Stereotypes In Video Games

Words: 1504
Pages: 7

This week we were tasked with conceptualising a videogame which would address sexist and racist attitudes. Emphasis was to placed more on the structural issues of racist/sexist discourse, as opposed to, focusing on individual behaviour. The game, then, seeks to circumvent the conventional use of stereotypical archetypes that are prevalent in videogame culture. At the same time, the game must address the oppressive conformity of socially-constructed norms. Therein, the decision to have the main playable character (MPC for brevity) unsexed and without race; yet, it’s purpose is manipulated in favour of furthering dominating discourses.
In positing Frasca’s claim from the Sisler article, in that “unlike narrative[s], simulations are a kaleidoscopic form of representation,” the game itself will integrate simulation as a gameplay
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Since the target’s are variations of the ‘other’, SPCs will feature their own unique cultural aesthetic. Essentially, the more the player adopts the memories of specific SPCs, its ‘vision’ will change (meaning the actual 3D rendition of art) to better represent that culture. SPCs ethnicity will be reflected in the dynamic representation of their cultural art form. The game’s aesthetic, therefore, will require the integral inclusion of Indie artists who will contribute to promoting a more holistic cyber- aesthetic. Wherein, the more Spectre sees of cultural variation, and opting to merge their memories with is code, arises a self-awareness through the consciousness of moral action. Mainly, in going against the protocol of its originally programmed default subject position. Finally, Spectre realizes it is a nanodroid, and not human, when the ‘spectre’ of other’s memories showcase the suffering—the nanodroid realizes it has no memory of its own, when it sees in its targets a beauty in humanity that does not