| |
| |
| Acknowledgments | |
| |
| |
| Introduction | |
| |
| |
| References | |
| |
| |
| |
| Females and Machines | |
| |
| |
| |
| Early Socialization with Computers | |
| |
| |
| |
| Commercialization of Behavior Patterns | |
| |
| |
| |
| Gender Differences in Attitudes Toward Technology | |
| |
| |
| |
| Gender and Software Design | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Evolution of Female Characters in Computer Games | |
| |
| |
| |
| Early Character Representations | |
| |
| |
| |
| Challenging the 'Damsel in Distress' Concept | |
| |
| |
| |
| The Emergence of the Female Protagonist | |
| |
| |
| |
| The Rise of the Female Avatar | |
| |
| |
| |
| The Female Image--Contrasts and Compromises | |
| |
| |
| References | |
| |
| |
| |
| Conflict and Conflict Resolution Styles in Game Design | |
| |
| |
| |
| Conflict Subjects | |
| |
| |
| |
| Conflict as a Definition of "Game" | |
| |
| |
| |
| Gender Differences in Conflict Resolution | |
| |
| |
| |
| Direct vs. Indirect Competition | |
| |
| |
| |
| Application of Concept | |
| |
| |
| References | |
| |
| |
| |
| Stimulation and Entertainment | |
| |
| |
| |
| The Male Stimulation Response | |
| |
| |
| |
| The Female Stimulation Response | |
| |
| |
| |
| Emotional Stimulation | |
| |
| |
| |
| Tactile Stimulation | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Learning and Communications Styles in Computer Game Development | |
| |
| |
| |
| Spatial Relations | |
| |
| |
| |
| Risk Taking | |
| |
| |
| |
| Electronic Communication Styles | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Reward and Gameplay | |
| |
| |
| |
| Scores and Levels | |
| |
| |
| |
| Response to Error | |
| |
| |
| |
| Cooperative Play | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Avatar Selection | |
| |
| |
| |
| The Evolution of Avatars | |
| |
| |
| |
| The Pyramid of Power | |
| |
| |
| |
| Token Character Classes | |
| |
| |
| |
| Representation of Avatars | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Puzzle Games | |
| |
| |
| |
| Definition of "Puzzle" | |
| |
| |
| |
| Puzzles and the Nontraditional Game Audience | |
| |
| |
| |
| Application of Concepts | |
| |
| |
| References | |
| |
| |
| |
| Online and Wireless Games | |
| |
| |
| |
| The Flexibility of Online Games | |
| |
| |
| |
| Reward Systems in Online Games | |
| |
| |
| |
| Story in Online Game Design | |
| |
| |
| |
| Improving the Online Game Design | |
| |
| |
| |
| Interfaces and Tutorials in Online Games | |
| |
| |
| |
| Females and Player vs. Player Games | |
| |
| |
| |
| Wireless Entertainment | |
| |
| |
| References | |
| |
| |
| |
| The Design Document--A Case Study | |
| |
| |
| |
| Parts of a Design Document | |
| |
| |
| |
| Sample Design Document and Revisions | |
| |
| |
| |
| Product Overview | |
| |
| |
| |
| Gameplay Overview | |
| |
| |
| |
| Technology Overview | |
| |
| |
| References | |
| |
| |
| |
| Women in the Game Industry Workplace | |
| |
| |
| |
| Why Does This Industry Need Women? | |
| |
| |
| |
| Examine the Company | |
| |
| |
| |
| Finding the Female Candidates | |
| |
| |
| |
| Supporting the Female Employee | |
| |
| |
| |
| Sexual Harassment | |
| |
| |
| |
| Benefits for the Whole | |
| |
| |
| References | |
| |
| |
| |
| Influential Women in Computer Game Development | |
| |
| |
| |
| Anne Westfall | |
| |
| |
| |
| Roberta Williams | |
| |
| |
| |
| Brenda Laurel | |
| |
| |
| |
| Laura Fryer | |
| |
| |
| |
| Jane Jenson | |
| |
| |
| |
| Ellen Guon Beeman | |
| |
| |
| |
| Nicky Robinson | |
| |
| |
| References | |
| |
| |
| |
| But What If the Player Is Female? | |
| |
| |
| References | |
| |
| |
| Index | |