Contents |
Dictionary.com defines the videogame as, “An electronic or computerized game played by manipulating images on a video display or television screen.�
In 1958, the head of the Instrumentation Division of Brookhaven National Laboratory connected an oscillator to a black box of his own design to create a hands-on display for the annual Brookhaven visitor’s day. The result was “Tennis for Two�, the first videogame. Although the creator, William Higinbotham knew from visitors’ enthusiastic reactions that he had invented something special, no one could have foreseen the potential of this newly invented medium at the time.
Now, over four decades later, it is clear that Higinbotham’s tinkering has resulted in an exciting medium that boasts more interaction than any other. With sales of videogames and accessories rivalling box office revenues, videogames are positioned to emerge as the dominant electronic medium of the next decade.
Although videogames have already become a formidable opponent in the media battle to control consumers’ senses, the industry itself is still relatively young. While filmmakers and musicians have been experimenting with the limits of their mediums for well over half a century, videogame developers are only beginning to explore and redefine the boundaries of the game. Until recently the game was simply another commodity to be marketed and sold. However, new technology and interest from many parties are transforming the game into a medium for artistic experimentation, interactive education, and social expression.
The new directions developers are taking with games have not gone unnoticed by the traditional news media. Many health and psychological issues have been raised concerning overexposure to game content. It has been claimed that videogames can harm players by adding to obesity problems and arthritis as well as increasing antisocial behaviour and encouraging violence. Parents worry that subjects addressed in some games are inappropriate for their children and that the rating system is not sufficient for policing content. Psychologists have even warned that the stereotypes portrayed in many popular games played by children may lead to a warped world view and stunted social interactions for them as teenagers.
The evolving nature of the game industry is currently allowing for such social issues to be addressed in appropriate ways. As videogames are increasingly used as a social medium, they may eventually aid in the education and understanding of ourselves, others and the social environment in which we all live.
Violence in videogames is an issue that arises on a seemingly frequent basis in news media around the world. The fact it gains so much attention warrants a closer look at the many factors involved in the issue. A large part of media attention is based on elements derived from media effects theory. Hartley states ‘the effects model seeks to show causal links between media content and individual behaviour.' (2002:81) In this case many critics of videogames purport there are causal links between violent videogames and subsequent agressive and antisocial behaviour in players. Along with these perceptions and the fact that videogames are a popular cultural form frequently leads to their presentation as ‘uncouth, dangerous and harmful by those lacking the knowledge and strategies to make sense of them.’ (Newman, 2004: 61) Hence the term moral panic has been used in describing the media controversies surrounding the use of violence within games. Springhall states ‘a moral panic occurs when the official or press reaction to a deviant social or cultural phenomenon is “out of all proportion� to the actual threat offered.’ (1998: 5)
Polarisation within such moral panics has certainly occurred with the violence in videogames issue. Critics of videogames suggest there are definite links between exposure and behaviour while sceptics assert such research is biased or inadequate to fully prove such a proposition. Goldstein proposes ‘some social psychologists argue that playing violent videogames causes aggressive behaviour…three types of evidence are said to converge in support of this conclusion: correlation studies, field studies, and laboratory experiments. Yet correlation studies tell us nothing about whether violent videogames 'cause' aggression.' (2001:1) Vessey furthers this viewpoint by stating ‘the exact contribution that videogames play in shaping children’s behaviour is virtually impossible to isolate when considered from broader intra-personal and environmental contexts.' (2000: 608)
In spite of the debate, the role of violence in videogames is an extremely worthwhile topic for scrutiny. More specifically, the reasons why videogames incorporate violence should be addressed. In order to so, defining games by genre aids in the exploration of the motivations behind the use of violence as a narrative or gameplay element. Since 1962, the year that heralded the creation of the first comercial videogame Spacewar, game companies have marketed a diverse array of different types of genres. While trying to classify games in genre structures can be problematic, Newman offers a schema for consideration. These include the genres of:
Surprisingly, the most popular games are sports and driving games which continually top the list of NDP Playworld’s compilation of top selling titles in America. These games are not commonly associated with explicit violent themes. While there is no denying the large following of violent-genre games such as shoot ‘em ups and beat ‘em ups, they do not have the market domination that many critics would assume. However, subversive violence can be also found in sports, action and fantasy games. Despite this, it is wrong to assume that violence is an inherent aspect of every videogame.
Furthermore, the changing nature of violence within videogames signals further reason why aspects from media effects theory are used so frequently against videogames. ‘Greater sophistication and realism found in today’s videogames is associated with increasingly violent themes. One of the first ‘violent’ videogames was Pac-Man; however, in today’s games children can battle realistic looking characters and witness the resultant blood, gore and mutilation.’ (Vessey,2000: 607) Viewpoints like this strengthen the media effects notion that vulnerable audiences, such as children, need protection from content they may passively retain, especially intensely graphic representations.
The Australian videogames censorship situation directly mirrors the aforementioned media effects attitude. The Office of Film and Literature has attracted much criticism for the absence of a Restricted 18+ category for games. Essentially, this means that any videogames designed purely for adult players will not receive classification and thus will not be able to be sold in Australia. As the demographics of the videogames industry changes, signified poignantly by the average player age of twenty-nine years, the censorship situation is criticised for not fulfilling its perceived role of protecting the vulnerable but also allowing adults to freely choose the material they consume. Media effects theory and its role in creating moral panics seem to reinforce attitudes toward videogames and the resultant censorship situation. A case study exploring the moral panics surrounding Mortal Kombat in 1992 and Manhunt in 2004 fully illustrate these concepts.
AmandaTaylor 23:38, 8 Sep 2004 (EST)
Technology has developed a new age of increased personal freedom, reduced the social hierarchy, enhanced possibilities for leisure, and allowed a greater quality in social interaction and communication. Video games have allowed people to enjoy themselves alone or with friends.
However, for many years video games have been seen as a man or boy’s world. Women are more involved in the video game industry. According to a Keefe, 70% of all players of non-violent online games such as cards or strategy games are women and while the number of females who play all genres of games on consoles, PC’s and handhelds isn’t easy to track, they’re clearly still a minority. (Keefe, 2004:1)
Whilst there are some video games that appeal to women there is a greater need for games to be designed by women for women. The video game industry must recognise the growing need for more female friendly games. Most women want to play games that encourage interaction between users and help foster friendships and relationships. Online games will allow this and ‘virtual communities’ can be formed.
Gaming has become an increasingly social activity and the social component is vital for many women. Studies have shown that women are more interested in communication, interaction and constructively putting things together when they play a game, whereas males enjoy playing video games that involve fighting and violence.
Video games are a form of cultural stimulation. When women play video games they are able to feel a much stronger sense of self because they are no being judged by their appearance. They can play freely and be who they are. (Goodale, 2004: 15)
Vastly improved technologies have enabled electronic game characters to look, sound and move in a more lifelike way. Action, adventure and fighting games are now taking on new sexual dynamics. The female identity in video games is often a hot topic of debate between feminists and critics. Many of the new female game characters constitute as video pinups for young men and boys. A case study Bikini Vs. Baggy Pants caused a debate when a team of designers were deciding how to portray a female ‘tomboyish’ character. In the most popular video games there is a growing tendency to depict graphic violence against women. (Marriott, 2003: 1)
Women’s groups and other critics have long complained that the industry doesn’t do enough to appeal to women. There is much need for gender inclusive game design. The Industry must improve their mentoring programs for female designers. The hyper- sexed female representation must also be toned down in order for women to want to play video games.(Keefe, 2004: 2) More research by the video game industry is needed in order to ensure that the female identity is portrayed fairly.
Ellen Boal 13:21, 9 Sep 2004 (EST)
In 2002, US sales of videogames, consoles and accessories generated a staggering $10.3 billion. With industry revenues expected to reach over $30 billion by 2007, videogames are becoming impossible to ignore as a competing medium. Although the videogames are relatively new in comparison to other electronic media, the industry has managed to expand in new and original ways to include previously untapped markets. Slow to gather speed and investment from the start, in the last decade and a half the videogame industry has acquired unstoppable momentum as old media business began to take notice and invest accordingly.
Leading companies in the current videogame market may be reaping in increasing revenues as their stock is traded on Wall Street, but this was not always the case. Although credit for the first videogame developed goes to William Higinbotham for his 1958 game, “Tennis for Two�, no commercial gaming industry exited until 1972. The initial commercial release of the first home gaming system, Magnavox’s Odyssey, was met with disappointing sales. The failure of the 12 game, pre-programmed system led to nearly a decade of floundering experimentation and revision within the emerging field. Several versions of similar, home gaming entertainment systems were released and received with similar disappointment. It wasn’t until Atari stepped in, with its patent for games “Asteroids� and “Lunar Lander� in 1980 that a true, competitive commercial videogame industry began to form.
By the mid 1990s the success of new gaming technologies was apparent. Better graphics, sound and story were beginning to entice new gamers and allow designers to address genres and subjects previously unheard of in the industry. As the game players have matured, so has the market along with them. No longer are players confined to making a little man hop from left to right, across a linear field of play. New games are allowing players to define certain aspects of play and alter the virtual environment in which the game is experienced.
As the realism of gaming continues to be refined, and subjects addressed in games converge with important issues in real life, the medium of the videogame is being rapidly redefined. Originally written off by most professionals as nothing more than an elaborate time waster, the game is now viewed as a tool for story telling, education, training, and publicity. From the Sony Pictures cross-media marketing of such blockbusters as Spiderman, to the United States Army’s use of a freeware first person shooter to drive up enlistment, companies and organisations are beginning to realise the potential videogames have to not only sell themselves, but sell other products as well.
Successful game franchises such as the Madden football series are helping to drive sales of gaming technology itself, with traditional non-gamers purchasing consoles to live out the ultimate sports fan fantasy of creating and controlling their very own team. Ever expanding, user developed games such as the Sims continue to attract new demographics daily through the growing, dedicated community of players that surrounds the virtual environment. Even basic, flash based, online puzzle games are generating a high number of players as an older generation that wouldn’t know a gamepad from a joystick log on to challenge themselves. The recent emergence of online gambling combined with basic games, which reward a players success with actual monetary incentives has brought new markets and social issues to the fore. With everyone from preteen girls to aging baby boomers becoming exposed to games, it is quite apparent that the videogame will become a driving factor behind business in the next decade.
Although the future of companies within an industry as volatile as gaming can not be predicted, forecasts for the future of the industry itself are looking quite prosperous. Major media conglomerates may hold many of the cards in the industry deck, but the revolutionary ideas that will transform the industry are being created and refined right now in small offices and basements across the globe. Throughout the history of the gaming industry’s development, the major changes have sprung from the players themselves. With sales on the rise, new markets emerging daily, and hundreds of individual game development companies springing up across the globe, its anybody’s guess where the next trend in gaming will come from, and who will control it.
Jeff DeMaria 14:58, 9 Sep 2004 (EST)
Video and computer-based games have assumed a major role in today’s culture and society around the world. Given the pervasiveness of their influence, it is likely that video games may positively or negatively affect the health of game players. Health issues linked to video and computer-based games are extensive and thus have resulted in large amounts of research on the topic. The underlaying fact is that there is evidence of both negative and positive effects on ones health as a result from engaging in video and computer-based games. While there is an extensive range of issues resulting from this topic of ‘Videogames and Health Issues’, five prominent issues fundamental to this topic include; obesity, ‘Nintendonitis’, addiction, the promotion of health through video and computer-based games, and hand-eye coordination. Much research has provided large amounts of evidence to negative health effects resulting from video games; in more recent times however, more and more evidence proves that videogames, in the right context, have the potential to improve a player’s mental and physical well-being.
Research on obesity has indicated that children eat junk foods high in fats, sugars, and carbohydrates while playing video and computer-based games. Combined with a lack of physical activity, this is a contributing factor to the surge in obese children (Kogan, 2001). Further research has proven that American children are more overweight, slower, and weaker than their counterparts in other developed nations (Dorman, 1997). In addition, American children assume sedentary lifestyles at earlier ages. This suggests that video games may contribute to inactive lifestyles by displacing involvement in sport and other physical activity, thus contributing to the increase in children’s obesity (Dorman, 1997).
Reported cases relating to injuries caused by the overuse of playing video and computer-based games has resulted in the tendonitis phenomenon, aptly termed ‘Nintendinitis’. The increase in popularity of game consoles has led to an increase in locomotor problems in the tissues of the hand (Onn, p1). Overuse injuries are caused by repetitive microtrauma to the tissues, where the basic ability of tissues to repair itself is outpaced by the repetition of the insult (Onn, p1). Due to the addictive nature of video games, the healing process is thus inhibited and injury perpetuated (Urquhart).
According to some studies this addictive nature of playing video games is caused by the excitement of the video games. This excitement causes the brain to release a chemical that is, in essence, addictive. Due to the growing concern of video game addiction many computer addiction services are serviceable.
Video games however can be used in a positive way. Game developers have developed games which promote health and provide information to children and adolescents. Such games have the ability to capture and keep the players attention and allow them to interact with the information in a meaningful way (Dorman, 1997). An example of a game which graphically portrays the physiological effects of smoking is ‘Rex Ronan’. This game is intended to strengthen preadolescents’ (ages 10 to 12) antismoking attitudes and their intentions not to start smoking (Lieberman, 2001). Game developers are now also creating games to help people relax, learn proper nutrition, overcome phobias, and even help children cope with attention deficit disorder (ADD). More research is needed to establish just how useful the new generation is in promoting better health. And many doctors say the games’ effectiveness in treating anxiety and ADD has not been studied long enough for the results to be reliable.
Another positive issue resulting from playing video games is the development of hand-eye coordination. According to an online article titled ‘Video Games’, “Video games may require a higher degree of hand-eye coordination than many other activities…� (Newman).
SarahMcCabe 18:10, 9 Sep 2004 (EST)
Borland, John and King, Brad (2003) Dungeons and Dreamers: The Rise of Computer Game Culture from Geek to Chic, Emeryville: McGraw-Hill Osborne Media ISBN 0072228881
Blackwell, G. (2002) ‘Playing with fire?’, Today’s Parent [Online], vol. 19, no. 2, pg. 72. Available: [Go to Article][Accessed 8 Sep. 2004]
Dorman, Steve (1997) Video and computer games: Effect on children and implications for health education. The Journal Of School Health, vol. 64 no. 4, pg. 133-138. Available: [Go to Article] [Acessed 7 Sep. 2004]
Goldstein, J. (2001) Does Playing Violent Games Cause Aggressive Behaviour? [Online]. Available: [Go to Article] [Accessed 8 Sept. 2004]
Goodale, G. (2004) ‘Games women play’ [Online], pg. 15 Available: [Go to Article][Accessed 7 Sep. 2004]
Hartley, J. (2002) Communication, Cultural and Media Studies, London:Routledge. ISBN 0415268885
Keefe (2004) ‘Women seek more of game action’ pg.1 [Online]. Available:[Go to Article] [Accessed 8 Sept. 2004]
Kushner, David (2003) Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0375505245
Lieberman, Debra (2001) Management of chronic pediatric diseases with interactive health games: Theory and research findings. Journal Of Ambulatory Care Management, vol. 24 no.1, pg. 26. Available:[Go to Article] [Accessed 7 Sept. 2004]
Marriott, M. (2003) ‘Fighting women enter the arena, no holds barred’ pg.1 [Online]. Available:[Go to Article]
Newman, J. (2004) Videogames, London: Routledge. ISBN 0-415-28191-1
Onn, Sheng-Fei. "Nintendo-isation": Sedentary Lifestyles,Obesity and Increasing Health Problems Including Type 2 Diabetes in Modern Day Children and Adolescents[Go to article] [Accessed 8 Sept. 2004]
Poole, S. (2000) Trigger Happy: The inner life of videogames, London: Fourth Estate. ISBN 184115203
Springhall, J. (1998) Youth, Popular Culture and Moral Panics, Hampshire: Macmillan. ISBN 0-312-21395-6
Urquhart, Donald. ‘The Nintendintis Phenomenon’ [Online]. Available: [Go to Article] [Accessed 7 Sept. 2004]
