Big Breasts and Bad Guys: Depictions of Gender and Race in Video Games

Measuring positive breast experience: Development and psychometric evaluation of the Breast Appreciation Scale (BrAS)

Existing measures of women's breasted experiences have focused on negative experiences, which de-centres women's meaning-making and relationships with their breasts. To rectify this, we developed a novel measure of women's positive breasted experiences, the Breast Appreciation Scale (BrAS), and examined the psychometric properties of this novel measure across four studies. Study 1, with 307 United Kingdom women, led to the extraction of a 9-item, unidimensional model of BrAS scores that showed adequate composite reliability and 4-week test-retest reliability. Study 2, with 297 United Kingdom women, showed that the unidimensional model of BrAS scores had adequate fit and evidenced convergent, concurrent, discriminant, and incremental validity. Study 3, with 295 women from the United Kingdom, provided additional support for factorial validity and concurrent validity, and additionally provided evidence of known-groups validity insofar as mothers had greater breast appreciation than non-mothers. Study 4 showed that the BrAS was scalar invariant across women from Australia, the United Kingdom, and the United States (N = 573) and provided additional evidence of concurrent validity. Based on these results, we conclude that the BrAS is a psychometrically valid measure of women's positive breasted experiences that can be utilised in future research.

How the Visual Design of Video Game Antagonists Affects Perception of Morality

The visual design of antagonists—typically thought of as “bad guys”—is crucial for game design. Antagonists are key to providing the backdrop to a game's setting and motivating a player's actions. The visual representation of antagonists is important because it affects player expectations about the character's personality and potential actions. Particularly important is how players perceive an antagonist's morality. For example, an antagonist appearing disloyal might foreshadow betrayal; a character who looks cruel suggests that tough fights are ahead; or, a player might be surprised when a friendly looking character attacks them. Today, the art of designing character morality is informed by archetypal elements, existing characters, and the artist's own background. However, little work has provided insight into how an antagonist's appearance can lead players to make moral judgments. Using Mechanical Turk, we collected participant ratings on a stimulus image set of 105 antagonists from popular video games. The results of our work provide insights into how the visual attributes of antagonists can influence judgments of character morality. Our findings provide a valuable new lens for understanding and deepening an important aspect of game design. Our results can be used to help ensure that a particular character design has the best chance to be universally seen as “evil,” or to help create more complex and conflicted emotional experiences through carefully designed characters that do not appear to be bad. Our research extends current research practices that seek to build an understanding of game design and provides exciting new directions for exploring how design and aesthetic practices can be better studied and supported.