Sources and Significance (Academic Blogs)
The History of Mixed Reality
Introduction
Mixed Reality (MR), neither confined to the overlays of Augmented Reality (AR) nor the isolated spaces of Virtual Reality (VR), exists as an interactive fusion of the two. This convergence allows users to manipulate digital and tangible elements simultaneously, transforming industries like healthcare, education, and entertainment.
Figure 1 (Introduction to mixed reality, (Microsoft Learn, 2023))
The history of MR is deeply intertwined with advancements in AR and VR. Its roots lie in decades of scientific exploration into human-computer interaction, spatial computing and holography. From its conceptualization to its present form, MR has reached key milestones, faced several challenges, and has great potential in shaping the future of technology and human interaction.
Theoretical Foundations and Early Beginnings
The conceptual origins of Mixed Reality can be traced to Paul Milgram and Fumio Kishinoâs seminal work, A Taxonomy of Mixed Reality Visual Displays (1994). Their âReality-Virtuality Continuumâ positioned MR as a bridge between purely physical environments and entirely virtual ones. This theoretical framework, inspired by earlier research into human-computer interaction, offered new opportunities for understanding how digital and physical worlds could coexist.
Figure 2 (History of Mixed Reality, (Rosenberg, 2021))
Long before MR became a practical reality, Ivan Sutherlandâs vision of âThe Ultimate Displayâ (1965) laid its philosophical foundation. Sutherland, often called the father of computer graphics, imagined a system where virtual objects behaved indistinguishably from real ones, predicting MRâs eventual impact. This vision was expanded upon in Howard Rheingoldâs Virtual Reality (1991), which examined technologiesâ potential to provide immersive perception and interaction. Although focused on VR, Rheingoldâs analysis foreshadowed MRâs ability to blend the digital with the tangible.
Technological Milestones and Key Innovations
The journey from theory to implementation of Mixed Reality required significant technological advancements. Early developments in AR, such as the introduction of heads-up displays (HUDs) in the 1980s for military use, provided essential components like spatial tracking and data visualization. Meanwhile, advancements in VR, particularly Jaron Lanierâs pioneering work on virtual environments in the 1980s, contributed to MRâs foundational technologies.
Figure 3 (Apple Vision Pro: A new milestone for Mixed Reality, (Hardawar, 2023))
By the 2010s, MR began to materialize as a distinct field. Microsoftâs HoloLens, which allowed users to see holograms as well as interact with them in the real world, launched in 2016 and became a landmark device, as it integrated spatial computing, advanced sensors, and AI to create immersive environments. Technologies like global positioning and spatial mapping were instrumental in enabling MR systems to âanchorâ virtual objects within physical spaces, making interactions more intuitive (Milner, 2016).
The 2018 release of Magic Leap One represented another milestone. Leveraging lightfield technology, it pushed MR closer to photorealism by producing dynamic holograms that were beginning to become indistinguishable from the real world.
The Future of Mixed Reality
The integration of MR with artificial intelligence, 5G networks, and the Internet of Things (IoT) heralds a future where the boundaries between physical and digital dissolve further (Kelly, 2016).
Figure 4 (Future of MR, (Greener, 2022))
One of the most exciting prospects lies in MRâs role within the metaverse, a shared digital space where users can collaborate and create without geographical constraints. As MR devices become lighter, cheaper, and more powerful, their adoption will expand, reshaping how people work, learn, and connect.
CONCLUSION
Mixed Reality represents a culmination of decades of theoretical exploration and technological progress. From Milgram and Kishinoâs Reality-Virtuality Continuum to the advanced headsets of today, MRâs journey underscores humanityâs drive to transcend the physical limits of experience. However, as this technology matures, it must navigate ethical and practical challenges to fulfill its potential responsibly.
Virtual worlds, akin to real worlds, are only shaped by those who inhabit them, and Mixed Reality offers a rare opportunity to shape not only new environments but also the way we perceive and interact with the world itself â a prospect as thrilling as it is transformative.
REFERENCES
Microsoft Learn, 2023. What is mixed reality?. [Online] Available at: https://learn.microsoft.com/en-us/windows/mixed-reality/discover/mixed-reality [Accessed 7 December 2024].
Milgram, P. & Kishino, F., 1994. A taxonomy of mixed reality visual displays. IEICE Transactions on Information and Systems, E77-D(12), pp. 1321-1329.
Rosenberg, L., 2021. Augmented Reality: Reflections at Thirty Years. In: Augmented Reality: The Magic of 3D, pp. 1-18. Springer. doi: 10.1007/978-3-030-89906-6_1.
Sutherland, I., 1965. The ultimate display. Proceedings of the International Federation of Information Processing Congress.
Rheingold, H., 1991. Virtual Reality. Summit Books.
Hardawar, D., 2023. engadget. [Online] Available at: https://www.engadget.com/apple-vision-pro-hands-on-a-new-milestone-for-mixed-reality-060943291.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuYmluZy5jb20v&guce_referrer_sig=AQAAANdmFJUz5CMozdhUKNQPLSzbpUnvOrpnbWZtLMxZlzuiIRxOfqrPQuN7WQKKoFFEOEWX-yLQAqk2i [Accessed 7 December 2024].
Milner, G., 2016. Pinpoint: How GPS is Changing Technology, Culture, and Our Minds. W. W. Norton & Company.
Kelly, K., 2016. The Inevitable: Understanding the 12 Technological Forces That Will Shape Our Future. Viking.
Greener, R., 2022. XR TODAY. [Online] Available at: https://www.xrtoday.com/mixed-reality/the-market-growth-of-mixed-reality/ [Accessed 7 December 2023].
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Male Gaze in League of Legends
Introduction
Since its launch in 2009, League of Legends has become a cornerstone of modern gaming, celebrated for its complex gameplay mechanics, competitive scene, and dynamic community. Over the years, the game has introduced a vast array of champions, each meticulously designed with unique abilities and lore. However, beyond this celebrated diversity is an issue that continues to mirror a broader challenge within gaming culture: the influence of the male gaze in the portrayal of female characters.
Figure 1 (Jinx of League of Legends, (Suarez, n.d.))
Female champions in League of Legends are frequently designed with hypersexualized appearances and embody exaggerated beauty standards that seem tailored to cater to a predominantly male audience. This trend both reinforces gender stereotypes and but also perpetuates a culture where women are often objectified or reduced to decorative figures. Such representations are echoes of a longer pattern that can be seen in the gaming industry, where female characters are often valued more for their physical attributes than their depth, skill, or importance to the narrative. So, as gaming evolves into a more inclusive and diverse space, these outdated portrayals need to be increasingly scrutinized in an attempt to create more thoughtful and representative character designs that celebrate all players equally.
What is the Male Gaze?
Laura Mulveyâs concept of the male gaze describes the way women are often represented in visual media as objects of visual and erotic pleasure, constructed to cater to the perspective of a heterosexual male viewer (Mulvey, L., 1975). This framing diminishes womenâs autonomy and positions them as passive participants rather than active agents within stories.
The male gaze operates on three interconnected levels. First, it is embedded in the perspective of the camera, which often lingers on or frames womenâs bodies in ways that sexualise or objectify them. Second, it appears within the perspective of the characters, with male characters often gazing at and interacting with female characters in ways that reinforces their roles as objects rather than subjects. Finally, it assumes the perspective of the audience, treating the heterosexual male viewer as the default demographic and shaping female representations to appeal to this demographic.
Mulveyâs critique shows how these depictions reinforce patriarchal power structures, relegating women to roles that prioritize their appearance over their agency. This concept has been influential in feminist theory as it offers a framework to analyze the ways in which media reinforces gendered power imbalances. The male gaze remains a pervasive issue across various forms of media, from film to advertising to video games, where the framing of women often reflects these same dynamics.
Champion Design: A Double Standard
The disparity between male and female champion designs in League of Legends i s quite stark. Female champions like Ahri, Miss Fortune, and Evelynn exemplify hypersexualisation with their revealing outfits, suggestive animations, and flirtatious narratives.
Figure 2 (Ahri of League of Legends, (League of Legends Wiki, n.d.))
Ahri, a champion from League of Legends, exemplifies the male gaze through her design and gameplay mechanics, aligning with Laura Mulveyâs framework. Known for her charm and seductive persona, Ahriâs appearance is tailored to a hyper feminine aesthetic that appeals to the aforementioned heterosexual male viewers. Her slim figure, revealing attire, and flirtatious demeanor reinforce traditional beauty standards, making her a visual spectacle rather than a character defined by depth or complexity. Her personality is also centered on allure, with her lore and in-game interactions emphasizing her enchanting and manipulative qualities rather than any substantial internal development.
Ahriâs gameplay further reflects this dynamic, particularly in her ability âCharm.â This ability literally weaponizes seduction, as she sends out a kiss that damages and charms opponents, rendering them incapacitated and drawn toward her. The moveâs animation emphasizes her sultry appeal, ensuring that even her battle mechanics echo the theme of using beauty and allure as a tool. Within Mulveyâs framework, Ahri caters primarily to the perspective of the audience, as her design assumes a male player who appreciates her sensuality. This reduces her identity to an object of desire, reinforcing the male gaze by prioritizing how she looks and performs over a balanced or multidimensional representation. While Ahri is a beloved character, her design and abilities perpetuate the broader trend in media where female characters are crafted to fulfill external expectations rather than reflect internal complexity.
Figure 3 (Miss Fortune of League of Legends, (League of Legends Wiki, n.d.))
Miss Fortune, another League of Legends champion, is a character that is established as a fierce and confident bounty hunter with leadership qualities â yet her visual representation prioritizes sexual appeal over practicality or authenticity. Her exaggerated curves, revealing outfits, and suggestive poses overshadow her identity as a strategic and powerful captain. Furthermore, her voice lines in the game are delivered in a tone that is unmistakably seductive. Her flirtatious inflection, paired with lines that emphasise her charm, reinforces her hypersexuality. For example, lines like âYou've got dangerous eyes... I like thatâ are said with a sultry cadence, which draws more attention to her sensuality and her capabilities.
This portrayal aligns closely with Mulveyâs theory, particularly in how Miss Fortune caters to the perspective of the audience and male characters within the gameâs world. Her confidence and flirtatiousness, rather than being empowering traits, are often presented as tools to reinforce her sexual objectification. By focusing on her lascivious nature, the game reduces her identity to her ability to attract and entice, rather than emphasizing her competence as a leader or her emotional depth. This duality in her character â her capability as a captain juxtaposed with her impractical, revealing design and flirtatious demeanor â is one of the many persistent challenges of representing women authentically in gaming media.
Figure 4 (Evelynn of League of Legends, (League of Legends Wiki, n.d.))
Lastly, Evelynn, a so-called demon born of lust and the consequences of unchecked desire, has an identity purely defined by her sensuality. Her existence reflects the darker side of human vulnerability, as she preys on those overcome by their own cravings, luring them in with beauty and charm only to leave them devastated or destroyed. Thus, her backstory positions her as a horrific reminder of the cost of wanton desire.
Despite this chilling and complex premise, however, Evelynnâs design often undermines her narrative potential. Her provocative outfits and sultry demeanor draw more attention to her appeal as a hypersexualized figure than to the depth of her role as a predator and tormentor. Instead of fully embracing her nature as a nightmarish embodiment of lust gone awry, her characterization leans heavily into the male gaze, turning her into a figure designed more for visual pleasure than storytelling. This disconnect between Evelynnâs lore and her presentation highlights how gaming media often reduces female characters, even those with rich and unsettling narratives, to simplified and objectified versions that cater to audience expectations rather than their intended themes.Â
Cultural Consequences of the Male Gaze
These design choices reinforce harmful stereotypes about women, both within the gaming community and beyond. Female players are confronted with representations that reduce their gender to mere decoration, perpetuating a culture where women are objectified and undervalued. For male players, the normalization of these portrayals reinforces narrow perceptions of masculinity and femininity, creating an exclusionary and often hostile gaming environment.
Figure 5 (Arcane based on the lore of League of Legends, (King, 2021))
The male gaze also limits the creative potential of games like League of Legends. Instead of exploring rich, multidimensional characters, developers lean on tired tropes that prioritize aesthetics over substance. This diminishes the narrative depth of the game and alienates a significant portion of its player base.
Steps Toward Inclusive Representation
Recent efforts by Riot Games show a willingness to address these criticisms (Marks, 2018). Champions like Illaoi and Taliyah break away from traditional gender norms. Illaoiâs muscular physique and commanding presence challenge stereotypical notions of femininity, while Taliyahâs modest design centers her as a powerful and relatable mage.
However, such designs remain exceptions rather than the norm. Broader change requires consistent efforts to create champions whose appearances align with their stories and abilities, not preconceived notions of desirability. Inclusive representation isnât just about diversifying aesthetics; itâs about fostering a culture where all players feel valued and respected.
Conclusion
Figure 6 (League of Legends, (Denzer, 2023))
The male gaze in League of Legends is a reflection of a larger issue within gaming: the struggle for authentic and equitable representation. By addressing these entrenched patterns, League of Legends has the potential to lead the industry toward a more inclusive future. Developers must recognize the power of representation, not only to challenge stereotypes but to enrich the gaming experience for everyone.
A world where gaming is free of the male gaze is one where creativity flourishes, players, especially female players, feel truly represented, and games reflect the diversity of the communities that play them. Itâs time for League of Legends and its developers to fully embrace that vision.
REFERENCES
Suarez, L., n.d. GAMERS DECIDE. [Online] Available at: https://www.gamersdecide.com/articles/lol-best-female-champions [Accessed 8 December 2024].
Mulvey, L., 1975. Visual pleasure and narrative cinema. Screen, 16(3), pp. 6-18. Available at: https://doi.org/10.1093/screen/16.3.6 [Accessed 8 December 2024].
League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/The_Nine-Tailed_Fox [Accessed 8 December 2024].
League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/Miss_Fortune/LoL [Accessed 8 December 2024].
League of Legends Wiki, n.d. League of Legends Wiki. [Online] Available at: https://leagueoflegends.fandom.com/wiki/Evelynn [Accessed 8 December 2024].
King, J., 2021. THE GAMER. [Online] Available at: https://www.thegamer.com/arcane-league-of-legends-male-gaze-vi-caitlyn/ [Accessed 8 December 2024].
Marks, T., 2018. IGN. [Online] Available at: https://www.ign.com/articles/2018/04/05/league-of-legends-dev-responds-to-complaints-of-oversexualizing-its-newest-character [Accessed 8 December 2024].
Denzer, T., 2023. SHACK NEWS. [Online] Available at: https://www.shacknews.com/article/136822/league-of-legends-ranked-splits-2024 [Accessed 8 December 2024].
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The Representation of Women in Video Games
Introduction
The representation of women in video games has been a contentious issue for a long time. In their early years, video games were primarily marketed to young male audiences, significantly shaping female charactersâ portrayal â or rather, their lack thereof. Women were often relegated to passive or hypersexualized roles, which often reflected both the cultural norms of the time and the industryâs commercial focus on its male demographic (Mulvey, 1975).
Figure 1 (Video games with female protagonists, (Mitra, 2023))
However, the expansion of video games into mainstream culture and the diversification of its audience have challenged these outdated portrayals. As gaming has grown to reflect real-life social and political movements advocating for inclusivity, female characters have transformed from passive objects to active protagonists. Thus, it is essential to explore the evolution of womenâs representation in video games, from its beginnings to the present day, to see the progress made in creating complex, multi-faceted female characters.
Historical Context
The early history of video games was shaped by technological limitations and cultural attitudes that often marginalized women. In the 1970s and 1980s, female characters were rare and underrepresented, and characters were largely created for the heterosexual male audience (Ivory, 2006). The âdamsel in distressâ trope that emphasised male heroism and female passivity â seen in arcade classics such as Donkey Kong (1981) â dominated most video game cultures at the time.
These early games reflected the gender norms of their era, in which women were often portrayed as dependent or secondary to men. Additionally, the male-dominated development teams and the industryâs primary focus on male players perpetuated a lack of diversity both behind the scenes and on-screen.
OLDER EXAMPLES OF WOMENâS REPRESENTATION
1. Donkey Kong (1981)
In Donkey Kong, Pauline epitomizes the âdamsel in distress,â a recurring archetype in early video games that reinforced traditional gender roles. Her character exists solely as an object of rescue for the male protagonist, Mario, rather than as an active participant in the story. She has no voice, no agency, and no impact on the gameâs outcome beyond serving as a prize for Marioâs heroic efforts. This depiction reflects the broader marginalization of women during the early years of the gaming industry, where female characters were either absent or assigned to passive roles.
Figure 2 (Donkey Kong, (Laymon, 2022))
Paulineâs portrayal mirrors societal attitudes of the time, where the media often depicted women as dependent on male figures for protection and validation. By centering the narrative around Marioâs bravery and Paulineâs helplessness, the game perpetuated a one-dimensional view of gender dynamics that limited the role of women to ancillary characters. This lack of representation not only ignored the potential for more empowering portrayals but also reinforced the idea that video games were a male-dominated space, both in terms of audience and content. A foundational piece of gaming history, Donkey Kong exemplifies the challenges that early video games faced in breaking away from entrenched gender stereotypes.
2. Tomb Raider (1996)
When Tomb Raider debuted in the mid-1990s, it was heralded as a milestone for female representation in gaming due to its iconic protagonist, Lara Croft. As a skilled archaeologist and adventurer, Lara broke the mold of passive female characters by taking on a leading role typically reserved for male protagonists. She was portrayed as intelligent, resourceful, and capable, navigating dangerous tombs and solving complex puzzles. However, while her role marked progress for female agency in gaming, her hypersexualized design significantly undermined her potential as a feminist icon (Kennedy, 2002). Laraâs exaggerated physical features â such as an impossibly thin waist and large breasts â along with her revealing attire, catered to the male gaze and reinforced the perception of women as objects within the gaming space. This design choice reflected broader societal norms of the time, where women in media were often sexualized to appeal to male audiences, regardless of their narrative importance.
Figure 3 (Tomb Raider, (Rivera, 2022))
Critics have noted that Laraâs portrayal epitomized the industryâs conflicting attitudes toward female representation: while she represented a step forward as a competent and independent female lead, her design perpetuated the very stereotypes it sought to challenge. Despite these contradictions, Lara Croftâs popularity signaled a growing demand for female protagonists in gaming, suggesting that players were open to seeing women in more active and complex roles. Her success paved the way for more nuanced portrayals of women in future games, as developers began to explore female characters beyond superficial aesthetics. Over time, Laraâs evolution in subsequent installments saw more realistic and grounded representation of her character.
MODERN REPRESENTATION
In recent years, however, significant strides have been made to portray women in video games as multifaceted and independent characters. This shift reflects real-life cultural movements, such as #MeToo, and the increasing advocacy for inclusivity and diversity in media, which have influenced the gaming industry to rethink its portrayal of gender.
NEWER EXAMPLES OF WOMENâS REPRESENTATION
1. Horizon Zero Dawn (2017)
A hunter and skilled warrior navigating a post-apocalyptic world overrun by robotic creatures, Aloyâs character is defined by her intelligence, resilience, and leadership rather than her physical appearance. Raised as an outcast, she demonstrates strength and determination by overcoming societal prejudice and discovering her identity. Her empathy and curiosity drive her journey, making her relatable and human rather than a one-dimensional action hero.
Figure 4 (Horizon Zero Dawn, (Meo, 2016))
Importantly, Aloyâs characterization challenges long-standing gender stereotypes in gaming by presenting a female lead who is neither hypersexualized nor reduced to a supporting role. Instead, she embodies qualities of leadership and problem-solving typically associated with male protagonists. This shift mirrors both real-life cultural movements advocating for diversity and inclusivity in media and the gaming industryâs response to its increasingly diverse audience. By moving beyond reductive stereotypes, Aloy becomes a blueprint for creating female characters who resonate with players on a deeper level.
2. The Last of Us Part II (2020)
The Last of Us Part II represents a significant evolution in intersectional representation within gaming, particularly through the character of Ellie Williams. As a lesbian protagonist, Ellieâs sexual orientation is intricately woven into her emotional and narrative arc, making it an essential part of her identity rather than a secondary trait. Her relationship with Dina and the challenges she faces in a post-apocalyptic world offers a portrayal of queer love that feels authentic and integral to her journey. Through Ellie, the game presents her as a multi-dimensional character whose sexuality intersects with her experiences of trauma, loss, and vengeance.
Figure 5 (The Last of Us Part II, (Howard, 2020))
Ellieâs story is crucial because it incorporates various layers of identity â gender, sexuality, and trauma â without reducing her to a singular narrative. The game pushes the boundaries of what has traditionally been seen in video games, where LGBTQ+ representation has often been sidelined or misrepresented, by offering a leading character whose sexual orientation is integral to the story. It places Ellieâs love for Dina and the fallout from their experiences at the heart of the emotional stakes, not only as a plot device but as a crucial element of her development as a person.
BROADER IMPLICATIONS AND THE FUTURE OF REPRESENTATION
The evolution of female representation in video games reflects a broader cultural shift towards inclusivity and equity. While early portrayals were constrained by gender stereotypes and commercial pressures, modern games demonstrate the industryâs growing commitment to diversity (Shaw, 2014). This progress is driven by several factors, including the increasing presence of women in game development, the growing diversity of gaming audiences, and the influence of social movements advocating for gender equity.
However, challenges remain. Issues such as online harassment of female gamers and developers, the underrepresentation of women in leadership roles within the gaming industry, and the persistence of hypersexualized character designs in certain genres underscore the need for continued progress. Achieving true gender equity in gaming requires a sustained effort to challenge entrenched stereotypes and support diverse voices both on-screen and behind the scenes.
CONCLUSION
The representation of women in video games has undergone a profound transformation, evolving from simplistic and stereotypical portrayals to more nuanced and inclusive depictions. Early examples, such as Pauline in Donkey Kong and Lara Croft in Tomb Raider, are clear-cut examples of the industryâs historical reliance on gendered tropes. In contrast, modern characters like Aloy in Horizon Zero Dawn and Ellie Williams in The Last of Us Part II reflect the growing demand for complex and diverse representations of women.
This evolution not only enhances the mediumâs cultural relevance but also empowers players by providing a wider array of perspectives and experiences. As the industry continues to grow, the representation of women will remain a critical area of exploration and advocacy, shaping the future of gaming as a truly inclusive medium.
REFERENCES
Mulvey, L., 1975. Visual pleasure and narrative cinema. Screen, 16(3), pp. 6â18.
Mitra, R., 2023. GAMERANT. [Online] Available at: https://gamerant.com/best-action-games-with-female-protagonists/ [Accessed 13 December 2024].
Ivory, J. D., 2006. Still a man's game: Gender representation in online reviews of video games. Mass Communication and Society, 9(1), pp. 103â114.
Laymon, A., 2022. GAMERANT. [Online] Available at: https://gamerant.com/games-you-can-finish-in-an-hour/ [Accessed 13 December 2024].
Kennedy, H. W., 2002. Lara Croft: Feminist icon or cyberbimbo? On the limits of textual analysis. Games and Culture, 1(1), pp. 2â7.
Available at: https://neverendingrealm.com/opinion/the-10-best-games-of-1996-according-to-game-rankings/ [Accessed 13 December 2024].
Meo, F. D., 2016. WCCFTECH. [Online] Available at: https://wccftech.com/horizon-zero-dawn-gets-gorgeous-4k-trailer-screenshots/ [Accessed 13 December 2024].
Howard, K., 2020. Den of Geek. [Online] Available at: https://www.denofgeek.com/games/the-last-of-us-part-2-review-roundup/ [Accessed 13 December 2024].
Shaw, A., 2015. Gaming at the edge: Sexuality and gender at the margins of gamer culture. University of Minnesota Press, Minneapolis. Available from: ProQuest Ebook Central. [13 December 2024].
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CLEVER USE OF AFFECT AND EMOTIONS IN MAINSTREAM GAMES
INTRODUCTION
Video games have become an increasingly influential medium that bridges storytelling, interactivity, and player engagement altogether to bring a unique, fascinating experience to the human mind. Central to this immersive experience is the portrayal of both emotions and affect. Whilst often misunderstood and subsequently conflated, these concepts have distinct roles in shaping a playerâs journey through a game.
Figure 1 (Mario Kart 8, (Hidalgo, n.d.))
Emotions refer to explicit, identifiable feelings that characters experience and express. In general, emotions share traits like rapid onset, brief duration, and synchronized responses, all shaped by evolution to distinguish them from other affective states (Ekman, 1992). In video games, these emotions â happiness, anger, sadness, or fear â are often rendered through facial expressions, dialogue, and physical actions, thus creating a direct emotional connection between the character and the player.
On the other hand, affect encompasses a broader, less tangible atmosphere. Defined by Gregg and Seigworth (2009) as âintensities that pass body to body (human, nonhuman, party-body, and otherwise),â affect shapes the resonances and moods circulating between the gameâs world and the player. Unlike the directness of emotions, affect operates in the liminal spaces of experience and attempts to influence how a game âfeelsâ without necessarily being articulated.
Thus, there exists a dual contribution of emotions and affect in video games to player engagement and immersion. By exploring examples that pertain to such, it becomes evident how video games operate on multiple sensory and emotional levels to create impactful experiences.
REPRESENTATION OF EMOTION IN VIDEO GAMES
1. Detroit: Become Human
In Detroit: Become Human, the interrogation scene, where Connor confronts a deviant android about stabbing his former master, embodies a powerful representation of emotions, particularly determination and defiance.
As the deviant android exclaims, âThe day shall come when we will no longer be slaves... no more threats... no more humiliation,â his voice becomes adamant and resolute. This moment is further amplified by the intensifying music, which mirrors the growing tension, building toward a climactic point. The deviantâs shift from fear to determination is not just an emotional shift within him, but an emotional contagion that spreads to the player, invoking a sense of foreboding.
Figure 2 (Detroit: Become Human, (Hough, n.d.))
According to James Baldwin's theory of emotional contagion (1897), emotions can be transferred between individuals through expressions and reactions. Baldwin argued that emotional expressions are contagious, creating a shared emotional experience between the individual expressing the emotion and the observer. In the context of this scene, the deviantâs shift from what had once been fear and hesitation, to newfound determination, becomes a conduit for the playerâs own emotions. As the deviant robot expresses his determination to break free from oppression, his emotional shift triggers a response in the player â a shift from initial discomfort or curiosity to a growing unease and anticipation of the potential consequences.
Whilst this occurs, the steady crescendo of the background music continues to mirror the deviantâs intensifying resolve, heightens the atmosphere, and drawing the player further into the emotional exchange. The player feels a deepening sense of foreboding as the situation escalates, knowing that this determination could signal a shift in the power dynamics between humans and androids. The deviantâs words and emotional state are not just confined to the narrative of the game â they actively engage the player, evoking emotions of unease, tension, and apprehension. Baldwinâs concept of emotional contagion is at play here, as the playerâs own emotional state begins to mirror that of the deviant, thus amplifying the gravity of the moment.
In this way, Detroit: Become Human uses emotional contagion to create an immersive experience where the player feels not just the weight of the deviantâs words, but the tension and uncertainty of a looming conflict.
2. The Last of Us
In The Last of Us, emotions are portrayed with raw intensity, especially in the opening scene where Joel Miller, one of the protagonists of the game, is desperately holding his daughter Sarah as she dies in his arms.
The emotional climax occurs after Joel and Sara are shot at by a military soldier. In the chaos, the soldier is shot by Joelâs brother, Tommy, but Sara is gravely injured. As she lies dying in his arms, Joelâs voice trembles as he says, âI know, baby, I know,â a tender yet anguised line that reflects his overwhelming fear and helplessness in this situation. His desperate attempt to comfort his daughter, while futile, is punctuated by the soft, sorrowful guitar music that plays in the background as Sarah dies. This music, paired with a dimly lit environment, serves to further deepend the emotional weight of the scene.
Figure 3 (The Last of Us, (Boo, 2022))
The fear Joel feels is palpable â he is afraid for his daughterâs life, as she dies in his arms. He is afraid for his own survival, due to the sudden uprising of the infected zombies. And he is afraid for the world around him, which seems to be falling into chaos and collapse. This fear is transferred to the player, who, through the intimate scene between Joel and Sarah, can experience the rawness of the moment. The dark lighting and somber soundtrack amplify the sense of impending loss, creating an emotional atmosphere that intensifies the playerâs own fear and sorrow. The soft guitar playing as Sarah dies adds to the feeling of finality, and Joelâs uncontrollable sobbing further emphasizes the depth of his grief.
Hence, this scene demonstrates the contribution of emotion where fear, loss, and grief are not just told through dialogue but are embodied in the charactersâ physical and emotional responses. The playerâs own emotional state is shaped by the characterâs expressions and the environment, making the player feel Joelâs fear and loss on a visceral level. The combination of dialogue, visual cues, and music demonstrates how The Last of Us effectively uses emotion to connect players to the narrative in a deeply personal way.
REPRESENTATION OF AFFECT IN VIDEO GAMES
1. Stardew Valley
One of the most striking representations of affect in Stardew Valley is the Dance of the Moonlight Jellies festival. This event takes place on the 28th of Summer and is a moment of tranquil beauty that reflects the gameâs broader thematic atmosphere of peace and connection to nature.
The scene is defined by its serene ambiance, where the player observes the moonlight jellies gliding across the water under the gentle light of the full moon. The music, soft and melodic, creates a sense of calm and quiet reflection which evokes feelings of nostalgia and serenity within the player. The slow, harmonious tunes blend perfectly with the lighting, which casts a cool, silver glow across the scene, amplifying the quiet beauty of the jellyfishâs journey. This combination of music and lighting doesnât explicitly point to any emotions of the characters, but it stirs a more subtle, atmospheric feeling within the player, emphasizing the peaceful nature of the moment.
Figure 4 (Moonlight Jellies Festival in Stardew Valley, (Gaming, 2017))
The environment during the Moonlight Jellies festival â where the bright jellyfish softly illuminate the dark waters â enhances the sensation of stillness and introspection. The quiet murmur of the sea, paired with the occasional distant chirp of insects, suggests a world at rest. As players watch the jellyfish float, they are drawn into the shared moment of stillness, a feeling that invites personal reflection and connection to the tranquil world of Stardew Valley. The visual and auditory elements work in harmony to create an affective experience that, while not tied directly to the emotions of the characters, deeply resonates with the playerâs emotional state, promoting a quiet, almost meditative mood.
This scene is a perfect example of how affect is used in Stardew Valley â not through overt emotional narratives, but through environmental design, music, and atmosphere, fostering a sense of peace and emotional release for the player.
2. Minecraft
In Minecraft, affect is primarily conveyed through the sensory and atmospheric experiences that shape the playerâs emotional engagement with the game world. So, the playerâs emotional experience is often driven not by explicit storylines or character emotions, but by how the world itself feels through the senses. This aligns with Brian Massumiâs theory that affect is not a fixed emotion but a dynamic experience that emerges through bodily interaction with the world (Massumi, 2002).
Figure 5 (Minecraft, (Kabra, 2022))
One clear example of affect in Minecraft is the transition from day to night. During the day, the bright sunlight, accompanied by the peaceful sounds of animals and birds, creates a sense of serenity and freedom. This calm, inviting atmosphere encourages exploration and creativity. As the sun sets, however, the environment undergoes a drastic shift: the sky darkens, the ambient sounds become eerier, and the world is bathed in cool, muted light. The music also changes, becoming more subtle and tense, causing growing unease within the player. The absence of animals and the presence of hostile mobs such as zombies or skeletons heightens the sense of vulnerability and foreboding.
This shift from day to night highlights how Minecraft uses affect to manipulate the playerâs emotional state. The game does not rely on explicit narrative to generate these feelings but uses environmental cues like sound, light, and ambiance to create an emotional experience that the player internalizes. In this sense, Minecraft relies on affect to immerse the player in the world and evoke a visceral response without the need for overt emotional expression. This change in time also exemplifies Massumiâs concept of affect as something that is not always consciously perceived but still deeply felt through engagement with the environment.
CONCLUSION
Ultimately, the contribution of emotion and affect in video games offers players not only direct emotional experiences but also a deeper connection to the gameâs atmosphere. Where emotion functions as a direct response that is shaped by the charactersâ explicit feelings and actions, affect permeates the game world through subtle cues that influence the playerâs mood and perception. Together, these elements create a unique and well-rounded experience that allows video games to engage players on both emotional and atmospheric levels.
Emotions, in their immediate and identifiable nature, offer players a tangible connection to the charactersâ experiences. These moments of fear, joy, or grief resonate with the player, drawing them into the narrative and fostering empathy through the characterâs journey. The emotional intensity often sparks a shared experience between the character and the player and enriches the narrative with a sense of immediacy.
Figure 6 (Video Games, (Matheson, n.d.))
In contrast, affect operates on a more nuanced level as it influences just how the game world âfeelsâ without overtly defining the emotions of the characters. It shapes the mood of the game through environmental factors such as sound, lighting, and atmosphere, thus allowing for a more holistic experience that subtly impacts the player. This broader emotional resonance encourages reflection, tranquility, or unease, often without the player consciously recognizing the source.
This blend, then, creates a complex interplay that allures players both cognitively and sensorially. By utilizing these two concepts in tandem, games have the ability to evoke a wide range of responses â from emotional investment in the characters to a more in-depth connection with the gameâs world. As games continue to evolve, their capacity to convey both emotion and affect will remain central to their ability to create immersive, impactful experiences that resonate long after the screen fades to black.
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