S10- Virtual Reality

Video games combined the concept of moving images with interactivity. Virtual reality is therefore a step further into the immersion of a different world constructed by artists.

The main difference between games and films is that the protagonist of a film is set on a path directed by the story-writers. Yet while the story of a gamer's character is certainly restricted to some degree by the writers, the player is given the opportunity experience the world in their way, maneuvering around the problems the environment presents and ultimately taking the story in their choice of direction.

On Motiongrapher.com, Justin Cone stated, 'This “argument” is simply a failure to understand that VR is not a new vehicle for old experiences (i.e. films) — it is a new medium entirely'.

Virtual reality is new tool for artists- such as filmmakers and game designers alike- to communicate their work. While images on a screen in front of the viewer can be skillfully crafted and lit to create a compelling atmosphere and give them the sense that they can feel the space portrayed, VR surrounds the audience with that location. By eliminating any other view of their true surroundings, the sense that they are in this new world comes to life.

Merely scratched upon is the surface of the uses for virtual reality technology. With more artists and developers exploring this medium, its capabilities and the places it can go shall be revealed.

S9- Game Addiction

The vibrancy of thrilling worlds and experiences video games provide render them very compelling mediums. When created right, they often produce a desire in the player to continue the game, gaining levels, unlocking new areas and discovering the next segment of story. However, once this drive becomes all that the player enjoys and disregards their life in favour of the virtual world, it is labeled as a game addiction.

Expressed by Tod Essig, on Forbes.com, '“Video game addict” works as metaphor because it captures the out-of-controlness and abject misery of the experience. But as diagnosis it over-simplifies, prematurely closing off further inquiry and mis-directing clinical interventions'.

Whether video games are addictive or not is up to the player. They may compel them to continue but an addiction is created by the player choosing the game over other elements in their life. It is their responsibility to balance their life and game time.

The reasons that drove the these such 'addicted' players need to be addressed before the games themselves are labeled as the cause of the addiction. This will improve the affected players' lives and enable them to game in a much healthier way.

S8- Violence in Video Games

From even the earliest video games, most are still based around the concept of violence. And while some are able to create an engaging gameplay experience without the use of it, the most popular and entertaining games involve it. This is not a bad thing, as society is generally intelligent and is aware of the difference between staged violence and real violence, understanding that the latter is not acceptable.

Stated by Tim Biggs on The Sydney Morning Herald, '...the debate has slammed back to the same old rhetoric: that violent representations inform a violent society (not the other way around), and that obliterating the representations will somehow result in a safer environment'.

Banning video games merely because they display violence won't solve anything, real violence will still occur. Those of society who blame video games are overlooking the fact that there is violence displayed in books, movies and all over the TV as well. Before video games, it was certain movies, music and even books that were blamed for society's violence.

While some games may take things too far, parents need to be aware of the content of game before allowing their children to play it. And this doesn't mean dictating over everything they are allowed to watch and witness, but acting as a guide for what is appropriate for them at their age.

Looking at the video game society in particular reveals that the violence perpetrated in the game remains on the screen and overall, game have a more positive effect on people than negative.

S7- Gender

The role of female characters in games largely started out as being intensives for quests as something for the hero to rescue, attributing them little power and, noways, even less clothes. Male characters also tend to be stereotyped as having huge amounts of muscles and the ability and responsibility of protecting things. These stereotypes are fair to neither gender as the people of society rarely conform to either constructed view of each gender and to while it is ok for there to be characters like these every, diversity is what is needed. Games coming up with interesting, varied characters is always a good thing, as it reflects society’s own diversity.

'By lifting the 'damsel in distress' heuristic from female video game characters and designing female characters that are as capable and badass as are present in real life, women could easily take the role of the hero- and could absolutely sell video games' stated by Eugenia Zobel de Ayala on hastac.org.

What many publishers seem to believe is that female characters who are respected for who they are won't sell games and thus prefer their presence to be hidden from the game covers.

One of the issues strong female characters have is not necessarily their costuming, but their poses and what their designers are trying to communicate by positioning them in suggestive ways- that their body is the only thing of relevance. Any abilities they have or any positive contribution they make to game's story is overlooked in favor of the eye candy they can be made to present. This denies them of any real purpose they may have in the game.

As more and more people become aware of this issue and voice their opinions, the game industry will change, bringing about more diverse characters treated with the respect that they, and society, deserve.

Session 6- Genre

The world of genre when it comes to video games is massively different to the concept when it addresses literature and movies. Game genres are instead assigned by which action the player will carry out the most and in what viewpoint they will experience it from.

On the website gamepeople.co.uk, the point 'Once you've found a game you enjoy, a great way to find more experiences you are likely to appreciate is to look for other titles in the genre' is put forward.

However these genres do not categorize titles by the events within the game's storyline. This seems to be an odd technique as, when seeking out a game involving certain aspects, such as action or romance, the audience generally cannot look to the attributed genre of each game as the information on what it really involves isn't communicated by it.

Games today are breaking the previously established guidelines of genres more than ever. All the artists, writers and developers who have the skills, innovative ideas and drive to create something different and interesting are enabling games to mesh genres and spawn new ones.

As the video game industry continues to grow, the concept of genre and the number of ones offered to players will continue to expand, evolving as the area becomes further explored by gamers and developers alike.

Session 5- Ludonarrative resonance/dissonance

The storyline of a game drives the player through it, giving purpose to levels and enticing the audience to discover what occurs next. By utilizing multiple storylines and opposing the gameplay with a story that paints the characters or environments in a different light, a writer can change up typically straight forward- and more expected- narratives, turning the game into something different.

On their blog, The Age of Gaming stated that, 'The future of video games lies in the complete and seamless melding of ludic and narrative elements'. It is rare for a game to become popular for its story alone however, as the graphics, aesthetics and gameplay must work together to create a worthwhile game before the quality of the storyline is considered.

However, a story can have a dramatic effect over whether a game is continued or remembered by the player and the skillful implementation of them can create a more powerful and meaningful experience.

Session 4- Verisimilitude vs Stylised Aesthetics

Games today are achieving more stunning aesthetics than ever before. The diversity of visual designs they embrace is extremely vast throughout the scale of verisimilitue to stylised.

Yet the closer games approach the realm of this photorealism, the stranger this desire seems to be.

While realistic aesthetics can enhance and make the experience a game provides what it is, if a player wants photorealism, they only have to look to reality.

In regards to the Legend of Zelda for the Wii U, G. Christopher Williams from Popmatters.com said 'Like photorealistic games, I marvel at how the wind moves blades of grass...but not because the game generally resembles a real world. Rather, it’s because the details resemble and construct a fantastic world that isn’t possible without...rendering characters, places, and animations in a video game.'

The purpose of games is to be immersed in a different world, one where curious and otherwise impossible things occur can around places and characters that do not exist.

The realism currently displayed in games by the aesthetics and graphics is amazing but do we really need to take this further? The point of games is to entertain the player, not replace reality. Video games should look and feel like video games with enough ties to the real world that players can make sense of it.

Video games are at a great place in their manipulation of aesthetics into many intriguing art styles and still to be discovered are the many ways creators will depict their worlds next.