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Assignment Cover Sheet for Online Submission Assignment Cover Sheet for Online Submission Please fill in the following – and title your PDF in the same order, for example: Nieri, Natasha, 123456789, WEB, 17-18.pdf Student Surname KIERMOWICZ First Names DOROTA Student Number 96078114 Course Name and short code ANIMATION ANI (example: Fashion, FAS) Academic year 17-18 For group work (if appropriate): Group Name Role in Group Please copy the following from the Project Brief: Unit Title Dissertation Unit Code C301 Year, Term Year 3, Term 1 Please provide the following: Six keywords Game, Character, Design, Gender, (separated by commas) Objectification, Industry Your LEAD QUESTION DESIGNING A FEMALE CHARACTER TO COMBAT GENDER OBJECTIFICATION IN THE GAMES INDUSTRY By submitting this document: 1. I certify that this assignment is my/our own work and that I am familiar with Ravensbourne’s Plagiarism Policy. I also understand that plagiarism is a serious academic offence. 2. I certify that this assignment has not been previously submitted for assessment on this programme. 3. Where material has been used from other sources it has been properly acknowledged. 4. I confirm that I have retained an electronic copy of this assignment and understand that written assignments may be submitted to the JISC Plagiarism Detection Service, I must therefore be able to produce electronic copies of written assignments. 5. I understand that Ravensbourne is at liberty to delete submitted work 12 months after assessment. 6. I also understand that Ravensbourne may wish to use my work (or copy) for future academic purposes in accordance with Ravensbourne’s regulations. 1 DESIGNING A FEMALE CHARACTER TO COMBAT GENDER OBJECTIFICATION IN THE GAMES INDUSTRY A VISUAL DISSERTATION BY DOROTA KIERMOWICZ BA ANIMATION 2018 2 CONTENTS PAGE Page: - List of Illustrations………………………………………………………………………………………………………… 4 - Introduction……………………………………………………………………………………………………………….... 6 -Chapter 1. Female game players and creators……………………………………………………………….. 6 -Chapter 2. Positive and negative female characters………………………………………………………. 12 -Chapter 3. Design Fighting With Women Objectification……………………………………………….. 15 -Conclusion……………………………………………………………………………………………………………………… 20 - Appendices……………………………………………………………………………………………………………………. 21 -Bibliography…………………………………………………………………………………………………………………... 28 -Progress Map…………………………………………………………………………………………………………………. 30 3 LIST OF ILLUSTRATIONS Illustration Page Figure 1: Statistics (2017) The Statistics Portal [diagram]. Available at: https://www.statista.com/statistics/232383/gender-split-of-us-computer-and-video- 7 gamers/ (Accessed on: 8.10.2017) Figure 2: My own Diagram (2017) [diagram], my own diagram. Statistic information available at: https://www.glassdoor.com/research/studies/gender-pay-gap/ (Accessed 9 on: 8.10.2017) Figure 3: Funemena (2017) [ illustration]. Availible at: https://luna.funomena.com/#new-page (Accessed on: 22.10.2017) 10 Figure 4: Beasley, Berrin., & Collins Standley, Tracy (2002). Available at: https://pdfs.semanticscholar.org/a869/79702bd24d79e70d5c6ef75decacc70296ba.pdf (accessed: 20.09.2017) 11 Figure 5: Kothe, Peter (2003) [illustration]. Available at: https://peterkothe.tumblr.com/post/145426949627/videogamesdensetsu-beyond- 12 good-evil-ps2 (Accessed on: 5.11.2017) Figure 6: Ubisoft (2009) [illustration]. Available at: https://www.ubisoft.com/en- us/game/beyond-good-and-evil-hd/ (Accessed on: 5.11.2017) 13 Figure 7: Game Artbook (2010) [illustration]. Available at: http ://nnm2.com/blogs/fnightmare/game_artbooks_soul_calibur_iv_- 14 _collectible_comic_and_artbook_scans/ (Accessed on: 8.11.2017) 4 Figure 8: Fandom (2014) [illustration]. Available at: http://deathbattle.wikia.com/wiki/File:Soul-calibur-4-ivy.jpg (Accessed on: 8.11.2017) 14 Figure 9: TV Tropes (Unknown) [illustration]. Available at: http://tvtropes.org/pmwiki/pmwiki.php/Main/WhipSword (Accessed on: 8.11.2017) 14 Figure 10: O’Hara, Finn (Unknown) [photograph]. Available at: http://www.macleans.ca/news/canada/jennie-carignan-will-be-the-first-female- 16 general-from-the-combat-arms-trades/ (Accessed: 2.10.2017) Figure 11: Perkel, Colin ( Unknown) [photograph]. Available at: http://www.macleans.ca/news/canada/jennie-carignan-will-be-the-first-female- general-from-the-combat-arms-trades/ (Accessed on: 2.10.2017) 16 Figure 12: My own illustration (2017) [sketch] Sketch of the early design 17 Figure 13: My own illustration (2017) [sketch] Character sheet sketches 17 Figure 14: My own illustration (2017) [sketch] T-pose of the character with colour 17 Figure 15: My own illustration ( 2017) [sketch] Character in a dominating pose 17 Figure 16: My own illustration (2017) [sketch] Final character T-pose with descriptions 17 Figure 17: My own illustration (2017) [sketch] Face and mask design for the character with descriptions 18 Figure 18: My one illustration (2017) [screen grab] Marvelous Designer work in progress of the garments 19 Figure 19: My one illustration (2017) [screen grab] Maya 2017 work in progress 19 Figure 20: My one illustration (2017) [screen grab] Zbrush work in progress 19 Figure 21: My one illustration (2017) [screen grab] Final renders 19 5 INTRODUCTION Feminist ideology should not encourage (as sexism has done) women to believe they are powerless. It should clarify for women the powers they exercise daily and show them ways these powers can be used to resist sexist domination and exploitation. -bell hooks, “Changing Perspectives on Power,” in Feminist Theory: From Margin to Center, 1984 ‘’ Female game characters in today’s reality are frequently pictured as sex objects (Beasley & Collins Standley, 2002; Dietz, 1998; Miller and Summers, 2007). Previous studies by Berrin Beasley and Tracy Collins Stanley showed, that women are underrepresented in video games and the clothing aspect of the design is an important part of perceiving game characters. Statistics by The Entertainment Software Association presenting women as 42% of gaming audience, which shows that women are a big part of the industry. In the first chapter, I will be talking about women as game players and creators. In the second chapter, I will be analysing two existing female characters that in my opinion are positive and negative examples of perceiving women in video game. Finally, in the third chapter I will be talking about my design and the influence of the creation of my female character. For the practical component of the work I will design and create a 3D model using Maya and Zbrush. When designing the character I will focus on the clothing aspect that impact how viewer is perceiving the character (Beasley and Collins Standley 2002). The purpose of this paper is to contribute to the change in portrayal of gender in games by creating female game character being a lead character in both gender-friendly game. In this writing I will use two sources of primary research, online survey about the design of an character and interview with concept artist at CD Project Red Studio, Marek Madej. As the result of this work I aim to answer the question: can designing a female game character combat gender objectification in the games industry? CHAPTER 1. FEMALE GAME PLAYERS AND CREATORS Female Game players 6 There is a lot of misconception regarding what people assume about female players, especially young girls. I will present a few of them and try to explain Why those misconceptions are inaccurate. Ernest Adams in his book ‘’Fundamentals of Game Design’’ talk about few of those misconceptions, here are two I chose as an example: ‘’Girls don’t like violence’’. The reality is that girls don’t like casual, sadistic violence that becomes brutality. In games, girls would accept violence if it is defensive or provoked so there is a reason to use and it is more acceptable. ‘’Girls want everything to be sweet and happy’’ Is another false assumption, girls are looking for mystery, suspense that is meaningful. Here are only two of the stereotypes people think when comes to the female players (Adams, 2010, p.95). Stereotypes have a big influence on the design of games but also on the people who are playing video games. They can influence the vision of creator and the perspective of player. The game industry is a constantly growing and evolving market. Women represent a big portion of the game market. Newest studies by Entertainment Software Association show that in 2017 42% of the gaming audience in US are women, Which has increased by 1% since 2016. Figure 1. shows the proportion of male and female game players in the US between 2006 and 2017 (ESA, 2017). Fig.1.: Diagram presenting male and female proportion of players in the US From the 4,000 UK residents women make up 52% of the gaming audience, increasing from 49% three years ago. The most popular games genre are Trivia and Word Puzzles, which are mobile and casual games (IAE, 2014). However, the same study showed that 56% of female have played on console and 68% played online. In the recent report by Nick Yee, the co- founder of game analytics company Quantic Foundry, shows which genres of games are 7 dominated by women. He surveyed over 270,000 gamers asking them about their favourite game titles. The result of the study indicated women made up about 70% of family/farm simulation games. One of the interesting results that he mentioned in the interview with Cecilia D’Anastasio, Senior reporter at Kotaku, “There’s a lot of variation not only between genres but within genres,”. There is 36% of fantasy MMORPG female players, but only 26% of World of Warcraft players are women in comprising to the Star Wars: the Old Republic, which has twice as many female players. Yee said: “[role-playing game] Dragon Age: Inquisition has almost double the group average of Western RPGs (48% vs. 26%). This 48% is higher than the group averages of the next 5 genres in the chart.” It might be that more women would enjoy role playing games if they were designed with women in mind. Female Game Creators The game industry has always been dominated by men (Ivory, 2009). Male developers are likely creating games that they themselves would like to play or games they would like to play when they were young boys (Adams, 2010, p.87).
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