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[email protected] FOR AN UPDATED VERSION. Gender, Power, and the Gamic Gaze: Re-Viewing Portal and Bayonetta The Persistence of the Gaze in Gaming This chapter begins, as so many accounts of gender and gaming do, with Lara Croft. Though she was not the first action heroine in gaming, the star of Tomb Raider was an early focal point for the feminist critique of video games. An international media sensation, Croft was a digital iteration of the action heroines that emerged in 1990’s cinema. Crude polygon resolution, which made it difficult to render human figures in photorealistic detail, meant that markers of the action hero/ine—sweaty hair, “bulging biceps and striated shoulders”1—were not feasible except in cartoon style, requiring exaggerated proportions and lighting details. Tomb Raider, which followed the rest of the industry in pursuing photorealism in conjunction with three-dimensional graphics, opted to represent Croft’s femininity visually and her masculine power procedurally: she had famously large breasts, a small waist, and wide hips, but also the ability to drag giant stone blocks, climb sheer cliffs, and blast dinosaurs into oblivion with dual- wielded pistols. The gamic camera in the original Tomb Raider remains in a voyeuristic position: a few feet behind Lara, with her buttocks featured in the frame, relentlessly pursuing as she moves in response to the gamer’s control (See Figure 1). Her physical design, too, appeals to a sexualizing gaze that undermines her credibility as an action hero exploring ancient ruins: short shorts, thigh-mounted pistol harnesses, ample bosom straining at a small white tank top.