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Girls, Level Up:

The Discrimination and Misrepresentation of Female
Video Game Characters & the Effects on Society

What are the effects of stereotypical gender roles on the video game industry? How does this
influence the portrayal of female video game characters, often subjected to sexual objectification
and misrepresentation, and effect the female gender and society as a whole?

Ariana Fisher
Garcia Stoll
October 29, 2014

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Though once perceived as a form of basic entertainment, video games have become one
of the most popular types of entertainment society has today. Video games, stemming from
multiple genres, stories and platforms, have conformed to a general audience. Games relate to
any age, gender or race price bracket or language barrier. These digital wonders first gained
popularity during the 1970s, starting with Computer Space and Pong, and have further
revolutionized into games incorporating stunning graphics, exciting storylines and intense
gameplay, such as Halo and The Legend of Zelda. As video games started to gain popularity and
become a societal norm, the issues of sexism and discrimination that contribute to the lack of
female representation in video games became more notable by players. At its core, the situation
is fundamentally flawed as women are portrayed in a vicious cycle of sexual objectification and
industry complacence. In all aspects of games, from the cover art to the gameplay, lacked the
reification of the female gender, therefore causing bias within gender equality. Furthermore,
these standards set by the industry are prejudice toward the female gender, especially female
players. Awareness on the subject is seldom, as the issue has been deeply rooted into society. As
both consumers and individuals, the public has become ignorant to the fact of discrimination
because the portrayal of female video game characters has become a societal norm. The industry
has desensitized their audience - turning a major issue into a minor one by distraction of the
other aspects within video games. Society has become a main source of influence for both
developers and consumers alike, to believe in certain standards for specific genders and to
furthermore, believe that those standards are truly unquestionable. The explicit discrimination
against female video game characters including over-sexualization and misrepresentation, have
resulted from the continual efforts of societys gender roles and their effect on the video game
industry and developers.

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Gender roles, heavily based upon sex and stereotypical settings, define a true basis of
identity within society. Individuals both, men and women are expected to occupy based on their
sex... and social context, changing the perception of how femininity and masculinity are
defined (Blackstone 337). Society has ultimately created an invisible spectrum between gender,
setting the two on opposite sides by segregation of limitation based on morals, actions, and
overall character, creating a demand of expectation for both genders to follow. Stereotypes are
the result of these expectations society demands that ultimately influence conformity and
limitation. According to Tracy L. Dietz:
They [society] are able to manipulate the way that they play a specific role. Children,
too, manipulate and learn roles through childhood play.Children pretend to be a
mother, father, doctor, or nurse and in so doing they internalize the role and the gender
identity associated with it because they are able to locate a definition of gender through
the occurrence they witnessChildren will not only base their expectations on what they
have learned through their interactions with others, they may also associate gender
identity with gender symbols Feminine symbols become part of the female childs
identity as do masculine symbols become part of the males identity. (Dietz 3)

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What society presents symbols, traits, and roles - are all the origins of influence for the gender
stereotypes present today. In relation to video games, the gaming industry at its core was
primarily focused on a male-only demographic. Stereotypically, it is a preconception that that
technology is primarily meant for males and that cultural and social perception of technology is a
male domain field, providing a significant reason for the lack of women becoming involved in
those fields (Connor). Coincidentally, the current demographic for gamers includes more females
than males. Female gamers previously treated as the minority, [have] expanded in the gamer
world, making up 45 percent of all U.S. gamers, according to a survey releasedby the
Entertainment Software Association. The 2012 study confirms an upward trend for female
players from 38 percent in 2006 [Women] now represent 31 percent of gamers, while boys
only represent 19 percent (Yu). Taking this into consideration, developers are still too narrowminded to change their male-only mindset, despite the drastic change in demographic. Gaming
industries still approach the development of games with a both stereotypical, societal ideals and
assumptions of the male gender in mind. These stereotypical gender roles and assumed
demographic has led to the portrayal of video games characters currently, specifically
determining the gender-balance between male and female characters.

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Video game characters, specifically female characters, are subjected to a marginalized

standard, based on over-sexualization and misrepresentation of the female gender.
Misrepresentation in relation to numbers accounts for a mere 15% of women portrayed as
heroes or as action characters in a research survey of over 30 popular video games including

Figure 1 Ivy Valentine from Soul Calibur series

Figure 2 Chun Li from Street Fighter series

the Mortal Kombat series and Sonic the Hedgehog (Dietz 434-435). The ratio of female
protagonists is undeniably diminutive in comparison to the amount of male protagonists. Often,
female characters fit a conventional standard with little to no variation. According to a
researched statistic of 250 analyzed console video game covers, female[s] were more likely
to be portrayed as ancillary characters over two thirds of the female video game characters
were represented in stereotyped gender rolesor the subject of physical objectification (Yao et
al.79). Characters can be designed around a sexual standpoint, where their identity steams from
their sensuality. Characteristics such as revealing outfits, exaggerated and unrealistic physical
features pertaining to the body, as well as the role within the video game itself all play into this

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conventionalized image. Characters such as Ivy Valentine from the Soul Calibur series (see Fig.
1) and Chun Li, from the Street Fighter series (see Fig. 2) exemplify these standards as they are
dressed in extremely risqu attire, accentuating chest, waist and buttocks. Realistically, their
outfits lack any sort of protection or stable flexibility in battle and furthermore, retains no
relevance to the hyper-sexualization of the characters themselves. Despite both these characters
positions as fighters, displaying high status, power and heroism, these characteristics are still
more commonly associated with men than women. Although this type of female character does
fit within those action hero standards by demonstrating strength, speed, intellect, and
independence, overall, sexuality will always be the defining feature (Behm-Morawitz et al.). This
regression only demotes the characters status to that of an object, rather than an individual as the
role is tied to sexuality and body image.

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In addition to the hyper-sexualization of female characters, the discrimination continues

with the substantiated damsel-in-distress. This role focuses mainly on the over-exaggeration of
feminine qualities and assumed stereotypes relating to the female gender such as being
fundamentally weak, ineffective or entirely incapable [In] the specific games they inhabit
(Sarkeesian). Most often, characters such as popular Super Mario Bros. Princess Peach are
portrayed in a fashion in which they cannot defend or protect themselves without aid, usually
from a male counterpart. She [Princess Peach] is in many ways the quintessential stock
character version of the damsel-in-distress. The ill-fated princess appears in 14 of the core
Super Mario Bros. platformer games, and shes kidnapped in 13 of them (Sarkeesian).
Furthermore, female characters tend not to hold much positions of great power or responsibility,
such as a leader, subtlety implying that women cannot hold their own in comparison to men.
Columnist Jesse Meixsell provides further evidence to the ignorance of the gaming industry,
stating:

While the female gamers problem with the sexualization of female characters in games
is obvious, the problem many male gamers have with the topic lies in developers,
publishers, and marketers assumption that all male gamers would automatically roll over
for a set of boobs and a raunchy, one-sided characterization (or lack thereof). By
constantly shoving female sexualization in the faces of male gamers, who you assume to
be your main demographic, youre undermining their interest and regard for character
development and meaningful storytelling in the games that they purchase and enjoy.
(Meixsell)

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The assumptions of the industry only causes more disconnect between it and the players. The
gaming community, male and female alike, hold these aspects in high regard, making inequality
and inequity more of a prominent issue. These depictions of women characters are detrimental
to both girls and boysas both may internalize these expectations and accept the idea that
women are to be viewed as weak, as victims, and as sex objects (Dietz 483). These notions
furthermore contribute to the fact that in reality, these characters are only a self-reflection of the
truth pertaining toward the female gender.
The trend of discrimination has reduced increasingly as developers are revolutionizing
gaming, using a more female-friendly foundation. In the last ten years of games emerging from
the industry, newer games such as Call of Duty, Destiny and Borderlands include female
characters on an equal platform to male characters, often times completely overruling the male
characters entirely. The amount of lead female protagonists has increased exponentially in the
last five years of video game development as developers are finding new outlets to increase
diversity within games through not only characters, but plot and background story. Founder and
co-director of Quantic Dream, David Cage states:

Many designers are tired of creating the same experiences over and over. And if any of
the games you mention are commercially successful, no doubt that you will see other
games with a female protagonist So a female face on the box could help draw in a
wider demographic for the core action genre these titles can attract women not because
of the main character, but because they represent a new wave of intelligent, story-driven
games that offer more than guns and guts. (Dring)

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The industry is attempting to appeal to a general audience than specifically a male-only

demographic, similarly in the past. With games such as the Mass Effect series, which gives the
player the option of either a female or male version of the same lead character, hero Commander
Shepard, equality on the gender spectrum has become more apparent. In addition to Mass Effect,
as a female lead, the plotline and mission is no different than the male counterpart, including
love interest and relationships with other characters. Female Commander Shepard literally does
everything a man can do in what's traditionally a male spherethe developers of Mass Effect
created a shining star of female representation in gaming (Kaiser). Characteristics such as
intelligence, bravery, strength and capacity are all being re-introduced as genderless tropes of
identification within characters. Once oppressed by hyper-sexualization, character Lara Croft
from the Tomb Raider series, finally displayed all of these characteristics as well as
independence in the rebirth of the series new, self-titled game Tomb Raider (2014). Founder
David Cage states how he wanted to focus on an origins story about being human, and the
fight to survive rather than a game based on sexism and blatant violence (Dring). Cage sets
the example for the trend for gender equality, reinstating the core principals of balance between
the male and female demographics. This pattern promotes change in perspective among
mainstream gaming as prospective, unreleased games such as Destiny, set for the new Xbox One
and PlayStation 4, are including a wide variety of male and female characters, ranging in age,
race and class. Destiny is the next big, development for 343 Industries, founders of the Halo
franchise, in which Halo known for its extensive gameplay and male-dominated storyline. Head
of community for Destiny, Eric Osborne states, It made sense to invest in that [gender diversity
in Destiny]we want people to be who they want to be, we want them to take on an archetype
and a persona, so it's really important that we support a whole host of options, and of course

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male and female are one of those (Crecente). Ultimately, developers like Cage and Osborne are
contributing to the reversal of the old, chicken-and-egg notion of the past, as the commitment to
diversity and modern thought turns the tide to allow a new wave of equal opportunity for female
gamers within the community and female characters in the games.
These step-by-step changes, influencing the mindset of developers and overall industry as
a whole, have carved a clearer path for the monumental advancements soon to come in the world
of gaming. Modern thinking has given a severe blow to the face of misogyny and prejudice
against the female gender while also balancing the scale of gender equality. The veil of
intolerance has been lifted from the eyes of the industry as their stubborn perspective of male
dominance has now been crushed by the notions of diversity and unorthodoxy. For the past 40
years of video game history, female characters have been the subjects of discrimination.
Misogynistic principals used into the development of characters only resulted in the oversexualization and misrepresentation of said characters. The influence of gender roles defined by
an individuals sex acted as the narrow-minded opinion of identity and the capabilities of
women. Female characters were limited to becoming part of the background the sidekick, the
sex symbol, the damsel-in-distress and the second-class citizen. Female characters in virtual
reality, though put into extreme context, are a reflection of women in reality. Subjection of
female characters to the standards of stereotypes such as lack of power, strength, responsibility
and intelligence only acts as a catalyst for a belief system of all women, real or virtual, to follow
this principal. The re-introduction of female characters through diversity and wide variation of
characteristics is the proven evidence against every stereotype. Though the question of female
characters within gaming society should seem rhetorical, even unequivocal the awareness of
the issue has finally become relevant to the statistic. Females play video games; they are the

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majority. As the majority, the emphasis on demographic opinion matters most as they are the gap
between the developers and the controller. Attention called to the faults and flaws within the
video games industry pertaining to sexism and alienation of women will only result in a more
equalized dynamic on the gender spectrum, affecting the entire basis of what video games
represent: entertainment.

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Works Cited
Behm-Morawitz, Elizabeth, and Dana Mastro. "The Effects of the Sexualization of Female Video
Game Characters on Gender Stereotyping and Female Self-Concept." Sex Roles 61.1112 (2009): 808-23. Web.
Blackstone, Amy M. 2003. "Gender Roles and Society." Pp 335-338 in Human Ecology: An
Encyclopedia of Children, Families, Communities, and Environments, edited by Julia
R. Miller, Richard M. Lerner, and Lawrence B. Schiamberg.
Connor, Kayleigh. "The Male Domain: Exclusion of Women in Video Games." Digital America.
N.p., 17 Feb. 2014. Web. 28 Oct. 2014.
Crecente, Brian. "As Game Players Diversify, Developers Start to Rethink the Stars of Their
Games." Polygon. Polygon, 23 June 2014. Web.
Dietz, Tracy L. "An examination of violence and gender role portrayals in video games:
Implications for gender socialization and aggressive behavior." Sex roles 38.5-6
(1998): 425-442.
Dring, Christopher. ""Women Are the Future of Gaming" - How Tomb Raider and Co Have Put
Females Back on the Agenda." MCV UK. MCV UK, 1 Mar. 2013. Web. 22 Sept.
2014.
Kaiser, Rowan. "The Curse of the Scruffy White Male: Why Representation Matters in Video
Games." Indiewire. N.p., 20 July 2014. Web. 28 Oct. 2014.
Meixsell, Jesse. "Female Sexualization in Gaming: A Male Gamer's Perspective." VentureBeat.
Venture Beat, 14 Apr. 2014. Web. 22 Sept. 2014.
Sarkeesian, Anita. "Damsel in Distress (Part 1) Tropes vs Women." Feminist Frequency. Feminist
Frequency, 7 Mar. 2013. Web. 28 Oct. 2014.

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Yao, Mike Z., Chad Mahood, and Daniel Linz. "Sexual Priming, Gender Stereotyping, and
Likelihood to Sexually Harass: Examining the Cognitive Effects of Playing a
Sexually-Explicit Video Game." Sex Roles 62.1-2 (2010): 77-88. Web.
Yu, Annie Z. "Report: Nearly Half of Gamers Are Women." Washington Times. The Washington
Times, 11 June 2013. Web. 18 Oct. 2014.

List of Figures
Figure 1.

Ivy Valentine from Soul Calibur series (source:

http://soulcalibur.wikia.com/wiki/Ivy )

Figure 2.

Chun Li from Street Fighter series (source:

http://streetfighter.wikia.com/wiki/Chun-Li)