Gender representation in video games
[10] A 2006 study from Virginia Polytechnic Institute and State University found playable female characters appear less frequently than males in reviews of popular games.
[21] According to Madeline Messer in The Washington Post in 2015, among the top 50 endless running mobile games, 98% of those with gender-identifiable characters featured male protagonists, 90% of which were free to play.
[25] There were several earlier, less-popular video games with playable human female characters, including Billie Sue from Wabbit (1982),[26] Becky from Otenba Becky no Daibouken (1983),[27][unreliable source] Lilly from Lilly Adventure (1983),[28] Barbie (1984),[29] PSK [ja]'s ALICE [ja] (1984),[30] Papri from Girl's Garden (1984),[31] Jenny from Jenny of the Prairie (1984),[31] Toby Masuyo ("Kissy") from Baraduke (1985),[32][33] Kurumi-Hime from Ninja Princess (1985),[34] Flashgal (1985),[31] Alexandra from Lode Runner's Rescue (1985),[31] Athena (1986),[35][36] Chris from Alpha (1986),[37] Ki from The Return of Ishtar (1986),[35] and Valkyrie from Valkyrie no Bōken (1986).
[41] Since her introduction in 1996, the character of Croft has been criticized for her "unrealistic" breast size; Lara was claimed to personify "an ongoing culture clash over gender, sexuality, empowerment, and objectification.
Alyx Vance, a supporting protagonist of Half-Life 2, was praised for her "stinging personality" and intelligence, developing a close bond with the player without simply being "eye candy".
[66] In their 2005 study, Karen E. Dill and K. P. Thill distinguish three major stereotypical depictions of women in gaming: (1) sexualized, (2) scantily clad, and (3) a vision of beauty.
These portrayals can reinforce the notion of women as weak and in constant need of male intervention, limiting their agency and perpetuating harmful stereotypes (the "damsel in distress" myth referred to above).
Two of the main characters, Trevor Philips and Michael De Santa, have since been interpreted by some as portraying men as "liars, cheats, bad husbands and fathers, and psychopaths".
[96] GamesRadar writer David Houghton, writing in an article on sexism in video games, was highly critical of many stereotypes that came with male protagonists, outlining them as "the primeval hunter/gatherer type [with] arm-cripplingly ripped biceps, necks too muscley to turn, emotion dials stuck on 'aggressive grimace' and a 50% lack of chest coverings".
[97] Jamin Warren on PBS Game/Show highlighted that video games could promote "unreasonable body expectations, or an inability to express emotion, or the pressure to 'man up' and be a leader."
[103] Video game designer and industry activist Mattie Brice, writing for PopMatters, argues that a notable aspect of sexual objectification involves "emphasizing what is illegal/improper to show in public without crossing a line.
Brice goes on to state that true sexualization of male characters in video games would entail emphasizing what is improper for men to show in public; having them wear "low-rise pants and underwear" and drawing attention to their bulge or buttocks.
[106] Regarding power fantasy, Douglas states that this is the most prevalent form of male sexualization in video games, describing it as the "Muscle-Bound Warrior Man".
[102] Regarding the treatment of men as sex objects, which he calls "gender performance," Douglas notes that due to the prevailing heteronormativity in video games, attributing "sexiness" to a character is intertwined with femininity.
[108] The Microsoft Windows release of the game included an alternate "Warrior" outfit for Chris,[109] which has been described as a Mad Max-esque and "BDSM fetishi[sm]".
[110] For the updated HD version of Resident Evil: Revelations (2012), released in 2013,[111] Chris was given an unlockable "Sailor" outfit[112] which the game's writer Dai Satō describes as having "the shirt [be] a super tight fit" and includes "short trousers".
[114] Chris' Sailor outfit received some positive responses,[115] with South African website Game Zone describing it as "sexy" and that it makes him look like a member of the Village People.
[116] American horror website Bloody Disgusting, despite considering the Sailor Chris outfit one of the franchise's "silliest" costumes, also acknowledges its sex appeal, with IGN echoing similar statements.
[125][126] Some Japanese video games, for instance, originally included trans characters, such as Birdo from Super Mario Bros. 2, Poison from the Final Fight series, and Flea from Chrono Trigger.
In the popular MMO World of Warcraft, for example, this has "created an oppressive atmosphere for individuals who do not adhere to a heteronormative lifestyle", according to a 2013 assessment of the game's community.
By presenting Tyler as a fully realized character with his own hopes, fears, and aspirations, the game humanizes the transgender experience and helps foster empathy and understanding among players.
[150] Canadian non-profit MediaSmarts writes that "video games have the potential to influence how children perceive themselves and others", but, despite their impact on the youth, "there is not a lot of research available in this area, and few of the existing studies stand up to critical examination.
[8] Girls may expect that they be dependent victims and that their responsibilities include maintaining beauty and sexual appeal, while boys may determine that their role is to protect and defend women.
[citation needed] On the other hand, "Racing", "Shooter", or "Math" games aimed at boys emphasize aggression, risk-taking, competitiveness, and logic, reinforcing stereotypes of male dominance, strength, and stoicism.
For instance, games exclusively targeted at girls may depict predominantly white, thin, and conventionally attractive female characters, excluding diverse body types, ethnicities, and experiences.
When games reinforce gender-specific interests and activities, children may internalize these messages, feeling pressured to conform to traditional gender roles and expectations.
[154] For example, girls who primarily play games focused on beauty and fashion may come to believe that their value lies solely in their appearance, potentially impacting their self-esteem and limiting their aspirations.
Similarly, boys who exclusively engage in games emphasizing aggression and competition may perceive these traits as essential for their masculinity, potentially reinforcing toxic behaviors and limiting their emotional expression.
[citation needed] In a 2000 study, exposure to violent video games featuring hyper-masculine characters was associated with a notable increase in aggressive thoughts, emotions, and actions among children and adolescents.
[158] A 2022 meta-analysis examined empirical evidence of whether or not sexualized content in video games correlated with body dissatisfaction, or if it resulted in more sexist or misogynistic behavior.
