MEDIA ESSAY

In this essay I am going to apply semiotic analysis to both the game covers Tomb Raider and Metroid, the front cover for the video game Tomb Raider is misrepresenting reality, this is through how the dominant signifier is represented (Lara Croft), she is seen to be wearing clothes that will cause the male gaze and voyeurism. Another way the games producers have further tried to emphasise this is by placing the anchorage of the image on her waist, making the upper and lower part of the body clearer to the eye at first glance. As Laura Mulvey said “The ‘male gaze’ is something that sexualizes women by empowering men and objectifying women. In the ‘male gaze’ the women are objectified to fit the wants of the heterosexual male.” Ferdinand De Saussure’s ideology is still holding up in today’s world with the idea of the signifier (being the object itself) and signified (being the meaning of the object) this is clear as the way the signifier (the guns) is being signified with the dominant signifier holding them in both hands to suggest that there is and should be violence, which is not the case in today’s society and this makes a myth. On the other hand, Tomb Raiders front cover for the video game can radical as it goes against the patriarchal society. This game also goes against collective identity and suggests to women that you don’t have to a “damsel in distress” as the feminist frequency group put forward. Lara Croft is also a countertype as she goes against the traditional stereotypes set up with women. Girls as young as 12 or even younger if they are not listening to the age restriction will be playing this game and taking in everything about it without even know that they are doing that. As John Berger said “The book “ways of seeing” says in it that women from their earliest childhood have always had to survey themselves constantly. She is told that is it crucial on how she appears to men as it determines how successful she is in life.” This is true in the sense that the way Lara croft is dressed, suggesting that girls should dress like that. However she is also empowering girls as she is seen as strong and adventurous with the video game itself. Modern media is saying that (Leveling up) “Despite many video game companies being based in East Asia, most games feature white protagonists.” However, this is and isn’t the case for Tomb raider, on the first part their game was produced by the games company eidos which is based in Montreal Canada however on the other hand the game does feature a white caucasian being Lara Croft.

The front cover of the video game Metroid is a myth, its trying to represent a sci-fi like video game through the use of unrealistic guns and armour. The game is promoting violence with the signifier (the gun). He creates a constructed reality for people who want a breakthrough with reality this could be negative as it disconnects people from reality and facing their fears.  It also creates a constructed identity for the one who is playing the game as the person is controlling everything that character does using the controller. Samus being the dominant signifier is a icon to many with his gun being an index to samus and the title would be a symbol. There is no negotiated identity with samus, as the game creators get to decide this, you could see the creators being the hegemony of the video game which could be seen as a negative thing. However not everything about this game is negative, in fact there are many positives. You may get a patriarchal view at first with the dominant signifier (samus) with the suit, gun and male stance, but in fact the person inside the suit is female, this stops voyeurism for the heterosexual male as the character can be seen as female and male. When you realise that samus is actually a female you would think of samus as a counter-type. The game cover has also tried to show that this is a video game through using a syntagm in the front cover with the logo of the Nintendo game cube, the age rating and the games company it was created by. The front cover always warns it uses of how they should play the game by adding an age rating to it in the bottom left hand corner however if someone were to be less than that age they might not notice it as there is no colours such as red, being a dangerous colour, to warn them. It indicates that you should be at least twelve or more to play the game however there is nothing restricting someone who less than that age playing the game. This can cause big issues to audience playing the game as people who are less than the age are susceptible to inheriting these ideals and putting them into practice where they were to use a gun in real life and think its just part of the game. But as the fluidity identity of the audience changes as time passes they might take these ideals with them or push them aside and forget about them.

In this essay I have argued that Tomb raider is a game is created to please the sexual desire of the heterosexual man whilst also having a fun and creative side to the game as well and I have argued that Metroid promotes violence and how man should be in society whilst being able to creating a escape from reality.

Games Cover Essay

Analyse the relationship between signifiers and the signified in the two CSP games covers 

In this essay, I am going to apply a semiotic analysis to both the Tomb Raider and Metroid video game covers. Semiotics is ‘the study of signs and symbols and their use of interpretation’. Signs are made up of both material forms and mental concepts. The ‘signifier’ is the material form, whereas the ‘signified’ is the mental concept associated with it.

The Tomb Raider cover is a creation of the Male Gaze, which I feel does not represent women in a positive or productive way for the gaming community. The Male Gaze theory is where women in the media are viewed from the eyes of a heterosexual man, and are represented as objects of male desire. The dominant signifier of the cover is the main character of the game, Lara Croft. The design of her character is highly sexualised; She is wearing tight, revealing clothing, has a busty physique with an unnaturally twisted body and has applied makeup to represent the over-sexualisation of women within media. This is a reactionary depiction of a female character in media – largely connected to voyeurism – and is used to appeal to straight men. A quote to evidence this is used in the article ‘Leveling Up Representation’, and it states that women are “sexual objects who exist purely for men’s entertainment.” There is also a point to be made that there is a radical side to the representation of women in this game, since the stereotypical ideology suggests that women are ‘weak’ and ‘cautious’ and men are ‘strong’ and ‘daring’, but on the cover of this game Lara Croft is holding guns which goes against what is expected in society and separates her from the norm. In previous games, the heroes have stereotypically been depicted as male. The guns are an indexical sign that shows that she is adventurous, and indicates that the game involves violence.

The Metroid cover represents women in a more positive view – moving away from negative stereotypes of women being ‘meek’ and ‘submissive’ and heading towards them being ‘assertive’ and ‘domineering’. The dominant signifier of the cover is a character in some sort of futuristic outfit. The design of the large, bulky armour suggests that this character is a male, yet the character, Samus Aran, is actually female. With the image of heavy armour and Samus holding a large weapon, most people would assume that this character is a male since it is unordinary and radical for a woman to be in this type of role. It also contrasts from Laura Mulvey’s ‘male gaze’ theory since it countertypes the sexualization generally used for female characters. Typically in video games, the women are seen as a ‘damsel in distress’ who must be saved by the brave male protagonist, but Metroid goes against the patriarchal nature of video game heroes and creates a female character who is not there just to be rescued.

In conclusion, both the ‘Tomb Raider’ and ‘Metroid’ covers have signifiers that would stereotypically relate to male characters yet, in both these cases, they are radically represented to showcase female characters.

REPRESENTATION

The male gaze is how women are objectified. The ‘male gaze’ is women looked at as sexual objects which make men feel empowered.

Laura Mulvey was a British film theorist who tackled the centrality of the male viewer and his pleasure. She called this ‘The Male Gaze’. She wrote ‘Visual Pleasure and Narrative Cinema’ which showed all her findings and opinions.

John Peter Berger was known for his ‘Ways of Seeing’ This highlighted ‘The Male Gaze’.

MEDIA FORMS

FORMSCHARACTERISTICSEXAMPLES
NEWSPAPERS– Small writing
– Usually on paper
– Mainly advertisement and the news

– The daily mail
SOCIAL MEDIA – Communication
– Young audience
– Instagram
MAGAZINES
– Advertisement
– Vogue
T.V
– Ads in between
– Visual
– ITV Sports
MUSIC VIDEOS
– Visual
– Trends
– VIBEZ Da Baby
RADIO
– Audio
– Music played
– BBC Radio
MOVIES/FILM– Public
– Usually in cinemas
– Endgame
ADVERTISING
– Marketing
– Billboard
VIDEO GAMES– Personal unless online– Fifa

essay prep – ALEX HENRY

I utilised a male in my front cover for a reactionary response as it aggress and goes along with the idea that men are typically soldiers in games.

I produced a Safari Warfare Game and I created a dominant signifying image that was a masculine soldier that fits with the reactionary idea and stereotype that men are soldiers in war. This goes against Toril Moi’s analysis of the distinction between female, feminine, feminist categories of representation (1987). Only in my production there is a clear focus on masculinity.

Further to this I have exaggerated the muscular attributes of my character by adding armour, overexaggerated arms, legs and chest. I also added a fighter jet and a attack helicopter that displays the on going theme of war, putting them behind the character, signifying his strength as a male leader. In some ways this inverts Laura Mulvey’s notion of the male gaze in that my main character is there to be objectified and looked at, in the words of Laura Mulvey he is a character “establishing ways of looking and spectacle” (Mulvey, p. 883, 1999). However, the notion of the male gaze is quite distinct as it relates to the sexualisation of the dominant signifier, which is not the case for my character.

However, I don’t think this is a positive representation of masculinity as I personally believe that the idea of a strong, leading soldier always being a man is wrong and incorrect in the current world where woman are coming to power and serving in the army. Perhaps inhabiting a range of signifiers that would connote a more feminine character, or a radical female character instead of the reactionary male character. I could do this by re-sculpting my character in terms of their physical appearance, their clothing, body shape and size, along with the hair. As such, I would be sending out a much more positive message (for me) about masculinity, ‘maleness’ one that used a positive countertype to present a radical and challenging representation which could help gamers to adopt a new ways of thinking about gender representation, with more positive role models for young people to aspire to. As Keith Stuart notes ‘the power of video games [is] a reflective, empowering and emotional influence on the lives of players’. (Why diversity matters in the modern video games industry, Guardian, 18 July 2017)

8 QUOTES

“A 2015 study showed that 83% of non-Hispanic Black teenagers play video games, compared to 71% of Caucasian teenagers, with 69% of Hispanic teens not too far behind. With the high percentage of teens of color playing games, representation is incredibly important but has — at least historically — been lacking.”- Levelling up representation

“This poor representation of Asian women perpetuates the stereotype that they are meek, submissive, sexual objects who exist purely for men’s entertainment.” -levelling up representation

“The industry traditionally projects an image that is young, white, straight and male, but there is growing understanding that – if only for the sake of releasing more interesting products – this has to change.” – why diversity matters

“The industry has been improving its depiction of non-white, non-male characters for several years, but in the last three E3 events, there has been a real sense of momentum, belief and priority – as if this isn’t just something to pay lip service to – it actually matters from a creative and commercial standpoint.” -why diversity matters