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Monday, July 28, 2008
Diversity and Mass Effect
 I've recently been replaying Mass Effect, Bioware's 2007 action RPG, and I'm totally in love. Though there's plenty of things I could babble on about, I want to discuss the first thing I noticed when I brought the game home back during the holidays. Women and people of color. They aren't invisible . . . in fact, in this game, they're all over the place! Just like, you know, real life! Way too often, sci fi falls into the trap of showing us a universe where PoC and women have been sucked into a black hole or something and no longer exist. Mass Effect introduces a galaxy that's truly diverse, an experience we don't often get in video games. An interesting facet of Mass Effect's immense cultural salad is the absence of racial tension among humans. Humanity's discovery of advanced Prothean artifacts is only quite recent; their technology jumps two hundred years, and thus all contact and interaction with alien races is relatively sudden. These aliens all look down on the human race and treat them as lesser beings. As the first human member of an elite agency called Spectre, the protagonist Shepard must combat prejudice and bigotry as well as your typical monsters and other foes. Mass Effect pitches humanity into a situation where all racial tensions seem to vanish in order to unite against the prejudice of the alien races. Now, I realize that Bioware did not craft this game for the purpose of social commentary, so I don't blame it for not directly addressing human racial interaction along with the new problems presented by alien prejudice. It's a fascinating thought, though: could humanity put internal racism aside when all of us, collectively, face the same from an outside source?  Mass Effect's major hub of human-alien interaction is the Citadel, a massive space station in the Serpent Nebula. As Shepard, you're let loose there after the game's prologue, free to collect sidequests or continue the main storyline. Sidequests have always been my favorite part of role-playing games, and so I was thrilled to see the sheer variety of characters that seek your help. There's eldery crime boss Helena Blake, who sends you off to take out her competition. A mourning widower named Samesh Bhatia pleads you to retrieve the body of his wife, a marine who dies during the prologue. Reporter Emily Wong needs you to dig up some dirt on an organized crime syndicate. And there's many, many more. So we have some pretty great diversity going on in this game -- with the special bonus of none it feeling forced or patronizing -- along with a springboard for racial discussion due to alien prejudice. However, Mass Effect takes things a step further. It would have been easy to treat prejudice in a two-dimensional fashion with snarling, discriminative aliens and cowering humans, but many alien characters find such prejudice deplorable and many human characters despise aliens as a whole. Notably, two human members of Shepard's squad deal with their own race issues.  Ashley Williams begins the game with a deep mistrust of all alien races and often confesses to Shepard that she doesn't think the nonhuman squad members should go unsupervised. As Shepard, you can bring two squad members with you on your quests, and if you pick Ashley and a nonhuman member, such as Tali the quarian, they have some interesting conversations during the game's many elevator rides. In Tali's case, Ashley points out that the quarian's strange dress makes many humans think of the evil geth, and admits that she shares this opinion. As Tali answers her questions, Ashley displays a growing understanding of alien differences and slowly overcomes her prejudices.Kaiden Alenko is a biotic (Mass Effect's "mage" class) who was subjected to Biotic Acclimation and Temperance Training, or "Brain Camp," as a child to temper his powers. He describes the experience as particularly brutal, staffed only by aliens since humanity had yet to fully understand biotics. Kaiden had a violent run-in with one of his instructors, an ex-military turian named Vyrnnus who loathed humans. After tragedy strikes and all is said and done, Kaiden points out that Vyrnnus, though terrible, was just one turian, and not representative of an entire race. Despite his traumatizing experiences at the hands of this instructor, Kaiden does not allow them to slant his own views of an entire race. Over all, Mass Effect does an exceptional job on many accounts. Women and people of color share important roles and characters tangle with race issues that are relevant to us in the real world. Though the game is far from perfect (expect a post about the asari Consort in the future), it's a solid effort from Bioware and addresses many topics that most games won't even touch. Labels: BomberGirl, Getting it Right, Mass Effect, Race Issues, RPG
Wednesday, June 18, 2008
S'up Dude?
Masculinity in the High School Boys from Persona 3: FES I recently exchanged books with a friend, and he lent me a copy of Dude, You're a Fag: Masculinity and Sexuality in High School. It was a fascinating read--I cringed throughout the book as it reminded me of the many cruelties of being a young man in high school. As the text mulled in my brain, those thoughts mingled with my longing to complete Persona 3: FES. It's tough to speak for every character in the game, as I haven't been able to finish it while I've been away from my PS2 during my summer job. I can't want to speak for the main characters, but I'm comfortable with discussing a few of the social links that I've completed so far!  For some reason or another, I neglected to begin my relationship with Kenji Tomochika until after summer break (even though he's one of the first people with whom you can form a social link). He is represented by the Magician Arcana. Kenji's pretty much a typical high school guy. He’s got a thing for older "experienced" woman, slacks off when it comes to finals, and enjoys watching plenty of television during his free time. He usually comes to you for support and advice during the social link events--this guy needs constant validation! He reminds me of most of the youth I work with in my day job. The Temperance Arcana, Andre “Bebe” Laurent Jean Geraux, had me worried when I first met him. This fan-wielding foreign exchange student with a passion for fashion seemed to be the perfect set-up for a big gay joke. I was pleased to discover that most of his eccentricities stemmed from being a rabid Japanophile. Still, his character design was given more traditionally "feminine" facial features, and his stance is curvier than that of the other males in the game. I can't help but wonder if the producers are trying to suggest something. I'll be optimistic, though, and assume that they wanted to include different body types, counterbalancing the poor Moon Arcana, Nozomi. The first social link I cultivated was with Kazushi Miyamoto, the star from Sports Club. Aside from the Sun Arcana, Kazushi has remained my favorite since the beginning of the game. He is represented by the Chariot Arcana, and much like his card, he's a bad ass. He requires that you respond to his situation in a similarly bad ass way--Kazushi is focused on victory for his athletic club. Admittedly, part of his fervor comes from a deal he made with a younger nephew, but still, he won't let even a crippling knee injury prevent him from winning. When he’s down, responses like “Toughen up” are better than things like “Don’t overdo it.” When he’s injured, simply allowing him to lean on your shoulder is better than carrying him or going out to look for help. He has tremendous pride in himself, and he is slow to open up.Based on what I've seen thus far, I praise Persona 3: FES for the variety of heterosexual Japanese males represented throughout the game, both in Gekkoukan High and out. I know that's specific, but I don't say it mockingly. Working within the context of a medium-sized Japanese port town, it's not terribly surprising that we don't see a mix of races. Still, they do show males in a variety of roles and positions, and none of the characters come off as a complete joke. Also, while those characters are presumptively straight (as no alternative is offered), folks like Bebe challenge the traditional perception of masculinity. I also want to praise the game because the male social links are based on building relationships based on commonalities rather than tearing apart the differences of others. It would be heart wrenching if the game forced you to make a decision between athletic Kazushi and fey Bebe because the jocks refused to be around guys who can sew. I look forward to seeing what Persona 4 has to offer in the future! I imagine that the social links system will be slightly reconfigured to become even more engaging. Any Persona fans have something in particular they'd love to see? Labels: Calabar, Getting it Right, Persona, RPG
Wednesday, June 11, 2008
Alice Elliot's Divinity
The Messiah of Shadow Hearts  Out of all of the soft-spoken, kind heroines in role playing games, Alice Elliot may be my favorite. She supports Yuri in the first Shadow Hearts game, and she holds within her the powers of light that maniacs like Albert Simon need to dominate the world.Messianic women aren't terribly unique in the role playing genre, but let's take a look at Alice's credibility. To start with basic information from the storyline, we know from the beginning that Alice is the daughter of Father Morris Elliot. She began hearing otherworldly voices at a young age, and so she assisted her father with exorcisms. She has a natural connection to the spiritual world shared only by the powerful Koudelka herself. It is this kind of power, different from the dark-elemental mysticism tied to Koudelka, that makes Alice so valuable to Albert Simon. In one of the game's most pivotal scenes, Alice enters the graveyard (the dark place in Yuri's mind from which his fusions originate) and sacrifices herself to the spirit Atman in order to protect his life. If we follow the canonical "sad ending" that leads to Shadow Hearts: Covenant, we know that she will fight Atman alone and lose to it; this act of martyrdom leads to rapid deterioration of her health and her death at the end of the game in order to save Yuri. Her character's element is light, and she uses primarily healing class magic during battle. Her two attack spells, Blessed Light and Advent, are the only offensive light spells available outside of Yuri's fusions. Her weapons are holy books. She begins the game with a small Bible, progressing trough other texts like the Tome of the Shooting Stars, the Tome of the Sun, and the Holy Book of Flesh. Her best armor is the Gold Thread Coat, "a long robe filled with the memories of martyrs past. The wearer feels as if she is wrapped in a warm light." In addition, the game's cinema scenes often show her face cast in light. Back in the early days of the PS2, I know for some gamers it's tough to see past the now-deficient graphics, but the cinematic elements are there, and they carry over into Shadow Hearts: Covenant. I don't know what it is about Alice that makes her stand out in my mind as such a successful divine heroine. Characters like Yuna and Colette sicken me with their blind devotion to their tasks, so I appreciate seeing how Alice is rounded out by her experiences from her beginnings fleeing Simon, struggling to save Yuri, and resolutely standing against her foes. I think it may be the single-minded determination of other characters like Yuna and Colette that make them so frustrating for me. To call them dynamic characters is to misuse the term. I also find myself wondering when and where we see male characters that act in this way--not just the so-called knights in shining armor who come to save the day and rescue the girl, but quiet men who make a stand and are willing to lay their life down to protect others without turning into annoying bad asses. Can anyone think of someone? Labels: Calabar, Character Spotlight, RPG, Shadow Hearts
Monday, June 9, 2008
Character Spotlight: Mitsuru Kirijo
 Summer 2007 brought the North American release of Shin Megami Tensei: Persona 3, much to my Megaten fangirly delight. I had never played any of the Persona series before, so while I was eager to dive into an experience completely different from Nocturne or Digital Devil Saga, I was a tad apprehensive about the game's anime-heavy art and story. Like many people, I equate most anime with teeth-grinding cliches and predictable plotlines, but, aside from a few missteps, Persona 3 really impressed me. A character that specifically caught my eye was Mitsuru Kirijo.In this world of demon-battling high school kids who shoot themselves in the head to summon monsters, Mitsuru is the leader of SEES, a special team dedicated to banishing the nefarious Shadows from Japan. She's tough, smart, and serious to a fault. She's so efficient and intelligent that she finds time to be president of student council, practice her fencing, and maintain her rank as valedictorian alongside her many SEES duties. I kind of fell in love with her during the course of the game. Not only is it awesome to see a female character so independent and smart, it's also refreshing to see that she has great relationships with everyone. The Tough Girl character is often painted as a ballbuster or a bitch, but such is not the case here. Mitsuru's fellow students and SEES members all admire her, and even an NPC at the high school continuously confesses her undying love for our red-haired swordswoman throughout the game. Tough Girls in many fictive media also find themselves being stripped of their strong exteriors, usually in a sexist attempt to put them in their place or make them dependent on stronger male characters. Mitsuru does not fall victim to this trope. Without spoiling too much (I want you to go out and play this wonderful game right now!), I'll just say that Mitsuru suffers a deep personal crisis that leaves her showing real weakness and insecurity. She even withdraws from the game for a couple weeks as she tries to make sense of it all. However, it's Yukari -- an often brash, outspoken character who doesn't always get along with Mitsuru -- who guides her back and convinces her to be strong again. Needless to say, I was flabbergasted to see a pair of women in a video game help each other through a tough situation . . . just because! No underlying motive or anything! No secret jealousies or bitchy competition! Flabbergasted. Truly, the most interesting part of Persona 3 is the sheer number of female characters. Out of all the playable characters, half of them are women (and one of the "guys" is a dog). As you've seen in Calabar's posts on the game, the protagonist can end up in a relationship with three of the female characters in your party, but it's important to note that only a relationship with Yukari is ever even hinted at by the main plot. Mitsuru's Social Link is just a sidequest. While there's nothing inherently wrong with a tough female character finding love, it's a huge cliche for such a character to become dependent or seem "accessible" to male characters, while there is no such equivalent for men of the same caliber. I was pleasantly surprised by a majority of the female characters (and male characters, to boot) of Persona 3. Doubtless, I'll write more about this game in the future, so I highly recommend you go pick up a copy of P3: FES right now and indulge in probably the best JRPG to come out since Final Fantasy XII. Labels: BomberGirl, Character Spotlight, Getting it Right, Persona, RPG
Wednesday, May 28, 2008
My Quest for Asexuality in Persona 3
Update Number One  As you may recall, at the beginning of this month I decided to make it my business to get through Persona 3 without forming a romantic relationship with any of the characters.So far I’m about sixty five hours into the game, and it’s almost the end of October. I’ve still got quite a bit to go until the end of the school year! Still, I’ve made some interesting observations. With the opportunities for dating the female cast aside, there are a few moments in the game when the player has heteronormativity thrust upon hir. For me, the most awkward—yet unsurprising—of these has been the SEES group’s summer vacation to Yakushima.  “Operation Babe Hunt” is admittedly humorous, especially since the young men fail at most of their attempts to flirt with the women. They even hit on a transsexual for a while (their greatest success).While the game didn’t give me the opportunity to avoid flirting with girls (or to flirt with a bunch of “beach dudes” instead), it did allow me to treat the occasion as a hassle and to foil the attempts of my peers at every turn. It ultimately didn’t make a difference in how everything turned out, as Persona 3 seems to be pretty linear so far… but I certainly felt better about it! Yukari has also presented a few special challenges to me so far. Not only do you have the whole game seemingly structured to get you together with her (including a shower scene when fighting the “Lovers” Shadow), her Persona has the Lovers arcana. She’s also your contact for the Lovers social link.  I found that one out on accident! After being kind to her during a rough moment during the Yakushima event, I recoiled after my attempts to be nice were misconstrued as romantic. Later in the game, it turns out she wanted to talk about what happened. I was fine with her representing the Lovers arcana, but then the dialogue ended with something to the effect of “Yukari seems to think of you as someone you can talk to, but you’re still just friends.” I was forced to run the other way!I’m a little worried, because I expect that Mitsuru, Fuuka, and Aigis all have S. Links associated with them as well. What a shame, as I suspect the men in my party do not have their own links. So far my quest is hurting me in this game. As far as the storyline is concerned, it doesn’t seem to make any lasting difference. The S. Links are a significant power-up, though! At the very least, it seems that I’ll be missing four of them by the end of the game. Fortunately, I’ve got my other S. Links to carry me through the final chapters. More to come as it is revealed! Labels: Calabar, Persona, RPG, Sexuality
Friday, May 16, 2008
I’m Sure You’ve Got Plenty to Say
Natan: …  (Sorry for the late post. I was experiencing some difficulties acquiring an internet connection this week)Remember the good ol’ days after the first world war when European vampires still embarked on sabbaticals to the American south-west, cat-people ran Hollywood from behind the scenes, and cheeky teenage detectives could break into high-security compounds like Alcatraz without consequences? Oh wait—that’s not real life. It’s Shadow Hearts: From the New World (thank goodness). There’s something about this irreverent series that I find incredibly appealing, but sometimes it leaves me scratching my head. The way the developers choose to represent characters can be a little disingenuous. In particular, minority characters have their differences from the mainstream magnified one hundredfold. Whether it’s the swishy Magimel tailors or the so-Mexican-it-hurts mariachi singer Ricardo, everything is so overblown that it’s difficult to take it seriously. While discussing the game with BomberGirl and PlasmaRit, we became interested in the “strong and silent” Native American character Natan. We wondered how much he actually had to say throughout the course of the game, and I honestly couldn’t recall. It’s been a while since I’ve played it. To investigate our suspicions, I combed through one hundred and ten pages of the Shadow Hearts: From the New World script. From beginning to end, the script is 30,324 words long. Natan says 768 words. Let’s break that down further. Of those 768 words, about 573 of them are related to the storyline. The other 195 words are spoken during dungeon exploration when Natan offers suggestions on how to complete the puzzles. Throughout the entire game, Natan is represented through a mere 2.5% of the dialogue. This number isn’t fully accurate, though, because the script I used doesn’t include the short snippets of conversation shared with party members during side quests, including Natan’s UMA side quests. That doesn’t make it any less problematic in my eyes. Natan first appears when Shania is explaining the Malice to Johnny within the first hour of the game. He watches their entire conversation, including their decision to travel to Arkham University together, before introducing himself with a simple, “I am Natan. It is my honor.” We move through another two or three hours of gaming before he says, “We're wasting time. Let us go,” during Frank’s introduction scene. This pattern continues all way through the entire game, with Natan’s voice entirely absent from a few chapters. On the one occasion that he speaks up and explains the source of Shania’s blind desire for revenge (eighty-eight words, or 11.4% of his total—the most he speaks at any one time in the game), she puts a cap on him with, “Well, aren't we in a talkative mood today...” The treatment his character receives perpetuates the strong, silent Native American stereotype. At the very least, he’s not quite Tanto from The Lone Ranger. He rarely speaks, but he uses good grammar throughout the game, with one strange exception. After the party has been captured in the Caribbean, Natan lifts the gate from its hinges and says, “Long time no use... so gate was warped.” The only quality of the Shadow Hearts series that makes this passably acceptable to me is that no one is safe. The developers must have had a Big Book of Stereotypes when they were drafting the characters. As I’m sure I’ve mentioned before, it’s not a game to take seriously. Still, while there’s certainly nothing wrong with being quiet, I feel like a character who has been present for the whole game would have more to say. I wanted to get some more insight into other Native American characters in video games, but I’m currently without reliable internet access. I invite all of our readers to comment and share their thoughts. Who are some of the other Native American faces and voices out there? How do they compare to one another? Labels: Calabar, Race Issues, RPG, Shadow Hearts, Stereotypes
Friday, April 4, 2008
First Friday Drinking Game
 Oookay, folks--April is here! The weather's finally getting warmer and the end of the school year is fast approaching for us student-types. Unfortunately, these warmer days are divided by sad bouts of anti-cavorting rain. What to do on days like these? Why, have a round of First Friday Drinking game of course! Thanks to its ten-year anniversary, Final Fantasy VII games and movies have been popping up everywhere, including the recent release of Crisis Core for the PSP. Many longtime fans of the original FF VII have found many great things about these new additions--as well as an equal amount of things to drink to. I've compiled a list of rules you and all your friends can follow while you enjoy your favorite (or least favorite) showcase of the FF VII universe. Fun Tip: Turn out the lights and add a green glowstick to your favorite mixed drink for that authentic Mako feel! (Note: Drinking the liquid from said glowstick will also add to that authentic Mako feel but is not recommended. Trips to the Life Stream may result.) Anyway, onto the rules: 1 drink every time a Shinra employee does something wacky 1 drink for each time someone crashes through a church roof (stack FF VII media for ultimate effect!) 2 drinks every time Hojo speaks in his Crazy Old Man Scientist voice 3 drinks every time Zach sounds a little too much like Tidus ("I'm trying, I'm trying!") 1 drink for every censored cuss word 1 drink for every hilarious translation error 2 drinks for "This guy are sick" 2 drinks every time a friend is surprised Sephiroth isn't the main villain of FF VII 1 drink for every word you realize you've been mispronouncing all this time (no drinks if you still think you're right) 2 drinks if it's a name 1 drink for every character you encounter named "[color] the [synonym of same color]" 1 drink each time Vincent poses in a badass way in DoC 1 drink every time Lucrecia says "I'm sorry" 1 drink for each zipper found on your favorite character's outfit 1 drink for every materia that looks as big as someone's head (or bigger!) 1 drink every time post-experiment Cloud needs to be saved 2 drinks if he's in a wheelchair And finally: Finish your drink when Tifa, a competently skilled fighter, engages in a slap fight with Scarlett Warning: Excessive drinking during gameplay may result in lingering doubts about your past and the realization that you're not as awesome as you thought you were. Play with caution! Think I forgot something? Suggest a rule in the comments section! What drinking games do YOU want to play every month? If there is any genre or specific game you want featured in FFDG, drop me a line at PlasmaRit at gmail dot com. Labels: Final Fantasy, First Friday Drinking Game, PlasmaRit, RPG
Monday, March 31, 2008
The Flower Girl
 Playing Crisis Core has got me all nostalgic for 1997's Final Fantasy VII (but then, any story-butchering pre/sequel tends to do that to me). It always tickles me pink to see my favorite characters in action again, and I couldn't help but pick up the old classic just to see how it's aged. I was pleasantly surprised, poor translation and all, and glad to see that one of my favorite characters, Aeris Gainsborough, is still as great as ever.It's true that Aeris has a huge fan following. Hundreds of gamers in Japan even sent a petition to SquareSoft asking for the ability to revive her after her iconic death. There are plenty of reasons to like her, but I want to concentrate on what makes her such a strong female character. Stereotypes and stock characters run amok in role-playing games, especially of the female persuasion, and it's good to see a leading lady that passes muster. I'll start with the basics. While FFVII doesn't have a job system per se, Aeris is clearly the party's standard white mage, complete with staff and restorative Limit Break. While the conventional female character locked into the healer role tends to annoy me, this works in context. Aeris is balanced out by not one but two other women, neither of whom are magic users (Tifa as a monk and Yuffie as a thief). This is rarely seen in other Final Fantasy games wherein white mages like Rosa, Garnet, and Yuna also have magic-using female compatriots. More importantly, her "job" as a white mage works in tune with the plot. To rescue the Planet from Meteor, she uses the White Materia to cast Holy, a well-known high level spell in white magic. A character's appearance plays an important role, as always, and it's great to see Aeris is not afflicted by a cheesecakey design (something that's admittedly relegated to black mage women like Lulu or Fran). I've always liked her Dress And Hiking Boots combo, showing a measure of function over form. Personality-wise, she's flirty and somewhat childish, but it works because she's not limited solely to these traits. Her relationship with her adoptive mother is poignant, adding to a display of genuine maturity that runs through her character.  In much of fictive media, the death of a female character is typically used as a simple plot device. The brave protagonist falls in love with Stock Woman A, she's killed off by the merciless villain, and the brave protagonist is spurred on by his love's death to ultimately defeat the merciless villain. Aeris's death works quite differently. While she can be seen as a love interest for Cloud, her flirtations never seem serious, and her death comes so early in the game that there's little time for a romantic relationship to form. She leaves the party and goes to the Forgotten City by her own choice, even though it would have been easy for the game designers to have her kidnapped in some way. She doesn't sacrifice herself for Cloud, and her death is so sudden that it doesn't feel forced or played-out (and, thankfully, the violence done to her is not sexualized in the least). She's still vital to the plot thereafter, and saves the Planet in the end. Arguably, she can be seen as a driving force for Cloud to destroy Jenova, but her purpose extends beyond this, and Cloud himself has a lot more to fight for.I'll always be partial to games I played when I was younger, and it pleases me to say that Final Fantasy VII is still an enjoyable game eleven years later. Aeris is a wonderful example of those rare "strong female characters" you've heard so much about. She shows that, when done right, a character can be girly and swathed in tons of pink and still be a great representative of feminism in games. Labels: BomberGirl, Character Spotlight, Final Fantasy, Getting it Right, RPG
Wednesday, January 23, 2008
The Sexy Space Women of Mass Effect
 In Bioware's latest action RPG, Mass Effect, players are introduced to an expansive universe populated by diverse races, dazzling planets, and compelling adventure. Players explore this universe as the customizable Commander Shepard, and along the way questgivers range from the hulking krogan to the jellyfish-like hanar. One of the game's most advanced races is the asari, the first beyond the ancient Protheans to acquire space travel.I have mixed feelings about the asari. Despite their ability to reproduce with those of any sex, the Galactic Codex refers to them as "an all-female race," and they definitely look just so. It's not surprising that the most human-looking race is also the only one that's all-female, but I'll get to more of that in a minute. In many ways, I really like the asari. First off, their scientific prowess enabled them to be the first modern race to take to the stars. Their culture is one that values observation and logical reasoning before action, owing to their impressively long lifespans. They possess an intellectual capacity that is unmatched, celebrating interspecies communication and inclusion. Their breeding method emphasizes unity, both literally and figuratively: during a process called "melding," the asari and her partner essentially become a single functioning nervous system.  During their 1000-year lifespans, the asari experience three stages of life. The first is the curiously-named Maiden stage, wherein the asari is characterized by a need for restless exploration. The Matron stage comes next, bringing with it the inclination for settling down and reproducing. Lastly, the Matriarch stage marks asari that are old and wise with experience, often becoming councilors for the younger members of their race.It's not hard to see the uncanny subtext beneath the classification of these stages. Maidens are, by definition, "young unmarried women," and I find it puzzling that a term specifying the necessity for men is being applied to an all-female race. Similarly, matrons are denoted as "married women," falling perfectly into step with a stage in life that's uncomfortably close to the good old "biological clock" myth. Words like maiden and matron have long, traditional histories that tie in directly with the patriarchal system of heterosexual marriage, and to be used in this situation is a misnomer at best and thinly-veiled sexism at worst. "Matriarch" is, however, spot on, and it pleases me that they didn't continue the trend with something like "old bat." Though the asari live to a ripe old age, a complex system of cell regeneration keeps them from showing it. They all stay forever young-looking, even the wise matriarchs, which, while being pretty cool, doesn't keep me from raising an eyebrow. There's a lot to be said about how demonized female aging is in our own culture, and it's no coincidence that a race comprised totally of women is not only uniformly slim and comely, but totally ageless so that they can stay this way.  While the asari are just as diverse in personality and motivation as any other race, their presentation in the game is a mixed bag. They are strong, competent leaders, and their representative in the galactic Council is one of the most outspoken and shrewd. However, the first time Shepard encounters a group of asari (either in the Consort's Chambers or Chora's Den), they are all sex workers (prostitutes in the former, strippers in the latter). I hate to say it, but neither of these cases surprised me in the least. It would have been much less ick-inducing had there been even a reference to male sex workers, or at least members of other species. Also unsurprising is the skimpy wardrobe employed by many of them. Poor Matriarch Benezia is so strapped into her top that her boobs look like they're struggling to escape.Overall, I've found Mass Effect's depiction of women to be overwhelmingly positive. However, just like most games, it has its missteps. I'm very fond of the asari for the most part, although their (unfortunately expected) objectification makes my skin crawl (see also: the Viera). Despite the many points in the game's favor, it becomes just another example of how difficult it is to find female video game characters -- and particularly those of an all-female race -- that are designed without bias. Labels: BomberGirl, Mass Effect, RPG, Sexuality, Stereotypes
Monday, January 14, 2008
A Kingdom Ruled by Strength
(SMT: Nocturne plot spoilers to follow!)  Shin Megami Tensei: Nocturne is an RPG for the Playstation 2 wherein the world ends as soon as the game begins. The Conception is occurring, a hellish and barren transformation of the world in preparation for the birth of a new one. Demons rule and war in the transforming planet, and merely a handful of humanity's survivors remain. However, there is a catch.The Reason. The new world can only be fashioned according to the vision, or Reason, of a human subject. In a bid for survival, the humans develop their own Reasons and compete with one another to become the creator of the new world. Chiaki Hayasaka is one of these combatants. She's a cold, somber high school student raised in the upper crust of society. Following the Conception, she awakens all alone in the demon-occupied cities, and the change is more than jarring. Global apocalypse aside, she is now, as a human, the lowest of the low. Her weakness next to the might of the ruling demons is torturously palpable, and she finds strength only in forming her Reason. Yosuga: survival of the fittest, elitism, the establishment of rigid castes. Chiaki's solution to her own fears of inherent weakness is to use her Reason to elevate herself above all life and institute a highly-organized class system. Seeking the strength to fully constitute her resolve, Chiaki seeks out the dying Gozu-Tennoh, leader of an enormous demon faction called the Mantra, and becomes imbued with his power. As a human leader possessing such demonic might, the Mantra become quite a threatening force in the race to establish Reason. Chiaki is a villain that I can really get behind. Gaining Gozu-Tennoh's power grants her the means to be both brutal and utterly ruthless in her quest. She is unusual, commanding, tough, but desperate, and she shows a depth of character not often conferred upon female villains. Though she desires rigid order, her caste system isn't perfect: separating the weak from the strong would only breed paranoia and mistrust. Establishing herself as the leader of these castes would merely have her looking over her shoulder for anyone who would dare supplant her. Her Reason -- and her version of the game's ending -- is symbolic of chaos, which speaks volumes of her character's irony. So Chiaki's definitely no pushover, and, awesomely, her character design reflects that. Upon receiving Gozu-Tennoh's might, her right arm twists and mutates. She gains an enormous, gnarled, acquiline hand that can crush bones to powder, and puts it to use in one of Nocturne's bloodiest, most tragic scenes. At that moment, it becomes more than clear how she's been transformed not just physically but mentally by the incredible forces around her. Strong female characters don't have to be model citizens. I adore villains, and it's so good to see a woman among the baddies that can truly and believably pull her own weight. Chiaki's background and motivation is not just a flimsy add-on to a fanservicey character design or cardboard personality. She's the real deal, and I hope that in the future there can be more kick-ass female villains like her. Labels: BomberGirl, Character Spotlight, Getting it Right, RPG, Shin Megami Tensei
Monday, December 17, 2007
Kings and Queens
 I've been a huge fan of fantasy ever since I was a little kid. From books to movies to comics to video games, fantasy is a wonderful form of escapist fiction that lets me take a break from the "real world" and experience things I normally couldn't. Playing video games is a prime example because of its interactivity: the player inserts herself into the game and navigates the story through her own actions as opposed to passively watching a film or reading words on a page. However, despite the limitless possibilities that the fantasy genre offers, many "real world" conventions are often incorporated into our otherworldly realms. My main beef is with the "realistic" depiction of oppressed and/or subordinated women in many western-style fantasy games.We've all seen it a million times before. Final Fantasy XII's Archadian senate is composed entirely of men. In The Elder Scrolls IV: Oblivion, the all-important Amulet of Kings can only be worn by sons of the Septim bloodline. Queens take an automatic backseat to their husbands, militarymen are always just that, men are the heads of the household, et cetera, et cetera. All reflect the patriarchal injustices of the western medieval world that, admittedly, a huge number of fantasy games are based off of. My question is "Why?". Why, in an in-game universe that has flying ships and summonable monsters and the irritatingly-spelled "magicks" and "technicks" can't there be high-ranking women in government? Why can we navigate ghost-infested tombs and traverse flaming gates to hellish worlds but totally halt at the idea of a significant female descendant in a royal family? I'm already completely sick of the male-centric conventions in my world, so why am I so often faced with the exact same thing in fantasy for the sake of "realism"?  I don't have a problem with other conventions of fantasy -- the stone castles and the mystic forests and all that, as cliche as they are, just plain work most of the time. More importantly, they aren't to the detriment of a specific group of people. The fantasy genre remains an acceptable bastion for relegating women to servitude and it just doesn't have to be.Take Chris Lightfellow of Suikoden III's Zexen Knights. She's tough, strong, and wholly competent in battle, and her fellow knights follow her without question. She's no gimmick, either: her motivation to lead stems from her own strength and not from a lovey-dovey devotion to a male character, her kick-ass armor is sensible and lacks the much-hated Boob Cuirass, and her subordinates don't "comedically" sexually harass her. My only gripe is that she has no female equals, but -- as irritating as it is to always say this -- it's better than nothing. When it comes to fantasy, some archetypes are better than others. I love epic sword battles and brilliant thaumaturgic displays, but as far as the needless subjugation of women goes in the name of tradition, give it a rest already. Labels: BomberGirl, RPG, Stereotypes
Monday, December 3, 2007
The curious case of Sorceress Adel.
 When I was but a bright-eyed thirteen-year-old, the eighth installment of the Final Fantasy series was released unto the masses. Still happily reeling from the convoluted yet satisfying experience that was Final Fantasy VII, I accepted VIII's bright colors, futuristic setting, and generous cast of characters with open arms.However, there was a lot about VIII that was truly puzzling. Aside from the body-jumping antagonist, the time traveling nonsense, and the charming Every Baddie Levels Up With You So Don't Even Think About Having A Snowball's Chance Against The Omega Weapon system, there is the curious case of one Sorceress Adel. She's so minor that she only has three meager speaking lines and spends her sole boss battle as the puppet of the almighty Ultimecia (she of the "I will kast the world into khaos with katastrophic Time Kompression!"), and yet, Adel really stumped me. You may notice from her picture that she is a man.  Well . . . she looks like a man, anyway. Or at the very least she has an extremely male physique. Or something.The Final Fantasy series is not a stranger to gender-bending characters. VI's Kefka was certainly no Rambo, and it isn't much of an achievement to possess thirty times the raw masculinity of Squall, but Adel's appearance was so jarring to me as a budding teenager that it sticks in my mind even today. What could be the story behind this fascinating character design? Certainly what's so neat about Adel's place in the storyline is that she's one of the baddest, most paralyzingly evil sorceresses that was ever cryogenically frozen and shot into space. Long before the plot of VIII even begins, Adel ruled Esthar as dictator, spreading enough fear and confusion to instill a deep prejudice against all sorceresses in her people (thus leading to Ultimecia's only discernible motive). In a game full of female characters that are willowy, flirty, and practically doll-like in their porcelainity, it's refreshing to see the rugged and almost ugly likes of Adel. It makes me wonder if it's her beefy constitution that drives away the feminine stereotypes. Adel is ruthless and power-hungry just like any badass supervillain, and while Ultimecia is just as bloodthirsty and awesome, she . . . loves to play dress-up. Which isn't necessarily bad on its own -- I mean, who doesn't love the snazzy parade scene or Ulty's copious face paint? -- but, well, see for yourself. Her backwards hospital gown getup doesn't really strike new ground as far as objectified female villains go, and it's nice to see a woman of villainous ilk feared for her abilities rather than ogled for her goods. Which is why Adel's stumpability is important. In a genre with a deathgrip on its cookie-cutter female characters, the ability to make players question what they know about the binary sex and gender system is a huge plus. Pretty, feminine men are basically the norm in the Final Fantasy universe, but tough, masculine women still have little exposure. Perhaps Adel was meant to be a man, and something got lost in translation; perhaps this was an intentional choice on the part of developers. Considering her broad shoulders and complete lack of breast development, it isn't a stretch to perhaps call her the first male sorceress. She could be referred to in the feminine form because sorceresses had always been female, just as female pharaohs often wore beards and were called "he." Who knows? Either way, it's something different, and different is certainly good in my book. Labels: BomberGirl, Character Spotlight, Final Fantasy, Getting it Right, RPG
Tuesday, November 13, 2007
Cracking KOS-MOS's Casing
A Conflict between Form and Function [Let’s keep this article spoiler-free!] I’ve always been baffled by Kevin Winnicot’s decision to build a battle android like KOS-MOS. Sure, he wanted to fight off the gnosis. I get that, and I suppose it’s better to make a machine that’s decent to look at instead of a hulking monster, but geez! Talk about impractical! Let's take a look at her shells across the course of the series:  We’ve got a good bit of skin, some garters, and what amounts to a thong. Oh, and don’t forget her high-heeled boots!  Discounting the fact that her blue glassy parts are where he skin should be, KOS-MOS was actually quite modest in her Xenosaga II incarnation—it must reflect the “wooden doll” look that the producers wanted. She still has her ridiculous high heels, though, and I think she’s smuggling grenades in her breasts.  Those Vector folks certainly have a thing for robots, it would seem. We’ve got a bit more skin here, but it could be worse. That black cloth around her shoulders and neck could be gone, as well as the blue on her thighs. Never mind that it’s skintight.  Xenosaga IV was in production at the same time as the third installment, and so we’ve got a render of how everyone’s favorite android would have turned out. In addition to everything I’ve already said, I’d just like to add that I’m perplexed by her cat ears. Despite all this, she remains sufficiently badass. Hauling around massive gatling guns like toys (check about four minutes in) and fighting the way she does, you’d be a fool to doubt her combat prowess. I suppose it's even all the more impressive considering her high heeled boots. Really, though, it's important to point out that KOS-MOS itself doesn't actually have a sex. She's an android, after all. This makes her sexualized casing even more ridiculous--a machine crafted for battle that has been endowed with such large breasts and a matching X-BUSTER. At least she's better off than MOMO, poor girl. Labels: Calabar, Character Spotlight, RPG, Xenoseries
Monday, November 12, 2007
Grand adventures in Cyrodiil.
 Let's get it right out there: I love Oblivion. As do many others.Why should feminists in particular love Oblivion? It's simple: no sexist stereotypes. The Elder Scrolls IV: Oblivion is a totally immersive RPG experience that lets you log several games' worth of play without even touching the main quest. You can skulk around in the thieves' guild, buy a haunted mansion in Anvil, or swing around a golden claymore that sets people on fire. Awesomely, the customization for your avatar is extremely diverse, letting you choose any race, any color, even species both human and no. During my adventures throughout Cyrodiil, I have happily encountered none of the major sexist stereotypes that often plague fantasy settings. There is an abundance of female characters with wonderfully varying personalities. I've happily yet to encounter a sultry gypsy, whiny damsel, or mourning widow. Instead, women are knights, guild leaders, countesses, guards, bandits, mothers, vintners, alchemists, pirates, the list goes on and on. Just like in real life, women are (gasp!) just as diverse as men.  The excellent writing isn't the only good part. In other fantasy RPGs such as World of Warcraft, your typical iron cuirass is a sturdy breastplate that covers your manly warrior from clavicle to hip. However, when worn by his female counterpart, it magically transforms into a low-cut bikini top complete with C cup and underwire. In Oblivion, this mystical process never occurs. Bulky plate armor is rightfully just as bulky and formidable on a womanly form, and you can even raid villagers' closets and deck out your character in a foppish tunic 'n trousers combo, if you wish. (Note: I have not seen if you can put a dress on a dude yet, but a little modding does go a long, long way.)And speaking of modding, nothing says creativity quite like user-created content. You can add in your own races or give Skingrad its very own gay bar. The possibilities are limitless, and Oblivion definitely gets an A+ in my book for not even needing the extra content to be entertaining. This is a game that doesn't get any "Yes, but" treatment from me: not only does it feel inclusive, it is inclusive, and in no way does it leave women out like so many of its competitors. Readers, what have your adventures in Cyrodiil been like? Labels: BomberGirl, Elder Scrolls, Getting it Right, RPG, Stereotypes
Wednesday, November 7, 2007
Apologetic Heroines
Stop saying you're sorry!  I’m currently replaying Valkyrie Profile: Silmeria right now, and the second play through feels so much tougher than the first. I mean, what is it, something like a fifty-percent stat boost to all the enemies? . . . And I didn't get to carry over any of my stuff from the first time! Man. All that aside, it's a marvelous game. There are some things I don't like about it--it's a bit linear, it's tough to make new items, and certain normal monsters can be incredibly difficult to defeat--but it's a nearly perfect RPG for me. Sadly, the heroine does one little thing that immensely annoys me. Alicia often says, “I am sorry,” or “Forgive me” after slaying an enemy with her Nibelung Valesti attack, and she ends battles sometimes by saying, “I’m sorry.” Every time she does it (and BomberGirl and PlasmaRit can attest to this), I shout at the TV, “No! You’re not sorry! If you’re sorry, it’s ‘cause they’re weak!” If anything, she should be saying, “I’m sorry. . . that you suck.” Fortunately, as the game progresses, Alicia lets these phrases slip and replaces them with more interesting ones, such as, “Now you shall sleep forever!” or “You shall not withstand the force of my power.”  I completely get the idea of her character progressing and growing with time. I like that she develops as the game moves on. It almost makes sense, too—as a rather sheltered young girl co-inhabiting her body alongside the Valkyrie Silmeria, I can understand why she’s sometimes hesitant to slay her foes at first. Silmeria usually handles that kind of stuff for her, but Silmeria begins hiding more and more as her sister Hrist closes in on her throughout the game. Eventually, she learns that she’s strong enough to stand on her own two feet, and she gains the confidence to fight for herself and the world.Let’s look some other sides of character comments in battle. Valkyrie Profile: Silmeria has a wide cast of female characters, and in the end I’d argue that all of them are strong women. Five of the “light warrior” women in the game sometimes say, “I am sorry, I am not ready for my journey to end,” after a battle has been completed. They’ve still got that element of apologizing that I’m not completely comfortable with, but hey. . . At least they explain themselves. It even comes off as a sarcastic comment sometimes because of the tone of their voices. Still other women say, “If I could only move, I would fight the god of death himself,” after dying in battle. Now that is hardcore. Most other characters cry out guttural noises or make frightening exclamations about being unable to see or move. . . but these women aren’t done yet. Even though many of the other characters don’t use this phrase, I believe they still feel it. Very few characters in the game simply resign to dying—one of them is Rufus, Alicia’s love interest in the story. Aside from the Valkyrie Profile series, I feel like I’ve seen other instances of apologetic heroines. We’ve even mentioned it before in our First Friday Drinking Games series on fighting games. Please feel free to bring up any of those awkward apologies in our comments section. I’m interested in hearing about more games where it happens! Labels: Calabar, RPG, Stereotypes, Valkyrie Profile
Wednesday, October 31, 2007
Gender Switcheroo
Happy Halloween, Readers!  After I’ve played a game a few times, I enjoy thinking about what would happen if one or two small things about the game had changed. Some people might not consider it such a small thing, but I like to change the sex of one or several of the characters in my imagination. The idea is that our assumptions about the essential nature of the characters haven’t changed, but our expectations make the situation somehow different. In the spirit of Halloween, masks, and passing, here are a few of my favorite considerations: Final Fantasy X: Surfer girl Wakka and that gothed-out punk Lulu make one helluva pair. It makes me giggle to think of spunky, carefree girl-Wakka terrorizing the quiet and withdrawn male-Lulu. Poor guy. Final Fantasy X-2: Imagine the campy adventures of male Yuna, Rikku, and Paine. Oh, wait. It’s already painfully campy. Maybe we just shouldn’t think about it at all? Thousand Arms: This is an old one. I really would have enjoyed the game so much more if Meis had been a woman (or gay) and surrounded by a harem of men. It just sucks that, on top of the crappy game play, you have to go on dates with the women to power them up! . . . Nelsha in particular would’ve been so adorable! Phantom Brave: This game just makes me melt as it is—I love the dynamic between poor Marona and Castille. If one of them were to become a boy, I would insist that the other change sex as well. Their relationship is so pure and sweet because it lacks romantic potential. Of course, they could be homosexual--and I totally support the idea that they're gonna grow up to big big ol' lesbians together--but I don’t think it would be so overt (Although Nippon Ichi does try to pull some pretty interesting things with its characters!). The Legend of Zelda: My mom has been playing Twilight Princess on the Wii for a while, and it’s a trip to watch. One of the best parts is that she renamed Link “Princess.” When I pointed out that Link was a male, she countered with, “No, Princess is a butch lesbian.” Touché. Kingdom Hearts: Sora, Riku, and Kairi—changing the sex of any one of the characters makes the story far more interesting to me. Imagine the lesbian tones of female-Sora and Kairi seeking to find each other. Female-Riku could have added an interesting jealous love triangle to the game. . . but who’s to say that isn’t already there? Then there’s the full-blown homoerotic adventure when you include male-Kairi, making the Kingdom Hearts series my number one candidate for giving a character a sex change. Feel free to share your own ideas in our comments section. Also, let us know if you’re doing any video-game related costumes to celebrate, and watch out for crazies tonight! Labels: Calabar, RPG, Sexuality
Wednesday, October 10, 2007
To Be a Hero
 Retro Spotlight: Brad Evans from Wild Arms 2 [Editor’s Note: October is LGBT History Month, and so I have decided to spotlight a series of LGBT characters.] One of the first three characters players meet in Wild Arms 2, Brad is a wartime hero who was imprisoned for his involvement in the Slayheim Liberation Army. Despite his incredible battle skills and fighting abilities, Brad is a truly compassionate man who looks forward to the day the world no longer needs heroes like him.  When I first played Wild Arms 2, I took notice to the relationship between Brad and a friend of his from the war, Billy. The two of them are very close; in fact, Billy is Brad’s only friend left from the war. Unfortunately, Billy suffered several injuries during the liberation war and has since endured significant brain damage. Brad sticks with him through it all, and many fans believe that the two were/are romantically involved.I find all of the talk surrounding Brad Evans to be fascinating. Many hardcore fans violently protest the possibility that he could be gay. They ask, “Why is Brad gay just because he’s close friends with Billy?” In response, I ask, “Does being gay make Brad less of a hero?”  I prefer to think that Brad is gay. It’s a nice departure from games that indulge in stereotypes. In a way, I almost think that it’s good that his homosexuality was underplayed because it demonstrates how being gay is only one part of a person’s larger identity. I mean, let’s face it—the whole relationship with Billy is merely a side-story in the grand scheme of things. The truth of the matter is that we don’t have conclusive proof one way or the other. In the English version, at least, players have to read between the lines to catch Brad and Billy’s relationship. Supposedly, their relationship is more open and apparent in the Japanese version, but I honestly can’t say that I have the linguistic ability to verify this claim. But what’s all that matter? The fact remains that, gay or not, Brad has some of the highest hit points, defense, and strength in the game. Go Brad! Bust some skulls! Wild Arms 2 is probably third on my list of favorite Wild Arms titles, but that’s not as low as it sounds. The characters are memorable and the music is amazing. I’d definitely recommend checking it out—if you can get past the graphics (which really aren’t that bad for the PSOne), the gameplay is awesome and the storyline is top notch. For that genuine retro feel, dust off your good ol’ Playstation One and get to gamin’! Labels: Calabar, Character Spotlight, Getting it Right, LGBT, RPG, Sexuality
Wednesday, October 3, 2007
The Quest for Humanity
 Retro Spotlight: Asellus from Saga Frontier [Editor’s Note: October is LGBT History Month, and so I have decided to spotlight a series of LGBT characters. I didn’t realize BomberGirl was also doing a focus this month, but I’m so excited about this topic that I can’t back down. Enjoy!] In the game Saga Frontier, players can choose one of seven characters in a large, open-ended adventure. The world remains the same no matter which character you pick, but the stories are vastly different. In all honesty, I find many of them to be forgettable. However, one character, Asellus, has remained close to my heart since I first played the game in 1998. Her quest begins as Asellus wakes up alone in a strange castle of thorns, and after some exploration she learns that she has become a “prince” of Fascinaturu, the kingdom of the Mystic race. She was killed twelve years ago when the Charm Lord Orlouge trampled her in his carriage, but he took her back to his castle and, thanks to a transfusion of his blood, managed to revive her. Unfortunately, Asellus is no longer human; through Orlouge’s magic, she has become the world’s first and only Half-Mystic. Like all women brought to Orlouge’s castle, Asellus is destined to become his bride. Horrified by his nightmarish world, Asellus flees with the help of White Rose, the kindest of all of Orlouge’s princesses. I find Asellus simply amazing because of her delicate position in the power structures of her world. Not only is she treated as an object by Orlouge’s patriarchy, but she also suffers from the prejudice of both humans and Mystics who are unable to accept her mixed heritage. Despite this, she manages to overcome the obstacles before her and gather together a female super-team (several members of which are Orlogue’s other wives) to slay the Charm Lord and end his cruelty once and for all. One of the most compelling aspects of Asellus’s quest is her bleak search for her own place in the world. She must make choices about whether to hunt for the remaining shreds of her humanity or to embrace the powers and privilege of her newfound Mystic heritage. The game has three endings to reflect the player’s choices.  Personally, I like seeing the happy ending where she regains her human capacity or the bittersweet ending in which she finds a balance in her new life as a half-mystic. Maybe it’s the “cheese factor,” but I like to imagine that everything works out okay. In the chilling “Full Mystic” ending, Asellus takes Lord Orlouge’s place as Fascinaturu’s tyrannical despot; she has taken the human girl Gina as her first bride, and the other Mystics fear the beginning of her cruel reign. Yes, that’s right. Asellus takes Gina to be her bride. Throughout the game and regardless of the ending you receive, the local Fascinaturu dressmaker Gina always speaks of Asellus with open affection. Similarly, later in the game, we see the relationship between Asellus and Princess White Rose develop into a romance. I find Asellus to be a refreshing change from the usual straight white male protagonist and the scantily clad, big breasted female protagonist. While her costume is somewhat immodest, it was chosen for her by Orlouge (and the game designers), so I feel that it’s unfair to hold it against her. Besides, she’s actually the strongest character in the game because she combines all of the best parts of human and Mystic stat gains. Not to mention how awesome it is to play as a lesbian character who doesn't fall prey to countless stereotypes. I fully recommend giving Saga Frontier a try if you didn’t play it back in the day. Asellus’s quest alone makes the game worth it. It is a truly gripping story about a young woman desperately seeking a way to define herself. Labels: Calabar, Character Spotlight, Getting it Right, LGBT, RPG, Sexuality
Monday, September 24, 2007
Sexy Bunnygirls Want to Play With You
One of the staples in any good RPG is the element of exploration. A fantasy-world opens up to the player, along with a host of varied and exciting locales. It's not uncommon for the towns and villages of these worlds to be themed, and it's likely for the player to find herself exploring villages populated by ninjas, wizards, magical creatures -- or even entirely by women.  Final Fantasy XII picks up on this theme with the all-female Viera of Eruyt Village. The Viera -- as displayed upfront by FFXII's main black mage, Fran -- are a race of bunny people that, because they are bunny people, run around in stiletto heels, thongs, and assorted lingerie.Okay, so maybe I'm not being fair. The Viera are a deeply spiritual people that have a close bond with nature and are particularly skilled in archery. Their bunny ears allow them to hear over great distances and listen to the voices of spirits. Because of this ability, they can summon monsters from -- I'm sorry, I just can't get past this. The only all-female society in Ivalice just happens to resemble a clutch of Playboy Playmates. This wouldn't creep me out as much if, say, Fran was the only one suffering from an awkward gait because of the leather G-string three miles up her ass. However, every single other lapine-eared lady, from leader Jute's silky teddy to the NPC extras' thigh-highs, has apparently decided that bedwear is completely fitting for patrolling their jungle home. I'm all for being able to choose whatever the hell you want to wear, but there isn't a single Viera who doesn't look like she belongs in Hugh Hefner's mansion. Add to that the consistently cookie-cutter faces and it almost makes my blood run cold. Final Fantasy XII is a fantastic game, so it's a shame that the overall experience -- and so much potential for a group of strong female characters -- suffers because of such blatant sexism. And it isn't the Vieras' fault; they also appear in Final Fantasy Tactics: Advance, Tactics: A2, and FFXII: Revenant Wings with much more varied character designs, from the sexy to the sensible. It's not the sexy itself that gets to me. I won't mince words: this entire society, set apart from the many others of Ivalice as being made up entirely of women, has been rendered to a collection of sex objects simply by their character design. Conversely, Final Fantasy IV's matriarchal kingdom, Toroia, avoided this beautifully. For example, while the sprites of the Toroia guards could have been replaced by the scantily-clad dancers, they're in fact decked out in armor. Because they're . . . guards, and, male or female . . . you get the idea. Unfortunately, it's not unusual for female characters to be subjected to this kind of hypersexualization and objectification, and even less so for women in power to have their status mocked by such. The sad truth is that it's just as common an RPG staple as our aforementioned town themes. If only there were something other than the obligatory Hot Sexy Chicks Who Would Love To Sex You Up that leaves female gamers left out in the cold. Labels: BomberGirl, Final Fantasy, RPG, Sexuality, Stereotypes
Wednesday, August 29, 2007
The Scale of RPG Heroines III
Part Three Welcome to the finale of our special three part series on heroines in role playing games. We’ll be exploring the highest points in this post. Keep in mind that this is a scale, not a “top ten” list. For example, Yuna's place in the ten spot indicates that she’s not exactly our role model here. Our mysterious woman in the number one spot is, by contrast, a video game messiah and everything you could ever hope your children might be. Let’s not take ourselves too seriously, okay?  3. Celes Celes is a strong woman—as a general within the Empire, she has proven both her strength and her wit. In combat, she is a competent fighter and a skilled magic user. Her Runic ability is not only defensive, but the MP she regains from absorbing enemy spells fuels her own. In other areas, she acts with kindness and compassion, resolutely working for the forces of good. And she can sing an aria pretty damn well, too! Celes most noteworthy characteristic comes from her realistic reactions and inner strength after Kefka rises to power. Cid revives her in the World of Ruin, she finds him sick and weakened. Reversing roles, she then cares for her new uncle and does her best to nurse him back to health. If the player does well, Cid survives to reveal that he has built a raft and sees her off as she begins her journey anew. More interestingly, if the player fails to heal Cid, he dies. Celes, believing that she may be the last person alive in the world, casts herself from a cliff in her despair. I’ll never forget seeing that teardrop glitter as she stepped over the edge—I mean, here I was in the third or fourth grade, and I was playing a character who just tried to kill herself! When she washes up on the beach and finds the seagull with Locke’s bandana, she realizes that she is not truly alone. Hopeful and inspired, she then takes Cid’s raft, setting sail into the unknown; after landing, she gathers the adventurers together for an assault against Kefka. It is through her force of will and determination that the part reunites for the final confrontation. And this is just a small thing, and totally my own opinion, but I’d argue that Celes is far more important than her love interest, Locke. I mean, you can beat the game without even getting Locke back in your party. And Final Fantasy XII’s “History of Final Fantasy” feature claims he was the protagonist! What? Maybe they should’ve taken a closer look at…  2. Terra Terra has to be one of the most interesting women in RPG history to date. Her journey for self discovery moves me every time I play the game. Even as a young lil’ gay boy, I identified with her outsider status. The human world tries to manipulate her at every turn, whether it’s the Emperor Gestahl or the leader of the Returners, Banon—Terra becomes their tool. The esper world cannot truly accept Terra, viewing her as tainted by her human mother. Despite the cruelty she has endured throughout her life, Terra overcomes her past. She not helps to raise the orphans of Mobliz but also protects them from invading monsters. When Celes & Co. attempt to recruit her, Terra initially refuses. She insists on remaining in her new home, perhaps the first place where she has felt welcome. For BomberGirl’s feelings on Terra, check out her article, “Some Words on Terra Branford.” She has expressed Terra’s virtues far more eloquently than I can.  1. Lenneth Valkyrie I adore Lenneth. She’s my videogame idol. Where to start? I love everything about her: her armor is appropriate for battle, providing a combination of protection and mobility. Because she can equip both swords and bows, she has tremendous versatility on the battlefield. Her voice actress is strong and beautiful. Initially cold and subservient, Lenneth makes a remarkable turnaround as the game progresses. Once a tool to the gods, she rebels against their plans, survives Ragnarok, and ascends to the top of the pantheon. Rising from an enslaved seventh-level goddess to All-Mother and Creator is quite a feat! Also, when Lenneth combines with Lezard’s homunculus, she becames part elf—this means that, unlike the other gods, she has the potential to grow, and so her status at the end of the game is only the beginning of her power! Conclusion? I’d go straight for Lenneth. She's practically perfect. Each woman’s placement on this list was a collaboration between BomberGirl, PlasmaRit, and me. The highly subjective opinions, however, are mine alone. If you just can’t accept what I said about your precious idol, I regret to inform you that my opinion probably won’t change. Sorry—but that doesn’t mean I’m not willing to listen to you! Do you think this scale is totally out of balance? Right on? Let us know!
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