Archive for the ‘Not-So-Casual Commentary’ Category

Diversity Through Replacement …

July 22, 2016

So, according to Time, Tony Stark is going to be replaced as Iron Man, in the comics, by a black woman. Essentially, she’s some kind of genius who builds an armoured suit in her dorm room, which impresses Tony, which leads, eventually, to her replacing him after Civil War II. And as I read that, it came to me that there have been a number of moves to attempt to add diversity to the admittedly not particularly diverse — but not completely non-diverse either — Marvel Universe by replacing existing characters with diverse replacements rather than building new characters or giving more prominence to existing characters. And I think this is a big mistake.

Let’s take one of the earlier examples, where Thor was replaced by a female Thor, despite the fact that Odin had to essentially retcon all of history by calling “Thor” a title and not a proper name, and ignored all of the other previous characters who had held the title of “God of Thunder” who were not Thor. No, they went with a female Thor, essentially replacing the existing Thor with a female version. And since the fact that this character was female and so added diversity was played up by many, that this added diversity does seem to be a major reason for the move. Except … if they wanted to focus on a female Asgardian with special abilities doing … whatever it is that the female Thor was doing, why not elevate Sif and give her her own book and series, or at least temporarily replace Thor’s book with a book for her? Or put her in some of the Avengers teams instead of Thor? After all, in the Thor movies, the character filled a warrior role quite well and was, it seems to me, rather well-liked, so trying to play on that to both increase the popularity of the books and the character should have been a slam-dunk. And it worked well for Phil Coulson. So, then, why wouldn’t they take an already well-established character and let her be herself and see if that could float? Why not try to add diversity, if they wanted that, by adding instead of subtracting?

Replacing Captain America with Falcon makes even less sense, in my opinion. At least in this case they were leveraging the success of Falcon as a character in the movies … but Falcon, as Falcon, was a long-running, well-established character, even as an Avenger himself. He might have been Cap’s sidekick in the movies, but in the comics he really was his own character, semi-distinct from Captain America. To strip away his unique identity to shoe-horn him in as Captain America should have been seen as a grave insult to any of his fans. And especially since there were always characters who were more tightly tied to the Captain America mythos — Nomad, for example — that could have taken over and whom it was more logical for them to take up the shield, as again Falcon had no real need to take it up. Now, since I haven’t read how that came about, you could argue that it all makes sense in context … but taken as an overall idea it seems to make more sense to highlight Falcon as Falcon and, if you have to replace Captain America, do it in a way that allows you to establish a completely new identity for the character.

The same thing can be said for this new replacement of Iron Man, which is ironic because Iron Man has actually had a successful replacement that promoted diversity, as right around the time of the “Secret Wars” Tony Stark was replaced by James Rhodes, who was a) not in any way a scientific or engineering genius and b) also happened to be black. But he also happened to be a long-time friend and confidante of Tony, and someone Tony could clearly trust. And he was popular enough that even when Tony Stark returned, he ended up getting his own suit of armour, the War Machine, and becoming a stable enough character to play an important role in both the Iron Man movies and the Avengers movies.

If they wanted to diversify the line-up while replacing Tony Stark, why not someone like Pepper Potts? Which they already did in the movies and I think even in the comics at some points. She’s trusted by Stark and could provide an interesting new perspective on the whole thing. Instead, they’re going with someone with a similar background to The Beetle, although presumably she won’t try to take on heroes to prove herself first. Hopefully.

Even the new Ms. Marvel reflects this odd thinking. Sure, Carol Danvers got promoted to Captain Marvel, and so wasn’t really replaced … but why invent a new character and then stuff them into a specific existing role, especially one that you then had to build a relationship to Captain Marvel to? Heck, replacing Wolverine with X-23 and having rename herself Wolverine seems odd … and was a reason why when Wolverine died off and I was considering actually, you know, switching to a book with X-23 in it I didn’t, because X-23 as X-23 was interesting, but X-23 as Wolverine was not. Yes, the stories might be different, but it’s still true that at that point the X-23 identity was subordinated to the Wolverine one. Sure, as a tribute to him it made sense … which is more than I can say about the other ones, I guess.

It strikes me that the people pushing for diversity seem to want to be able to piggy-back on the name recognition of existing characters, and are afraid to try to sell their diverse characters strictly on their own merits. That’s why they want to see Miles Morales replace Peter Parker in various media instead of simply getting his own books/movies under a different name, and why they want the movies to make Peter Parker gay instead of introducing a gay character. This, at a minimum, sells those characters short. She-Hulk, for example, finally managed to get some popularity not by replacing the Hulk, but by being very different from him. Deadpool’s success comes from him being unique, not from being a rip-off of Deathstroke. Emma Frost at least used to be one of my favourite characters because who she is, not because of who she’s emulating (and I’m still bitter about the cancellation of her solo series, which I really enjoyed). Magik is another one of my favourite characters because I like her as a character, not because she gets shoe-horned in as the new Doctor Strange or some other such nonsense.

If you want diversity, you need to have more confidence that diversity can work on its own. If you don’t have that confidence, then “cheating” by fooling people by playing on name recognition is not the way to gain diversity, because more than anything else it shows that even you don’t think these characters can work on their own. And if even you don’t believe that, why should anyone else?

Thoughts on “Time Scout”

July 18, 2016

So, when I went out looking for new books to buy, at some point I came across “Tales of the Time Scouts”, which republished two of the works in the “Time Scout” series by Robert Asprin and Linda Evans. I’ve read some of Asprin’s other works before — notably the “Myth” series and the “Phule’s Company” series — and liked them, and so decided to give it a chance. So what did I think of it?


(Totally Unfair) Thoughts on “The X-Files”

July 11, 2016

So, I recently saw a complete edition release of “The X-Files” on Blu-Ray, and thought that I really, really should watch it, and the price was reasonable (in the 1 to 2 dollar per hour range), which only got better when I noticed someone’s gripe that they were actually cheaper if you bought them separately instead of in the complete edition. So, I bought all nine seasons, and watched them all. And … I didn’t like the show.

Now, my comments are this are, as stated above, totally unfair because I didn’t just watch the show, but instead watched it while doing other things, including playing “Dragon Age: Inquisition”. This means that there were a number of episodes that I was only half-paying attention to it. It’s a valid criticism to say that X-Files is an arc show and that if you don’t pay attention you’re going to miss a lot. Fair enough. It’s possible that one of the reasons, for example, that I found that the show was acting as if I should care more about what was happening to the agents than I really did was because I didn’t have in my head all of the backstory and emotional baggage that the previous episodes had indeed managed to build up if I’d only been paying attention to it.

But I don’t think this is a sufficient explanation, because typically in arc shows the problem people have with it is that they don’t know what’s going on and so get lost and frustrated. For the most part, I never felt that way. I always felt that I at least roughly knew what was going on, but typically didn’t care or was bored or annoyed by what was going on. Sure, paying more attention might have made me care more, but on the flip side the show didn’t make me want to look up and pay attention more often either, like better shows do. So there seems to be more to it than that.

For the most part, it’s my opinion that the very best episodes, for me, were the ones that were, in fact, simple joke episodes, where they made everything be ridiculous and you’re supposed to roll your eyes at what they’re doing. Any time they attempted to mix the two, however, the episodes were, in fact, utter disasters. And the “straight” episodes just weren’t as good. Now, they were dealing with paranormal things and so things that would strike us as being ridiculous, and so maybe that was just hard to pull off, so that when they embraced the madness, it all worked, but when they didn’t that ridiculousness dragged everything down. Sure, but there are a lot of shows that manage to make that work. Doctor Who is a prime example of a show that manages to embrace the insanity and how crazy that’s all going to look while still managing to build in deep emotional scenes, drama and story arcs without looking out of place. And then we also have shows like Buffy, Angel and Smallville that manage to do the same. So what is it about X-Files that makes it come up so short for me?

Well, the first thing is that I think the show takes itself too seriously. It seems to trying for these sorts of serious and dramatic scenes so much that it becomes jarring when they step out of that. All of the other shows that I’ve mentioned deliberately and consistently include humour, and the drama seems to grow organically from the characters themselves. When they get totally serious, things are bad, and if they joke when they shouldn’t, the others point it out. Arguably, Mulder could have managed to pull this off with his snark, but he definitely took the X-Files very, very seriously, and Scully was from the start set up to be a serious character. In short, in a lot of ways they were both straight persons, which made the humour seem out of place when they acted as the goofball. Sure, the snark itself worked — although it worked best when both Scully and Mulder snarked, as when only Mulder snarked, especially at Scully, it seemed more like him being a jerk and her long-suffering — but the comedy relief didn’t. And good comedy relief is necessary in good drama to relieve the tension, otherwise it becomes overwhelming.

Additionally, the show itself seems to be overly dramatic, aiming at creating massively dramatic scenes that came across as forced, so much so that we started looking for the punchline, or else felt that they were overreacting (and possibly overacting). The end of “Jump the Shark” is a prime example of this, with Scully, of all people, commenting on how much The Lone Gunmen had meant to her in an overly dramatic fashion, so much so that I was looking for it to be a fake or a hallucination on the part of the Gunmen (it wasn’t). But there were a number of other scenes where the drama was stretched and expanded so much that it was almost self-parody. This made the actual self-parody harder to detect and so it didn’t come across; I was wondering if it was a joke or if it was serious.

Also, I think they had issues with the setting. In all of the other shows, at least the principles knew what was going on, and that these things were real, while others may not have. But with Scully being the skeptic for most of the show, there was always someone directly involved who kept pointing out other reasonable explanations, that just happened to be wrong. This always, then, tied it in that this was our world and so kept the paranormal and supernatural events as odd events and not as things that were normal but that others didn’t see. This, then, kept reminding us how absurd this all was and so broke the suspension of disbelief, which then only got worse when some of the things really were ridiculous. The show encouraged us to question and assess the rationality of the explanations which then only meant that we noticed the plot holes. And there were a number of plot holes.

The result is a show that you can’t take seriously but you can’t laugh that, that is desperately trying to get you to take it seriously. That’s not a recipe for entertaining viewing.

Some more general thoughts on the show:

Gillian Anderson’s acting in the first season is really stilted and artificial, but she gets better after that … up until they make Scully an angry, tough chick when she gets pregnant and has a child in the later seasons, which really didn’t seem to fit.

The Lone Gunmen, in general, were entertaining, at least in small doses.

At one point at the end of Season 5, I was getting into the show, and starting to like it. I was even interested in the alien conspiracy, which hadn’t happened up to that point. Then the next season, quite early, started with the ridiculous concept of Mulder switching bodies with that really annoying guy — a concept that they dragged out over two episodes when the concept itself barely supported one — and then followed that with the utterly ridiculous episode with the ghosts at Christmas trying to get Mulder and Scully to shoot each other and failing … somehow, and the effect was ruined. At that point, I not only wasn’t really enjoying it anymore, but was in fact actively mocking it and even hating it. The show never recovered from that, and it took force of will for me to completely the series.

As the show went on, it did indeed become more unreasonable that Scully would still be skeptical of the paranormal after all she’d seen. They lampshaded it, but missed, in my opinion, a great way to resolve it. The big issue was that Mulder was always right with his intuitive leaps, and Scully was always wrong. What they needed to do was make it so that sometimes the right explanation really was the scientific one, which then could justify Scully taking an Occam’s Razor approach and saying that she’s sticking with the explanations that have actually happened elsewhere before jumping to the completely new explanation. If they didn’t want to do that in actual episodes because they felt it might undermine the show or Mulder, all they needed was for her to reply to that, for Mulder to ask when those explanations have ever worked, and for Scully to start listing off cases — that happened off-screen — where it did. This then would make the relationship seem less antagonistic and more sensible, leading to an explanation for why the X-Files needed to be restored by pointing out that the combination of Mulder’s intuition and Scully’s scientific approach have led to more resolutions — even if not arrests — than happened in all the years before that. Of course, then they couldn’t have argued 9 that Doggett needed to stay because he was better at it than they were (which was dumb in an of itself).

Season 8, with the departure of Mulder, didn’t work, because Doggett couldn’t capture Scully’s skepticism, and Scully couldn’t capture Mulder’s intuition. Scully may have come to believe, but unlike Mulder she had no real reason to want to believe … and many reasons to want to not believe. Thus, the whole dynamic was thrown out of whack, which went very badly. Also, making Doggett the superior in the relationship worked out really badly considering how experienced Scully was; they had to make her stupid and risk-taking just to make him into the person who did things right. Season 9 worked better but Scully’s constant presence worked against the dynamic of Reyes and Doggett, which seemed to me to work but needed more time to develop.

So, the final question: Would I watch this again? If this was 10 years ago, when I had less to watch, I probably would give it another chance. But I have too many things to watch to give this another chance, at least not for a long, long time. I’d rather watch Farscape again than watch this, which is not a good thing for X-Files. Overall, I was very disappointed in the show.

Quick Bonus Post on the new Ghostbusters Movie …

July 11, 2016

So, I’ve seen a number of trailers for the new Ghostbusters movie, and my reaction to all of them has been consistent: Where are the jokes?

Also, the new Star Trek movie looks dreadful. This all makes me very glad that I don’t go to movie theaters anymore.

Thoughts on “In at the Death” … and “Settling Accounts”

July 4, 2016

So, my thoughts on “In at the Death”, the last book in the “Settling Accounts” series, and the series as a whole.


Final Thoughts on the “Dragon Age” Series … So Far

June 29, 2016

So, let me talk about my overall thoughts of the “Dragon Age” series so far: as a fantasy RPG series, it’s … good. I’m not sure that I want to replay the series again — especially since I don’t think I ever want to replay “Inquisition” again — but it was worth playing. And while I’ll do a full comparison later, I think there are some parallels between it and the “Mass Effect” series: an excellent first game with a deep and engaging story, a second game that takes things in a different direction and gets more personal, and a third game that tries to bridge the two … and fails. I think Inquisition suffered more from the move to an open world game than it did in trying to make a personal story inside a deep story, and it had the benefit of having no need to actually wrap up a long story arc, but the simple length of the game hampers its attempts to, well, do anything. It’s hard to feel a deep and personal attachment to what’s going on in the world while you’re searching for shards and running errands, and it’s hard to really get into the story when most of the time you spend in the game is spent doing things that aren’t directly related to that story at all. The story and the characters get buried under the weight of all the things that you can and maybe even need to do to be able to beat the game.

Dragon Age: Origins, then, has the best story out of all of the games, and it is no coincidence that it also seems to have the most interesting choices to make … even if many of them don’t seem all that momentous, and thus seem like tough personal choices. Ultimately, though, I think I like Dragon Age 2 the best, but that’s mostly because its gameplay fits exactly into my preferred way to play a game: run through all available side quests and then advance the next story quest secure in the knowledge that I’m at the right level to take it on. Inquisition just has too many side quests for that style of play to be fun, but also encourages you to do just that to ensure that you have enough levels.

I also strongly dislike the move to Dragon Age Keep, and hope that in the next games they rip that out and move instead to an in-game way to configure the world. But I think that’s a lost cause.

Anyway, the series was good, and I’m just more happy to finish the latest game than I am disappointed in how it ended.

Thoughts on “The Grapple”, Book 3 of “Settling Accounts”

June 27, 2016

Eventually, Turtledove’s works end up as a slog.


Final Thoughts on “Dragon Age Inquisition”

June 22, 2016

Dragon Age: Inquisition is probably the least casual-friendly game that I have ever played.


Thought on “Drive to the East”, Book 2 of “Settling Accounts”

June 20, 2016

One of the big problems with Turtledove’s WWII works — outside of “Worldwar” — is that he most often can’t really conceive of how things could have turned out differently, reusing the same events and themes throughout.


Tropes vs Women: Lingerie is not Armor

June 17, 2016

So, Anita Sarkeesian has posted her next entry in the “second season” of “Tropes vs Women”, which is an odd way to put it since she’s completely redone her approach to the series, mostly because as she herself has said she doesn’t really have the time to do what she said she’d do in what was supposed to be a “single season” series. It also implies that there might be a third season, although given what she says in her explanation of the format change that doesn’t seem all that likely, as at least originally there is was implied that the change existed solely to allow her to, well, get the series actually finished at some point. But that’s all an aside anyway.

At any rate, this video talks about “Lingerie is not Armor”. If you’ve never heard of that trope before, the relevant trope on TV Tropes — and, warning, this is a link to TV Tropes — is “Stripperific”. Essentially, it’s the idea that especially female characters are dressed in outfits that aren’t practical for the role they play in a game, but are instead inordinately sexy, highlighting their … ahem … attributes more than you’d expect for someone doing what they’re doing. The most well-known example of this is, in fact, the “Chainmail Bikini”, so it’s been around for quite some time. Now, Sarkeesian, of course, needs to do more than simply point out that the costumes are sexy, because for her feminist arguments to work — meaning, her specific ones — she needs it to be the case that the characters are, in fact, completely sexualized and objectified by such outfits. If they are characters that also happen to be sexy, her arguments mostly fail.

At any rate, let’s start by looking at her first example. She talks about a ad for “Perfect Dark”, that definitely is highlighting the attractiveness of Joanna Dark and does play on both that and her femininity — with the “What are you going to wear?” line — in order to sell the game. But as I’ve said before, it’s going to be the case that even female players want a character that’s competent and confident as well as sexy and attractive and maybe even feminine. So that in and of itself isn’t a problem, and the text itself really sells that she is, in fact, strong, capable and confident:

“Welcome to 2023. Big businesses now merge with alien nations. An ancient war is being fought under the sea. The president is about to be cloned. And it’s your job to try and save the world. So you’ve got an important decision to make: What are you going to wear to work?

From the team you brought you GoldenEye for N64, meet special agent Joanna Dark in Perfect Dark, where you’ll find out that the only person man enough to handle a job like this is a woman.”

I won’t say that this description isn’t problematic — it is — but it does definitely highlight how capable Dark is. Contrast this with Sarkeesian’s “translation” for a male character:

Welcome to 2016. There’s a war out there…somewhere. You’re not sure where, exactly. Anyway, the important thing is, you’re Special Agent Jake Grimshadow. It’s your job to save the world. The only question is: What are you going to wear? …. WAIT… WHAT??

Sarkeesian says that this would never happen, and that it shouldn’t, and she’s right … because this is a commercial that relies on portraying the character as an utter moron who knows nothing and might even be someone who’s simply looking for an excuse to kill things (which seems to be Sarkeesian’s default interpretation of, at least, male game players). The only thing it keeps is the “What are you going to wear?” line, which can easily be interpreted as a line mocking that stereotype of women … one that, however, many of them actually live up to. The problem I have with that line is that that line, specifically, might undermine our faith in the character, making her seem shallow and uninterested in the actual mission, but it’s important to note that since that add was almost twenty years ago that’s based on a modern interpretation. Now, we expect women to not care about what they’re wearing that much, especially when going out to save the world. Then that sort of shallowness was more common, so common that it didn’t seem shallow at all.

In contrast, Sarkeesian leaves out anything that establishes the male character as being confident or capable, adds a line that doesn’t fit with the stereotypes of men, and then tries to get us to see how ridiculous this really is. Yes, what was done there was problematic, but when you use examples like that and that sort of gender shifting what you really want to do is keep the translation as close to the original as possible in both form and intent so that you can highlight the problem. If, for example, Sarkeesian had kept it the same but instead replaced the “What are you going to wear?” line with “Which guns are you going to bring?”, would it have had the same impact?

At any rate, the question you need to ask is “Is Joanna Dark sexualized and objectified here, such that she is or is to be seen as nothing more than a sexual object for the enjoyment of the presumed male player?”. And the answer, I think, is “No”. You are supposed to see her as confident, capable and sexy, not just sexy.

Part of the issue with this video is that Sarkeesian wants to use fighting game examples to prove her case, which is that female characters’ outfits forgo reasonable protection in order to highlight their attractiveness and sexiness, but this assumes that the outfits in fighting games are, in fact, designed primarily for protection. So, for example, she highlights Cammy from Street Fighter:

Cammy from the Street Fighter series is a British special forces operative whose thong leotard does a better job of calling attention to her butt than of offering any kind of protection.

So, let’s compare Cammy’s outfit to that of the male characters in the original Street Fighter II game (because I haven’t kept up with the variants). Like, say, Sagat, who pretty much only wears trunks. The same is true of Dhalsim. And E-Honda, who wears the traditional sumo outfit. And Zangief. Even Ken and Ryu, who are mostly covered up, wear karate gis that, well, don’t provide a lot of protection. The only character who wears any kind of actual armour is Vega, because in character he wants to protect his pretty face. So, based on this, protection is not in fact a main priority in the Street Fighter series. So about the only complaint she can have when comparing her to the male characters is that her outfit and her stances show off her butt a lot. The latter doesn’t fit into a “Lingerie is not Armor” trope, and my reaction to the former is “Just what is your obsession with butts anyway?”.

Later, Sarkeesian talks about more practical outfits:

It’s not hard to imagine what more practical clothing options might look like for some of these characters. But if you’re having a hard time envisioning that, I will let you in on a little secret:

For those of you who aren’t familiar, there is this thing called a sports bra. Sports bras are designed to keep breasts held in place to better facilitate athletic activities. In other words, they are used to prevent “jiggle physics” in real life. In the real world, there are many female martial artists, athletes, and women in combat roles that developers could use as inspiration when designing and dressing their female characters.

So, then, we can look to an example that she missed, which is Sonya Blade from the original “Mortal Kombat”. Sure, her outfit bares her midriff, but is pretty much exactly what women wore while doing, say, aerobics at the time, and thus what people actually wore doing athletics. If Sarkeesian complains about how it doesn’t provide protection for someone who is actually fighting, then we have to look at Liu Kang and Johnny Cage who aren’t wearing any kind of armour either, and fight in what, well, martial artists wear, as seen with Sub-Zero and Scorpion as well. In general, in fighting games characters are dressed to, well, demonstrate their character more than being dressed for protection, mostly because if you try to introduce armour — and “World Heroes” did this with Jeanne — you either have to give it to all of the characters, give that character a huge advantage (because the armour would absorb blows that the other outfits wouldn’t) or else make the armour cosmetic only. The latter is usually what’s chosen in fighting games, which is why we have Jeanne because she’s clearly modeled on Jeanne D’Arc.

Thus, the outfits in fighting games tend to be modeled for character expression, not for protection, and thus also, in some ways, to provide maximum movement, which is why characters — male and female — often don’t wear all that much. In fact, in the Mortal Kombat movie, it’s actually a bit jarring that Johnny Cage fights in a shirt and dress pants, because fighters generally wouldn’t wear that (although, arguably, Cage is more used to that because in the style of movie he acts in that’s what he’d normally wear) because it’d be too restrictive. No, it’s in RPGs that we typically note the issue, because armours are supposed to actually provide protection, and the stereotypical “Chainmail Bikini” leaves critical areas exposed. Sarkeesian’s focus on fighting games, at least initially, hurts her case. Even focusing on first-person shooters runs into the issue that if one is going up again people with guns, until recently armour was not exactly likely to help much.

That being said, when fighting zombies where one bite can infect you and turn you into one, people should wear more clothes. Of course, again, regular, non-feminist gamers have already pointed that out:

I’m not trying to be a puritanical busybody, and I don’t want to ruin anyone’s vacation here, but maybe if zombie bites are that much of a concern we should think about putting on some shirts and pants? The plastic sheen on your skin tells me you’re laying on the sunblock really thick. Maybe that’s good enough, but I’m just saying that having a layer or two of cotton and denim between your flesh and their teeth wouldn’t hurt. Just a suggestion.

Sarkeesian highlights the “hyper-sexualization” angle:

Because clothing can shape our first impressions of a character and has a tremendous influence on our sense of who they are every time they are on screen, sexualized outfits can contribute to what’s called the hyper-sexualization of female characters. Hyper-sexualization in the media occurs when a character is designed to be valued primarily for their sexual characteristics or behaviors. In hypersexualized characters, these attributes are highlighted above all else and made the center of attention, while everything else about the character is made secondary.

But the question then becomes: in any of her examples, does hypersexualization actually happen? Are these characters really seen primarily for their sexual characteristics, which everything else secondary? Is Cammy’s leotard, for example, seen as more primary than her being a British Special Forces agent? Sarkeesian, throughout the entire video, simply points to the outfits and says that they’re bad and the problem. She doesn’t examine the characters in detail to see if it fits or works for them, or if they are presented as characters that are competent, capable and sexy. In short, Sarkeesian doesn’t examine whether the sexiness is a defining trait, or a secondary attribute, while insisting that the problem with the outfits is that they, in fact, make the sexiness a defining trait.

Which is where she gets into trouble with an actual feminist theory:

Games and other media often work to frame this sexualization as a positive thing for women. They blur the distinction between female sexualization and female power, and as a result, sexualized female characters are sometimes celebrated for being perceived as “owning” their sexuality in a way that is empowering. But it isn’t actually empowering because the sexuality these characters exude is manufactured for, and presented as existing for, the presumed straight male player.

Sarkeesian has to ride that last part about it being designed for a straight male player very hard, because otherwise she runs the risk of being charged with “slut shaming”. The feminist theory is this: patriarchal society has always put strict limits on women and how they express their sexuality, which mostly meant that “good” women didn’t dress revealingly or sexually at all, and only to the extent that it was required in order for them to do what they needed to do. A woman who would dress “impractically sexily” was seen as, well, being a slut, and being openly available for sex. Thus, as soon as you saw a woman dressed like that, you were encouraged to think of her as, well, primarily a sexual object. The feminist response to that is, in fact, that women have to be able to dress sexy without having it be seen as in and of itself making her into a sexual object. Sarkeesian later references this point when she tries to talk about healthy sexuality:

The sexualization of female characters is about designing them, dressing them or framing them in ways that are specifically intended to be sexually appealing to presumed male viewers or players. Women’s sexuality, on the other hand, exists for themselves, and for those they care to consensually share it with. And sexuality can be expressed or experienced in any kind of attire.

But even here, she implies that women shouldn’t need to dress in sexy outfits in order to express their sexuality, implying that a woman willingly dressing in the way these characters dress is framing themselves as being appealing to men, not for themselves. But this is, in fact, the essence of slut shaming, which is the idea that a woman who dresses a certain way is to be seen as a sexual object for the pleasure of men, and nothing more. Thus, it is a perfectly valid feminist criticism of Sarkeesian to say that all she does is look at the outfit a woman is wearing and immediately concludes that, given that outfit, we should all consider her to have “sex” as her primary attribute, which means that she’s doing exactly the same sort of thing that the patriarchy does.

To settle this, then, we need to find a way to look beyond the outfit and determine if this is a character that wants to wear this outfit and one that is just wearing it because the game designers want to engage in some Fanservice. And the way to do that is to, in fact, look at the character herself and see if the outfit is something that that character would wear. Sarkeesian, unfortunately, has blocked herself off from this way of going about it:

Out of all the arguments that are tossed out to defend the impractical and objectifying clothing that women are made to wear in games, there is one in particular that I hear the most often and that is perhaps the most pernicious. That argument is: “Maybe that’s what she wants to wear!” Which is ridiculous. These women are fictional constructs. That means that they don’t dress themselves or pick out their own clothing. I can’t believe I have to say this. All these visual designs are deliberate choices made by the developers …

She also contradicts herself, however, when she talks about good expressions of sexuality:

These moments aren’t presented as titillating morsels of sexuality for players. Rather, they function as expressions of the characters’ sexuality that deepen our investment in the characters and their relationships to each other.

Except … how can it be an expression of the character or, rather, how can it be more an expression of the character than the former is, that she just wants to wear outfits like that, or has a reason to? In both cases, you have a fictional construct and are trying to derive its wants and desires from that construct, which is done by the designers. So if you can’t derive a “This is an outfit that that character would want to wear!” argument from that, you can’t derive a “She’s expressing her sexuality!” from that either. So Sarkeesian ends up being limited to either arguing that the former argument is invalid and the latter argument is valid only because it aligns with her own thinking on those issues — and thus, all female characters have to align with what she thinks is reasonable, even if other women wouldn’t think the same way — or else she has to rely heavily on the “Well, games are designed with men in mind!” argument which leaves us unable to determine how a game aimed at a general audience ought to work, and ends up being nothing more than an argument of “Don’t just design games for men!” with no real guidance on how to design it for women, too. Neither of these are options Sarkeesian should want to take.

So it seems to me that what we really, really want to do is focus on the characters and not their outfits. Thus, as I said before, Catwoman gets a pass because the character archetype she’s playing would indeed highlight her sexuality, even as a deliberate distraction. Miranda Lawson gets a pass for the outfit, but the game doesn’t get a pass for the camera angles that overly highlight it. More demure characters ought to dress more demurely, and more, um, sexual characters should dress more sexily, according to the overall standards for the genre that it’s in. Even in RPGs, there are definitely going to be some female characters who wouldn’t want to wear armour that’s generically male; they might still want to look like a woman even while totally protected, and thus might wear more form-fitting and feminine armours. But the Chainmail Bikini ought to be right out, since it couldn’t provide the protection a woman in that setting would need.

So, great, we can do this if we can justify it from the character. But then we run into the problem of Ms. Fanservice, which here is more the issue of a character that, it seems, is designed with the idea of being Fanservice first and foremost, and has nothing else beyond that. This, it seems to me, is what Sarkeesian is really annoyed about here, even if she can’t identify it, because it is only here that the character has their sexiness as their primary attribute. Fanservice itself isn’t a problem with a character that is loved for more than that; a shower scene for the character that you most like for their personality is a bonus, not a defining trait. But here, arguably, the character is built to provide fanservice, and the most interesting traits of them are the ones that justify — even if weakly — the fanservice that they provide.

If we look at Sarkeesian’s examples of failed attempts to justify the costumes, it really looks like this is what she’s aiming for. I don’t want to talk much about Bayonetta because she’s arguably justifiable in terms of powers and personality and I don’t know enough about the game to say one way or another. But Cortana and Quiet can provide us with an interesting way to try to assess the situation. Cortana:

The superintelligent AI companion Cortana from the Halo franchise has always been depicted as naked, and when asked about why this is, franchise director Frank O’Connor said, “One of the reasons she does it is to attract and demand attention. And she does it to put people off so they’re on their guard when they’re talking to her and that she has the upper hand in those conversations. It’s kind of almost like the opposite of that nightmare you have where you go to school in the nude, and you’re terrified and embarrassed. She’s kind of projecting that back out to her audience and winning intellectual points as a result.”

Meanwhile, male AIs in the Halo universe do wear clothing; the idea of them trying to “win intellectual points” by walking around naked is ridiculous. But we rarely question the extremely widespread association of sexualization and power when it’s applied to female characters.

And Quiet:

So you see, she can’t wear clothing because she breathes through her skin! These ludicrous narrative justifications don’t “make it okay.” Regardless of whatever absurd explanation a game might provide, it should go without saying that the only real functionality of outfits like this is to titillate the presumed young straight male player base.

But is that the case with both of these? How can we tell? Again, fanservice in and of itself isn’t a problem, and a female AI that’s learned that it can seduce or bemuse men by presenting itself naked seems more sexist towards men than women (ie “Show some skin and men fall all over themselves for you!”). As for Quiet, the idea that she needs to absorb oxygen (ie “breathe”) through her skin is an interesting one and has that implication (it would be a plot hole if she was still fully clothed). So how can we tell how to interpret the character and these reasons without doing what Sarkeesian does and dismissing them out of hand?

Remember, the idea is that the “Ms Fanservice” character has those traits only or primarily to provide an excuse for the fanservice. So if that trait isn’t just for that, it should matter to the character for important reasons beyond that. It should become a character point and, ideally, a plot point. So, for example, for Quiet there should be a scene or scenes where you can’t take her along or where you have an issue because you can’t have her swim out because she’d be submerged in water and thus would drown, even with a breathing apparatus. Or, alternatively, you can have her complain about how men don’t take her seriously because she can’t dress more modestly. In fact, you can pair her with someone who dresses modestly and discuss the differences in attention they get from men for that. There are numerous ways to make the point be important to the character more than it just being something that lets then dress sexily, and this is arguably precisely the sort of thing that Sarkeesian wants in how characters in games are built, thought about, and characterized.

I say “arguably” because when Sarkeesian gets into talking about sexuality she seems to kinda miss the “characterization” part:

The Last of Us: Left Behind features female characters who express romantic feelings for each other, rather than exuding a sexualized energy that is directed outward at the player.

And in Firewatch, though it’s only heard and not seen, Delilah expresses sexual desire for the player character, Henry.

Now, I originally had a throw-away point about Sarkeesian potentially treating workplace sexual harassment as healthy sexuality, since Delilah and Henry were co-workers. And then I went to look it up, because I wanted to make sure that I was right and discovered two things: 1) Delilah is Henry’s supervisor and 2) Henry is married to someone who is not, well, Delilah. Thus, one of Sarkeesian’s main examples of healthy female sexuality, in fact, fits the paradigmatic definition of sexual harassment and encourages adultery (because there’s no indication that Henry and his wife have an open relationship). How can she think that that is a reasonable and good depiction of sexuality?

So, even interpreting her charitably leads to a conclusion that Sarkeesian does not consider a supervisor suggesting a sexual encounter to an employee to be sexual harassment … if it’s a woman doing it to a man. After all, she constantly exempts cases where men are put into similar positions to women in her tropes analysis on the basis that given the social context it’s not an issue for men as it is for women. But here, the reason that a supervisor approaching an employee for sex is seen as always being or at least risking harassment is because of the power imbalance; the employee always has to worry if this will impact their job. Sarkeesian can try to claim — a la the sociological definitions of sexism and racism — that men have power and women don’t, but here it is the woman who definitely has power here. She could try to use the idea that the man would never turn down an attractive woman in this situation and so doesn’t this should be seen as always welcome (and so we should ignore the general case that even if welcome it’s a bad idea) but this is just fostering the idea that men want sex with all women all the time, which is as harmful as many of the attitudes she decries. She could argue that because of the way society is he needs to fear losing his job less than a woman would, except that female supervisors can still retaliatory fire and a man that’s out of a job is looked on more negatively than a woman would be. About the only argument that’s left is that he could get a job easier than a woman could, which isn’t true in this economy.

And none of that would justify the encouragement to adultery.

Fortunately — or unfortunately — it’s equally consistent with what Sarkeesian has shown in the past to conclude that she didn’t really play or understand the game when she used this as an example, or that she didn’t think of the implications of the scene. Pick the one that you like the best.

Now, moving onto the examples, what Sarkeesian gripes about in other examples is this:

But sadly, when consensual sex does occur, it’s often presented as a transaction or as a reward for player accomplishment. Whether that accomplishment is completing quests, or just choosing all the right dialogue options to get the sex cutscene to play.

So, returning to “Firewatch”, we note that in that game you can choose how to react to Delilah, including ignoring her. So, presumably, if you ignore her, this scene won’t happen. Thus, you’re going to have to choose the right dialogue options to get that scene. Otherwise, she’ll offer to have sex with you no matter how you treat her, which isn’t healthy sexuality at all. Thus, it is just as much a transaction as anything else she talks about. Also, this implies that in her first example that relationship occurs no matter what you do, which takes away player agency and so in allowing them to create the story to their standards. That’s a huge step backwards for games! Modern games are improved by allowing the player to decide who the PC loves or doesn’t love, hates or doesn’t hate, kills or doesn’t kill. For some reason, Sarkeesian wants to take huge leap backwards in order to prevent, it seems, straight male characters from having any fun she doesn’t like. Okay, okay, that’s too harsh, but she wants to take away something that I really like: the choice of romances and the quests and dialogues that lead to them.

But even as a point of female characters expressing their sexuality, the point fails miserably. See, those quests and dialogue options consist, in most games — Bioware being the leader in these sorts of interactions — of you picking the dialogue options that are right given the character that you are talking to. Heck, even the dialogues are tailored to the person you are interacting with. In Conception II — a game that Sarkeesian will dislike intensely — your interactions with the characters that build towards getting a relationship with them are in conversations that relate to specifics about the characters. You have to help Miss Chloe balance singing and being a teacher, Fuuko with her confidence (and with a ghost), Narika with her fear of public speaking, Torrii with her odd inventions, Feene with her photography and loneliness, Serina with her, sigh, A-Cup Angst and Ellie with the fact that she’s not quite human. Even the thinly veiled analogy for sex — so thinly veiled that it might as well not be there — is actually critical to advancing the relationship, which is why I, myself, never managed to get a relationship in that game when I played through it, because I stopped doing the “Classmating” because I had enough Star Children and wanted to save the Bond Points for combat. Sure, you’re “choosing the right options”, but the right options depend on the person you’re dealing with, and you have to also spend time with them to increase the bond with them.

Also, in Dragon Age, in order to build your relationship with someone you had to give the right responses to other people based on what that person wanted you to do. This is what drove my character to move from a bitter, cynical City Elf to a much better person because of the love of Leiliana, as she had to act nicer to others to keep that relationship up. Again, it’s choosing the right options, but the right options for the character you are dealing with, meaning that it forces you to think of them as more than just an object for sex.

And the quest that I had to do to get the relationship with Josephine in Dragon Age: Inquisition? Challenge her arranged suitor to a duel that I, as a mage, was going to lose and then when asked why I did it say that it was because I loved her. That’s definitely thinking of that as more than simply for sex.

Maybe Sarkeesian doesn’t mean these sorts of things when she talks about only choosing the right dialogue options, but we don’t know because she laments how rare “healthy sexuality” is and then never mentions these as examples. So does she know about them and hate them for some reason, or does she not know about these examples from, well, relatively well-known games that follow the model she’s criticizing? Who can say?

In conclusion, Sarkeesian does a more shallow analysis of the “Stripperific” trope than has already been done. We need to look more at how the outfits fit the character than simply say “Look, boobies!” and think that that reflects some kind of interesting meaning, and Sarkeesian fails on multiple levels to do that, ironically leaving herself open to criticisms from feminists, non-feminists, and gamers in general. A quite astounding achievement for one small video to pull off …


Get every new post delivered to your Inbox.

Join 42 other followers