CCT 270 University Of Toronto Ethical Game Design Research Paper

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ACEs Educational [Feb.04] [阿龙老师] [CCT270] [Feb.04.2021] [阿龙老师] ACEs Educational [Feb.04] [阿龙老师] 今天 lecture 的主题:Accidental Sexism In Game Design Speaker: Liana Kerzner - Mosaic Feminist Video Game Analyst, Award-Winning Producer, Write, Editor, Narrative Designer. - As seen on CBC, SPACE, CityTV, Muchmusic, Toronto Star, National Post, The Agenda, The Rubin Report, The Escapist, Polygon and more - YouTube series: A gamer’s Guide To Feminism, Lady Bits, BOSSFIGHT: a show about myths about video games Accidental Sexism In Game Design - Understand that sexism often comes from sloppy systems, not intents 性别歧视大部分是来自于懒散的游戏系统,而不是意图 - Learn to identify potential design situations where sexism can happen 学会去分析游戏设计里的潜在的性别歧视 - Get techniques to avoid unintended gendered clichés, translate your intent, create higher quality games, and make more money 学习如何避开不刻意的性别敏感话题,说清你的意图,做更高质量的游戏赚更多钱 You can’t please everyone No matter what you do you will get hater, complainer, etc. 不管你做什么,你总会遇到讨厌你以及抱怨的人 The goal is to create content you can defend. Not content that offends no one. 目标是去做你可以保护的内容,而不是会侵犯到别人的内容 There is a lot of ignorance, even among women, about gender performance, gender identity, and gender inequality. 哪怕是在女性之间,也会有对性别表现,性别身份和性别不平等无知 Important to know: - Games do not make you sexist 游戏不会让你性别歧视 - Games do not make you violent ACEs Educational [Feb.04] [阿龙老师] 游戏不会让你暴力 - Video game “Addiction” is controversial 游戏沉迷是有争议的 - Gaming also shows many positive cognitive effects. 游戏证明了是有许多的好的认知影响 - Sexist people like sexist game elements. Games do not cultivate sexist attitudes. 性别歧视的人喜欢游戏里的性别歧视元素,游戏不会培养性别歧视的态度 Sexism – “Ideas or behaviours that perpetuate the dominance of one gender over other genders.” 想法或者行为觉得一个性别优势于另一个性别 Two Types of Sexism: 1. Hostile Sexism: negative attitudes toward women 敌意的性别歧视:对女性的负面态度 2. Benevolent Sexism: “Positive” Attitude that can turn ugly when women step out of traditional gender roles. 好心肠的性别歧视:表面上看似于友善的话,但其实对一个女性是侮辱,传统的固定认知 Accidental Sexism in Game Design A lot of off-putting or offensive messages and images in games comes from internalized stereotypes. Game developers don’t realize they are leveraging assumptions that aren’t based on facts. 很多侵犯性的游戏中的信息或者照片来源于古板印象。游戏设计者没意识到他们在促使不基于事实的 假设 Instead of becoming truly egalitarian, developers replace hostile sexism with benevolent sexism. 设计者把 hostile sexism 替换成了 benevolent sexism,而不是真的成为平等 How Accidental Sexism Happens - Poor Research 不够多的调查,最好的解决办法是拥有一个女性开发者 - Sheer Ignorance 单纯的不够多了解 ACEs Educational [Feb.04] [阿龙老师] - Fear 游戏开发者怕被指责性别歧视,导致建造了一个太过于保守的女性角色,过度无聊导致侮辱性 - Panic 很多游戏没有足够的基金或者太过于仓促了,导致了很多错误 - Falling into the trap of “What women want” 太想着去照顾所有女性的想法,但女性是一个个个体,每 个人看法都不一样 Intersectionality Theory The premise of the interconnected nature of social categorizations such as race, class, and gender, regarded as creating overlapping and interdependent systems of discrimination or disadvantage. 一个人因为种族,地位,性别等等因素导致了负面的影响 Simply put: people are individuals, and individuals aren’t just one thing Different motivators ACEs Educational Women: Completion and Fantasy Men: Competition and Destruction The Big Five Game Motivators - Completion - Competition - Customization (Design) - Destruction - Fantasy [Feb.04] [阿龙老师] ACEs Educational [Feb.04] [阿龙老师] Question: Consult Quantic Foundry’s Big Five Game Motivators/Requirements. Now think of a game you really enjoy. Describe the gameplay features that appeal to two of those five motivators. Do not use Liana’s Metroid example. Wordcount: 300-350 讨论 Quantic Foundry’s Big Five Game Motivators/Requirements. 想一个你喜欢的游戏。形容这个游戏中可 以联系到这五点中的两点的特征。不要用 Liana’s Metroid 例子。 字数:300-350 个人例子: 英雄联盟: Competition: 非常激烈的游戏,有一个积分段位系统,玩家赢了可以到达更高的段位。 Customization: 有很多的皮肤,头像,玩家可以选择自己喜欢的皮肤。 Fantasy: 很多虚拟的角色,非常丰富有特色。 Monster Hunter: Destruction: 和怪物很多的搏斗,最终杀死怪物,并且可以破坏它身上的部位。 ACEs Educational [Feb.04] [阿龙老师] Completion: 有主要的故事主线,但主要故事情节完成了还有很多值得玩家自己探索的内容。 ACEs Educational [Feb.04] [阿龙老师] ACEs Educational ACEs Educational [Date] [Instructor] [CCT270 Response 3] [Jan.28.2021] [阿龙老师] 这周的 SPEAKER: JEAN LEGGETT About Jean & One More Story Games (她所在的游戏公司): - Indie studio focused on games for women over 30 独立的工作室,目标客户是 30 岁以上的女性 - Narrative games as focus-games for “word nerds” 叙述类的游戏,很多文字 - Female protagonists with MEANINGFUL stories 拥有有意义的故事的女性主角 - Passionate about empowering storytellers 热衷于专注于讲故事 Serious Games- Games with a primary purpose other than pure entertainment, often exploring atypical subjects. Serious Games 和普通专注于娱乐的游戏不一样,他们有个不一样的主题,专注于研究探索不寻 常,敏感的主题。 #MeToo MeToo movement 是于 2006 年开始的一个反女性性骚扰和性暴力的活动。 Duty of Care - Ethics - consultancy & Player Consent 道德,顾问和玩家准许 - WHO gets to tell the story? 谁负责讲故事 - Commitment to expression 专注于表达 - Where is the line drawn? What is the impact? 底线在哪?影响是什么? Lily Bard 是一款 Jean Leggett 所做的游戏,讲述了一个女性的悲惨经历,是根据 Shakespeare 的原著改编的 Point & click narrative mystery Lily Bard- assault survivor, deals with PTSD, anxiety 袭击幸存者,患了创伤后遗症,焦虑 Where do you draw the line without exploiting it? - Breaking up the chapter of the sexual assault, not including it in the game as a whole 把性侵犯的那一章节拆分开,并没有把所有部分都放进去 - Incorporate elements to normalize therapy that aren’t in novel 加入了元素去标准化小说里不存在的治疗方法 - Care to show Lily as a woman dealing with trauma and wanting to process its impact on her 展现了 Lily 是一个受到创伤的女人,以及对她的影响 - The players control the story - agency exists outside the novelization 玩家控制故事发展 Uncovering Lily’s Mystery - Behaviour of some survivors - avoiding relationships, protective of privacy, trust issues 其他幸存者的习性:逃避关系,保护自己的隐私,信任问题 - Residual shame, misdirected feelings towards others 残余的羞辱,把这种感情错误的引导到别人身上 - Give players agency to deviate from the novel’s path - they control the story 给玩家权利来脱离小说的轨道,玩家来操控故事的走向 Art & Audio Direction - Lily’s body – not showing her scars and her mutilated body Veto on the assault image No blood Moved from “horror” PTSD to monochromatic Placement of camera – players see flashbacks as out of body Audio and SFX “My target audience is not people who have been sexually assaulted. My target audience is people.” “我的目标用户不是被性侵犯的人们,而是所有人。” TODAY’S RESPONSE Describe a piece of entertainment that you feel handled difficult/controversial subject matter that is consistent with Jean Leggett’s approach to Lily Bard. -ORDescribe a piece of entertainment that you feel DID NOT handle difficult/controversial subject matter that is consistent with Jean Leggett’s approach to Lily Bard. Explain why. Explain why. For this response, you can discuss a game, Tv show, novel or film. Do not use an example provided by Jean Leggett, 300 – 350 Words maximum. 讲述一个含有争议、敏感主题的娱乐产品,并且对待这个主题的方式是和 Jean Leggett’s 对待 Lily Bard 的方式是一样的。 -OR讲述一个含有争议、敏感主题的娱乐产品,并且对待这个主题的方式是和 Jean Leggett’s 对待 Lily Bard 的方式是相反的。 娱乐产品可以为一个游戏,电视剧,小说或者电影。 不要用 Jean Leggett 提过的例子,最多 300-350 字。 个人举的例子: Assassin Creed 刺客信条有一期给了玩家们控制角色的恋爱走向,玩家可以选择玩一个男性或者女性角色,并与 另一个不同性别的角色恋爱。但是很多玩家反映了并没有同性别相连的选项,事后 EA 公开道歉 并把这个选项加入了游戏中。 GTA 侠盗猎车手系列经常充斥了大量的暴力,腐败,色情以及种族歧视话题,尽管很多玩家提出了意 见但他们还是毫无掩盖的加入了这些元素。 Farcry 4 孤岛惊魂四的主角是一个印度人,而 protagonist 却是一个白人,充斥着种族歧视的元素。而在他 的 boxart 中,白人反派用手捏着印度人的脑袋,被很多玩家抗议种族歧视画面。 ACEs Educational [Date] [Instructor] ACEs Educational 本节 lecture 的 topic:Narrative in Virtual Reality Gaming Speaker: Dan Stopnicki - Technology Innovator 18 years in the field of 3D graphics, games and interactive technologies Entrepreneur in various interactive endeavors focused on the utilization of real-time technology. the Chief Innovation Officer and a founding partner at Seed. VR 产生的问题: - - The common problem with virtual reality storytelling is that it is exceedingly challenging to control where the user is looking. VR 常见的问题是想要控制玩家看的方向实在是太困难了 Unlike traditional visual narrative forms we have lost the ‘director’. 不同于传统的视觉叙述方式,我们失去了主导玩家的办法 We have lost the ability to frame shots. We have handed over the camera to the audience. 我们无法制定画面,我们把摄像机的主导权给了玩家,让他们来决定去看什么 Often either you end up with a story no one understands, or tunneled your users so aggressively, it’s just not fun. - How do we drive the user to a particular place? How do we call attention to a particular thing? 游戏中常见的主导玩家的方式: 例子 例子: Often use a process of gentle channelling. 经常用到了温柔的引导方式 Guide the user’s eye to points of interest. 带领用户的眼睛去看到重点 Can use signage or other visual cues (smoke, fire) 使用标志或者视觉提示(烟,火) Lighting/shadow 光影 用高大壮观的建筑来吸引玩家走近它 用开阔的桥指引玩家走近 Allow users to anticipate the action based on the topography of the environment. Flight Environments 一款当时新出的 VR 飞行模拟游戏, 当时很多人第一次接触 VR,玩的过程中产 生了很多问题。 Common issues: Most users did not turn their head until prompted. 很多玩家没有提示的话就只会看着前方,不会转头看周围 Most users could not find enemies to shoot. Some players didn’t realize you could shoot the zeppelins. 一些玩家甚至不知道你可以攻击飞机 Many players essentially flew out of the battle. Who’s job is it? 是谁的责任来解决这个问题? - Is it the player’s job to understand virtual reality is a 360 environment? 是应该由玩家来理解 VR 是一个 360 度立体的环境吗? - Or is it the designer’s job to breadcrumb a level? 还是设计者的任务去细分细节? Designing for a world in 3D space - Player-centric design We found that players were leaving the 3D volume we had created. So instead, we moved the 3D volume around the player 很多玩家玩的过程离开了我们为他提供的 3D 空间,所以我们决定把游戏空间围着玩家转 Scripted Events - Assume the player is looking forward We generated a scripted event trigger to drive action around the player at key intervals. 我们制定了一系列的事件来在关键时刻引发玩家周围的行动 The scripted event is anchored to the player and scripted to fly into the view of the user. 这些事件是和玩家联系着的,以及安排好去飞进玩家的视野 Audio Cues 音频提示 Audio cues have been very useful ways of driving users to a target “Attack the Zeppelin!” 一旦在游戏里加入语音提示玩家去“攻击飞机”,很多玩家立刻知道要去干什么了 Interfaces and menus 界面和菜单 - To communicate to the user 和用户交流 To allow the user choice 赋予用户选择的权利 Set the Mood - Intro sequences can deliver a lot of information to the user about what to expect and how they might be expected to respond. 开场镜头可以给玩家提供很多信息,以及他们将要面对什么和怎么去对应 In summary: 总结 - You can’t control the user, and they are holding the camera. 你不能控制用户,玩家在控制着摄像头,他们在决定去看什么 - You can attract them with visual and audio cues. 你可以用视觉和音频提示去吸引他们 - You can usually assume they are looking forward and can focus action there. 基本上所有玩家都会主要看着前方,所以尽量把游戏内容放在正前方 - You need to think about your designed from a user-centric position versus world-centric. 设计需要考虑的 user-centric position versus world-centric, 什么时候以玩家为中心什么时候 以游戏世界为中心 本节课的问题: Option 1: Pick a non-virtual reality game that you enjoy playing. Describe how you would turn it into a VR game. What challenges would you face and how would you address them? Explain using Dan’s terms. Option 2: Choose an existing VR game that you believe is flawed, and explain how it is flawed. Using Dan Stopnicki's terms, explain how you would fix that game. Wordcount:300-350 选一个你喜欢的但不是 VR 的游戏。解释你将如何把他转成一个 VR 游戏?转换的过程中你将遇到 什么样的困难挑战?以及你将如何解决它们?用 Dan 的理念解释他们 选一个目前市场上有的而且你觉得是有缺陷的 VR 游戏,解释有什么缺陷。用 Dan 的理念去解释 你会怎么去修复它。 300-350 字 例子: 1. 塞尔达传说(荒野之息) 开放式世界,画质高,风景优美,combat 紧张激烈。可以走故事主线,节奏快,也可以 走支线,休闲娱乐。 问题: 可能在玩家视角看不见的地方(背后)突然出现怪物。 物品装备栏需要频繁的打开,需要一个方便的设计。 2. 英雄联盟 Highly competitive, 非常热门,适合和朋友一起玩。 问题: 太过于激烈,太注重于小细节,VR 会忽略以及看不到很多细节。 3. Call of Duty Series 第一人称射击游戏,非常适合 VR,走故事剧情无需要回头看身后。 4. Animal Crossing 休闲娱乐,本身就是一款让人置入其中的休闲游戏,可以装饰自己的家,VR 版更可以让 玩家欣赏自己的家 问题: 方向感差的人很容易迷失方向 5. 炉石 纸牌游戏,VR 版可以体验出牌的快感,休闲 ACEs Educational [Feb.11] [阿龙老师] [CCT270] [Feb.11.2021] [阿龙老师] ACEs Educational [Feb.11] [阿龙老师] 主题:Composing Music For Video Games Speaker: Jake Butineau • Game music composer based in Toronto, ON • Graduated from the music program at York University • Freelance music composer and sound designer for games and internet media. • Game projects: Super Animal Royale, Destiny’s Sword Especially excited by concepts such as environmental storytelling, subversive design/narrative and dynamic music systems. 环境故事,颠覆性的设计,叙述和动态音乐系统 You need to Jam, as an audio person, as a floater, and in a team • Games Jams: a contest where participants make a video game from scratch 参与者从零开始做一个游戏的竞赛 • Floater – Video Game audio designers without a fixed team 没有固定组织的,被各个公司雇佣 • Small indie video game company: • Audio person are multitasked, such as Jake “You’ll wear a lot of hats.” 有很多身份很多工作种类 Types of Game Audio - Composition / Music 组合音乐 Dynamic Music Design ACEs Educational [Feb.11] [阿龙老师] - Sound Design - Editing/Mixing - Implementation - QA 顾问 - Technology Where do I get started? Music - Find a cheap instrument and start playing - Learn whatever is fun to you, find tutorials to help you along - Play with free online sequencers - Download a free DAW or use GarageBand to make simple songs Sound Design - Record on your phone, find weird sound combinations in your house Audio System Design - Pay attention to audio systems in games, make notes/maps Music as Storytelling • Bastion, Transistor (Supergiant Games) - Lyrics/Diegetic 歌词/可视的声音 • Undertale (Toby Fox) - Theme and Variation 主题/变化 • Nier: Automata (Platinum Games) - Lyrics/Language, Theme and Variation • Doki Doki Literature Club (Team Salvato) - Style/Subversion, Lyrics 风格/破坏 The music directly or indirectly (and often exclusively) tells an important aspect of the game’s story or narrative 游戏中的音乐直接地或者非直接地讲述了这个游戏故事中的很重要的一个部分 ACEs Educational Super Animal Royale Emotes Music within mechanics Systems as Function VS as Art - Systems to make gameplay experience smoother 让游戏体验更舒畅 Ex. Explore/Battle music systems - Systems that define the gameplay experience 游戏体验的一部分 [Feb.11] [阿龙老师] ACEs Educational [Feb.11] [阿龙老师] Game Audio is Broad Many aspects of game audio From Creative to Technical 游戏音频是有各种各样的,有各种方面,从创造性的到技术性的 GameSoundCon Survey: 54% have music/audio education 14% have computer/technical education 13% have other education “I don’t want to be an AUDIO person, should I still learn game audio?” Yes, it is fundamental in designing games, helps a lot. When Do We Get Audio in the Design Cycle? Audio should be done in the beginning of designing game, it plays a big role It’s a fundamental part of the mechanic 游戏操作的主要一部分 Dynamic music system Music changes as the dynamic system changes. 玩家遇到的反馈会改变音乐 (悲伤场景放悲伤的音乐,战斗放激烈的音乐) Response: Describe an example of ”music as storytelling” from a piece of entertainment of your choice. For this exercise, you can use a game, TV show or film. Explain the story it tells, and how. Don’t use any of Jake’s examples. ACEs Educational [Feb.11] [阿龙老师] Word Count:300-350 讲述一个是以音乐来叙述故事的娱乐产品。你可以用一个游戏,电视节目或者电影。讲述一下它讲 了什么故事,怎样去讲的。不要用老师的例子 例子: • Deemo: 用音乐来说话,没有口头的交流 • Cadence of Hyrule: 根据音乐的节拍来移动,杀怪 • Lala Land: 爱情电影,很多对话是以唱歌展开的,很多场景也是以音乐跳舞展现的 • Bohemian Rhapsody: 以一首歌名当电影名字,讲述了乐团的成长 ACEs Educational [Feb.11] [阿龙老师] ACEs Educational Instructions Weight: 25% of final grade Individually, students will write an argumentative essay on one of 3 predetermined game design topics (see below). The essay should reference both the speakers and other professionals in the game industry. 1) Choose a game design professional, or an established game theorist. For the purposes of this assignment, a "game designer" is any game development professional whose contributions will shape the way a game is played. A "game theorist" is someone who has published papers about game theory back with research. Example Game Designers: Dani Bunting, Hideo Kojima, David "Zeb' Cook Example Game Theorists: Jane McGonigal, Raph Koster, Ernest Adams 2) Choose ONE of the following topics: Ethical game design Inclusive game design - The importance of audio/visual presentation of games . 3) Create a thesis using one of the above topics as a theme. 4) State and defend your thesis using the ideas of our speakers, and your chosen designer or theorist. Word count: 1200 - 1500 words File Formats Accepted: Word (.doc or .docx) or PDF (.pdf)
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Ethical Game Design
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Ethical Game Design
Introduction
Game design is a wide field of video game development. It requires using creativity and
design to come up with a game for entertainment or educational reasons. The process of
developing game design consists of creating clear goals, stories, characters, challenges, and rules
that bring interaction with other participants, objects, or characters. A game designer must take a
creative lead in visualization and bring to life video game worlds. Currently, video games are a
thriving sector across the globe.
A game designer is thus expected to consider different demographics of players such as
cultural background, physical ability, race, social-economic position, gender identity, inherent
language, game literacy, and learning ability. In developing a game design, ethical concerns must
be adhered to in their creation, similar to those faced by other artists in any other communication
face. In this essay, we shall look at one of the most common ethical concerns faced in game
design is sexual harassment. In-game design, women characters are intentionally depicted
according to three types: scantily clad, the vision of beauty, or sexualized.
Vision of Beauty
Since video games, they have inclined to depict females as characters requiring assistance
or instrumental roles or holding passive. While it seems that females are commonly less in video
games, they are most of the time presented as attractive or sexy beings, sex items, and sexually
evocative ways. In research that analyzed some of the top-selling games, it found out that in
more than a quarter of games designed, women are presented as sex objects (Begue et al., 2017).
Another recent analysis reported that females are often portrayed with revealing clothing, or in

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some cases, they are partly nude. There is a deep history of harassment, especially against
women in the video game industry and women who play video games online. Harassment might
consist of sexist comments or insults, rape or death threats, demanding sexual favors in exchange
for actual or virtual money, or reproach of females' existence and their welfares. Sometimes,
wome...


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