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The Construction of Assassin's Creed

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The Construction of Assassin's Creed The Construction of Assassin’s Creed: Syndicate Characters as Gendered and Classed Master’s Thesis Emilia Turtiainen University of Jyväskylä Department of Language and Communication Studies English December 2019 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistis-yhteiskuntatieteellinen Kieli- ja viestintätieteet Tekijä – Author Emilia Turtiainen Työn nimi – Title The Construction of Assassin’s Creed: Syndicate Characters as Gendered and Classed Oppiaine – Subject Työn laji – Level Englannin kieli Maisterintutkielma Aika – Month and year Sivumäärä – Number of pages Joulukuu 2019 101 Tiivistelmä – Abstract Sukupuoli on yksi keskeisimmistä aiheista videopeleistä puhuttaessa; luokka sen sijaan saa vain vähän huomiota osakseen. Tämä tutkimus kuitenkin yhdistää nämä kaksi, sillä sen tavoitteena oli selvittää kuinka videopelihahmojen sukupuolta ja luokkaa rakennetaan Assassin’s Creed: Syndicate -pelissä, joka sijoittuu pääasiassa viktoriaaniseen Englantiin. Pelistä valittiin kuusi hahmoa, joita analysoitiin sukupuolen ja luokan näkökulmasta karakterisointitaksonomiaa (characterisation taxonomy) käyttäen. Taksonomiaan sisältyi seuraavat kategoriat: fyysinen ulkonäkö, eleet ja liikkeet, tavanomainen käyttäytyminen, psykologiset ominaisuudet, puhe, sosiaalinen vuorovaikutus, ympäristö, affordanssi ja biografia. Hahmojen sukupuolta ja luokkaa rakennettiin monipuolisesti eri kategorioiden avulla. Sukupuolen kohdalla esille nousivat ulkonäkö, puhe, psykologiset ominaisuudet, käyttäytyminen ja affordanssi: hahmojen sukupuolta rakennettiin esimerkiksi feminiinisillä vaatteilla ja maskuliinisella käyttäytymisellä. Luokkaa puolestaan rakennettiin melko tasaisesti eri kategorioilla, mutta päällimmäiseksi nousivat hahmojen kouluttautuneisuus, rationaalisuus, sekä tunteikkuus, joita hyödynnettiin esimerkiksi hahmojen puheessa ja käyttäytymisessä. Lisäksi hahmot sekä toistivat että rikkoivat viktoriaanisia sukupuoli- ja luokkanormeja; etenkin naiset tuntuivat poikkeavan näistä. Kategorioita käytettiin myös rakentamaan hahmojen nousua luokkahierarkiassa. Tutkimus tarjoaa uudenlaisen lähestymistavan sukupuolen ja luokan tutkimiseen videopeleissä. Jatkotutkimuksissa luokkaa ja sukupuolta olisi hyvä tutkia esimerkiksi videopeleissä, joiden tapahtumapaikka on erilainen, tai jotka edustavat eri genreä. Lisäksi olisi kiinnostavaa tutkia muita sosiaalisia kategorioita, kuten etnisyyttä tai seksuaalisuutta, hyödyntäen tämän tutkimuksen lähestymistapaa ja menetelmiä. Asiasanat – Keywords game studies, video games, gender, class, characterisation, character construction, Assassin’s Creed, Assassin’s Creed: Syndicate, intersectionality Säilytyspaikka – Depository JYX Muita tietoja – Additional information TABLE OF CONTENTS List of Tables ....................................................................................................................................... 3 List of Figures ...................................................................................................................................... 3 1. INTRODUCTION ........................................................................................................................... 4 2. GENDER AND CLASS IN VIDEO GAMES ................................................................................. 7 2.1. Gender Representation in Video Games ................................................................................... 7 2.2. The Representation of Class in Video Games ........................................................................ 12 2.3. Class Representations in Films ............................................................................................... 14 3. INTERSECTIONALITY ............................................................................................................... 21 3.1. Socially Constructed Gender .................................................................................................. 21 3.2. Socially Constructed Class...................................................................................................... 23 4. CHARACTERISATION ............................................................................................................... 28 5. THE ASSASSIN’S CREED SERIES .............................................................................................. 35 6.1. Assassin’s Creed: Syndicate ................................................................................................... 36 6. GENDER AND CLASS IN THE VICTORIAN ERA .................................................................. 37 7. THE PRESENT STUDY ............................................................................................................... 41 7.1. Aims ........................................................................................................................................ 41 7.2. Data Selection & Collection ................................................................................................... 42 7.3. Methods of Analysis ............................................................................................................... 44 8. ANALYSIS .................................................................................................................................... 45 8.1. Jacob Frye ............................................................................................................................... 49 8.2. Evie Frye ................................................................................................................................. 58 8.3. Henry Green ............................................................................................................................ 67 8.4. Crawford Starrick .................................................................................................................... 73 8.5. Lucy Thorne ............................................................................................................................ 79 8.6. Agnes MacBean ...................................................................................................................... 83 9. DISCUSSION ................................................................................................................................ 88 10. BIBLIOGRAPHY ........................................................................................................................ 96 10.1. Ludography ........................................................................................................................... 96 10.2. Filmography .......................................................................................................................... 96 10.3. List of references ................................................................................................................... 97 List of Tables Table 1 Character taxonomy .............................................................................................................. 34 Table 2 Age and gender of named characters .................................................................................... 45 List of Figures Figure 1 Jacob Frye fighting against enemies on the roof of a moving train .................................... 51 Figure 2 Jacob Frye in his default (left) and Maximum Dracula (right) outfits ................................ 53 Figure 3 Jacob Frye reacting to Mary Anne Disraeli’s unexpected proposition ............................... 57 Figure 4 Evie Frye with her Chameleon skill active .......................................................................... 61 Figure 5 Evie Frye wearing her default (left) and Master Assassin (right) outfits ............................ 62 Figure 6 Henry Green doing research with Evie Frye in the Assassins’ train hideout ...................... 68 Figure 7 Evie Frye tending Henry Green ........................................................................................... 70 Figure 8 Crawford Starrick playing piano in his office ..................................................................... 75 Figure 9 Lucy Thorne having tea in a meeting with Crawford Starrick ............................................ 79 Figure 10 Evie Frye talking with Agnes MacBean ............................................................................ 84 1. INTRODUCTION Video games are constantly increasing in popularity, and the global games market keeps growing year after year. According to the estimates by Newzoo (Wijman 2019), there are over 2.5 billion gamers around the world. In addition, Entertainment Software Association [ESA] (2019) states that 65% of American adults play video games and that 70% of families have a child who plays video games; moreover, 75% of Americans have at least one gamer in their household. As the popularity of video games keeps increasing, so does the worth of the video game industry: the global games market revenue is estimated to reach $152.1 billion in 2019 (Wijman 2019); in comparison, the estimation for 2018 was $134.9 billion (Warman 2018). It is also significantly more than the global consumer spending in the film industry, which was $96.8 billion in 2018 (Motion Picture Association of America 2019). Thus, video games are one of the main forms of entertainment today, and it is therefore important to include them in the academic discussion as well. Moreover, in the same way as films, tv shows, and other media, video games also represent and reconstruct the world
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