Gender and Battle Cries in Classic Arcade Fighting Games
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Media and Communication (ISSN: 2183–2439) 2019, Volume 7, Issue 4, Pages 186–197 DOI: 10.17645/mac.v7i4.2300 Article Audible Efforts: Gender and Battle Cries in Classic Arcade Fighting Games Milena Droumeva School of Communication, Simon Fraser University, Burnaby, BC V5A 1S6, Canada; E-Mail: [email protected] Submitted: 28 June 2019 | Accepted: 10 October 2019 | Published: 20 December 2019 Abstract Video games are demanding work indeed. So demanding that our screen heroes and heroines are constantly making sounds of strife, struggle, or victory while conducting surrogate labor for us running, fighting, saving worlds. These sounds also represent the very real demanding labor of voice actors, whose burnout and vocal strain have recently come to the fore in terms of the games industries’ labor standards (Cazden, 2017). But do heroes and she-roes sound the same? What are the demands—virtual, physical, and emotional—of maintaining sexist sonic tropes in popular media; demands that are required of the industry, the game program, and the player alike? Based on participatory observations of gameplay (i.e., the research team engaging with the material by playing the games we study), close reading of gendered sonic presence, and a historical content analysis of three iconic arcade fighting games, this article reports on a notable trend: As games self- purportedly and in the eyes of the wider community improve the visual representation of female playable leads important aspects of the vocal representation of women has not only lagged behind but become more exaggeratedly gendered with higher-fidelity bigger-budget game productions. In essence, femininity continues to be a disempowering design pattern in ways far more nuanced than sexualization alone. This media ecology implicates not only the history of best practices for the games industry itself, but also the culture of professional voice acting, and the role of games as trendsetters for industry conventions of media representation. Listening to battle cries is discussed here as a politics of embodiment and a form of emotionally demanding game labor that simultaneously affects the flow and immersion of playing, and carries over toxic attitudes about femininity outside the game context. Keywords battle cry; games; gender; media; representation; sound; voice Issue This article is part of the issue “Video Games as Demanding Technologies” edited by Nicholas David Bowman (Texas Tech University, USA). © 2019 by the author; licensee Cogitatio (Lisbon, Portugal). This article is licensed under a Creative Commons Attribu- tion 4.0 International License (CC BY). 1. Introduction that we can then ask is do male and female action leads sound the same? What are the demands—virtual, phys- Video games are demanding work indeed. So demand- ical, and emotional—to maintaining sexist sonic tropes ing that our screen heroes and heroines are constantly in popular media; demands that are required of the in- making sounds of strife, struggle, or victory while con- dustry, the game program and the player alike? To say ducting surrogate labor for us running, fighting, saving that mediated voice performance has always been gen- worlds. These sounds also represent the very real de- dered is well-documented, particularly in the area of manding labor of voice actors, whose burnout and vo- film studies. Media writers such as Mary Ann Doane cal strain have recently come to the fore in terms of the (1985), Kaja Silverman (1988), and Clarice Butkus (2010) games industries’ labor standards (Cazden, 2017). Battle have long brought attention to the gendered sonic po- cries as media artefacts involve technological demand, sitioning of the female voice in popular media in terms interactional demand, physical demand, and emotional of vocal tone, accent, and role in the screen’s diegesis. demand: concepts defined by Bowman (2018) in articu- Historians of radio similarly offer accounts of the subordi- lating games as demanding technologies. One question nation of female sound (e.g., representing hysteria, nur- Media and Communication, 2019, Volume 7, Issue 4, Pages 186–197 186 turing, or seduction) in relation to the male voice (invok- media tropes and their role in facilitating or burdening ing authority, confidence, authenticity), which has come the “player–program dialogue” (Bowman, 2018). To that to symbolize the technology of radio itself (Loviglio, 2007; end, this article reports on a notable trend: As games Zakharine, 2013). Ann Carson (1985) and Mary Beard self-purportedly and in the eyes of the wider commu- (2014) provide historical interpretations of the symbolic nity improve the visual representation of female playable standing of women’s voice in antiquity, as unbalanced, leads, important aspects of the vocal representation of uncontrollable, and unpleasant—all qualities that justi- women has not only lagged behind but become more ex- fied the silencing of women in public communication, aggeratedly gendered with higher-fidelity bigger-budget political life, and early media participation (Zakharine, game productions. In essence, femininity continues to be 2013). In her study of the history of the operatic voice, a disempowering design strategy in ways far more nu- Constance Clément (2000) further articulates stereotyp- anced than visual representation alone. Thinking about ical relationships between voice typology and narrative gendered vocal tropes in games as a form of emotional standing (e.g., tenor voice as hero, soprano as tragic love and social labor brings into focus the reality that resist- interest). However, attention to voice and sound is still ing and shifting entrenched (but harmful) mediatized sparse in cultural game studies: a significant gap consid- conventions requires equally demanding cultural labor. ering the importance of sound in game design and its ex- Since video game design, including audio-visual synchre- periential presence during gameplay (Droumeva, 2018). sis, produces virtual as well as actual affective states In this project, I take up the battle cry as the core indexi- (Banks & Bowman, 2016), this work is also a feminist take cality of voice in games, akin to vocal presence in cinema, on voice and gender as aspects of gaming necessarily tied and apply a critical media studies lens to the sonic repre- to (but often lacking) in research on emotion, affect, and sentation of women. As Sterne (2003) argues, mediated flow states in gameplay. voice is situated between authenticity and the politics of technology, and manifests through sets of audile tech- 2. The Battle Cry Study niques: standards and conventions, which become dis- cursive grammar for media production and consumption. This project traces both qualitatively and quantitatively The historicity of vocal presence in games—the battle iterations of the battle cry across three iconic series cry—then constitutes a unique perspective from which in the genre of fighting arcade games: Mortal Kombat to examine the politics of embodiment. (MK), Street Fighter (SF) and Soul Calibur (SC). The in- The battle cry, it can be argued, is the quintessen- tention is to map how the demands for greater and bet- tial vocal presence of a playable character; a tempo- ter gender representation in games have unfolded over rally persistent audio-visual aspect of the demanding la- time in terms of industry conventions, technological ad- bor of gameplay and a chief aspect of a synchronous vances, and purposeful design of gender differences. If flow state (Weber, Tamborini, Westcott-Baker, & Kantor, we consider battle cries as ‘audible efforts’ emitted by 2009). It is also a sound effect that embodies gendered, avatars that make interactional and emotional demands racialized, and class connotations by virtue of sonifying on the player, how might this experience be gendered? a constructed body (the avatar). It is important to note This battle cry study cuts across three layers of analysis: that discussions around gender representation and de- 1) Historical content analysis of female vs. male avatar sign in games have historically focused on differences be- vocalizations in terms of percentage of battle cries in tween cis-gendered male and female avatars. While ex- fight sequences; 2) close reading of the gendered stag- citing work focusing on non-binary and queer characters, ing of battle cries using spectrograms and participatory monsters, and hybrids is now emerging (Ruberg, 2019), play-observations; and 3) an interpretive analysis of bat- this article limits its analysis to binary gender representa- tle cries as demanding technological artefacts within a tion. There are two reasons for this: 1) Sound is underex- player–avatar sociality matrix (Banks & Bowman, 2016). plored in game studies and our mixed methods study has Mobilizing the concept of ‘demand’ literally, figuratively, a limited scope that aims to address a still-entrenched and virtually towards the production and experience of gender dichotomy; and 2) what we demonstrate with battle cries opens space for a novel critique of persis- this work is that there is yet further exploration to be tent sexist tropes in games. By locating battle cries within done in understanding the nuanced and multi-faceted the player–avatar matrix of sociality we can better un- ways in which game characters are gendered, which itself derstand the “mechanisms underlying affective and cog- is foundational to representation of non-binary, queer, nitive states during gameplay” (Banks & Bowman, 2016, and/or non-human avatars.