Harmful Content On The Internet And In Video Games

Harmful Content on the Internet and in Video Games

The Internet has become an indispensable tool for communications, research and commerce. But this report addresses the growing public concern at the Internet's dark side: the easy availability of hardcore pornography, which people may find offensive, the uploading by ordinary people of film of real fights, bullying or alleged rape, or the setting up of websites encouraging others to follow extreme diets, or self-harm, or even commit suicide. In particular, there is increasing anxiety among parents about the use of social networking sites and chatrooms for grooming and sexual predation. The Committee welcomes the Government-commissioned report by Dr Tanya Byron on the risks posed by the Internet to children, and agrees that a UK Council for Child Internet Safety should be established. Sites which host user-generated content-typically photos and videos uploaded by members of the public-have taken some steps to set minimum standards for that content. The Committee recommends that proactive review of content should be standard practice for such sites, and calls for provision of high profile facilities for reporting abuse or unwelcome behaviour directly to law enforcement and support organisations. There is a distinct issue about labelling of video games to indicate the nature of their content. Two systems currently exist side by side: the industry awards its own ratings, and the British Board of Film Classification awards classifications to a small number of games which feature content unsuitable for children. The dual system is confusing, and BBFC should have responsibility for rating games with content appropriate for adults or teenagers.

Video Game Policy

This book analyzes the effect of policy on the digital game complex: government, industry, corporations, distributors, players, and the like. Contributors argue that digital games are not created nor consumed outside of the complex power relationships that dictate the full production and distribution cycles, and that we need to consider those relationships in order to effectively "read" and analyze digital games. Through examining a selection of policies, e.g. the Australian government’s refusal (until recently) to allow an R18 rating for digital games, Blizzard’s policy in regards to intellectual property, Electronic Arts’ corporate policy for downloadable content (DLC), they show how policy, that is to say the rules governing the production, distribution and consumption of digital games, has a tangible effect upon our understanding of the digital game medium.

HC Paper 353-II House of Commons Culture, Media and Sport Committee: Harmful Content on the Internet and in Video Games, Volume II