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Hon Som Huvudroll En Komparativ Studie Av Lara Croft, Bayonetta, Emily Kaldwin Och Billie Lurk

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Hon Som Huvudroll En Komparativ Studie Av Lara Croft, Bayonetta, Emily Kaldwin Och Billie Lurk Hon som huvudroll En komparativ studie av Lara Croft, Bayonetta, Emily Kaldwin och Billie Lurk Jasmine Kangasniemi Masteruppsats, 45 hp Konstvetenskapliga institutionen Uppsala Universitet Vårterminen 2019 Handledare: Britt-Inger Johansson Examinator: Johan Eriksson Abstract Uppsala Universitet, Konstvetenskapliga institutionen Engelska parken, Humanistiskt centrum, Thunbergsvägen 3H Box 630 75126 Uppsala Telefon: 018 - 471 28 87 Supervisor: Britt-Inger Johansson Examiner: Johan Eriksson Writer: Jasmine Kangasniemi, [email protected] Hon som huvudroll: en komparativ studie av Lara Croft, Bayonetta, Emily Kaldwin och Billie Lurk She’s the leading character: A comparative study of Lara Croft, Bayonetta, Emily Kaldwin and Billie Lurk The aim of this essay is to examine how Lara Croft, Bayonetta, Emily Kaldwin and Billie Lurk have been portrayed in their respective games. The questions at issue have examined how these four characters have been portrayed by their appearance on the cover of their games and how they’ve been depicted in gameplay. A comparative study has been used to compare how the design on the characters have been differentiated not only from each other but also from the male characters in each game. The essay has also examined what the sex and gender identity have been of the character’s creators and if they’ve motivated their character designs. An analysis has been made to establish if there has been a male gaze present in the design process and the game and if this has led to the character’s being sexualized. Judith Butler’s performativity theory has been used for this essay along with Laura Mulvey’s theory of the male gaze as well as an intersectional approach according to Kimberlé Crenshaw. Lara Croft, Bayonetta and Emily Kaldwin are shown to break gender codes while still upholding some of them; Billie Lurk is the only one that totally breaks with them and creates a sort of a “new woman”, as she not only breaks the Madonna-and-the-Whore-complex in which each of the other three can be put in. Billie Lurk and Emily Kaldwin are the only female characters which can be seen as not sexualized or steered by the male gaze, but instead they give the gamer an opportunity to live the characters’ stories through them with the first-person- shooter-view. Lara Croft from the games before Tomb Raider (2013) and Bayonetta are clearly sexualized female characters that are controlled by male desire and the male gaze. As these two games are played from a third-person-view it gives the gamer the power to control these women, putting them under the gamer’s will. Keywords: Video games, performativity, male gaze, Lara Croft, Tomb Raider, Bayonetta, Emily Kaldwin, Billie Lurk, Dishonored 2, Dishonored: Death of the Outsider Innehållsförteckning Inledning ...................................................................................................................................................... 1 1.2 Begreppslista ........................................................................................................................................... 3 1.3 Syfte och frågeställningar ........................................................................................................................ 4 1.4 Teori ........................................................................................................................................................ 5 1.5 Metod ...................................................................................................................................................... 8 1.6 Forskningsöversikt .................................................................................................................................. 9 1.6.1 Annan litteratur............................................................................................................................... 12 1.6.2 Källkritik ........................................................................................................................................ 12 1.6.3 Avgränsningar ................................................................................................................................ 13 1.7 Vad är sexigt? ........................................................................................................................................ 13 1.7.1 Faktorer för betydelse av kvinnors dragningskraft………………………………………………..18 1.8 Disposition ............................................................................................................................................ 20 1.9 Självreflektion ....................................................................................................................................... 20 2. Bakgrund ................................................................................................................................................ 21 2.1 Tomb Raider - en kortfattad översikt av spelserien ........................................................................... 21 2.1.1 Berättelse……………………………………………………………………………………….21 2.1.2 Mottagande……………………………………………………………………………………..22 2.2 Bayonetta - en kortfattad översikt av spelserien ................................................................................ 23 2.2.1 Berättelse………………………………………………………………………………………..23 2.2.2 Mottagande……………………………………………………………………………………...24 2.3 Dishonored - en kortfattad översikt av spelserien ............................................................................. 25 2.3.1 Berättelse………………………………………………………………………………………..25 2.3.2 Mottagande………………………………………………………………………………...……25 3. Formalanalys av spelomslagen……………………………………………………………………..27 3.1 Tomb Raider………………………………………………………………………………………...27 3.1.1 Tomb Raider (1996)……………………………………………………………………………27 3.1.2 Tomb Raider II (1997)………………………………………………………………………… 28 3.1.3 Tomb Raider III: The Adventures of Lara Croft (1998) ............................................................. 29 3.1.4 Tomb Raider: the Last Revelation (1999) .................................................................................. 30 3.1.5 Tomb Raider: Chronicles (2000)................................................................................................ 31 3.1.6 Tomb Raider: the Angel of Darkness (2003) .............................................................................. 32 3.1.7 Tomb Raider: Legend (2006) ..................................................................................................... 33 3.1.8 Tomb Raider: Anniversary (2007).............................................................................................. 34 3.1.9 Tomb Raider: Underworld (2008) ............................................................................................. 35 3.1.10 Tomb Raider (2013) ................................................................................................................. 36 3.1.11 Rise of the Tomb Raider (2015)……………………………………………………………….37 3.2 Bayonetta ............................................................................................................................................... 40 3.2.1. Bayonetta (2009) ............................................................................................................................ 40 3.2.3 Bayonetta 2 (2014) .......................................................................................................................... 40 3.3 Dishonored……………………………………………………………………………………………...43 3.3.1 Dishonored 2 (2016) ....................................................................................................................... 43 3.3.2 Dishonored: Death of the Outsider (2017) ..................................................................................... 43 4. Didaktisk analys av spelen…………………………………………………………………………….45 4.1 Tomb Raider…………………………………………………………………………………………...45 4.1.1 Tomb Raider (1996) ....................................................................................................................... 45 4.1.2 Tomb Raider II ............................................................................................................................... 46 4.1.3 Tomb Raider III: The Adventures of Lara Croft............................................................................. 47 4.1.4 Tomb Raider: The Last Revelation ................................................................................................. 49 4.1.5 Tomb Raider: Chronicles………………………………………………………………………………….50 4.1.6 Tomb Raider: The Angel of Darkness ............................................................................................ 50 4.1.7 Tomb Raider: Legend……………………………………………………………………………..52 4.1.8 Tomb Raider: Anniversary………………………………………………………………………..53 4.1.9 Tomb Raider: Underworld ............................................................................................................. 54 4.1.10 Tomb Raider (2013) ..................................................................................................................... 55 4.1.11 Rise of the Tomb Raider ............................................................................................................... 57 4.2 Bayonetta ............................................................................................................................................... 59 4.2.1 Bayonetta………………………………………………………………………………………….59 4.2.2 Bayonetta 2 ...................................................................................................................................
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