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Stereotypes of gender roles in video games
Stereotypes of gender roles in video games
Stereotypes of gender roles in video games
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ICAGAM523A – Assessment 2
Appendix 1: Design Document Template
The light blue text within this document is just a guide on how you will need to fill each section out and will need to be removed before submitting.
You will need to go through this document and fill it out completely with a minimum of what is written in the blue text for each section. If you need to add extra information about your environment, do so. This is a design document and in industry should be able to be handed to someone else to be built exactly as you want it to be without any further input.
You will need to fill in all sections of this design document (as well as the scheduling spreadsheet) in order to cover the minimum requirements for assessment 2. Please follow
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the guides in each section for a more information. The guide text should be deleted before submitting this assessment. If you have additional images, they should be clearly labelled and either attached to this document or included in your submissions zip file. Name Lucas van rangelrooy Tutor Dean Clifton Date 05/23/15 Revision Resources Target Hardware Recommended Requirements for Project P.A.I.N are: • CPU; 2.4 GHz Intel Core i7-4700MQ (3.4 GHz Turbo) • Graphics;. Nvidia GeForce GTX 880M (8GB). AMD Radeon HD 7750 1GB GDDR5. • Memory; 8 GB DDR3L RAM. • Storage; Western Digital Blue 1TB 5400RPM SATA 6Gbps 8MB Cache 2.5-inch Internal Hard Drive. • Budgeting / Scheduling / Roles With our current budget restrictions, the delivery of the level design will have to be quick. A Target of 1 day will be spent over each pass of the environment resulting with all assets being produced and tested over the span of a week. Please refer to the separate spreadsheet containing the Budget/Schedule. The roles required Referred on the budget spreadsheet are; • Level Designer • Concept Artist • Environment Artist • Level Scripter • Effects Artist • Sound Designer • 3D Artist • Texture Artist • QA Tester. Risk Analysis RISK LIKELY OCCURENCE IMPACT ON PRODUCTION MITIGATION Player: Poor camera tracking resulting in poor character control. HIGH HIGH Camera must be the first design task, the first spec and first scripting prototype. Rules governing the camera need to be established early and must be clear. Enemies: Buggy AI resulting in poor response from enemies MEDIUM LOW Ensure focus on AI algorithms particular in response to player actions. Reduce Expectations of AI sophistication. Environment: Buggy environment allowing illogical interaction with the game (walking through walls, becoming trapped in objects). Inability to reach elevated environment assets. HIGH HIGH Reduce the amount of interactive environment, use memory efficient art methods. Ensure Environment physics match character physics. Puzzles: Unsolvable puzzles, or inability to reach next stage in the puzzle. MEDIUM LOW Ensure puzzles are solvable and logical, prior to Whiteboxing the level. Design Theme Overall the theme of this level is an abandoned indoors Environment, with corridors and multi-level open areas. The design of the Level will suggest a large technological development was present. AI’s will be robotic Bulky “foot soldiers”, with the main character having an Advanced, agile and lightly armour and Weaponry. Environment: The images provided below define the style of the targeted. Being abandoned it will be a dirty environment with there being signs to it previously being an Advanced facility, with dark and damp style lighting and metallic textures. Additionally, these environments suggest the way puzzle elements could be delivered mechanically-with machines, and using the tools provided within the Environment. Lab Zone Corridor (600v, 2012-2015) (http://600v.deviantart.com/art/lab-zone-corridor-480694278) Mech Hanger – 4 (Bondhan Kimbalazani) (http://www.bondhan.com/hangar.html) Character and AI: The images provided bellow are character designs used as inspiration, both NPC and Player.
Movement styles, textures and weapon theme are implied with these designs with Gender and features being a Player choice at the start of the game. As the players Character is of a light build being agile, lightly armed and armoured, with casual/loose fitting outerwear. AI enemies are non-gender specific, cumbersome, robot-like and heavily armed.
Chell (Portal 2) Garret (thief Series)
http://www.giantbomb.com/chell/3005-778/ http://thiefgame.wikia.com/wiki/Garrett
Free Running War Loaders (Borderlands 2)
https://www.pinterest.com/bestzazzle/parkour-lamour/
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http://borderlands.wikia.com/wiki/WAR_Loader Raiden (Metal Gear Rising) http://metalgear.wikia.com/wiki/Raiden's_first_cyborg_body Puzzles and Assets: Puzzles appear in two different formats, mechanical (Interaction causing a machine/s to do something) or physically (interacting with the environment or environmental devices). Other Assets will be props and doors. Portal 2 (Valve) Crane Concept (James Ledger) http://lbc9.com/games/platform-games/portal/wallpapers-8.html http://www.jamesledgerconcepts.com/scraps/ Design goals and justifications OVERVIEW • THIS IS LEVEL 1. o The player can view some advances in the stages via windows on top elevated walkways, but cannot use this route as access, this is to provide an overview and help in puzzle solving. o Provide an introduction to the game backstory, through a mixture of embedded narrative across the whole level (data tapes and rebooted consoles) o The level is divided into 4 stages. o There are 4 enemy NPC’s across the level. o Enemy can be disabled (once disabled they do not reactivate unless the entire level is revisited). o Each stage requires solving a puzzle in order to progress (open the door to the next stage). o An extra three stage puzzle, spread across the level needs to be solved in order to exit to the next level. o Stages get progressively difficult in their puzzle and enemy content. o The level is mapped across ground and three elevations, accessible by stairs, ladders or jump/climb actions. STAGE 1 o Familiarise player with character controls. o Familiarise player with puzzle solving methodology. o Familiarise player with character/enemy interaction. o Do not force the player to progress before they are happy with their familiarisation. o Provide one enemy NPC in this stage. o Enemy NPC is walking a fixed route between stage 1 and 2 (providing a clue to opening this door-swipe card) with timed pauses along the route. o The Stage puzzle here is a single step sequence (disable the enemy NPC and retrieve its swipe card (access to stage 2). o Player can disable the enemy NPC to allow time for familiarisation with movement, locating puzzle elements and gaining an overview of the level from the top elevation. o There are two exit doors with swipe card access. STAGE 2 o Provide one enemy NPC in this stage.
o Provide one Computer console.
o Provide one locked safe.
o Enemy NPC will react to access door opening, believing NPC 1 is entering the room.
o The console controls an overhead crane that can be moved up to roof height, then along a track to stage 4(this must be done in order to complete the exit puzzle).
o The stage puzzle here is a two-step sequence.
• 1-disable enemy NPC and retrieve safe PIN code.
• 2-find a safe that contains the access code to stage 3.
STAGE 3
o Access to Stage 3 needs door pin code from Stage 2.
o Provide two enemy NPC’s in this stage (both on fixed patrol routes that converge at one point).
o One patrol route passes the safe, the other passes the computer console.
o Both enemy NPC’s must be disabled it must be done at the extremity of a patrol route to avoid discovery.
o Stage puzzle here is a four-step sequence.
• 1-retrieve safe PIN from enemy NPC (only one enemy holds a swipe card).
• 2-find a safe that contains a computer password.
• 3-access computer and unlock door to stage 4.
• 4-retrieve crane jib locking key from enemy NPC, to connect cargo assets to crane.
STAGE 4
o The enemy here is time.
o Opening the stage 4 entry door triggers a
timer. o Stage puzzle here is a four-step sequence. • 1-return to stage 2 and manoeuvre the crane jib over a cargo asset. • 2-return to stage 4 and connect the crane jib to a cargo asset. • 3-return to stage 2 and move the cargo asset onto a conveyor belt (this automatically starts the conveyor moving). • 4-return to stage 4 and hitch a ride on the conveyor belt out of the level. o The time penalty – if the player does not hop on the conveyor belt, before the cargo asset has exited the stage, the conveyor stops and the whole puzzle, for this stage, must be repeated from step 1. o 2 non active doors at this stage also act as red herrings to distract the player. floor plan Player Computer Screen Enemy NPC Safe Enemy Route Window Critical Path Door Sphere of Influence False Door Crane Jib Crane Gantry Machinery Racks Server Racks Cargo Cargo Conveyor Gantry walkway Level Entry Ladder Level Exit `Concept art Gameplay Related Info The game mode this environment is designed for is 3rd person single player puzzle solving and action/adventure. There are 4 enemy NPC’s spread across the first 3 stages (1 each in stage 1 and 2, and 2 in stage 3). NPC’s in stages 1 and 3 have fixed patrol routes, the NPC in stage 2 is stationary at a computer terminal. All the NPC’s hold various puzzle elements, either PIN codes smart cards or crane jib locking key. Stages 1-3 contain climbable elements in the form of ladders and walkways, these can be used to avoid or ambush enemy NPC’s (who remain at ground level), the highest walkway in stage 2 can also be used to gain a preview of stage 4. Access between stages is via smart card, computer and PIN controlled doors. Stages 2 and 3 contain locked safes and computer terminals, the safe in stage 2 contains the code to open stage 3 door. The safe in stage 3 contains the password to access the computer terminal that unlocks the door to stage 4. The computer terminal in stage 2 is used to control the crane jib. In addition computer terminals contain embedded narrative elements for the overall game plot. Stage 4 contains cargo containers and a conveyor belt. The crane jib can be moved from stage 2 to stage 4 in order to manoeuvre cargo onto the conveyor belt, the conveyor belt will automatically start when it senses cargo on it, and stop when the cargo has exited the stage. There are 2 non active doors at this stage that provide a red herring in the puzzle process Interactive Objects Interactive Objects: • Stage 1 – • 2 doors (NW and SE corners) operated by smart cards. • 2 ladders providing access from ground to 1st level gantry walkway. • 2 ladders providing access from 1st level gantry walkway to 2nd level gantry walkway. • 1 swipe card to access doors in stage 1 and 2 (held by enemy NPC). • Stage 2 – • 1 door (SW corner) operated by smart card. • 1 ladder proving access from ground to 1st level gantry walkway. • 1 ladder providing access from 1st level gantry walkway to 2nd level gantry walkway. • 1 ladder proving access from 2nd level gantry walkway to 3rd level gantry walkway. • 1 computer terminal to access; • 1 – The crane jib controller (raise, lower, forward, back, left, right). • 2 – Embedded narrative elements. • 1 safe PIN code held by enemy NPC. • 1 safe accessed via PIN code. • PIN code for access to stage 3, held in the safe. • Stage 3 – • 2 doors (SW corner and N wall) operated by PIN code. • 4ladders providing access from ground to 1st level gantry walkway. • 1 computer terminal to access; • 1 – The unlock sequence for door to stage 4. • 2 – Embedded narrative elements. • 1 crane jib locking key, held by enemy NPC. • 1 safe PIN code, held by enemy NPC. • 1 safe accessed via PIN code. • 1 password for the computer terminal. • Stage 4 – • 1 door to access stage 3. • 1 Crane jib/cargo lock mechanism. Moving Objects: • Stage 2 – • 1 Crane Jib controlled from the computer terminal. • Stage 4 – • 1 crane jib controlled from stage 2 computer terminal. • 1 cargo conveyor belt that provides the exit route from this level. • Multiple cargo containers that attach to the crane jib, to be moved to the cargo conveyor belt. Required Assets Type of object Asset Category 11 ladders Mesh/Model/Texture 3 machinery racks Mesh/Model/Texture 4 enemy NPC’s Mesh/Model/Texture 1 overhead crane jib Mesh/Model/Texture 6 sections of crane gantry Mesh/Model/Texture 2 computer terminals Mesh/Model/Texture 2 safes Mesh/Model/Texture 8 cargo containers Mesh/Model/Texture 1 cargo conveyor belt Mesh/Model/Texture 5 internal doors Mesh/Model/Texture 11 gantry walkways Model/Texture 14 computer server racks Model/Texture 2 windows Model/Texture 1 exit door Model/Texture 1 entry door Model/Texture 2 false doors Model/Texture 4 rooms Model/Texture 2 corridors model/Texture Door open/close Sound/Animation Crane operation Sound/Animation Enemy NPC attack Sound/Animation Enemy NPC disable Sound/Animation Enemy NPC walking Sound/Animation Enemy NPC running sound/Animation Computer terminal use sound/Animation Keypad use sound/Animation Safe open sound/Animation Player walking sound/Animation Player running sound/Animation Conveyor belt operation sound/Animation
were to patrol the streets to keep them in order and to try to prevent
The ways the characters portrayed what is supposedly masculine and feminine was when the author wrote about the type of clothes the grandma is wearing. She is wearing
The type of data collection for a qualitative research study depends on the research design. The qualitative design itself originates out of the disciplines and flow throughout the process of research (Creswell, 2014). Creswell (2014) recommends narrative, phenomenology, ethnography, case study, and grounded theory as common qualitative research methods. These were recommended because of they are popular across the social and health and science research studies. Hays and Woods (2011) asserted that selecting a research tradition congruent with one's research orientation and study purpose, and at the same time, infusing it in all phases of qualitative inquiry, is one of the key criterions for trustworthiness of the research results. Hays and Woods (2011) recommends six qualitative research traditions, including ground theory, phenomenology, consensual qualitative research, ethnography, narratology, and participative action research. Indeed, while there are additional qualitative research methods available, scholars have identified these six qualitative traditions consistently or identified them as emerging and common methods of qualitative research (Hays & Woods, 2011).
In this male driven era, women are perceived to be fragile and submissive. This, in turn, affects the purpose and outcomes of the products offered by the gaming industry. Production companies strive towards games that recognize males as alpha models that control the realms of the universe. Females, if at all included, are recognized as delicate flowers that need to be rescued or as seen as the ultimate prize. In the Sex Roles journal, the authors emphasize, “Female characters rarely appear, and that when they do, they are mostly in a submissive, secondary role” (Jansz & Martis 2007). Gender stereotypes are evident in most AAA games, such as GTA 5 and Temple Run. However, the few exceptions lie within indie games such as Even Cowgirls Bleed where women take the main lead. The representation of gender stereotypes in games is studied through the analysis of Temple Run and Even Cowgirls Bleed.
Many video games portray women as objectified beings, purely used for sex appeal and to attract the larger male gamer population. We also see men idealised in a similar way as well – the males in video games are portrayed as muscly, brawny men. However, we rarely see a scantily clad man in a game, but there is a vast abundance of games which feature women wearing ‘sexy armour’, or a noticeable lack of substantial amount of clothing. This isn’t female-friendly as these games are made for men, causing women to feel alienated and uncomfortable.
The terrain was very uneven with many drop-offs and makeshift roads into Zerkho Valley. I knew that the roads were rarely used by the local populace due to IED emplacement to keep coalition forces out of their Valley. Off-road movements were our only option and the route we would take was critical to the success of this mission. Our movements were slow and methodical, carefully observing the roads for any signs of disturbance or anything out of the ordinary. “Give me a good distance from the objective D 3-1?” I asked the second vehicle TC with the CROW system over the radio. “237 meters SGT” he replied. “Okay, all vehicles stay on line and orient your
Assessment templates and documents – Most centers will have a certain format that has been agreed and put in place for Assessors to use. For example, when planning assessment, there will be standardised forms for you to use to record assessment planning as well as feedbacks.
Henning, Brenick, Killen, O'Connor, and Collins (2009) state that ‘it is a well-known fact that today U.S. adolescents spend large amounts of time playing video games" (as cited in Anderson and Bushman, 2001, p. 171). Like any other form of media, it is important to analyze the types of messages that are being spread, especially when they reach a large audience of all ages. With regards to portraying genders, it is vital that all are represented equally. While video games are getting better at depicting female characters, it is a slow progress. Very few blockbuster titles have female leads; one of the exceptions being Lara Croft's Tomb Raider. Out of 36 games studied by Children Now (2003), only Tomb Raider featured exclusively female choices (The male and female populations, para. 4). Even so the character, Lara Croft, mainly exists to please the male gaze. Her appearance is overtly sexualized and several in-game camera angles act to accentuate her figure. Another popular series to include a multitude of women is The Last of Us. Although this title incorporates a female playable character, the player does not play as them for the majority of the game. If a female character is not sexualized in a game, she is most likely one-dimensional. Alexandra Neonakis commented that "more often than not…women [are represented] as either a damsel in distress or a male character in a female body" (Jamstew, 2015). The character may serve simply as a background prop or a sidekick. More often than not females are simply not included in games at all. Misrepresentation on this scale can lead to real world consequences. Many do not realize that misrepresentation is even an issue and that is where the problem begins. By not acknowledging sexism in gaming, the problem can only worsen. As the problem continues to grow, sexism in real life will be perpetuated. Han (2014) states
They cannot just veer from the set plan and engage the enemy without having first received a word or command. To do anything that can jeopardize or sabotage the goal can be dangerous and deadly.
According to Former Secretary of State Dean Acheson, a memorandum is meant to protect the writer instead of being issued to inform the reader. I believe that the quote by Former Secretary of State Dean Acheson is not accurate. This statement creates ambiguity because the primary purpose why the writer issues a memorandum is to inform the reader. If the purpose is just to protect the writer and not to inform the reader, just for the sake of issuance, then such memo is of no use. However, this paper seeks to discuss the relevance of both—a memorandum is intended to inform the reader and it is also used to protect the writer.
The system features adaptive difficulty levels that increase or decrease difficulty based on a student’s performance
An example of this is: an officer is given a specific role, e.g (following a suspect) Officer 'A' will stay behind the person being monitored, Officer 'B' will also be behind the person and Officer 'C' will be on the opposite side of the street, the officer will typically either be slightly ahead or slightly behind the person on the opposite side of the street. The officers are allowed to switch so it doesn't look too obvious that the suspect is infact being followed.
This new trend in combining foot patrol is called geographic policing, or "geo-policing", in which officers are assigned a bear that they are required to build rapport with area community members. Police supervisors are also assigned areas to work with so they can explore ways to resolve hot spots and crime trends in their assigned areas. Many people think that the technology in the squad cards have isolated officers from building rapport with the community, so this is where combination patrol comes into place. The goal is to better allocate police, spreading them out where they are needed, while building rapport with the community. Officers can use the "park and walk" strategy, which targets high crime areas, business districts, parks, highly residential neighborhoods and schools. The advantages of this approach are fuel savings and vehicle wear and tear as leaving a squad car parked for two hpurs during an eight hour shift may cut down fuel use by twenty five percent. “Park and walk” can also strengthen relationships with the community, assist in recruitment efforts, and helkp the development of informants. The combination of foot patrol and automobile patrol has wonderful advantages all around providing the best of both worlds, when it comes to method of patrol, for both the officers and the community.
With that, he faces the wall and murmurs a sequence of numbers. You jump as a door materializes to the side and opens. The guard gives you one last menacing smile and roughly throws you in. You land sprawled out on the ground, completely helpless to the mysteries awaiting you. A telltale click behind you indicates that the door locked. ...
The teacher will also make norm-referenced and criterion referenced interpretations of assessment through this website. They have graph and color-coded bands that show widely held expectations for children’s development and learning. The teacher will use this website and graph to communicate twice a year with the parents about the child’s strength, weakness or any area of