University of Southern California Dissertations and Theses

The Glitch Witch

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The Glitch Witch

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Content THE GLITCH WITCH
by
Elizabeth Dingus
A Thesis Presented to the
FACULTY OF THE USC SCHOOL OF CINEMATIC ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(INTERACTIVE MEDIA)
May 2024
Copyright © 2024 Elizabeth Dingus

Acknowledgements
I would like to thank my thesis advisors, Martzi Campos and Andy Nealen, for their
guidance and support throughout the development of this game. They have been an
invaluable source of inspiration and guidance throughout this process. Additionally, I would
like to thank my cohort for always being supportive and encouraging.
A special thanks to my external advisor, Jesyca Durchin, for being the role model
that makes being a kickass woman in games feel like a possibility. Jesyca has been an
invaluable source of support and guidance throughout this process.
Finally, I would like to thank my family for their unwavering support. Their belief in
me has allowed me to get where I am today. I couldn't have done this without you!
This project would not have been possible without my amazing development team,
so a special thanks to Nickey Olson, Minhao Wu, Moss Dooley, Katy Kellenberg, Elaine Toh,
Yuxing Zhou, Autumn Chan, Randall Wang, Bryan Sng Yong, Melody Guo, Billy Wang,
Madelyn Kwon, Jordan Hanes (Geordi), Cyanide Yang, Tamilyn Ayabe, Eliot Daewon Kim,
Jalen Montgomery, Carolina Herrera, Arianne De Trenck, Jasmine Fan, Jace Clowdus,
Jessica Xu, Christine Faith Hamilton, Izzi Ferdico, Linda Tam, David Marinas, Brian Bouzari,
Xiaoyi Guan, Steven Jenny, Austin Burkett, and Dominik Kalajdzic,
ii

Table of Contents
Acknowledgments ............................................................................................................................... ii
List of Figures ....................................................................................................................................... v
Abstract ................................................................................................................................................ vii
Chapter 1: Introduction ..................................................................................................................... 1
Chapter 2: Women in STEM ............................................................................................................... 2
2.1 The Gender Gap ............................................................................................................ 2
2.2 Media Landscape & Impact ....................................................................................... 3
Chapter 3: Cozy Games & STEM Games ....................................................................................... 5
Chapter 4: The Glitch Witch ............................................................................................................. 6
4.1 Goal ................................................................................................................................. 6
4.2 Logline ............................................................................................................................ 6
4.3 Player Experience Goal ............................................................................................... 7
4.4 Pillars .............................................................................................................................. 7
Chapter 5: Aesthetics are Approachability .............................................................................. 12
Chapter 6: Reflection ........................................................................................................................ 17
6.1 Where We Succeeded ................................................................................................ 17
6.2 Where We Could Improve .......................................................................................... 17
Chapter 7: Conclusion ...................................................................................................................... 19
Bibliography ........................................................................................................................................ 20
iv

List of Figures
1 2D/3D Hybrid Aesthetic ........................................................................................................... 9
2 Main Menu ................................................................................................................................. 11
3 Unsolved Paper Prototype .................................................................................................... 13
4 Solved Paper Prototype ......................................................................................................... 13
5 Atari Joystick Electrical Schematic .................................................................................... 14
6 Final Puzzle Aesthetic ............................................................................................................ 15
7 Arcade Interior Before Solving Puzzle ................................................................................ 16
8 Arcade Interior After Solving Puzzle ................................................................................... 17
v

Abstract
The underrepresentation of women in STEM fields is disproportionately underrepresented
in popular media, a disparity which may subsequently perpetuate the persistent gender
imbalance in technical professions. Additionally, stereotypes of “scientifically-minded”
professional and community-focused “feminine” ideals are often portrayed as mutually
exclusive, further perpetuating the myth that one can be either a successful scientist or
embody feminine traits. The video game market reflects this perceived division, with little
to no overlap between the logical STEM puzzle games aimed at engineering-minded players
and community-oriented cozy games targeted primarily towards women. The Glitch Witch
is a MFA thesis project that aims to broaden media representations of women by
contextualizing STEM-inspired puzzles within community-focused narrative gameplay.
vi

Chapter 1: Introduction
The Glitch Witch was created over the course of one and a half years as part of the
thesis component of the Interactive Media and Game Design MFA program at USC. During
the course of development, it was approved to be an Advanced Games Project, which
meant that graduate and undergraduates were able to work on the project for credit as part
of their own capstone requirements. In total, 35 students and volunteers contributed to the
development of The Glitch Witch.
The project aims to expand on the media representation of women in STEM by
fusing mechanically-deep STEM-inspired mechanics with a community-focused,
character-driven narrative.
Media projects that depict women in STEM in non-stereotypical ways may help to
close the gender disparity in STEM fields, as research has shown that media portrayals of
STEM professionals can impact women’s academic performance and career choices in the
sciences.
In this paper, I discuss the approach we took in designing the mechanics and
narrative to make a mechanically complex game more approachable to the average player,
and reflect on the success of the project as a whole.
1

Chapter 2: Women in STEM
2.1 The Gender Gap
Is it possible to be both feminine and a successful, respected scientist? As a woman
with a STEM degree and a strong interest in science, I have often felt a schism between my
identity as a woman and my identity as a scientist. People seemed to assume I was less
capable of scientific rigor the more feminine I presented myself, while others seemed to
question my femininity if I succeeded.
This seeming incompatibility of logic and femininity isn’t just something that is felt
by women in the sciences. It’s also present in the media landscape as a whole, video games
included.
Today, most bureaucratic restrictions blocking women from practicing the sciences
have been lifted, but we still see a massive gender gap in the STEM workforce. Today, only
about 24% of stem professionals are women and, although this statistic is an improvement
over a 10% gender representation in the 1970, the progress in equal gender representation
in STEM fields is only making marginal gains each year (Martinez, Anthony and Christnacht).
One significant contributing factor to the pervasive gender gap in STEM fields is the
widespread cultural perception that scientists are men. One famous study, which asks
children to ‘draw a scientist’ has been repeated over the decades and gives us a fascinating
view into how the gender perceptions of scientists have changed over time. When this data
was originally looked at in 1983, less than one percent of the scientists drawn were female
(Miller et al.). Fortunately, this trend has been slowly equalizing over the years, with 28% of
the scientists drawn in after 1985 now being women. Interestingly, the percentage of male
scientists drawn tends to increase with the age sampled, an effect that is most profound
2

for girls. While 70% of 6 year old girls draw a female scientist, only 25% of 16 year old girls
draw a female scientist.
To further understand the cultural impact on gender diversity in STEM, subsequent
studies have investigated how media portrayals of STEM professionals impact the
attitudes, career choices, and academic performance surrounding women in STEM.
2.2 Media Landscape & Impact
Studies investigating the gender portrayals of STEM professionals have investigated
how STEM professionals are represented and the impact it has on women in both popular
and educational media. A study by Becker and Nilsson looked at gender representations in
the images in college chemistry textbooks and found that 65% of the pictures contained
only male scientists (1146-1151). This imbalance is particularly alarming when you consider
that gender portrayal in teaching materials can have direct impacts on women's academic
performance. For example, another study by Good, Woodzicka, and Wingfield showed that
using teaching materials with images of female STEM professionals increased female
students' achievement over an identical lesson that featured pictures of men (132-147).
The power of the media to influence women’s ideas about whether or not they
belong in STEM extends outside of the classroom, however. The portrayal of women in
STEM in popular media may also affect female motivation, interest, and achievement in
STEM fields. Although the impact of popular media can be difficult to parse, there does
seem to be a link between career choices and media portrayals of women in STEM.
One well known example of this is known as the ‘Scully Effect’, named after Dana
Scully of The X-Files (“The Scully Effect”). In this fictional sci-fi series, Scully is a medical
3

doctor and special agent working to investigate paranormal mysteries. The Geena Davis
Institute on Gender in Media found that 63% of the women surveyed who work in STEM
cited Dana Scully as a role model, and familiarity with Scully’s character increased women’s
confidence that they would be able to succeed in a male-dominated industry by 63% ("The
Scully Effect: I Want to Believe in STEM").
Knowing the effect that media can have on women's professional interests, we
should be alarmed to discover that the underrepresentation of women in STEM careers is
disproportionately underrepresented in popular media. One analysis that looked at over 500
films found that only 11.6% of STEM professionals were depicted as female despite
comprising almost a quarter of the workforce (Paniagua Tavarez and Steinke).
However, movies and television are no longer the most culturally relevant media
forms in our society today. In 2022, video game industry generated triple the revenue of
the movie and music industries combined (Arora). With such a massive and growing cultural
influence, it is especially important to also investigate the potential impact of gender
portrayals in video games.
Unfortunately, the statistics for gender representation of women in video games are
dismal, even before we start to look at how women are portrayed as STEM professionals.
From 1985 to 2022, only 6% percent of the 150 of the highest rated video games featured a
standalone female protagonist (Cooper). And another study that analyzed dialog lines of
13,000 video game characters found that male characters speak 50% more than female
characters on average (Largest Study of Video Games Reveals Men Say Twice as Much as
Women).
4

Chapter 3: Cozy Games & STEM Games
Although women are beginning to be increasingly acknowledged as a significant
population of the gaming community, games that appeal to women have lagged behind
those marketed towards men in terms of both funding and in terms of breadth of offerings.
The cozy game genre is one that particularly appeals to women, and the number of cozy
games on offer has massively increased in recent years.
However, some players have complained that the gameplay in this genre tends to be
shallow, most often featuring collecting, daily tasks, socializing, and creative customization
as core features of the loop. Although some of these ‘cozy’ games feature puzzles, the
mechanics are often criticized for being shallow and repetitive.
I myself find joy in the low-stakes narratives of cozy games that are targeted
primarily at women, but at the same time enjoy the mental challenge of the deeper and
more complex puzzle games in the STEM puzzle genre. However, there seems to be little to
no overlap between these genres. The puzzles in community-sim games tend to require
little critical thinking, and focus more on execution than logic. In contrast, STEM puzzle
games tend to have little to no narrative beyond an aesthetic framing and the gameplay
focuses exclusively on the execution of the puzzle.
The stark division between these genres seems to inadvertently reinforce the idea
that one can be either community-focused and creatively expressive, stereotypically
feminine traits, or logical and practical, stereotypically masculine traits. In addition, the lack
of overlap between these two genres draws an arbitrary division between practicing the
sciences and the very human personal impact that scientific innovations can have on both
a community and individual level.
5

Chapter 4: The Glitch Witch
4.1 Goal
The goal of The Glitch Witch, my MFA final project, is to push back against this
arbitrary division and the embedded implication that feminine traits and STEM aptitudes
are incompatible. This game embeds complex logic-driven engineering puzzle mechanics
within a cozy community-sim setting to emphasize that STEM work is not separated from,
but rather driven by, the very real human impact it can create.
While I hope that women in STEM will feel seen and empowered by this project, it is
also possible that expanding the scope of media portrayals of women in STEM could
indirectly impact gender representation in STEM fields. It has been demonstrated that
media portrayals of STEM professionals can have very real and direct impacts on women’s
academic performance and career choices in STEM fields and may play a key role in leveling
the massive gender disparity in these fields of study.
4.2 Logline
The Glitch Witch is a cozy retrofuture puzzle-adventure that takes place in a future
devoid of functioning technology.
You play as Rosette, who begins repairing broken technology in a series of circuit
puzzles and is thrilled to discover the forgotten power contained within. At least- until the
people in town start accusing her of witchcraft.
Will Rosette be able to engineer her way into their good graces? Or will she be forced
to choose between her power and her community?
6

4.3 Player Experience Goal
Players will feel a sense of curiosity and nostalgia as they explore the world and get
to know villagers. As they solve circuit puzzles, they will feel creative and powerful.
4.4 Pillars
Physics as Magic
Why
People tend to dream about discovering a special power or unique skill in fantastical
worlds without realizing they are capable of the same in our own world. By
recontextualizing engineering concepts as foreign and mystical within the story, I hope to
prompt players to reconsider their perspective on the sciences. Instead of feeling
intimidating and monotonous, I want players to see how dynamic and creative the process
of STEM work can be.
How
I tried to emphasize the power of STEM knowledge by having the NPCs in the world
react to the electrical objects in the world as if they were magic. This simultaneously
emphasizes the great potential of the electrical engineering Rosette is doing, while also
forcing players to evaluate the depth of their own understanding of STEM concepts.
In addition, we mixed several physics-based mechanics together to create a puzzle
logic that is new and exciting but still references principles of physics. The wires and
components behave like electrical circuits, but carry colored signals that use additive
color-mixing logic. This results in a puzzle that combines light physics and electrical
engineering while hinting at logical processing mechanics.
7

Empowering Women
Why
I decided to make empowering women into a game pillar to ensure that the focus
remained on Rosette’s journey of self-actualization without the need to tear down others in
the process. Additionally, this story is meant to reflect the real struggles women have faced
in STEM fields throughout history, so we took care to make sure that we acknowledged
these struggles within the larger narrative arc of the game.
How
The purpose of this game is in many ways to portray women as capable of success
in STEM (or any field of their choice), an inherently feminine message. However, I was
frequently met with confusion about how this game could be about female empowerment
when there was no adversarial man pushing back on her progress whom she could
eventually overcome. However, I don’t at all think that a male antagonist is at all necessary
for a story to be about female empowerment.
Given the underrepresentation of women, especially women in STEM, in media, the
choice to represent the main character in our game is already a feminist statement.
However, I also specifically chose the word ‘witch’ as a word that would be used against
Rosette for two reasons. First, it emphasizes the power and magic of what she is doing. But
second, and more importantly, the term ‘witch’ has been used as a weapon to suppress
powerful women throughout history. The use of this word alone places Rosette in a battle
to validate female power in the eyes of society.
8

Retrofuture Aesthetic
Why
Aesthetics are an important element of making a game feel both intriguing and
inviting, but frequently STEM puzzle games feature industrial and utilitarian interface that
intimidates more than it invites. This game is trying to reach an audience that may not
usually gravitate towards complex puzzle games, so we wanted a bright, inviting, and
unique aesthetic to pull in all kinds of players.
How
The game features a blended art style with pixel art characters in a 3d world with
volumetric lighting. The pixel art style harkens back to the games of the 80s, while the 3D
graphics and lighting hint at the game’s more modern message.
9

Figure 1
2D/3D Hybrid Aesthetic
The 80s were chosen as an inspirational time period for a few reasons. First, this
was when video games appeared in popular culture. However, the first games were made
largely by men and for men, so this game is trying to “rewrite” history in a way to allow for
female engineers to thrive in this time period. On a more practical level, though, modern
technology doesn’t lend itself to customization and end-user repairs, so completing circuit
puzzles to fix older technology fits better. And finally, the 80s color palette and musical
genre are bright, colorful, and fun and bring a striking visual appeal to the game world.
The main menu screen shows you sitting at an overgrown retro computer which the
camera zooms in on to start the game. This framing gives a diegetic reason for the CRT
filter over the screen that serves a few purposes. The filter helps to blend the 2D and 3D
10

worlds into a more cohesive visual result, but is also a subtle reference to the additive
color-mixing logic of the puzzles. Screens display their images by brightening and dimming
RGB lights, so additive color mixing knowledge is key to knowing how to work with these
types of screens!
Figure 2
Main Menu
Joy of Discovery
Why
I wanted this game to emphasize that STEM is about progress, creativity, and
discovery and push back on the perception that STEM can only be rigid and utilitarian in
practice. Many engineering problems have a variety of solutions and the ability to think
outside of the box to find new solutions is a benefit!
11

How
With this in mind, we wanted to make sure that the puzzle system allowed for
open-ended solutions so that players could reach a valid solution in a variety of ways. We
didn’t want the joy of discovery to stop with the identification of a successful solution,
however.
In real life, engineering is not separated from our communities, and the application
of a design can be just as joyful, if not more, than the creation of it. Instead of simply
cutting to the next puzzle in the game sequence, we show the effect that the puzzle
solution had on the object itself. For example, after completing a certain puzzle, a walkman
might turn on or a neon sign could illuminate the overworld portion of the game. The
impact of your success in the puzzle is not limited to aesthetics, however, as the characters
in the game also react to the objects to let the player know that their work is changing the
social landscape of this world as well.
Chapter 5: Aesthetics are Approachability
A lot of iteration went into creating an approachable mechanic that reflected STEM
thinking patterns. I looked to electrical engineering as the initial inspiration for the puzzle
mechanics because it has a broad range of potential creative applications, but feels
inaccessible to most people. I referenced videos of electronic hobbyists as they explained
how to repair devices from the 80s to look for potential mechanics in how they evaluated
where power was coming from, where it needed to go, soldered additional components and
wires together, and referenced circuit schematics. The first prototype focused on figuring
out how to connect the correct inputs and outputs without crossing wires and referenced
electronic diagrams of actual technology for the designs. Figures 3 and 4 show a first
12

iteration of a circuit board mechanic that follows the schematic for the Atari joystick
pictured in Figure 5.
Figure 3
Unsolved Puzzle Paper Prototype
Figure 4
Solved Puzzle Paper Prototype
13

Figure 4
Atari Joystick Electrical Schematic
Adafruit, https://learn.adafruit.com/atarifruit-2600-joystick/building-the-circuit, Accessed
4 Apr. 2024.
Players immediately enjoyed the mechanic, and were delighted when I revealed that
they had been recreating the wire flows of circuit diagrams at the end of the playtest.
However, I had hoped that more people would come to the realization that the puzzle
solutions resembled circuit boards on their own, and wondered if there was a way to make
players feel more like engineers as they were solving the puzzles, as opposed to
retrospectively.
To test this out, I created another version of the puzzle that used identical rules and
mechanics, but used icons from electrical engineering schematics instead of abstract
colored dots. To my surprise, the aesthetic change resulted in a massive change in how
players interacted with the puzzle. When the puzzle looked like electrical engineering, many
playtesters would not even attempt to solve the puzzle, often citing that they had been bad
14

at physics in school. By making the puzzle realistic, I had inadvertently activated the
self-selection bias this project was trying to combat. This led be to the conclusion that
although the mechanics can be inspired by electrical engineering, there needed to be an
aesthetic distance to allow players to engage with the mechanics without their previous
biases about STEM coming into play. This led us to create puzzles that looked “retro” to hint
at the era of objects players were fixing, but we avoided making any element of the puzzle
too literal.
Figure 6
Final Puzzle Aesthetic
When presented with a puzzle, players often look for a solution before beginning to
interact with the puzzle, which can lead some players to quit a solvable puzzle prematurely.
I put a heavy focus on making the puzzles fun to interact with and responsive to player
15

inputs and actions to encourage tinkering and experimentation. If trying out possible
solutions is fun, players are more likely to put in the extended effort to find a solution!
STEM puzzle games often present players with abstract problems that exist in
isolation where the solution has no impact on the story or characters, and only unlocks the
next puzzle. In contrast, I wanted to focus on the human impact engineering can have, and
so brought the puzzle solutions into the narrative. When a player finishes a puzzle, an
electronic object in the overworld is repaired and may glow, move, or make sound so the
player gets a sense of having changed the landscape of this world. Additionally, other
characters react to technology you have repaired, giving the player a sense of what impact
they are having as well as the social forces the heroine, Rosette, is facing on her journey.
Figure 7
Arcade Interior Before Solving Puzzle
16

Figure 8
Arcade Interior After Solving Puzzle
Chapter 6: Reflection
6.1 Where we Succeeded
Although the game is still in production, we have seen great success at how the
puzzle mechanics are received by players. Even the tutorial puzzles that teach the basic
mechanics of color mixing and component applications to players have resulted in multiple
unique and creative solutions, and players enjoy the process of experimentation and
iteration needed to succeed.
In addition, we have found that the unique art style that imbeds 2D pixel art into a
3D world with volumetric lighting has a broad appeal. Players are drawn to the unusual
aesthetic of this world, and find joy in exploring the world we have created.
17

6.2 Where We Could Improve
However, we have also found some areas that we could improve on in future
iterations of this blend of genres. It has been a challenge to integrate the two distinct game
systems so that the puzzle levels feel cohesively integrated with the unfolding narrative
and relationships of the overworld. We tried to link the two gameplay systems by including
establishing a narrative reason for the puzzle relevance, changing the sprite and behavior
of the puzzle objects after the player has successfully completed the puzzle, and having
the subsequent story beats dependent on the objects the player has repaired.
However, the stark mechanical and aesthetic separation of the puzzle-solving and
overworld narrative requires even more integration to feel like cohesive and related
elements of the same world. For instance, if the composition and solution of the puzzle
levels more directly reflected the object being repaired, it may strengthen mental
connections between the two game modes. Alternatively, if we allowed unique puzzle
states to affect the behavior of the repaired objects, players would need to keep in mind
the desired outcome in the overworld when deciding how to solve the puzzles. And
additionally, if the puzzle objects expanded game mechanics in the overworld in meaningful
ways, players may feel both more rewarded by their successes and feel an increased sense
of agency in how the story plays out.
Another issue we have experienced is players' limited willingness to engage in the
narrative as they traverse the town to get to the next puzzle level. This limits their ability to
absorb key themes of community connections and personal growth. However, we have
noticed that players are more likely to engage with the narrative if they are given dialog
options to choose from during dialog sequences.
18

With this in mind, I feel that increasing player agency and character responsiveness
could go a long way toward conveying the story in a way that feels authentic and engaging.
For instance, if the story was nonlinear so the player could engage with NPCs in any order,
exploration in the overworld might feel more engaging and rewarding. In the current
version of the game, the narrative arc is fully linear. Although NPCs have basic
character-building dialog when not part of the active questline, we don’t have the systems
implemented that would allow the conversations to adjust based on completed puzzles or
quest progress, which limits how responsive the community feels in response to the player
progress. More dynamic dialog functionality could go a long way towards rewarding the
player for engaging in both dialog and puzzles.
A dynamic relationship system could be another way to increase and reward
narrative engagement If players feel like they are able to get closer with the NPCs around
them, it adds both a sense of progress and meaningful choice to player actions. A
relationship-building system could also serve to more tightly link the puzzle and dialog
systems together if NPCs were able to provide puzzle-related perks to the player in the
form of hints, available puzzles, puzzle mechanics, component supplies etc.
Chapter 7: Conclusion
Overall, despite the mechanical limitations of the game, the player enjoyment shows
that there is potential for a successful genre overlap between mechanically deep puzzle
games and cozy life simulation games.
While it would be difficult to determine The Glitch Witch’s impact on player attitudes
towards women in STEM, the intentional addition of a strong woman working with electrical
19

engineering to the popular media landscape is a first step in equalizing representation of
women in media and combating harmful gender stereotypes.
20

Bibliography
Arora, Krishan. “The Gaming Industry: A Behemoth with Unprecedented Global Reach.”
Forbes, Forbes Magazine, 23 Nov. 2023,
www.forbes.com/sites/forbesagencycouncil/2023/11/17/the-gaming-indust
ry-a-behemoth-with-unprecedented-global-reach/?sh=58e9a7d1512f.
Becker, Mona L. and Nilsson, Melanie R. “College Chemistry Textbooks Fail on Gender
Representation”, Journal of Chemical Education, 98 (4), 2021, 1146-1151,
DOI:10.1021/acs.jchemed.0c01037.
Cooper, Dalton. “Study Claims Only 6% of Popular Games Feature Standalone Female
Protagonists.” Game Rant, 19 Sept. 2022,
gamerant.com/video-games-with-female-protagonists-how-many/.
Good, Jessica J., Woodzicka, Julie A. and Lylan C. Wingfield. “The Effects of Gender
Stereotypic and Counter-Stereotypic Textbook Images on Science
Performance”, The Journal of Social Psychology, 150:2, 2010, 132-147, DOI:
10.1080/00224540903366552.
“Largest Study of Video Games Reveals Men Say Twice as Much as Women.” University of
Glasgow, 24 May 2023,
www.gla.ac.uk/news/archiveofnews/2023/may/headline_966589_en.html.
Martinez, Anthony, and Cheridan Christnacht. "Women Making Gains in STEM Occupations
but Still Underrepresented." Census.gov, 2021,
https://www.census.gov/library/stories/2021/01/women-making-gains-in-st
em-occupations-but-still-underrepresented.html.
Miller, David I., et al. "The Development of Children's Gender-Science Stereotypes: A
Meta-analysis of 5 Decades of U.S. Draw-A-Scientist Studies." Child
Development, vol. 89, no. 6, 2018, doi:10.1111/cdev.13039.
Paniagua Tavarez, Paola Maria, and Jocelyn Steinke. “Cultural Representations of Gender
and STEM: Portrayals of Female STEM Characters in Popular Films
2002–2014.” International Journal of Gender, Science and Technology, vol. 8,
no. 3.
Piloto, Clara. “ The Gender Gap in STEM: Still Gaping in 2023.” MIT Professional Education,
MIT, 13 Mar. 2023,
professionalprograms.mit.edu/blog/leadership/the-gender-gap-in-stem/.
"The Scully Effect: I Want to Believe in STEM." The Geena Davis Institute on Gender in Media,
https://seejane.org/research-informs-empowers/the-scully-effect-i-want-t
o-believe-in-stem. Accessed 2 February 2024.
21

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Asset Metadata

Creator Dingus, Elizabeth (author)

Core Title The Glitch Witch

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Degree Conferral Date 2024-05

Publication Date 04/17/2024

Defense Date 04/17/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag Educational games,OAI-PMH Harvest,video games,women in games,women in STEM

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Huntley, Jim (committee chair), Bilson, Danny (committee member), Russworm, TreaAndrea (committee member)

Creator Email dingus@gmail.com,lizby.dingus@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113880182

Unique identifier UC113880182

Identifier etd-DingusEliz-12834.pdf (filename)

Legacy Identifier etd-DingusEliz-12834

Document Type Thesis

Format theses (aat)

Rights Dingus, Elizabeth

Internet Media Type application/pdf

Type texts

Source 20240418-usctheses-batch-1142 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu