ETHICAL AND LEGAL

CONSTRAINTS WITHIN THE

GAMES INDUSTRY.

Georgia Scannell
CMPGEORGIASCANNELL.WEEBLY.COM

THE VIDEO RECORDINGS ACT:

Coinciding with the 1994 review of the legislation, the Video Recordings Act (VRA) was redefined so
as the inclusion of computer games was clearer1. This required that the BBFC age rated any game
which featured, amongst other content:

o
o
o
o

Gross violence,
Sexual activity,
Nudity,
Criminal acts

(As detailed in section 2(2) and (3) of the Video Recordings Act 1984. Sections 4(2), (3) and (5) of the
Digital Economy Act 2010 make alterations to the Video Recordings Act 1984 to ensure a revised,
efficient and expanded classification system for video games)2.
With the mass proliferation of games during the 1990s, this prevented the fan bases from being
exposed to content that was deemed to be unsuitable/inappropriate for certain audiences, much like
any cinematic/televised release. With the advent of franchises such as Grand Theft Auto, it meant that
violent, and criminal, behaviour was not presented to those below the specified age.
Dubbed the most controversial game in
history3,
Manhunt
2
faced
insurmountable backlash from the BBFC,
resultant of the VRA. Denied its initial
release date of June 2007 on the grounds
of it being Distinguishable from recent
high-end video games by its unremitting
bleakness and callousness of tone in an
overall game context which constantly
encourages
visceral
killing
with
exceptionally little alleviation or
distancing. There is sustained and
cumulative casual sadism in the way in
Figure 1: The cover/promotional art for Manhunt 2.
which these killings are committed, and
encouraged, in the game4. The following
footnote directs the reader to a walkthrough of the game5. This ruling was contested by Rockstar (its
developer) and gamers alike, with many seeing no difference between this and the mainstream horror
titles being released at the time (28 Weeks Later, REC, Saw IV, Hostel II etc.)
With a revised and downscaled edition also being rejected, a cumulative High Court hearing resulted
in the VAC (the Video Appeals Committee) awarding it an 18+ certificate6.

http://www.bbfc.co.uk/education-resources/student-guide/legislation/video-recordings-act
http://www.newcastle.gov.uk/business/trading-standards/fair-trading/videos-dvds-and-computer-games
3
http://news.bbc.co.uk/1/hi/technology/7233408.stm
4
http://www.bbfc.co.uk/case-studies/manhunt-2
5
https://www.youtube.com/watch?v=siA6iadDag8
6
http://www.theguardian.com/technology/2008/mar/14/games.law
2

In light of this case, questions were raised as to the suitability of the VRA scheme when grading video
games; there is a clear differentiation between this medium, and that of a movie, say. As such, in July
of 2012, the rating of computerised entertainment became the responsibility of the Video Standards
Council, who apply the PEGI system to releases7. This has enabled the games to be accurately and
fairly judged in consideration to the target audience and the actual, as opposed to the perceived,
content of the item.
The BBFC does continue to evaluate all games with strong pornographic content, ancillary games
attached to a wider, primarily linear submission and non-game linear content on a game disc, such
as trailers and featurettes8.

COPYRIGHT LAW:

Copyright is, effectively, the protection of the expression and not the idea9. As such, it is not possible
to copyright a notion which has not yet manifested into a usable, or in this case, playable product. For
example, if a business protected the concept of a FPS set during a war, we would lose a large
proportion of the games market. From this, we can understand why it would be a futile practice to
copyright an idea; it is a loose outline that can be manipulated into any number of individual scenarios.
In accordance with the Copyright, Designs and Patents Act 1988, and its revisions, the owner of
copyrighted material has the exclusive ability to do the following in the United Kingdom10:
o
o
o
o
o
o
o

To copy the work (see section 17);

To issue copies of the work to the public (see section 18);
To rent or lend the work to the public (see section 18A);
To perform, show or play the work in public (see section 19);
To communicate the work to the public (see section 20);
To make an adaptation of the work or do any of the above in relation to an
adaptation (see section 21)

These are infringed when a person without the licence of the copyright owner does, or authorises
another to do, any of the acts restricted by the copyright9. For example, making copies of a game
would not be adhering to these terms, as would distributing them, i.e. pirating. Furthermore, reverse
engineering and modding proves to be a grey area; to legally mod a game, the individual must not
make any programs that allow those who do not own the base product to play, but support the
legitimate owners by increasing the reputation of the item, and subsequently, the company11 whilst
remaining inside the necessary copyright clauses.
As can be expected, falling foul of these regulations can cause large amounts of compensation to be
paid out should a court rule in favour of a claim. Additionally, delays to the progression of a game can
be incurred. One of the largest cases in the gaming industry is that of Silicon Knights vs. Epic Games.

http://www.bbfc.co.uk/education-resources/education-news/what-about-video-game-ratings
http://www.bbfc.co.uk/industry-services/video-games
9
http://lawofthegame.blogspot.co.uk/2007/06/copyright-what-every-gamer-developer.html
10
https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/382206/Copyright_Design
s_and_Patents_Act_1988.pdf
11
http://theengineeringguild.co.uk/featured-stories/224-the-legalities-of-modding
8

The Unreal Engine 3 was one of the most popular pieces of middle-ware for the last generation of
console, used in the building of an extensive library of games, not excluding Epics own Gears of War
series. As such, in 2005, Silicon Knights purchased the rights to use the engine in their forthcoming
product, Too Human. Part of the agreement was that Epics Unreal would be a working version for
the newly released XBOX 360. A lawsuit ensued when Too Human was placed against Gears of War at
E3 2007. The developers accused Epic of diverting resources as a means of creating its own game,
rather than improving the engine12.
Whilst in court, it was discovered that Silicon Knights had used over 20% of the unreal code to develop
its own engine, and games, including Too Human. The outcome resulted in Epic Games being awarded
a $9.2 million judgement for breach of contract and copyright infringement13.

FILM ACT:

Information attained from:

https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927#cite_note-3
In 1927, the British Government instated an act which was designed to help restore the declining
British Film Industry. For a duration of 10 years, it required that cinemas show a quota of British Films
to create a vertically integrated industry that would compete with the dominance of American studios,
this was initially set at 7.5% for exhibitors, which was raised to 20% in 1935.
To be classified as a British film it must correspond with the following criteria:

The film must be made by a British or British controlled company

Studio scenes must be photographed within a film studio in the British Empire/Commonwealth

The author of the scenario or the original work the screenplay was based on must be a British
Subject

At least 75% of the salaries must be paid to British Subjects excluding the costs of two persons at
least one of which must be an actor (This caveat refers to the fact that a British film could
engage a highly paid international star, producer, or director whilst still being regarded as a
British film)

For the most part, the act was not deemed to be successful. Whilst it aided the re-invigoration of
British cinema and the invention of pictures with lavish production values that would impress the
masses, it also spawned the creation of quota quickies; lower quality, and quickly accomplished
pieces, designed by American distributors (active in the UK) to conform to the quota requirements.

12
13

http://www.cheatsheet.com/technology/8-biggest-video-game-lawsuits.html/?a=viewall
http://www.law360.com/articles/498907/epic-games-rival-can-t-kick-9m-code-copying-verdict

Whilst many perceive the act to have been ineffective, it proved to be positive in its own right;
although not all of the films made during this period were perfect, it still helped combat the otherwise
constant influx of US exports. It was this period that has aided the development of the modern day
British Film industry that the UK can boast.

IMPORTANCE OF ETHICAL ISSUES:

Within the video games industry, it is imperative that ethical concerns are considered. In doing
this, the risk of insulting any individual in the population is significantly lowered, easing the
release process etc., i.e. once again referring back to Manhunt 2, the desensitised violence and
strong language was deemed by many to be morally wrong and ethically unacceptable; they
thought it to be a product that, if released, would be of detriment to society (they believed the
game would influence the behaviour of those playing).

USE OF LANGUAGE:
Speaking is our primary form of communication, and the language we use can influence how others
perceive us, and our beliefs. Although it can have a cathartic effect during a stressful level/equivalent,
some people find certain terms to be offensive and can be construed negatively14.
According to studies, young people who are exposed to profanities are more likely to adopt that
language in reality, alongside higher levels of aggression15. Although age ratings are designed to limit
the number of youths who are exposed to this vocabulary, very few heed these restrictions; only two
in five parents say that they buy games appropriate for their child16.
Similarly, it has been noted-even by games bloggers/reviewers-that the amount of foul language in
modern day games is increasing in an attempt to appeal to a wider demographic and appear cool to
adolescent players17. Whether this is negative or not is dependent on the context. For example, since
the first Grand Theft Auto game, cursing has been present in creating an accurate depiction of street
gangs, violence and general crime within America. We have become accustomed to it, and understand
why it is used. Likewise, in SAW II: Flesh and Blood, swearing is used, which we can expect as there is
very little else to say if you are entrapped in one of Jigsaws games18. To elaborate, when contextually
acceptable/necessary, words of this description can enhance the enjoyment experienced when
playing, and heighten our comprehension of what it would be like were we to be placed in the
scenario.

14

https://prezi.com/v0js-ugylge6/tok-presentation-how-video-games-affect-our-ethical-knowledge-andemotions/
15
http://www.dailymail.co.uk/news/article-2050159/Bad-language-video-games-TV-linked-aggressionteenagers.html
16
http://www.bbfc.co.uk/education-resources/education-news/what-about-video-game-ratings
17
http://www.illgaming.in/the-ever-growing-trend-of-foul-language-in-video-games/
18
http://www.esrb.org/ratings/synopsis.jsp?Certificate=29667&Title=

5
Figure 2: The evolution of Lara Croft from Tomb Raider

Juxtaposed to this ideology is when

developers insert crude language for the
sake of it. A perfect example would be the
2013 re-boot of Tomb Raider. Having been
on the market since 1996, swearing was not
heard until the aforementioned sequel. The
words, varying in their severity19, seem to
have been included as a means of
conforming to the outline other games have
created. Considering that there was never a
need for this prior to now, we are left to
wonder what has spurned the creators to

introduce such a drastic change.

Furthermore, the impressionability of youths is great; during their formative years they adopt
mannerisms from those surrounding them, often inadvertently20. As such, should a child play Call of
Duty: Black Ops II, they may see David Mason as their favourite character, idolising how he deals with
situations, and responds to issues. In wanting to be like this fictional being, they could begin using the
same language, out of spending fair lengths of time playing as the individual. As can be anticipated
from an 18+ game, the wording is not always suitable for those below this age.
From this, we are able to deduce that developers have every right to design a game as they choose; if
inappropriate vocabulary becomes appropriate in terms of the story, that is acceptable and the
classification will reflect that (this is often accompanied by other content). This is, however, called into
question when a game which was previously acceptable for a younger audience is suddenly targeted
at an older, more mature demographic with increased profanity, blood and gore, not unlike Tomb
Raider. It is essential to note that those belonging to lower age groups should not be alienated and
neglected as producers focus their efforts on creating games with explicit verbal content.

EQUAL OPPORTUNITIES:
Within the games industry, it is frequently debated that there is a lack of equal opportunities for those
belonging to certain demographics. On 28th May TIGA published the Equal Opportunities guidelines
for UK games businesses, in association with Women in Games21. In addition to this, optional tactics
have been placed on the TIGA website as a means of achieving a fairer workplace, including22:
o
o
o
o

19

publishing profiles or photos of the existing team on their website where appropriate,
to show how diverse their teams are and encourage a greater diversity of applicants;
publicising any policies that are, for example, family friendly such as flexible working
or no crunch policies;
Including a short policy statement on equal opportunities when advertising any
vacancy;
proactively catering for staff with disabilities and showcasing their work and potential;

http://www.examiner.com/article/tomb-raider-rated-by-esrb-for-ps3-and-360-intense-violence-and-moredetailed-1
20
http://www.teenink.com/nonfiction/academic/article/292052/The-Impressionable-Youth/
21
http://www.wired.co.uk/news/archive/2015-05/28/tiga-games-industry-equal-opportunites-policies
22
http://www.tiga.org/news/press-releases/tiga-publishes-free-equal-opportunities-policy-templates-for-ukgames-businesses

having more balanced imagery on the company or course website, with a more equal
mix of genders and ethnicities and also imagery that reflects the creative range of the
art form;
o having as diverse a range of spokespeople representing your organisation as
reasonably possible;
o showcasing both female and male employees' work; and
o Simply putting some time into thinking about, writing and communicating a strategy
for increasing the diversity of your company.
In an industry dominated by males, there is a recognised misogynistic viewpoint which accompanies
women in developmental jobs. Resultant of this, innumerable amounts of females have faced death
threats, amongst other forms of intimidation23. In is this that TIGA is trying to minimise, and eventually,
eradicate.
It is important to mention that sexism is not the only form of prejudice that the Equal Opportunities
guidelines attempt to eliminate. Race, ethnicity, religion and disability are all areas which are being
targeted in this act24, known as protected characteristics.
By protecting the fundamental personality traits and physiognomies of an individual, aspects that
cannot be changed, and do not affect their ability to be talented and good workers, are safeguarded.
As all companies must have an equal opportunities act by law, employees are protected against the
various branches of discrimination (direct, associative, perceptive and indirect), harassment and
victimisation25. This, in turn, makes the workplace a safer, more friendly and diverse area which does
not seemingly harbour questionable motives as to who they hire.

ENCOURAGING DIVERSITY:
Whilst playing a video game, the protagonist is the character who we become, so to speak. For the
duration of the story, we are responsible for their actions whilst learning about them and who they
are. Although they are often representative of larger organisations, only 5% of protagonists are
female26. From this alone we can see that there is a disproportionate ratio of men to women, an
immediate sign of lack of diversity.
In addition to this, studies have found that 85% of characters are Caucasian, despite AfricanAmericans and Hispanics play and buy

Figure 3: David Mason from Black Ops II

23

http://everydayfeminism.com/2014/11/beyond-gamergate/
https://books.google.co.uk/books?id=lgiQNdcDOwC&pg=PA202&lpg=PA202&dq=EQUAL+OPPORTUNITIES+IN+VIDEO+GAMES&source=bl&ots=isIrACWnBx&
sig=gyE0U2Ffey7UnpsoAKT85LaMlsI&hl=en&sa=X&ved=0CDgQ6AEwATgKahUKEwiVm_TssofGAhUrL9sKHcK9AI
k#v=onepage&q=EQUAL%20OPPORTUNITIES%20IN%20VIDEO%20GAMES&f=false
25
https://www.crunch.co.uk/blog/small-business-advice/2010/09/30/equal-opportunties-and-discriminationequality-act-2010/
26
http://www.theguardian.com/technology/2014/mar/11/video-games-too-white-too-male-women-ethnicdiversity
24

games more often than white players27. This could be indicative of how developers have fallen into a
rut of sorts; they have become accustomed to creating characters that conform to the stereotypical
action hero mould of (typically) being aesthetically pleasing, somewhat rugged and reminiscent of a
jock. They do not appear to be able to acknowledge that aspirational heroes are not only of this
description.
Dr Adrienne Shaw believes that she has an explanation for this trend, stating that A lot of research
has shown that it is hard for white people, in particular, to conceive of racial minorities in nonstereotypical ways. Even when people are
not being intentionally racist, we live in a
culture where norms of representation
have made stereotypes more readily
salient and it takes a lot of work to think
beyond those caricatures28.
Ultimately, she feels that our inherent
preconceptions dictate how we perceive
characters within interactive media
outlets. Furthermore, it is our previous
exposure to persistent repetitive stereotypes that forge our current opinions.
Figure 4: Jason Brody from Far Cry 3

By encouraging equality and bridging these voids, the industry will not only gain respect from the
minorities who are under-represented, but will challenge the stereotypes that are presently being
used within the games that we play. We may be able to put a stop to non-white, female or LGBT
characters in games doing little more than parrot existing media stereotypes particularly within
mainstream games29. Diversification and the representation of people is not only essential within the
products, but for the creators themselves; not unlike the section regarding equal opportunities, there
is a need to dispel the myths surrounding women, those of colour and with disabilities working in the
industry; someone not conforming to the nerd generalisation does not mean that they are not as
talented as those who do fit this appearance.

ETHICAL CONSIDERATIONS WHEN MAKING A GAME:

Violence is major consideration for developers30. When creating a game, they must decide what age
group it will be targeting to ensure the level of activity of this kind correlates to the desired rating. For
example, to attain a PEGI 3, some violence in a comical context (typically Bugs Bunny or Tom & Jerry
cartoon-like forms of violence)
is acceptable31. Furthermore,
the player should not be able to
associate the characters with
reality. To gain a PEGI 18,
however, the level of violence
Figure 5: The PEGI 3 criteria.
reaches a stage where it
becomes a depiction of gross
violence and/or includes elements of
specific types of violence31. As such, this is
27

http://www.salon.com/2013/12/11/video_games_race_problem_goes_all_the_way_to_the_top/
http://www.pastemagazine.com/articles/2015/02/racial-identification-the-secret-strength-videogam.html
29
http://www.theguardian.com/technology/2013/apr/14/games-remember-me-race-gender
30
http://www.ethicapublishing.com/ethical/3CH12.pdf
31
http://www.pegi.info/en/index/id/33/
28

considered to be when the intensity of the actions causes the player to feel repulsion. One of the most
notorious examples of this would be the Grand Theft Auto V torture scene; whilst Michael is on an
assassination mission, Trevor is ordered by the FIB to brutalise an individual suspected of harbouring
information relating to terrorism.
Essentially, it is the job of the production team to enure that the amount of violence, and how graphic
it is, is appropriate for the target audience.
The inclusion of, and representation of, drugs must be reflected upon.
Figure 7: A still from the aforementioned scene
(https://www.youtube.com/watch?v=9RuNivXp1_w)

Skooma in Skyrim, for

example,
is
extremely
addictive and causes the user
to experience elation and
euphoria, prior to lethargic
behaviour32. As can seen in
the following video, it can
significantly
alter
the
Figure 6: The PEGI 18 specification.
gameplay (some mods have
been
used),
https://www.youtube.com/watch?v=SFi52HqoSYQ. The drug use here is not central to the gameplay,
and is not required to progress, although it is an entertaining side activity.
The plotline for BioShock, however, revolves around narcotics. Proceeding the Rapture Civil War, mass
addiction to ADAM caused the residents to witness the side
effects of the product, all too late33. Used as currency within the
game, the most efficient method of gaining the product is by
harvesting the Little Sisters. This presents the payer with an
ethical choice as whether to save, or harvest (killing them in the
process) the child. More about the Little Sisters can be read with
the accompanying footnote34, and a walkthrough showing this
process
can
be
seen
by
following
the
link,
https://www.youtube.com/watch?v=CLgzYIRLjZo.
Although drugs can enhance the playability, there is not always a
necessity for their inclusion. Although used as a way of reflecting
real life mannerisms, there explicit use is not always required, for
example in Grand Theft Auto V, Michael De Santa can use his sons
bong.
Figure 8: A Little Sister from BioShock.

32

http://elderscrolls.wikia.com/wiki/Skooma_(Skyrim)
http://bioshock.wikia.com/wiki/ADAM
34
http://bioshock.wikia.com/wiki/Little_Sister
33

As mentioned previously, considerations should be given as to how best to diversify them and have
them representing more demographics, not just the aspirational video game hero. Mass Effect 3
epitomises the notion of varying characters; the protagonist, Commander Shepard can be male or
female, and have their features customised to the players content35. Similarly, we are able to choose
if they are a Spacer, Earthborn or a Colonist, alongside their psychological profile and class.

REPRESENTATION OF GENDER
IN VIDEO GAMES:

There is a long standing belief that women are

unfairly represented within video games.
They are largely seen as being inferior to their
male counterparts, often wearing dresses,
skirts or skimpy clothing, bows and make-up,
and maintaining dainty, delicate, or oversexualized dispositions36. Especially within
Figure 9: Two version of Commander Shepard from Mass Effect 3. games targeted at younger audiences,
females are often covered girly colours, their
clothing reflective of their femininity.
Princess Peach from Super Mario and Amy Rose from Sonic the Hedgehog
both have an affinity for pink and have acquired statuses as being
Damsels in Distress.
The former drew controversy when starring in Super Princess Peach.
She used her emotions as powers, which would yield a change in
behaviour and-dependent on the level-alterations in the
environment. Throughout her journey to save Mario and Co., she
was accompanied by her faithful parasol37. This cause controversy as
the entire game mechanic was based on her (alarmingly unstable)
feelings. As a reviewer on YouTube states in their video description,
it far from a turning point in Nintendo's portrayals of women38.
Likewise, Amy Rose has been criticised for her annoying, whiny
personality39, with many condemning her obsessive nature in
regards to Sonic. Critics have also described her pink outfits and
tendency to run from danger to be stereotypical of female
characters in Japanese games39.
Another infamous example is that of, once again, Grand Theft Auto V. Having played it on its release,
it is impossible to deny-like the majority of other games in this document-how exciting, fun and
intuitive it is to play; it is, in fact, one of my favourite games to play when in need of respite from some
35

http://masseffect.wikia.com/wiki/Commander_Shepard
http://www.hastac.org/blogs/ezobel/2014/03/06/damsels-distress-female-representation-video-games
37
http://www.fimfiction.net/blog/398086/mlp-rule-34-update-october-2014-hub-homage-part-3
38
https://www.youtube.com/watch?v=1SpRRJUnchI
39
https://en.wikipedia.org/wiki/Amy_Rose
36

10

of the more intensive titles I own. The representation of women, however, is somewhat derogatory,
and something that I, as a player, find uncomfortable to view, regardless of the game. Michaels
daughter has Skank tattooed across her lower back, whilst Vanilla Unicorn is the local strip club-side
missions enable you to interact with the employees40, i.e. having the option to purchase a private
dance where you can touch the provocatively moving woman, before being invited back to her house,
if you become familiar enough with her. Although it achieves its goal of presenting the dark underbelly
of Los Santos, a sanctuary for the self-centred rich and famous, it neglects that it is not only men who
are capable of committing acts typically completed by males.
In the same vein as this, the Dead or Alive series has become famed for its sexually exploitative nature,
featuring pole dancing segments in Dead or Alive Xtreme 2 and for being the first three-dimensional
games to include bouncing breasts41. Their outfits are questionable, being that they are mostly tight
fitting or barely there; these were exchanged for swimsuits when the women from the game featured
in a Volleyball variation.
Whilst the objectification and negative stance towards female characters dominates the media, many
fail to acknowledge that men are faced with negative stereotypes within the gaming industry; due to
their prominence as protagonists, it is arguable as to
whether or not this is more persistent as they
dominate the playable character market.
It is not objectification that males are targeted with;
they are not portrayed as prostitutes or weak helpless
souls, in need of assistance from a more powerful
body, mostly of the opposite sex. Instead, they are
inundated with roles who are over-sexualized, overmasculinized, they promote negative body image,
Figure 10: Ezio Auditore from Assassins Creed II.
etc.42 Traditional perceptions of masculinity within
the sector include43:
o Rugged features
o Moustache and stubble
o Long hair
o Denim
o Open shirts and medallions
Figure 11: Ryu from Street Fighter.

o Rough and ready

40

Violent

Action - active not passive

General toughness

http://www.telegraph.co.uk/women/womens-life/10355275/Grand-Theft-Auto-V-is-designed-deliberatelyto-degrade-women.html
41
http://www.examiner.com/article/is-dead-or-alive-sexist-is-it-wrong-to-give-a-female-character-sex-appeal
42
http://nerdybutflirty.com/2013/05/10/reverse-sexism-in-videogames-are-men-objectified-part-2/
43
http://www.slideshare.net/smcmediastudies/the-representation-of-men-in-the-media

11

Ryu from Street Fighter, for example, personifies this. He is seen with ripped clothing exposing his
large, muscular frame. His appearance-alongside other characters in the game-contribute to the
notion that in order to be manly and experience adoration etc. one must be attractive, fearless and
tough.
As a society, we fail to note this. How many (male) players look like Jason Brody, or Ezio Auditore?
How many have a chiselled physique, with perfectly sculpted muscles like John "Soap" MacTavish?
Whilst it may not be to the same extent as women44 in terms of how their gender results in demeaning
actions/mannerisms, questions have been raised regarding the extreme nature of their bodies, and
their behaviour.
It is observable that male characters are rewarded for self-control and the control of others,
aggression and violence, financial independence, and physical desirability45. This is identifiable within
a plethora of games, from Call of Duty to Grand Theft Auto to Far Cry to Mass Effect, with these just
being a small selection of mainstream products; the generalisations are present are present far
beyond these well-known and accessible products. Within less popular and independent games that I
have played, I have been able to see how
this transcends the boundaries of
prominence within the industry; it is an
issue that is relevant for all businesses,
regardless of their size.
As such, men are seen as strong and able
to cope with any situation, whereas
women are perceived as being weak, and
in need of protection. This is seen is
Watch_Dogs, where Aidan Pierce (a greyFigure 12: Watch_Dogs
hat hacker) must save his sister Nicole
from kidnappers. Through telecommunication, she is often heard to be distressed and confused, with
no ability to help herself, whereas her brother can pro-actively defend himself in gun-fights and car
chases. Despite the inclusion of Clara Lille, a female ally, the player must defend her on several
occasions, as well.
Men and women should be presented equally as, in the 21st Century, we are fully aware that there are
very few limitation imposed on either sex in regards to what they are capable of achieving in reality.
Furthermore, video games are designed to be fantasy universes where, irrespective of genre,
restrictions we face do not necessarily have to be transferred into these fictitious worlds.

REPRESENTATION OF RELIGIOUS BELIEFS:

Religion is often a subtle undertone in video games; it may not be a dominating theme, but it is
frequently implemented as a means of aiding the progression of the storyline or introducing new
characters/topics/abilities46.

44

http://borderhouseblog.com/?p=3844
http://mediasmarts.ca/gender-representation/men-and-masculinity/how-media-define-masculinity
46
http://www.iupress.indiana.edu/product_info.php?products_id=807175
45

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Figure 14: Tyrael, Angel of Justice from Diablo III

Figure 13: Dante's Inferno

The Diablo series is an excellent

example of a product which
incorporates religion into its play.
Besides from the obvious in how the
title is an alternative name for the
Devil, it also features angels,
demons, super humans, giant spiders,
world-bearing dragons, an earth that
shouldn't rightly exist, necromancy,
shape shifting druids, maddened
kings, and warring nations47. The
religious imagery is clear in terms of
how the elements of the subject
matter are frequently mentioned
within the Bible, and other Holy books.
Likewise, Dantes Inferno requires the player
to navigate the eponymous character through
the nine circles of Hell (limbo, lust, gluttony,
greed, anger, heresy, violence, fraud and
treachery), as described by the poet Dante
Alighieri in his epic The Divine Comedy48, in
order to save his lover, Beatrice. In addition to
the religious connotations in regards to the
underworld, the protagonist himself has just
returned from the Third Crusade49.

With faith, legends and mythology inspiring a

high number of games, it is a near inescapable element of play-although it is not always obvious (the
Altruist Cult in Grand Theft Auto V50) it is often present; even in post-apocalyptic RPGs such as Fallout
where pre-war beliefs still exist, all be they in more denominations, alongside those of the post-war51.
Despite this, many feel that religion is portrayed as an insignificant element, and those who should be
of importance have very little influence52. In relation to earlier segments of equality, it is imperative
that different beliefs are portrayed in such a way that does not indicate that they are negative to
society, or misconstrue the actualities of their faith.

INDEPENDENT GAMES DEVELOPERS ASSOCIATION (IGDA):

http://www.igda.org/
47

http://diablo.gamepedia.com/Lore_Summary
http://www.ea.com/asia/dantes-inferno
49
http://www.telegraph.co.uk/technology/video-games/7243657/Dantes-Inferno-video-game-review.html
50
http://thechiliadmystery.com/altruist-cult/
51
http://fallout.wikia.com/wiki/Religion
52
http://www.gamasutra.com/blogs/MarkFilipowich/20130718/196597/Machine_Gods_Religion_in_Games.p
hp
48

13

Comprised of individuals working in sectors ranging from programmers to artists, the IGDA is the
worlds largest non-profit membership organisation for everyone employed in the games industry53.
It was established by Ernest Adams in 1994 as publishers had the IDSA (later ESA) but developers did
not have a body to support them54
Their core values consist of, but are not limited to, the following55:
o
o
o
o

COMMUNITY: Creating opportunities for members, and ensuring that equality is practiced.
PROFESSIONALISM: Ensuring that practice is ethical and beneficial to the industry and society.
EXPRESSION: Games should be treated in the same manner as any other artistic or creative
expression, with the IGDA opposing any effort to treat them differently.
FUN: Games are fun, and engage and entertain the audience; the IGDA assists in maintaining
this.

By having these statements to work by, their work and motives will not deviate from what the core of
their organisation about; by following these regulations, it is less likely that their policies will be thrown
into question.
Like most other industries, there is a code of inclusivity that members must adhere to56. By doing this,
there is no question raised as to a lack of diversity or equal opportunities.

CONSUMER CHOICE: The IGDA encourages consumer choice in a number of ways. In regards to the
digital download market (the largest gaming audience), they identify what the public want and do not
want; this defined as being the opposite of what the typical gamer would enjoy, i.e. Violent themes,
complex controls, and volumetric hair57. By informing developers of this, it means that teams can
create games/apps dedicated to these non-gamers. This results in every area of the population being
catered for, and there being a wide choice of products for the public to decide whether or not to play.
Furthermore, their core values in Expression, Innovation and Impact ensure that there is diversity
in terms of what is available for purchase, hence increasing the publics perception of video games; if
there are different titles within different genres, it demonstrates the variation available and that it
does not only cater for one demographic. As the IGDA supports developers in all areas of the games
industry, there are no restrictions to the platforms that products can be built for; be they for mobile
or XBOX, the options for how to play are near endless. For example, items range from the easy to pick
up and play Candy Crush Saga to console games like Dark Souls.

FREEDOM OF INFORMATION: In order to provide information to the consumer, the IGDA is

dedicated to implementing systems that ensure we are informed of all relevant material. To ensure
that this is given to us, they have written guidelines on how to make certain that all members of a
team are appropriately credited so that praise is given where appropriate, and not unduly. This way,
we have a complete comprehension as to who has worked on a product, which could influence
someones decision to purchase it58. In addition to this, they understand that the market is large
enough for information to be shared freely as a means of aiding developers in producing products

53

http://www.igda.org/?page=about
http://www.igda.org/?page=history
55
http://www.igda.org/?page=corevalues
56
http://www.igda.org/?page=codeofethics
57
http://c.ymcdn.com/sites/www.igda.org/resource/collection/bcb11e9b-13e6-40d0-b390952b5e11d35a/IGDA_Casual_Games_White_Paper_2008.pdf?hhSearchTerms=%22consumer+and+choice%22
58
http://c.ymcdn.com/sites/www.igda.org/resource/collection/6cd37c4b-c8e6-42bb-ac7be5a52615f622/IGDA_Game_Crediting_Guide_Draft_9-2.pdf?hhSearchTerms=%22consumer+and+choice%22
54

14

that will be successful and popular when released59. Equally, they answer questions from the public in
regards to any number of topics. This demolishes the barriers between us and the organisation,
making sure everyone has a firmer understanding of the company60.

CENSORSHIP: The IGDA actively campaigns for facts and freedom over false claims and censorship,
and has assisted South Australia in altering its policies on banning and demonising
games61. Ultimately, it believes that developers should not be restricted by censorship and should be
able to re-work old designs whilst providing an exploration of social issues62. As can be expected, the
age rating will reflect this. This belief inevitably provokes people in the sense that some feel that
violence etc. should not be included regardless of the classification; countries such as Australia heavily
censor violent/gruesome/inappropriate games, regardless of the rating. Consequently, many have
been banned, including Manhunt, Dark Sector, Saints Row IV and South Park: The Stick of Truth.63

TASTE AND DECENCY: Game developers may face the question of taste and decency. By including
violence, nudity, obscenities etc.64 there is a risk of outcry from the public; it is important to establish
how far is too far. With the support of the IGDA, their censorship policies and core beliefs, it is possible
for the developers-with the help of the organisation-to combat negative press and misguided
perceptions. Likewise, they can provide guidance in including violence etc. in a manner that does not
meaningfully offend a portion of the audience; although controversial subject matter may be used,
they help it to be done in an as tasteful way as possible, which aids the development of the scenario,
and the progression of the storyline.

BIMA (THE BRITISH INTERACTIVE MEDIA ASSOCIATION):

BIMA is in existence to fulfil four key objectives, all of which enable members to stay informed and
up-to-date regarding developments in the ever evolving interactive media sector65:
o
o
o
o

Support and promote the British digital industry

Share knowledge and best practice
Reward great work
Encourage the next generation

Joining the organisation provides an extension of network, a raise in profile, a potential growth in
business size, the ability to attract and develop talent and gain a voice on issues in the industry66, with
many prominent companies being a part of BIMA67. Furthermore, they strive to encourage future

59

http://c.ymcdn.com/sites/www.igda.org/resource/collection/bcb11e9b-13e6-40d0-b390952b5e11d35a/IGDA_CasualGames_Whitepaper_2006.pdf?hhSearchTerms=%22freedom+and+information%2
2
60
http://www.igda.org/general/?type=CONTACT
61
http://www.igda.org/news/news.asp?id=150426&hhSearchTerms=%22CENSORSHIP%22
62
http://newsletter.igda.org/2013/02/26/a-brief-history-of-your-igda-anti-censorship-and-social-issuescommittee/
63
https://en.wikipedia.org/wiki/List_of_banned_video_games_in_Australia
64
http://www.slideshare.net/SabinaV/the-ethics-of-taste-and-decency
65
http://www.bima.co.uk/about-bima/index.asp
66
http://www.bima.co.uk/join-bima/
67
http://www.bima.co.uk/find-a-supplier/directory.asp

15

talent68 and reward high achievers with a place in The Digital Hall of Fame69. Whereas the IGDA helps
developers define their visions, and provide guidance as how best to proceed, BIMA is the
collaborative voice of those in the industry and ensures that they can speak out against wrongful
treatment. As such, they do not offer the same information as the predecessor.

TASTE AND DECENCY: Like IGDA, BIMA is intent on ensuring that all forms of interactive media are
appropriate for a wider audience within the age classification. As an agency whose goal is to support
industries in their infant stages70 and those who are fully established, to be accused of promoting
unnecessary profanity within their members products would be immeasurably damaging for their
reputation. As such, were one of their affiliations to create a game such as Manhunt, the producersas well as supporting companies-would face outrage at allowing senseless torture and murder to
provide the basis for the plotline. As such, the morals of anyone involved would be called into
question.

68

http://www.bima.co.uk/future-talent/index.asp
http://www.bima.co.uk/dhof/index.asp
70
http://blog.bima.co.uk/bima-announces-free-entry-to-startup-of-the-year-awards-category/
69