Zombies, Phallic Monsters, and Rocket Launchers: An Examination of Gender Representations and Simulations in the Resident Evil Series Christopher Alton A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Communication and Culture, York University, Toronto, Ontario May, 2020 © Chris Alton, 2020 ii Abstract Capcom’s Resident Evil series (1996-present) is the second longest running horror video game series, following Konami’s Castlevania (1986-present). The series has, from its beginning, offered a choice of gendered protagonists with associated unique narrative and gameplay experiences, to say nothing of the gendered nature of the series antagonists. In this dissertation, I examine how gender dynamics, norms, expectations, and subversions are depicted and represented across the games in the Resident Evil series. I use an approach which embraces presentation (the ways characters are depicted in audio/visual terms), narrative (what roles characters play in the stories), and gameplay aspects (what the player is tasked with in the games, and how they are expected to succeed) of the main games in the Resident Evil series. Using key texts on the ontology of video games, gender/sexuality in the horror genre, and intersectionality/international feminism, I examine the whole of the Resident Evil series, as well as the guides and making-of materials, spin-offs, offshoots, and contemporary reviews. How the choice of male versus female protagonist choice is delineated, paired with the ways in which characters, male, female, and otherwise, are portrayed in relation to one another is the larger focus of this dissertation. I have engaged in a close textual analysis of Resident Evil, Resident Evil 2, Resident Evil 3: Nemesis, Resident Evil Code: Veronica, Resident Evil 4, Resident Evil 5, Resident Evil 6, and Resident Evil VII: BioHazard. I also engage in light content analysis comparing the games discussed, examining changes to gameplay and presentation approach over time. The games are further contextualized by comparison to contemporaries in the survival horror genre which have either impacted or been impacted by Resident Evil. Moreover, as my examination encompasses over twenty years’ worth of games, both within and outside Capcom’s franchise, there is a larger discussion in play about the approach to gender across the history of the video game industry and video game studies. As a complex historiographical examination, there is no one conclusion, but the vacillation between empowerment and misogyny across time, games, and genres is highlighted through this dissertation. iii Dedicated to all of the people mentioned in the acknowledgements and those who weren’t. I couldn’t have done this without all of you, and it seems unfair to just dedicate this to only one person. iv Acknowledgements Thank you first and foremost to my committee, Jennifer Jenson, Ganaele Langlois, and John McCullough. They have guided me through this project during what turned out to be the most difficult years of my life. They have done so with compassion, wisdom, and understanding, and I cannot put into words how appreciative I am for all that they have done. Thank you also to Amethyst Barron. They have remained a constant source of support and encouragement, as well as a (mostly) willing ear for me to bounce ideas off. From little things like helping me find specific games to big things like keeping me going when I was discouraged, Amethyst has been there whenever I needed them. They have been there through strikes, illnesses, family emergencies, and more, and I could not have done this without them. Gratitude also to Steve Gennaro who has helped immensely with my growth as an educator during this process. He has been ever ready with an encouraging comment or help when I needed it and has made getting through this process so much easier. I would also like to thank so many of my peers and colleagues in the video game studies community. Sarah Stang, for all of the venting sessions we have had; Felan Parker, for his help both getting started with and moving through the process; Gerald Voorhees, for being encouraging and willing to listen, even at first when he barely knew me; Daniel Dacombe, for late night back-and-forths to keep us both on track for our respective degrees; and so many more. There are a few who get mentions at the end of this dissertation, and too many to list here, so even if they are not mentioned right now, I have endless gratitude for all of them. As well, I need to mention the online Resident Evil Twitter community, many of whose actual names I do not know. Wesker’s Report, BSAArklay, Jared from Avalanche reviews, Katastrophe (Capcom’s Resident Evil community manager), Shmuplations, and many more have all been willing to actively engage with me, help me out when looking for pieces of series errata, and debate aspects of series lore and merchandising during my research and writing. They have all been a huge help, and I am glad to have connected with them. Finally, there are too many people to be able to thank on one page, but even if your name is not mentioned here, know that I am still unspeakably grateful for your support, guidance, and (I must assume) good natured sarcasm throughout this process. Thank you. v Table of Contents Abstract – ii Dedication – iii Acknowledgements – iv Table of Contents – v 1. Introduction: Evil Gets its Residency – pg. 1 1.1. Establishing Survival Horror (and the Sony PlayStation) – pg. 2 1.2. Examining Survival Horror- Scope – pg. 4 1.3. Organizing the Item Box- Methodology – pg. 6 1.4. Wesker’s Report- Literature Review – pg. 8 1.5. Umbrella Chronicles- Chapter Outlines – pg. 15 2. Chapter 1 – Virtual Pleasure and Narrative Video Games: Resident Evil (1996) and the Male Gaze – pg. 20 2.1. A Matter of Perspective – pg. 21 2.2. Camera Absentia – pg. 25 2.3. The Cinematic Male Gaze versus Interactive Media – pg. 29 2.4. The Interactive Male Gaze – pg. 34 2.5. ‘Daddification’ and the Player’s Role – pg. 39 2.6. Cultural Context and Family Dynamics – pg. 43 2.7. Patriarchy, Toxic Masculinity, and a Prelude to a Sequel – pg. 45 3. Chapter 2 – The Monstrous Masculine: Resident Evil 2 (1998) and Toxic Masculinity – pg. 46 3.1. Resident Evil 2’s Dual Identity – pg. 48 3.2. Resident Evil 1.5, Urban Demographics, and Representation – pg. 53 3.3. Opposing the Male Gaze – pg. 55 3.4. Love in the Time of G-Virus Outbreak – Annette Birkin and the Japanese Matriarch Figure – pg. 57 3.5. Birkin, Creed, and the Monstrous Symbolic Order – pg. 59 3.6. Toxic Masculinity versus Gender Identity – pg. 66 3.7. Opposing the Symbolic Order – pg. 68 3.8. Leon, Ada, and Role Inversion – pg. 69 3.9. Destroying the Father (Figure) – pg. 72 4. Chapter 3 – Her Body, Itself: Resident Evil 3: Nemesis (1999) and Fragile Masculinity – pg. 73 4.1. Times Change – pg. 75 4.2. Raccoon City vs. Silent Hill – pg. 78 4.3. Active Side Quest – pg. 80 4.4. The Clothes Make the Survivor – pg. 81 4.5. Urban Demographics 2.0 – pg. 84 vi 4.6. Nemesis – Bio-Slasher – pg. 85 4.7. Phallic, Yet Impotent, Bio-Weapons – pg. 88 4.8. Not Your Typical Final Girl – pg. 90 4.9. Raccoon City vs. Silent Hill, Round 2 – pg. 93 5. Chapter 4 – The Castrating Sister: Resident Evil Code: Veronica (2000) and the Reification of the Monstrous Feminine – pg. 98 5.1. Lucid Dreamcast – pg. 100 5.2. (Lack of) Diversity Hiring – pg. 103 5.3. Zapping by Any Other Name… - pg. 104 5.4. Siblings and Subordinates – pg. 105 5.5. Test Tube Trauma – pg. 108 5.6. A Sister is a Boy’s Best Friend – pg. 109 5.7. Mothers and Other Lab Equipment – pg. 110 5.8. A Family Affair – pg. 111 5.9. The Alexorcist – pg. 112 5.10. The Monstrous Phallic Womb – pg. 115 5.11. Cause and Affect: A Conclusion – pg. 117 6. Chapter 6 – Leon-ses of Gender: Resident Evil 4 (2005), the Sexism of Escort Missions, and Regressive Masculinity – pg. 119 6.1. Umbrella Folds – pg. 121 6.2. Counting to Four – pg. 125 6.3. Rural Demographics – pg. 128 6.4. I Wanna Hold Your Hand – pg. 130 6.5. The Dreaded Escort Mission – pg. 132 6.6. Are You a Bad Enough Dude to Protect the President’s Daughter? – pg. 134 6.7. The Interactive Male Gaze Revisited – pg. 137 6.8. The Virtual Strife of Camera Positioning – pg. 139 6.9. The Bro Code – pg. 142 7. Chapter 6 – Grunt, Moan, Howl: Resident Evil 5 (2009), Intersectionality, and Race Representation – pg. 143 7.1. What Do We Do Now? – pg. 145 7.2. Out of Africa – pg. 147 7.3. UN-expected Response – pg. 149 7.4. Regional Demographics – pg. 151 7.5. Intersecting Margins – pg. 156 7.6. Black and White Terms – pg. 158 7.7. Not All Supporting Characters are Created Equal – pg. 159 7.8. Unexpected Response 2: The Reversal – pg. 164 8. Chapter 7 – Expansion and Contraction: Resident Evil 6 (2012), Resident Evil VII (2017), and the Contrast of Spectacle vs. Intimacy – pg. 169 8.1. Handheld Horror and Other Surprises – pg. 170 8.2. 6 Times Three – pg. 175 8.3. Pop Culture Influences, References, and Confusion – pg. 177 vii 8.4. Militaristic Insecurity and the Return of the Monstrous Feminine – pg. 180 8.5. Interlude – Resident Evil VII: Biohazard – pg. 185 8.6. Culture Shock – pg. 188 8.7.