negative impacts of gaming on development, school performance, and behavior. While some studies link gaming to improved problem-solving and cognition, others associate extended violent gaming with increased aggression and declines in school achievement. The document also examines debates around whether gaming influences identity formation and moral panics around new technologies.
This document discusses how online gaming can impact personal relationships. It summarizes previous research that found both positive and negative effects of online gaming on relationships. While some studies showed online gaming leading to social isolation and relationship deterioration, more recent research finds that online gaming can also help build new relationships and strengthen existing ones by allowing social interaction and shared experiences. The key is understanding how individual motivations and interactions within different relationships can impact whether online gaming improves or harms personal bonds.
This document discusses research on the relationship between violent video games and aggression. Some studies have found short-term increases in aggression after playing violent video games, while others have found no long-term link to real-world violence. The document also notes that not all children are equally affected, with personality traits like high neuroticism and disagreeableness correlating with increased aggression for some. While a causal link remains unclear, the document concludes that the relationship between violent gaming and aggression warrants further worldwide research.
This document discusses research on the relationship between violent video games and aggression. Some studies have found short-term increases in aggression after playing violent video games, while others have found no long-term link to real-world violence. The document also notes that not all children are equally affected, with personality traits like high neuroticism and disagreeableness correlating with increased aggression for some. While a causal link remains unclear, the document concludes that violent video games may develop hostile thought patterns in players through repetition of aggressive scripts and desensitization to violence.
This document discusses research on the relationship between violent video games and aggression among teenagers. Several studies are summarized that have found short-term links between playing violent video games and increased aggressive behavior, though not necessarily long-term links to real-world violence. Some key points made include that violent video games may desensitize players to violence, reward players for replicating violent acts, and teach that aggression is acceptable. However, not all children are affected equally, and some studies found traits like high neuroticism and disagreeableness predicted increased aggression in some children after playing violent games. The document concludes by noting the debate over whether violent video games truly cause real-world violence or simply provide an outlet for aggression.
This study investigated how individual differences and player choice can influence perceptions of violence in video games. 152 participants completed a survey after watching either a violent or non-violent gameplay video. Results showed that experience gaming decreased perceived difficulty but increased perceived violence when shown character death versus deception. The study also explored how player morality and emotions are affected differently between gamers and non-gamers.
This document discusses video game statistics, genres, and the uses and gratifications model applied to specific video games. Some key statistics provided include that 66% of US households play video games, the most popular console genres for boys and girls, and that the best selling console of all time is the PlayStation 2. The document also examines the genres of different video games like first person shooters, third person shooters and simulations. It applies the uses and gratifications model to analyze how games like Call of Duty Black Ops and GTA4 fulfill needs like reinforcement of identity, companionship, information and entertainment.
Video Game HUDs - Information Presentation and Spatial ImmersionJames Babu
This document is a thesis submitted by James Babu in partial fulfillment of the requirements for a Master of Science degree in Human-Computer Interaction from Rochester Institute of Technology. The thesis explores how feelings of immersion are affected by diegetic versus non-diegetic methods of presenting a player's status information in video games. It reviews literature on evaluating game usability and interface design, specifically the use of heads-up displays. An experiment was conducted comparing immersion ratings and eye tracking data between players experiencing a diegetic and non-diegetic game. The results found no significant difference in immersion ratings but increased fixation duration for non-immersive experiences, suggesting players spend more time processing information.
Videogame players are often compared to drug addicts who seek an instant rush or fix from playing electronic games. A 2006 study by the British Board of Film Classification (BBFC) found that younger gamers are influenced to play violent titles due to peer pressure, and negative media coverage increases interest in these games. However, the BBFC also noted that graphic violence in games can upset younger players.
The document discusses findings from the BBFC's 2006 research into video game audiences. It found that younger gamers are influenced to play violent titles due to peer pressure, and that negative press coverage increases interest. However, younger players often find game violence upsetting. The research also found gender differences in game preferences, with females preferring non-violent games and males favoring first-person shooters and sports games.
Videogames have received criticism for potentially causing negative effects such as increased aggression and violence. However, research on this topic has produced mixed results, with no definitive proof that game effects last long-term or transfer to real-world behavior. Younger gamers are sometimes influenced by older siblings to play inappropriate games, though the classification system aims to prevent this.
The document discusses findings from the BBFC's 2006 research into video game audiences. It found that younger gamers are influenced to play violent titles due to peer pressure, and that negative press coverage increases interest. However, younger players often find game violence upsetting. The research also found gender differences in game preferences, with females preferring non-violent games and males favoring first-person shooters and sports games.
The study examined whether playing video games allows players to experience characteristics aligned with their ideal self, and whether this influences motivation and emotions. In a within-subjects experiment, participants completed personality assessments of their ideal self and the self they experienced while playing three different games. Results showed that when a game allowed players to experience characteristics matching their ideal self, they reported higher intrinsic motivation to play, more positive emotions, and less negative emotions after playing. The degree to which a game matched a player's ideal self was more strongly linked to motivation for players with larger discrepancies between their actual and ideal selves. Immersion in the game also strengthened the connection between ideal-self match and intrinsic motivation.
This document discusses developing video games for mental health. It notes that over 450 million people worldwide suffer from mental illness. Video games are increasingly popular with over 2 billion active gamers and generate over $100 billion annually. The document proposes researching how to utilize video games for mental health, including empathy games to raise awareness and therapeutic games/gamification to help those suffering. It outlines several research questions and discusses various existing video games related to mental health. The proposed research methodology would include literature reviews, data collection, game development using an agile process, and evaluating outcomes. The goal is to better understand how to accurately portray mental illness in games and foster empathy while also exploring the psychological benefits of games and designing games for therapeutic purposes.
This honors thesis examines how gender stereotypes in video games may influence players' choices to follow male or female leaders in an online game. The document provides background on research showing that video games are often used to study human behavior like cooperation. It reviews literature demonstrating that female characters tend to be sexualized and objectified more than male characters. The thesis aims to test if exposing players to different types of female avatars (over-sexualized, average, or masculine) affects their willingness to follow a male or female leader in an online game. The study uses confederates and questionnaires to assess players' choices and reasoning.
"What is the appeal of social games" WhitepaperClubv3
This document analyzes what makes social games appealing and successful. It discusses three main factors:
1) Recognition - Social games that tap into familiar concepts like cities, cafes, sports, etc. are more successful because they are instantly recognizable to many people.
2) Low effort, high reward - Social games are most appealing when they are easy to access and play, rather than focusing on graphics or complexity. Players value quick, simple interactions over intensive gameplay.
3) Sense of community - Social features that allow sharing achievements, gifting, and interacting with others increase player engagement and the feeling of belonging to a group. Frequent game updates also contribute to a living community.
Similar to The Mind of a Gamer- The Influential Factors on Preference (20)
The Mind of a Gamer- The Influential Factors on Preference
1. STATE UNIVERSITY OF NEW YORK (SUNY) COLLEGE AT OSWEGO
Breaking the Video Game Industry Meta:
Female Gamers Gaining Ground
Nicole Horn
Due: December 2nd, 2014
This essay examines the video game industry and the qualities video games possess that attract
and repel female consumers. The main focus of this essay is to identify the appeals of video
games as a whole and correlate the different attributes of games to the preferences of the female
demographic. Female consumers are broken down into three groups based off of their
consumption. Each of these groups possesses different life values, beliefs on video games, and
genre preferences.
2. 1
Table of Contents
Introduction ...................................................................................................................................2
The Video Game Industry.............................................................................................................2
The Appeal of Video Games ........................................................................................................3
Convergence of Ideal Self and Reality.....................................................................................3
Player Immersion & Gaming Experience.................................................................................4
Female Gamers ..............................................................................................................................6
Female Concerns with Video Games ...........................................................................................6
Gender Role Portrayal..............................................................................................................7
Violence....................................................................................................................................7
Social Interaction......................................................................................................................8
Competitiveness .......................................................................................................................8
Types of Female Gamers .............................................................................................................9
Power Gamer ............................................................................................................................9
Moderate Gamer.....................................................................................................................11
Non-gamer..............................................................................................................................12
Conclusion ...................................................................................................................................13
Bibliography ................................................................................................................................14
3. 2
Introduction
The industry of video games has been able to charm and capture the hearts of its
consumers over the course of its existence, becoming one of the fastest growing sectors in the
Unites States economy (ESA, 2014). This entertainment field has accomplished a great feat that
has powered its rapid success and given consumers the chance to become immersed in another
world where the impossible becomes possible through a novel experience. Traditionally video
games have been classified as a trade that favors males as its source of consumers (Terlecki et
al., 2011). According to the Entertainment Software Association (ESA), in 2008, 65 percent of
American households played computer or video games and 60 percent of those players were
males (MediaCT, 2008), but in recent years the industry has been able to capture the female
demographic. The attention that females have been given has opened up many new opportunities
and genre combinations in order to further tap into this market segment. In 2014, women
accounted for 48 percent of gamers, but the label of being a “gamer”, within the ESA’s data
collection, is extremely broad and incorporates everything from mobile game apps to computer
and video games (MediaCT, 2014). This large range in categories leaves room for a lot of
speculation into what types of games have been able to draw in and chase away female
consumers. The discrepancy of time investment in a game also poses as an oversight within these
statistics, but by identifying the appeal of video games as well as the different levels of
consumerism of video games among females, one can begin to understand the industry and the
ways in which it positively and negatively influences the female demographic.
The Video Game Industry
The video game industry has taken America by storm, creating, in 2013, more than $21
billion in revenue (MediaCT, 2014). The ESA reported that 59 percent of Americans play video
4. 3
games (MediaCT, 2014) and the market segments span across many categories. The statistics
recorded that 29 percent of gamers were under the age of 18, 32 percent of gamers were between
the ages of 18 and 35, and 39 percent of gamers were age 36 or older (MediaCT, 2014). This
industry has gained significant ground within the entertainment market and continues to grow
and innovate. The average number of years that a gamer has been playing video games for is 14
(MediaCT, 2014), which means that the business has a solid consumer base. By identifying the
appeal of video games one can gain insight into the reasons behind the ever-growing and
committed fan base that the industry holds.
The Appeal of Video Games
Video games, despite the vast range in genre, serve as an activity where consumers can
find enjoyment and fulfillment. Due to the massive variations in video games, opinions and
preferences greatly differ from one another but certain factors exist in order to attract consumers
which include the convergence of one’s ideal and actual self (Przybylski, Weinstein, Murayama,
Lynch, & Ryan, 2012), the appeal of the gaming experience, and immersion (Christou, 2014).
These three factors will be discussed in subsections to highlight their importance.
Convergence of Ideal Self and Reality
The use of video games allows one to bridge the gap between one’s actual self and ideal
self by allowing the player to explore and “try on” ideal traits (Przybylski et al., 2012). This
factor enables players to be intrinsically motivated and is linked to self-esteem which affects
one’s psychological well-being (Rogers & Dymond, 1954). One’s actual self can be defined as
characteristics one possesses, and one’s ideal self can be described as the characteristics the
person wishes to have. When discrepancies arise between the existing and ideal entity a person
can undergo feelings of dejection and disappointment (Higgins, 1989), which can negatively
5. 4
impact one’s self-esteem. When convergence of these two entities occurs one can experience
emotions of elation and joy (Carver & Scheier, 1998), which can boost one’s self-esteem.
Virtual realities serve as rich environments for one to culminate the self (Przybylski et al.,
2012) by promoting the creation and adoption of new self-representations (Turkle, 1994). Rigby
and Ryan (2011) made a statement based off of the opportunities that video games provided
where they concluded that one can obtain satisfaction and abilities that are hard to experience in
one’s everyday life. To further back up these findings, a study of two experiments was conducted
in order to identify the correlation between reaching one’s ideal self and a game’s motivational
appeal and emotional impact (Przybylski et al., 2012). The results concluded that when gamers
could lower discrepancies between their ideal and actual self, they experienced more enjoyment
from the game which increased their motivation and accounted for their variability in emotions
after playing the game (Przybylski et al., 2012). Overall, this factor allows gamers to become
more in tune with their ideal self which can be hard to tap into within one’s day to day life.
Player Immersion & Gaming Experience
A player’s immersion is the extent to which one can “lose” themselves in a game which
can cause people to actually feel like they are a part of the game (Jenett, 2008). This term is used
by gamers and reviewers and serves as an important criterion that determines one’s level of game
enjoyment (Jenett, 2008). A qualitative study was conducted by Brown and Cairns (2004) where
three distinct levels of immersion were identified to describe a player’s involvement. The first
level of immersion is referred to as “engagement” (Brown & Cairns, 2004). In order to achieve
this state one needs to be able to overcome the barrier of gamer preference by investing time,
effort, and attention to the video game being played (Brown & Cairns, 2004). The second level
was known as “engrossment”, which can be achieved by overcoming the barrier of game
6. 5
construction (Brown & Cairns, 2004). This means that a gamer needs to be able to become
unaware of the controls of a game and their emotions need to be directly affected by the
gameplay, causing the player to become less aware of themself and their surrounding
environment (Brown & Cairns, 2004). Simply put, a Zen-like state occurs where one’s hands
mindlessly know what to do and one’s mind carries on with the story (Brown & Cairns, 2004).
The last level was coined as “total immersion” which required a player to be able to ignore the
barriers of empathy and atmosphere (Brown & Cairns, 2004). A gamer is able to feel their
presence within the game and they become completely cut off from reality. This final level is
harder to achieve and is often a fleeting experience for gamers (Brown & Cairns, 2004). Other
studies have been conducted that have established different terms, such as “flow” and “cognitive
absorption”, which are similar to the effects of immersion and are composed of different
elements (Jenett, 2008).
Immersion also correlates with one’s gaming experience. This was further studied
through an experiment, conducted by Christou (2014), trying to find the relationship between
appeal, gaming experience, and immersion. The results of the study showed that the appeal of
one’s experience, not having played the game before, depended on what game was played
(Christou, 2014). Therefore, the type of game played and the content of the game served as a
critical factor to consider when choosing a game (Christou, 2014). A player’s ability to become
immersed in a game was determined by what game the player had chosen, which could be seen
in experienced and inexperienced gamers (Christou, 2014). In conclusion of the study, it was
determined that appeal is a factor in gameplay experience which is affected by and affects
immersion (Christou, 2014). Overall, player immersion and gaming experience maintain a
positive relationship with one another and affect one’s appeal of a game.
7. 6
The summation of these qualities creates an interactive experience that allows a player to
become immersed in another world. By combining creativity, innovation, technology, and
imagination, the video game industry has been able to rake in the benefits of its labor.
Female Gamers
Female gamers have been on the rise in recent years and the traditional view on video
games being a male activity is slowly evaporating. According to the Entertainment Software
Association, women who are 18 years or older represent 36 percent of the gaming population,
whereas boys who are 18 years old and under represent 17 percent of the gaming population
(MediaCT, 2014). Also, there was a 32 percent increase in the number of female gamers ages 50
and older from 2012 to 2013 (MediaCT, 2014). Unfortunately, these statistics have a broad
meaning of the word “gamer” and there is no indication of how much leisure time a consumer
invests in playing. In order to uncover the ambiguity of the relationship between gaming and the
female gender, one must uncover the qualities that deter females from the market and distinguish
between the different levels of consumerism.
Female Concerns with Video Games
Despite the recent spike in female players, an abundance of barriers exist that seem to
prevent women from finding gaming enjoyable or from viewing gaming as a co-ed activity. This
gender gap has received a lot of attention, and a study conducted by Hartmann and Klimmt
(2006) found four factors that account for this difference. The study found that three of the
variables pertained to content whereas the last variable dealt with structure of a game (Hartmann
& Klimmt, 2006).
8. 7
Gender Role Portrayal
The first factor that chases away potential female consumers is the archaic or
stereotypical gender role portrayal (Hartmann & Klimmt, 2006). Many games victimize women
who are weak and need to be rescued or protected by males. This can have a negative impact on
females, specifically feminists, because they might be offended by the depiction of the female
gender. Female characters are also over exaggerated in their physical and sexual attributes
(Hartmann & Klimmt, 2006). Women with unrealistic figures may attract the male demographic
but it can chase away females in the process, due to a barrier in identification with their virtual
sex which can lead to cognitive conflicts and annoyance (Hartmann & Klimmt, 2006). This
factor reduces the level of attraction to games, which reduces enjoyment, which in turn lowers
playing motivation (Hartmann & Klimmt, 2006).
Violence
The next variable pertains to the violence aspect of video games (Hartmann & Klimmt,
2006). Numerous amounts of research have commented on the abundance of video games that
have violent actions with an increasing degree of realism (Dietz, 1998; Sherry, 2001; Smith,
Lachlan, & Tamborini, 2003; Schneider, Lang, Shin, & Bradley, 2004). Studies have also
determined that males favor violent entertainment more than females (Slater, 2003). Bussey and
Bandura (1999) stated, “Females tend to display a very low preference for observing or
participating in conflicts and their resolutions through violence”. To further expand upon this
point, a study concluded that women found non-violent entertainment, such as comedy and sad
movies, to be more appealing (Oliver, Weaver, & Sargent, 2000). This variable proves to be a
hurdle for women due to the violent-content nature of video games (Hartmann & Klimmt) which
decreases females’ interest and consumption (Subrahmanyam & Greenfield, 1998; Jansz, 2005).
9. 8
Social Interaction
The third factor pertains to the amount of social interaction involved in gameplay,
specifically within single-player games (Hartmann & Klimmt, 2006). Research completed on
television programs discovered that females valued shows with a plethora of meaningful
dialogue and character interaction, and were less interested in shows that were action-oriented
and had taciturn characters (Mayer, 2003). Many video games have action-oriented structures
and minimal amounts of social interaction which correlates with their television program
preferences (Hartmann & Klimmt, 2006). There are exceptions to the norm, like The Sims, which
is an interactive game revolved on socialization (Hartmann & Klimmt), and this particular game
has a large female fan base (Steen, Greenfield, Davies, & Tynes, 2006). In essence, the lack in
preferred forms of media entertainment can cause women to shy away from gaming products.
Competitiveness
The fourth factor pertains to the competitive structure of games (Hartmann & Klimmt,
2006). Research in sports psychology has revealed that girls aren’t as attracted to and are
sometimes afraid to become involved in competitive sports compared to boys (Swain & Jones,
1991). Based off these results, Hartmann and Klimmt (2006) assumed that females would try and
avoid competitive video games as well. Due to the common competitive element to games,
females may turn to a different form of entertainment, despite the existence of exceptions
(Hartmann & Klimmt, 2006).
These four elements that are commonly found in video games enforce the idea in
females’ minds that gaming holds little entertainment value in correlation to their preferences.
The combination of these factors can cause females to feel indifferent, victimized, and
10. 9
unsatisfied (Hartmann & Klimmt, 2006). These characteristics will be exhibited and exemplified
in the next section addressing the different consumer levels of video games for females.
Types of Female Gamers
Female gamers, based off of a study conducted by Royse and her fellow researchers, can
be classified into three groups which include power gamers, moderate gamers, and non-gamers
(Royse, Lee, Undrahbuyan, Hopson , & Consalvo, 2007). These categories depict the amount of
time women, within the study conducted, invest in playing video games, their life values, their
beliefs on the gaming industry, and their preference in genre. In order to comprehend the
differing ideals and opinions of the female sex, each group will be discussed in subsections.
Power Gamers
Power gamers are classified as a group who play video games for more than 20 hours a
week (Royse et al., 2007). During an experiment, Consalvo and Treat (2002) collected gamer
data showing that 75 percent of men and 51 percent of women played video games, but there was
a large disproportion between the males who identified as power gamers (42 percent) and the
females who identified themselves as power gamers (15.6 percent). They also observed a
difference of males and females’ favorite genres, but both sexes deemed that the element most
important to gameplay was the ability to succeed (Consalvo & Treat, 2002). Based off of this
data along with other studies, Royse, Lee, Udrahbuyah,, Hopson, and Consalvo created rounds of
interviews which revealed more in depth information on power gamers, moderate gamers, and
non-gamers of the female gender.
Power gamers engage in playing games frequently while placing high importance on the
subject (Royse et al., 2007). They are also more comfortable with gaming technology and themes
showing that they have integrated gaming into their lives (Royse et al., 2007). Power users are
11. 10
also open to playing multiple genres because they distinguish the fact that different genres
provide different forms of pleasure, such as sociability, intellectual stimulation, and competitive
challenge (Royse et al., 2007). One of the biggest pleasures that this group of females draws
upon is the challenge of mastering the technical skills that a game demands and competing
against others (Royse et al., 2007). Despite the common deterrent of competitiveness to females,
these power gamers revel in the face of competition (Royse et al., 2007). During the interviews
held by Royse and her fellow researchers, some girls discussed the pleasures of being able to go
head to head against random people and blow them up in game, but these females also adamantly
expressed their femininity (Royse et al., 2007). A portion of girls embraced their feminine side
knowing that it was a paradox of sorts between the masculinity of some of the games they played
(Royse et al., 2007). This group even admitted to the hypersexualization of women in games but
they could successfully define games which they described as being about pleasure, mastery, and
control (Royse et al, 2007). This led to another controversial topic of the gender role portrayal in
video games.
Despite recognizing the inaccurate representations of women in games, some power
gamers found that this quality enhanced their gaming experience (Royse et al., 2007). One of the
interviewees, Kara, even commented on how she loves to be able to create ‘sexy’ characters that
are also strong (Royse et al., 2007). The reason behind the acceptance of this trait among power
users relates to the concept of choice and control (Royse et al., 2007). Choosing between
characters while being able to control one’s representation of their identity, which sometimes
challenged cultural norms, appeared to maximize the power gamer’s enjoyment and sense of
agency (Royse et al., 2007). This concept can be linked to the appeal of convergence in one’s
ideal and actual self within a virtual plane. Overall, these power gamers enjoyed exploring new
12. 11
definitions of their gendered self which was encouraged and empowered by technology (Royse
et al., 2007).
Moderate Gamers
Moderate gamers also gain enjoyment from playing video games but they set a clear line
between the real world and the game world (Royse et al., 2007). Like power gamers, they
identify control as a pleasurable factor in their gaming experience but the type of control varies
from the power playing definition (Royse et al., 2007). Within this group control is seen as an
environmental aspect (Royse et al., 2007). These women use games as a form of distraction from
their daily routine and they enjoy the idea of being able to interact within a controllable
environment (Royse et al., 2007). From this preference an observation was made that showed
women leaning towards the genres of role playing games (RPGs), puzzles, cards, and problem
solving games (Royse et al., 2007). Some women within the interview group enjoyed
competitive games but most expressed their distaste for violent games such as first person
shooters (Royse et al., 2007). They also showed favoritism to games that elicited winning
through strategic thinking and positioning rather than through competition (Royse et al., 2007).
These females not only distinguished between reality and the virtual world but also
between game genres that males play and game genres that females play (Royse et al., 2007).
Amy, a participant in the moderate gamer group, mentioned that she believed that men became
more immersed in video games then women did, while other members expressed their annoyance
with people who seemed to blur the line between real life and virtual life (Royse et al., 2007).
Despite their enjoyment of video games, these women still saw games as a predominantly male
activity that should never be taken too seriously (Royse et al., 2007). Overall, this group utilizes
13. 12
gaming as a stress reliever and do not commit themselves to being immersed in a game (Royse et
al., 2007).
Non-Gamers
Non-gamers do not partake in the activity of gaming and have strong views on gamers
and the industry (Royse et al., 2007). Non-gamers view gaming as a waste of time and the study
group had many harsh and critical opinions (Royse et al., 2007). This group showed concern for
the violent nature and sexual content of games, which they referred to as the ‘gaming culture’,
and were worried about the addiction of gaming (Royse et al., 2007). Non-gamers expressed
their issue with the inaccurate representations of women in video games claiming that it gave
men unrealistic expectations for women while others stated that is has ruined intimate
relationships. They also felt that gaming was an isolated activity that appealed to incompetent
socializers (Royse et al., 2007). Michelle saw the activity as extremely introverted and said that
her siblings, who were avid gamers, could talk normally with people online but didn’t know how
to function in a physical setting (Royse et al., 2007).
The biggest factor as to why this group of non-gamers refused to play video games was
due to time investment; most of the women expressed their qualm over this issue while labeling
it as ridiculous (Royse et al., 2007). These females talked about prioritizing their time due to the
fact that they had a lot of responsibilities, yet it also revealed that they had established a gender
role (Royse et al., 2007). These other responsibilities and priorities that they opted for aligned
with the traditional expectations of women (Royse et al., 2007). Kathy, another member of the
study group, shares her opinion on female responsibilities, discussing the time crunch when
dealing with working, laundry, cooking, and caretaking (Royse et al., 2007). This depicts the
traditional idea of femininity, yet she stresses the fact that she has adequate interpersonal skills
14. 13
and chooses how and what she spends her time on (Royse et al., 2007). In conclusion, these non-
gamers believe that video games take up too much time, are sexist, and do not fulfill their needs
of pleasure (Royse et al., 2007).
Although these groups were formed in order to perform a study, they give us insight into
the varying reasons as to why females accept and reject video games. Also, these groups allow
one to see the variance in opinion which can help one understand the ways in which the market
can better capture the defiant female population.
Conclusion
The video game industry continues to gain momentum as it steadily grabs a bigger
proportion of the entertainment market. PricewaterhouseCoopers states that the industry will
attract more non-gamers through social and casual gaming, and a new generation of gamers will
appear through the utilization of mobile devices (PricewaterhouseCoopers, 2014), while
innovation and change continue to fuel the growth of the business. Occulus VR, a virtual reality
technology company, is in the production stages of creating a virtual reality headset for 3D
gaming (Futter, 2014), which could be the dawn of a new gaming era. The industry has also
produced video games that are more socially interactive and story oriented, such as Heavy Rain,
to appeal to a broader market. Feminists have also taken up arms in order to make the video
game industry appeal more to women’s preferences and the industry has noted this new presence
within the market. As the industry adapts to the changing times and reinvents itself, consumers
continue to flock to this form of entertainment that captures the attention and affections of
consumers.
15. 14
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