Malcolm Harriott - Revision history

Malcolm at 02:00, 20 April 2019

2019-04-20T02:00:08Z

Malcolm: /* Production 5: Theories of Play. (Option 2) */

2019-03-10T19:11:44Z

‎Production 5: Theories of Play. (Option 2)

Malcolm: /* Production 5: Theories of Play. (Option 2) */

2019-03-10T19:11:20Z

‎Production 5: Theories of Play. (Option 2)

← Older revision		Revision as of 02:00, 20 April 2019
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	== Video Game Proposal/Pitch ==		== Video Game Proposal/Pitch ==
	[https://youtu.be/MNbN-Ojc9RM Chrono Wheel]		[https://youtu.be/MNbN-Ojc9RM Chrono Wheel]
		+
		+	== Production 7: Critical Game Analysis ==
		+	The video game industry has many problems when representing women and minority groups in games. Minority groups are commonly represented in a negative light in the gaming industry, following racist stereotypes and one-dimensional backgrounds. Similarly, women are often under-represented or represented in a demeaning manor in a majority of video games in the industry. ''Grand Theft Auto: San Andreas'', ''The King of Fighters '98'', and ''Resident Evil 5'' can be seen as prime examples of these representation issues which plague the video game industry concerning racial stereotypes or objectifying women. These games will be examined as well as counter-narratives to these problems in the gaming industry in games like ''Dandara'' which represent minority groups and women in a positive light.
		+
		+	“The default Internet identity is White, male, and middle class and the majority of videogame protagonists are White.” (Williams, Martins, Consalvo, & Ivory, 2009) The gaming industry is very white-male dominated and often excludes other demographics through the absence of representation or misrepresentation of other groups of people. The video game industry has many critical issues connected to the representation of minority groups and women in video games which can exclude these groups.
		+
		+	Women have very little representation in video games and are often objectified and created as more of a reward for the male protagonist in the game. Female characters in video games are rarely developed deeply as characters through the narrative in a game and are very commonly portrayed as helpless and in need of aid from the male protagonist. In addition to this, women in video games are in many cases oversexualized in appearance in order to entice and promote a male fantasy paradigm.
		+
		+	Racial minority groups are represented in a similar ratio to the real world U.S. census however are notably represented in derogatory and stereotypical fashions. Many of these stereotypes originate from other forms of long-lasting media in Hollywood movies and music videos regarding incriminating acts and gang violence. “Critical game scholars argue that racialized representations within videogames build upon hegemonic discourses of non-White difference, deviance, and alienation. These discourses mark Whiteness as the default, ‘‘normal’’ identity.” (Brock, 2011) An example of this can be seen present throughout the game ''Grand Theft Auto: San Andreas'' where a multitude of video games often paint a picture of gang violence and criminal activity when using black characters in games.
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		+	“media researchers Mikolaja Dymek and Thomas Lennerfors (2005) noted the more prominent minority and ethnic portrayals in the game, including a violent and flamboyant gang of Colombian drug lords, [...] a group of African American hip-hop gangsters engaged in an ongoing and brutal turf battle set in the projects of the fictitious Liberty City (Grand Theft Auto's version of New York City)” (Bowman, 2014)
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		+	''Grand Theft Auto: San Andreas'' draws from common stereotypes when portraying minority and ethnic groups in the game. For example, this includes violent gangs and drug lords when depicting African-American and Latin-American characters in the game.
		+
		+	Another example of how minority groups can be misrepresented in games can be seen in ''The King of Fighters ‘98''. ''The King of Fighters ‘98'' is a 2D, 1-on-1 fighter which includes a plethora of different characters with a diverse set of backgrounds. However, the only black fighting group in the game again draw upon common black stereotypes of in this case sports and athletics as well as criminal pasts in their backgrounds.
		+
		+	“Cultural studies professors Anna Everett and S. Craig Watkins (2008) have argued that video games such as Grand Theft Auto can be understood as racialized pedagogical zones (RPZs) that serve as a semantic classroom in which the player can learn to create and perpetuate racial bias.” (Bowman, 2014)
		+
		+	With countless games in the video game industry following these similar design choices when it comes to representing minority groups, it creates racialized pedagogical zones where players will begin to become acquainted with these practices. These RPZs serve as semantic classrooms for which players that play the game start perpetuating racial bias towards these racial minority groups. With this normalized racial bias, players who play games and future games can often shed a blind eye to racial stereotypes and not see it as problematic.
		+
		+	Females in video games as stated are also commonly misrepresented in games in addition to under-represented; following common stereotypes. One of the most widely used is the idea of the Damsel in Distress rhetoric common in most forms of narrative media. The players play as a male protagonist who attempts to save the defenseless “Damsel in Distress”, making many cases of female characters in games portrayed as objects or rewards for the player.
		+	“As a trope the Damsel in Distress is a plot device in which a female character is placed in a perilous situation from which she cannot escape on her own and must then be rescued by a male character, usually providing a core incentive or motivation for the protagonist’s quest.” (Sarkesian, 2013)
		+
		+	The constant recycle of the “Damsel in Distress” plot device of having the player play as a male character who’s goal is to save this damsel in distress also can exclude and push women away from games and make them feel uninvited or unwanted. This “Damsel in Distress” plot device dates back into other forms of media as well similarly through books and movies.
		+
		+	Women are also commonly objectified and oversexualized in the video game industry to appeal to the male audience. “Videogames construct exotic fantasy worlds and peoples as places for White male protagonists to conquer, explore, exploit, and solve.” (Brock, 2011) For example in the game, ''Resident Evil 5'', Sheva is the supporting character to the male protagonist and has many revealing outfits in the game that can be unlocked in order to please this male fantasy present in many other video games as well.
		+
		+	“two additional outfits can be unlocked for Sheva. The ‘‘Clubbin’’ outfit is a gold lame ́ bikini top and micromini skirt, complete with knee-high high heel gladiator sandals, a platinum blond wig cut in a bob and jewelry. The ‘‘Tribal’’ outfit is a leopard print bikini top and grass mini skirt/loincloth combo, complete with body paint and the requisite high heeled gladiator sandals. Developers often exaggerate the dimensions of female videogame characters; they typically have large breasts, impossibly tiny waists, high pitched voices, and are scantily clad. […] The costumes, along with her largely superficial character development contribute to her objectification. Thus, the advances of having a woman of color in a leading role in an AAA videogame are diminished by her minor narrative presence and reduction to a sexualized Amazon as a reward for completing the game.” (Brock, 2011)
		+	Despite her being the secondary character to the male lead, she has a very minor narrative presence in the game and can be reduced to more of a sexualized object as a reward for progression in the game. “Sheva’s limitations became more apparent. She cannot be directly controlled or played. She is only a minor plot device, nor does her character ever become fleshed out.” (Brock, 2011) In ''Resident Evil 5'', a major mission in the game is eradicating tribal African zombies and many speculate the inclusion of Sheva was to avoid racist claims behind the main goal of the game. “Sheva is simply a game mechanic; incorporated to shunt aside criticism of the game’s racial overtones.” (Brock, 2011) With Sheva being a black woman who is related to the tribe in question, she is speculated to have been made black to silence critics and skeptics. When comparing Sheva to the tribal African zombies in the game, her design was made very white-washed by giving her light skin in comparison and straight hair to set her apart.
		+
		+	A counter-narrative to these dominant systems of representation in the video game industry can be seen in ''Dandara''. ''Dandara'' draws from the Brazilian historical figure of the same name as the protagonist in the game which is a powerful black female. Different cultural, social, and political relations to Brazil and its history are also present throughout the game’s narrative and design.
		+
		+	“the significance of Dandara’s protagonist being a black woman with voluminous, powerful hair. Positive representations of black women in games are still extremely rare, let alone black, female protagonists with natural hair.” (Eklund, 2018)
		+
		+	The design for Dandara in many cases can be seen as a direct opposite to ''Resident Evil 5''’s design for Sheva. Dandara’s character in the game signifies attributes which distinguish it from any racial or gender stereotypes featuring a unique character design based on the historical figure Dandara.
		+
		+	“In Brazil, the context of Dandara is unmissable: the historical Dandara was a descendant of escaped slaves, a master of capoeira, and the last Queen of the Quilombo dos Palmares, wife of the universally-known King Zumi dos Palmares. Palmares was a independent community of escaped slaves that withstood all attacks for almost a century and grew from a starting community of a few dozen to a population somewhere between ten and thirty thousand.” (Eklund, 2018)
		+
		+	Unlike ''Resident Evil 5''’s motif of pushing white fantasy and white domination through the design of Sheva and the narrative direction of the game; ''Dandara'' looks to empower black women through the cultural representation of Brazil and design of the characters in the game. ''Dandara'' utilizes a rich narrative of uplifting and promoting minority groups with a positive light and powerful representation of women. There are many other games like ''Dandara'' which feature minority groups and women in positive lights however in main character roles it is very rare.
		+
		+	Positive representation in the video game industry is slowly improving, however stereotypes and misrepresentation is still a reoccurring issue. As a whole, the video game industry has recycling stereotype problems similar to the games examined; ''Grand Theft Auto: San Andreas'', ''The King of Fighters '98'', and ''Resident Evil 5''. These representation issues will most likely continue to persist due to many of these practices being so widely accepted among people who play video games due to RPZs. However as independent game developers become more prevalent in the industry, increasing amounts of positive representation of minority groups and women in games like ''Dandara'' are rising up in the video game industry.
		+
		+
		+	'''References'''
		+
		+	Williams, Dmitri, et al. "The virtual census: Representations of gender, race and age in video games." New Media & Society11.5 (2009): 815-834.
		+
		+	Brock, A. (2011). ‘When Keeping it Real Goes Wrong’: Resident Evil 5, Racial Representation and Gamers. Games and Culture, 6, 5, 429-452.
		+
		+	Kafai, Tynes, & Richard (Eds.) (2016). Diversifying Barbie & Mortal Kombat: Intersectional Perspectives and Inclusive Designs in Gaming. Pittsburgh PA: ETC Press.
		+
		+	Bowman, Nicholas. (2014). Grand Theft Auto, Social Representations. Encyclopedia of media violence: SAGE.
		+
		+	DeVane & Squire. (n. d.) The Meaning of Race and Violence in Grand Theft Auto: San Andreas.
		+
		+	Turtiainen, Emilia. (2017) The Portrayal of Female Characters in Grand Theft Auto V.
		+
		+	Flanagan, M. (2009). Critical Play – Radical Game Design. MIT Press. Read Chapter 1 (Intro) and 8 Designing for Critical Play
		+
		+	Sarkesian, Anita (2013). Damsel in Distress (Part 1) Tropes vs Women: Tropes vs Women in Video Games. feministfrequency. Retrieved from [https://feministfrequency.com/video/damsel-in-distress-part-1/]
		+
		+	Eklund, Tof (2018). How video game Dandara uses capoeira to tell the story of Brazil’s beginnings. The Spinoff. Retrieved from [https://thespinoff.co.nz/games/07-03-2018/how-video-game-dandara-uses-capoeira-to-tell-the-story-of-brazils-beginnings/]

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 Caillois, R. (1958). The Definition of Play and the Classification of Games. In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 122-155). Cambridge, Mass.: MIT Press.
 Huizinga, J. (1955). Nature and Significance of Play as a Cultural Phenomenon. In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 96-120). Cambridge, Mass.: MIT Press.
 == Video Game Proposal/Pitch ==
 [https://youtu.be/MNbN-Ojc9RM Chrono Wheel]

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 Play, as defined by Huizinga and Caillois is a highly complex and interesting behaviour which stems from farther than human life itself. Play can be seen present in a plethora of different animal species which Huzinga defines as a "certain ceremoniousness of attitude and gesture" (p. 97). Even in play between animals, rules and conditions and be seen present throughout; concerning things like no biting or more simply a safe restrain from overly violent action. Cailois agrees with many of Huizinga's views on play but also adds that "play must be defined as a free and voluntary activity, a source of joy and amusement" (p. 125). If play is forced upon someone, play will cease to exist due to the frustration or unwillingness of the individual. He goes on to say play is in essence a separate occupation isolated from the rest of life where there is a time and place for play.
-After playing the game, League of Legends, a popular multiplayer online battle arena (MOBA), relations can be made to Caillois’ definitions of play regarding Paida, Ludus, Agôn, Alea, Mimicry, and, Illinx. All of these definitions can be seen present in some form in League of Legends throughout normal gameplay of the game. Paida is present within the multitude of options and freedom given to the player in League of Legends. This includes creating item builds, runes, leveling patterns, strategies, and different ways offered to play the game. Ludus in terms of skill and defined goals can be seen through the individual skill of each player differing by the ability to wield their champion with great accuracy and mechanical play. Goals are present all throughout League of Legends through sub-goals like accumulating enough gold to build a key item or the overarching goal of defeating the enemy team by destroying their nexus. Agôn in League of Legends is very visible throughout play; players compete in teams of five players to attempt to defeat the opposing team. In addition to this, competition can be seen in regards to ranking up to higher divisions and tiers by winning more games through the ranked system in League of Legends. Alea, the notion of chance and destiny can be viewed in League of Legends’ different in-game mechanics like the chance of five different dragons being able to spawn; each giving different rewards when slain. Alea can also be characterized by the matchmaking of individuals on each team, each player picking a different champion representing their playstyle and playing at varying skill levels of which the player must make do with. In League of Legends mimicry in the sense of simulation and role-play can be seen within the choosing of champions. With more than 140 champions, each champion can represent the player in the game to feel as if they are present fighting alongside the other players in the match.  Lastly, Illinx can be seen present in the form of trickery and baiting in League of Legends where teams can bait the enemy to think they are attempting to secure an objective when actually they are creating an ambush.
+After playing the game, ''League of Legends'', a popular multiplayer online battle arena (MOBA), relations can be made to Caillois’ definitions of play regarding Paida, Ludus, Agôn, Alea, Mimicry, and, Illinx. All of these definitions can be seen present in some form in League of Legends throughout normal gameplay of the game. Paida is present within the multitude of options and freedom given to the player in League of Legends. This includes creating item builds, runes, leveling patterns, strategies, and different ways offered to play the game. Ludus in terms of skill and defined goals can be seen through the individual skill of each player differing by the ability to wield their champion with great accuracy and mechanical play. Goals are present all throughout League of Legends through sub-goals like accumulating enough gold to build a key item or the overarching goal of defeating the enemy team by destroying their nexus. Agôn in League of Legends is very visible throughout play; players compete in teams of five players to attempt to defeat the opposing team. In addition to this, competition can be seen in regards to ranking up to higher divisions and tiers by winning more games through the ranked system in League of Legends. Alea, the notion of chance and destiny can be viewed in League of Legends’ different in-game mechanics like the chance of five different dragons being able to spawn; each giving different rewards when slain. Alea can also be characterized by the matchmaking of individuals on each team, each player picking a different champion representing their playstyle and playing at varying skill levels of which the player must make do with. In League of Legends mimicry in the sense of simulation and role-play can be seen within the choosing of champions. With more than 140 champions, each champion can represent the player in the game to feel as if they are present fighting alongside the other players in the match.  Lastly, Illinx can be seen present in the form of trickery and baiting in League of Legends where teams can bait the enemy to think they are attempting to secure an objective when actually they are creating an ambush.
 '''References'''