For this week’s critical play I dove into Shadow of the Tomb Raider. Lara Croft’s portrayal in the game, and series, has long spurred feminist discourse. On one hand, she is a smart, resilient, adventurous woman, defying stereotypical gender norms. However, her sexualized design often is said to often overshadow these attributes, reflecting the persistent male gaze in the gaming industry.
To play the game through this lens was interesting as trying to understand the critiques as a feminism felt like a delicate balance I hadn’t considered before in games. Shira Chess’s perspective of the destruction and resurrection of the industry through a feminist lens paves the way for games that captivate and educate a diverse audience. It’s not about eradicating all games appealing to traditionally masculine audiences as much as challenging their hegemony in the gaming world. To explore beyond the violence, competition, and first-person shooter genres that dominate the gaming industry, we need to allow for an exciting, inclusive future of gaming that many believe is possible. The Tomb Raider series is/can continue to be a bit part of that.
Chess points to role-playing games as potential tools for feminist storytelling, saying that these games could serve as platforms to practice large-scale problem-solving and motivation, as Karen Schrier suggests, ultimately fostering diversity and inclusive narratives. Games have the capacity to tell compelling stories that resonate with many different types of audiences. They can alienate, or affect audiences for good, in extreme ways, offering a fruitful ground for narratives that align with feminist ideals. Aubrey Anable’s reference to video games as “affective systems” underscores their power to enhance empathy and understanding. These emotional responses are important in shaping players’ identities and experiences.
As Chess says, our task is to “rethink, revise, and reprogram” what it means to be a game. In the context of Lara Croft, this could mean redefining her character, de-emphasizing her sexualization, and further accentuating and emphasising her skills, intelligence, and independence. I don’t know enough about this in the larger context of games, but these changes could help not only diversify the representation of women in video games but, as Chess suggests, could also create a ripple effect in the audience, encouraging the industry to continue to evolve.
The call for more feminists in gaming, both as players and creators, is not just a wish for diversity but an serious need to transform the industry. By reframing the narratives and character designs, the gaming industry can move beyond its current state and reach a higher level of potential – an inclusive and creative space that offers a rich and empathetic experience for all players.
