Do Video Games Make Us More Violent - Free Essay Example

Sample details Pages: 6 Words: 1832 Downloads: 3 Date added: 2019/08/02 Category Society Essay Level High school Tags: Violence in Video Games Essay Did you like this example? Introduction For about ten years, there have been constant arguments about juveniles playing violent video games and the affects those games have on them. There have been school shootings, violent incidents, and juvenile delinquent behaviors that appear to have been linked to the physically violent video games they are interested in playing. The biggest argument about these violent video games are the games feeding into the juveniles aggression or are there other factors in the juveniles life. Don’t waste time! Our writers will create an original "Do Video Games Make Us More Violent?" essay for you Create order For instance, how is their life at home, what do they watch on television, are they abused, and what social economic status are they in.   Technology progresses every day and so do the video games, the video game consoles, and the graphics. Years ago the games were violent, but the graphics were not near what they are today. Video games are no longer only a childrens toy they have become a significant cultural force crossing old demographic boundaries, and now the games are played either online or off (State of the industry report 2000-2001, 2001). Players can play online, which means the player can play with anyone in the world. If the player has a headset they can hear other players, communicate with them, and share information to assist each other during the game. These games are considered Role-Playing games (RPG) and another type online video game is a Massively Multi-player online role-playing game (MMRPG) both of these are very popular with teens. This paper will look at available, peer-reviewed, scholarly works to find out if violent video games cause juveniles to become more violent in their behavior. Also this paper will discuss the detail violence shown in the video games and what exactly juveniles are exposed to while playing. To begin, there will be a discussion of the violence and the ratings that go with the different types of video games. Along with the definition of different ratings and terms used in video games, other terms found in this paper will be defined. The method used to select the studies to be included will be discussed followed by the limitations of this paper. The effects of violence in video games and the effects on juveniles will be discussed in general terms and then broken down into more specific categories, that is males compared to female juveniles, how often the juvenile plays the video games, and so forth. Before the conclusion of the paper, areas that were identified as needing further research will be discussed. Physically Violent Video Games What makes a video game violent? Shooting, killing, or running people over with a car? Sex, drugs, or prostitution? The problem with this it depends on whom is making this decision. Games are rated by the Entertainment Software Rating Board (ESRB). The rating are from everyone (E) to adults only (AO). Video Game Ratings  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Entertainment Software Rating Board (ESRB) assigns each game an age-based label created by assessing several content rating categories, including violence, use of illicit substances, ill-mannered language, nudity, and sexual references.   Research has shown that user rating and expert ratings were reliable and valid measures of the violent content in video games (Center, 2015). For example, some games that are considered violent are: Grand Theft Auto V (rated M for Mature), Call of Duty (rated Mature), Assassins Creed (rated Mature), and Hitman (rated Mature). Grand Theft Auto V (also known as GTA V) allows the player to drive around a city. Players can exit the vehicle rob, beat, or rape people. The player can steal cars and get into a police chase. Players can also shoot and/or murder people. During the game the player can sleep with prostitutes, go into strip clubs, and use drugs. Of course, the rating Mature comes from the intense violence, blood and gore, mature humor, nudity, strong language, use of drugs and alcohol. Call of Duty is a first person game where a player can go into warfare either solo or as a team. Players can organize a team and talk to other teammates to tell them when to move while in combat. The player can shoot people, blow people up with grenades, or cut a players throat. Killing a player is very graphic and bloody. Rating for this game is Mature based off the blood and gore, drug references, intense violence, and strong language. Assassins Creed is a game where players feel guilty and are able to decide how much revenge they will purse as well as how they will assassinate other players. Players get rewarded for certain kills and taking down key targets. Missions include cutting someones throat from behind, breaking their neck, or stabbing them with swords. Assassins Creed is not as violent as the above games, but the killing is graphic. Rating for this game is Mature based off the brutal violence and strong language. Hitman is a game where the player is a paid hitman. Players travel the globe and track down mob targets.   The player can kill the target by any means necessary, but the most common way is by shooting them. Rating for this game is Mature based off the blood, intense violence, strong language, use of drugs and alcohol. Video Game Violence In violent video games, the player must identify targets, choose violent strategies to kill the targets and/or survive. Violence in video games is considered justified and entertaining. Some researchers argue that it has been proven that playing violent video games increases negative cognitions, affect, and behaviors. More work is needed to identify who is at more of a risk for negative impact and under what conditions negative outcomes are most likely to occur. (Funk, Flores, Buchman, and Germann 1999). Method This paper is a literature review that examines published, peer-reviewed, scholarly works on the effects of juveniles playing violent video games and whether being exposed to the violence causes the juveniles to become more violent or aggressive. The search for qualifying works yielded hundreds of articles and published studies addressing the effects that violent video games have on juveniles. Literature was chosen to be included in this review that presented experimental or quasi-experimental studies which had reasonable control groups and dealt with relatively large groups of subjects. Since much literature looked at the same data from previous studies, albeit in different ways, studies and articles that did not cover the same material were selected for inclusion where possible. Newer works were favored over older works however, works from all decades since the argument started about violent video games may have an effect on a juveniles behavior are included. Limitations This paper is limited to analyzing previously published works and presenting conclusions drawn from that analysis. No new experimentation or field research was conducted in conjunction with this paper and statistical manipulation of the data analyzed is outside the realm of this paper. The information presented here has the danger of being influenced by publication bias. Publication bias is the phenomena of the findings of published papers being inflated simply because publishers tend to choose articles for publication that present significant findings while passing on articles that have less dramatic conclusions. In this case, there is a second level of potential publication bias which is, the authors selection of works to include in this paper. An effort was made to select a representative subset of the available works for inclusion and not to only select those articles that had dramatic findings in favor or against violent video games. All selections were made with the aim of limiting publication bias in mind. Violent Video Game Effects on Juveniles There are a number of ways the effects of juveniles playing violent video games could be evaluated. First, it has to be determine what behaviors are being looked for and what ages will be tested. Previous reviewed literature, showed that violent video game exposure was associated with the following behaviors: an increased composite aggression score; increased aggressive behavior; increased aggressive cognitions; increased aggressive affect, increased desensitization, and decreased empathy; and increased physiological arousal (Calvert et al., 2017). These behaviors were looked at but there was insufficient evidence to show a potential link between violent video game use and delinquency or criminal behavior in juveniles. Playing violent video games has been linked to juveniles having an aggressive personality. Juveniles exposed to excessive violent video games can lead to them being meaner, more aggressive, and more violent. They can also become more desensitized to violence (both in the media and in real life), more callous, and less sympathetic to victims of violence (Center, 2015). Of course, this has not been prove to be a definite effect on all juveniles. It has shown a popularity of violent video games and the level of the violence in the games can affect juveniles significantly. When a juvenile experiences aggressive behavior it can cause aggressive knowledge which can structure their minds to develop differently and may change the juveniles personality structure. A persons personality is shaped by experience and requires repeated experiences to create lasting change. Looking at the General Aggression Model (GAM) it acknowledges that (a) experience influences knowledge, perception, affective states, and belief; (b) which are used to guide peoples interpretations and behavioral responses to their social (and physical) environment; and (c) can become automatic with practice (Anderson Bushman, 2002). Therefore, long-term effects can include a change in the individuals personality or cause aggressive behavior. The main concern with these studies is the effects of prolonged exposure to playing the violent video games. How these juveniles see the world and react to it depends on the particular situational factors in their world and on the knowledge they have learned and habitually use. Unfortunately, juveniles can learn complicated behaviors, attitudes, expectations and beliefs through playing these violent video games. It can be argued though that these juveniles see this type of behavior and actions on television also; so could it be strictly playing the violent video games or a combination of both. This is why these studies are great in learning the effects that the games can have, but the outside contributions also have to be looked at while investigating. Not only watching television, the home life has to be examined, the social economic status the family lives in, and what other things have gone on in the juveniles life. For instance, has the juvenile experienced any type of trauma in his or her life? Has the juvenile been severely abused or seen someone abused? These types of factors could also hinder these types of studies. Desensitization to Violence Which leads to the next factor that has shown a problem with juveniles in this day and age. Repeated exposure to violence in video games that juveniles play can cause a desensitization to violence. This means a person is experiencing milder physiological reactions and has become less anxious following repeated exposure to a stimulus (Anderson et al., 2010; Carnagey, Anderson Bushman, 2007; Cline, Croft, Courier, 1973). Desensitization is a gradual process that reduces a persons initial arousal responses to an impulse.

The, The And, And Its Effects On The Captain By Leonardo...

â€Å" †¦ Collet has sensed an atypical intensity in his captain.† (pg. 71) In this context, I think atypical means different from the usual. Unusual and abnormal are both synonyms of atypical. These words increased my understanding that Collet knew that there was something not quite right about Captain Bezu Fache. â€Å" †¦ instinct telling him something was amiss.† (pg. 131) In this context, I can guess that amiss means wrong. Faulty and flawed are two synonyms for amiss. These words increased my understanding of the situation and why Grouard was slightly panicking. â€Å"Maybe Da Vinci’s plethora of tantalizing clues was nothing but an empty promise left behind to frustrate the curious and bring a smirk to the face of his knowing Mona Lisa.† (pg. 170) The word plethora could mean way of doing in this context. Excess and surplus are synonyms of plethora. These words helped me understand that Robert Langdon was stating that Leonardo Da Vinci hi d many annoying clues in his paintings. â€Å"That secret is protected by an intricate system of compartmentalized knowledge, †¦ † (pg. 171) Compartmentalized in this context could mean not often shared or kept secret. Two synonyms for this word are categorize and label. These synonyms increased my understanding of the Priory of Sion members’ way of keeping the grail map a secret. â€Å" †¦ much lower than they had been on his first minute when everything was ablaze.† (pg. 173) In this context ablaze might mean on fire or busy. Brightly colored and lighted areShow MoreRelatedComics, the Art of Literature3158 Words   |  13 Pagesthis paper is to show how comics can worth literature and its reflection on education and our society. For the paper’s flexibility I am taking the Avengers movie, different articles about comics and literature which will clearly show comics and its effect on literature. 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Ugolino and His Sons free essay sample

Art had played an important role in building up civilizations from all over the world through thousands of centuries. It is and will always still the way of projecting artists’ ideas and thoughts into meaningful and tangible objects which we called â€Å"work of art†. In addition, It was the path through all these years that dug its way to reach to our current century to show us the beauty of every single era starting from the Upper Paleolithic Period of time (42,000 – 8,000 BCE) reaching to our contemporary artists of today. One of the most representing works to the Eclecticism period, a sculpture was titled â€Å"UGOLINO AND HIS SONS†. It was done in 1861 CE using Saint-Beat marble. It has a size of approximately (78. 75 in. x 59 in. x 43. 5 in. ), height to width to depth ratio. The sculpture was done by Jean-Baptiste Carpeaux, a French sculptor and painter who was born in Valenciennes, Nord, and part of northern France in 1827. Carpeaux was a student to the French sculptor Francois Rude. He won the Prix de Rome in 1854 which enabled him to live in Rome (1856 – 1862). During that time he was influenced by the works of Italian sculptors of the Renaissance period such as Michelangelo, Donatello, and Andrea Del Verrocchio. He also started to increase his focus of studies on complex sculptures and bas-reliefs. His passion led him to start carving several pieces on marble before the famous work of art â€Å"Ugolino and His Sons†. Carpeaux was considered as one of the mainstream artists in Eclecticism. This movement wanted to exceed Neoclassicism and Romanticism and also described the combination, in a single work, of elements from different historical styles. Carpeaux received many honors during his lifetime until two months before he died prematurely of cancer at the age of 48 in Courbevoie in 1875 CE. The sculpture shows (Figure 1. 1) a man sitting on a stone cuffed with chains in his legs. The man’s facial expressions seemed as grief while biting the tip of some of his fingers. The wrinkles on top of his eyes with his curled toes on each other gave the sense of a clueless situation the man was put in. Surrounding him, there’re four different-aged kids; two of them on the left side of their father’s position, as they gave the emotion of looking at their father begging. And on the right side, there’re the two other kids where the smallest kid fell on the ground looking dead. The sculpture depicts the tale of a traitor who was the Count of Donoratico and was imprisoned by the archbishop Ruggieri degli Ubaldini in the late thirteenth century (June 1288). The archbishop imprisoned Ugolino with his sons and grandsons in the â€Å"Tower of Hunger†. Also, the archbishop ordered the soldiers to throw the keys of Ugolino’s prison in the Arno River so that there’s no way for them to be set free. They were sentenced to be left to starve in February 1289. Ugolino had this prophetic dream of the archbishop and his soldiers as the lord and huntsman killing the wolf the wolf cubs (Ugolino and his offspring). Ugolino had his heart-broken for hearing his sons sobbing in their sleep asking for bread. He also kept his feelings inside, he had never wept, and he used to watch his kids weeping but him feeling clueless paralyzed-thinking. Yet his offspring dreams couldn’t fill their stomach. Ugolino’s kids started to look at him, wondered why he turned out to look like a stone, biting his fingers and curling his toes of one leg on top of the other one. For them, they thought that their father is starving just like them or maybe more but for Ugolino himself, he was biting his fingers in anguish, weeping inside for not being able to feed his offspring. Therefore, they started to offer their bodies to their father so he can eat and survive. After few days, his offspring started to fall down dead one by another till the last one died on the sixth day. This part is quoted from â€Å"The Divine Comedy, Vol. I: Inferno (Canto 33) – Dante Alighieri†. It illustrates moments of death of Ugolino’s offspring and the mystery behind the possibility of Cannibalism: â€Å"I calmed myself to make them less unhappy. That day we sat in silence, and the next day. O pitiless Earth! You should have swallowed us! 66 The fourth day came, and it was on that day My Gaddo fell prostrate before my feet, Crying: Why dont you help me? Why, my father? 69 There he died. Just as you see me here, I saw the other three fall one by one, As the fifth day and the sixth day passed. And I, 72 By then gone blind, groped over their dead bodies. Though they were dead, two days I called their names. Then hunger proved more powerful than grief. 75 He spoke these words; then, glaring down in rage, attacked again the live skull with his teeth sharp as a dogs, and as fit for grinding bones. â€Å"78 The sculpture presented an art based on the late thirteenth century story. As during that time, there were a lot of wars in Italy between divisions of the country for the power and authority. And Ugolino was an example of one of the traitors in that era who cheated their people. The sculpture contained many symbols that had meanings during the time of Jean-Baptiste Carpeaux. Speaking about the head of the main character of the sculpture (Ugolino), it contained so many gestures like the wrinkles on top of his eyebrows which gave the sense of mixture of anger and sorrow for his situation in the prison. Also, Carpeaux illustrated other gestures of the face to match the context like the way his bottom lip bent because of the thickness of the tip of his fingers and the way they were put into his mouth. Away from the head, the sculpture presented the way Ugolino’s body shrinking and taking a smaller form by bending his back to the front, putting his arm on his leg, crossing up his legs to each other and putting his curled toes on top of each other. These all resembled the intensive way of thinking and worrying that Ugolino had about his offspring. Moreover, the naked state of all of the figures’ bodies (Ugolino and his sons) expresses the darkness of the situation where is nothing surrounding them but starvation and the dreadful dreams of it. On top of that, the sculpture presented his four different-aged kids with different angles of bodies and gestures. As the eldest (the one on the bottom left) is hugging his father’s legs offering his body to his father so his suffer can end and his dad can sustain more. Also, the youngest (the one on the bottom right) seemed dead on the ground underneath Ugolino because of starving, closing his eyes and relying all his body on Ugolino’s legs. But he also imaged both of the two middle-aged kids on the top right and on the top left – as they seemed halfway hopeless of living anymore trying to hold on to their father. The one on the left was trying to put his arms on his father’s thigh so he doesn’t fall like his youngest brother. And the one on the right was trying to hide himself beneath his father’s chest, so the starvation doesn’t reach him. In the meantime, the cuffs and the chain that hold Ugolino’s legs to the stone express the very tight chance of Ugolino to survive as well as his offspring. He also showed that the cuffs were holding only Ugolino and not his offspring which gave the sense of feeling that kids cannot do anything without their father. The artist’s visionary composition reflected his reverence to the works of Michelangelo, whose figurative gestures he often assimilated into his own works. And that can be seen in Ugolino sculpture. As it gives a full dramatic scene of his posed body and his kids pose as well. The style of this sculpture is perceptual as by just looking to the sculpture, the viewer can imagine the whole scene. He supported his sculpture with the three dimensionality of it, taking care of all corners of the whole sculpture such as taking care of how the back of all their bodies was made finely. And that’s one of the main points the artist became a leader at; he succeeded to combine the drama of the Renaissance period and the realism of the Baroque period, looking for inspiration in the styles of the past without prioritizing the antique ones and that’s also what made him an official leader to the movement called Eclecticism. The artist took care of describing the story tale through the figures’ bodies. He took care of showing the devouring moments of the offspring through their facial expressions and through the movement of their bodies. He also provided the sculpture with more realistic touches such as carving the hollow part of each one of the figures’ eyes which gave more oriented sight to each one of them, except the father, which the artist carved the hollow part to show him looking straight forward. The father’s eye sight gave the viewer mixture of senses of horror and sadness in the same time. He also took care of carving the left side-kids’ fingers that seemed to be squashing their fathers’ flesh inside. As the viewer sees the old son laying on the ground, leaning his bodies towards his father’s, looking unto him and his fingers are clinging around his father’s legs. On the contrary of this scene, the viewer sees the little kid on the right side who is laying on the ground with no hollow part in his eyes which means they were closed while his body is totally corpse as of no eating for long time comparing to his age. he showed the other two kids’ gestures as tired of weeping over no food and also showed them trying to ask their father for help by looking at him or hiding between his arms while the father whose body gave a non-merciful state onto his offspring. He succeeded to show the main figure in grief and anguish more than caring over his kids during that hard time. He chose excellently the right medium to carve such sculpture, as the marble was the first choice of most of the artists during that time. Not only because marble was so commonly available during that period, but also because one of the best characteristics of marble was the translucency. In addition, carving marble was an easy mission to get a slight translucent surface that looks like a human skin. Moreover, marble sculpture used to give a visual depth beyond its surface and this evokes the realism of such sculpture which helped the artist to show more details about the scene. Speaking about the design elements that the artist took care of, the viewer can notice that the artist showed a contrast through the sculpture by referring to differences in textures of each one of the sculpture’s body with different shapes of haircuts, different body appearances and different facial features. Although the sculpture didn’t contain geometric shapes as it represents humanly figures, he succeeded to have rich sculpture full of soft edges all the way, but also he succeeded to include hard edges on the back of the sculpture where the stone that Ugolino sat on was carved. The artist also showed the balance he created in the sculpture by showing the symmetry of having Ugolino in the middle of the scene and two kids on the right side and two kids on the left side regarding their different motions and body moves. In addition to that, the artist made a great sense of rhythm in the sculpture by having a repetition of the visual movement like the repetition of the lines in the sculpture such as the veins which bulge out of the same places of almost everybody in the sculpture, also the repetition of the same muscles in Ugolino’s body and his eldest son taking the size of the muscles into consideration according to their age differences. Also, the rhythm was shown by the physical moves the sculpture bodies made, starting off Ugolino’s body and ending with his youngest offspring. One of the opinions written about Ugolino and his Sons as a work of art of the artist Jean-Baptiste Carpeaux was by Gary Boyler a fine art contemporary artist. Gary illustrated his opinion of the work saying â€Å"Jean-Baptiste Carpeaux shows the anguished father resisting his children’s offer of their own bodies for his sustenance. The composition was cast in bronze in Paris in 1862. This Saint-Beat marble now resides in the Metropolitan Museum of Art in New York City. What is most striking about this composition and most other works by Carpeaux is the influence of Michelangelo. You can see the influences of the High Renaissance in every detail of this masterpiece. When you are viewing this piece, it is almost as if you are being visited by the specters of the High Renaissance Masters. The work is handled very classically and traditionally. When you contrast this work with sculpture by Auguste Rodin, who was working in marble and clay at about the same time as Carpeaux, you can see the strong differences without a moment‘s hesitation. In his sculpture, Rodin takes the road of the Impressionists, pushing the boundaries of his art toward the future modernist movements. Carpeaux, however, retreats backward to the older, more tried and true approaches. He forgoes the modern in his work for the traditional. Does Carpeaux succeed in his attempts to mimic the Old Masters? Carpeaux is not Michelangelo, that can be said with certainty. But his work is astounding. He clearly deserves his place in the annals of art–even if it is in the shadow of Michelangelo. His pieces live and breathe and tell their stories well. † According to the label of the work, Ugolino Sculpture was one of the most historical sculptures to Carpeaux as it showed his great influence with Michelangelo and generally with the Renaissance period. The work tells about the hellish dilemma of the Pisan traitor Ugolino who was imprisoned with his sons in the Tower of Hunger and sentenced to starvation till death. One of the great thoughts behind this story was the mystery of cannibalism which said that he probably ate his own offspring as they asked him to do in order to live longer. But also, choosing Carpeaux to this mystery to carve a model about gives deep thoughts by just looking to the sculpture. On top of that, He supported the mystery with additional expressive pieces of the sculpture such as the chains, Ugolino’s facial expressions and his eldest son sitting down on his knees and looking to his father. The sculpture creates visual excitement and interest to the viewer by having symmetrical scene of Ugolino himself in the middle surrounded by his offspring on the right and on the left. Also, the artist used the visual elements and the design elements perfectly to show every single possible detail in the scene that gives life to the sculpture.