Tag Archives: video games

Being a gamer

During the past week, we’ve talked a lot about video games and one reading particular got me thinking. “Do You Identify as a Gamer?: Gender, Race, Sexuality, and Gamer Identity,” by Adrienne Shaw, talked a lot about the gamer identity and how people perceived themselves in that sense. Shaw interviewed a diverse group of people, asking them if they considered themselves “gamers” and then asking their reasoning for their answer. During this, Shaw made an interesting find. On page 34 of the article Shaw notes “Although race, sexuality, age, and platform shaped people’s relationship with gaming,
these did not determine whether they identified as gamers.”

That quote prompted me to add a critical question to the discussion: “What do you feel are the qualities/traits that make someone a gamer?” This brought up many different answers but the more I thought about my own question, the more I came to realize that it isn’t an answerable question (at least not in my opinion). Being a “gamer” shouldn’t have some standard definition. Once we start doing that, we start excluding people, and even if the group is very small, that’s still exclusive. Think of it this way, if we go off Shaw’s article and determine that the traits noted above don’t play a part in determining if someone’s a “gamer”, then the next thing we hop down to is type of games being played.

If we set more competitive and triple AAA titles to be the standard games of a “gamer”, then suddenly we alienate those who play “casual” or mobile games. People who play games on their phone (which it’s worth noting that those games are becoming more and more complex so that stigma against mobile should just disappear as it’s pointless) and those who play browser based games aren’t allowed to call themselves “gamers” if we set those standards. And we shouldn’t be allowed to tell someone “No, you aren’t a gamer.” if they feel they are one.

If we abandon game type, and instead go to time playing games, we run the risk of achieving the same alienation. If we set a certain number of hours a week as the standard of being a “gamer” , than anyone who falls under it can’t be considered a “gamer” in the eyes of the gaming community. If someone plays Halo 25 hours a week, and I play Skyrim 5 hours a week, I’m considered less of a “gamer” or not even one by time standards. And again, it’s ridiculous to deny someone the title “gamer” for that reason.

The main point is, if someone seriously feels they are a “gamer”, who are we to deny them that. If the person who plays candy crush a few hours a week feels they are a “gamer”, then good for them! I welcome that. Anyone who wants to deny them that feeling of being a “gamer” is potentially aiding in creating a toxic environment. I think that the standard should be that anyone can be a “gamer” if they want to, and it’s up to them whether or not to say “No, I am not a gamer.” For me, it sort of falls on the line of a type of self-identity. It’s something you consider yourself to be, so why does someone else get to tell you that you’re wrong about that. Which is why it’s good that in Shaw’s article we see that people are starting to less and less feel that their race, gender, sexuality, etc. are something that determines if they are a “gamer.” If they felt differently, that indicates that the gaming community is setting strong standards for being a “gamer” based on those traits. The fact that they don’t feel that way shows that those standards of being a “gamer” are starting to fall off which is terrific.

 

 

Where is my Character?

One of the major problems prevalent to the gaming community as a whole is the image of the gamer, or it’s identity. A lingering question throughout the articles (specifically the article by Adrienne Shaw) is the idea of who the media views as gamers, and who gamers actually are today. Ultimately bringing light to the fact that there is a clear disconnect between the stereotype of a gamer, and who gamers actually are. The distinct lack of representation, as well as the aggressive, cult like following that video games have, leads many fans of the format to be afraid to identify themselves gamers. Video game marketers are distinctly lacking in the racial and sexual diversity in the ‘hardcore’ games that people are really interested in. Compared to the culture that the marketers are presenting to society at large creates a clear disconnect and isolation of a large group of people that are gamers. This problem was something that I noticed in the past and realized, especially during games such as Bioshock Infinite, as much as I love that game. The character of Daisy Fitzroy in the overall plot of the game was hailing her as a woman of color, leading a revolution that would change Columbia for the better. For a while I was hopeful that she would be a fantastic image of a woman character of color becoming an incredible leader in an important revolution. Then the game pulled a complete 180 degrees and painted her as a villain. This is just one example of the exclusion of various races in video games. The problem is so prevalent and current in today’s society. Reading these articles as well as working on my project for diversity in video games has brought to my attention the absurdly large lack of representation of different identities as well as race.

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Key Term: Media Representation

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Media representation has to do with how the media portrays particular groups of people. While the term could be used to describe generalized groups of people, within the context of discussion of diversity and marginalization in media portrayal it is almost exclusively used to refer to the media portrayal of marginalized people. Representation involves not only how many marginalized people are present, if any, but also how they are characterized and treated by the narrative. There is both positive and negative representation: For instance, while a lesbian character may appear in a video game, the character may be stereotyped, fridged, objectified, or otherwise be forced into a harmful and oppressive narrative. Calls for representation in games are, therefore, calls for better representation–not only must characters be present to start with, but they must also not be oppressive portrayals.

“This is also relevant to the populations themselves, as representation can have identity and self-esteem effects on individuals from those groups (Comstock and Cobbey, 1979; McDermott and Greenberg, 1984). Tajfel’s social identity theory (1978) suggests that groups look for representations of themselves and then compare those representations with those of other groups. The presence of the group – including within games (Royse et al., 2007) – serves as a marker for members to know that they carry weight in society. Conversely, the absence of portrayals should lead to a feeling of relative unimportance and powerlessness (Mastro and Behm-Morawitz, 2005).” (The virtual census: representations of gender, race and age in video games)

Representation, however, goes further than accuracy in terms of importance. Games that have more aliens and magical creatures than people of color tell us who is prioritized and welcomed in these fantasy games–and have a very real impact on the self esteem and identity of those who are underrepresented in media. Nichelle Nichols, who played Lt. Uhura on Star Trek: The Original Series, inspired a generation with her portrayal of the character: Mae Jemison, the first black female astronaut, was inspired by the character to join NASA, and Whoopi Goldberg, who later played Guinan on Star Trek: The Next Generation, was also inspired by the character, alongside likely millions of other women of color who saw the show as a child. Representation, while possibly appearing unimportant to people who are already widely represented, is a matter of validation of identity and humanity for those who are underrepresented and poorly represented by the media.

“You guys know about vampires, right? … You know, vampires have no reflections in a mirror? There’s this idea that monsters don’t have reflections in a mirror. And what I’ve always thought isn’t that monsters don’t have reflections in a mirror. It’s that if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves. And growing up, I felt like a monster in some ways. I didn’t see myself reflected at all. I was like, yo, is something wrong with me? That the whole society seems to think that people like me don’t exist? And part of what inspired me, was this deep desire that before I died, I would make a couple of mirrors. That I would make some mirrors so that kids like me might see themselves reflected back and might not feel so monstrous for it.” – Junot Diaz

Sources&Links:
Media Representation: What It Means And Why It’s Important by Elizabeth Fierro
GSCE Media Studies Introduction To Representation by Karina Wilson
Star Trek’s Uhura Reflects on MLK Encounter Interview on NPR by Michel Martin and Nichelle Nichols
“The virtual census: representations of gender, race and age in video games” by Dmitri Williams, Nicole Martins, Mia Consalvo and James D. Ivory

Key Term: Game Mechanics

Game mechanics are a distinct set of rules or methods that design the outcome of interactions within the game, thus providing gameplay. There is an input, a process and an output. Game mechanics also involves the the users response to collections of these mechanics.

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“The term ‘game mechanic’ doesn’t appear in the piece but it underlies the argument throughout, explaining how points that a player can spend on advantages like ‘talent,’ ‘wealth,’ ‘charisma,’ and ‘intelligence’ are distributed by ‘the computer,’ and that players must ‘deal with them,’ just like they must in real life. This argument makes racism and sexism seem socially neutral, mechanical, structural, and not a personal act of aggression or oppression perpetrated upon one peron by another.” -Lisa Nakamura

  • Game mechanics allows gamers to understand the gaming world as constructed
  • Nothing should be taken personally
  • Many male gamers cannot tolerate the feeling of being blamed for their privilege
  • Game mechanics allows them to not view themselves as privileged, and therefore blameless

“Explaining race and gender as a structural advantage, an aspect of a made environment that was designed to reward some types and punish others, lets white male readers hold themselves blameless for their own advantages.”

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Target Marketing

A target market is a group of customers which a business has decided to aim its marketing attempts and ultimately its merchandise (video games in this case). A well-defined and focused target market is the first and most important element to a marketing plan.

Marketers are beginning to notice that transgender, lesbian, gay, and bisexual people are wanting to have better representation within video games. As well as women and different races wanting inclusion in video games as there is a distinct lack of various identities as central video game characters. The idea of target marketing is the idea that a video game company appeals to its chosen target of the companies marketing campaigns.

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A prevalent problem within the gaming community currently is the image of the stereotypical gamer, which is non-inclusive to other races and identities. The stereotype of the hardcore gamer compared to the casual gamer is an important difference, as while companies should be focusing on both, they focus only on the hardcore gamers. Thus isolating a huge crowd of people from their games.

Digital Media Reflection III: Liberation Revelation

When this class began, I knew that new media was a frontier that had yet to be really explored. I hadn’t realized exactly how wild that ‘wild west’ was. New media is a platform for everyone. New media is in many ways an egalitarian form. Everyone gets the chance to become a star if they have the skills. If you’re funny then you can find fame on a youtube comedy channel. If you know a subject very well then you’ll find a captive audience in how-to videos. If you can play video games with skill, then twitch.tv is the place for you. And that’s great.

New media can counter monopolies and bring down corporations. But as we’ve seen, new media is a fertile ground for new companies and corporations, both of which could be just as bad, or worse, than their predecessors. Google is scary. At all times. It’s a bit like the supervolcano under Yellowstone National Park. We know that someday it will blow and change the world as we know it. We just don’t know when. It could be today. It could be tomorrow.

And youtube, being a subsidiary of Google, is under fire as well. Google plus integration, despite possibly fixing the dreaded Barrens youtube chat, is seen as an unnecessary feature. And youtube has become very much like Google – a platform so indispensable that it becomes difficult to find an alternative. If you have the power of popular web-series creators then you could host on your own site, free from the tyranny of youtube. If not then… There’s always Vimeo?

Video games are, and I truly mean this, my area of expertise. It’s exhilarating to discuss them with people and hear other people’s opinions on them, content or gameplay-wise. I acknowledge wholeheartedly that video games have a long way to go. Some are racist. Some are misogynistic. Some are homophobic. Some are both, all, none. It’s a rapidly growing art form (no matter what you say, Mr. Ebert). It’ll take time. But it’s important that people are taking up arms and talking about these issues. Awareness will bring acceptance, and video games have the potential to be wonderful narrative devices.

New media is here to stay. And that’s great. What we’ve talked about over the course of this class tells me that there is not only potential for great growth in this medium, but potential for a new phase of how we interact with, produce, consume, talk about, and study media and entertainment.

Assassin’s Creed 3: Liberation

Assassin’s Creed 3: Liberation is a game released in 2012 for the Playstation Vita portable handheld device. The game features Aveline de Grandpre as its protagonist, a young woman of French and African descent, and is set in New Orleans in the years leading up to the American Revolutionary War. Aveline is a unique protagonist as few games feature a singular female or black protagonist. Upon release, AC:L received mixed to positive reviews, currently holding a 70 on Metacritic (http://www.metacritic.com/game/playstation-vita/assassins-creed-iii-liberation). The game was praised for its portrayal of race relations in the time period and Aveline was a well-received character. Unfortunately, the game mechanics, while praised as well made, proved to be a hindrance more often than not, with reviewers complaining that too much time was spent in the restrictive “Lady” persona.

The game mechanics are a very important element of the game’s portrayal of race and gender in the time period. The game lets Aveline “adopt personas that give her varying abilities and constraints. The ‘lady’, who dresses and acts like the wealthy free woman that Aveline is, can fool men by charming them… but she can’t climb building and is weak in a fight… The slave can infiltrate areas under cover of labor. And the assassin persona is, well, less concerned with the historical basis of double consciousness.” (Suellentrop)

Works referenced:

     Chris Suellentrop, “Slavery as New Focus for a Game: Assassin’s Creed Liberation”

http://www.nytimes.com/2014/01/28/arts/video-games/assassins-creed-liberation-examines-colonial-blacks.html?_r=0

Feminization

The process by which feminine attributes or association with the female is linked to an object or concept that in reality has nothing to do with one’s gender. An example of this is outlined in Casual Threats: The Feminization of Casual Video Games, the study which describes the phenomenon by which ‘casual games’ are given a female, derogatory designation in relation to the larger field of games. As is the case with casual games, feminization often occurs in a larger, male-dominated structure as a means to marginalize the subject of the feminization, but also to place certain things in a strong, ‘masculine’ position to contrast.

In this case ‘Hardcore Games’ are made the masculine counterpart to the female ‘Casual Games’.

Vanderhoef, J. (2013) Casual Threats: The Feminization of Casual Video Games. Ada: A Journal of Gender, New Media, and Technology, No.2. doi:10.7264/N3V40S4D

 

Key Term: Linguistic Profiling

Linguistic Profiling

Linguistic profiling is a VOICE based assessment. It is similar to racial profiling in that it uses cues to determine ethnicity and gender (and sometimes sexual orientation). Unlike racial profiling, linguistic profiling uses vocal cues rather than physical cues. It brings a race division through hegemonic principals in the virtual world, creating the “us” versus “them” mentality. For example, in telephone conversations with financial institutions, if a caller sounds Black or Mexican, these institutions may refuse to extend services to the caller. In the virtual gaming world, where many gamers may want their personal information to stay private, linguistic profiling discloses our gender, race, and other information through our voice and vocal mannerisms. Moreover, during LIVE GAMING, racial and gender inequality are common based on how a gamer sounds, determining the atmosphere of the game space:

For example, we see this with Conscious Daughters’ gaming:

MissUnique: Hey BizzyBoy, what do you think of girl gamers?

BizzyBoy: Hate em! They suck.

(Other male gamers in session begin laughing)

BigState88: Your score proves it. Look at your K/D.

(KD refers to the kill to death ratio within a game. MissUnique’s KD was 0 kills and 8 deaths)

MissUnique: Well I’m not playing for a purpose. I want guys like you to pay more attention to women and…

(BizzyBoy cuts MissUnique off and begins talking)

BizzyBoy: Oh shut the fuck up.

BigState88: Mute her ass. Like I’m getting ready to.

BizzyBoy: Yeah I’m about to…

(Collective Organizing, Individual Resistance, or Asshole Griefers? An Ethnographic Analysis of Women of Color In Xbox Live)

John Scalzi stated that “‘dudes’ as the intended audience [for gaming] as a metaphor for explaining how race and gender confer automatic, un-asked for, MECHANICAL advantages of players who are lucky enough to be born white and male.” The key word here is mechanical. In live gaming, hegemony and misogyny come to surface through vocalization. Race and gender separation become virtual and auditory entities as opposed to the physical manifestation. When female or other minority voices appear on live gaming: it’s no longer “us” because “them” has interrupted our white, male, and heterosexual world. The virtual world becomes a space unwelcome to female and minority gamers. The hegemonic principals of the virtual world are solely dependent on linguistic profiling.

(Queer Female of Color: The Highest Difficulty Setting There Is? Gaming Rhetoric as Gender Capital)

 

Damsel in Distress

“Damsel in Distress” comes from the French saying “Demoiselle en detresse” where demoiselle means “young lady” and “en detresse” means anxiety and despair which is caused by abandonment and danger. The “Damsel in Distress” trope has been around for hundreds of years, traced back to the story Perseus rescuing his princess Andromeda. Since then it has been perpetuated through books, movies, and most recently video games. Beginning with the creator of Nintendo, Shigeru Miyamoto who also created the game Donkey Kong which eventually lead to the creation of the Mario franchise. In these games Princess Peach is the stereotypical “Damsel in Distress” who gets kidnapped in 13 of the 14 main games. To be a “Damsel in Distress” a character does not necessarily have to be weak of powerless but but must be reduced to helplessness and needs to be rescued by the main protagonist for the benefit of his story arch. This is objectifying because the woman is being acted upon used as a prop in the hero and villian’s battle. There is also the disempowerment of the female which leads to the empowerment of the male main character. When the damsel gets kidnapped she is unable to rescue herself; whereas if the hero gets kidnapped he escapes to showcase his own abilities. Also the damsel’s imprisonment is seen as a trial for the hero to overcome. She might not be a “Damsel in Distress” from start to finish. She may be a helpful damsel who sometimes offers hints or assistance.

 

Source: Feminist Frequency Damsel in Distress Part 1

Gamer

The term gamer is used to self identify or label a particular person as a participant in gaming and gamer culture. The term is ambiguous in that no one set of attributes subscribes to the identity/label. Gamers may play “hardcore” games or social ones, may dabble in many games or immerse themselves in a few, may be very present on game forums and produce walkthroughs or keep to themselves — no one criterion fully encompasses what it means to be a gamer.

Shaw uses Bhabha’s theory of hybridity to highlight how multiple “gamer” identities can intersect to exist in the meta level of gamer culture (Shaw 35). For example, the term “gaymer” is an identification that encompasses “gamer” and LGBTQ identities into an individual aspect that is greater than the sum of its parts.

A somewhat controversial identity within the term “gamer” is the female or “gamer girl” identity, which often carries a negative connotation both within the misogynistic gaming community (Shaw 33) and from non-gamers (Royse 569). Anita Sarkesian’s work on gendered representations in gaming have made steps towards true gender equality among all gamers.

 

Works referenced:

Shaw, Adrienne. “Do You Identify as a Gamer? Gender, Race, Sexuality, and Gamer Identity.” New Media and Society 14.28 (2011): 28-40. Web. 5 Mar. 2014.

Royse, Pam, Joon Lee, Baasanjav Undrahbuyan, Mark Hobbson, and Mia Consalvo. “Women and Games: Technologies of the Gendered Self” New Media and Society 9.4 (2011): 555-574. Web. 5 Mar. 2014.

Gaming Identity

There are two types of identity when it comes to gaming. There is the identity of the gamer and then that of the the characters in the game. The gamer can fall into several categories, for instance, the casual, moderate, or hardcore gamer while in the game they are not limited to being their own selves, and their identity becomes their own choice. In the case of female gamers, this often “results in a freedom of movement and advancement that are not always afforded to them.”

 

Sources:

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Royce, et. al, “Women and games: technologies of the gendered self” in New Media & Society, August 2007; vol. 9: pp. 555-576.