Harassment in a Virtual World: How Representations of Females in Video Games Feed into Toxic Gamer Culture
While technology and thus, the video game industry, have been historically male dominated, recent years have seen a rise in female gamers, who are spreading throughout various facets of the gaming community. This shift can be attributed to the growing accessibility of technology and a lower barrier of entry for different platforms and gaming communities. In fact, in some households, the exploration of this community is actively encouraged. In my own upbringing, I was fortunate to have a father who welcomed me to sit with him on the couch so we could share the experience of booting up a brand new game. I fell in love with the digital worlds he walked me through, and I yearned to be a part of the communities that spontaneously erupted as new games released. It was within this environment that my passion for gaming, along with many others’, blossomed, leading me to join the ever-expanding community of female gamers.
Nonetheless, within the gaming community, a concerning issue persists — the pervasive sexualization and isolation of virtual female characters. These representations often portray female characters as hyper-sexualized villains or sexual “damsels in distress”, who are awaiting rescue by a typically male protagonist. In many instances, female characters are relegated to the status of NPCs (non-playable characters), primarily serving as providers of quests and items to advance the protagonist’s journey. These depictions of females have created an unwelcoming and often limited space for female gamers, as highlighted by Kayleigh Conner, a avid female gamer herself, in her article, “The Male Domain: Exclusion of Women in Video Games”. Conner compellingly highlights that video game box art rarely features female characters, citing a 2012 study that revealed “42 percent of game boxes showed only male characters and only 7 percent of game boxes showed only female characters”. These pervasive issues underscore the need for a comprehensive breakdown of how female characters are portrayed in video games and how these representations are ultimately affecting the gaming community and society.
Specifically, Conner rightly highlights the importance of tackling these representations at the roots: starting with game developers and publishers. One of her pivotal arguments is that character customization options are extremely limited for female characters in comparison to males. For instance, in the world of World of Warcraft, female avatars are confined to a mere five face shapes and a single body type. While Conner acknowledges a somewhat broader array of wardrobe choices, she aptly notes, “…but, there’s a catch. The higher up you level your female character, the skimpier [her] armor becomes.” These narrow and demeaning representations of women originate from the marketing strategy developers and publishers have found to be the most successful — a strategy deeply rooted in the objectification of women. Given the enduring perception that video games occupy the “male domain”, many industry stakeholders aim to cater towards a male audience, often favoring games with male-centric narratives occasionally adorned with a sexualized female presence. This approach emphasizes one of Conner’s arguments, in “…the case that the identity of the ‘gamer’ is so firmly entrenched as male, that the options are to identify either as a female or as a gamer.”
However, Conner’s argument falls short of addressing how these representations directly play into the treatment of female gamers. While she does acknowledge the relentless harassment female players endure by stating “[not] only are women excluded from video games through character customization, they are often harassed by the male base”, her reason, “due to the expectation that females are not gamers”, for this harassment is extremely surface-level. She neglects to delve into the complex ways in which the demeaning depictions of women in video games shape male perceptions of female gamers. We can extrapolate that these depictions directly fuel this harassment due to the similarities between these representations and specific insults that male players use; for example, a female gamer playing with a sexualized character model is likely to receive comments and insults relating to her sexuality. Continuing with the sexualization aspect of in-game harassment, the prevalence of hyper-sexualized females in many popular AAA games readily influences players, fostering an expectation that all female gamers are open with their sexuality. For instance, the cycle of harassment often begins within in-game lobbies as soon as a player with a feminine name or profile picture joins. In these hostile environments, insults are commonplace, and some players will solicit sexual favors through chat, with little regard for the feelings of the player they are interacting with. The objectification of women within video games is effectively translated into the real world, perpetuating stereotypes that our society has strived to overcome. Stereotypical insults, such as those that revolve around a woman’s lack of utility and purpose, often originate from the portrayals of females as mere NPCs, destined for a single, menial function. The one-dimensional nature of these characters fosters a culture in which male players feel entitled to belittle their female counterparts, as they are under the assumption that all women are inherently submissive and timid.
In games such as Overwatch and Tomb Raider, we can see these harmful representations at play. In Overwatch, for which I play avidly, there are heavy stereotypical representations among its female heroes. Notably, the Support class, which is primarily occupied by female heroes, perpetuates the notion that women are relegated to secondary, supportive roles while male characters take the leads as heroes in the Tank and Damage classes. As a Mercy main, I’ve encountered insults and belittlement merely for choosing a female support hero, and am often branded as a “typical girly girl” who prioritizes aesthetics over utility. By selecting Mercy, I am subject to voice chat abuse and unsolicited sexual harassment, which has forced me to adopt a more gender-neutral profile and try other heroes just so I can enjoy the game without prejudice. Meanwhile, in Tomb Raider, a distinct issue surfaces: the sexualization of its protagonist, Lara Croft. The earlier iterations of the game are infamous for portraying Lara with exaggerated features, perpetuating unrealistic body standards for women and encouraging male players to partake in the objectification of female characters — a phenomenon referred to as “Lara Croft Syndrome.” Although Lara’s character design has evolved over time to become more realistic, a segment of the player base continues to nostalgically cling to her earlier, sexualized depiction, making unfavorable comparisons between real women and her fictional likeness. These instances highlight the pressing need for more thoughtful and inclusive representations of women in video games.
To conclude, I feel compelled to discuss possible steps forward, similarly to how Conner did. As I stated before, I agree with Conner in the need for major change within the video game industry in terms of female representation. If anything, I would argue this change is extremely vital for the wellbeing of the gaming community as these harmful representations of females in-game are directly contributing to harassment of female players. Therefore, due to the profound influence developers and publishers have on the industry’s culture through their control over these representations, advocating for more diverse, respectful, and empowering portrayals of female characters is crucial in addressing the greater issue. Furthermore, to directly address the issue of harassment, greater moderation and expectations for online chat should be enforced. This would encourage players to carefully consider how they are treating others online and would translate general societal expectations into the online world. By working together, gamers, developers, and platforms can ensure that the gaming community becomes a place where everyone enjoys their passion without fear of isolation or prejudice.
Works Cited:
Conner, Kayleigh. “The Male Domain: Exclusion of Women in Video Games: Kayleigh Connor.” Digital America, 2 Oct. 2019, www.digitalamerica.org/the-male-domain-exclusion-of-women-in-video-games-kayleigh-connor/.
