Challenging Archetypes with Feminist Approaches to Video Game Design

270 Pages·2017·4.41 MB·English

Clemson University
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All Dissertations Dissertations
5-2016
Identity Design: Challenging Archetypes with
Feminist Approaches to Video Game Design
Lauren Woolbright
Clemson University, [email protected]
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IDENTITY DESIGN: CHALLENGING ARCHETYPES WITH FEMINIST
APPROACHES TO VIDEO GAME DESIGN

A Dissertation
Presented to
the Graduate School of
Clemson University

In Partial Fulfillment
of the Requirements for the Degree
Doctor of Philosophy
in Rhetorics, Communication, and Information Design

by
Lauren Woolbright
May 2016

Accepted by:
Dr. Jan Rune Holmevik, Committee Chair
Dr. Kimberly S. Manganelli
Dr. Beth Ann Lauritis
Dr. Andrew Hurley
ABSTRACT

Lack of diversity in video games and the mainstream games industry warrants an
inclusive, feminist approach to game design. Producing a feminist video game as a core
component of my dissertation will impact rhetorical, literary, game, and feminist studies,
emphasizing the benefits of embracing electrate and playful modes of identity formation
and pedagogy.

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DEDICATION

To women of every gender playing and designing games, especially those facing
discrimination in game spaces and gaming communities, I dedicate this work in hopes
that our situation may see improvement every day.
To my family, without whose constant affection this project could never have
come into being.

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ACKNOWLEDGEMENTS

I would like to extend my thanks to my excellent committee, Dr. Kimberly
Manganelli, Dr. Beth Ann Lauritis, and Dr. Andrew Hurley, and particularly my chair
and mentor Dr. Jan Holmevik, for their support in the research, development, and
completion of this dissertation project, which has been non-traditional from the start.
I also want to recognize Dr. Victor Vitanza, Dr. Cynthia Haynes, Dr. Dave
Blakesley, Dr. Jan Holmevik, Dr. Jeff Love, Dr. Christina Hung, and Dr. Bryan Denham
for their guidance and support through the entirety of the RCID program, their innovation
in designing the program, and the formative readings and challenging assignments in
their courses.
I would like to thank my collaborators from Clemson’s Digital Production Arts
program, Marie Jarrell and Wynton Redmond, Marie in particular for working so closely
with me on every aspect of the game’s design and doing much to keep the game in line
with my vision for it while still imparting her own creative perspective.
Thank you to the College of Architecture, Arts, and Humanities at Clemson
University for supporting this project with two grants from the Graduate Student
Research Program, one in academic year 2014-2015 and one for 2015-2016. I received
crucial research support through a Pearce Center for Professional Communication grant,
which was instrumental in making this work possible, and I must thank Jan Holmevik for
co-writing the grant with me and Dave Blakesley for approving it. I would also like to
thank the Professional Enrichment Grants program overseen by Clemson Graduate
Student Government for numerous travel grants to present my research at conferences.
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My thanks to Dr. Jan Holmevik, Dr. Victor Vitanza, and Dr. Cynthia Haynes for
putting me forward for the Clemson Distinguished Graduate Student in Research award
for 2014-2015, and for writing excellent letters of support that contributed to my
receiving it.
To Dr. Jan Holmevik, Dr. Kimberly Manganelli, Dr. Cynthia Haynes, and Dr.
Jeffrey Baggett I want to extend special thanks for composing letters of recommendation
for me and mentoring me through the job search process, which has been going on
simultaneously with the completion of this dissertation, and to Dr. Walt Hunter, Dr.
Megan Eatman, and Dr. Steve Holmes for reviewing my materials for the job market
multiple times and counseling me about interviews as well.
To my cohort and peers in RCID, thanks are in order for sharing so many
thoughts, suggestions, articles, and artifacts that ended up impacting this work, and for
filling our time together with critical feedback and excellent humor.
Lastly and most importantly, I cannot thank my husband, Evan Woolbright,
enough for his tireless support and thoughtful critique of my work throughout this
process, and to our children, Lana and Alaric as well for putting up with many long days
and nights without mom.

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TABLE OF CONTENTS

Page
TITLE PAGE .................................................................................................................... i
ABSTRACT ..................................................................................................................... ii
DEDICATION ................................................................................................................ iii
ACKNOWLEDGMENTS .............................................................................................. iv
LIST OF FIGURES ........................................................................................................ ix

CHAPTER
1. INTRODUCTION ............................................................................................... 1
Exigency .............................................................................................................. 6
Literature Review ............................................................................................... 10
Game Studies and the Rhetorics of Design ............................................... 10
Feminism and Monstrosity, Then and Now .............................................. 20
The Power of Electracy ............................................................................. 30
How This Work Unfolds .................................................................................... 31

2. THE DASEIN OF DESIGN: RHETORICS OF AVATAR AND IDENTITY
AND THE DANGEROUS ENFRAMEMENT OF WOMEN IN VIDEO GAMES
............................................................................................................................ 35
The Avatar For Whom Being Is At Issue .......................................................... 37
Gendered Game Design: A Bit of History ......................................................... 41
Bringing-forth Games: Designerly Thinking ..................................................... 44
(Mis)Representation ........................................................................................... 47
The Dangerous Enframement of Women .......................................................... 53
The Power (of Being) to the Players .................................................................. 56

3. TRICKSTARS VS STRONG WOMEN: CREATING A FEMINIST
ARCHETYPE FOR GAMES ............................................................................ 60
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Table of Contents (continued) .................................................................................. Page

Gaming in the Age of Feminism ........................................................................ 67
Cultures of Guyland ........................................................................................... 72
Gender is Fluid: What I Learned From Bronies ................................................ 77
The Female Avatar: From Archetype to Stereotype .......................................... 80
Trickster Women: Two Greek Myths ................................................................ 85
Ethical Gender in Games ................................................................................... 92
Where to Go From Here: The Power of Inclusivity .......................................... 94
4. HOLDING OUT FOR A MONSTER: A CALL FOR MONSTROUS HEROINES
IN TV AND VIDEO GAMES ........................................................................... 96
The Myth of the Strong Female Character ...................................................... 104
The Monster For Whom Being Is At Issue ...................................................... 112
Sorceresses, Sirens, and Sylvan Ladies ........................................................... 120
The Curse of Heredity ...................................................................................... 127
Transmediating Harriet .................................................................................... 134

5. REIMAGINING HARRIET BRANDT: FEMINISM AT PLAY ................... 139
Principles of Design ......................................................................................... 140
Hacks, Mods, and Art ...................................................................................... 142
Storytelling and Meaning-Making in Games ................................................... 145
Game Overview ............................................................................................... 149
Mechanics: Drain and Fill ................................................................................ 152
The World ........................................................................................................ 155
The Park: Women’s Suffrage and Motherhood ............................................... 160
The Feminist Question of Revenge .................................................................. 162
The Ether .......................................................................................................... 167
Conclusions ...................................................................................................... 170

6. PEDAGOGIES OF PLAY: VIDEO GAMES IN HIGHER EDUCATION .... 172
What Does It Mean To Be “Next Generation?” ............................................. 173
Learning Outcomes .......................................................................................... 176
Game Design and Advocacy ............................................................................ 179
The Significance of Making ............................................................................. 186
Collaborative Project ....................................................................................... 187
Game Design Capstone Course ....................................................................... 191
Final Takeaways .............................................................................................. 195

APPENDICES ............................................................................................................. 199
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Table of Contents (Continued) .................................................................................. Page

A: The Blood of the Vampire Text-Based Game Script .................................. 200
B: Blood of the Vampire Game Script For Unity ............................................ 229
C: Sample Syllabus, Gender and Video Game Advocacy ............................... 244
D: Sample Syllabus, Video Game Design Course ........................................... 246

REFERENCES ............................................................................................................ 247
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LIST OF FIGURES

Figures Page

1.1 Harassing Tweets directed at Anita Sarkeesian ................................................... 3

1.2 Anita Sarkeesian continues to speak at events, even when threats abound ......... 4

2. 1 Bayonetta fan art from DeviantArt.com ............................................................ 38

2.2 Bayonetta hair attack, shoe version ................................................................... 38

2.3 Sorceress screen shot by Jerrica, from Dragon’s Crown, 2013 ......................... 50

2.4 Gamer Girl Stereotype ....................................................................................... 52

2. 5 The Gamer Girl stereotype is not real ................................................................ 53

2.6 Never Alone, 2014 .............................................................................................. 59

3.1 Homepage for Fat, Ugly, or Slutty.com ............................................................. 60

4.1 “Strong Female Characters,” Hark, A Vagrant.com ......................................... 104

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