The Significance of Playing Dress Up Games on Children's Materialism

Nurist Surayya, Djoko Setyabudi
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Ever since, it led to the proliferation of many similar small, fast-paced, online 'casual games' (Pratchett in Rideout et al., 2005), which led to the expansion of pink online role-playing games (Van Reijmersdal et al, 2013). Such games have been very successful in attracting girls and female adolescents (Jansz & Vosmeer, 2009), and are included among the ten most played game genres, online and offline, among children aged six to twelve years in the UK (Pratchett, 2005). Although the dress-up game is a rapidly expanding play genre in the digital sphere, it appears to be one that is understudied (Ludika, 2007).Generally, there are two models of dress up play: Doll-Play and Identity Play. In the doll-play model, the player plays the role of a god-like agency; prettifying a character, which is distinct from the player herself. In Identity play that is also popular as the Avatar or Costume play, the player appears as the character in the game who puts on attire for herself. Hence, unlike Doll-Play, the character in the identity play is merely considered a form of personal expression (Ludika, 2007). Generally, these games simulate clothing and apparels for various possibilities. Dress up games allow players to literally \"clothe for the occasion\", where they can modify the character's appearance for a specific venue or theme (Ludika, 2007). Players can simply use several clothes to mix and match accordingly and try various fashion styles. In this way, these games provide children with opportunities to experiment with different identities (Olson, 2010), thus allowing players to play around with different preferences. Findings have indicated that one of important motives to play a virtual fashion model was because the games can provide the players with opportunities to learn what it is like to be a model (Reijmersdal et al, 2013). Game players can act in ways that are congruent with idealized views of the self and can experience abilities and satisfactions that are difficult to access in everyday life (Rigby & Ryan in Przybylski, 2011, p.2).In these games, players can experiment with numerous virtual-reality simulations of commodities and consumption experiences (Molesworth, 2007, p.2). In these dress up games, players encounter and participate in virtual consumption of various apparels, jewelries and other fashion commodities during gameplay. This may evoke the pleasure of consumption and of having ample material belongings (Mayra, 2008). Although the consumption here exists merely in the imagination, Jenkins (2011) argues that the imagined events have very real effects on material reality as it stimulates the player to behave in particular ways that would allow the imagined things to become tangible in some form or another. Seen in this light, consumption in the virtual worlds may be disguised as marketing tools for promoting greater real-world consumption (Lin, 2008 instigating the player to become materialistic.These arguments appear to justify the proliferating concerns that today's children are becoming more materialistic than ever (Banerjee & Dittmar, 2008). Reports based on surveys of children in the US and the UK reveal that \"being rich\" is children's top ambition (Brown & Schor in Dittmar, 2008). These concerns are mostly related to the negative consequences of materialism that have been empirically correlated with low levels of happiness and life satisfaction (Belk 1984). …","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"European Journal of Social & Behavioural Sciences","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15405/EJSBS.188","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1

Abstract

1. IntroductionThe escalating growth of role playing games (RPG) in the last thirty years has developed into remarkable forms and evolved into various styles, including both digital and non-digital media (Hitchen and Drachen, 2008). One of the prominent growing forms of digital role playing games is the Dress Up game (Ludika, 2007). Dress up games, as well as make over and cooking games, are also popular as "pink games" as these contain more social game elements and are targeted at girls (Jansz & Vosmeer, 2009). The first type of dress up games, called "Barbie Fashion Designer", were introduced in 1997 and had successfully sold over 600 000 copies in its first year (Dickey, 2006). Ever since, it led to the proliferation of many similar small, fast-paced, online 'casual games' (Pratchett in Rideout et al., 2005), which led to the expansion of pink online role-playing games (Van Reijmersdal et al, 2013). Such games have been very successful in attracting girls and female adolescents (Jansz & Vosmeer, 2009), and are included among the ten most played game genres, online and offline, among children aged six to twelve years in the UK (Pratchett, 2005). Although the dress-up game is a rapidly expanding play genre in the digital sphere, it appears to be one that is understudied (Ludika, 2007).Generally, there are two models of dress up play: Doll-Play and Identity Play. In the doll-play model, the player plays the role of a god-like agency; prettifying a character, which is distinct from the player herself. In Identity play that is also popular as the Avatar or Costume play, the player appears as the character in the game who puts on attire for herself. Hence, unlike Doll-Play, the character in the identity play is merely considered a form of personal expression (Ludika, 2007). Generally, these games simulate clothing and apparels for various possibilities. Dress up games allow players to literally "clothe for the occasion", where they can modify the character's appearance for a specific venue or theme (Ludika, 2007). Players can simply use several clothes to mix and match accordingly and try various fashion styles. In this way, these games provide children with opportunities to experiment with different identities (Olson, 2010), thus allowing players to play around with different preferences. Findings have indicated that one of important motives to play a virtual fashion model was because the games can provide the players with opportunities to learn what it is like to be a model (Reijmersdal et al, 2013). Game players can act in ways that are congruent with idealized views of the self and can experience abilities and satisfactions that are difficult to access in everyday life (Rigby & Ryan in Przybylski, 2011, p.2).In these games, players can experiment with numerous virtual-reality simulations of commodities and consumption experiences (Molesworth, 2007, p.2). In these dress up games, players encounter and participate in virtual consumption of various apparels, jewelries and other fashion commodities during gameplay. This may evoke the pleasure of consumption and of having ample material belongings (Mayra, 2008). Although the consumption here exists merely in the imagination, Jenkins (2011) argues that the imagined events have very real effects on material reality as it stimulates the player to behave in particular ways that would allow the imagined things to become tangible in some form or another. Seen in this light, consumption in the virtual worlds may be disguised as marketing tools for promoting greater real-world consumption (Lin, 2008 instigating the player to become materialistic.These arguments appear to justify the proliferating concerns that today's children are becoming more materialistic than ever (Banerjee & Dittmar, 2008). Reports based on surveys of children in the US and the UK reveal that "being rich" is children's top ambition (Brown & Schor in Dittmar, 2008). These concerns are mostly related to the negative consequences of materialism that have been empirically correlated with low levels of happiness and life satisfaction (Belk 1984). …
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装扮游戏对儿童物质主义的影响
1. 在过去的30年里,角色扮演游戏(RPG)不断发展壮大,形成了不同的形式和风格,包括数字和非数字媒体(Hitchen和Drachen, 2008)。数字角色扮演游戏的一个显著增长形式是Dress Up游戏(Ludika, 2007)。装扮类游戏、改装类游戏和烹饪类游戏也被称为“粉色游戏”,因为这些游戏包含更多社交游戏元素,目标用户是女孩。第一款装扮类游戏名为“芭比时装设计师”,于1997年推出,第一年就成功售出60多万份。从那以后,它导致了许多类似的小型,快节奏的在线“休闲游戏”的扩散(Pratchett在Rideout等人,2005年),这导致了粉红色在线角色扮演游戏的扩张(Van Reijmersdal等人,2013年)。这类游戏在吸引女孩和女性青少年方面非常成功(Jansz & Vosmeer, 2009),并且在英国6至12岁的儿童中被列入十大最受欢迎的在线和离线游戏类型(Pratchett, 2005)。尽管装扮游戏在数字领域是一种迅速发展的游戏类型,但它似乎还未得到充分研究。一般来说,装扮游戏有两种模式:玩偶游戏和身份游戏。在玩偶模型中,玩家扮演的是神一样的代理角色;美化角色,这与玩家本身是不同的。在身份游戏(游戏邦注:也就是Avatar或Costume游戏)中,玩家在游戏中扮演为自己穿上服装的角色。因此,与《Doll-Play》不同,身份游戏中的角色只是一种个人表达形式(Ludika, 2007)。一般来说,这些游戏模拟服装和服装的各种可能性。装扮游戏允许玩家“根据场合穿衣服”,他们可以根据特定场合或主题修改角色的外表。玩家可以简单地使用几件衣服进行混合搭配,并尝试各种时尚风格。通过这种方式,这些游戏为孩子们提供了尝试不同身份的机会(Olson, 2010),从而允许玩家以不同的偏好进行游戏。研究结果表明,玩虚拟时装模特的一个重要动机是,游戏可以为玩家提供学习成为模特的机会(Reijmersdal et al, 2013)。游戏玩家可以以与理想化的自我观点一致的方式行事,并且可以体验到在日常生活中难以获得的能力和满足感(Rigby & Ryan in Przybylski, 2011, p.2)。在这些游戏中,玩家可以尝试许多商品和消费体验的虚拟现实模拟(Molesworth, 2007, p.2)。在这些装扮游戏中,玩家在游戏过程中会遇到并参与到各种服装、珠宝和其他时尚商品的虚拟消费中。这可能会唤起消费和拥有充足物质财产的乐趣(Mayra, 2008)。尽管这里的消耗仅仅存在于想象中,但Jenkins(2011)认为,想象中的事件对物质现实具有非常真实的影响,因为它刺激玩家以特定的方式行事,从而使想象中的事物以某种形式变得切实可行。从这个角度来看,虚拟世界中的消费可能会被伪装成促进现实世界消费的营销工具(Lin, 2008),煽动玩家变得物质主义。这些论点似乎证明了今天的孩子比以往任何时候都更加唯物主义的担忧是合理的(Banerjee & Dittmar, 2008)。根据对美国和英国儿童的调查报告显示,“成为富人”是孩子们的最大抱负(Brown & Schor in Dittmar, 2008)。这些担忧主要与物质主义的负面后果有关,这些负面后果与低水平的幸福感和生活满意度有关(Belk 1984)。…
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