Category Archives: Representation

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I produced a police detective game and I created a dominant signifying image that was essentially masculine. This corresponds to 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 masculinityThis can be identified in the physique that I created for my main character, it was bug muscles in the arms, chest and legs which when I tested it on my target audience they recognised as “the standard for male body types!”.

Further to this I have exaggerated the muscular attributes of my character with clothes that fit perfectly, which is also clothing that was police-like and confrontational. 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.

Nevertheless, I believe that it is generally accepted in society that masculinity is seen as much more aggressive, confrontational and violent than femininity. So in this sense my product is a reactionary representation of masculinity.

However, I think this is a positive representation of masculinity as I personally believe that an over-aggressive (toxic) masculinity is not healthy for males to aspire to, which mine is not. As such, if I was to create this product again, I would avoid the stereotypical representation of an over-muscular, over-physical detective and look to create a character that was more radical in representation, maybe a female or eben non-binary person. Perhaps inhabiting a range of signifiers that would connote a more feminine (ie less masculine) character. I could do this by re-sculpting my character in terms of their physical appearance, their clothing and their posture. 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)

cover essay

I have produced a games cover called ‘Snowboarder x-treme’, which revolves around playing against your friends to reach the end of the snowboard race. This was influenced by a Snowboard Video game I used to play as a kid. This is stereotypically a masculine game as it is a type of sport, and to make this more reactionary, I had a female character on the front, who I exaggerated her features to further accentuate the masculinity of the game. Toril Moi’s research on the distinction between female, feminine, feminist categories can be seen on my cover with the female character in a ‘sexualised’ outfit with exaggerated features.

PRODUCTION – GAMES COVER (SOI)

I intend to create a video games box inlay product for a dance video game, the title will be ‘Dance, Dance, Dance’. I intend to create two versions of the same product, one that is reactionary and one that is radical in representation. The main image and dominant signifier for will be of a character which I will create using Adobe Fuse. In the reactionary product, the stereotypical version, the dominant signifier will be of a female dancer, she will wear tight, exposing and revealing dance wear alongside enhancement of her physical features to ‘show off’ her body and engage the Male Gaze. This type of image is often seen on video games covers due to the societal norm of providing visual pleasure for straight men through media consumption.

Contrastingly, in the radical product, the counter type, the dancer will be a male character to counteract the social stereotype that dance is a typically ‘feminine’ activity which should only be carried out by women. He will wear comfortable, loose clothing such as jogging bottoms and a t-shirt. The character will portray a more realistic body type and a less enhanced image for people playing the game to look up to.

I will base my game cover on my style model, the ‘Just Dance’ video game series, as my idea is influenced by it. In the product, I will include typical textual features such as the game developer, the age rating, a title for the game series and particular game edition. I will also feature a paradigm of signs that revolve around dancing and music. On the back cover, I will include the legal notices and disclaimers that are expected on a video games cover, a blurb explaining the game, a website link and developer address, and also a storyboard of the different scenes included in the game play.

I want my product to represent ways in which women’s bodies and personalities are often over-sexualised in the general media, society, and in this case the digital game industry. I intend to prove that women do not need to provide pleasure for the male gaze whilst being represented as strong and independent in video games.

A mainstream company such as Nintendo, PlayStation or XBOX would make my product. The audience of my product would be children around age 9-13, ‘The Mainstreamer’, or anyone enjoys to dance

essay prep

I produced a school based game which incorporates violence. My main character is a women in power who has control. I labelled her as this as it is not stereotypical as she’s not presented as a ‘damsel in destress’

Further to this I have enlarged her breasts and singed in her waist leading to more attention on the buttocks which is the stereotypical idea of a women’s body. 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 she is a character “establishing ways of looking and spectacle”. However, the notion of the male gaze is quite distinct as it relates to the sexualisation of the dominant signifier.

Gender in my games cover

I produced a game about a shooting war with both a male and female character. However the male character is represented as being the main signifier, following typical stereotypes. This relates to Jean Kilbournes theory about men being objectified as well as women but in a more competent and strong way. Focussing on the masculinity in ways such as holding the gun in a powerful and confident positive ready for action at the edge of the cliff. He is a big, muscular build with less protective armour to portray the reactionary idea that men don’t need help.

On the other hand I believe that this is a negative representation of masculinity as it tries to create a radical image of how men should look (when this is unrealistic for the majority). I think it would have been better if my male character challenged this stereotypes and used a positive counter type to try and shape the way that men think of themselves and how they see women.

Whereas on the other side of the cliff where the female is positioned, she is seemed to be further away from the edge showing she is less capable and more likely to get in danger so has to stay at a safe distance. As shown in the feminist frequency videos about “damsel in distress”, a women’s main purpose in a game is to keep the plot going by the man needing to assist the woman.

Futhermore, usually the clothing which the female is wearing is tighter and more objectifying. In my game the female is wearing non-revealing clothing but more protection than the man still suggesting she is weaker but not sexualising her. Sexualising women in video games is unacceptable as it normalises dangerous attitudes towards women and increases the sexual violence threat towards them: “52% of Hispanic people studied believed there was a link between violent video games and real-world violence.”- Levelling up article.

Quotes From Articles

Diversity Matters article

“Most games feature white protagonists”

“Persons who genuinely see themselves as good people end up justifying turning a blind eye to overt racism and violence”

Levelling up article 

“If you do not see yourself on Netflix, on Instagram, in games, in forums, where are you?”

“As a girl growing up playing games I was always like, why do I have to play as a boy?”

Laura Mulvey’s academic paper

“There is pleasure in being looked at”

“The cinema has structures of fascination strong enough to allow temporary loss of ego while simultaneously reinforcing the ego”

Feminist Frequency website

“The gruesome death of women for shock value is especially prevalent in modern gaming”

“The Damsel in Distress predates the invention of video games by several thousand years”

Pithy Quotes

Leveling up:

The most-active gameplaying demographic is African American teenagers.

For a time, some of the only places where Black characters could be found was in sports games.

Diversity Matters:

Playstation recently sponsored Pride London, providing a joyous, hugely colourful presence in the parade.

Xbox got a new feature in settings called co-pilot. It lets console owners map a game’s controls on to two separate joypads, so two people have access at the same time.

Laura Mulvey:

She falls in love with the main male protagonist and becomes his property losing her outward glamourous characteristics.

Once he actually confronts her his erotic drive is to break her down and force her to tell by persistent cross questioning.

Feminist Frequency Website:

The gruesome death of women for shock value is especially prevalent in modern gaming.

The Damsel in Distress predates the invention of video games by several thousand years.

Quotes

Levelling up

  1. The first video game featuring a Black person was Heavyweight Champ, an arcade fighting game released by SEGA in 1976, then remade in 1987, and re-released again in the early ’90s. 
  2. As technology advanced, Black and other characters of color became more prevalent, even if most often confined to the fighting genre. And stereotypes were not limited to African Americans; Latinx characters have often been portrayed as gangbangers and drug dealers, as seen in the Grand Theft Auto franchise, with ridiculous, cliched gang names like “The Cholos” and “The Cubans,” voiced in exaggerated, stereotypical Hispanic accents.

Why diversity matters

  1. 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.
  2. “We decided that we’d like to do more for our LGBTQ gaming community and Pride in London seemed like a great start for that – after all, we are based in central Soho. We quickly came together with the UK team who had separately been working on plans for Pride. From there, it just started to move forward …”

Laura Mulvey’s ‘Visual pleasure and Narrative cinema’

  1. A male movie star’s glamorous characteristics are thus not those of the erotic object of the gaze, but those of the more perfect, more complete more powerful ego conceived in the original moment of recognition in front go the mirror.
  2. She is isolated, glamorous, on display, sexualised. But as the narrative progresses she falls in love with the main male protagonist and becomes his property, losing her outward glamorous characteristics, her generalised sexuality, her show-girl connotations; her eroticism is subjected to the male star alone. By means of identification of him, through participation in his power, the spectator can indirectly possess her too.

Feminist Frequency

  1. As a trope the damsel in distress is a plot device in which a female character is placed in a perilous situation from which she cannot escape on her own and must be rescued by a male character, usually providing a core incentive or motivation for the protagonist’s quest.
  2. Disposability – When an objectified person is treated as “something designed for or capable of being thrown away after being used or used up” – a component of objectification theory.

Pithy quotes

Diversity Quotes –

“You can use it to help people with disabilities, or people who are just less experienced at games. While playing, instead of taking the controller away from them.”

“We have a very diverse staff, including a big number of LGBTQ people who went through the same challenges that many of our LGBTQ fans are going through right now,”

Levelling Up Quotes –

“Over time, representation has become more frequent, and more importantly, more authentic within the realm of video games.”

“The International Game Developers Association found that 81% of developers identified as White/Caucasian and 2% identified as Black/African-American/African/Afro-Caribbean.”

Laura Mulvey Quotes –

“She falls in love with the main male protagonist and becomes his property losing her outward glamourous characteristics.”

“Once he actually confronts her his erotic drive is to break her down and force her to tell by persistent cross questioning.”