Game Environment and Constraints on Gendered Expressions

In this post I’d like draw out an aspect of Kirkland’s discussion on the Silent Hill game series, particularly his comparison of these games to the typical first person shooter War game. What this author highlights is that gender roles and codes are integrated into, or at least can be read in the formal conventions of a game; what actions can take place, what are expected to occur and in what kind of ‘game environment’.

Kirkland describes the “flailing”, desperate fighting style of Silent Hill protagonists as the games’ refusal to present masculinized avatars typical of the videogame industry, the type displaying control, power and precision when fighting. The protagonists of Silent Hill ‘self-preserve’ rather than target and destroy, as if the odds are overwhelmingly stacked against them. What stands out, and serves Kirkland’s argument most, is the ability of one’s avatar to flee, to refuse combat. This is of course the player’s choice however as Kirkland mentions, running away is highly expected through design of the games. A feminised and arguably more realistic course of action is therefore expected of the player, carried out by the largely male series of protagonists. Although with further consideration it is apparent that for such a capability as fleeing to used, or even incorporated into game design, the game environment must be non-linear providing somewhere to run to and for game completion to remain possible after doing so. In order for typically masculine game traits to be undermined and reconsidered as Silent Hill does, the game environment arguably needs to accommodate alternatives such as fleeing confrontation.

This is where comparison with FPS war games proves most effective in the argument that gender codes are integrated into formal conventions of a game. Worth noting is that I’m no expert in this genre and am generalising heavily. These games often consist of levels or missions in which a closed, linear path is set to be ‘cleared’ or passed through. Ulterior routes may be provided, however they are often a different means to the same end in a short term alternative. Missions are attached to environments in such a way that one is not surpassed without completion of the other. Fleeing is therefore discouraged and not an option in the long term, as in the case of actual war. A positively masculine drive is given to the game-play while being demanded by the environment; try and should you fail, try again. Alternative gender codes with the potential to show fear or the intelligence to know when you’re outnumbered(!) are not facilitated in most FPS war games due to a rigid set of formal and narrative conventions determined by a reflection of typically dominant masculinity.

Reference:

Kirkland, E. (2009). “Masculinity in Video Games: The Gendered Gameplay of Silent Hill.” Camera Obscura 71(24). doi 10.1215/02705346-2009-006