To the GVU brown bag. I'm not Keith. Obviously, I'm sorry that he couldn't be here to do as usual introduction. I will give the quick version and a welcome. Dr. Christina Madej. She's given a tautology, the brown bags on the past. Every time they're incredibly fascinating. I could sit here and talk about how much fun we're going to have the presentation. But I'd rather just go ahead and hand it over. So I'm pretty much going to do that. The only thing that I will say is remember that you need to put any of the questions that you might have for Christina and the chat or the Q and a section. And when we're done, all sorts of relay those to her and We'll see if we can't get some fun the interaction out of that. And with that, I'm going silent. I'm in the background. Have a good talk. Well, Hi there. I don't see it could be receiving any video yet, so I don't know whether I'm speaking or not. Am I on here? Yes, you are. Okay. Because I don't see myself except that in the little corner. Is that good enough for me? So will I be able to share my screen then that if I'm just just in the little corner, it says you are any of you are not receiving any video. You should be able to, yes. Okay. Great. Well, thanks Tim, for that brief introduction. I guess I should say that I am a Research Associate at Georgia Tech and patch here for ten years. I started in January 2011 and just retired this past August 30th from teaching. And so I am now and a research associate for the next year, but I work in a number of other places as well. And one of these of the University of lower so as yet and lots of Poland is universally that I'm doing this project with. Oh, good afternoon, ladies and gentlemen. It's been a pleasure. It's a pleasure to be speaking with you again. So GPU has always been very generous in giving me time to share my research. And I always appreciate the opportunity to speak with students and colleagues about topics that are relevant to digital media studies. Today I'm going to be speaking about representation of disability and video games with children. The research as part of a larger project. But before I tell you about it, let me introduce you to know that neither the lion, by sharing my screen with you and K. So I'm going to share the screen. And when I share the screen, your should be able to see let me the line then. Can you see lenny the line in there? I'm hoping you guys can see it and I need the lion. So this is the beginning of my talk. Ooh. Okay. Why do I want to tell you about Jeffrey and Lenny? Jeffrey was a friendly mascot of Toys R Us. Remember Toys R Us, at least some of you do a place. Many of you, if not most of you are familiar with. Jeffrey first appeared in 1965 over 55 years ago. Choice of us is a top retailer in the US for was not anymore, unfortunately, by 995 and in night by 990 a Jeffery, This is going to surprise you. Jeffrey was the third most recognized animated figure in the United States. Then in 998, twice arrest released as one of its Christmas offerings. The video game, Jeffrey goes to the fair, did had as its audience, a large segment of kids age three to seven across the United States. The game produced, produced four, Four Christmases. I said, introduce Jeffrey's friends, including lenny the lion. Here he is letting the line right there, and the rest of his friends as well. Then he uses a wheelchair. And there he is. Thousands of three to four to seven-year-olds. Many Him who had never seen a wheelchair previously were suddenly introduced to someone with a mobility disability who needed to use a wheelchair as an aid to get started. Now between the ages of 37, children are developing their cognitive understanding of the environment around them by building schema of their experience. And what did this experience do? This experience gave them an impression of someone in a wheelchair at average everyday environment doing things with their friends without prejudice. This it a very positive schema of disability. Here he is racing with his with his buddies that as the scene, I was going to show this to you, but I'm just going to show you some screenshots instead. It opens it up with a little race. Jeffrey gushing down the road, landing, joining him, everybody on their bicycles moving forward. All of them equally fast, all of them equally enthusiastic. Then many, the line joins them for all of the things that they do at the fair without any problem whatsoever. And there's no backstory about this either. So that many There's no excuses for any there's no information about why he's in the wheelchair. He's just one of the friends. When we're looking at the representation of disability in games, one of the most important things is to have a realistic viewpoint of them. And what we have in this project that we're working on is the goal of the project, is the gain new knowledge on the representation of disability and video games. And we do that through the analysis of games across all age groups. The analysis in the, in the project is for plot, a narrative for linguistic and linguistics and communications for game mechanics, and also for Peggy 3 and Peggy seven games. It's how representation corresponds to cognitive development. Now, this project as part of a larger cultural study, study, looks at the representation of disability in films and video games and school textbooks. This particular project is called the wild about video games is called Bradshaw avatars. It's run by doctors that adjust the Shankar, who's the professor, Director of Research and head of the Center for games and animation at the University of lower so lousy and without swath, invalid swath. There are four people on the project. Yan, Agnes, mustache, Chienco, anaplasma, and myself. And I am a I'm the one who's looking the younger children schemes. Now in terms of disability in gains this year 1990's, accessibility for, for people with disability has been addressed by educational game developers. Since the early 2000s, accessibility for people with disability has been addressed by entertainment game developers as associations that disability associations began to push or access abilities. But what hasn't been very well address is the representation of disability in video games. Nor, and in particular, how children's perception of disability is established and maintained or altered. Playing video games in which characters with disabilities are represented. And many of the ways that we see people who are disabled is something that is created when we are young and often difficult to change perception once it's established. Now, the majority of research in children's cognitive development, which is basically what I'm talking about today. And games is focused on skill development, literacy, math, science. More recently, research has focused on the social and emotional relationship with characters, but then also that encourages skill development. Not had, not how it has to do with things about perception or bullying or anything like that. Oh, children's perception of disability and how that perception is establish IE, how they view things and how that view is maintained or altered through playing video games hasn't received any attention at all. For adults a little bit, for children know. The research topic that I'm talking about today is how the representation of disability and Peggy 3 and Peggy seven games maps against cognitive development, psychomotor and cognitive needs and abilities of children between the ages of three to 12. Ideally, if we're thinking about cognitive development and how children develop between the ages of three and 12. For instance, gains should provide children with exposure to an engagement with new video games. The schemas that at understanding and help create meaning about the disability represented. So what are we looking at in terms of the games? The games that we're looking at are categorized under, while the entire project just looking at is categorized under 37, 12, 16, and 18 years. Peggy is the Pan-European game information rating system that's used in 35 European countries. This is a parallel system to the ESRB system in North America and other systems around the world that are being used. It is a little more detailed. It breaks things down more. It what the area that I'm looking at are the age groups. Atwood in ESRB be considered everybody everybody has a pretty broad category. And in my report I actually talk about rating systems and how they do or do not help people decide what kind of gains their children should be seen. Now we looked at 20 games with a PG-13 rating and I've got the 15 games or the Peggy seven rating. The PG-13 rating games go back further because they're actually not as many in as broader range of a disability. And so that was one of the difficulties is finding gains that that cross different boundaries in terms of both cognitive and physical disabilities. What did our review and analysis come up with that I'm going to talk about today that showed the representation of disability. It showed that representation can be cosmetic. It provides exposure, but not gameplay utility. It can be incidental, used as a device that provides purpose for the narrative. Or it can accurately represent the disability and show how the character copes with their disability. And of course, everywhere on a sliding scale. But these are the three main ways that we can, we can see representation of disability is, is as shown in video games. And at the end of the second half of the talk, I'll be talking about this more. So now how is representation proceed by children? How is the pen? Depends on what stage a child may be in their cognitive development. Obviously between three and 10 or 12. Children goes through a variety of different ways of seeing things. The society of which they are apart, where we live in the world, how the culture that we grow up in and the kind of cognitive tools we are given to deal with the world are part of the way that we perceive things. And of course, the exposure to disability in games previously, if there has been no exposure, either in life or in gains, then new, new representations are important. So what happens cognitively when children are playing games or elicit that they integrate knowledge about disability when they push a button, move a mouse, slide their finger over a cartoon child in a wheelchair who hits a baseball at their instigation. Don't context of our game analysis very briefly, because there is not that much time here. Encourage you to read the report once it's out. As we'll look at schema, play, dream worlds, cultural tool sets mirror neurons, behavioral psychology, and neurobiology. And today we're really going to only look at the ones that I've highlighted here, schema, dream worlds, cultural tool sets and behavioral psychology because and eaten, that will be very, very quick. The most important, probably the most important part of looking at how representation of disability is perceived is EMA. Now schema is the framework of experience that we as human beings construct throughout our lives. And that helps us to relate to and integrate new information. It gives our information meaning. So you can look at stuff, but if it's not part of your schema, schema, if you're not building up a schema, then that memory will just simply disappear and it won't give you any meaning. It will not affect your life in any way. Now schema is best thought of as a series of little and that you build up in your brain from the time that you're a born, on and on and on. From the time that you start moving little balls around, to eating, to learning to play video games, to learning how to eat in restaurants. All of these things accumulate schemas, dynamic, continuously changing every time you do something that it relates to something you've done in the past. You add to that particular event, though, that an event just doesn't stand there and experience doesn't stand there. And it be isolated. Every time you do something which is related to that it builds on top of it. You can think of it almost as if it's a, a little ball which is growing fuzzies and the fuzzies get bigger and bigger and bigger and bigger and bigger and then takeover. So now the Richard, the schema that you bring to any situation that a child brings to any situation. The more information that you have about something, the easier it is to understand the new situation more thoroughly. So for instance, if you're going to look at something like a game that has a wheelchair in it and people are using that wheelchair. If you have experienced this, you have a cousin who's in a wheelchair. You've been in a hospital, you see wheelchair, it's being moved around. Then you'll be able to understand what that wheelchair or how that wheelchair is used within the context of video games. If you do not have that, then basically you're coming in to a new situation with no information whatsoever. And unless the information is given to you, it's a blank and you have to make it up. You have to figure it out from something else in your past experience. So now our cognitive development and schema relies on two things. We have to adapt to a new situation. And once we adapt to what we achieve an equilibrium. And adaptation requires two things. First, the simulation and what that means is that means you apply new, existing concepts, new ones. So what we see, what we know, what we have experienced, something else, what happens, and we apply everything that we know to it. Then the next thing that happens is accommodation. There are the more information that you get, the greater the breadth of information. This helps to alter previous concepts. You're not only just saying, Okay, this is what I know. I'm going to apply it. This is what happens when we're children who are very young. What they do is they're very self-centered, they're viewpoint. They apply what they noticed something, and as a result, they don't really get a view, an actual view of what's happening because your experience is so limited. So accommodation is when you're changing your concepts based on all the information that you're getting. And then what you get is you get equilibrium as these, as you get successful adaptation. This is very important to think about when you're thinking about perception and in representation of representation. Now what I'm going to talk about briefly is peg and pod, which is again for three to five-year-olds. I will at some point, I will be talking about games for older children as well. But initially, I'm going to be talking about gains for young children because your piggy three games. So we're looking at between the ages of 37 and this particular gain is four. For age three to five. And we're going to pretend we're going to pretend that we're four-year-old with no knowledge of a wheelchair. And what you have on the left is 0. So pick an Pogge is a really cute little educational game. There's six friends, one of whom is in a wheelchair, and there are eight adventures, including a birthday party. Now this is an educational game. It's about learning language. So what happens is new things appear on screen along with the sound of that word, and that word also appears. So for instance, an apple appears, a cake appear as pop appears, the person appears, and a name is associated with them. Now, in this particular game, I'm saying that the four-year-old has no knowledge of a wheelchair. What we have is, in this particular musical birthday party, we have the stage. The stage has on the left-hand side a ramp, and on the stage is a girl in a wheelchair. The way that the scene unfolds is that rather than going downhill, ramp, picker, uh, Linda, wheelchair simply hop saw the front of the stage and appears on the floor. And you can see that in the top right-hand picture. Eventually her friends. So there's no indication of how this wheelchair works. No use of RAM, simply hopping off the screen. Now this is typical of this type of two-dimensional game, but it still is a bit confusing from the perspective that if someone doesn't know what this thing is, that this person is sitting in, how did the chair get from the stage to the floor? And then when her friends join her, there's music, there's dancing. All of them are dancing. We moving their hands and their feet. This little girl are actually looks like a teenager is moving her hands, but not her sheet. So once again, this object that is at the bottom of her, that's a part of her is no way explain There's no way that you can figure out what this is. Though. How is this to be? How is this to be interpreted? Is how, how is this two? How is this to be assimilated as information? Let's not pretend, but probably this has happened at this point from a previous media exposure. Book, bill. The player has a schema of a mermaid, a girl with the tale, who also does not walk but does move about even if it's in a water. Perhaps the wheelchair is a different kind of tail. Maybe that's why. Because she doesn't have any idea of what a wheelchair is the player because they'd never seen a wheelchair, they simply can't identify what it is. The closest thing that they can come up with in terms of assimilation ideas in the past of what this might be is, wow, that's another appendage, perhaps just like a mermaid tail. Now what will happen with accommodation is in time as more information is added to the girl in a wheelchair schema, we'll call it the schema. Perhaps through a discussion with an adult or by seeing an actual person in a wheelchair, a more accurate version of reality is introduced and will be accommodated. So as the schema, as a schema scaffolding unfolds, new information comes along and the understanding of the wheelchair will continue to be added to and will change with each new experience. But what's important and in some ways, to think about how the information about a specific disability and the aids that are used with it are in part it. And this is why this is, this is called the cosmetic application. Though. I've already talked about this. Now I want to talk about dream worlds and the fact that disbelief isn't an option. And why the little girl might believe that rices, you know, that this is a kale, that as part of this girl, this, this is the way that she was born and this is how she gets around the why might that be for a younger child welfare, a young child play in reality aren't separate. They're one and the same thing. When young children play, they're completely preoccupied with the activity. What they do is they create a personal space around them, and this is where their inner reality meets their external reality. We, at the Winnicott, who was a psychologist who worked with Melanie Klein, did a lot of theory work in this area. And he talked about the fact that objects and experiences that children bring into this, this play area become a part of their personal or recall that their dream reality, the product, their dream reality because children at that point, because they do not have experience of the world that you and I have do live in. Bring their dream reality to their everyday. They don't have the experience of life as a reference in their schema to tell them that things might not be real. So when they are confronted with animals that speak, mermaids, dragons, half lanes goes, they don't disbelieve. We talk about the suspension of disbelief. Well, children don't disbelieve these entities are part of their understanding of reality. They aren't pretend play. Just play. Zynga, call this the magic circle. It's been taken up by gaming in researchers as a, an idea about the game space that's play, that, that is created by a player. But it's, uh, it's been, this idea has been around for 7080 years and comes from child psychology though, to a young child when he and his friends, as shown here, are as real as their mom and dad are. And it's important to understand that when you're creating characters for them in gains. So that when we talk about children's schema and how it is constructed, you understand It's constructed from their experience, just like your schemas when you were a child, everything that you experienced became a part of your scaffold of information. And our children's worlds are confined. They're confined to their immediate or extended families. Not only are they can find, but they're confined socially and culturally, and they're indoctrinated. They're indoctrinated into the norms of their society through culturally relevant cognitive tools. All the things that any particular society has that helps them understand the world, work through all of the ways of living. And one of the things about that is that contradictory viewpoints are seldom welcome. However, in today's contemporary world, there are, here's the internet, and before there was the Internet, there were video games. And one of the things about video is they bring a variety of characters and situations to a different environment. Building engage with characters that are different from what is the norm in their society. And gains often encompass the cultural values of the developers who have made them. Rather than the cultural values of a child's society. You have a game that's made in Japan, again, that's made in North America and it's being shown in an, in an African country or an Indian country, or somewhere in Europe, you're going to have a very different set of cultural values that are brought. And so what happens is when children are playing video games, they're culturally constructed schemas, IE, the schema of their family and their environment, began to change as new ideas are introduced. And this is despite the cultural norms. But let's just take an example of gesture goes to the fair again and talk about changing schemas and how schemas change. Remember I mentioned that this was, let me, The Lion was in a wheelchair here. Now the development team wanted to make this a very inclusive environment. So they gave Jeffrey three female friends, female friends. They included. Then either lion, he uses a wheelchair. A wheelchair has become a almost de facto go to disability aid to represent disability in all kinds of games and has been around for actually even longer than Geoffrey goes to the fair, I think the first time it appeared is in 990 or five. So when asked by a corporate executive why it was the lion, a symbol of strength that was in the wheelchair? The game designers response was, that was the reason because Lenny is a lion. The wheelchair equals strength. This is part of the development team and their idea of how to give each character equals strength. They'll then at a lion has his strength. This is given over to the wheelchair, and the wheelchair becomes a symbol of strength. Now, in order to make the seamless this feeling that length, the line really was just a part, an average everyday friend, ie, it's a part of everything in a normal way. The developers worked very hard to create the right kind of rigging for the wheelchair character. They reconfigured to standard environment to accommodate wheelchair requirements. The stage and the haunted house are provided with ramps as well as stares. And here, unlike and pick an OG, he did use the wheelchairs. Lenny is always on an equal footing as just another one of Jeff restraints. And you have to understand that when this came out, 995 disability was not seen in as positive a view as it is today in many call, actually in many cultures, it's still is not seen positively. And so this was a, an important aspect of this gain to make Lenny appear and be a friend, a regular friend. And so the, the the schema that was created was based in that. Now, let's pretend that we're once again child of five playing who has played. Jeffrey goes to the fair. Next year he gets the gain, Jeffrey, backyard baseball junior and he's playing. And in it there's a character called can Cowen who cheat and can kinda Gucci is. Okay. So the game works like this. What you have to do is you have to choose kids for your team. And one of the players is Kenny cow, a Gucci. He's a young athlete who because of a mobility disability in his leg, uses a wheelchair. Now, when Kenny comes up, he comments, don't let this. To the chair full. Yeah, I can play. Now, what does this say to the player choosing his team? Well, one of the things that it implies in the background, sort of a, a hint of what we're saying here is that in order to join the team, any must persuade the player that the wheelchair does not hinder his competency at playing the game? I will, but it's right there. So I'm Jeffrey goes to the fair ONE. The lines ability isn't never questioned. It's not It's also not a factor in being included as one of Jeffrey sprints. But because of Kennedy's comments, wheelchair schema that kids have built a blending of the line and Jeffrey goes to the fair, has to accommodate a number of new ideas. That actually it has to accommodate three new ideas. One, all of a sudden there's doubt about the competency of an individual in a wheelchair to there's doubt that someone in a wheelchair can be part of a team. And three, there is a need for someone in a wheelchair defend their competency of that wheelchair as an aid. Though, after playing backyard baseball, the schema of a wheelchair user has been changed. It's more nuance. She's use of a wheelchair. There's a positive image of competency. Pennies use of a wheelchair because it must be defended as not being liability adds to uncertainty about competency. Do you have to be really careful when you're looking at representation and how that representation actually is perceived. They, so we're going to go through this very quickly because I want to get to some of the really interesting games that had been created, people that had been created by indie groups. The behavioral psychology is based in jumpy edges. John Piaget's research in cognitive development back in the 1920s and 30s. Yes, four stages of development. The most important for us are the second, third stage which correlate to Peggy 3 and Peggy seven games. So for Peggy three games. So what we have is this is for kids G27 and they're moving from just being able to spatially be, uh, be spatially aware, playing with objects, that they do things like they mentally represent the world and enjoy pretend, play. Toys have life and feelings like a person. Though any character, as I mentioned before, like Winnie the Pooh still has reality. They haven't kept progress to seeing the world as it is or from other people's perspective. There is their view. It's not that they're egocentric is that they just don't know how to look outside themselves yet. And it's all as they relate, it's all related to themselves. They don't collaborate when playing with friends. Yet. They play with friends and they share. But their view is the right one. They don't usually take on someone else's, you. And they don't think logically because of that, because they're thinking is based in their personal judgment than their personal judgement is based on the what or five years of experience. Though they don't yet think logically. Now for Peggy, seven gains, which are seven to 11 or 12 years age, we're thinking a little differently. We're already moving forward, already beginning to move out of ourselves from a self centric view and considering how others might think or feel about something, we're beginning to collaborate and work together. It's thinking about what other people are thinking about. We're beginning to question the world and see the world more as it is, not just as we see it. And we begin to think of how our place is in the world. We're pushing boundaries about things that are known. So the underlying neurobiology is the underlying mechanism that governs development. Really the only thing you need to know about this is that from infancy to age ten, there's more synaptic activity than at any other time. At around three, your brain starts to fine tune. And so things that you do more often are built of things that you don't do so often are pruned away. And so it's important to see that at this stage of the game, if you're playing games in which there's characters with disabilities and these are positively represented, then that view is expanded, it's secured, it's conserved around that snack synaptic activity around that is, that confirms that, makes that more concrete. The same can be said about if it's a not, not a positive viewpoint. So that's what's important to understand about neurobiology. Now we're going to look at some of the gains. And some of these games are really, really interesting. Remember, I mentioned this at the beginning and I'm going to mention it again because I want you to think about this as we're going through the games, I actually use this as a classifier for each of the games. Games can be cosmetic. They provide exposure but not gameplay utility. They can be incidental, though they're used as a device that provides purpose for the narrative. And instrumental is different from incidental. Incidental is, is a device that provides purpose for the narrative, is instrumental, is more in that it accurately represents the disability and shows how the character. Disability. This is probably the optimum. You don't do this in arcade games, but in narrative games this can happen. So when we're looking at physical disability than cognitive, we'll look at first physical disability than cognitive disabilities and different age groups. And for reference, I know that we're working with Peggy 3 and Peggy seven gains. But when I referred to young middle age and older children, I'm looking at young children three to five or preschool, middle aged children as six to eight, or early elementary and older children, nine to 11 or older elementary. Now the games that I'm going to mention in the stock that I'm hoping to get through, I've already talked about Jeffrey goes to that their backyard baseball. These are some of the others. A chain reaction, Tokyo life world, I've mentioned pagan Pogge. We'll look at weakness and moving out or piggy three games for Peggy, seven gains. I've got Sly Cooper, Adi sim, ether one beyond eyes, pulse, last day of June and loss, the VR game, which I'm hoping to get to. It's just really cute little game. Okay. Moving Out of you have probably already played this. Moving out, overcooked, overcooked came out first. There's an overcooked to but I happen to be looking at overcooked one which only has one wheelchair, one wheelchair person in it. Now these two gains are the first one moving out is for Peggy three, and the second one is our Peggy seven overcooked district Peggy 71 of the reasons for this is simply because the piggy seven gain is so much faster than the more violent. But it really is an extraordinarily quick game with many things and schemas that children are not that familiar with. With moving out. We have an easier schema. Children are familiar with moving things around the house. They move things from their room to the next room. They know what objects are like, they know what moving objects is like. And so it's easier for them within their schema to understand what's going on and to be able to quickly adapt with a kitchen situation when you have a lot of little things that have to be put together. It's, et al, more difficult because of the type of skill set that's associated with it. And also because it's a lot faster, though, both gains, both games provide a wheelchair in their choice in character avatar design, moving out offers the option for all the movers, okay, So these are in moving out, you've got people, you've got animals and you have things that are movers. And any one of them, you can get a wheelchair for. Though that's different from overcooked in which you choose a particular character. And in overcook, the, there are both people and animals. And what happens that the raccoon is in a wheelchair. If you think about Guardians of the Galaxy and a rocket, very much rocket it look, look alike. In both of these gains. That wheelchair appears as a cosmetic addition and it not in no way changes the action. It's an event, it's not an advantage. It's not a disadvantage in the gameplay. Though. Although all levels of these games indicate middle age to older children, I've probably been exposed to a wheelchair use a younger player. Let's say there was someone who, who was three or four who was playing. It may not may not have been an IQ to a wheelchair. So a wheelchair simply gets put on a person because it looks good or because it's interesting, it has something to do with the actual use of the wheelchair. Now, interestingly enough, a wheelchair use and this isn't the, it's implicit almost that you understand what a wheelchair is about. So people who are creating games for three-year-olds don't seem to realize that three-year-olds don't know what a wheelchair is. And why would that, unless they happen to have one in the house? It's neither sufficiently recognizable symbol yet, or younger children. It's certainly is for older kids and certainly for adults because they have seen them in a variety of situations, even if you Marvel Comics as has the professor in a wheelchair. So yes, there's that understanding. But for younger kids, it's not that easy to representation for those familiar with wheelchairs also increases exposure as a visual reminder of their use. So one of the things that happens when a wheelchair is chosen are used is that people who are familiar with what a wheelchair was all about D that as part of their everyday situations. And in addition to that, it's a visual inclusion for people who are wheelchair users. So anyone who uses a wheelchair and place these games may see themselves as part of that environment. More effectively. Though, that's moving out and overcooked. If you're interested to get the slides and you'll have all of this information. I'm simply telling you about it beforehand. Though. We've talked about wheelchair as a cost, as we talked about wheelchair in Pecan Park. And here I wanted to mention that it is a cosmetic, it is a cosmetic applications. So we've discussed this in schema, vocabulary building gain. The representation of the girl in the wheelchair is cosmetic. It adds exposure, but not information. Now, unlike the choice in overcooked and, and moving out. But like the neighborhood friends in Jeffrey at the fair. In this scenario, is that being in a wheelchair is also no detriment to being included in a group of friends. It's inclusive. There's inclusion and affinity between them all. And this is very much the way it is in Jeffrey brands at the fair. In overcooked and moving out. It really doesn't matter. It's just, it's, so it's really superficial layer. Now we're going to go on to the Tokyo Life series. The telco Life series is a sandbox game. And it's a sandbox game which has grown enormously. It's, it's a 2D game, as you can see on the left from that picture. It's a child can populate different worlds with favorite people and they pretend play right? On touch tablets or mobile phones. Though it's initially advertise to show young child for young children. But the app became so popular with middle-aged and older children who participate in a large, and they participate in a large online community. So they have to be older because they're posting a lot of stuff on YouTube. And I anticipate that a lot younger than 13 year-olds are using YouTube because the kids there are 789. What we have is the game includes the choice for adding a wheelchair to any of their hundreds. I think they have 500 characters, any of their characters. And you can choose the wheels, wheelchairs, style, and color. But it also doesn't explain exactly what it's all about. Though, as a changeable element in the characters like it appears as a cosmetic addition. The wheelchair person moves in and out of any of the Worlds in exactly the same way as all of the people who are immobile do. Its place a blunt, any of the world's doing anything. What happens is if they're going to bed, they cough, they jump out of the wheelchair into the band. Now this without reference for implication of a wheelchair, knowledge of it, younger children, once again, may not differentiate between characters with or without wheelchairs, simply using it as a colorful edition Jew. But what happens, of course, is that this is a game that's often played with sibling and parents and so they would explain it to them. Now, Tokyo life stories is created using the sandbox game and these stories are posted once the, once the stories are created in the sandbox, same, they can be posted on YouTube. And both the Poka Yoke a bokeh and took a book, a team and individual players post games. And some of the gains that have been posted have been wheelchair stories. Stories in which the wheelchair has a function. A child has an accident, they have to be in a wheelchair. They want to dance. They, they go through all kinds of physiotherapy. The wheelchair gets them to the physiotherapy place and back and eventually they start dancing again in the wheelchair is no longer used. So these types of gains become good to play from the perspective of representation. Because what you're doing is you're taking the game into a new and across me. You're taking them across media, you're bringing them into new environments, and then you're bringing them back into the particular game. To what you have is you have a lot of cross media play here. And you have the idea of the representation of disability being moved from media to media in positive ways. The wheelchair has, as I had mentioned before, is used a lot in showing disability, but it's being used in different ways. Here. In the last day of June, the wheelchair is incidental. Its uses a device that provides purpose or the narrative. How does, why is the narrative there? I'm going to go through these a little quicker simply because I'm already into 35 minutes and I'm closer to 40 and I'm starting to run out of time. Here what we have is a story of a man and a woman who are in a car accident. The woman dies and the man is in his house. The car crash results in Carl's wife being killed, and it's the catalysts for his confinement to a wheelchair. The wheelchair is realistically depicted. Carl's hands turn the wheels to move through his house. He maneuvers around obstacles and injures the difficulties that normally exists for a wheelchair user and a home. I'm getting a ton of food from a cupboard shelf to opening a door. Voice sound effects indicates the frustrations. He's always groaning and moaning. Some of these actions entail adding to the realism. Are able children like you who are playing, who are unfamiliar with the problems of using such a mobility aid. So there is some information about how difficult it is to use a wheelchair. The representation provides an accurate simulation of a person becoming used to learning and coping. Were you using a wheelchair? In this way? It is more than cosmetic, but it's only incidental, not instrumental to the gameplay of revisiting memories. The story is about revisiting memories. But what it does is the wheelchair represents the tragedy of a car crash and the sadness for the loss of human law, love and older children with their increasing ability to conceptualize, can empathize with this. And so it's a good, it's a Peggy Peggy, seven children. Didn't want to talk now about SLI honor among thieves. Like Cooper. In here we have the wheelchair and there's an attempt to provide some accuracy and representing the disability and showing how the character copes with their disability. Now this is an action adventure. This, This is a turtle. And there's all sorts of weird and wonderful things that happen here. And certainly it's not necessarily realistic, but there is an attempt to represent the disability. How does this happen? First of all, we see how Sly gets into the wheelchair. In slide 2. He's in one of the final battles and he is his injured, he's in the hospital all sly cooper rescues him from the hospital and he ends up in his wheelchair. On the left is him before and on the right is an afterwards. Now, what this what this program particularly does is it shows the wheelchair as a symbol of his determination and ability to continue to help his friends because he doesn't just sit around and do nothing. He continues with his new new mobile aid to do everything he can to assist Sly Cooper and his buddies. And what the later adventures after a slide to do inside 3 and Slide 3. And the next game is what using a wheelchair means to an action oriented character. So the wheelchair adds both strengths and weaknesses. Badly had has, has has added abilities like he's got jet engines, he's got dark, She's got robotic arms in his wheelchair that he can use. But interesting enough, he can no longer sneak across buildings or crawl into tight spaces. He can't sneak around the back of a sofa. They'll, unlike the girl in peg and Paul, who simply jumped off the stage, here we have the wheelchairs weaknesses being shown. The fact that in some ways he can't do some of the things that he did before. The other thing that happens is that when he separated from his wheelchair, if he is separated, he becomes a paraplegic and he's helpless. Once again, this shows that of who he is as a human being and what the wheelchair does for him. And this is an important aspect of the game. Next, we're going to move on to new disability, and that is blindness or visual impairment beyond eyes. Those little girl. And here we have an attempt to accurately represent the disability and show how the character copes with their disability. In there, I'm going to show you two games in this, in this range of blindness so that you see. But you can see the difference. Here. We have young, younger array. She has an accident caused by fireworks at a celebration and we see here in a hospital bed with bandages on her eyes. And then we see her sitting on a bench and our garden or head hung low and he or she is petting her cat. Now the graphics are very lyrical. The spaces beautiful, race companion cat, an ally, ally nanny. He disappears and stands up. Met so rate what happens is raise looking for her cat, is really worried, but she's more worried about her cat. And she is sad about and scared about the fact that she can't see. So what she does is she goes out into the world, finally leaves her bench and goes. And you can see on the left-hand side what happens with the scene. Scenes have this white out an error. We use echolocation in this particular game. And what happens is that the closer that the person gets to a particular, a particular area, it opens up because of the sound that is, that is echoed back, echolocation is used. And what that does is it perceives the environment by localizing sound and echoes of these sounds to a specific area. So she's hearing things and echoes of things. And because of that, she can actually not d, but she can see here what's in front of her. And what the developers have done is as she moves forward, these spaces open up or us. Now her movement is slow and hesitant with few interactions, and it's the sense of slowness and hesitancy, this representation of her fear and the need for, for, for like, she goes back and forth and back and forth. And this repeated foray into spaces make them appear. That seemed the essence of someone, Bosch's newly blind looking out to find a place. Now middle aged children and older children can't who are exploring the world around them. Remember the edges? Third stage. This is a good. Thank for that particular age group because it's this experimentation and exploring of the world that is a part of what they are doing as well. Now the other game that is how it uses echolocation is pulse. And pulse has a, actually has a Peggy seven game but has a common sense rating of 13 because it's much scarier. Unlike It's not third-person, that's first-person. Then what you have is you have also an attempt to accurately represent the disability. Show how the character hopes with the disability. It's a story of survival story of Eva who sets out to save her land person. So you can only see what's revealed immediately ahead of you as she moves forward. And echolocation reveals the wooden steps and I'm burst. And then she moves into this space. Soon the space is confusing and the sound that either footsteps, because we're hearing this sound, because we're part of the echolocation, gets mixed up with four sounds in the reverberating sounds of the echolocation at EPA, breathing. And there's a lot of dissonance and there's this added apprehension, this sort of thing. The stomach, the sphere that starts to be created. And so the space is difficult to navigate both cognitively and emotionally for someone. And the echolocation engages older children's interests. I'm looking at nine and 10 year-olds interested in experimenting with a phenomenon. They can, they can do this. They can use the echolocation as they're going through the game. Now the representation effectively creates apprehension of walking, uncertainty walking into unknown spaces. And because of that frightening spaces, other imagery, There's lots of other imagery which really doesn't seem to have much to do with being blind, but still an interesting game from that perspective. There's only a couple of other games. I'm going to mention. Weakness, which is a fascinating game because it has both visual and auditory disability, blindness and deafness. Let's see what have I got? I got now there are few minutes. And what we have here is we have two characters. One who was blind, one who was deaf. And they switch back and forth and you collaborate. You play one and then you play the other. When you play one, you can do certain things. You can complete puzzles by doing things like, okay, though, when you're the blind person, the screen isn't black and white. When you are the deck person, everything isn't other, but the sounds you're muted and the puzzles require different things. You can dump your stick in order to have something. You can hear it. For the person who's deaf, you can push buttons. Now the representation of the true disability working together provides a more accurate portrayal of each they bounce off of each other. It's also interesting for teamwork. For older kids who are learning how to collaborate. We also have the gain loss, which is a VR game. And here we have deafness. Now the interesting thing about this is that the mouse speaks in American Sign Language only about half a dozen times. But in the ER, which you can do is you can get real close up to her and UK and actually sort of pet her and stroke her ears. And she'll talk to you with sign language. So this is virtual reality creates a sensor, a great sense of engagement, right? And what moths then becomes it, or what Quill becomes then is a positive symbol for disability because she gets to her quest and along the way she uses American Sign Language. And there's been lots of positive response in red, it meant other types of games or disability doesn't impede her. You as a player are her protector. We have a couple of other games here that are interesting, that are about learning disabilities. These games aren't so much aims at well, they are games, but they're more interactive. Books. Axles chain reaction is about ADHD and ADHD and reflects, it reflects noisy confusion. But that also shows it also shows that a child with ADHD has talents in certain ways. And so it shows projects that can be created that are suitable for the talents. Other cognitive ability, disability, particularly for Peggy seven gains is the gain ether one. This is about dementia. It's a very difficult game to play from the perspective that what you're doing is you go through the game and you become gene, and your mind starts on railing and your memories get more and more broken. Very interesting for an older child who was interested in helping as a restore for intra or bar. Instance, if a child has dementia and the family and a lot of people do have dementia and the family. This helps them. This representation, which is quite accurate, can help them understand the difficulty of someone who has dementia. Last game as Adi sim. An ADI SIM is a very unusual game in that when you go into it, what happens is as you move around and get closer to groups of kids, everything becomes very, very, very dissonance. There's a Noise level and visual static you see on the left, when you're far away, everything is calm and as you move towards the group, the dissonance, that noise, that feeling that people with, some people with autism have when they get closer to, to do a group is really evident. But I'm going to end by saying that this particular game in which hypersensitivity is shown so effectively is one more indie game that is looking at how to display difficult disability and share them with people through representation that is as accurate as they can make it. Now what we've done here, these gains, what they do is they first expose children to disability. They identify its existence. They encouraged them to engage with a disability through a different game genres. And finally, it provides a learning experience through repeated play. Now, doesn't matter whether it's cosmetic and whether it's frightening. It. These innovative ways are ways that people really appreciate. This is a really interesting little. You can go to this and you can see, so deaf person who created a YouTube video that talks about that, even though in moss call only uses the now the American Sign Language, it is an absolute huge step forward. For future work. What do we need to do in future work? Well, in order to assist game designers, educators, and policymakers with ideas about best practices. And we need to examine more closely how representation has changed gains, Does the 990s and analyze societal reasons for those changes gives us historical information. We need to understand whether representation has actually changed attitudes and in what way. And we need to look across media as this larger cultural study is, is, is doing. Though we compare with television, with social media, with film and videos, what's happening and gains. Having more information about representation of disability from individuals who actually have these disabilities with provide contexts, both speaking to people, play these games, as in, as in listening to people who are playing these games and listening to their comments and how they feel about things as an important aspect of moving forward. Well, thanks for are we still here? I'm yes, sorry. Are you okay? We've actually gone a little bit over, so we unfortunately don't have time to answer any questions. What are all those gains? But I'm sure I think I remember you mentioning that you're going to share the slides. Yeah. So folks would like to approve them. Well, get them posted along with a brown bag. What's this goes up on the GED website. And I just wanted to thank you as always for giving me fun and entertaining talk. I'm sorry, I went over how far over what time is it? I got to worry about it. So for oh, sorry, Jim. Thank you. Thank you for letting me do that. I really appreciated. Those games are really, really interesting. We can talk about them later if you're interested because they aren't that great games and most of them are not games that people would have found on their own. Unless they were looking for games with disabilities. They are not games they would have necessarily found on their own. Though I think it's and they should play them because they are really, really quite, you know, I mean, there is a range. Not everyone wants to play games for five-year-olds, but how can I do? Well, so thanks very much, Kim. All right. And thank you everyone for attending. Hope you all have a wonderful rest of your day. Okay. Take care. Thanks, everyone. I appreciate you. Thank you.