The End

In the last few weeks, I have examined several areas of video games: Why do we play a game, player’s identification, female gamers and identification and heroic aspects of gameplay.

Generally, a game is about reward and challenge. It is also because of reward and challenge, a person would play a game again and again. Playing video games is a process of learning, we learn how to use a certain technique to go to the next stage, we know which car to choose to make us win the race, etc… While we are learning to obtain a better gaming skill, we are turning ourselves into a hero, we want to win at the end.

Player’s identification is associated with one’s desire and experience. A player will usually identify with a character which shares common characteristics with him/her. However, this may be a generalization on the situation. For example, female gamers may identified with a male character on screen.

Video game is not only about entertainment or serving as a channel to escape from the reality. It involves theories and studies behind the mechanism. While playing a game seems to be a simple task, the player should also be considering the theories which connecting games with other aspects.

Becoming a hero

So far I gave been drawing focus on player’s identification. Now, I want to start a new discussion on heroic aspects.

On Monday, I spent two hours playing Halo on Xbox. It was my first time to play this game. At the beginning, I was so confused about how the game works. I only knew that I was the leader of a team, I had to shoot anyone that come to me. After 15 minutes, I started to have an idea on how to play this game. I picked up weapons from the ground and tried them out. Eventually, I could tell which weapon was better and when did I have to use a particular weapon.

Another story on my experience in playing Ridge Racer. I have been playing the Ridge Racer series (from Playstation to PSP) for years. The longer I play this game, I get more confident in winning since I can remember all the courses and I can pick the best car which suits me the best. I have a preference on cars, I will only choose a specific types of cars that I think it is easier to control.

Probably, many gamers like me will be very clear about their ways of playing video games. They know which character can help them to achieve the goal they want. In fact, through the process of choosing and deciding a character that is the most suitable, players are going the process of turning themselves into a hero.

As a player becomes more familiar with a game, function of a character becomes the most important reason for a player to choose a particular character (Newman, 2004). Take the example of me playing Halo. After I got familiar with the functions and the ability of each weapon, I chose to use a specific weapon that had a higher destruction power. I picked the weapon solely based on its function. I changed my weapons in different situations and when I was facing different enemies.

But how about a game like Pac-man? A player cannot choose a character or a weapon, can a game like Pac-man consists a certain heroic aspect in it? Since the major reason for a player to play is to win, picking a suitable character and weapon will increase player’s advantage in playing (Newman, 2004). After playing Pac-man for a while, a player gets a higher level of skills and therefore the chance of winning will increase. Therefore, in every game, there is a certain heroic aspects of it. A player will improve his/her skills through practicing, and it is also because of gaining an insight on how to increase the chance of winning, a player will tackle all stages in a game at the end. The winning makes a player the hero.
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Reference:

Newman, James, 2004. Videogame Players and Characters. In Videogames, ed. James Newman, 127-144. London: Routledge.

Gender, Games and Female Identification

Video games have been long perceived as male orientated. Game designers, target audience and characters in games are mostly male. Even if there are female characters in a game, their role is insignificant or they only obtain certain abilities. James Newman (2004) suggests that since there is a lack of role models in games, female players ultimately lose interest in playing video games. Issues on gender and video games create debate among scholars and players, and this involves a lot of ideas and suggestions. In this entry, I will first talk about gender and video games in general, then I will focus on female identification with games. Finally, I will discuss some of my questions and concerns.

It is a stereotype that girls are not into video games. In fact, female do play video games and some of them are passionate with it. There are lots of websites that are created by female gamers to talk about their opinions on any issues on games. Some of them are like gamegal.com, game girl advance and game girlz.

Female gamers are usually being stereotyped. Generally, female players are not welcomed into the game world. In a study carried out by Sue Morris (2006), most of the female players are insulted by male players in an online game. These female players have been addressed as ‘lesbians’ and received personal attacks. Maybe it is due to these personal attacks and negative comments, female players are not comfortable with the gaming space, so eventually they stop playing a game (Cassell & Jenkins, 1999). Besides, female gamers think that the true turn off for them to play a game is the semi-pornographic images presented in games (Morris, 2006).
Recently, Rika Nakamura and Hanna Wirman (2006) point out a few elements that may increase female’s anticipation and identification in gameplay. They suggest female would like to play a game that:

1. Is non-violent (Girls do not prefer aggressive games, or games that involved killings. They think repeated killings in games are boring)

2. Provides alternative pathways (The game should offer multiple ways for the girl gamer to play and interact with it)

3. Has character developments (Girls found building up their characters or customize their characters appealing)

4. Requires co-operation between several players (Girls like to play with each other and co-operate in games)

5. Consists female characters (So girls could identify more with the character and enjoy the gameplay)

6. Has multiple, complex narratives

7. Has realistic settings (Girls dream of something that is more close to real life, so a realistic setting in games increase the level of identification of female players)

8. Has a relaxed pace (Girls like game that is not too fast)

Nakamura and Wirman’s study makes me question a few things. Firstly, I do not think there is such a perfect game which fits in all these elements that have been mentioned above. Secondly, as a female gamer, I play all kinds of games. Therefore, there is a generalization on the preference of female gamers in the study.

James Newman (2004:57) points out that female preferences on playing video games should not be generalized. Age, is also an important element which contributes to the taste of female game players. Older and mature female gamers feel that they are comfortable with the technology and are more confident, therefore, they may want to explore in various types of games. Moreover, the above study points out that female is more likely to play a game with a female protagonist in it. But, Newman (2004:129) also suggests that the gender identification only exists within a short period of time. Gender identification usually exists during the beginning of gameplay, while one is still exploring the mechanisms behind the game. After a certain period of time, as a player becomes more confident about his or her ability, he/ she will choose a character that suits his/her gaming style the best.

I think as long as there is a comfortable gaming space for female, female players will enjoy the pleasure of gaming as a male player does. Also, what makes female keeps playing a game (also for a male as well), is the challenge and the satisfaction gained during gameplay.

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References:

Cassell, Justine and Jenkins, Henry, 1999. Chess for girls? Feminism and Computer Games. In From Barbie to Mortal Kombat: gender and computer games, eds. Justine Cassell and Henry Jenkins, 2-45. Massachusetts: The MIT Press.

Morris, Sue, 2006. Essay on gender in online gaming (online). (Cited on 3 November 2006). Available from http://www.gamegirlz.com/articles/quakewomen.shtml

Nakamura, Rika and Wirman, Hanna, 2006. Counter-Playing Tactics of Female Players. Game Studies 6 (1), http://gamestudies.org/0601/articles/nakamura_wirman

Newman, James, 2004. Videogames. London: Routledge.

Video Game Space and The Player by Laurie Taylor (2), with Tony Hawk’s Underground

This is a trailer of Tony Hawk’s Underground. It is clear that this game is trying to be unique, and want to appeal to a larger group of audience. It basically has three main selling points– First, a player can be himself in this game (you can upload your own photo and make the custom skater looks exactly like you). Second, you get a chance to skate with all those pro skaters featured in the game. Third, breaking all the conventional skating game rules; you can get off your board, walk, run and even jump on a rooftop.

Somehow, this game is appealing and it challenges the gameplay of conventional skateboarding games. A player can explore a lot more of spaces, and this increases the interaction between the player with the game space. I play the free skate mode and story mode today on Xbox. Free skate mode allows you to skate anywhere you like, the neighbourhood or a park you built. However, in the free skate mode, you can only be one of the pros, you cannot be yourself or make a custom skater of your own. In contrast, the story mode, like what the trailer tells you, you can create a custom skater or even make the custom skater yourself, dress the skater up and he is ready for the challenge. Narrative of the story mode is simple: you have to turn into a pro skater from a local nobody. Through challenges with other skaters, completing certain tasks, you will start to get famous.

From my own experience in playing this game, I want to show you how Taylor’s essay on player’s identification can be understood through this simple example.

I identify with the game and I can see myself in the game space since I have a personal interest in skateboarding. I skated a few years ago and once I wanted to be those pro skaters featured in Tony Hawk’s Underground. In this game, I can be a successful skater and do all the tricks that are too difficult for me in reality. Besides, I can make my own skater, I dress him up and modify him in a way that I prefer. Everything it’s like Lacan’s theory that is raised by Taylor– I identify with the image (the character) on the game and eventually I project myself into the game. The custom skater takes the ‘common traits’ idea further by making the character and the player combining into one single person; what you want to have or what you actually have, the character shares these abilities with you. Making oneself strong enough to fulfill all those desires that cannot be fulfilled in reality through player identification is probably the main reason behind the game’s success.

However, what if the player does not know anything about skateboarding? Here, the identification would not be successful with the player cannot connect himself with the skater. Furthermore, this means the game space and the actual space that the player is playing cannot be combined as one, this makes identification impossible. Therefore, I believe some games like this can only target a certain amount of audience since they are the only groups of people who can truly identify with the characters.

Video Game Space and The Player by Laurie Taylor (1)

Few days ago, while I was doing my research, I found this essay on gamestudies.org
This long essay by Laurie Taylor explains the mechanisms behind player’s identification with the game character, and further examines the relationship between space and the player. I believe her essay can be the foundation of the questions I want to examine in this assignment. Moreover, I think the theories she raises can applied to any video games. Her essay is complex, I am trying to use my own word to explain some of her basic theories and try to link the theories with the games I’ve played so far in the next entry.

Space in games is crucial for player’s identification. In the gaming space, a player can explore the game world and the narrative by himself. Therefore, the process of gameplay becomes interactive. Take Grand Theft Auto for an example, you can walk around the city and do what you like. When a mission is completed, a store (a weapon shop, a pizza restaurant or a pub) will open and you can freely explore these new places. Any cars can be driven by you, you can select the radio station to the one you prefer. There are lots of things you can do in the narrative of GTA . From the interaction between the player and the game space, the player serves his function in that particular space.

However, the relationship between space and the player has never been that easy to understand. While playing a game, the player exists in two spaces–the space he where he is playing the game (for example, his room) and the game space. This is a very complicated situation and relationship since the player exists both inside and outside the game space; this creates an uncertainty in the relationship between the player and game space (also the game character).

After saying all that, how can a player eventually combines the two spaces together and successfully identifies with the game character? Taylor provides an answer by using Lacan’s mirror stage theory. Lacan believes mirror stage is a form of identification, through the process of identification, the player assumes himself becoming the image (that is, the character in the game). Also, the player will try to find out some common traits that are shared by him and the character in order to make the identification further successful. Somehow, the player must has a sense of narcissistic projection throughout the entire gameplay, otherwise, identification will be unsuccessful and the player remains an outsider in the game space.
I am going to discuss these theories further by using my own experience of gameplay in the next entry.

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Reference:

Taylor, Laurie, 2003. When Seams Fall Apart- Video Game Space and The Player (online). (Cited 27 October 2006). Available from http://www.gamestudies.org/0302/taylor/

Ridge Racer on PSP

The video above is not me playing the game, I only want to show you how does this game work in case you do not have a prior knowledge of it. The narration of this game is simple–you have to win all the race and unlock the secret cars, then you win. I have been playing this game for almost 4 months. Currently, I am still struggling to get through the hardest level. On the other hand, I have to play the game all over again because of this assignment.

The very first reaction of me when I go back and play the first level is that I think this game is boring. There’s not much cars I can choose from and those cars are slow. It is very easy for me to win all those beginner stages and unlocks some of the cars. When I compare this feeling to the moments while I was playing the hardest stages, I feel the game is not challenging but I get lots of reinforcements. I want to keep playing and unlock more cars. In contrast, when I go back to my challenge with the last levels, I keep losing and eventually I give up.

I pass this game to my flatmate and ask her to try racing the first level. She does not have any prior experience in playing a car racing game. She finds the level extremely challenging since she does not know how to control the car and her car keeps crashing. After 5 minutes, she gives up and says this game is boring.

On the contrary, another friend of mine has similar feeling as me towards this game. She loves car racing games and she thinks Ridge Racer is the best racing game ever. She finds the game very addictive at first because she could not wait to unlock more cars and She sees herself driving the car in the game. She is being drawn to the gameplay and the narration, so winning all the levels becomes a very important thing for her. However, as she starts to realize the courses are more or less the same and the final levels are difficult, she get bored and gives up eventually.

From the 2 examples I have given above, reinforcement is undoubtedly important to the player. After some failures, one tend to think the chance of succeed is getting smaller and finally he or she gives up.

After going through my personal experiences and some interviews with my friends, an important question emerges–What makes us identify with a game and what makes us do not identify with a game?

I think for my flatmate, her lack of interest in driving and car racing makes Ridge Racer not appealing to me. However, since me and my friend love to drive, we tend to make ourselves the driver of these fast and attractive cars. And, in the reality, we do not have a chance to drive in these cars, in the virtual reality and through the process of gameplay, we wish to fulfill our desire. In short, identification and seeing oneself in the game are crucial elements that drive a person to keep playing a game.

The Beginning

Why do we keep playing video games again and again? Will we ever get bored? How much can we identify with the characters in games even the character is not a human? What elements in game contribute to player’s identification?

These are some of the questions I keep in mind these days. I believe that there is a certain heroic aspect in gameplay and I think there must be a level of identification between the player and the characters. However, elements in game (such as camera angle and narration) may change the identification of a player or affect the player’s interest.

But first, I am going to examine why some people keep playing a game without a sense of self-control. In psychological explanation, the secret behind player’s addiction to the game is due to the mechanics of reinforcement. In an experiment carried by psychologist B.F. Skinner, a rat is put inside a cage called ‘Skinner box’. Inside this cage, there is a protruding lever that the rat can push and a small container into which food can be dispensed by the experimenter. The rat explores in the cage and somehow it will press the lever and it sees food in the container. Gradually, the rat learns to press the lever more frequently in order to get the food reward (Loftus and Loftus 1983, 13-18).
The process of learning and reinforcement provided by the Skinner Box example can be easily seen in game play. Think of the moment when you defeat the boss and go to the next stage. Here, the rewards are the satisfaction of winning, and maybe an upgrade of power in your character. Therefore, you become more motivated in playing the game. Since you want to experience the satisfaction again, you will be more likely to work harder in order to achieve another reward.
On the other hand, if we examine this question in a less academic level, James Newman’s book provides some simple answers of why a person keep playing video games.
Most of us play games because we want challenge, we want to get involved, we want to have control and freedom, etc… While a player tries to explore the challenges in a game, he expects there are rewards for him to go on playing. Games provide gratifications and pleasure. It is through practice and replay, a player will eventually obtain his rewards.

Another important reason for why people keep playing games is that games offer fantasies. There are lots of possibilities in a game that we can fulfill some of the desires that cannot be fulfilled in reality. Through identification with the game world and the characters, the player has a sense of being there; he is in control, he can do anything he wants, as long as the narrative in a game allows him to.

I believe all these ideas that I’ve raised above are true to me. When I am playing a game, I want reinforcements and rewards. If there are no reinforcements, I want to give up and think the game is not fun anymore. Games offer a space for me to dream, to fulfill my desires. While I was playing Tony Hawks Pro Skater, I want to be a professional skater, doing all those tricks that I cannot do in real life. While I am playing one of the Star Wars games, I can try to be a jedi in another place and space.
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Reference:

Geoffery, R., Loftus, and Elizabeth, F., Loftus, eds. 1983. Why Video Games Are Fun. In Mind At Play– The Psychology of Video Games, 10-42. New York: Basic Books, Inc.

Newman, James, 2004. Why Do Players Play?. In Videogames, ed. J. Newman , 16-17. London: Routledge .