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experiment in turning research on girl's gaming preferences into marketable video games. The firm produced games designed around storytelling, open-ended exploration, and rehearsing realistic scenarios from one's day-to-day life, as opposed to competitive games featuring scores and timed segments. The company produced ten games primarily divided into two series: "
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Purple Moon received criticism for focusing on designing games based on gender. The research was accused of reinforcing the differences between genders that girls were already socialized to accept, thus the focus on the stereotypically feminine values of cooperation, narrative, and socialization as
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As one of the earliest female game designers, Laurel became active in writing on the topic of developing video games for girls. She posited that while the early video game industry focused almost exclusively upon developing products aimed at young men, girls were not inherently disinterested in the
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was the first VR project to separate gaze from direction of movement, allow for two hands to participate, support two player games, and use imagery from natural landscape. The installation allowed multiple people to construct a narrative by attaching movement trackers to its subjects' bodies while
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In 1996, Laurel founded Purple Moon, a software company focused on creating games aimed at young girls between the ages of 8 and 14. Laurel's vision was to create games for girls that had a greater focus on real life decision-making rather than appearances and materiality. The company was an
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The game business arose from computer programs that were written by and for young men in the late 1960s and early 1970s. They worked so well that they formed a very lucrative industry fairly quickly. But what worked for that demographic absolutely did not work for most girls and
1056:– 2006 0262195364 p352 "Secret Paths is what Brenda Laurel calls a "friendship adventure," allowing young girls to rehearse their coping skills and try alternative social strategies. The Play Town: Another Space for Girls? Harriet was trying to explain to Sport how to
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representation of objects, be they real or imaginary. While discussions around virtual reality tended to center on visual representations, audio and kinesthesia are two potent sources of sensory input that virtual reality devices attempt to tap into. Laurel's 1994
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as a software specialist, later becoming manager of the Home
Computer Division for Software Strategy and Marketing, where she worked from 1980 to 1983. After finishing her Ph.D., Laurel worked for
218:. Her Ph.D. dissertation was published in 1986, titled "Toward the Design of a Computer-Based Interactive Fantasy System", and would form the basis of her 1993 book "Computers as Theater".
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the "degree to which users of a medium can influence the form or content of the mediated environment." Virtual reality, according to Laurel, is less characterized by its
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Moggridge, Bill, "Chapter 5 Play-Interviews with Bing Gordon, Brendan Boyle, Brenda Laurel, and Will Wright" Designing
Interactions, The MIT Press 2014.
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of gaming experiences. Her research suggested that young women tended to prefer experiences based around complex social interaction, verbal skills, and
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platform, where she worked as a designer, programmer, and manager of educational product design from 1976–1979. She then moved to
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letting them navigate a virtual environment by doing common physical acts with special results, such as flapping one's arms to fly.
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from 1985 to 1987. In the late 1980s and early 1990s she worked as a creative consultant on a number of
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VR's quintessential innovators We take a deep dive into the history of five virtual reality pioneers.
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opposed to the stereotypically masculine values embodied in most games as violence and competition.
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In Laurel's work regarding interface design, she is well known for her support of the theory of
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Sand, Michael (Summer 1994). "Virtual
Reality Check: An E-Mail Interview with Brenda Laurel".
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where she worked on research investigating the relationship between gender and technology.
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Steuer, Jonathan (2006). "Defining virtual reality: Dimensions determining telepresence".
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Tools for
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She is also a board member at several companies and organizations.
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Toward the design of a computer-based interactive fantasy system
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She was founder and chair of the graduate design program at
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She works as a consultant and speaker, and is a part-time
503:"Tech Work by Heart" in Women, Technology, Art, edited by
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Following the closure of Purple Moon, Laurel worked as
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Cyberliteracy: navigating the
Internet with awareness
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Brenda Kay Laurel was born on
November 20, 1950, in
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1054:The Game Design Reader: A Rules of Play Anthology
309:" series. Purple Moon was eventually acquired by
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1215:"Her Story wins Indiecade 2015 Grand Jury award"
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749:. California College of the Arts. Archived from
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274:medium. Rather, girls were simply interested in
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902:Brenda Laurel : pioneering games for girls
876:"The History of a Forgotten Computer – PART 1"
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679:List of women in the video game industry
162:(from 2000 to 2006). She has worked for
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151:", a public speaker, and an academic.
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226:Laurel's first games were for the
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983:From Barbie to Mortal Kombat
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537:, Purple Moon Media. (1997)
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618:"Games for girls" (TED1998)
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139:(born 1950) is an American
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1239:Malloy, Judy, ed. (2003).
573:Rockett's Adventure Maker,
535:Secret Paths in the Forest
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214:as well as her Ph.D. from
111:Game development for Girls
85:Human-computer interaction
585:Starfire Soccer Challenge
575:Purple Moon Media. (1998)
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487:, Addison-Wesley (1990)
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194:Early life and education
103:Interactive storytelling
858:Laurel, Brenda (1986).
579:Secret Paths to the Sea
410:In 2015 Laurel won the
240:LucasArts Entertainment
833:Marie, Meagan (2018).
365:—a collaboration with
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684:Women and video games
567:Rockett's First Dance
386:and professor at the
352:elements than by its
331:Telepresence Research
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249:Balance of the Planet
216:Ohio State University
89:Interactive narrative
75:Ohio State University
753:on December 8, 2009.
529:Rockett's New School
472:Computers as Theatre
459:Utopian Entrepreneur
448:, MIT Press, (2004)
433:Computers as Theatre
325:In 1989, Laurel and
212:Masters of Fine Arts
141:interaction designer
16:Video game developer
1305:Interface designers
799:"Brenda Laurel Bio"
674:List of programmers
461:, MIT Press (2001)
202:. She received her
145:video game designer
1043:Gurak, 2001, p. 77
727:on 21 October 2014
689:Women in computing
666:Video games portal
1250:978-0-262-13424-8
1219:gamesindustry.biz
967:978-0-300-08979-0
600:Cyberpunk (1990)
592:Media appearances
396:adjunct professor
367:Rachel Strickland
208:DePauw University
188:augmented reality
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51:November 20, 1950
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1222:. Retrieved
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359:Placeholder
307:Secret Path
269:Purple Moon
242:games, and
190:within it.
168:Purple Moon
1299:Categories
881:2018-03-29
808:2020-09-21
695:References
517:Goldilocks
441:0321918622
418:festival.
280:transmedia
236:Activision
210:, and her
47:1950-11-20
1275:Cyberpunk
1174:0003-6420
1137:CiteSeerX
1073:Gamasutra
928:cite book
920:974487356
864:(Thesis).
416:IndieCade
346:imaginary
66:Education
1166:Aperture
1116:Monoskop
954:(2001).
638:See also
378:Academia
329:founded
290:—
180:Citibank
99:Movement
1198:8 March
1193:TauZero
1029:8 March
776:7 March
731:7 March
634:diver.
632:abalone
398:at the
303:Rockett
184:STE(A)M
125:Website
120:Rob Tow
117:Partner
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311:Mattel
287:women.
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