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Challenging Archetypes with Feminist Approaches to Video Game Design Lauren Woolbright Clemson University, [email protected]

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Challenging Archetypes with Feminist Approaches to Video Game Design Lauren Woolbright Clemson University, Lwoolbright@Gmail.Com Clemson University TigerPrints All Dissertations Dissertations 5-2016 Identity Design: Challenging Archetypes with Feminist Approaches to Video Game Design Lauren Woolbright Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Woolbright, Lauren, "Identity Design: Challenging Archetypes with Feminist Approaches to Video Game Design" (2016). All Dissertations. 1673. https://tigerprints.clemson.edu/all_dissertations/1673 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IDENTITY DESIGN: CHALLENGING ARCHETYPES WITH FEMINIST APPROACHES TO VIDEO GAME DESIGN A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in Rhetorics, Communication, and Information Design by Lauren Woolbright May 2016 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Kimberly S. Manganelli Dr. Beth Ann Lauritis Dr. Andrew Hurley ABSTRACT Lack of diversity in video games and the mainstream games industry warrants an inclusive, feminist approach to game design. Producing a feminist video game as a core component of my dissertation will impact rhetorical, literary, game, and feminist studies, emphasizing the benefits of embracing electrate and playful modes of identity formation and pedagogy. ii DEDICATION To women of every gender playing and designing games, especially those facing discrimination in game spaces and gaming communities, I dedicate this work in hopes that our situation may see improvement every day. To my family, without whose constant affection this project could never have come into being. iii ACKNOWLEDGEMENTS I would like to extend my thanks to my excellent committee, Dr. Kimberly Manganelli, Dr. Beth Ann Lauritis, and Dr. Andrew Hurley, and particularly my chair and mentor Dr. Jan Holmevik, for their support in the research, development, and completion of this dissertation project, which has been non-traditional from the start. I also want to recognize Dr. Victor Vitanza, Dr. Cynthia Haynes, Dr. Dave Blakesley, Dr. Jan Holmevik, Dr. Jeff Love, Dr. Christina Hung, and Dr. Bryan Denham for their guidance and support through the entirety of the RCID program, their innovation in designing the program, and the formative readings and challenging assignments in their courses. I would like to thank my collaborators from Clemson’s Digital Production Arts program, Marie Jarrell and Wynton Redmond, Marie in particular for working so closely with me on every aspect of the game’s design and doing much to keep the game in line with my vision for it while still imparting her own creative perspective. Thank you to the College of Architecture, Arts, and Humanities at Clemson University for supporting this project with two grants from the Graduate Student Research Program, one in academic year 2014-2015 and one for 2015-2016. I received crucial research support through a Pearce Center for Professional Communication grant, which was instrumental in making this work possible, and I must thank Jan Holmevik for co-writing the grant with me and Dave Blakesley for approving it. I would also like to thank the Professional Enrichment Grants program overseen by Clemson Graduate Student Government for numerous travel grants to present my research at conferences. iv My thanks to Dr. Jan Holmevik, Dr. Victor Vitanza, and Dr. Cynthia Haynes for putting me forward for the Clemson Distinguished Graduate Student in Research award for 2014-2015, and for writing excellent letters of support that contributed to my receiving it. To Dr. Jan Holmevik, Dr. Kimberly Manganelli, Dr. Cynthia Haynes, and Dr. Jeffrey Baggett I want to extend special thanks for composing letters of recommendation for me and mentoring me through the job search process, which has been going on simultaneously with the completion of this dissertation, and to Dr. Walt Hunter, Dr. Megan Eatman, and Dr. Steve Holmes for reviewing my materials for the job market multiple times and counseling me about interviews as well. To my cohort and peers in RCID, thanks are in order for sharing so many thoughts, suggestions, articles, and artifacts that ended up impacting this work, and for filling our time together with critical feedback and excellent humor. Lastly and most importantly, I cannot thank my husband, Evan Woolbright, enough for his tireless support and thoughtful critique of my work throughout this process, and to our children, Lana and Alaric as well for putting up with many long days and nights without mom. v TABLE OF CONTENTS Page TITLE PAGE .................................................................................................................... i ABSTRACT ..................................................................................................................... ii DEDICATION ................................................................................................................ iii ACKNOWLEDGMENTS .............................................................................................. iv LIST OF FIGURES ........................................................................................................ ix CHAPTER 1. INTRODUCTION ............................................................................................... 1 Exigency .............................................................................................................. 6 Literature Review ............................................................................................... 10 Game Studies and the Rhetorics of Design ............................................... 10 Feminism and Monstrosity, Then and Now .............................................. 20 The Power of Electracy ............................................................................. 30 How This Work Unfolds .................................................................................... 31 2. THE DASEIN OF DESIGN: RHETORICS OF AVATAR AND IDENTITY AND THE DANGEROUS ENFRAMEMENT OF WOMEN IN VIDEO GAMES ............................................................................................................................ 35 The Avatar For Whom Being Is At Issue .......................................................... 37 Gendered Game Design: A Bit of History ......................................................... 41 Bringing-forth Games: Designerly Thinking ..................................................... 44 (Mis)Representation ........................................................................................... 47 The Dangerous Enframement of Women .......................................................... 53 The Power (of Being) to the Players .................................................................. 56 3. TRICKSTARS VS STRONG WOMEN: CREATING A FEMINIST ARCHETYPE FOR GAMES ............................................................................ 60 vi Table of Contents (continued) .................................................................................. Page Gaming in the Age of Feminism ........................................................................ 67 Cultures of Guyland ........................................................................................... 72 Gender is Fluid: What I Learned From Bronies ................................................ 77 The Female Avatar: From Archetype to Stereotype .......................................... 80 Trickster Women: Two Greek Myths ................................................................ 85 Ethical Gender in Games ................................................................................... 92 Where to Go From Here: The Power of Inclusivity .......................................... 94 4. HOLDING OUT FOR A MONSTER: A CALL FOR MONSTROUS HEROINES IN TV AND VIDEO GAMES ........................................................................... 96 The Myth of the Strong Female Character ...................................................... 104 The Monster For Whom Being Is At Issue ...................................................... 112 Sorceresses, Sirens, and Sylvan Ladies ........................................................... 120 The Curse of Heredity ...................................................................................... 127 Transmediating Harriet .................................................................................... 134 5. REIMAGINING HARRIET BRANDT: FEMINISM AT PLAY ................... 139 Principles of Design ......................................................................................... 140 Hacks, Mods, and Art ...................................................................................... 142 Storytelling and Meaning-Making in Games ................................................... 145 Game Overview ............................................................................................... 149 Mechanics: Drain and Fill ................................................................................ 152 The World ........................................................................................................ 155 The Park: Women’s Suffrage and Motherhood ............................................... 160 The Feminist Question
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