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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
"DTD/xhtml1-transitional.dtd">
<html xmlns="http://www.w3.org/1999/xhtml">
<head>
<meta name="GENERATOR" content="TtH 3.67" />
<style type="text/css"> div.p { margin-top: 7pt;}</style>
<style type="text/css"><!--
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span.overacc1 {position: relative; left: .6em; top: -1.2ex;} --></style>
<title> Addiction to Massively Multi-player On-line Games: An Ethical Analysis </title>
</head>
<body>
<h1 align="center">Addiction to Massively Multi-player On-line Games: An Ethical Analysis </h1>
<div class="p"><!----></div>
<h3 align="center">Suraj N. Kurapati<br />
Engineering Ethics<br />
University of California Santa Cruz </h3>
<div class="p"><!----></div>
<h3 align="center">1st June 2004 </h3>
<div class="p"><!----></div>
<h2>Abstract </h2>
<div class="p"><!----></div>
Massively Multi-player On-line Games provide a medium for virtual
social interactions to which an addiction can develop. This paper
examines the nature and causes of game addiction, and the game players',
developers', and publishers' ethical responsibilities in preventing
it.
<div class="p"><!----></div>
<h2>Keywords </h2>
<div class="p"><!----></div>
MMOG, RPG, MMORPG, MUD, social network, avatar, anonymity, persistence,
self-image, addiction, ethics.
<div class="p"><!----></div>
<h2><a name="tth_sEc1">
1</a> Introduction </h2>
<div class="p"><!----></div>
Massively Multi-player On-line Games (MMOGs) are highly interactive
and constantly available virtual worlds in which the social notions
of self-image, fame, power, and wealth are often paralleled without
social barriers that restrict them in real life [<a href="#1" name="CITE1">1</a>,<a href="#3" name="CITE3">3</a>,<a href="#4" name="CITE4">4</a>,<a href="#6" name="CITE6">6</a>,<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
<h3><a name="tth_sEc1.1">
1.1</a> Addictive Behavior </h3>
<div class="p"><!----></div>
The state of addiction is one in which an individual partakes solely
in one activity at the cost of their own welfare [<a href="#8" name="CITE8">8</a>]. Biologically,
the motive for engaging compulsively (where one will "do the activity
over and over even if he/she does not want to" [<a href="#2" name="CITE2">2</a>])
in an activity is to facilitate production of 'beta-endorphins in
the brain, which makes the person feel "high"' [<a href="#2" name="CITE2">2</a>].
Obsession, where a player continually thinks about playing MMOGs [<a href="#2" name="CITE2">2</a>],
compulsiveness, loss of control, denial, low self-esteem, and anxiousness
are characteristics common to addictive behaviors [<a href="#2" name="CITE2">2</a>].
<div class="p"><!----></div>
It is important to note that game addictions are of a purely psychological
nature and that treatment procedures targeted for physical and substance
based addictions may not be effective [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
Addictive behavior begins with an initial, relatively low risk, involvement
in some pleasurable or beneficial activity [<a href="#2" name="CITE2">2</a>]. With time and
repetition, the affected individual will spend more time in the activity
and partake in it with greater frequency, in order to indulge in the
pleasures or benefits it provides [<a href="#2" name="CITE2">2</a>]. These individuals will
reach a state of awareness of their addictive behavior, during which
they can choose to pursue a path to recovery [<a href="#2" name="CITE2">2</a>]. In persistent
MMOGs (see ), this decision is difficult to
make, because by choosing a path to recovery, the player must eventually
sacrifice all of their virtual possessions, relationships, and social
status.
<div class="p"><!----></div>
In a case study [<a href="#4" name="CITE4">4</a>] (circa. 2004) of MMOGs, 12% of 1836 surveyed
players indicated that they play "more than 40 hours per week" [<a href="#4" name="CITE4">4</a>],
while the median amount of time spent playing by all players was 21
to 27 hours per week on average [<a href="#4" name="CITE4">4</a>]. An extreme minority of
ten, conclusively addicted, players stated playing an average of 156
hours per week [<a href="#4" name="CITE4">4</a>], which leaves them only 12 hours during
the week for vital activities such as sleeping and eating.
<div class="p"><!----></div>
In a case study [<a href="#7" name="CITE7">7</a>] (circa. 2002) of Massively Multi-player
On-line Role Playing Games (MMORPGs), strong correlations were found
between the following.
<div class="p"><!----></div>
<ul>
<li> Stress and the likelihood of addiction.
<div class="p"><!----></div>
</li>
<li> Low self-esteem and the likelihood of addiction.
<div class="p"><!----></div>
</li>
<li> Game-play time and the likelihood of addiction.
<div class="p"><!----></div>
</li>
<li> Game-play time and real life problems resulting from game-play.
<div class="p"><!----></div>
</li>
<li> Helplessness and the likelihood of addiction.
<div class="p"><!----></div>
</li>
<li> Game-play time and "withdrawal symptoms" [<a href="#2" name="CITE2">2</a>] such
as anxiety, anger, restlessness, irritability, and frustration [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
</li>
</ul>
Here we see that by simply prolonging the playing time, the player
is more likely to become psychologically dependent on the game; thereby
gradually developing an addiction to it. This observation is key to
understanding how MMOGs can cause addiction.
<div class="p"><!----></div>
<h3><a name="tth_sEc1.2">
1.2</a> Appealing Qualities of MMOGs </h3>
<div class="p"><!----></div>
The primary lure of MMOGs is the empowerment of one's ability to "literally
live out their ideal self" [<a href="#8" name="CITE8">8</a>] whilst enveloped in
the freedom of complete anonymity [<a href="#6" name="CITE6">6</a>]. This and other appealing
qualities of MMOGs, which can cause a player to become psychologically
dependent upon them and thus become addicted, are discussed in following
sections.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.1">
1.2.1</a> Anonymity </h4>
<div class="p"><!----></div>
The anonymous and decentralized nature [<a href="#1" name="CITE1">1</a>] of MMOGs allows
players to partake in social interactions that otherwise may not be
possible in real life. Particularly, the absence of social barriers
such as name, sex, location, age, ethnicity, and social status, allow
unrestricted social interaction between players. For example, some
players act upon their homosexual fantasies by flirting with and seducing
other players in confidence of their anonymity [<a href="#6" name="CITE6">6</a>]. Knowing
that one "will likely never meet anyone from... [a MMOG] in
real life," [<a href="#6" name="CITE6">6</a>] removes the real life risks of social
interaction, such as rejection and humility. Also, anonymity promotes
a sense of intimacy not easily paralleled in real life: "computer-mediated
chat environment facilitates self-disclosure, and many players have
told personal issues or secrets to online friends that they have never
told their real life friends or family" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
The use of an intermediate entity, often called an "avatar" [<a href="#5" name="CITE5">5</a>],
to represent the player in MMOGs aids in achieving anonymity. Avatars
are commonly represented through a mix of graphical, textual, and
audible elements. Also, avatars need not have any resemblance nor
relation to its player (human or otherwise).
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.2">
1.2.2</a> Immersiveness </h4>
<div class="p"><!----></div>
Different from forms of static entertainment, such as novels, television,
cinema, and radio, MMOGs are dynamic and highly interactive, allowing
players to become mentally immersed within them [<a href="#5" name="CITE5">5</a>]. The immersive
quality of MMOGs is not specifically dependent on stunning 3-D graphics:
"Engaging stories [like those in text based MMOGs] mean more
than eye-candy to the immersiveness of environments" [<a href="#5" name="CITE5">5</a>].
MMORPGs immerse players within huge virtual worlds littered with towns,
castles, and other real life constructs, to the point which a player
can feel as if living inside a fully functional alternate reality.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.3">
1.2.3</a> <a name="sub:Persistence">
</a> Persistence </h4>
<div class="p"><!----></div>
The term "persistence" denotes that the state or result
of an activity remains available and unchanged after one disengages
from the activity. When one re-engages in the activity at a later
time, they will find their previous efforts are not undone. MMOGs
can be persistent by storing the state players' avatars on a server
accessible to the game's host or players.
<div class="p"><!----></div>
Persistent MMOGs tend to prolong the duration of game-play more than
non-persistent MMOGs by giving the player a logical incentive (their
efforts will persist) to invest time in developing their avatar. For
example, in a popular non-persistent MMOG named "Counter-Strike,"
a player's avatar is available only for the duration of game-play;
when a player disconnects from the game, their avatar ceases to exist.
<div class="p"><!----></div>
The non-persistent model inhibits wealth and power based addictions
because the effort and time a player expends to improve their avatar's
attributes, such as money for purchasing weapons in "Counter-Strike,"
are to no avail once they disconnect. Therefore, persistent MMOGs
such as text-based MUDs (Multi-User Domains) and multimedia-based
MMORPGs provide an incentive for players to play longer and improve
their avatar's attributes.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.4">
1.2.4</a> Availability </h4>
<div class="p"><!----></div>
Playing MMOGs is different from traditional group interactions where
participant s would decide upon and gather at a common physical location
and time to interact [<a href="#1" name="CITE1">1</a>]. Whereas, the around-the-clock availability
of the Internet encourages people to play MMOGs whenever they want:
"People can participate within the comfort and safety of their
own homes or offices, at any time and at their own convenience" [<a href="#1" name="CITE1">1</a>].
In support, a case study [<a href="#6" name="CITE6">6</a>] (circa. 1992) of the LambdaMOO
MUD, shows that there were at least ten people logged in and actively
conversing during all times of the day [<a href="#6" name="CITE6">6</a>].
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.5">
1.2.5</a> Social Interaction </h4>
<div class="p"><!----></div>
A case study [<a href="#7" name="CITE7">7</a>] (circa. 2002) of MMORPGs, shows that the need
to establish relationships and interact socially, especially motivates
players who:
<div class="p"><!----></div>
<ul>
<li> Have low self-esteem by allowing them to be "Competent and Powerful" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
</li>
<li> Lack "control over their own lives" [<a href="#7" name="CITE7">7</a>] by granting
them control or by promoting a sense of achievement.
<div class="p"><!----></div>
</li>
<li> Feel "Trapped by Circumstances" [<a href="#7" name="CITE7">7</a>] by allowing
them to "Make a Difference" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
</li>
<li> Feel "Undervalued" [<a href="#7" name="CITE7">7</a>] by allowing them to feel
"Valued and Needed" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
</li>
<li> Have difficulty "Making and Sustaining Relationships" [<a href="#7" name="CITE7">7</a>]
by simplifying the process of communication.
<div class="p"><!----></div>
</li>
</ul>
Statistical results from several case studies of MMOGs strongly suggest
that the primary motive for playing MMOGs is to engage in social interaction [<a href="#3" name="CITE3">3</a>,<a href="#6" name="CITE6">6</a>,<a href="#7" name="CITE7">7</a>].
Of these, a study [<a href="#3" name="CITE3">3</a>] (circa. 1998) of the LambdaMOO MUD estimates
that the time spent socially interacting, in comparison to other possible
activities within the game, is 66% among females, 57% among males,
and 59% among all players [<a href="#3" name="CITE3">3</a>]. Thus it can be summarized that
the primary element of attraction for players in MMOGs is the presence
of other players [<a href="#2" name="CITE2">2</a>].
<div class="p"><!----></div>
In real life, an individual's breadth of social interaction is generally
confined within one or more groups (a dense subgraph of social networks
in which few, if any, edges connect to external networks directly [<a href="#1" name="CITE1">1</a>])
such as their family unit, close friends, and colleagues [<a href="#1" name="CITE1">1</a>].
Whereas MMOGs, due to their anonymous and decentralized nature, easily
facilitate social interactions among individuals and groups between
whom social ties may not exist [<a href="#1" name="CITE1">1</a>].
<div class="p"><!----></div>
Because on-line relationships "develop on the basis of shared
interests rather than be[coming] stunted at the onset by differences
in social status" [<a href="#1" name="CITE1">1</a>], on-line relationships may be
more meaningful and longer lasting than real life relationships [<a href="#1" name="CITE1">1</a>].
This provides one reason why players spend time socializing in MMOGs
rather than performing other activities.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.6">
1.2.6</a> Self-Image </h4>
<div class="p"><!----></div>
Among the social notions borrowed from real life into MMOGs are "social
pressures to maintain the accountability afforded by a single primary
identity [a player's avatar]" [<a href="#3" name="CITE3">3</a>]. Contrary to such
pressures, many players simply become attached to their virtual personae
because it boosts their self-esteem: "every hour that they spend
in these games helps to build their sense of worth" [<a href="#8" name="CITE8">8</a>].
<div class="p"><!----></div>
However the notion of self-image is quite loose in MMOGs as avatars
are not necessarily an exact representation of their player. For example,
in the LambdaMOO MUD, players are free to choose avatars of various
sexual orientations, species, and other criteria via textual avatar
descriptions [<a href="#3" name="CITE3">3</a>]. Graphics-based MMOGs on the other hand force
players to choose from a set of predefined avatars that may represent
"idealized/normalized bodies" [<a href="#5" name="CITE5">5</a>].
<div class="p"><!----></div>
Having an avatar that has an idealized body may appeal to "Individuals
who do not like the way they look in real life" [<a href="#7" name="CITE7">7</a>]
and allows them to "throw away their flesh and bone bodies for
a few hours and live in the mask of their attractively-shaped avatars" [<a href="#7" name="CITE7">7</a>].
In such players, low self-esteem can also result as "there is
permeability between these spheres of interaction [the game world
and real life]... idealized representations can result in a further
denigration of unusual presentations of physical bodies" [<a href="#5" name="CITE5">5</a>].
Such players may develop a strong emotional dependence on their avatar
because it represents their true intellect and personality without
their supposed unattractiveness. Such dependence may develop into
an obsession, as the player incessantly attempts to escape reality
and immerse themselves within MMOGs.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.7">
1.2.7</a> Mirroring Reality </h4>
<div class="p"><!----></div>
As do real life communities, those within MMOGs tend to conform to
a set of rules, virtues, morals, and ethics in order to safeguard
the freedom to socially interact [<a href="#1" name="CITE1">1</a>,<a href="#3" name="CITE3">3</a>,<a href="#6" name="CITE6">6</a>]. For example, it is
common among MUD communities to establish a code of manners which
defines acceptable social interaction and discourages unwanted real
life elements such as discrimination and harassment [<a href="#3" name="CITE3">3</a>,<a href="#6" name="CITE6">6</a>].
<div class="p"><!----></div>
Some MUD communities give special rights to chosen players (known
as "Wizards" in the LambdaMOO MUD [<a href="#6" name="CITE6">6</a>]) to enforce
their codes of conduct [<a href="#6" name="CITE6">6</a>]. However, just as in real life,
corruption can creep into MMOG societies: "MUD wizards who demand
deference... severely punish those who transgress... there is an ego
boost to those who wield even simple administrative power" [<a href="#6" name="CITE6">6</a>].
The glory of commanding others as a wizard would certainly appeal
to power and control motivated players.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.8">
1.2.8</a> Wealth and Power </h4>
<div class="p"><!----></div>
The real life psychological chains of inferiority, helplessness, dependence,
and ridicule often disappear in MMOGs. Individuals of low self-esteem
or social status often find great pleasure and stress relief in MMOGs
because they "can have complete control over it [the game world
and computers in general]... it does what it is told and is always
predictable in its behavior or action" [<a href="#2" name="CITE2">2</a>].
<div class="p"><!----></div>
MMOGs are often uplifting and bring out the qualities of such players
that are otherwise not acknowledged in real life: "An individual
who is ordered around in his everyday life may be able to lead a group
and be admired for his abilities" [<a href="#7" name="CITE7">7</a>]. Such players
can easily become hooked to the power they can wield in MMOGs and
may begin to expect no less in real life: "[they] feel anxious
if the[y] do not have control over their environment" [<a href="#2" name="CITE2">2</a>].
<div class="p"><!----></div>
Wealth motivated players are keen upon maximizing the attributes of
their avatar. In Role Playing Games (RPGs), this is often achieved
by having players gather certain items or gain experience by performing
certain tasks. RPGs which incorporate these factors tend to hook wealth-motivated
players: "[employing an] elaborate rewards cycle... works like
a carrot on a stick" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
Power and control motivated players are known to use bots ("software
robots" [<a href="#5" name="CITE5">5</a>]) to covertly spy [<a href="#5" name="CITE5">5</a>] upon, gather
data [<a href="#5" name="CITE5">5</a>] (often statistical marketing data), and silence unwanted
actions (generally the right to free speech and assembly) of other
players. However it can be frustrating, if not dangerous, when MMOGs
(especially those with a violent theme) mimic real life too closely:
"Just as an ornate picture frame can distract from the beauty
of the picture, focusing on making an environment mirror the everyday
world can inhibit smooth methods of communication" [<a href="#5" name="CITE5">5</a>].
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.9">
1.2.9</a> An Escape from Reality </h4>
<div class="p"><!----></div>
A case study [<a href="#7" name="CITE7">7</a>] (circa. 2002) of MMORPGs found that the need
for players to immerse themselves in games, motivates players who
are "[of] poor self-image" by allowing them to become
"beautiful and attractive", and "[are undergoing]
stress and RL [real life] problems" by allowing them to
avoid or escape from their troubles.
<div class="p"><!----></div>
Some players simply play to escape from, and consequently neglect,
their real life troubles and responsibilities: "an addictive behavior
functions by empowering the individual and thereby easing the sense
of helplessness that they may be experiencing" [<a href="#7" name="CITE7">7</a>].
For example, success oriented people develop a fear of not producing
or achieving perfect work, and may postpone their duties altogether
by playing MMOGs when things do not happen according to plan. As a
deadline nears, they will increasingly immerse themselves within the
MMOG as to avoid their work. In fact, case studies of the LambdaMOO
MUD have found a correlation between excessive playing time and stressful
exam periods among university students [<a href="#3" name="CITE3">3</a>] and between stress
and game addiction [<a href="#4" name="CITE4">4</a>]. If such cycles of procrastination (by
way of playing MMOGs) and production of poor quality work continue,
a rapid erosion of self-esteem may result. In which case the affected
individual will withdraw from real life social interactions to hide
their shame.
<div class="p"><!----></div>
<h4><a name="tth_sEc1.2.10">
1.2.10</a> Commitments </h4>
<div class="p"><!----></div>
Case studies of several MMOGs show that players do not typically engage
in multiple MMOGs simultaneously because of a strong commitment to
maintain the social status and self-image that is associated with
their avatar [<a href="#3" name="CITE3">3</a>,<a href="#4" name="CITE4">4</a>,<a href="#6" name="CITE6">6</a>]. A case study [<a href="#4" name="CITE4">4</a>] (circa. 2004)
of MMORPGs shows that players who are members of a cooperative group
(known as "clans" and "guilds") play more
hours per week than others. Also, playing time among cooperative group
members strongly correlates with the amount of members in the group [<a href="#4" name="CITE4">4</a>].
One reason for this correlation is peer pressure: "a player now
plays to catch up or remain around the same level [a quantitative
representation of an avatar] as their friends... the pace is set by
the player that levels [improves their avatar] the most, and often
times causes a chain reaction of others trying to catch up" [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
Such demanding commitments can take away time from real life responsibilities
such as work, school, and family, whilst possibly hindering the player's
physical and social qualities in real life.
<div class="p"><!----></div>
<h3><a name="tth_sEc1.3">
1.3</a> Treatment </h3>
<div class="p"><!----></div>
There is no certain remedy to game addiction nor any agreement upon
the types of treatment because it is not a substance or physical based
addiction [<a href="#2" name="CITE2">2</a>]. In fact, game additions are purely psychological
and thus professional counsel from a psychiatrist may be more effective
than other forms of treatment [<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
<h2><a name="tth_sEc2">
2</a> An Ethical Analysis </h2>
<div class="p"><!----></div>
<h3><a name="tth_sEc2.1">
2.1</a> The Subject of Analysis </h3>
<div class="p"><!----></div>
Since MMOGs are very diverse and, in general, are decentralized (where
players are not forced to play in specific servers) it is difficult
to identify stake-holders who may benefit from prolonged playing time.
For this reason, MMORPGs will be exclusively analyzed using the procedure
outlined in [<a href="#9" name="CITE9">9</a>,<a href="#10" name="CITE10">10</a>], due to their unique centralized (where
players can play only in the publisher' s servers) subscription based
model of distribution. In this model, the primary stake-holder who
can financially benefit from prolonged playing time is the game's
publisher.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.2">
2.2</a> The Scenario of Analysis </h3>
<div class="p"><!----></div>
In this scenario and the analysis that follows, the pronouns "he",
"him", and "his" should be read as "he
or she", "him or her", and "his or her"
respectively. This scenario proposes a relatively strong development
of game addiction. Thus it is important to note that in real life,
only a minority of players become addicted [<a href="#6" name="CITE6">6</a>,<a href="#7" name="CITE7">7</a>].
<div class="p"><!----></div>
Imagine a consumer named Sam who hears about a fantastic new MMORPG
named F<font size="-2">OO</font> that is published by the B<font size="-2">AR</font> corporation.
Sam purchases a copy of F<font size="-2">OO</font> at a local computer shop, installs
it on his home computer system, and starts up the game. Sam sees a
lengthy legal statement, which denies B<font size="-2">AR</font>'s liability in case
any of a plethora of misfortunes happen to affect him, to which he
must agree before playing. Among other details, the legal statement
specifies that avatars and their possessions become the property of
B<font size="-2">AR</font> once players cancel their subscription. Sam carefully examines
the legal statement and acknowledges it. He then proceeds to connect
to B<font size="-2">AR</font>'s server. Once connected, he chooses an avatar and begins
an epic journey into the virtual world of F<font size="-2">OO</font>.
<div class="p"><!----></div>
Since he is a new customer, Sam receives a complementary one week
trial period during which he is allowed to play on B<font size="-2">AR</font>'s server.
Note that F<font size="-2">OO</font> can only be played by connecting to B<font size="-2">AR</font>'s
server. After a week, Sam decides that he would like to continue playing
F<font size="-2">OO</font> and purchases a subscription. Sam is periodically billed
for the subscription.
<div class="p"><!----></div>
While playing F<font size="-2">OO</font>, Sam socializes with other players, explores
the game world, improves his avatar's attributes, and embarks on wonderful
adventures to find rare and valuable items. Much of the technical
factors contributing to his increased playing are due to the game's
reward system, human player interface, procedures for disconnecting,
and the procedures for growth of items', avatars', and locations'
diversity and population.
<div class="p"><!----></div>
The game's "rewards system" [<a href="#7" name="CITE7">7</a>] is designed so
that each time an avatar increases its level by one unit, the amount
of experience an avatar needs to increase to the next level grows
exponentially [<a href="#7" name="CITE7">7</a>]. This system also rewards players who have
kept their subscriptions for a certain period of time by granting
them exclusive access to beta test their latest expansion game for
F<font size="-2">OO</font>, aptly named "Foo: Return of the Baz."
<div class="p"><!----></div>
The game's human player interface demands excessive mouse clicking
and typing to perform actions within the game. Sam notes that the
finger which he uses to click the mouse, often pains and becomes swollen.
Also, Sam has pain in his wrists because the game requires him to
either type in-game commands or use lengthy shortcuts which span his
keyboard rather uncomfortably.
<div class="p"><!----></div>
The procedures for a player log-out dictate that an avatar must travel
to a specific location in order to properly log-out. Otherwise no
guarantees are made about the avatar's state during the next time
such players join B<font size="-2">AR</font>'s server.
<div class="p"><!----></div>
The procedures for game growth dictate that the game world will be
periodically updated in new and exciting ways. Players will not be
notified of the changes that were made during an update nor the time
at which an update occurred. During an update, a unique town containing
unique, rare, and powerful items will be added to the game world.
Players must explore the game world to seek out the treasures that
await in such towns.
<div class="p"><!----></div>
Over several months, Sam increasingly spends significant amounts of
time playing F<font size="-2">OO</font> instead of doing other activities. Sam no
longer eats dinner in the evening nor participates in recreational
activities with family members, nor joins colleagues at the cafeteria
for lunch. Sam begins to purposely stay at home and avoid his occupation
by making excuses to his manager. Sam is often tired because he doesn't
get enough sleep. When Sam is not playing F<font size="-2">OO</font>, he is perceived
as a pale and emotion-less apparition by his family.
<div class="p"><!----></div>
Sam soon realizes that he is addicted to F<font size="-2">OO</font> but decides not
to cancel his subscription because all of his hard work and dedication
in improving his avatar, its attributes, items, social status, and
all of his friends in F<font size="-2">OO</font> would be lost. Since all of the game
data is stored exclusively on B<font size="-2">AR</font>'s server, there is no way
for Sam to keep a copy of his avatar's data.
<div class="p"><!----></div>
As a result of Sam's choice to not cancel his subscription, his addiction
has gotten worse. Sam now exclusively spends all of his time playing
F<font size="-2">OO</font> and neglects his real life responsibilities. Consequently,
Sam loses his job and is unable to provide for his family. Sam soon
becomes divorced and his children are taken away by his spouse. In
a matter of weeks, Sam is hospitalized because he has become so immersed
in F<font size="-2">OO</font> that he has not eaten nor slept for four days. Sam is
charged with, and unable to pay for, the heavy medical bills for his
hospitalization nor the subscription bill for F<font size="-2">OO</font>. Thus, B<font size="-2">AR</font>
assumes Sam's subscription is canceled and claims ownership of his
avatar. Sam's real life is ruined as he is forever haunted by the
loss of his job, family ties, respect of his colleagues, social ties
with friends in F<font size="-2">OO</font>, and his beloved avatar.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.3">
2.3</a> Participants and Their Actions </h3>
<div class="p"><!----></div>
<h4><a name="tth_sEc2.3.1">
2.3.1</a> Primary Participants </h4>
<div class="p"><!----></div>
Primary participants, "who have taken specific, obvious actions" [<a href="#10" name="CITE10">10</a>],
are Sam and B<font size="-2">AR</font> corporation. Sam has taken the action to purchase
F<font size="-2">OO</font>, play F<font size="-2">OO</font>, purchase a subscription for F<font size="-2">OO</font>,
and consequently has developed an addiction to it.
<div class="p"><!----></div>
The B<font size="-2">AR</font> corporation has taken actions to prolong the duration
of players' game-play time by introducing inconvenient or immersive
elements within the game and it's human interface. The motive for
taking such action lies in the simple fact that causing an addiction
among players will ensure that the players incessantly maintain a
subscription with B<font size="-2">AR</font> corporation; thus B<font size="-2">AR</font> corporation
benefits financially by promoting game addiction.
<div class="p"><!----></div>
<h4><a name="tth_sEc2.3.2">
2.3.2</a> Secondary Participants </h4>
<div class="p"><!----></div>
Secondary participants, "who have been acted on or affected by
actions of the primary participants" [<a href="#10" name="CITE10">10</a>], are Sam's
family members. The game's features inherently prolong game-play time
and reward players who become immersed within it. Thus players spend
more time in the game, develop a psychological dependence to it, and
eventually develop an addiction.
<div class="p"><!----></div>
<h4><a name="tth_sEc2.3.3">
2.3.3</a> Implied Participants </h4>
<div class="p"><!----></div>
Implied participants, "who are not directly identified but may
have a stake in the outcome" [<a href="#10" name="CITE10">10</a>], are Sam's colleagues,
Sam's friends in F<font size="-2">OO</font>, and society in general.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.4">
2.4</a> Assumptions </h3>
<div class="p"><!----></div>
Society in general, Sam's colleagues at Sam's work-place, and Sam's
friends in F<font size="-2">OO</font>, are eliminated from further analysis because
their "interests are only minimally involved" [<a href="#10" name="CITE10">10</a>].
These participants are not so directly hindered by Sam's absence because
they can interact and form relationships with people other than Sam
with minimal psychological loss.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.5">
2.5</a> Legal Considerations </h3>
<div class="p"><!----></div>
The first amendment of the U.S. Constitution supports Sam's choice
to purchase and play F<font size="-2">OO</font> because it makes Sam happy and enriches
his life. However, there are no direct laws, as of this writing, against
purposely making a game immersive as to addict players.
<div class="p"><!----></div>
The lengthy legal statement to which Sam had voluntarily agreed to
removes any legal liability of B<font size="-2">AR</font> corporation in easing his
misfortune.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.6">
2.6</a> Alternative Actions </h3>
<div class="p"><!----></div>
The B<font size="-2">AR</font> corporation had the option of allowing a grace period
in which Sam had a chance to renew his subscription, or they could
have given Sam's avatar data representation to him, possibly for a
fee. They also had the option to educate consumers about the psychological
dependence that their product is known to cause by placing a warning
label on their shrink wrapped product container. They could have removed
the obstacles (such as disconnection procedures and uncomfortable
human interface), if not the immersive elements, which prolong game-play
time.
<div class="p"><!----></div>
B<font size="-2">AR</font>'s game developers can design the game with usability in
mind, simplify the user interface and disconnection procedures, and
decrease the exponential growth rate for gaining a new level for avatars.
<div class="p"><!----></div>
Sam had the option to limit game-play by focusing on other activities
or to stop playing altogether by canceling his subscription. Another
option is for Sam to begin playing a different game in order to reduce
his psychological dependence on F<font size="-2">OO</font>.
<div class="p"><!----></div>
Sam's family had the option to discuss with him, his psychological
dependence to F<font size="-2">OO</font> and the symptoms of addiction which he was
exhibiting. They also had the option of suggesting a psychiatrist
whom Sam could consult about his addiction. As an extreme option,
they could discard Sam's computer system and cancel his subscription
as a means to stop his game-play altogether.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.7">
2.7</a> Justification of Alternatives </h3>
<div class="p"><!----></div>
The B<font size="-2">AR</font> corporation could allow a grace period for renewing
a player's subscription because it aids their business efforts to
maintain ongoing relations with their customers. However, they cannot
easily give Sam's avatar data representation to him because that would
expose their proprietary avatar data representation format to unwanted
parties, such as business competitors and dishonest players. They
could educate players and mark their product with warning labels about
game addiction, and provide resources to limit game-play, and remove
elements devised to prolong game-play because by doing so they can
establish an image of benevolence and trust among and empathy towards
their customers and the general public.
<div class="p"><!----></div>
B<font size="-2">AR</font>'s game developers can also help innovate their very user-friendly
and comfortable human interface into B<font size="-2">AR</font>'s games. This will
also help with creating an image of excellence in producing high-quality
products for B<font size="-2">AR</font>.
<div class="p"><!----></div>
Sam could limit or stop playing altogether in order to focus on Sam's
real life responsibilities. For example, Sam can play F<font size="-2">OO</font> only
on weekends or for a limited amount of time each day. By doing so,
Sam would be better able to fulfill his real life responsibilities.
<div class="p"><!----></div>
Sam's family could help stop his addiction by various means, because
they have a righteous obligation to ensuring Sam's well being as his
family members. They also have a stake in securing the financial,
emotional, and psychological welfare of the family unit as a whole.
<div class="p"><!----></div>
The following rationalizations will be removed from further analysis
because they are unlikely to be performed by the participants. B<font size="-2">AR</font>
will not educate nor warn their customers about game addiction because
it will drive away their potential consumer base (parents would not
allow their children to play). Also, B<font size="-2">AR</font> has an obligation
to stay in business for the financial sake of their family and employees.
The B<font size="-2">AR</font> game developers have an obligation to financially support
their families and thus may not take action against B<font size="-2">AR</font> when
ordered to implement game-play prolonging elements. Sam cannot easily
limit or stop playing F<font size="-2">OO</font> via his own will power because Sam
is addicted to it.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.8">
2.8</a> Key Responsibilities of Involved Participants </h3>
<div class="p"><!----></div>
The following statements provide the basis for previously listed alternative
options and their justifications.
<div class="p"><!----></div>
<ul>
<li> Game publishers have a respect-for-persons ethical obligation to educate
and provide resources for all players about preventing game addiction.
<div class="p"><!----></div>
</li>
<li> Game developers, acting upon a utilitarian and respect-for-persons
ethical obligations to ensure the health and well being of players,
must find alternate means of keeping players' interests without using
obtrusive game elements.
<div class="p"><!----></div>
</li>
<li> Players, acting upon a respect-for-persons obligation on their own
behalf, must seek professional psychiatric help when they cannot limit
or stop game-play via their own will power.
<div class="p"><!----></div>
</li>
</ul>
<div class="p"><!----></div>
<h3><a name="tth_sEc2.9">
2.9</a> Questions for Further Research </h3>
<div class="p"><!----></div>
The following ethical questions are not discussed in this paper. Instead,
they provide motivation for further research.
<div class="p"><!----></div>
<ul>
<li> What ethical issues are involved in poorly designed human interfaces?
<div class="p"><!----></div>
</li>
<li> Does this scenario still hold when considered with international laws?
with domestic laws of foreign countries?
<div class="p"><!----></div>
</li>
<li> Who is ethically responsible for breaking apart Sam's family?
<div class="p"><!----></div>
</li>
<li> Do the benefits of game-play out-weigh the physical and psychological
risks?
<div class="p"><!----></div>
</li>
<li> Would the scenario be any different if Sam purchased a non-persistent
MMOG?
<div class="p"><!----></div>
</li>
</ul>
<div class="p"><!----></div>
<h3><a name="tth_sEc2.10">
2.10</a> A Real-Life Analogy </h3>
<div class="p"><!----></div>
The centralized subscriber model of distribution is fairly common
in real life. For example, consider a successful hotel and casino
(both located in the Same building) in Las Vegas, USA.
<div class="p"><!----></div>
This establishment has its physical architecture designed such that
a customer must walk through the casino to reach various venues of
interest in the hotel. This increases the amount of time a customer
spends in the casino and thus increases the probability that the customer
will gamble. If the customer gambles incessantly, possibly due to
addiction, the casino benefits financially.
<div class="p"><!----></div>
The casino also employs a rewards system that attracts and motivates
customers to gamble. For example, the casino may purposely set up
their games to be quite easy for a customer to win a few times. But
when a substantial amount of money can be gained by or put forth by
the customer, they can easily make the customer lose.
<div class="p"><!----></div>
The immersiveness of a casino is so great that one cannot perform
simple tasks such as determining the time of day (casinos do not have
wall clocks) nor weather conditions outside the casino whilst one
is inside the casino. F<font size="-2">OO</font> d, drinks, and other life necessities
are constantly available in the casino so that one does not need to
depart from the preoccupation of gambling.
<div class="p"><!----></div>
<h3><a name="tth_sEc2.11">
2.11</a> Relevant Codes of Ethics </h3>
<div class="p"><!----></div>
The following are relevant codes of ethics that apply to this scenario.
<div class="p"><!----></div>
a. "Contribute to society and human well-being" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
a.1 "An essential aim of computing professionals is to minimize
negative consequences of computing systems, including threats to health
and safety. When designing or implementing systems, computing professionals
must attempt to ensure that the products of their efforts will be
used in socially responsible ways, will meet social needs, and will
avoid harmful effects to health and welfare" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
a.2 "accept responsibility in making engineering decisions consistent
with the safety, health and welfare of the public, and to disclose
promptly factors that might endanger the public or the environment" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
b. "Avoid harm to others" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
b.1 "avoid injuring others, their property, reputation, or employment
by false or malicious action" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
c. "Be honest and trustworthy" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
c.1 "The honest computing professional will not make deliberately
false or deceptive claims about a system or system design, but will
instead provide full disclosure of all pertinent system limitations
and problems" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
d. "Give proper credit for intellectual property" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
d.1 "credit properly the contributions of others" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
e. "Strive to achieve the highest quality, effectiveness and dignity
in both the process and products of professional work" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
e.1 "maintain and improve our technical competence" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
f. "Accept and provide appropriate professional review" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
f.1 "accept, and offer honest criticism of technical work, to
acknowledge and correct errors" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
g. "Give comprehensive and thorough evaluations of computer systems
and their impacts, including analysis of possible risks" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
g.1 "any signs of danger from systems must be reported to those
who have opportunity and/or responsibility to resolve them" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
g.2 "avoid real or perceived conflicts of interest whenever possible,
and to disclose them to affected parties when they do exist" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
h. "Improve public understanding of computing and its consequences" [<a href="#11" name="CITE11">11</a>].
<div class="p"><!----></div>
h.1 "improve the understanding of technology, its appropriate
application, and potential consequences" [<a href="#12" name="CITE12">12</a>].
<div class="p"><!----></div>
<h3><a name="tth_sEc2.12">
2.12</a> Comparison with Codes of Ethics </h3>
<div class="p"><!----></div>
The relevant portions of the codes discussed above are now applied
to the actions taken by the relevant participants: B<font size="-2">AR</font>, B<font size="-2">AR</font>'s
game developers, Sam, and Sam's family.
<div class="p"><!----></div>
<h4><a name="tth_sEc2.12.1">
2.12.1</a> The Game-Publisher </h4>
<div class="p"><!----></div>
B<font size="-2">AR</font> has a respect-for-persons ethical responsibility to educate
the public about the potential addictive behavior that may result
with the use of their product (codes c, c.1, g, g.1, g.2, h, h.1).
<div class="p"><!----></div>
When receiving complaints about F<font size="-2">OO</font>'s inconvenient human interface,
which may cause repetitive stress injuries (RSI) to players, B<font size="-2">AR</font>
must attempt to improve its product by incorporating solutions to
such complaints (codes a.2, e, e.1, f, f.1).
<div class="p"><!----></div>
B<font size="-2">AR</font> must not incorporate inherent biases, such as obtrusive
and immersive elements, whose sole purpose is to prolong playing time
for B<font size="-2">AR</font>'s financial benefits, because they physically harm
the player via RSI and increase the risk of the player becoming addicted
to the game (codes a, a.1, a.2, b, b.1).
<div class="p"><!----></div>
B<font size="-2">AR</font> must not use an avatar of a player who is no longer subscribed
without giving credit to the player (codes d, d.1). In a sense, the
fact that B<font size="-2">AR</font> can seize a player's avatar seems to be more
along the lines of theft of intellectual property. For example, consider
an art supply vendor who allows artists to use the vendor's facilities
for painting. Once an artist cancels his or her membership, the vendor
seizes all of the artist's paintings created at the vendor's facility.
In the primary scenario of analysis, such an action by B<font size="-2">AR</font>
is legal, although not necessarily ethical, because Sam had agreed
to this condition when Sam first played F<font size="-2">OO</font> (codes d, d.1).
<div class="p"><!----></div>
<h4><a name="tth_sEc2.12.2">
2.12.2</a> The Game-Developer </h4>
<div class="p"><!----></div>
It is the professional responsibility of B<font size="-2">AR</font>'s game developers
to notify their management about the potential risks (RSI and addiction)
that may affect players with the use of inherent biases (obtrusive
and immersive elements) used in the game (codes b, b.1, c, c.1, e,
e.1, g, g.1, g.2). Since MMORPGs are played by hundreds of thousands
of players, a utilitarian justification may prove effective when convincing
management to remove the game's inherent biases. Doing so will make
the game more accessible in terms of a player's physical ability to
use the game's human interface and reduce physical harm to players
(codes a, a.1, a.2).
<div class="p"><!----></div>
<h4><a name="tth_sEc2.12.3">
2.12.3</a> The Game-Player </h4>
<div class="p"><!----></div>
Playing MMOGs, if done so in moderation, may improve the quality of
the player's life (code a). However, it is the player's responsibility
to ensure that their real life responsibilities are handled with priority
over game-play and that they identify and restrain addictive behavior
if it develops. During this process, it is helpful if the player is
honest in the disclosure of their game-play habits (codes b, b.1,
c, c.1).
<div class="p"><!----></div>
<h4><a name="tth_sEc2.12.4">
2.12.4</a> The Immediate Family </h4>
<div class="p"><!----></div>
Identifying addictive behavior in the player, providing emotional
and psychological support, and aiding the player in overcoming it