Reimagining Feminine Representation in Interactive Media:
A Comprehensive Approach to Feminine Character Design
Thesis project completed and defended as final phase of my MA in Art and Technology from The University of Oklahoma
Abstract
The portrayal of women in visual media has long been a subject of critical discussion, with innumerable instances of sexualization, objectification, and trivialization of the feminine form and personality. This thesis explores the development of non-objectified, realistic feminine characters in video games, aiming to promote inclusivity and diversity. By integrating theoretical insights from gender studies, media criticism, and industry standard creative technologies, this project leverages advanced, industry standard softwares including ZBrush, Autodesk Maya, and Adobe Substance 3D to create character base meshes and skin textures. This work emphasizes the need for a critical re-evaluation of gender representation in gaming and presents a practical approach to achieving it.
"By courageously looking, we defiantly declare: 'Not only will I stare. I want my look to change reality.'"
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bell hooks, The Oppositional Gaze: Black Female Spectators (1992)
Context and Motivation
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The video game industry has long been criticized for its portrayal of women, often reducing them to sexualized and objectified figures that cater to the male gaze. Iconic games like Lara Croft: Tomb Raider exemplify this, where the protagonist is both a strong adventurer and a sexualized figure. This project responds to such issues by creating feminine characters that avoid harmful stereotypes, focusing instead on realistic and respectful portrayals, resonating with bell hooks' concept of the "oppositional gaze" (hooks, The Oppositional Gaze: Black Female Spectators, 1992).
"The adage is that if you want to know where technology is going, follow the porn."
Damon Brown, Porn & Pong: How Grand Theft Auto, Tomb Raider and Other Sexy Games Changed Our Culture (2008)
"To make a change in the world through design, we must first change the way we design."
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Mary Flanagan, Critical Play: Radical Game Design (2009)
Technical Approach and Workflow
Advanced, industry standard digital tools including ZBrush, Maya, Unity, and Adobe Substance Painter are used to sculpt and texturize these characters, ensuring they are not only technically impressive but also align with the project's goals of equitable character design. In contrast, games like Mortal Kombat and Fortnite often feature hypersexualized female characters, emphasizing the need for this project’s more nuanced approach. Lev Manovich’s work on digital media highlights the potential of these tools in creating immersive and expressive content that challenges the status quo (Manovich, The Language of New Media, 2001). The media available to people of all ages and backgrounds affects the belief systems and patterns of behavior consumers adhere to. This becomes an inbred feedback loop as those beliefs and behaviors then exasperate and perpetuate the creation of media that objectifies and disenfranchises women.
The characters are designed to be playable in third-person, providing an alternative to the common depictions seen in games like Elden Ring and Arkham, where female characters, though central, are often secondary to male protagonists or serve as objects of the male gaze. This approach is influenced by Mary Flanagan’s vision of games as platforms for cultural critique (Flanagan, Critical Play: Radical Game Design, 2009).
Goals and Impact
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This project aims to promote inclusivity and diversity within game development, providing a model for creating female characters that are relatable, dignified, and free from sexualization. This goal directly contrasts with games like Lollipop Chainsaw and Grand Theft Auto, where female characters are heavily sexualized. The project offers a path forward for more intersectional representations, in line with Anna Anthropy’s advocacy for diverse voices in gaming (Rise of the Videogame Zinesters, 2012).
By challenging traditional portrayals, the project aims to influence industry practices and contribute to a broader shift toward equitable representation in interactive media, similar to the progressive yet still imperfect strides seen in franchises like Metroid, Halo, and Lara Croft: Tomb Raider. This project emphasizes the importance of diversity in fostering richer, more varied games that appeal to a broader audience and create space for female creatives to work on media that reflects the wealth of experience women have to bring to the table.
"Every game is a cultural artifact, a snapshot of the society that produced it, with all the prejudices and limitations that entails."
Anna Anthropy, Rise of the Videogame Zinesters (2012)
Industry, Cultural, and Academic Relevance
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The project serves as a critical examination of gender representation in gaming, making it highly relevant to discussions in both academic and industry settings. The issues it addresses are prevalent in games like Final Fantasy and League of Legends, where female characters are often depicted with exaggerated sexual characteristics. This aligns with Adrienne Shaw’s work on the need for inclusive representation in gaming communities on both the production and consumer ends (Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture, 2014).
It proposes a tangible solution to the ongoing issues of gender bias and sexualization in video games, aligning with contemporary movements striving for diversity and inclusion in media, as highlighted by Claire L. Evans in her exploration of how women’s contributions to technology and media have been largely and systematically obscured (Broad Band: The Untold Story of the Women Who Made the Internet, 2018).
"The future of games is in the hands of the freaks, normals, artists, dreamers, drop-outs, queers, housewives, and people like you."
Anna Anthropy, Rise of the Videogame Zinesters (2012)
Future Implications
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This work could set a precedent for character development in future games, encouraging developers to adopt similar approaches. Games like Super Smash Bros and Halo, which include female characters but often retain elements of sexualization, could benefit from this project’s approach to more nuanced and respectful portrayals. This vision aligns with Matthew Ball’s exploration of the future of digital interaction in the metaverse (The Metaverse: And How It Will Revolutionize Everything, 2022).
By challenging the standards established by all the games, however enjoyable, listed above, this project advocates for a shift towards healthier, equitable representations of women in all forms of digital media, not only interactive.