Sex workers, like any other kind of group of professionals, are a diverse and dynamic group. As we have previously discussed in this blog, different media forms, from newspapers to video games, often depict sex workers as homogeneous. Furthermore, these representations are usually negative, associating prostitutes with social ills and perpetuating stereotypes of sex workers as deviant, subservient to male desire, and victims of violence and drugs. This solidifies a specific image of the sex worker in our social consciousness, with the prostitute becoming a “public symbol of female vice” (Walkowitz, as cited by Brunschot, Sydie & Krull, 2000). Not only do we hope that our game offers empowering representations of sex workers, we also want to avoid creating simplistic sex worker characters. Though we clearly can’t capture all the complexity and nuances of sex workers’ identities and lives in one game, we have decided not to visually represent the sex worker to avoid reducing our protagonist to specific visual identifiers. We also hope that this will better accommodate different players’ ability to embody the protagonist role of a sex worker in our game.
Because of this decision, we are thinking through ways that sound can be used to create an immersive environment and move our player through the game. While attention is often placed on visual graphics in video games, sound is an integral part of game design. While audio elements are frequently used to give player feedback on their actions and therefore move gameplay forward, they can also be used to develop characters, environments, space and overall mood of the game. There are many designers that are experimenting with audio-based games. Some of these artists are specifically interested in creating games that are accessible to visually impaired players.