tag:theconversation.com,2011:/fr/topics/world-of-warcraft-29253/articlesWorld of Warcraft – The Conversation2023-02-14T17:39:48Ztag:theconversation.com,2011:article/1994472023-02-14T17:39:48Z2023-02-14T17:39:48ZHow to cope when you lose access to a digital world you love<p>US games developer Blizzard Activision has <a href="https://www.theguardian.com/world/2023/jan/23/world-of-warcraft-offline-china-millions-gamers-bereft">become embroiled</a> in worldwide litigation relating to its proposed acquisition by Microsoft. It has also fallen out with its Chinese distributor NetEase. This might sound like news for the business pages only. But it has had tangible, real-world consequences. </p>
<p>The developer’s flagship product is <a href="https://core.ac.uk/download/pdf/286703992.pdf">World of Warcraft</a>, one of the most successful massively multiplayer online (MMO) games of all time. Across the globe, over 125 million players are estimated to have, at one time or other, come to call the land of Azeroth – the setting of the game – a home of sorts. As of late January 2023, however, the <a href="https://worldofwarcraft.fandom.com/et/wiki/WoW_population_by_country">estimated</a> three million people who play the game in China have lost all access to it.</p>
<p>Efforts <a href="https://www.reuters.com/technology/blizzard-talking-with-potential-partners-continue-offering-world-warcraft-china-2022-12-13/">are underway</a> to restore access to the game for its Chinese fans. </p>
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<p><em><strong><a href="https://theconversation.com/uk/topics/quarter-life-117947?utm_source=TCUK&utm_medium=linkback&utm_campaign=UK+YP2022&utm_content=InArticleTop">This article is part of Quarter Life</a></strong>, a series about issues affecting those of us in our twenties and thirties. From the challenges of beginning a career and taking care of our mental health, to the excitement of starting a family, adopting a pet or just making friends as an adult. The articles in this series explore the questions and bring answers as we navigate this turbulent period of life.</em></p>
<p><em>You may be interested in:</em></p>
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<p><em><a href="https://theconversation.com/black-panther-2-why-the-death-of-someone-young-can-be-harder-to-handle-195307">Black Panther 2: why the death of someone young can be harder to handle</a></em></p>
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<p>Being shut out of a virtual universe is not the same as physical eviction or forced migration. So, for some, this may seem a trivial event. To paraphrase <a href="https://www.wimbledon.com/en_GB/news/articles/2017-08-02/2017-08-02_remembering_peter_doohan.html">Boris Becker</a>, “we lost a game, not a war. Nobody died”. But when we enter a digital world, particularly a perpetual MMO, like World of Warcraft, which continues to exist when we disconnect, we are effectively migrating. Losing that world – one that has become a home – has immediate and important psychological effects.</p>
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<img alt="A drawing of a flying creature against a fantasy landscape." src="https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=375&fit=crop&dpr=1 600w, https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=375&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=375&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=471&fit=crop&dpr=1 754w, https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=471&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/509186/original/file-20230209-20-3o38ks.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=471&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
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<span class="caption">The land of Azeroth.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/tanzen80/1174269845/in/album-72157601548729592/">Antonio Fucito | Flickr</a>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span>
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<h2>The porous membrane</h2>
<p>The migration between the physical and the virtual realms is usually relatively brief and easy to reverse. It involves crossing what virtual economies scholar Edward Castronova <a href="https://press.uchicago.edu/ucp/books/book/chicago/S/bo3620704.html">calls</a> a “porous membrane”, which refers to a partial barrier between the physical and the virtual. Some things can cross in both directions (memories, values, attitudes, currency). Others (physical objects and characteristics in one direction, pet dragons and magical swords in the other) are blocked. </p>
<p>As players, we shift between the avatar we become in the virtual world and the person we are in everyday life. Research shows that people <a href="https://www.sciencedirect.com/science/article/pii/S0747563211001701?casa_token=lhGfjGHFkNQAAAAA:pKwAerlqRhsi_GdAl63TBXsMl8ubv5-M3qV0zdYmuyvurLtznPUpmrbd5iozkVRa7PO9xvYYjQ">often choose</a> avatars that are idealised versions of themselves (leaner, prettier, more muscular). We are not characters in these worlds but projections of our selves. The experiences we have and the actions we take are very much our own. Consequently our virtual life is likely to affect our physical life, on the other side of the membrane.</p>
<p>Digital worlds are not simply places where we kill monsters and acquire loot (although that part is fun). They are spaces where we socialise, work and enjoy spending time. In 2018, I conducted <a href="https://www.sciencedirect.com/science/article/pii/S0747563218302437?casa_token=9cKAgPbZAzcAAAAA:MBieAal7n_5rVDRFNx43wJ0hWrvzb4vxtL4I8phdAM3Hx7_22JEdoBPaxBnUr_SiyCaE7cZCGQ">a study</a> with fellow psychologists Andrea Oskis, Jacqueline Meredith and Rebecca Gould, which looked at the attachments people form to places in the real and the digital world. </p>
<p>To measure attachment to places (as opposed to people), we assess four different factors: how special a place is; how it contributes to our sense of identity; the people who are associated with it; and our feelings of affection towards it. On average, the 740 adults from a variety of countries who responded to our survey reported this last factor – feelings of affection – as being <a href="https://psycnet.apa.org/doiLanding?doi=10.1037/ppm0000244">stronger for digital places</a> than for their physical homes. </p>
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<h2>Emotional investment</h2>
<p>Even though places in gaming universes have no physical existence at all, they are capable of eliciting strong feelings. It follows that when a world, its people and places, is taken from you, the impact is significant. </p>
<p>Players of dying games – <a href="https://gamerant.com/mmos-shut-down-2022/">and there are many</a> – have flocked to servers to celebrate the times they have spent there. One player <a href="https://www.reddit.com/r/gaming/comments/203njh/my_thoughts_on_free_realms_closing/">reacted</a> to the news that Sony was shutting down its fantasy-world Free Realms by encouraging their fellow gamers to be grateful they’d had the chance to play at all. “We still have a month,” they said, “so let’s spend it being happy.”</p>
<p>The final six minutes of Final Fantasy XIV – with a meteor called Dalamud obliterating the in-game land of Eorzea – have <a href="https://www.reddit.com/r/ffxiv/comments/ccdq0i/the_single_most_powerful_mmo_ending_in_gaming/">gone down</a> as the “single most powerful MMO ending in gaming history”. People who took part <a href="https://www.reddit.com/r/ffxiv/comments/ccdq0i/the_single_most_powerful_mmo_ending_in_gaming/">remember it</a> as “an emotional rollercoaster” and something “very real and personal”.</p>
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<p>And on the day interstellar wargame Tabula Rasa was shut down in 2009, players were invited to join in a desperate (and doomed) battle. A swansong was composed especially for the event. The two sides (the Allied Free Sentient human force and the Bane alien force) mutually destructed. One player subsequently <a href="https://www.reddit.com/r/MMORPG/comments/qvqunj/what_are_some_famous_stories_about_when_mmo_games/">described</a> the lag between their actions and what was happening on screen as “unbearable” because so many gamers had joined in.</p>
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<p>We made slow progress and eventually cleared out all of the enemies and captured the control point. There we danced, and cheered, and cried until the servers went dark forever. </p>
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<p>There will be those who counter that games are just games, they are not real, and online experiences are of little importance. At the same time, though, most people recognise the deep hurt and desperation that result from cyberbullying, stalking and online crime. In other words, we all acknowledge that what happens online doesn’t stay online. Why should feelings of belonging and friendship not be offered the same status as those of despair and intimidation when they happen online?</p>
<p>The emotional investment players express show that we have the same response to the loss of a digital world as to the loss of anything in the physical world to which we are emotionally attached. Gamers in China who are no longer able to enter Azeroth will doubtless be experiencing the <a href="https://www.psycom.net/stages-of-grief">five stages of grief</a> – denial, anger, bargaining, depression, and acceptance – because these feelings are hardwired into us. </p>
<p>Loss of all kinds is unbearable and infuriating. We feel deep sadness. We want things we have loved to return to how they were. This is a healthy response to a negative event beyond our control. <a href="https://www.hopehealthco.org/blog/5-ways-to-use-mindfulness-for-grief-stress-or-anxiety/">Dealing</a> with it in relation to a virtual world is no different than in the physical world. Accept the loss, notice it and do not try and change it. Crucially, acknowledge that all things change.</p><img src="https://counter.theconversation.com/content/199447/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Mark Coulson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>People form as strong attachments to gaming universes and can mourn their loss as keenly as physical places.Mark Coulson, Associate Professor in Psychology, University of East AngliaLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1882192022-08-23T04:03:31Z2022-08-23T04:03:31ZDid an accidental ‘blood plague’ in World of Warcraft help scientists model COVID better? The results are in<figure><img src="https://images.theconversation.com/files/479812/original/file-20220818-3875-a31kna.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C5670%2C3780&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">Shutterstock</span></span></figcaption></figure><p>Way before COVID, in 2005 the <a href="https://worldofwarcraft.com/en-us/">World of Warcraft</a> game developers accidentally introduced an extremely virulent highly contagious disease into this game which then spread to infect the whole fantasy world and caused a virtual pandemic. </p>
<p>As far removed as this may seem from the goings on in the real world, the spread of this virtual disease appeared to have potential relevance to understanding real world epidemics.</p>
<p>Disease modelling has <a href="https://www.science.org/doi/10.1126/science.abp9498">played a crucial role</a> during the COVID pandemic to help anticipate the spread of an entirely new infectious disease through the population. </p>
<p>Infectious disease models use mathematical equations to describe how infectious diseases, humans and the environment interact. Then we can scope out what’s likely to happen if we let an epidemic run its course or try out various <a href="https://pubmed.ncbi.nlm.nih.gov/32985971/">public health intervention options</a> to see their effect on transmission.</p>
<p>This approach lets us take a peek into an uncertain future to assess the likely impact of control strategies on disease outcomes.</p>
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<strong>
Read more:
<a href="https://theconversation.com/doherty-modelling-update-provides-the-goalposts-but-local-insights-will-determine-play-168364">Doherty modelling update provides the goalposts, but local insights will determine play</a>
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</em>
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<h2>World of Warcraft and the corrupted blood plague</h2>
<p>In the World of Warcraft online game, the disease that was introduced and spread widely throughout the virtual world was called <a href="https://wowwiki-archive.fandom.com/wiki/Corrupted_Blood">Corrupted Blood</a>.</p>
<p>This introduced disease was intended to be confined to a particular area of the virtual world, as a “debuff” spell used by the dungeon “boss” Hakkar the Soulflayer, to pose an additional challenge to players. Upon engaging the boss, players were stricken by the spell which would periodically sap their life. </p>
<p>However, to the surprise of the game developers, features of this virtual world, the nature of the introduced disease and the unanticipated behaviour of players led to rapid spread of this infection into the wider game. Players unknowingly transmitted infection to their animal companions, who were able to then infect other players in the wider game. </p>
<p>Developers didn’t predict panicked players would subsequently travel great distances to densely populated areas and spread illness there. Some players displayed altruistic behaviours, rushing to the aid of their friends and becoming infected. The disease spread widely and quickly. </p>
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<p>There were also a number of individuals who intentionally spread disease for no obvious reason. A full-scale game wide pandemic ensued, with high rates of infection and death.</p>
<p>Given the extent to which players inhabited their virtual personas, this phenomenon led some <a href="https://www.thelancet.com/journals/laninf/article/PIIS1473-3099(07)70212-8/fulltext">researchers to speculate</a> that gamifying infectious disease epidemics might be a way to gain insights into human behaviour during a pandemic. </p>
<p>Data derived from observing the actions of players in the virtual realm in response to an introduced virtual disease threat could be fed into real world disease models, they suggested, to better account for the unpredictability of human behaviour. </p>
<p>Indeed, many of the behavioural drivers of infectious spread identified in the game outbreak have also played an important role in the spread of COVID.</p>
<p>The key issue is that, despite the sophistication of disease modelling, the biggest source of uncertainty in these models comes from trying to factor in human behaviour. </p>
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<span class="caption">The Corrupted Blood debuff being spread among characters in Ironforge, one of World of Warcraft’s in-game cities.</span>
<span class="attribution"><span class="source">Wikimedia</span></span>
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<h2>Disease modelling and COVID</h2>
<p>The COVID pandemic has highlighted just how <a href="https://www.oecd.org/coronavirus/policy-responses/enhancing-public-trust-in-covid-19-vaccination-the-role-of-governments-eae0ec5a/">complex and varied</a> our responses to infectious disease threats are. Differences in social cohesion, trust in governments and political priorities can drive these responses. </p>
<p>Some high-income countries, like the United States and the United Kingdom, that were expected to be well placed to respond to the pandemic <a href="https://www.ghsindex.org/report-model/">performed poorly</a>. Other lower income countries, like Vietnam and Thailand, performed exceptionally well despite having fewer resources. To make things even more complex, as the pandemic has continued to unfold, <a href="https://www.researchgate.net/publication/342405860_COVID-19_is_rapidly_changing_Examining_public_perceptions_and_behaviors_in_response_to_this_evolving_pandemic">public perceptions</a> have been changing too. </p>
<p>So, how do we gather the data needed to model human behaviour better?</p>
<p>Since early 2020, many countries have <a href="https://www.imperial.ac.uk/global-health-innovation/what-we-do/our-response-to-covid-19/covid-19-behaviour-tracker/">implemented behavioural surveys</a> in real time as a way of understanding attitudes and behavioural response to the pandemic, including cooperation with social measures mandated or recommended by authorities. </p>
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<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/herd-immunity-was-sold-as-the-path-out-of-the-pandemic-heres-why-were-not-talking-about-it-any-more-183918">Herd immunity was sold as the path out of the pandemic. Here's why we're not talking about it any more</a>
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<h2>What have we learned about COVID from World of Warcraft?</h2>
<p>Have virtual epidemics been used to inform infectious disease models and make them more “realistic”? </p>
<p>Despite some initial excitement about using observed player behaviour in virtual fantasy worlds to enhance epidemic models, we have not seen such data being used in any meaningful way. </p>
<p>Despite the parallels between player interactions in virtual worlds and the real world, online behaviour varies in <a href="https://ischool.umd.edu/news/what-gaming-has-taught-us-about-covid-19-pandemic">significant ways</a> and may still be too far removed from reality to be of any practical use. Most notably, the potential for limitless experiences in online games is very different to the real world. Despite theoretical interest, the idea really hasn’t taken off.</p>
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Read more:
<a href="https://theconversation.com/why-are-people-stockpiling-toilet-paper-we-asked-four-experts-132975">Why are people stockpiling toilet paper? We asked four experts</a>
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<p>While behavioural data from virtual worlds may not be of sufficient relevance to inform real world disease models, the need to predict human behaviour better remains very important. The pandemic showed us how unpredictable our responses are. </p>
<p>A <a href="https://theconversation.com/why-are-people-stockpiling-toilet-paper-we-asked-four-experts-132975">prime example</a> of this was the rush to hoard toilet paper . No one would have anticipated this phenomenon before the pandemic, and it was totally irrational, but it was replicated throughout the world. While this is a somewhat obscure example, what it highlights is the unpredictability of human behaviour. There is no doubt that if we can better understand human behaviour and feed this into our disease models we will be better placed to predict disease outcomes and the impacts of public health interventions.</p>
<p>Unfortunately, in the real world we don’t have the luxury the game developers of World of Warcraft had. When they couldn’t stop the spread of the corrupted blood disease, they just performed a game reset to end the pandemic and get back to life as normal. If only!</p><img src="https://counter.theconversation.com/content/188219/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Jodie McVernon receives funding from the National Health and Medical Research Council, the Australian Research Council, the Australian Government Departments of Health and Ageing and Foreign Affairs and Trade and the World Health Organisation. She has been an invited expert member of the Australian Health Protection Principal Committee, the Communicable Disease Network of Australia COVID-19 working group, the Australian Technical Advisory Group on Immunisation's COVID-19 Technical Group, and the COVID Multi-Model Comparison Collaboration's Technical Group. </span></em></p><p class="fine-print"><em><span>Hassan Vally does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>The spread of a virtual disease in the online game World of Warcraft appeared to have relevance to understanding real world epidemics like COVID.Jodie McVernon, Professor and Director of Doherty Epidemiology, The University of MelbourneHassan Vally, Associate Professor, Epidemiology, Deakin UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1752022022-01-18T19:28:53Z2022-01-18T19:28:53ZMicrosoft purchase of Activision Blizzard won’t clean up gamer culture overnight: 5 essential reads about sexual harassment and discrimination in gaming and tech<p>Microsoft announced on Jan. 18, 2022, its <a href="https://news.microsoft.com/2022/01/18/microsoft-to-acquire-activision-blizzard-to-bring-the-joy-and-community-of-gaming-to-everyone-across-every-device/">intention to purchase</a> video game giant Activision Blizzard. The company, publisher of top-selling video games Call of Duty, World of Warcraft and Candy Crush, has been the subject of a series of sexual discrimination and harassment complaints. A day before Microsoft’s announcement, Activision Blizzard announced that it has <a href="https://www.ibtimes.com/activision-says-it-fired-dozens-over-harassment-allegations-3377285">fired “nearly 40 employees”</a> since July following an investigation into hundreds of reports from employees of misconduct.</p>
<p>California <a href="https://www.npr.org/2021/07/22/1019293032/activision-blizzard-lawsuit-unequal-pay-sexual-harassment-video-games">sued Activision Blizzard</a> in July 2021, alleging a “pervasive ‘frat boy’ culture” at the company and discrimination against women in pay and promotion. The suit prompted a <a href="https://www.nbcnews.com/tech/tech-news/activision-blizzard-workers-walk-sexual-harassment-lawsuit-rcna1525">walkout by company employees</a> who demanded that the company address the problem.</p>
<p>The turmoil is an echo of the infamous <a href="https://www.nytimes.com/interactive/2019/08/15/opinion/what-is-gamergate.html">Gamergate</a> episode of 2014 that featured an organized online campaign of harassment against female gamers, game developers and gaming journalists. The allegations are also of a piece with a <a href="https://www.washingtonpost.com/outlook/2019/02/19/women-built-tech-industry-then-they-were-pushed-out/">decadeslong history of gender discrimination</a> in the technology field.</p>
<p>It’s unclear whether or how quickly Microsoft will address Activision Blizzard’s discriminatory culture. Regardless of what happens within the company, the problem of sexual harassment in gamer culture involves the industry as a whole, as well as players and fans.</p>
<p>We’ve been covering sexual harassment and gender discrimination in gaming – and technology generally – and picked five articles from our archive to help you understand the news.</p>
<h2>1. Gaming culture is toxic – but community norms can change it</h2>
<p>Things have not been getting steadily better. The shift to online activities caused by the pandemic was accompanied by an increase in online harassment and a decrease in the number of women and girls playing video games.</p>
<p>More than a third of female gamers have experienced harassment, and female players have <a href="https://theconversation.com/heres-what-itll-take-to-clean-up-esports-toxic-culture-143520">developed coping strategies</a> like hiding their gender, playing only with friends and shutting down harassers by outplaying them, according to University of Oregon professor <a href="https://scholar.google.com/citations?user=7IEXEiwAAAAJ&hl=en">Amanda Cote</a>. These strategies take time and energy, and they avoid rather than challenge the harassment. Challenging harassment is also fraught, because it typically sparks a backlash and puts the burden on the victim.</p>
<p>Shutting down harassment comes down to creating and supporting community norms that reject rather than allow or encourage harassment. Gaming companies can adopt practices beyond banning harassers that discourage the behavior before it happens, including reducing opportunities for conflict outside of gameplay, adding in-game recognition of good behavior, and responding quickly to complaints.</p>
<p>“If esports continue to expand without game companies addressing the toxic environments in their games, abusive and exclusionary behaviors are likely to become entrenched,” she writes. “To avoid this, players, coaches, teams, leagues, game companies and live-streaming services should invest in better community management efforts.” </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/heres-what-itll-take-to-clean-up-esports-toxic-culture-143520">Here's what it'll take to clean up esports' toxic culture</a>
</strong>
</em>
</p>
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<h2>2. It’s not just players – fans are part of the problem</h2>
<p>Go to any sports stadium and you’ll see that the atmosphere that energizes players and fans alike comes from the fans. For esports the venues are streaming services, where fan reaction comes not from cheers and chants but in the form of online chat.</p>
<p>University of South Florida professor <a href="https://scholar.google.com/citations?user=ay9uGpcAAAAJ&hl=en">Giovanni Luca Ciampaglia</a> and colleagues analyzed chats on Twitch, one of the largest streaming services that carries live esports. They found <a href="https://ojs.aaai.org/index.php/ICWSM/article/view/14885">a sharp distinction</a> in the language fans use when commenting on players, called streamers, depending on gender.</p>
<p>“When watching a man stream, viewers typically talk about the game and try to engage with the streamer; game jargon (words like ‘points,’ ‘winner’ and ‘star’) and user nicknames are among the most important terms,” he writes. “But when watching a woman stream, <a href="https://theconversation.com/can-online-gaming-ditch-its-sexist-ways-74493">the tone changes</a>: Game jargon drops, and objectification language increases (words like ‘cute,’ ‘fat’ and ‘boobs’). The difference is particularly striking when the streamer is popular, and less so when looking at comments on less-popular streamers’ activity.”</p>
<p>As with the games themselves, combating harassment and discrimination on streaming services comes down to community standards, he writes. The streaming services “need to examine their cultural norms to drive out toxic standards that effectively silence entire groups.”</p>
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<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/can-online-gaming-ditch-its-sexist-ways-74493">Can online gaming ditch its sexist ways?</a>
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<h2>3. Collegiate esports leagues don’t reflect the population of video game players</h2>
<p>Esports is becoming a big business, with <a href="https://www.reuters.com/article/esports-business-esports-growth-idUSFLM4K2cJ7">over $1 billion in revenues</a>, and collegiate leagues are an important component of the field. Just over 8% of college esports players and 4% of coaches are female. The low rates of participation are not a reflection of interest: <a href="https://www.sportsintegrityinitiative.com/gaming-gender-how-inclusive-are-esports/">57% of women ages 18-29</a> play video games that are in the esports category.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A young woman wearing a face mask stares intently at a large computer screen while a man wearing a face mask stands behind her looking over her shoulder" src="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Boise State esports coach Doc Haskell watches scholarship graduate student Artie ‘N3rdybird’ Rainn compete in a match.</span>
<span class="attribution"><a class="source" href="https://newsroom.ap.org/detail/EsportsScholarshipInequality/226671c6c6fb412a985dbad4cfe71eed/photo">AP Photo/Otto Kitsinger</a></span>
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<p>Female players <a href="https://theconversation.com/at-colleges-nationwide-esports-teams-dominated-by-men-154793">face overt hostility and harassment</a>, which discourages participation, according to SUNY Cortland professor <a href="https://scholar.google.com/citations?user=dYfhb9sAAAAJ&hl=en">Lindsey Darvin</a>. College teams often engage in tokenism by bringing on a single female player, and the <a href="https://apnews.com/article/esports-gender-inequality-scholarships-men-1823321276db40fea37dc8d9e5410643">vast majority of scholarships go to male players</a>. </p>
<p>Professional esports organizations are <a href="https://www.teamliquid.com/news/2021/01/13/aerial-powers-joins-team-liquid-as-streamer-and-diversity-ambassador">beginning to address the gender gap</a>. Colleges and universities need to follow suit.</p>
<p>“Colleges and universities that receive U.S. federal aid have an obligation to improve opportunity and access to participation based on Title IX policy, which prohibits sex discrimination in any education program or activity receiving federal financial assistance,” she writes.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/at-colleges-nationwide-esports-teams-dominated-by-men-154793">At colleges nationwide, esports teams dominated by men</a>
</strong>
</em>
</p>
<hr>
<h2>4. Lessons from the tech field: Diversity and equity require women with power</h2>
<p>The roots of esports’ toxic culture lie in <a href="https://theconversation.com/the-tech-field-failed-a-25-year-challenge-to-achieve-gender-equality-by-2020-culture-change-is-key-to-getting-on-track-144779">decades of gender discrimination</a> in the technology field as a whole. That discrimination has proved stubborn.</p>
<p>“In 1995, pioneering computer scientist Anita Borg challenged the tech community to a moonshot: <a href="https://www.youtube.com/watch?v=3nImg8vPUe4">equal representation of women in tech by 2020</a>,” writes Rensselaer Polytechnic Institute professor <a href="https://scholar.google.com/citations?user=HzqQ2wYAAAAJ&hl=en">Francine Berman</a>. “Twenty-five years later, we’re still far from that goal. In 2018, fewer than 30% of the <a href="https://www.vox.com/2018/4/11/17225574/facebook-tech-diversity-women">employees in tech’s biggest companies</a> and 20% of <a href="https://research.swe.org/2016/08/tenure-tenure-track-faculty-levels/">faculty in university computer science departments</a> were women.”</p>
<p>Reversing discrimination is a matter of changing cultures within organizations. “Diverse leadership is a critical part of creating diverse cultures,” she writes. “Women are more likely to thrive in environments where they have not only stature, but responsibility, resources, influence, opportunity and power.”</p>
<p>“Culture change is a marathon, not a sprint, requiring constant vigilance, many small decisions, and often changes in who holds power,” she writes. “My experience as supercomputer center head, and with the Research Data Alliance, the Sloan Foundation and other groups has shown me that organizations can create positive and more diverse environments.”</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-tech-field-failed-a-25-year-challenge-to-achieve-gender-equality-by-2020-culture-change-is-key-to-getting-on-track-144779">The tech field failed a 25-year challenge to achieve gender equality by 2020 – culture change is key to getting on track</a>
</strong>
</em>
</p>
<hr>
<h2>5. The myth of meritocracy is an impediment to equality</h2>
<p>The myth of meritocracy is a large part of the <a href="https://theconversation.com/women-in-tech-suffer-because-of-american-myth-of-meritocracy-94269">longevity of gender discrimination</a> in the tech field. That myth says that success is a result of skill and effort, and that women’s representation is a reflection of their abilities.</p>
<p>In the U.S., <a href="https://www.nawbo.org/resources/women-business-owner-statistics">women own 39%</a> of all privately owned businesses but receive only around 4% of venture capital funding, according to Brown University professor <a href="https://scholar.google.com/citations?user=Vj4crUIAAAAJ&hl=en">Banu Ozkazanc-Pan</a>. </p>
<p>“Yet the meritocracy myth, which <a href="https://dx.doi.org/10.2139/ssrn.2982414">my research shows</a> has a stronghold in the world of entrepreneurship, means that women are constantly told that all they have to do to get more of that <a href="https://nvca.org/pressreleases/total-venture-capital-dollars-invested-2017-track-reach-decade-high/">$22 billion or so in venture capital funding</a> is <a href="https://doi.org/10.1177/1042258717728028">make better pitches</a> or be more assertive,” she writes.</p>
<p>What the tech field calls meritocracy is in fact gender-biased and results in mostly white men gaining access to resources and funding. “By continuing to believe in meritocracy and maintaining practices associated with it, gender equality will remain a distant goal,” she writes. </p>
<p>Adopting <a href="https://www.weforum.org/agenda/2018/01/metoo-sexual-harassment-what-experts-say/">gender-aware approaches</a>, including setting concrete goals for gender balance, is key to correcting the imbalances caused by the meritocracy myth.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/women-in-tech-suffer-because-of-american-myth-of-meritocracy-94269">Women in tech suffer because of American myth of meritocracy</a>
</strong>
</em>
</p>
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<p><em>Editor’s note: This story is a roundup of articles from The Conversation’s archives. This is an updated version of an <a href="https://theconversation.com/the-activision-blizzard-lawsuit-shows-gamer-culture-still-has-a-long-way-to-go-5-essential-reads-about-sexual-harassment-and-discrimination-in-gaming-and-tech-165293">article</a> originally published on July 30, 2021. It has been updated to include Microsoft’s intention to purchase Activision Blizzard.</em></p><img src="https://counter.theconversation.com/content/175202/count.gif" alt="The Conversation" width="1" height="1" />
Sexual harassment and discrimination in gaming and tech are not inevitable or permanent, write experts in the field. The solutions are positive community standards and women in power.Eric Smalley, Science + Technology EditorLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1667292021-09-08T17:26:42Z2021-09-08T17:26:42ZActivision Blizzard’s sexual harassment scandal is not a one-off for the gaming industry<figure><img src="https://images.theconversation.com/files/419804/original/file-20210907-26-jf2tqc.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C4399%2C2930&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The Activision Blizzard Booth is seen during the Electronic Entertainment Expo in Los Angeles. </span> <span class="attribution"><span class="source">(AP Photo/Jae C. Hong)</span></span></figcaption></figure><p>A growing number of major digital gaming studios face allegations over their “frat boy” cultures. <a href="https://www.nytimes.com/2020/06/23/style/women-gaming-streaming-harassment-sexism-twitch.html">These aren’t isolated accusations.</a> They reflect a culture of sexism and discrimination that senior management and human resources departments perpetuate and allow. </p>
<p>Activision Blizzard, maker of successful franchises like <em>World of Warcraft</em> and <em>Call of Duty</em>, has been <a href="https://aboutblaw.com/YJw">sued by the State of California</a> for alleged discrimination against female employees, sexual harassment and failing to take steps to prevent discrimination, harassment and retaliation. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A man in a dark jacket and white shirt" src="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=481&fit=crop&dpr=1 600w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=481&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=481&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=605&fit=crop&dpr=1 754w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=605&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=605&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Activision Blizzard CEO Robert Kotick, who’s been harshly criticized by a group of employees for his response to the allegations.</span>
<span class="attribution"><span class="source">(AP Photo/Nati Harnik)</span></span>
</figcaption>
</figure>
<p>Following a company statement denying the claims, more than <a href="https://www.nbcnews.com/tech/tech-news/activision-blizzard-workers-walk-sexual-harassment-lawsuit-rcna1525">3,000 former and current employees</a> at Blizzard <a href="https://www.forbes.com/sites/paultassi/2021/07/27/heres-the-letter-1000-activision-blizzard-employees-signed-and-sent-to-their-managers/?sh=29fe93444542">signed a letter</a> calling the response “abhorrent and insulting.” </p>
<p>Employees staged a <a href="https://www.theguardian.com/us-news/2021/jul/28/activision-blizzard-walkout-allegations-harassment-frat-boy-culture">walkout and virtual protest</a>. <a href="https://www.polygon.com/22608372/activision-blizzard-lawsuit-explainer-sexual-harassment-frat-boy-discrimination-gender-fired">The president of Blizzard and the head of HR resigned</a>.</p>
<h2>Ubisoft, Riot Games</h2>
<p>Last summer Ubisoft, maker of top games like <em>Assassin’s Creed</em>, also faced <a href="https://kotaku.com/ubisoft-ceo-and-others-blamed-for-institutional-harassm-1847306435">allegations of sexual harassment and misconduct</a>. Senior executives and the company’s global head of HR resigned.</p>
<p>And let’s not forget Riot Games, maker of <em>League of Legends</em>. Allegations of a sexist culture <a href="https://kotaku.com/inside-the-culture-of-sexism-at-riot-games-1828165483">emerged in 2018</a>. This led to a <a href="https://kotaku.com/over-150-riot-employees-walk-out-to-protest-forced-arbi-1834566198">company walkout</a> in 2019 and <a href="https://www.latimes.com/business/technology/story/2019-12-02/riot-games-gender-discrimination-settlement">class-action lawsuits for gender discrimination</a>. This January, <a href="https://www.washingtonpost.com/video-games/2021/02/09/riot-games-laurent-lawsuit/">Riot’s CEO was sued</a> for allegedly creating a hostile work environment and making unwanted sexual advances. </p>
<p>Data from the International Game Developers Association (IGDA) <a href="https://igda.org/dss/">Developer Satisfaction Surveys</a> show that these cases are not a one-off. There is a growing perception among the game developers surveyed that there’s no equity in the industry.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph showing perceptions of equal treatment over four survey years" src="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=463&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=463&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=463&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=582&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=582&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=582&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Is there equal treatment for all in the game industry?</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
</figcaption>
</figure>
<p>Survey respondents also regularly say that they have experienced inequities or witnessed them toward others. </p>
<p>In the 2021 Developer Satisfaction Survey, only 44 per cent had never experienced inequity and only 29 per cent had never witnessed an incident of inequity.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph of the types of inequity experienced by game developers" src="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=588&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=588&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=588&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=739&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=739&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=739&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Experiences of inequity reported in the Developer Satisfaction Surveys.</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
</figcaption>
</figure>
<p>Companies are responsible for creating inclusive workplaces. The gaming industry is behind the curve in establishing and enforcing policies to prevent discrimination, harassment and exclusionary practices. </p>
<p>In the 2021 Developer Satisfaction Survey, eight per cent of respondents said that their companies had no equity, diversity or inclusion policies at all, and 22 per cent did not know if they did. Only one-quarter said that their companies had a safe space policy. </p>
<p>The numbers look better for policies on sexual harassment and general discrimination, but there is far from universal adoption. Worse, less than half of respondents said that there was a formal disciplinary process or a formal complaint procedure. </p>
<h2>Situation worsening</h2>
<p>Crucially, only 41 per cent of respondents felt that these policies were adequately enforced. Almost half were not sure. These numbers are worse than in previous survey years.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph of equity, diversity and inclusion policies in place at game studios" src="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=388&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=388&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=388&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=488&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=488&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=488&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Equity, Diversity and Inclusion Policies at Game Studios.</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
</figcaption>
</figure>
<p>This data helps to explain the concerns raised by developers in the recent gaming industry scandals. At best, issues are ignored or mishandled by senior management and HR. At worst, senior executives are complicit in misconduct and coverups. The Developer Satisfaction Survey data show an informal and often arbitrary environment where employees have limited leverage or recourse.</p>
<p>Ample evidence suggests companies won’t change on their own. Employees must keep up the pressure. </p>
<p>An Ubisoft developer <a href="https://kotaku.com/ubisofts-metoo-reckoning-two-months-later-1844717203">quoted in Kotaku</a> expressed demoralization: </p>
<blockquote>
<p>“I’m so jaded at this point that, no matter what they do, it’ll feel like lip service to me.” </p>
</blockquote>
<p>But others are speaking out. They are filing lawsuits, mobilizing their colleagues and, perhaps most importantly, unionizing. Unions give workers a voice and role in the regulation of their workplaces. The <a href="https://ir.lib.uwo.ca/cgi/viewcontent.cgi?article=1019&context=mospub">momentum for unions</a> in the gaming industry is growing.</p>
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<em>
<strong>
Read more:
<a href="https://theconversation.com/the-advantages-of-unionization-are-obvious-so-why-dont-more-workers-join-unions-164475">The advantages of unionization are obvious, so why don't more workers join unions?</a>
</strong>
</em>
</p>
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<h2>Not just talk, but action is needed</h2>
<p>As #Metoo becomes part of our daily discourse, it’s easy to think that equity issues are finally being appropriately addressed. </p>
<p>Companies seem to publicly advocate for equity. In response to scandals, organizations like Activision Blizzard, Ubisoft and Riot hire consultants, issue public commitments to equity, diversity or inclusion policies and fire problematic staff.</p>
<p>But behind closed doors, there is still a lot of work to be done to achieve proper accountability at companies that are historically homogeneous in their demographic makeup and structures. Companies must realize that a commitment to equity, diversity and inclusion on paper is worthless without real action and change.</p><img src="https://counter.theconversation.com/content/166729/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Johanna Weststar has received funding from the Social Sciences and Humanities Research Council of Canada, the International Game Developers Association and the IGDA Foundation.</span></em></p>The gaming industry is plagued by accusations of discrimination and harassment. Companies must realize that a commitment to equity and diversity on paper is worthless without real action and change.Johanna Weststar, Associate Professor of Labour and Employment Relations, DAN Department of Management & Organizational Studies, Western UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1652932021-07-30T12:20:53Z2021-07-30T12:20:53ZThe Activision Blizzard lawsuit shows gamer culture still has a long way to go: 5 essential reads about sexual harassment and discrimination in gaming and tech<figure><img src="https://images.theconversation.com/files/413846/original/file-20210729-17-16buhii.jpg?ixlib=rb-1.1.0&rect=0%2C7%2C5184%2C3437&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">There's nothing inherently male about playing video games. Videogame culture, on the other hand, is decidedly anti-female.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/gamers-play-the-video-game-call-of-duty-wwii-developed-by-news-photo/868750534">Chesnot/Getty Images</a></span></figcaption></figure><p><em>An updated version of this article was published on Jan. 18, 2022. <a href="https://theconversation.com/microsoft-purchase-of-activision-blizzard-wont-clean-up-gamer-culture-overnight-5-essential-reads-about-sexual-harassment-and-discrimination-in-gaming-and-tech-175202">Read it here</a>.</em></p>
<p>Sexual harassment in gamer culture burst back into the spotlight on July 21, 2021, with news of California’s <a href="https://www.npr.org/2021/07/22/1019293032/activision-blizzard-lawsuit-unequal-pay-sexual-harassment-video-games">lawsuit against Activision Blizzard</a>, publisher of top-selling video games Call of Duty, World of Warcraft and Candy Crush, and a <a href="https://www.nbcnews.com/tech/tech-news/activision-blizzard-workers-walk-sexual-harassment-lawsuit-rcna1525">walkout by company employees</a>. The lawsuit alleges a “pervasive ‘frat boy’ culture” at the company and discrimination against women in pay and promotion.</p>
<p>The turmoil is an echo of the infamous <a href="https://www.nytimes.com/interactive/2019/08/15/opinion/what-is-gamergate.html">Gamergate</a> episode of 2014 that featured an organized online campaign of harassment against female gamers, game developers and gaming journalists. The allegations are also of a piece with a <a href="https://www.washingtonpost.com/outlook/2019/02/19/women-built-tech-industry-then-they-were-pushed-out/">decadeslong history of gender discrimination</a> in the technology field.</p>
<p>We’ve been covering sexual harassment and gender discrimination in gaming – and technology generally – and picked five articles from our archive to help you understand the news.</p>
<h2>1. Gaming culture is toxic – but community norms can change it</h2>
<p>Things have not been getting steadily better. The shift to online activities caused by the pandemic was accompanied by an increase in online harassment and a decrease in the number of women and girls playing video games.</p>
<p>More than a third of female gamers have experienced harassment, and female players have developed coping strategies like hiding their gender, playing only with friends and shutting down harassers by outplaying them, according to University of Oregon professor <a href="https://scholar.google.com/citations?user=7IEXEiwAAAAJ&hl=en">Amanda Cote</a>. These strategies take time and energy, and they avoid rather than challenge the harassment. Challenging harassment is also fraught, because it typically sparks a backlash and puts the burden on the victim.</p>
<p>Shutting down harassment comes down to creating and supporting community norms that reject rather than allow or encourage harassment. Gaming companies can adopt practices beyond banning harassers that discourage the behavior before it happens, including reducing opportunities for conflict outside of gameplay, adding in-game recognition of good behavior, and responding quickly to complaints.</p>
<p>“If esports continue to expand without game companies addressing the toxic environments in their games, abusive and exclusionary behaviors are likely to become entrenched,” she writes. “To avoid this, players, coaches, teams, leagues, game companies and live-streaming services should invest in better community management efforts.” </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/heres-what-itll-take-to-clean-up-esports-toxic-culture-143520">Here's what it'll take to clean up esports' toxic culture</a>
</strong>
</em>
</p>
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<h2>2. It’s not just players – fans are part of the problem</h2>
<p>Go to any sports stadium and you’ll see that the atmosphere that energizes players and fans alike comes from the fans. For esports the venues are streaming services, where fan reaction comes not from cheers and chants but in the form of online chat.</p>
<p>University of South Florida professor <a href="https://scholar.google.com/citations?user=ay9uGpcAAAAJ&hl=en">Giovanni Luca Ciampaglia</a> and colleagues analyzed chats on Twitch, one of the largest streaming services that carries live esports. They found <a href="https://ojs.aaai.org/index.php/ICWSM/article/view/14885">a sharp distinction</a> in the language fans use when commenting on players, called streamers, depending on gender.</p>
<p>“When watching a man stream, viewers typically talk about the game and try to engage with the streamer; game jargon (words like ‘points,’ ‘winner’ and ‘star’) and user nicknames are among the most important terms,” he writes. “But when watching a woman stream, the tone changes: Game jargon drops, and objectification language increases (words like ‘cute,’ ‘fat’ and ‘boobs’). The difference is particularly striking when the streamer is popular, and less so when looking at comments on less-popular streamers’ activity.”</p>
<p>As with the games themselves, combating harassment and discrimination on streaming services comes down to community standards, he writes. The streaming services “need to examine their cultural norms to drive out toxic standards that effectively silence entire groups.”</p>
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<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/can-online-gaming-ditch-its-sexist-ways-74493">Can online gaming ditch its sexist ways?</a>
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</em>
</p>
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<h2>3. Collegiate esports leagues don’t reflect the population of videogame players</h2>
<p>Esports is becoming a big business, with <a href="https://www.reuters.com/article/esports-business-esports-growth-idUSFLM4K2cJ7">over $1 billion in revenues</a>, and collegiate leagues are an important component of the field. Just over 8% of college esports players and 4% of coaches are female. The low rates of participation are not a reflection of interest: <a href="https://www.sportsintegrityinitiative.com/gaming-gender-how-inclusive-are-esports/">57% of women ages 18-29</a> play video games that are in the esports category.</p>
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<a href="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A young woman wearing a face mask stares intently at a large computer screen while a man wearing a face mask stands behind her looking over her shoulder" src="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/413860/original/file-20210729-25-1kf5al0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Boise State esports coach Doc Haskell watches scholarship graduate student Artie ‘N3rdybird’ Rainn compete in a match.</span>
<span class="attribution"><a class="source" href="https://newsroom.ap.org/detail/EsportsScholarshipInequality/226671c6c6fb412a985dbad4cfe71eed/photo">AP Photo/Otto Kitsinger</a></span>
</figcaption>
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<p>Female players face overt hostility and harassment, which discourages participation, according to SUNY Cortland professor <a href="https://scholar.google.com/citations?user=dYfhb9sAAAAJ&hl=en">Lindsey Darvin</a>. College teams often engage in tokenism by bringing on a single female player, and the <a href="https://apnews.com/article/esports-gender-inequality-scholarships-men-1823321276db40fea37dc8d9e5410643">vast majority of scholarships go to male players</a>. </p>
<p>Professional esports organizations are <a href="https://www.teamliquid.com/news/2021/01/13/aerial-powers-joins-team-liquid-as-streamer-and-diversity-ambassador">beginning to address the gender gap</a>. Colleges and universities need to follow suit.</p>
<p>“Colleges and universities that receive U.S. federal aid have an obligation to improve opportunity and access to participation based on Title IX policy, which prohibits sex discrimination in any education program or activity receiving federal financial assistance,” she writes.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/at-colleges-nationwide-esports-teams-dominated-by-men-154793">At colleges nationwide, esports teams dominated by men</a>
</strong>
</em>
</p>
<hr>
<h2>4. Lessons from the tech field: Diversity and equity require women with power</h2>
<p>The roots of esports’ toxic culture lie in decades of gender discrimination in the technology field as a whole. That discrimination has proved stubborn.</p>
<p>“In 1995, pioneering computer scientist Anita Borg challenged the tech community to a moonshot: <a href="https://www.youtube.com/watch?v=3nImg8vPUe4">equal representation of women in tech by 2020</a>,” writes Rensselaer Polytechnic Institute professor <a href="https://scholar.google.com/citations?user=HzqQ2wYAAAAJ&hl=en">Francine Berman</a>. “Twenty-five years later, we’re still far from that goal. In 2018, fewer than 30% of the <a href="https://www.vox.com/2018/4/11/17225574/facebook-tech-diversity-women">employees in tech’s biggest companies</a> and 20% of <a href="https://research.swe.org/2016/08/tenure-tenure-track-faculty-levels/">faculty in university computer science departments</a> were women.”</p>
<p>Reversing discrimination is a matter of changing cultures within organizations. “Diverse leadership is a critical part of creating diverse cultures,” she writes. “Women are more likely to thrive in environments where they have not only stature, but responsibility, resources, influence, opportunity and power.”</p>
<p>“Culture change is a marathon, not a sprint, requiring constant vigilance, many small decisions, and often changes in who holds power,” she writes. “My experience as supercomputer center head, and with the Research Data Alliance, the Sloan Foundation and other groups has shown me that organizations can create positive and more diverse environments.”</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-tech-field-failed-a-25-year-challenge-to-achieve-gender-equality-by-2020-culture-change-is-key-to-getting-on-track-144779">The tech field failed a 25-year challenge to achieve gender equality by 2020 – culture change is key to getting on track</a>
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</em>
</p>
<hr>
<h2>5. The myth of meritocracy is an impediment to equality</h2>
<p>The myth of meritocracy is a large part of the longevity of gender discrimination in the tech field. That myth says that success is a result of skill and effort, and that women’s representation is a reflection of their abilities.</p>
<p>In the U.S., <a href="https://www.nawbo.org/resources/women-business-owner-statistics">women own 39%</a> of all privately owned businesses but receive only around 4% of venture capital funding, according to Brown University professor <a href="https://scholar.google.com/citations?user=Vj4crUIAAAAJ&hl=en">Banu Ozkazanc-Pan</a>. </p>
<p>“Yet the meritocracy myth, which <a href="https://dx.doi.org/10.2139/ssrn.2982414">my research shows</a> has a stronghold in the world of entrepreneurship, means that women are constantly told that all they have to do to get more of that <a href="https://nvca.org/pressreleases/total-venture-capital-dollars-invested-2017-track-reach-decade-high/">$22 billion or so in venture capital funding</a> is <a href="https://doi.org/10.1177/1042258717728028">make better pitches</a> or be more assertive,” she writes.</p>
<p>[<em>Over 100,000 readers rely on The Conversation’s newsletter to understand the world.</em> <a href="https://theconversation.com/us/newsletters/the-daily-3?utm_source=TCUS&utm_medium=inline-link&utm_campaign=newsletter-text&utm_content=100Ksignup">Sign up today</a>.]</p>
<p>What the tech field calls meritocracy is in fact gender-biased and results in mostly white men gaining access to resources and funding. “By continuing to believe in meritocracy and maintaining practices associated with it, gender equality will remain a distant goal,” she writes. </p>
<p>Adopting <a href="https://www.weforum.org/agenda/2018/01/metoo-sexual-harassment-what-experts-say/">gender-aware approaches</a>, including setting concrete goals for gender balance, is key to correcting the imbalances caused by the meritocracy myth.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/women-in-tech-suffer-because-of-american-myth-of-meritocracy-94269">Women in tech suffer because of American myth of meritocracy</a>
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</em>
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<p><em>Editor’s note: This story is a roundup of articles from The Conversation’s archives.</em></p><img src="https://counter.theconversation.com/content/165293/count.gif" alt="The Conversation" width="1" height="1" />
Sexual harassment and discrimination in gaming and tech is not inevitable or permanent, write experts in the field. The solutions are positive community standards and women in power.Eric Smalley, Science + Technology EditorLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1566942021-03-10T15:16:34Z2021-03-10T15:16:34ZThe ‘gay button’ in gaming: LGBTQ+ representation in videogames is often hidden – it shouldn’t be<figure><img src="https://images.theconversation.com/files/388790/original/file-20210310-13-6ywz1d.png?ixlib=rb-1.1.0&rect=396%2C4%2C1953%2C1077&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Pelagos is one of the first trans characters in World of Warcraft.</span> <span class="attribution"><a class="source" href="https://www.youtube.com/watch?v=Z6ygWju1iRw&ab_channel=IrreverenceGaming">World of Warcraft</a></span></figcaption></figure><p>When the developers of the <a href="https://www.bloomberg.com/news/articles/2021-03-02/harry-potter-video-game-will-allow-for-transgender-characters">new Harry Potter game</a>, Hogwarts Legacy, announced that it will include transgender characters it seemed like a great step towards better representation in an industry that has been lagging.</p>
<p>There are <a href="https://newzoo.com/insights/articles/the-global-games-market-will-generate-152-1-billion-in-2019-as-the-u-s-overtakes-china-as-the-biggest-market/">2.5 billion gamers</a> worldwide. The games they play can shape the way they see and interact with the world and also how they treat people. There is a growing body of <a href="https://www.tandfonline.com/doi/abs/10.1080/14680777.2015.987432?src=recsys&journalCode=rfms20">research</a> that shows that if you don’t see certain people in the media you interact with, games included, you start to believe that those people are somehow unimportant – this is known as “<a href="https://www.tandfonline.com/doi/abs/10.1080/00918369.2013.824318">symbolic annihilation</a>”. So, the representation of minority groups is important, even if games take place in fantasy realms. </p>
<p>The decision by the Hogwarts Legacy developers has been <a href="https://www.tomsguide.com/uk/news/hogwarts-legacy-game-to-provide-transgender-characters-heres-how-it-will-work">interpreted by some</a> as a potential olive branch to those unhappy with Harry Potter creator JK Rowling for her <a href="https://inews.co.uk/news/jk-rowling-transgender-tweets-people-angry-harry-potter-author-434826">views on sex and gender</a>. </p>
<p>But not all representation is equal. It has been reported that players will be able to select their character’s voice, dormitory (boy’s or girl’s) and body type. The look and sound of the player’s character do not have to match what would be expected of a “male” or “female” character. While attempts to diversify gaming and improve representation should be commended, this is not quite including transgender characters in a meaningful way that equates to proper representation. </p>
<h2>Optional representation</h2>
<p>When it comes to the representation of transgender people, the new Harry Potter game relies on the player to do the heavy lifting. Transgender characters are optional. This resonates with what game designer Anna Anthropy calls “<a href="http://gamestudies.org/1802/articles/krampe">the gay button</a>”, which is the idea that such representations can be turned on or off at the whim of the player. By making such representations optional, rather than the default, game designers performatively claim inclusive representation while not doing the work required to create and normalised nuanced transgender characters. </p>
<p>In the wider gaming landscape, there is LGBTQ+ representation in some games – but it might be (and regularly is) hidden. Sometimes this is behind a series of optional dialogue choices. For example, in <a href="https://thewitcher.com/en/witcher3">The Witcher 3: Wild Hunt</a>, there is a short quest where the player is accompanied by a hunter. The player can ask the hunter a series of questions about the beast they are tracking. If the player selects the correct series of questions, it is revealed that the hunter is gay. This example also speaks to a related problem: it is usually only minor characters who are LGBTQ+.</p>
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<p>If the player blinks, presses the wrong dialogue option or doesn’t go on some elaborate goose-chase, they will never see such representations. So, when the only way we can learn about a character’s identity is through a series of optional dialogue options, this is not an adequate representation of these identities.</p>
<p>Representation in gaming is <a href="https://www.bcu.ac.uk/social-sciences/news/blogs/drawing-attention-to-lgbtq-representation-in-gaming-history">getting better</a>, games are no longer relying on stereotypical representations and LGBTQ+ characters are gaining a greater presence. However, there is still a long way to go. And, optional representation is not a sufficiently meaningful change. </p>
<h2>Backlash to LGBTQ+ characters</h2>
<p>Decisions to include or exclude characters of a certain identity entirely rests on the development team’s shoulders. Communication and digital media academic <a href="https://journals.sagepub.com/doi/10.1177/1461444813489503">Andrea Brathwaite</a> explored how players reacted to the inclusion of a lesbian character in <a href="https://worldofwarcraft.com/en-gb/">World of Warcraft</a> (one of the most successful online videogames). Her analysis demonstrated an overwhelmingly negative view of sexuality in online forums. </p>
<p>This was also the case in more recent forum posts about World of Warcraft’s first transgender character (added in 2020). Pelagos is a character who players can talk to, though players are not required to learn that he is transgender. The revelation that he is transgender lead to some vitriol in forum posts about him. Indeed, looking at reviews of almost any videogame with a LGBTQ+ character tends to yield similar views towards such characters.</p>
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<p>There may be some hesitancy to incorporate LGBTQ+ characters into videogames due to the potential for online backlash. But if all videogame companies and writers continue to shy away from making such representation explicit, the cycle will just continue. There is, however, evidence that more people are beginning to welcome the addition of LGBTQ+ characters. In the same World of Warcraft discussion forums, there were plenty of players who vehemently defended Pelagos and used the correct pronouns for him.</p><img src="https://counter.theconversation.com/content/156694/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Frazer Heritage does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>It’s not proper representation if you have to go hunting for it or if players can choose to leave it out of their gameplay.Frazer Heritage, Assistant lecturer in digital media, Birmingham City UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1057602019-05-08T13:44:13Z2019-05-08T13:44:13ZCan you learn a language playing video games? What the research says<figure><img src="https://images.theconversation.com/files/272225/original/file-20190502-103049-86eyx9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">shutterstock</span></span></figcaption></figure><p>Online gaming has become a concern for some parents in the past few years and there are worries children might become addicted, with negative effects on their socialisation. This has led some parents to think of creative ways to reduce gaming, <a href="https://pdfs.semanticscholar.org/d626/a69ee600b71a14901e87b171d241d19fb526.pdf">including</a> rationing the time children spend online.</p>
<p>It’s important to remember though, that not all the research into children playing video games paints a bleak picture. In fact, there is a growing body of research that suggests such worries might be <a href="https://journals.sagepub.com/doi/abs/10.1177/0270467612469077">unfounded</a> and that gaming could be an incredibly useful <a href="https://ieeexplore.ieee.org/abstract/document/6967110">educational tool</a> which might actually make children <a href="https://ieeexplore.ieee.org/abstract/document/6967110">more sociable</a>, not less. </p>
<p>In the same way that many schools use other forms of technology to get students more excited about learning – such as <a href="https://www.tandfonline.com/doi/full/10.1080/17439880701511099?casa_token=1fpEPqAce0YAAAAA:F1IjRAi0ZjvAshQfYGkmnyAoRjK3uQsHrhG9Ag-35QR8lY3j61nT3TJffp-y0X_prYkKVw1UrQTtyw">interactive whiteboards</a> and <a href="https://scholarworks.iu.edu/journals/index.php/jotlt/article/view/3084">tablets</a> – both of which seem popular with students, video games might also offer similar benefits. </p>
<h2>How gaming could help</h2>
<p>Language learning in particular seems a perfect place to try “gamified” classes. Some schools are already using <a href="http://guinevereproject.eu/">Minecraft in French classes</a> – the idea is that students work together to build a “learning zone” in the Minecraft space – finding new words to help them along the way.</p>
<p>Indeed, <a href="https://journals.sagepub.com/doi/pdf/10.2304/elea.2005.2.1.5">James Paul Gee</a>, a leading researcher in the area of video games as language learning tools, suggests that role-playing games such as <a href="https://elderscrolls.bethesda.net/en/">The Elder Scrolls</a> series or <a href="https://worldofwarcraft.com/en-gb/">World of Warcraft</a>, offer an ideal learning space for what he calls “at-risk” learners. In theory, there is just enough challenge, just enough support, just enough room for players to be themselves and, possibly most important, students have just enough “ownership” of the learning process. </p>
<p>“At-risk” language learners, by Gee’s definition, could be anyone. They may be learners with special educational needs, but equally they may also simply be learners who feel more vulnerable in a language classroom. Learning a language, after all, is a huge departure from some students’ comfort zones. Students, for example, can get nervous and inhibited in a classroom. Language learning researchers describe this as an “<a href="https://www.jstor.org/stable/329101?casa_token=sfwzb150ywYAAAAA:abAqA_Auh_Z2Xr85xg-BhrW4O5yjtKg-115gyRYF1RZQ3IkldLP7GC7PXRDXt4ZHPKAGY2CBCpLNoWxUvhsjLKeJXoh23FLuzmYiJmqtGvDwM-2n-jRV&seq=1#metadata_info_tab_contents">affective filter</a>” – a fear of making a mistake and losing face literally affects how far a student joins in the class. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=397&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=397&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=397&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=499&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=499&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272226/original/file-20190502-103049-17mkrcf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=499&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Gaming can take you out of yourself and lets you enter new worlds.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>My research specifically looks at language learning – a subject area that, certainly <a href="https://www.tandfonline.com/doi/full/10.1080/13670050802549656?casa_token=E4UYTrXaSSUAAAAA:9FSHKYHtjYOBgUedWYncGqu0WxcTUsTn-uC8eoxjjdJFHscnXO86KiiPvUGzkO3XD0xd3FtUKJvY-g">in the UK</a>, appears to be one that students seem to endure <a href="http://scholar.google.co.uk/scholar_url?url=https%3A%2F%2Fcontent.taylorfrancis.com%2Fbooks%2Fdownload%3Fdac%3DC2010-0-48306-2%26isbn%3D9781135378707%26format%3DgooglePreviewPdf&hl=en&sa=T&ct=res&cd=44&d=12163858754257455055&ei=llS_XOLXAoOqmgHZ7KGIBA&scisig=AAGBfm0R0uy3JU-TYn57dqE5bWjjLBfSRA&nossl=1&ws=1368x750&at=Teaching%20modern%20foreign%20languages%3A%20A%20handbook%20for%20teachers">rather than necessarily enjoy</a>. It builds on the ideas of <a href="https://www.jstor.org/stable/pdf/calicojournal.25.2.175.pdf?seq=1#page_scan_tab_contents">Philip Hubbard</a>, a leading researcher in the field of using technology to enhance language learning. He has previously suggested that while technology in classrooms is seen as useful there is no strategy for using it – and this is where my research comes in. What I’m aiming to do is find that strategy and try to answer the following questions: how video games might help, why some students might prefer playing a video game to being in class and what areas of language learning a teacher could improve with this technology.</p>
<h2>The power of gaming</h2>
<p>Video games, especially massive multiplayer online role-playing games (MMOs) such as World of Warcraft, <a href="https://na.finalfantasyxiv.com/a_realm_reborn/">Final Fantasy XIV</a> and <a href="https://www.runescape.com/community">Runescape</a> tend to cut through all the reasons for someone to be self-conscious. Players have to communicate <a href="https://journals.sagepub.com/doi/abs/10.1177/1555412006286892">in real-time</a>, with no opportunity to agonise over what to say, or how to speak perfectly. </p>
<p>This real-time aspect of MMOs may sound terrifying for someone learning a language. But actually, a highly useful gamification study by <a href="https://www.learntechlib.org/p/112246/">Ian Glover</a>, a lecturer in technology-enhanced learning at Sheffield Hallam University, found that learners in general have a high level of extrinsic motivation when they game. In other words, students really want to chase levelling up, bonuses and rewards, which they define as excelling within a gaming space. </p>
<p>As a result, they may force themselves to become better at communicating so they can level up quicker – and this drive might go deeper still. Gamers are often encouraged to repeat levels several times, so that they can perform better.</p>
<h2>Building connections</h2>
<p>This is what the prominent motivation researcher, <a href="https://www.ceeol.com/search/article-detail?id=180375">Zoltan Dörnyei</a>, describes as “directed motivational currents”. The concept implies that motivation, for some students, may be driven entirely by their personal view of what success entails. </p>
<p>This is important because if the commonly held theory that many students learn languages to “tick a box” needed for graduation is correct, then they may only be motivated to study just enough to pass. On the other hand, if success in the language classroom is aligned with success in a gaming space, then harnessing this drive may be a powerful way to foster continued interest in language learning and developing language skills.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272230/original/file-20190502-103063-12p9pfs.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Students can earn points as they pass through different levels of the game.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>Video games may also have the potential to help learners develop more complex social skills. This view is inspired by the Russian philosopher <a href="https://books.google.co.uk/books?hl=en&lr=&id=cblaBAAAQBAJ&oi=fnd&pg=PT8&dq=bakhtin+the+dialogic+imagination&ots=5IoS5FsFqy&sig=OjUSIDl5l8E0ywcNfJkRq7CsPP0#v=onepage&q=bakhtin%20the%20dialogic%20imagination&f=false">Mikhail Bakhtin</a>, who believed that truly meaningful communication came from negotiating cultural differences and finding solutions. </p>
<p>This happens a lot in a video game, as players try to find their roles, but more significant is what the negotiations seem to lead to: <a href="https://www.tandfonline.com/doi/pdf/10.1080/00220973.1991.10806579?casa_token=SKS7nhhZHn4AAAAA:wEX0hDX2mNypDAgYooqgvfrFFkuMDEt4aUpTxwtriFFLrwsZzjVMXvxFLobqDsowiIUuGtavWtIVUA">relatedness</a> – finding shared meaning and a sense of belonging. A <a href="https://www.cambridge.org/core/journals/recall/article/learner-interaction-in-a-massively-multiplayer-online-role-playing-game-mmorpg-a-sociocultural-discourse-analysis/47512049EFFC60C2C8C01C75A176518A">study conducted in Japan</a> found that players seemed to play MMOs mainly for the purpose of forming social connections. </p>
<p>So will schools of the future all be learning languages through gaming? This remains to be seen, but given that the evidence suggests gaming can encourage social skills and teamwork – as well as incredible scope to share ideas and build knowledge – there may be a good argument for ditching the textbooks and logging into another world for a while.</p><img src="https://counter.theconversation.com/content/105760/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Christopher Timothy McGuirk does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Play video games and learn a language – a researcher explains why it might be possible.Christopher Timothy McGuirk, Lecturer in EFL (English as a Foreign Language), University of Central LancashireLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/713362017-01-23T19:16:46Z2017-01-23T19:16:46ZToo big, too expensive and too silly: why video game movies fail<figure><img src="https://images.theconversation.com/files/153370/original/image-20170119-26585-jufd14.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Suspend your disbelief...Milla Jovovitch in Resident Evil: The Final Chapter. </span> <span class="attribution"><span class="source">Capcom Company</span></span></figcaption></figure><p>Film adaptations of video games have descended on the unsuspecting viewing public like a <a href="http://australianmuseum.net.au/drop-bear">Drop Bear</a>. At first they look harmless enough, but they often leave viewers bruised and regretful. </p>
<p>These movies are plentiful. Last year <a href="http://www.imdb.com/title/tt0803096/?ref_=fn_al_tt_1">Warcraft: The Beginning</a> grossed US$433 million; <a href="http://www.imdb.com/title/tt2094766/">Assassin’s Creed</a>, featuring Michael Fassbender, was released earlier this year; and the sixth instalment of the <a href="http://www.imdb.com/title/tt2592614/">Resident Evil</a> hits Australian screens this week. </p>
<p>The potential to appeal to a devoted fan base – and for new franchises – makes these movies an attractive prospect. </p>
<p>Yet despite big budgets and quality talent both in front of and behind the camera, most videogame movies are commercial and critical failures. Most score below 20% on Rotten Tomatoes, with only <a href="http://www.imdb.com/title/tt1985949/">The Angry Birds Movie</a> (2016) – an animated adaption of an app – earning above 40%. Many fail to earn back their costs, and Warcraft, despite huge box office returns, <a href="http://www.forbes.com/sites/scottmendelson/2016/07/13/box-office-warcraft-is-a-430-million-flop/#662584fe9edc">hasn’t actually made money</a>. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=324&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=324&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=324&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=407&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=407&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153646/original/image-20170120-5260-sxbf3n.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=407&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Game Adaptation Rotten Tomatoes scores for games released in 2000 or later, where available. Excludes animated films except Angry Birds.</span>
<span class="attribution"><span class="source">Rotten Tomatoes. Retrieved 18 January 2017.</span></span>
</figcaption>
</figure>
<p>So why do these movies flop? The answer comes down to a complex mix of conflicting audience demands and commercial realities. </p>
<p>They must appeal to game fans without alienating the general public. They wrestle with the games’ narrative devices. And ever expanding budgets have introduced the commercial reality of plotting sequels, hampering satisfying storytelling. </p>
<h2>There’s too much plot</h2>
<p>Video game movies often assume that the audience wants, or is interested in, the game’s lore and background. In fairness, this is out of fear that fans will <a href="http://www.looper.com/4727/warcraft-movie-will-upset-players/">criticise lore changes</a>, alienating a key demographic. </p>
<p>But games reveal lore progressively over tens of hours of gameplay, whereas movies have a fraction of that time. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=250&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=250&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=250&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=314&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=314&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153786/original/image-20170123-10226-4ydk2s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=314&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Warcraft: The Beginning (2016) was based on a video game franchise that has existed in one form or another for decades.</span>
<span class="attribution"><span class="source">Warcraft: The Beginning/IMDB</span></span>
</figcaption>
</figure>
<p>This tension risks creating turgid exposition and convoluted story lines. For example, Warcraft details the origins of conflict between humans and orcs, the central conflict in the game’s world. However, a common criticism was that it was “<a href="http://www.darkhorizons.com/review-warcraft/">full of boring exposition and mostly uninteresting characters</a>” and “<a href="https://www.thestar.com/entertainment/movies/2016/06/09/warcraft-another-victim-of-game-to-movie-jinx-review.html">convoluted</a>”, with a “<a href="https://www.thestar.com/entertainment/movies/2016/06/09/warcraft-another-victim-of-game-to-movie-jinx-review.html">stew of subplots</a>”.</p>
<p>The core concern seems to be that the source material is complex and the lore extensive, and the movie erroneously attempts to cram too much of it in.</p>
<p>Assassin’s Creed is suffering similar issues. Wired felt the need to facetiously <a href="https://www.wired.com/2016/05/assassins-creed-explainer/">explain</a> to non-gamers what the Assassin’s Creed trailer actually means. This complexity overburdens a film and alienates the general viewing public. </p>
<p>Angry Birds largely avoided these pitfalls because the game itself has relatively little plot, is humorous in tone, and lends itself to silliness that plays better in animated films than live action. This gives the film a relatively blank slate; and thus, more room for narrative creativity. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=346&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=346&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=346&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=435&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=435&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153789/original/image-20170123-30995-1avfslv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=435&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Jason Sudeikis, Danny McBride, and Josh Gad in The Angry Birds Movie (2016).</span>
<span class="attribution"><span class="source">IMDB</span></span>
</figcaption>
</figure>
<h2>Adherence to silly narrative devices</h2>
<p>Excessive adherence to the source material extends to using silly plot devices without spending enough time establishing plausible reasons for their existence. In games, these can work due to the “<a href="http://www.eurogamer.net/articles/2016-12-14-the-year-single-player-shooters-reclaimed-their-former-glory">unspoken but commonly understood logic of ‘this is a video game’</a>”. In a game, people accept perfunctory or inconsistent narrative devices because they facilitate interesting interaction and are the quickest route towards allowing gamers to, say, <a href="http://www.pcadvisor.co.uk/review/games/doom-review-2016-doom-reboot-packs-punch-3640490/">shoot hell-monsters on Mars</a>. </p>
<p>Let’s examine a recent instance: Assassin’s Creed. The central premise of both the film and movie is that two ancient secret societies are duelling to direct humanity’s fate by capturing a magical MacGuffin (which contains the “genetic code for free will”, apparently). This involves the protagonist using a machine called “The Animus”, which allows people to experience “genetic memories”, in order to find out where an ancestor hid the object. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153791/original/image-20170123-10226-1nujy96.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Michael Fassbender and Ariane Labed in Assassin’s Creed (2016).</span>
<span class="attribution"><span class="source">IMDB</span></span>
</figcaption>
</figure>
<p>The game series became increasingly complex, as the player-controlled protagonist parkoured his way through time periods like Renaissance Italy and Revolutionary America. The implausibility of the narrative world paled beside the fun of vaulting from rooftop to rooftop in 15th-century Florence. </p>
<p>The film, in contrast, failed to bring its audience along for the ride. The plot – an original story which retains the key elements of the games – was savaged as “<a href="http://www.3aw.com.au/news/jim-schembris-new-release-movie-reviews--january-6-20170106-gtnd3d.html">scattered and fractured</a>”, “<a href="http://au.ign.com/articles/2016/12/19/assassins-creed-review-3">hastily explained</a>” and “<a href="https://www.commonsensemedia.org/movie-reviews/assassins-creed">disorienting</a>”. <a href="http://variety.com/2016/film/reviews/assassins-creed-review-michael-fassbender-1201945081/">Vanity Fair</a> pointed out that “it’s not clear why any of this is happening” and <a href="http://www.rogerebert.com/reviews/assassins-creed-2016">RogerEbert.com</a> summed it up as: </p>
<blockquote>
<p>Characters [talking] in hushed whispers about the hyper-convoluted methods they use to realize their poorly-hidden agendas. </p>
</blockquote>
<p>Resident Evil suffers similar issues, although the films are more loosely connected to the games. The films largely involve the antagonist, Umbrella Corporation, creating a virus that turns people into zombies. They intend to sell the virus as a weapon of mass destruction. They also experiment on a woman named Alice by injecting her with the virus, which somehow bonds to her DNA and turns her into a supersoldier. </p>
<p>Thereupon she can singlehandedly defeat the zombies, which in the final film have surrounded a small pocket of survivors. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=502&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=502&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153790/original/image-20170123-10226-4y49v5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=502&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Milla Jovovich, Ali Larter, Fraser James, William Levy, and Eoin Macken in Resident Evil: The Final Chapter (2016).</span>
<span class="attribution"><span class="source">IMDB</span></span>
</figcaption>
</figure>
<p>While on paper this is no less plausible than any other action-horror film, the Resident Evil movies have historically failed to persuade audiences to suspend any kind of disbelief. The highest-rated film in the franchise is the original, with a <a href="https://www.rottentomatoes.com/m/resident_evil">Rotten Tomatoes score of 34%</a>. </p>
<p>In the games, the flimsy reasoning and internal inconsistencies don’t really matter, because the player gets the pay-off of mowing down thousands of enemies in an emotionally satisfying climax. </p>
<p>But simply transposing over-the-top and poorly explained plot mechanisms to film misunderstands their purpose, and creates an illogical barrier between the audience and the film. </p>
<h2>Huge budgets need huge returns</h2>
<p>Game adaptations’ issues seem not to be due to a lack of resources. Indeed, in an attempt to please myriad audiences, video game movies have attracted increasingly large budgets. In 2016, Angry Birds had an estimated budget of <a href="http://www.imdb.com/title/tt1985949/?ref_=nv_sr_1">US$73m</a>, Warcraft of <a href="http://www.imdb.com/title/tt0803096/?ref_=nv_sr_1">US$160m</a>, and Assassins Creed of <a href="http://www.imdb.com/title/tt2094766/?ref_=nv_sr_1">US$125m</a>.</p>
<p>Games movies have begun attracting quality talent. <a href="http://www.imdb.com/title/tt0473075/?ref_=fn_al_tt_1">Prince of Persia</a> (2010) featured Jake Gyllenhaal. Warcraft featured Travis Fimmel, following the <a href="https://www.rottentomatoes.com/tv/vikings_2013">well received</a> TV series <a href="http://www.imdb.com/title/tt2306299/?ref_=fn_al_tt_1">Vikings</a>, and was co-written and directed by Duncan Jones (<a href="http://www.imdb.com/title/tt1182345/">Moon</a>, <a href="http://www.imdb.com/title/tt0945513/?ref_=fn_al_tt_1">Source Code</a>). </p>
<p>Clearly, the films have financial support. But the return on investment is not encouraging (as illustrated below), with a number failing to recoup costs. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=316&fit=crop&dpr=1 600w, https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=316&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=316&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=397&fit=crop&dpr=1 754w, https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=397&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/153645/original/image-20170120-5227-8heepy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=397&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Game Adaptation Return on Investment (ROI), for games released in or after 2000, excluding animated films except Angry Birds. A ROI of one indicates recovery of budge costs alone. These ROIs do not factor in external costs, like marketing, that are not reported in official budgets.</span>
</figcaption>
</figure>
<p>Official film budgets, used for this chart, actually overstate the films’ returns as they exclude costs such as marketing, which can be huge and erode profitability. This what happened to Warcraft: its huge box office returns officially returned its budget, but in reality <a href="http://screenrant.com/warcraft-box-office-bomb-success/">barely made money</a> for investors. </p>
<p>The large costs raise the ever-present desire to spawn sequels. Warcraft in particular was criticised for <a href="https://www.washingtonpost.com/goingoutguide/movies/warcraft-inspired-by-a-video-game-is-a-convoluted-waste-of-mental-energy/2016/06/09/697b9768-2d7e-11e6-9b37-42985f6a265c_story.html?utm_term=.33dedd2a2673">narrative holes</a> and <a href="https://www.thestar.com/entertainment/movies/2016/06/09/warcraft-another-victim-of-game-to-movie-jinx-review.html">unanswered questions</a>, with reviewers assuming the core movie was weakened in order to set up sequels. Review site <a href="http://www.darkhorizons.com/review-warcraft/">Dark Horizons</a> told filmmakers:</p>
<blockquote>
<p>Focus on the movie you are making, not on setting up the sequel you haven’t earned. </p>
</blockquote>
<p>Ultimately, this mix of commercial realities, and the conflict between fan pressure and viewer expectations hampers video game movies. It makes the production task all the more difficult. It’s unsurprising that so many video game movies perform so poorly.</p><img src="https://counter.theconversation.com/content/71336/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Mark Humphery-Jenner does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>The vast majority of video game movie adaptions are commercial and critical failures. But with big budgets, dedicated fans and real talent involved, what’s going wrong?Mark Humphery-Jenner, Associate Professor of Finance, UNSW SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/652882016-09-19T13:46:21Z2016-09-19T13:46:21ZTaking the GUESSwork out of video game satisfaction<figure><img src="https://images.theconversation.com/files/138121/original/image-20160916-17029-1141sjj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">What makes a video game fun?</span> <span class="attribution"><a class="source" href="http://www.shutterstock.com/pic-441135421/stock-photo-group-of-three-are-having-fun-at-home-playing-video-games.html">Gamers via shutterstock.com</a></span></figcaption></figure><p>People who play video games are often wary of buying new games – they don’t know whether they’ll actually be fun to play. So they read reviews and try out games in stores or at friends’ houses before deciding on a purchase. </p>
<p>Game designers have a similar problem – how to create the next great breakthrough game that would attract millions of fans, and make millions. So they conduct what is called “playtesting,” bringing in gamers to try out games that are still under construction, and having them give feedback on their attitudes and preferences about the new game.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/Yb-znyOK5Kc?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">A bit about playtesting.</span></figcaption>
</figure>
<p>Some of the questions designers have are simple: Is the game’s interface easy to understand and operate? Others are more sophisticated, dealing with artistic taste: Did you enjoy the game’s graphics? The deepest level of questioning relates to the experience of playing the game: Did you become so engaged in the game that you lost track of time or where you were?</p>
<p>But it can be hard to understand the exact meaning of testers’ answers, and even more difficult to figure out how to take multiple players’ divergent suggestions into account. What questions are the best ones for developers to ask testers, in order to best understand players’ reactions to a particular game? Is there a way to objectively measure players’ subjective enjoyment of any given video game?</p>
<h2>Looking at games and research</h2>
<p>We, along with our doctoral student Mikki Phan, looked at 450 different games across many popular genres, from “World of Warcraft” and “New Super Mario Bros” to “Candy Crush Saga” and “Trivia Crack.” Building on existing research investigating elements of game satisfaction, we developed the <a href="http://hfs.sagepub.com/search/results?fulltext=The+Development+and+Validation+of+the+Game+User+Experience+Satisfaction+Scale+%28GUESS%29&x=0&y=0&submit=yes&journal_set=sphfs&src=selected&andorexactfulltext=and">GUESS – the Game User Experience Satisfaction Scale</a>. It can help determine what aspects of a game contribute to user enjoyment, and help developers debrief playtesters about their experiences. </p>
<p>Through a very thorough analysis with more than 1,300 participants, we identified nine factors that, taken together, provide a complete picture of how satisfying a game is. These include:</p>
<ul>
<li>Usability/playability – the ease with which the game is learned, and how intuitive the game’s interface and menu system are. At the less usable end of the spectrum, “World of Warcraft”‘s <a href="https://worldofwarcraft.com/en-us/game/new-players-guide/part-three">large game space</a> and many actions take time to learn. “Madden 17” boost playability by providing a <a href="https://help.ea.com/en-us/help/madden/madden-2017/gameplay-controls-in-madden-17">list of actions and their respective controller buttons</a> to make it easy to control the on-screen NFL stars.</li>
</ul>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=338&fit=crop&dpr=1 600w, https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=338&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=338&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=424&fit=crop&dpr=1 754w, https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=424&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/138116/original/image-20160916-17023-47qe6j.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=424&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The wasteland from ‘Fallout: New Vegas.’</span>
<span class="attribution"><a class="source" href="https://fallout4.com/games/fallout-new-vegas">Obsidian Entertainment</a></span>
</figcaption>
</figure>
<ul>
<li><p>Narratives – how captivating the game’s story elements are, and how well the characters are developed in regards to their in-game story. “New Super Mario Bros’” basis is an <a href="http://www.nintendo.com/games/detail/new-super-mario-bros-u-wii-u">unemotional straightforward trip to rescue Princess Peach</a>. “Fallout: New Vegas” provides a <a href="https://fallout4.com/games/fallout-new-vegas">compelling, deeply emotional journey</a> of discovering what unknown assailant leaves the player “for dead” in a wasteland.</p></li>
<li><p>Play engrossment – how well the game induces a state of being immersed, including losing track of time while playing and excitement to play again. In “Fallout 3,” players are thrust into a <a href="http://www.pcgamer.com/why-i-love-fallout-3s-capital-wasteland/">nuclear wasteland with never-ending quests</a> and opportunities for reward.</p></li>
<li><p>Enjoyment – how fun the game is for players. <a href="http://www.lego.com/en-us/movie/videogame/game">“The Lego Movie Game”</a> consistently entertains players with the main character’s goofiness and references to the blockbuster film. </p></li>
</ul>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=318&fit=crop&dpr=1 600w, https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=318&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=318&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=399&fit=crop&dpr=1 754w, https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=399&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/138117/original/image-20160916-17039-o5qp8h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=399&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">For ‘Minecraft’ players, creativity has no bounds.</span>
<span class="attribution"><a class="source" href="https://pixabay.com/en/minecraft-surival-games-2-map-city-1618089/">Pixabay</a></span>
</figcaption>
</figure>
<ul>
<li><p>Creative freedom – how well the game stimulates curiosity and allows for imaginative control. In “Minecraft,” <a href="http://www.usatoday.com/story/tech/columnist/komando/2015/01/16/minecraft-kids/21800605/">players are free to engage with the world</a> as they choose, including mining resources, building structures and crafting supplies. </p></li>
<li><p>Audio aesthetics – how appealing players find the music and sound effects of the game. “Star Wars: Battlefront,” for example, has a <a href="http://www.gamespot.com/articles/star-wars-battlefront-composer-talks-challenge-of-/1100-6432359/">fully composed score</a> that shifts when scenes change.</p></li>
<li><p>Visual aesthetics – how appealing players find the graphics of the game. <a href="http://www.forzamotorsport.net/en-us/games/fm6">“Forza Motorsport 6”</a> players race through a variety of scenic environments in highly detailed vehicles that can open their car doors, hood and trunk to show off the details of each sweet ride. </p></li>
<li><p>Personal gratification – how motivating the game is to play and to continue to play. In “Words with Friends,” <a href="https://www.zynga.com/games/words-friends">players essentially play the same game</a> with different people however often they want. “Elder Scrolls V: Skyrim” <a href="http://www.elderscrolls.com/skyrim/">advances players through levels</a> that push them to continue playing and rewards them with increased strength, power and abilities. </p></li>
<li><p>Social connectivity – how well the game allows for connections between real people playing. In “Pokemon Go,” there is no support for chat between players, and <a href="http://www.polygon.com/2016/7/12/12149070/pokemon-go-battle-friends-trainer-battles-gyms">friends can’t choose to battle each other</a>. “League of Legends” <a href="http://gameinfo.na.leagueoflegends.com/en/game-info/get-started/chat-commands/">players must carefully communicate</a> and coordinate their strategies with teammates to defeat the enemy.</p></li>
</ul>
<h2>Using the results</h2>
<p>Industry, game developers, and consumers will all <a href="http://www.newswise.com/articles/view/660505">find value in the GUESS</a>. Industry can use the GUESS as a way to assess what aspects of a game contribute to user satisfaction and as a tool to aid in debriefing users on their game playing experience. </p>
<p>Scores on the GUESS can be calculated by looking at specific elements of each factor to rate the game’s performance on that factor on a scale of 1 to 7. To get a game’s overall score, incorporating all the factors, we average the nine scores. This lets us compare different games directly.</p>
<p>But the information it provides is more complex than simply saying one game is better than another. For example, maybe one first-person shooter game has much higher usability, visual and audio aesthetics than a major massively multiplayer online role-playing game (MMORPG), but the MMORPG has consistently higher ratings on narratives, creative freedom and social connectivity. </p>
<p>Developers could use this information to broaden their games and help them identify their strengths. They could also find areas where their designs could improve. For example, adding a narrative element to that first-person shooter could make an otherwise run-of-the-mill game a crossover hit. Or investing more in the music for that MMORPG could really set it apart from similar titles.</p>
<p>Consumers can use GUESS scores to help them choose games that are high in factors that are important to them. If you like lots of graphics and cool sounds, but don’t know what kind of game you want to buy, you could look for games with GUESS scores high in the aspects you are looking for. Likewise, if you care less about sound or a story because you plan to play the game on your mobile phone as you wait in line, you may want something with a social component that is easy to play and engaging.</p>
<p>In hopes that others will extend our research and learn more about game enjoyability – and refine the GUESS – we have <a href="http://usabilitynews.org/guess/">made it freely available under Creative Commons licensing</a>. Understanding what people enjoy in video games will make the games – and players’ experiences – better.</p><img src="https://counter.theconversation.com/content/65288/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors do not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Is there a way to objectively measure players’ subjective enjoyment of any given video game?Barbara Chaparro, Professor of Psychology, Wichita State UniversityJoseph Keebler, Assistant Professor of Human Factors, Embry-Riddle Aeronautical UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/615732016-07-13T19:39:46Z2016-07-13T19:39:46ZWatching Warcraft: The Beginning is a lesson in real world racism<figure><img src="https://images.theconversation.com/files/130351/original/image-20160713-12353-1oe2vad.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">Universal Pictures</span></span></figcaption></figure><p>The game World of Warcraft (or WOW for short) has always meant a lot to me. I spent many hours of my teenage years playing it.</p>
<p>As a child, I was teased for having white skin and being Aboriginal, something that at the time very few people understood. This is something I have written about <a href="http://www.thefraudcomplex.com/myles-russellcook/">before</a> because racism and skin colour have been consistent themes throughout my life.</p>
<p>While I’ve never experienced the overt and daily racism people of colour know, as an out gay man and a fair-skinned Aboriginal person I have experienced other types of prejudice. Like most teenage boys, playing WOW was a safe space for me. The characters were blue, green and purple and I could be anything I wanted.</p>
<p>I recently saw <a href="http://www.imdb.com/title/tt0803096/">Warcraft: The Beginning</a> (2016) at the cinema. I expected a strong dose of nostalgia to satisfy my inner child and to be (at best) mildly entertained by bright moving colours. What I didn’t anticipate was being confronted with real world racism.</p>
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<p>The film, like the game, is essentially about the first encounter between the humans and orcs. There are overt expansionist, neo-colonial overtones from the very first scene. If I had to describe it, I would say it’s something like Avatar meets Pocahontas meets Lord of the Rings meets a broken iTunes visualiser.</p>
<p>When you play WOW you may not be aware that you’re an actor playing a role that’s all about race. When you’re inside the story, you aren’t watching – you’re doing, and in my experience you don’t have the same capacity to respond. It was only when I watching the film that I acquired the distance necessary to see that playing WOW means acting out a race war.</p>
<p>A major theme of fantasy is invasion and colonialism, and many fantasy texts perpetuate the racist stereotype of the exotic other. In WOW, different species fight, although species can be read as standing in for race.</p>
<p>What I noticed watching Warcraft: The Beginning was that by transferring a fantasy game into a fantasy film, it becomes apparent that the racism in the WOW universe mimics and highlights the racism in our own world. Green, in the WOW universe, stands in for black.</p>
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<span class="caption">Paula Patton plays the green-skinned half orc Garona.</span>
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<p>Director Duncan Jones is sensitive to the nuance of race and culture, and to his credit the film features two women of colour in its primary cast (one human and one orc), and a variety of gender and ethnic identities in the ancillary characters. However, Hollywood’s trend of casting women of colour as green skinned aliens has <a href="https://www.theguardian.com/world/2016/may/12/when-it-comes-to-interracial-romances-the-movies-need-to-catch-up">not gone unnoticed</a>. The “exotic” non-white is readily transferred to the alien.</p>
<p>Despite Jones’ consideration, the film is still riddled with racist tropes, from the indiscriminate brutality of the tribal orcs to the unquestioned intellectual superiority of the humans. </p>
<p>The current global anxieties of unchecked and uncontrolled immigration also play out, as a darker skinned, foreign <a href="http://wowwiki.wikia.com/wiki/Horde">horde</a> threatens to overrun the predominantly white human realm. </p>
<p>In playing WOW, gamers are participating in a role-play about race. In that way, people can (and do) use WOW as a site to explore their own relationship with race and racism, even unconsciously.</p>
<p>Warcraft: The Beginning challenges racial stereotypes in some ways, and heavily reinforces them in other ways. Although there is an attempt to depict complexity and nuance on both sides of the conflict, the film does, ultimately, champion one side over another.</p>
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<p>WOW the game features racist stereotypes as well but gives players the choice to play as either side in the conflict. Allowing people to play games on both sides of a conflict and to sympathise with both the invaders and the invaded, is a form of racial education. </p>
<p>Warcraft: The Beginning both holds a mirror up to the game and misinterprets it. Watching the conflict as a spectator, instead of being able to fully participate in it from either side, fundamentally changes the philosophy of WOW. </p>
<p>Still, the value of this film is that we’re now seeing on the big screen a more complex conversation about the relationship between race, games and reality.</p><img src="https://counter.theconversation.com/content/61573/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Myles Russell Cook does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Warcraft: the Beginning is based on the wildly popular game World of Warcraft – a fantasy escape for tens of millions of people. Yet watching the film brings home uncomfortable truths about race.Myles Russell Cook, Lecturer, Design Anthropology and Indigenous Studies, Swinburne University of TechnologyLicensed as Creative Commons – attribution, no derivatives.