For
years, video games have been targeted at a primarily straight, masculine
audience. From The Legend of Zelda to Pokemon
to Halo, male gamers and male protagonists have dominated
the video game world. When women have been featured, it has usually been as
busty, scantily clad, and sexualized, occasionally sporting an actual, believable
personality. Most games adhere to the traditional gender roles society sets
forth: men are dominant, aggressive leaders, while women remain eye-candy in
supporting roles. Bioware’s Mass
Effect series challenges some of these
gender roles, allowing players to choose between a male or female protagonist
and providing an array of unique supporting characters. Mass Effect steps outside of society’s set gender roles,
allowing female characters to step forward into traditionally masculine roles.
However, Mass Effect 2 and 3 become entangled in societal standards, exemplifying
how the societal constructs of gender continue to trap others and place the
appearance of characters as a priority before depth of character.
Mass Effect can be played as a female or male Commander
Shephard, providing the opportunity for a woman to step into the protagonist
role. Bioware sets a high standard from the beginning: “The difference between the male and female Commander Shepard is cosmetic
and aesthetic only. In terms of personality, there is little difference and
both incarnations are treated the same way by the NPCs that they come across”
(Minnie). The lack of personality difference between MaleShep and FemShep is a
telling precedent that reveals the company’s early attempts to treat both sexes
equally. Bioware shies away from the ‘eye-candy’ stereotype placed on many
women in video games, dressing FemShep in a modest uniform and providing
practical, sensible armor. Her character has as much depth as MaleShep’s as she
experiences the same events, recruits the same squad members, and completes the
same missions. The squad is no different, featuring an array of human and
aliens, each with their own story, goals, and desires. An emphasis is placed on
depth of character in Mass Effect, setting the example with FemShep and affirming her
position through reinforcement and praise, as well as criticism and questioning
– depending on the player’s choices. This strong example allows the other women
of Mass Effect to step forward,
reaching above, “We’re only as hot as our willingness to put on a show
for guys” (Valenti 44). The women
are individuals, comfortable in themselves and what they do, and are still
attractive to male and female players.
Mass Effect stood out with its powerful characters, especially
as the game allowed women to take the lead in roles traditionally held my male
protagonists. Specifically in videogames, violence and aggression abound,
encouraging players to embrace a more volatile (and masculine) aspect of
themselves. Male videogame protagonists usually represent the societal
construction of masculinity: “to be tough, to quash their feelings, and even to
be violent” (Valenti 183). The values of social masculinity are evident in
their behavior, actions, and interactions, coloring the game’s experience.
Allowing a woman to step into the protagonist role applies these masculine
ideas in a completely different manner, stepping outside of the societal
construction of feminine and masculine. Masculine is as powerful as feminine in
Mass Effect as FemShep is
rewarded and affirmed in the same tasks as MaleShep. As Renzetti describes in Women,
Men, and Society, “the two processes –
reinforcement and modeling – go hand in hand” (78). The reinforcement of
FemShep’s actions by other characters in game, regardless of her gender or sex,
supports the lack of gender roles applied to FemShep and allows other
characters – and players – model her and her behaviors. Her development and
depth of character is placed above her appearance, creating a new experience
for players.
Unfortunately, the
equality of gender and sex did not last in Mass Effect 2. Shephard remained the same, overcoming impossible
odds to save the day while retaining her balance of masculine and feminine
attributes. The same cannot be said of her supporting squad mates, however.
Miranda Lawson is the epitome of societal female sexuality: large breasts, an
ample behind, and flawless skin. Genetically engineered to be ‘perfect,’
Miranda shows off her body in a skin-tight cat suit that doubles as armor on
missions. “Pop culture sex is sugar and spice, tits and ass” – Miranda is an
embodiment of pop culture sex (Valenti 41). Camera shots clearly emphasize her
physical assets, distracting from the compelling character behind the engineered
‘perfection.’ Players who were able to empathize with characters in the first
game struggle to do the same with Miranda:
“The main failing I find with Miranda’s character development is the
continued visual objectification, despite the constant reassurances that she’s
more than that… When a narrative tells us, ‘You are more than the sum of your
parts,’ and combines it with an image of a painstakingly animated ass in a
skintight jumpsuit, the message gets a little lost.” (Elyse)
The
objectification of Mirada through degrading camera angles and over-emphasized
physical characteristics prevents players from believing her personality and
becoming engaged with her as a character. The message is lost as her appearance
takes priority over her character. She does maintain a position of power as
Shephard’s second-in-command during Mass Effect 2 and is a very capable, intellectual
character, but it is lessened in significance due to the priority of her visual
appearance.
Miranda is “trapped by the limiting
sexuality that’s put out there – a sexuality that caters almost exclusively to
men” (Valenti 42). Society encloses women in the box of feminine sexuality,
teaching them what to fear and what to desire (to fear being ugly, and to
desire to be hot, sexy, and beautiful). Through characters like Miranda, the
societal construction of beauty is set forth. It is unattainable – Miranda was
genetically engineered! Yet if one is not striving for Miranda’s ‘perfection,
“you’re not trying to ‘improve’ yourself… you’re gross and you don’t ‘take care
of yourself’” (Valenti 206). Appearance takes precedent in society – it has
become how many define themselves and set themselves apart, men and women both.
Through characters like Miranda, the societal construction of beauty shines
through – as does the expectation that one is striving for said construction.
If one is not, then society and their peers frown upon them. The reinforcement
of these beauty ideals extends throughout all media, exemplified by female
characters everywhere. Christy Haubegger explains, “none of the magazines
showed models in bathing suits with bodies like mine. Handsome movie heroes
were never hoping to find a chubby damsel in distress” (Haubegger 210). Movies,
magazines, games…none regularly strive beyond the concept of ‘beauty’ and
reaffirm the societal ideal time and time again. Emphasis is placed on
appearance and the concept that “the way she looks/dresses/appears has some
bearing on who she is as a person” (Valenti 200). A woman is defined by her
appearance in society, regardless of what she does. Miranda is a beautiful,
strong, talented woman, and her objectification implies that she is no more
than she appears (which Bioware proves false as soon as the player speaks to
her). Bioware’s character development helps and hurts, undermining her strength
through objectification, while yet confirming that she – and all women, for
that matter – are more than just their appearance.
The decline in the importance of
character continued into Mass Effect 3 with the introduction of Diana Allers and James Vega. Both
characters portrayed stereotypes of both genders: Allers strutted about in a
skintight, leather dress, occasionally conducting flirtatious interviews with
Male/FemShep while seemingly open to perusing a sexual relationship with
either; James was a bulked up mass of soldier, constantly working out or
working on guns when not fighting alongside the Commander. Allers was
sexualized like Miranda, embodying many double-standards encouraged by society
while distracting players with the low cut of her dress and its tightness
around specific areas. “We’re expected to be available to men but we’re also
expected to be ‘mysterious’”: this double-standard is embodied in Allers as she
teases, commenting, “If you keep feeding me info like that, I might have to
follow you home” before striding out with an emphasized sway of her hips
(Valenti 50, Mass Effect 3). James is just as defined by his stereotypes, definitively masculine
by societal standards. He’s big, he’s tough, and isn’t afraid to crash a
shuttle to get the job done. He is the embodiment of “the new cool… this
‘bros over hos’ mentality…where playing cards, watching football, drinking
beer, and picking up chicks is the norm” (Valenti 187). Men are coerced into
following this societal ideal through characters like James Vega. James spends
most of his shore leave either at the bar, gambling, or boasting with his
fellow squad mates about kills or other feats; if he’s not flirting with
FemShep.
Characters
like Allers and Vega only reinforce the stereotypical gender roles encouraged
by society today. Affirming these attributes by creating characters solely
centered on these ideals allows the social learning theories to take effect,
encouraging these dehumanizing ideals through their presentation in game.
Allers and Vega’s actions can be encouraged or chastised to a minor extent by
Male/FemShep, but their presence reflects on how pervasive societal ideals have
become in gaming. True, they have always been present, but many more games have
been addressing some of these societal constructs in a more progressive manner
(like Mass Effect). Even the sexuality
of the characters is caught in the whorls of societal constructs: Allers is
bisexual, attracted to both men and women, spurring the speculation of “Be a
lesbian…who likes men” (Valenti 51). She flirts with Male and FemShep the same
way and is a viable romance option for each. The equality is refreshing and
again emphasizes Bioware’s ability to overcome traditional gender roles, but
Aller’s almost sole purpose seems to be as a sexual item. The visual
objectification of her character implies society’s construction of sexuality:
standards like “be sexy, but [don’t] give it up,” “unattainable but
simultaneously available for consumption,” and to “put on the ‘show’” to please
men (Valenti 51). Allers is constantly on display, teasing if the Commander
engages in flirting, but holds out before giving into his/her advances; and can
always be found, if not engaged with. Embodying these standards provides a
concerning vision for female players, setting an unrealistic model before them
that is affirmed by her position and success as a reporter. Allers lives for
the show – and other women should too.
This
demeaning progression from the gender equality in Mass Effect to the objectification and embodiment of societal
gender norms in Mass Effect 3
presents just how influential and solidified societal gender roles are. Bioware
challenges them through characters like FemShep, whose depth of personality
takes priority over her appearance, but she is one of the few still treated
that way by the end of the series. Characters like Miranda Lawson, Diana
Allers, and James Vega appear with more frequency, embodying what it is to be
‘feminine’ or ‘masculine.’ Their appearance takes precedent over their
character: Miranda’s genetically engineered beauty, Allers’s constant display,
and Vega’s over-muscular physique. It is visually distracting and detracts from
each of their characters. Mass Effect 3 in particular proves Valenti’s statement to be true: “We’re on display everywhere. We
couldn’t escape it if we wanted to” (44).
Though she directed it more towards
women in regards to pop culture, men are snagged in the same snares. In all
media, men and women are put on display and expected to adhere to preconceived
constructs of gender and gender roles: men are to be masculine, tough,
authoritative while women are to be feminine, striving for unattainable beauty
and expected to be submissive. Videogames are no exception as appearance takes
precedent over depth of character. Mass Effect challenged those constructs through characters like FemShep who
leveled the playing field, representing a balance of masculine and feminine and
how the associated gender roles are not concrete. FemShep proved that
traditional gender constructions do not have to be adhered to, and that
traditional gender roles don’t always sell. Unfortunately, as the series grew,
societal constructs and the importance of appearance became more influential.
The target audience – white, straight, middleclass males – dictate the market
and still clamor for the objectified, sexualized women of earlier games. To
change the gender constructions in gaming, one must first change why
traditional gender roles sell and diversify the target audience. Until such a
thing occurs, appearance will continue to take priority over character depth:
especially in female characters, leaving female gamers with a lack of
constructive models in the gaming world.
Works Cited
Elyse.
“Love in the Time of Reapers: Women and Romance in Mass Effect.” Geekquality. 7 December 2011. 21 May 2012. <
http://www.geekquality.com/masseffect-women/>.
Haubegger,
Christy. “I’m Not Fat, I’m Latina.” Reconstructing Gender. New York: McGraw-Hill Companies, Inc., 2009.
Mass Effect. Bioware Corp. Microsoft Game Studios. 20 November
2007. Xbox 360. English.
Mass Effect 2. Bioware Corp. Electronic Arts. 26 January 2010.
Xbox 360. English.
Mass Effect 3. Bioware Corp. Electronic Arts. 6 March 2012. Xbox
360. English.
Minnie.
“Women and Mass Effect.” Gaming Symetry.
19 August 2011. 21 May 2012. <
http://www.gamingsymmetry.com/women-and-mass-effect/>.
Renzetti,
Claire M., Daniel J. Curran. Women, Men, and Society. Boston: Pearson Education, Inc., 2003.
Valenti,
Jessica. Full Frontal Feminism.
Berkeley: Seal Press, 2007.
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