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Here are a few ideas for your video games essay:

Thisarticle has explored stereotypical representations of Muslims and Arabs inEuropean and American video games on three different levels - iconographical,narrative and gameplay (i.e. the rule system governing the player's interactionwith the game).

The research and studies also show that this is not an issue of gender with almost as many girls playing video games as boys making them a large portion of people playing today.

- ABC News

Features Of Magazine Article On Violence And Videogames

In turn, watching and/or participating in violent video games can increase violent behavior.

kids--ages 2 to 17--play video games, and their parents bought 225 million of them last year to the tune of $6.4 billion.” (Sider 79).What’s here to argue is that violent video games do not cause violence among children, but the blame for violence should be on the individual and people who should have taught the individual better....

Studies show that laboratories and field settings have proven that violent video games cause increased aggressive behavior in children and young adults....

Magazine article on violence and videogames

But with the explosion of media entertainment in recent years, video games have come under scrutiny as to whether or not violence in video games numbs children and teens to the consequences of real-life violence....

Scary Details About Magazine Article On Violence And Videogames Exposed

Roland Barthes gives a diagnosis of how imitative arts comprise twomessages: 'a denoted message, which is the analogon itself, and a connotedmessage, which is the matter in which the society to a certain extentcommunicates what it thinks of it' (1982: 195). Unlike the fine arts, videogames often contain a narrative. Although this usually serves only as anintroduction to a larger 'quest', together with the images and gameplay itshapes the broader connoted message of the game as a whole. In the majority ofthe model games analysed in this section, the plot begins with the kidnappingof a woman (princess, sister, daughter) by an evil character (vizier, caliph,demon) and the hero's in-game raison d'être is to save her and gainrevenge. (In contrast, in Al-Qadim the caliph's beautiful daughter Karais a final reward for the young hero.) In Prince of Persia, ArabianNights and The Magic of Scheherazade, the hero is unjustlyimprisoned in a caliph's dungeon and his quest is to save himself frombeheading; in XZR (Renovation Game, 1988) he has to assassinate thecaliph. Although these narratives are typical for common medieval fantasysettings, such imagery is particularly dominant in the frame of reference tothe 'Middle East', reinforcing stereotypicalnotions of arbitrary cruelty and barbarism.

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Magazine Article On Violence And Videogames Explained

The New Publicity About Magazine Article On Violence And Videogames

Some worry that certain aspects of our technology, including the intenseness of violent video games, are affecting the violence among America’s youth, while others don’t see this as an issue at all.

essays about video games aploon

A study done in 2004, Factors Correlated with Violent Video Games Use by Adolescent Boys and Girls, reported that boys in grades seventh and eighth played violent video games to either release their anger or help them relax....

Are video games responsible for school shootings.

Edward Said's classic work has analysed the Orientalist discourse of the19th and early 20th century, which recreates Islamic society as a timeless andexotic entity. According to Said (1978), fine arts and photography whichpresented the 'Middle East' in a naive andhistoricizing way had served to exclude it from 'modernity', and thus endorsed the patronizingand colonial approach of real politics. When examining the visual signifiersused by games to create a 'Middle Eastern' impression, we find very much thesame patterns. These include motifs such as headscarves, turbans, scimitars,tiles and camels, character concepts such as caliphs, Bedouins, djinns, bellydancers and Oriental topoi such as deserts, minarets, bazaars andharems. However, as Reichmuth and Werning (2006) have noted, Said's conceptthat the western imagination construes the Orient as one a historical entity,conflating historical fantasies with contemporary reality, usually is notevident in video games. Games portraying a contemporary and a historical orfantastical Middle East constitute separatecategories, mostly using different imagery, narrative and gameplay, as we willsee below.

Do producers of video games need to tone down the violence.

Almost all of these games construct a 'fantastical' Middle East, using quasi-historical elements in order to give the playeran oriental impression. Only a few games are based on real historical events,such as Age of Empires 2 (Microsoft, 1999), which includes the campaignof Saladin. On the one hand, this is particularly remarkable when compared withthe number of European and American historical games, which usually provide theplayer with a substantial amount of factual information. On the other hand, the narrative ofthese games evokes the realm of A Thousand and One Nights, constructing the Middle Eastas a place without history. Thus, this prevalent 'Orientalist' mode ofrepresentation can be perceived as an exclusion from constructive discursive,overshadowing the represented contribution to contemporary reality.

Kids and adults alike, are more attracted to violent games.

News reports blame video games more and more for each shooting, telling the public how this person played video games for x amount of hours a day, and that video games caused him or her to shoot people, and how video games encourage and reward violence....

Playing video games may actually improve one’s health.

Violent video games are not all bad and should be embraced, because of holistic benefits and shaping the world of tomorrow as well as understanding why young people play.

Why are so many children hooked on violent video games.

Video games inherently provide a schematized image of the world. Apartfrom the heroes, who possess background and personality, often game charactersare depicted only by several distinctive symbols. Similarly, the in-gamesurroundings and setting are rendered frequently by iteration of a limitednumber of textures and schemes. This also applies to the considerable amount ofgames which adopt Middle Eastern settings in a quasi-historical or fantasymanner, such as Prince of Persia (Broderbund, 1989), The Magic ofScheherazade (Cultural Brain, 1989), Arabian Nights (Krisalis,1993), Al-Qadim: The Genie's Curse (SSI, 1994), Beyond Oasis (Sega,1995), Persian Wars (Cryo, 2001) and Prince of Persia: The TwoThrones (Ubisoft, 2005). Although some of these games stand out due totheir graphics or plot and are considered milestones within their genre, suchas Prince of Persia or Al-Qadim, they more or less share thevisual and narrative features of 'Orientalist' imagery.

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