...Merveille I. Kazimoto June 28, 2015 English Writing 112: College Writing Prof. Fadia Hasan Gender and Video Games The contemporary society has grown to be more liberal, offering women more freedom than ever before. One of the 21st century’s instrumental defining medium—video games—is experiencing sharp growing pains. Whether video games are a technology product or a cultural experience, one thing that both video games developers and enthusiasts vividly agree upon is that the way we talk and write about video games has gradually changed over the last few decades. Female representation (or should I say: underrepresentation) in video games has, for a long period of time, been a heavily debated and controversial issue, with the most trending argument being that the portrayal of female video game characters, as well as the treatment of female gamers, is frequently sexist. One of the prominent literatures that keenly scrutinizes the culture of video games and its effect on the social construct is Maja Mikula’s essay “Gender and Videogames: The Political Valency of Lara Croft”. In her essay, Mikula accuses video games of poor portrayals of gender and being extraneously violent. She writes, “Her body is excessively feminine-her breasts are massive and very pert, her waist is tiny, her hips are rounded and she wears extremely tight clothing (9)… she is clearly shaped by the desire to embody male sexual fantasies… (15)”, questioning whether “Lara Croft is a (genuine) feminist...
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...CHALLENGE THE MEDIA Table of Contents: Introduction Testimonials Websites Activity Article: Media and Girls Books and Reports Take Action 1 1 2 3 4 5 6 End the Sexualization of Girls and Young Women in Mainstream Media Children are exposed to a barrage of sexual and violent images through mainstream and other media. As children gain more access to media through technology such as phones and computers, the time per day that children are exposed to images is increasing. The average high school student spends as much as 8-10 hours a day with some type of media, according to recent findings from the Geena Davis Institute. Studies estimate that counting all ads, logos, labels, and announcements a child is exposed to 16,000 images in one day. (Youth Media Reporter 2009). Media and Violence Against Women Often, media such as TV, commercials, movies, music lyrics, and even Halloween costumes, sexually exploits girls and young women; and it perpetuates unhealthy and unrealistic stereotypical portrayals of both young men and women. Sexually violent material can contribute to a social climate in which violence against women is more accepted. According to several studies by the APA Task Force on the Sexualization of Girls (2007), men and women exposed to sexually objectifying and violent images of women from mainstream media were more accepting of rape myths, sexual harassment, sex role stereotypes, and interpersonal violence. Such structures of violence allow violence against...
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...this is the ability to play the game over and over with different outcomes each time. This is measured by the ‘boring’ factor. If the child gets bored fast, the game lacks replay ability. What makes a game educational? * New information – this is the educational information provided. It may be text or graphics, and is normally unknown by the age group or skill level for which the game is made. * Memorization – this is the part of the game that rewards good memory. If players are able to remember the new information, they can advance in the game. * Context and Cognition – this is the part of the game that puts the new information to use. Players win or score points by matching pairs, answering questions or problem solving. * Gender and Ethnic Balance – the game addresses equity issues through cooperative group play, language diversity, and...
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...HUM 1000: WORLD CIVILIZATIONS NOTES BY DR. KAKAI P.W THE NATURE AND ORIGIN OF CIVILIZATION IN AFRICA Definition of key terms As we begin this course, it is crucial to first discuss our understanding of the concept ‘civilization’. This is a comparative term which is usually applied in comparison to such words as ‘barbarian’ ‘savage’ and ‘primitive’. In classical antiquity the Europeans used the word ‘barbarian’ to refer to a foreigner who was regarded as inferior (Ogutu and Kenyanchui, An Introduction To African History, 1991 p33). Do you think this is still the way we use the word barbarian? The Latin speakers referred to hunters, food-gatherers as savage. In the 17th century this term ‘savage’ referred to a person without art, literacy, or society who lived in fear of existence and death. ‘Primitive’ on the other hand, in Latin meant ‘the first or original’. Europeans used these words interchangeably when referring to non-Europeans while the word civilization was preserved to describe historical developments of European people (ibid). Now the term civilization is no longer confined to the above development but also extends reference to non-European communities. Attributes of civilization includes observance to law, belonging to an organized society, having a society of literate people with advanced developments in urbanization, agriculture, commerce, arts and technology. The French thinkers of the 18th century referred to a person of the arts and literature...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Fourth Edition Reframing Organizations Artistry, Choice, and Leadership LEE G. BOLMAN TERRENCE E. DEAL B est- se l l i n g a u t h o rs of LEADING WITH SOUL FOURTH EDITION Reframing Organizations Artistry, Choice, and Leadership Lee G. Bolman • Terrence E. Deal Copyright © 2008 by John Wiley & Sons, Inc. All rights reserved. Published by Jossey-Bass A Wiley Imprint 989 Market Street, San Francisco, CA 94103-1741—www.josseybass.com No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-6468600, or on the Web at www.copyright.com. Requests to the publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-7486011, fax 201-748-6008, or online at www.wiley.com/go/permissions. Credits are on page 528. Readers should be aware that Internet Web sites offered as citations and/or sources for further information may have changed or disappeared between the time this was written and when it is read. Limit of Liability/Disclaimer...
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...PLAYER Good game design is player-centric. That means that above all else, the player and her desires are truly considered. Rather than demanding that she do something via the rules, the gameplay itself should inherently motivate the player in the direction the designer wants her to go. Telling players they must travel around the board or advance to the next level is one thing. If they don’t have a reason and a desire to do it, then it becomes torture. In creating a game, designers take a step back and think from the player’s viewpoint: What’s this game about? How do I play? How do I win? Why do I want to play? What things do I need to do? MEANINGFUL DECISIONS Distilled down to its essence, game design is about creating opportunities for players to make meaningful decisions that affect the outcome of the game. Consider a game like a boxing match. So many decisions lead up to the ultimate victory. How long will I train? Will I block or will I swing? What is my opponent going to do? Where is his weakness? Jab left or right? Even those few, brief questions don’t come close to the myriad decisions a fighter must make as he progresses through a match. Games invite players into similar mental spaces. Games like Tetris and Chess keep our minds busy by forcing us to consider which one of several possible moves we want to take next. In taking these paths, we know that we may be prolonging or completely screwing up our entire game. The Sims games and those in Sid Meier’s...
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