Jonathan Perry, cinematic director for the Dragon Age Franchise, says that the sex scenes in BioWare's upcoming next-generation role playing game Dragon Age: Inquisition will be "mature and tasteful."Apparently the maturity and tastefulness of the sex scenes are inspired by the sex scenes in Mass Effect. Perry says that he thinks the sex scenes in Mass Effect are very well done, so he wants to take it in that same direction for Inquisition.
Personally, I don't enjoy sex scenes in games at all. So, although Perry says that the scenes in Dragon Age will be "mature and tasteful" and more focused on realistic intimacy, I couldn't care less to be honest. I'd rather a game not have the scenes at all and that is my own opinion. Heck, I don't even enjoy sex scenes in movies!
mass effect sex scen
Mass Effect was initially banned in Singapore due to the inclusion of a sex scene between a human woman and a female alien, but that ban was later overturned and the game was released under an M18 rating.
Graphic sex scenes are banned. This policy doesn't mean that all sex scenes are banned, they can still happen. Graphic sex scenes, aka pornography, is banned. Below is an example of how a sex scene can or can't be described.
You can clearly tell the difference between the two descriptions. As you can see the graphic description has no benefit over the normal description. If you want to write a sex scene you can, there is no need to just fade to black. Writing something like can be seen in Mass Effect or at most the Witcher is acceptable. But you can't write porn, under no circumstance. If you are unhappy with this policy then I am sorry but the Sandbox is not the place for you.
GOING TO THE MOVIES has always been in part an experience of joining a crowd: picking up the buzz about the latest hit from friends and newspapers, feeling the line surge forward as the velvet ropes are lifted, getting carried along on a tide of rolling laughter. Yet film critics almost never speak of crowds or crowd responses when they analyze movies. Film theorists such as Christian Metz, Kaja Silverman, and Laura Mulvey go so far as to claim that people at Hollywood movies react as if they were utterly alone, each person becoming a spectator isolated in the dark fantasizing about the stars on the screen. (1) Though such theorists often turn to social criticism, they repeatedly describe the audience as if there were only one individual reacting, speaking in the singular of "the Spectator," "the Male Gaze," the "All-Perceiving Subject," and the "Voyeur," never of crowd responses or mass fantasies or even social trends. Even critics such as Mary Anne Doane and Manthia Diawara who have sought to broaden spectator theory by considering that audiences may contain different kinds of spectators still treat these alternative spectators as individuals reacting separately to movies. (2)
Part of the reason critics have ignored the ways that movies elicit crowd responses is that the dominant theory of crowd psychology--Freud's--treats members of a crowd as individuals. In Group Psychology and the Analysis of the Ego, Freud says that in a mass, each person is lost in a private, unconscious dream of loving the leader. (3) In other words, psychoanalysis converts the crowd back into a collection of spectators, and so it has become a crucial resource for film theory.
But there are other ways to conceive of the psychology of the crowd, and, what is most intriguing, Hollywood moviemakers definitely believed in a non-psychoanalytic crowd psychology. (4) Using the movie industry's own account of crowd behavior, we can construct a "crowd response theory" modeled on the methods by which psychoanalytic spectator theory is constructed. Before examining this alternative psychology, however, it will be useful to briefly summarize how spectator theory uses psychoanalysis, to suggest how an alternative psychology might be used to build an alternative film theory. Spectator theory applies psychoanalysis to two elements of the Hollywood experience: first, to the "cinematic apparatus," the structure of movie projection; and second, to the distinctive style of Hollywood movies. In spectator theory, the apparatus is described as comprising "the darkness of the auditorium, the resultant isolation of the individual spectator, the placement of the projector, source of the image behind the spectator's head." (5) This structure makes movie watching rather like dreaming in bed in the dark. The stylistic features of movies noted by spectator theorists are mostly those which produce the effect that the movie world is a complete, sealed reality, plus features which define geometrically and socially a position from which the movie is supposed to be viewed, what Nick Browne calls the "spectator-in-the-text." (6) The viewer thus seems both completely removed from... 2ff7e9595c
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