What Does it Mean to be a Female Character in “Indie” Game Storytelling? Narrative Framing and Humanization in Independently Developed Video Games

2021 ◽  
pp. 155541202110262
Author(s):  
Mildred F. Perreault ◽  
Gregory Perreault ◽  
Andrea Suarez

Video games have long held a spotty history in their narratives regarding women. Most research has examined large budget games and identified issues of simplification, oversexualization, and a general lack of agency among female characters. The present study explores the gaming niche of “indie”—or independent game developer—video games in their representations of women in particular with Never Alone, Gone Home, and Her Story. These games were released around the time frame of the GamerGate controversy—a controversy which drew attention to the treatment of women in gaming culture—and hence, the games are used to reflect on a potential shift in games culture following the controversy. This article argues that these game narratives emphasized multilayered female characterizations, female-to-female interactions, and internal dramas as a way to potentially reach female gamers and present an alternative, humanizing narrative on women.

Author(s):  
Tim Wulf ◽  
Daniel Possler ◽  
Johannes Breuer

This variable aims at identifying how bodies and movements of (mostly female) characters are portrayed in video games. This is often done by coding specific bodily attributes of characters or to what degree certain body parts are covered or (not covered) by clothing.   Fielf of application/theoretical foundation: The variable sexualization is an indicator commonly used in studies investigating the depiction of gender roles in video games and especially in studies aiming to identify stereotypical or sexist portrayals of women in games. Other variables that are often considered in such analyses are character attributes like being physically capable in terms of strength and agility (which is often how male characters are portrayed; Lynch et al., 2016) or whether characters are perpetrators or victims in violent interactions.   References/combination with other methods of data collection: Content analytic codings of stereotypical or sexist gender representations can be complemented by surveys among players to ask about their perception of the games they play. In addition, researchers may consider using computer vision methods for, e.g., detecting the amount of skin shown by characters (if they use screenshots or printed ads as coding materials).   Example studies Coding Material Measure Operationalization Unit(s) of analysis Source(s) (reported reliability of coding) 20-minute segment of game play Sexualization by clothing skin-revealing clothing, nudity (none, partial, full, not applicable, cannot tell), appropriateness of attire (appropriate, inappropriate, not applicable, cannot tell) Primary and secondary characters Downs & Smith, 2010 (Scott’s Pi = .87; 90; 90) 5-minute segments of recorded gameplay after “the player had taken control of the character’s onscreen action” (Lynch et al., 2016, p. 571) Sexualization by clothing Bare skin between armpits and bottom of the breasts (both dummy coded: bare skin vs. no bare skin) Target female character Lynch et al., 2016 (α = .70) 20-minute segment of game play Sexualization by size of body parts and proportions body proportion (realistic, unrealistic, not applicable, cannot tell), breast size (flat, average, voluptuous, cannot tell), waist size (disproportionately small, average, disproportionately large, cannot tell) Primary and secondary characters Downs & Smith, 2010 (Scott’s Pi = .82; .98; .88) 5-minute segments of recorded gameplay after “the player had taken control of the character’s onscreen action” (Lynch et al., 2016, p. 571) Sexualization by size of body parts and proportions Breast proportion to body size (dummy coded: proportionate vs. disproportionate) Target female character Lynch et al., 2016 (α = .81) 20-minute segment of game play Sexualization by specific behavior(s) sex talk (dummy coded: present vs. absent); sexual behavior (dummy coded: present vs. absent)  Interactions between characters Downs & Smith, 2010 (Scott’s Pi = .99; 1.00) 5-minute segments of recorded gameplay after “the player had taken control of the character’s onscreen action” (Lynch et al., 2016, p. 571) Sexualization by specific behavior(s) presence of sexualized movement (dummy coded, “unnecessary undulation or jiggling that drew attention to their body in a sexual manner”, Lynch et al., 2016, p. 572) Target female character Lynch et al., 2016 (α = .75) 5-minute segments of recorded gameplay after “the player had taken control of the character’s onscreen action” (Lynch et al., 2016, p. 571) Physical capability dummy coded: engagement in feats of physical strength or agility vs. no engagement in feats of physical strength or agility Target female character Lynch et al., 2016 (α = .84)   References Downs, E., & Smith, S. L. (2010). Keeping abreast of hypersexuality: A video game character content analysis. Sex Roles, 62, 721–733. doi:10.1007/s11199-009-9637-1. Lynch, T., Tompkins, J. E., van Driel, I. I., & Fritz, N. (2016). Sexy, strong, and secondary: A content analysis of female characters in video games across 31 years. Journal of Communication, 66(4), 564–584. https://doi.org/10.1111/jcom.12237


2021 ◽  
Vol 1 (1) ◽  
pp. 14-20
Author(s):  
Hesti Nurlaeli

A speech can also lead to a description of the principles of conversation. This also happened in Las Day Production's video “Cara Kodein Cowok Biar Cepet Merid”. This research aims to find out and describe the female characters’ utterances or the implicit forms of the in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The approach in this research uses pragmatic and qualitative descriptive. The data collection technique in this study was using the note-taking technique. The data analysis techniques used in this study were data triangulation, theory triangulation, and source triangulation. Triangulation of data was generated by recording the speech of a female character in the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production. The theory triangulation refers to pragmatic theory, while the source triangulation is the video "Cara Kodein Cowok Biar Cepet Merid" by Last Day Production, which is downloaded on YouTube. The research results in the video "Cara Kodein Cowok Biar Cepet Merid” have 8 stories of female characters that contain implicatures.


Literator ◽  
2001 ◽  
Vol 22 (2) ◽  
pp. 113-132
Author(s):  
G.H. Taljaard

The dialogue between image and text in Riana Scheepers's Dulle Griet This article examines the way in which the content and theme of Riana Scheepers’s Dulle Griet (1991) interact with the “manneplot” (traditional and/or stereotypical portrayal of female characters within novels) and with the cover illustration of the book – a detail of “Mad Meg” (as she is often referred to) from Pieter Brueghel’s Dulle Griet (1562). It explores how the women in Scheepers’s short stories are portrayed – not only as vulnerable, but also as evil and corrupt. They are abused victims; but they are also tyrannical abusers. They are innocent maidens and mothers, but also lovers, prostitutes, lesbians and murderers. The way in which the gradual degeneration of the anonymous central female character relates to Brueghel’s image of “Mad Meg” on her way to the jaws of hell is discussed in this article. But the article also demontrates Scheepers’s concern with feminist issues by using the cover as an ironic “frame”, and shows that the moral decline of the women portrayed in the text seems to be as a result of the actions of chauvinistic men, who appear in different forms throughout the text. Female degeneracy can thus be seen as a survival mechanism, in a world – and a text – dominated by the masculine paradigm, the “manneplot” of traditional male attitudes to women.


New Sound ◽  
2015 ◽  
pp. 39-54
Author(s):  
Mina Božanić

The question of gender representation in Béla Bartok's (1881-1945) stage works is discussed through the prism of cultural studies, with reference to the intellectual, social and political atmosphere in which the composer shaped his ideas. In this sense, it is provocative to question how the stereotyped images of women influenced/merged with Bartok's personal view on women, or is it, maybe, possible that one intimate conception of female characters, reflected the composer's specific relationship toward women? The treatment of the female character will be shown through the analysis of the plot and key scenes in Bartok's stage work.


Throughout this book, the authors have disproved the dominant White, heterosexual, teen gamer image through highlighting current gamer facts and figures, as well as the research and literature in the area. However, despite these facts, figures, and previous research findings, it is apparent that the industry designs games for a White, heterosexual, male audience. Females tend to be underrepresented in games. This chapter looks at how female characters are often missing from games, especially as main characters, and when females are represented in games, they are often secondary characters and stereotypically represented most often in a hyper-sexualised way. This chapter identifies how computer games are designed for a male audience leaving female gamers as “other” within computer games and the wider gaming culture. It Discusses how females are underrepresented in games and the wider gaming culture reinforcing the “otherness” of the female gamer. It Reviews how the industry sexualises and eroticises women, and it considers how this might impact both male and female gamers as well as perpetuate the image that computer games are for boys.


Author(s):  
Christopher P. Johnson ◽  
Patrick R. Goncalves

Gamification is defined as: the process of adding games or game-like elements to something (such as a task) so as to encourage participation. There are many examples of gamification in higher education; games have been shown to motivate students to engage more with their study tasks. Even though the use of gamification (as an engagement and recruitment strategy in higher ed) has been utilized since 1999 (Fairmont State), only a select few universities have leveraged gamification as a tool for engagement and recruitment over the last 18 years. The strategy overall has not garnered much research but since gaming culture is now more ubiquitous than ever (67 percent of American households own a device used to play video games) it is inevitable that more gamified-based recruitment strategies will start to take shape in the near future.  


2019 ◽  
Vol 67 (2) ◽  
pp. 109-129
Author(s):  
Svenja Hohenstein ◽  
Katharina Thalmann

Abstract Starting out with a brief overview of recent TV series that feature complex and complicated female characters – or, as we call them, ‘difficult women’ – this introduction investigates the changing manner in which women have been represented on TV in previous decades. Demonstrating that especially TV shows of the 2010s undermine and work against traditional and stereotypical portrayals of women on TV and instead establish feminist discourses, we argue that this time period can be defined as a pivotal moment with regard to changing representations of women on TV. Using Netflix’s Orange Is the New Black as an example, we also show that TV series that feature difficult women make use of the very techniques and conventions of what Jason Mittell has described as ‘Complex TV’ in order to consciously engage with questions of female representation on TV and to create a feminist discourse that works against sexist tropes and stereotypes.


2016 ◽  
Vol 7 (1) ◽  
pp. 35
Author(s):  
Ferry Fauzi Hermawan

Artikel ini bertujuan untuk menggambarkan transgresi seksual yang terdapat dalam novel Para Penebus Dosa karya Motinggo Busye. Metode yang digunakan dalam artikel ini adalah metode deskriptif analitis. Data dari novel dideskripsikan untuk memperoleh gambaran transgresi seksual. Dalam novel tersebut pelanggaran terhadap kebiasaan seksual, norma, dan kelas digambarkan melalui peristiwa seksual yang dialami oleh para tokoh, terutama tokoh perempuan. Hasil analisis menunjukkan bahwa tokoh perempuan digambarkan banyak melakukan tindak transgresi dibandingkan dengan tokoh laki-laki. Analisis juga menunjukkan bahwa narator dalam novel memiliki sikap bias gender dan mendukung nilai-nilai patriarki dengan lebih banyak memberikan hukuman terhadap tokoh perempuan yang melakukan tindak transgresi seksual dibandingkan kepada tokoh laki-laki.Abstract:The paper aims at describing sexual transgression in Motinggo Busye’s “Para Penebus Dosa”.  The research applies descriptive method. The sexual transgressions elaborated in the novel are presented through the deviance of sexual affairs, social norms, and class experienced by the characters, especially female character. The result of the research shows that  female characters described in the story committed a lot of sexual transgressions compared to male characters. The study also reveals that the narrator in the novel  has a gender bias act. Moreover, he supports values of patriarchy by giving more punishment to the female committing sexual transgression act than to the male.


2020 ◽  
pp. 23-35
Author(s):  
E. N. Kuzmina ◽  
◽  
L. N. Arbachakova ◽  
N. V. Shulbaeva ◽  
◽  
...  

In the heroic legends of the peoples of Siberia, a special role is played by typical descriptions (stereotypes) that carry plot-forming and compositional functions. They reflect the syncretism of aesthetic and moral popular views in their content and the semantic guidelines that epic heroes are endowed with. As ethno-poetic constants, these stereotypes embodied the people’s value attitude to the world around them and, being transmitted for a long time, became ethnically differentiated cultural universals acquiring a normative status over time. In this study, an axiological approach has been applied to consider traditional portrait descriptions of warlike heroes and virgins, based on the comparative material from the epic of Buryats, Khakasses, and Shors. This approach allowed us to conclude that the similarity in imaging the characters of these peoples’ epic has a natural and genetic origin and that the descriptions show the syncretism of aesthetic and moral assessments. The descriptions used in the depiction of female characters are intertextual stereotypes taken from the general epic fund. The structure of these stereotypes comprises supporting phrases that tend to become epic formulas and function independently in the epic. Of the poetic and visual means, stereotypes steadily involve the comparisons and epithets easily correlated with the phenomena and objects of Nature and Space. The generally accepted statement that hyperbole is the main imaging device in the heroic epos is also confirmed in the female character description stereotypes.


2016 ◽  
Vol 1 (2) ◽  
pp. 1
Author(s):  
SITTI AIDA AZIS

AbstractThe research aimed to describe the female character (Kuggy) in “Perahu Kertas “ novel wrote Dewi Lestari. The benefit of this study was expected to enrich the wealth of knowledge, especially in the field of study Indonesian language and literature. The data in this study were words, sentences, and phrases that impling the female character in the Perahu Kertas Novel, whereas the source of the data in this study was Perahu Kertas Novel wrote Dewi Lestari work. Methods of study used literature review. Data collection techniques in this study, namely the descriptive analysis of literary works (in the form of documents) or books related literature discussed in the focus of research. The data analysis technique used to classify data that strengthens the research. The study was invented female characters in the Perahu Kertas Novel wrote Dewi Lestari.Key words: Woman, independent, creative, unique AbstrakPeneitian ini bertujuan untuk mendeskripsikan karakter perempuan( Kuggy)dalam novel Perahu Kertas karya Dewi Lestari. Manfaat penelitian ini diharapkan dapat memperkaya khazanah ilmu pengetahuan, khususnya dalam bidang studi Bahasa dan Sastra Indonesia. Data dalam penelitian ini adalah kata, kalimat, ungkapan yang mengandung makna karakter perempuan dalam novel Perahu Kertas, sedangkan yang menjadi sumber data dalam penelitian ini adalah novel Perahu Kertas karya Dewi Lestari. Metode penelitian ini menggunakan kajian pustaka. Teknik pengumpulan data dalam penelitian ini, yaitu teknik analisis  deskriptif karya sastra (dalam bentuk dokumen) atau buku-buku sastra yang berkaitan dengan fokus yang akan dibahas dalam penelitian. Teknik analisis data yang digunakan adalah mengklasifikasi data-data yang memperkuat hasil penelitian. Dengan begitu, ditemukanlah karakter perempuan dalam novel Perahu Kertas karya Dewi Lestari meliputi hal seperti: mandiri, kreatif, unik.Kata kunci: perempuan, mandiri, kreatif, unik.


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