Tropes Against Video Games
At what point do claims of sexism become so common as to become tropes?
Posted Mar 09, 2013
Back in mid-May of last year, Anita Sarkeesian launched a Kickstarter project to help fund her video series on portrayals of women in video games called “Tropes vs. Women in Video Games”. Her initial goal was set at $6000 for a planned goal of making 5 videos (or so I can gather from the Kickstarter page), meaning that she wanted approximately $1200 per video. Her project ended up being funded at close to $160,000 and her intent grew to creating 12 videos. This means that, currently, she has successfully netted a little over $13,000 per video she intends to eventually release; an impressive feat. Her first video was released a few days ago (a few months late, relative to her stated delivery, but here nonetheless) and, hot-button topic that her project was, I felt inclined to watch it and see what $13,000 a video buys in terms of research quality, methodology, and explanatory power. From my impression of Anita’s first video, were I to work under the assumption that she was making a reasonable amount of money for her time, effort, and conclusions in this project, I think I could be so bold as to suggest that I’m wildly underpaid for what I do in terms of research and writing.
The first set of points that I would be critical about when evaluating this video, then, is that, in the roughly 25 minutes of it, she presents almost nothing that would typically fall under the umbrella of what many people would consider research: there’s no methodology mentioned, no data presented, and there’s no discussion of how she reached the conclusions that she does. What she does present are some anecdotes and a few assertions. Here’s a good for-instance: Anita notes that the theme of “man-saving-woman” is at least several thousand years old. Despite noting this, she then goes on to suggest that, in 1933, there were two things (Popeye and King Kong, apparently) that led to this theme becoming a foundational element in video games 50 years later. Is this theme a foundational element in gaming? Maybe, but from what Anita presents in her video there’s no way to know (a) what she means by “foundational element”, (b) whether she was correct in that assessment, or (c) whether her posited causal link even exists. That is, if Popeye and King Kong never existed, would video games have come to represent this damsel in distress story line as frequently or infrequently as they do? Given that this theme is at least as old as recorded history accordingly to Anita, one could reasonably suggest that Popeye and King Kong did very little stage-setting at all.
What is notably absent from Anita’s video – on top of any mention of methodology or data – is any attempt at an explanation as for why this theme appears to be relatively ubiquitous. Lacking anything resembling a formal explanation concerning this theme’s popularity, much less any attempts at ruling out alternative explanations, Anita sticks largely to just noting that the theme exists in some unspecified proportion of games and that she doesn’t seem to like it very much. So, to recap, that’s no mention of a method, findings, or an explanation of the topic being investigated. Of course, I’m not here to just be critical of the fact that this video likely cost her backers approximately $260 per minute to make, by my estimation, and ended up with nothing of value to show for it; I also want to see if whether, in a few minutes, I can do better than Anita in discussing important questions, analyzing data, and explaining the issues.
Here’s an altogether more plausible alternative explanation: peacocks have evolved this trait and display it because peahens were more inclined to mate with males that had larger, costlier, and harder-to-fake signals of phenotypic quality (Zahavi, 1975). Peahens favored such males because these costly signals served as viable reproductive guarantees of healthy offspring, and male behavior and physiology changed to suit the preferences of females so as to capitalize on the increased potential for reproduction. Peacocks behave this certain way, then, to attract mates; not to objectify or disempower them. To couch this in terms of a specific video game example Anita mentions, Mario doesn’t rush into Bowser’s castle in order to reduce Princess Peach to a helpless object; he does so because, by doing so, he’s increasing the chances he’ll have the opportunity to have or maintain a relationship with her (though whether or not this is his conscious motivating drive is a separate question).
With this explanation in mind, let’s do our best to imagine that peacocks and peahens decided to do distinctly human-like things, such as fantasizing and telling stories. What would the content of such things tend to be,? It seems that the sex of the individual in question would matter a great deal: the males might be enthralled by imagining tales of conflicts between other males with impressive ornaments, both displaying them for a desired female, and fantasize about displaying such an impressive ornament that the female who observed it couldn’t help but fall madly in love with him. Females, on the other hand, might find stories about other females deciding between their various competitors to be altogether more engaging, fantasizing about the social intricacies of deciding upon one male or another. You could think the distinction being something along the lines of the peacocks enjoying movies more along the lines of Die Hard and peahens being more inclined towards Twilight. Both stories involve a good deal of male-male competition, but the focus of the story would either center on the male or female perspective in that competition.
Let’s finally assume that this species of bird came across the technological capabilities to translate their fantasies into video games. Arguably, it’s easier to translate certain aspects of the the typical male fantasy into something resembling a video game that’s entertaining to play. While one could easily imagine a game where a peacock moves from level to level by out-competing his rivals, it’s less easy to imagine a game centered around female choice of partners (more succinctly, while Twilight might make an appealing series of books and movies, it might not make a good video game). Tying this back to Anita’s video, she seems to suggest that male video game designers are trying to tap into male power fantasies to sell more video games and, importantly, that they do this to the exclusion of women. What she did not seem to consider are two alternative explanations: (1) how easily are typically male and female fantasies turned into entertaining video games and/or (2) are the people making these games simply expressing their own preferences for what they find appealing, rather than trying to explicitly appeal to the preferences of others? Regarding that second point, imagine asking men to write a story that they were either trying to sell or not sell: would the content of these stories between the two groups differ significantly in terms of major themes, like the use of a damsel in distress? Certainly an interesting question: perhaps it’s one that Anita might have considered answering…
To conclude, let’s briefly consider further why some of Anita’s beliefs about the motivations of male video game characters and designers, are, at the very least, likely in need if revision. There is another research finding that casts severe doubt on the “men view women as helpless objects in need of saving” angle that Anita seems to favor. When a mixed-sex group of 3 people was made up of 2 men and 1 woman, men were found to universally volunteer and end up in a role that caused them discomfort; what awful paternalistic sexist crap, right? Surely women could handle that discomfort just as well as the men, so men must be pushing women out of the hero role to fulfill their own power fantasies. By contrast, however, when then groups were made up of 1 man and 2 women, men ended up in this “protective” role at chance levels (McAndrew & Perilloux, 2012). So unless the hypothesis is to be amended to “men tend to view women as powerless and in need of rescue but only in the presence of other men (or, perhaps, when women are relatively scarce); oh, and also women tend feel the same way about the whole being protected by men thing”, one could conclude there’s likely some wrong with Anita’s hypothesis. If only she had done some kind of research to figure that out…
(I’d also like to note, as a bit of off-topic point, the apparent contrast between Anita’s proposed videos #4 and #9. It looks like she’s exploring the trope of women being sexy and evil in 4, and the trope of being unattractive and evil in 9, both of which are apparently unacceptable. Damned if the villainess is attractive; damned if she isn’t. But hey, only an approximate $260 per minute for this knowledge, right?)
Zahavi, A. (1975). Mate selection—A selection for a handicap Journal of Theoretical Biology, 53 (1), 205-214