In your own words, describe the ethical dilemma created by video games in the 1990s. How would you characterize the ethical responsibility of video game creators?

The exploration and explanation of what is virtuous has a long history tracing back to ancient reflections of Plato and Aristotle on moral lessons displayed in the art of tragedy (Haidt & Joseph, 2007). Video games might be an even stronger medium to challenge our moral thinking because their interactive nature allows for active participation in meaningful dilemma situations (Schulzke, 2009). So far, theoretical analyses were made, for example, on the infamous “No Russian” level from Call of Duty: Modern Warfare 2 that lets the player shoot innocent civilians (Oliver et al., 2015). Other examples include Fable III (Schrier, 2012), where players need to decide between several good or evil options, or Spec Ops: The Line (Heron & Belford, 2014a) that confronts players with the consequences of using white phosphorus on civilians. In addition, scholars collected empirical data to illustrate how moral decision-making in video games evolves (e.g., Grizzard, Tamborini, Lewis, Wang, & Prabhu, 2014; Joeckel, Bowman, & Dogruel, 2012; Krcmar & Eden, 2017). In summary, players can enjoy immoral or violent actions in video games, if they are morally disengaged by certain cues. However, if disengagement mechanisms are absent, players rely on their “real-life” moral codes that guide their in-game behavior (Tamborini et al., 2018; Weaver & Lewis, 2012). Unfortunately, studies on moral processing in video games are still rare and lack a firm theoretical groundwork, which is partly because of their rather recent status as a field of research that is additionally overshadowed by studies on violence (Anderson et al., 2010; Ferguson, 2007). Therefore, the goal of the current project is twofold. First, it aims at providing insights that integrate with already established theories on eudaimonic entertainment (e.g., meaningful play; Oliver et al., 2015) and moral perception (e.g., moral disengagement; Bandura, 1990; Hartmann & Vorderer, 2010). In the current study, morally relevant gaming is seen as a subtype of eudaimonic play. Although games can be deep and meaningful without featuring any moral content, scenes that are heavily morally laden are explicitly designed to be eudaimonic. Second, the present study is thought to expand the current understanding of moral gameplay by factors that we believe have been overlooked (e.g., identification, reversibility).

To the best of our knowledge, only one other study reported moral decision-making in video games through interviewing players (Consalvo, Busch, & Jong, 2016). Based on their study conducted in 2012, the authors concluded that no clear-cut answer can be given on gaming morality, but that several elements such as narrative, character design, and mechanics should be considered as factors that influence the processing. However, the present study substantially goes beyond a mere replication of Consalvo et al. (2016), since our main focus is to broaden the theoretical foundations of the topic and to provide an up-to-date overview of scenarios that are ethically relevant to players. This is especially advantageous as deep morally relevant topics have recently become increasingly popular in the video game industry (Weaver & Lewis, 2012). In summary, the abovementioned benefits could lead to an even better understanding of moral processing (in gaming contexts) and eventually help to develop a firm theoretical groundwork for further experimental research

you can write how much you want :)

the correct answer is c. he speculates on what might happen at given points in the future in a world without people. alan h. weisman is an american author, professor, and journalist. authors organize their information with a purpose. they present their ideas in an organized way. this is called text structure. weisman uses text structure so as to improve overall comprehension and to prove his points.

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i think i seen this before