Sample+Research+paper


 * Video Game Darlings Research Paper**
 * Alyssa Fujii**

For this final research paper, we were expected to create a formal piece answering the essential question created at the beginning of the course. As with any research paper, it was intended to provide a forum in which we were able to share our knowledge with others. Through extensive research, I was able to track the histories of various female heroes. The parallels between their accomplishments and those of modern women are striking in their similarities. Nonetheless, I do have hope regarding an even brighter future.

See above: A sample of the description for her portfolio.

More and more often, female faces are featured on the cover art of major video game releases. Heroines such as Lara Croft, Aya Brea, and Samus Aran are leading this revolution as the main protagonists of their respective franchises. However, this was not always the case. Initially, female characters were portrayed as helpless individuals whose sole contribution to their plotlines was by playing the role of helpless damsel in distress. Over time, however, a new breed of independent and self-sufficient characters was born. Unfortunately, despite the progress made regarding their basic roles in their plotlines, females are still often objectified and presented for mere entertainment without any true depth or development. Still, future development is promising and hints at the creation of even more realistic and empowering female figures. Her thesis. Note it is not really one sentence; sometimes, more than one sentence is needed to get your idea across.

Females have traditionally played a backseat role in video games, their sole contribution to plotlines being the stereotypical role of damsel in distress. Over the years, the trend has bent slightly toward the creation of a new, powerful, individualistic female protagonist. This progress can be seen in modern remakes of original software titles. For example, in the 1989 release //Prince of Persia,// the player takes on the role of a nameless protagonist. In under an hour, the evil vizier will be defeated and the safety and affections of a beautiful, helpless princess secured in the process (GameSpy, 2011). However, a mere fourteen years later in the 2003 hit //Prince of Persia: Sands of Time,// the Prince returns to battle another evil vizier, a very similar beautiful princess at his side (Liebman, 2010). Instead of sitting passively, waiting to be saved, the princess now makes an active effort to strike back against the very villain that originally wronged her. The sentence highlighted above show us that she is delivering BACKGROUND information. She's telling us what has happened in the past concerning her topic.

Similarly, in the classic //Mario// series, Princess Peach has made multiple steps forward. Although once something of a burden, Peach's character has been further developed in order to create a much more worthy adversary. Now the lead of several major titles, Princess Peach is also a playable character in //Super Smash Brothers,// proving to gamers that femininity is not necessarily the equivalent of helplessness. Nice transition, here.

Despite their historical, cultural, or personality differences, female protagonists always share a sultry, undeniable sex appeal. Although body shapes today are slightly less exaggerated than was previously, female characters tend to be large-breasted, long-legged, and extremely narrow-waisted. Lara Croft, for example, is recorded as having a 34D bust, twenty-four inch waist, and thirty-five inch waist. At five feet, nine inches tall, she weighs only one hundred and thirty pounds (Knight, 2010). As with Mattel’s Barbies, such proportions are unrealistic, catering to an unachievable view of the “ideal woman.” Proper in-text citation.

Females characters today are all expected to share the same unnatural appearance introduced by the buxom Croft. Older characters are likewise held to such standards. Female lead of the Square Enix-produced //Third Birthday,// Aya Brea previously appeared in prequels //Parasite Eve// and //Parasite Eve II.// Spanning several decades, the Japanese version of the series portrayed Brea aging as the series progressed. However, the first to make its American debut, //Third Birthday// gives Brea the youthful appearance of one in her twenties. Although Brea is biologically thirty-eight years old, “advanced mitochondria” lends the image of one much younger (Parasite Eve Wiki, 2011). Aya Brea’s true age is hidden from the masses, perpetuating the physical expectations of female protagonists.

A new, real-world model, often referred to as the “commodity model,” portrays sex not as a personal decision but as a good. As a marketable service, sex can be bought, purchased, and distributed freely. Women are, in essence, the vendors of this item. Men play the role as consumer. Bound by laws of supply and demand, the availability of sex is always somewhat limited, presenting the act as a prized commodity (Friedman and Valenti, 2008).

The commodity model was designed to describe the role sex plays in modern day society. Such parallels can likewise be found in the alternate universe of video games. Females in video games often take the form of NPCs, or non-playable characters. In games such as //Alpha Protocol//, //Heavy Rain//, and the //Sims//, the player can interact with a variety of females. Relationships, typically sexual in nature, can often be formed with these NPCs. Depending on the nature of the game, female NPCs are often presented as either victims or prizes to be won (Knight, 2010). For NPCs, sex is often the main objective. These women are not designed to provide deep, genuine content—they exist for mere entertainment, a side detour from the greater plotline of the game. Certain games capitalize on this option. In titles such as //Alpha Protocol,// a “Ladies Man” achievement exists for players who manage to sleep with every female in the game (Raymond, 2009). By promoting such viewpoints, women are, once again, objectified as sexual objects that exist for the entertainment of men.

However, there is hope yet for the future. An ideal example of conceptualized progress regarding female video game protagonists can be seen in the development of //Tomb Raider's// Lara Croft. Although still a modern day icon, Croft has recently garnered harsh criticism based off of her previous “Teflon exterior.” Alyssa now moves forward into her discussion. The background is extensive because she needs it to lead to this point. Now she can discuss her thesis.

A character designer for developer Core Design, Toby Gard conceptualized Croft as a woman who could present a challenge to the time’s brainless, sexualized pinups. Born to an aristocratic family, Croft defied the traditional values desired by her parents and her elite society. Rather than marrying into a comfortable but bland life, Croft consciously chose the life of an adventurer. Supported by neither family nor romantic interest, Croft’s life is an exercise in independence and self-sufficiency, an alternate to the domestic life typically expected of females (Knight, 2010). Seen in this light, Croft can be taken as nothing but a model of female empowerment. Unfortunately, critics today are not as inspired. Symbolic of the change regarding views of women in modern day society, scholars now desire more in-depth proof of Croft’s feminist intent.

At the time of //Tomb Raider's// original release in 1996, Lara Croft created a massive following. Finally, there was an action-adventure game featuring a strong, sexy female protagonist. Instead of concentrating their efforts on character development, publishers Eidos Interactive focused on game design and visual advancement (Knight, 2010). At the time, gamers were satisfied with this. Entertained by fantasies of this new breed of hero, such details could be overlooked (Marie, 2011). However, despite exhibiting many traits typical of characteristics identified with the American “ideal woman,” Croft’s character was cited as failing to create any real emotional tie with her audience.

Problems such as this are common in today's video game industry. Typically big-name developers focus on profits alone. Their main concern lies in what will sell, and more often than not, this something is sex. The plastic exterior of strong, female protagonists is still a weak point in many of today's video games. Although females no longer take the back seat in their roles regarding story plotlines, many suffer from a definite lack of character development.

In an attempt to correct this issue, a new, origin title is slated for release in a final effort to revive the dying //Tomb Raider// franchise. Lara will be portrayed as a vulnerable twenty-one year old. Although a release date has not been determined, drastic changes in Croft’s physical appearance have been made apparent through both previews and teasers. A younger version of the original, Lara’s face is rounder and curvier, her expressions conveying genuine trust and confusion. Her body is softer, not yet hardened by years of supposed experience. Croft is also dressed much more practically, wearing layered tank tops and cargo pants as opposed to a sleeveless, skintight top and shorts. Though such changes have generated both positive and negative feedback, new developers Crystal Dynamics believe such changes are necessary in order for gamers to perceive Lara in a more positive, believable light (Marie, 2011).

As elsewhere in history, the progress of women in video games has been an commendable journey. From the helpless darlings seen in the early editions of //Mario// and //Prince of Persia// stemmed the creation of a new generation of strong, independent individuals. Although these figures are still objectified with the intent of catering to profitable interests in today's market, the development of more realistic, yet still admirable, characters are in the works. Parallel to the progress of the modern day woman, the future of these heroes is promising.

Now Alyssa leads into her conclusion. She summarizes her main points and restates her thesis, leaving us a look into the future.


 * Annotated Bibliography:**

"Aya Brea : Parasite Eve Wiki." // Parasite Eve Wiki. // Web. 03 May 2011. .

A branch of the Wikipedia database, this wiki page could likewise be edited by users, potentially compromising the information accessed from this website. However, this page provided a general overview regarding the history and image of Aya Brea, featured female protagonist of the //Parasite Eve// series.

Friedman, Jaclyn, and Jessica Valenti. // Yes Means Yes!: Visions of Female Sexual Power & a // // World without Rape //. Berkeley, CA: Seal, 2008.

Divided into topical sections, this book gives a clear overview regarding the image of females in modern day society. Touching on such controversial issues as rape and feminism, Friendman and Valenti force the reader out of their comfort zone in order to further emphasize the female cause. In particular, this book provided information regarding the commodity model of sex, allowing further connections to be made between the real world and the alternate universe of gaming. Many other essays were included in this selection, as well as suggestions for further reading.

Helgeson, Matthew. E-mail interview. 14 Apr. 2011.

As senior editor of //Game Informer// magazine and co-host of Minneapolis’s Video Games Weekly Radio show, Helgeson has years of experience and exposure to the video game market. A writer of both news articles and the occasional editorial, Helgeson obviously has his own opinions on the subject, creating an expected bias regarding his answers. An intern of //Game Informer// since 1999, Helgeson has the experience to provide a valid analysis of the progress women have made in video games over the years.

Knight, Gladys L. // Female Action Heroes: a Guide to Women in Comics, Video Games, Film, // // and Television //. Santa Barbara, CA: Greenwood, 2010. Print.

Covering twenty-five female protagonists from a variety of media sources, this book provided a plethora of information regarding the impact of these individuals. Both positive and negative reactions were included and assessed, and the original intent of these characters described in detail. A truly great resource that provided insight into the historical importance of each featured female.

Liebman, Dan. "The Changing Role of Women in Video Games.”//GameZone.com//. 11 Jan. 2010. Web. 28 Apr. 2011..

Published by and for members of an online video game community, the views expressed in this article are not as scientifically-based as they are opinionated. However, written by a long time player of video games, the author of this document is able to accurately able to express an opinion regarding the progress women have made in video games over the years. This article was able to provide solid examples and reactions to the many changes women in video games have experienced over time.

Marie, Meagan. "Tomb Raider." // Game Informer // Jan. 2011: 42-51.

This article is what initially sparked my interest in the roles of females in video games. This article focuses on Lara Croft, written in anticipation of the upcoming reboot of the classic //Tomb Raider// video game series. Although the article refers to changes in general gameplay and story plotline, this cover story also takes a look at the mental and physical changes the heroine has undergone over the years. //Tomb Raider,// a reboot of the original, will focus on a younger Lara, one who is much less sexualized and much more realistic regarding her actions and physical appearance. Written by a female, the tone of the article may differ from that typically expected from a man, creating an inherent bias in the opinions expressed in the magazine.

"Prince of Persia (1989)." // GameSpy //. Web. 04 May 2011. .

A mere summary of the video game //Prince of Persia,// this page provided a brief synopsis and review of the video game. Subject to both corporate input and consumer opinion, this page was subject to bias containing both positive and negative views of the game. However, only factual, plotline related information was used for the purpose of this paper.

Raymond, Alex. "Women Aren't Vending Machines: How Video Games Perpetuate the Commodity Model of Sex.” //Game Critics.// 2009. Web. 2 May 2011.  .

This article was written as an editorial piece regarding the sexualized image of many females in video games. Links were provided to other helpful sites regarding, for example, the commodity model mentioned in this piece. A slight bias was evident in the author’s opinion of the objectification of video game characters.

Whitelaw, Tracy. "Who Are the Strong Female Characters in Video Games?" // The Scavenger //. 2011. Web. 27 Apr. 2011. .

A lesbian freelance journalist, Whitelaw most likely possesses her own opinions regarding the portrayal of women in video games. However, in this article she focuses mainly on several of today’s modern video game heroines, commenting on both their strength and objectified physical image. This website provided useful information regarding the most commonly held image regarding women in today’s video game market.

Willis, Laurie. // Video Games //. Detroit: Greenhaven, 2010.

As an installment in a series dedicated to providing essays arguing both sides of a selected issue, this book offered a glance at both opinions regarding the relationship between females and video games. The essays chosen for inclusion in this book were carefully selected based off of their ability to express their opinions in a clear and concise way. A section regarding social issues was included, providing information regarding both females in video games as well as females as future video game players.