![]() |
[email protected] |
![]() |
3275638434 |
![]() |
![]() |
Paper Publishing WeChat |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
From Sex Objects to Heroines—A Tough Road for Female Characters in Video Games
Adam Flamma
Full-Text PDF
XML 1669 Views
DOI:10.17265/2159-5836/2014.05.009
University of Wroclaw, Wroclaw, Poland
Female character in video games is the one of the most controversial topic in game studies and nowadays women’s anthropology. From the beginning of role in games’ plot to sexualized graphical representation, woman in virtual world were (and sometimes still are) a point of discussion about characters sexualisation and role of female sex in virtual industry. The main aim of this paper is to present analysis of female representation in video games and how in last 30 years it has changed. In other words, how female characters were ennobled from sex object to main protagonist status. In presented research, there were used mostly the examples of popular video games with extended plot and world which can be explored by protagonists. Video game historiography, textual analysis (which helped to treat video game character as a protagonist), and thematic analysis of video games were used as a main research method. The main conclusion of this paper is that female characters can overcome all gender or sexual stereotypes and even eventually became an icon of popular culture.
video games, female characters, women in video games, sex object, Lara Croft
Anderson M., & Levene R. (2012). Grand thieves & Tomb Raiders: How British video games conquered the world. London: Aurum Press Ltd..
Flamma, A. (2013). Virtual relationships. The „Witcher’s” video game universe as an example of introducing male-female relationships into virtual world. GV—Proceedings in GV—the 1st Global Virtual Conference, 345-348.
Hatton, E., & Trautner, M. N. (2011). Equal opportunity objectification? The sexualization of men and women on the cover of „Rolling Stone”. Sexuality & Culture, 15, 256–278.
Jørgensen, K. (2010). Game characters as narrative devices. A comparative analysis of “Dragon Age: Origins” and “Mass Effect 2”. Eludamos. Journal for Computer Game Culture, 4(2), 315-331.
Kennedy, H. W. (2002). Lara Croft: feminist icon or cyberbimbo? On the limits of textual analysis. Game Studies: International Journal of Computer Games Research, 2(2), Retrived from http://www.gamestudies.org/0202/kennedy/
Mcconnell, E. (2011). Top 10 positively portrayed female game characters. Retrieved from http://listverse.com/2011/05/21/top-10-positively-portrayed-female-game-characters/
Schleiner. A.-M. (2001). Does Lara Croft wear fake polygons? Gender and gender-role subversion in computer adventure games. Leonardo, 34(3), 221-226.
Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3, 586-606.
Sharkey, S. (2008). Top 5 most attracitive non-sexualized women in video games. Retrieved from http://www.1up.com/features/top-5-attractive-nonsexualized-women