I played Life is Strange, an episodic graphic adventure game that frames its narrative within an underrepresented female perspective. The exploration of Max Caulfield’s world, through an intimate story of friendship and self-discovery, sparks an engaging dialogue on feminist gameplay.
In “Play like a Feminist,” Shira Chess encourages us to embrace discomfort and investigate game design’s potential for expanding empathy. To play like a feminist is to recognize and challenge traditional power structures that often take precedence in gaming narratives. Max, the protagonist, isn’t characterized by overt strength, combat prowess, or typical heroic traits. Instead, she navigates her world with intelligence, empathy, and an uncanny ability to manipulate time, an example of a game mechanic that helps reinforce feminist themes. Unlike many games where power is represented through physical force or combat, Max’s power is rooted in her ability to influence events through time manipulation. This ability allows players to experiment with different choices and outcomes, reflecting the complexity of decision-making in real life. This mechanic, paired with the game’s dialogue-based gameplay, centers the narrative on interpersonal relationships and moral dilemmas, shifting the focus away from traditionally masculine-focused violence and action. The mechanic of time travel also serves to critique the deterministic structures that often control women’s lives, giving Max the power to change her destiny. This contrasts with many narratives that depict women as passive recipients of their fate. It’s a form of empowering the player in a non-traditional sense and reasserts agency back to the female protagonist. In addition, the game subverts the usual tropes associated with female characters, choosing instead to portray a rich, multifaceted narrative centered on female friendship and emotional growth. Max and Chloe’s relationship forms the heart of the game, highlighting the importance of emotional bonds in shaping our experiences and decisions.
However, Life is Strange is not without its flaws. Intersectional feminism strives to address the ways in which various forms of oppression interact, and the game fails to fully encompass this breadth. While the characters are relatable and complex, their experiences are still framed within a predominantly white, middle-class perspective. The game inadvertently reinforces certain societal structures by focusing on these particular experiences and neglecting to portray a broader, more inclusive spectrum of identities. In addition, the game’s usage of tragedy and trauma as narrative devices, particularly in relation to the female characters, can be critiqued from a feminist perspective. Although these themes are compelling, their overuse risks perpetuating harmful stereotypes about women and suffering. In this respect, the game could benefit from a wider range of experiences and narratives that do not solely rely on trauma as a character-building device. Relating back to “Play like a Feminist,” Chess advocates for games that allow players to engage with a multitude of experiences and identities, while critiquing the patriarchal norms often found in game design. While Life is Strange is a step in the right direction, it can further incorporate intersectional feminist principles to offer a more diverse portrayal of the female experience.
Discussion Question: How can Life is Strange integrate intersectional feminist theory into its narrative more effectively without relying on trauma as the key element of female character development?
