Yeah, about the damsels in distress, as someone who writes for a living, I reserve the right to put men AND women in harm for dramatic effect. What I don't appreciate is badly written female characters. Jade seems fine, well designed for a zombie game too.
She's certainly the most compelling character in the game
https://twitter.com/femfreq/status/562109974222880768
much like she has not played the game. Damsel in distress is going to be one of those sayings now thrown around for no reason without validation
This might all be a little off topic, but she deputized Dying Light into this argument
And I
have seen her videos.
My direct response to that would be the same question I asked above... accepting the premise that it's a plot device, and not at
all reliant on the traits of the character being termed a "damsel in distress" when the device is used: is then
any scenario in which a female character is kidnapped in a game not necessarily a damsel in distress? By describing a number of subtypes in her videos, she ropes into this category characters as disparate as Peach, Angel from Borderlands (I'm thinking she actually belongs to the same purported subcategory as Jade), Emily in Dishonored, and Princess What's-Her-Name from Earthworm Jim. To me this indicates strongly that it would be impossible to construct a scenario in a game in which any female character is kidnapped without conforming to some version or another of this trope.
Because of the wide variety of examples used, it isn't clear that the damsel in distress scenario necessarily requires the kidnapping to be the main impetus for a male protagonist's quest (certainly not even close to the case in Dying Light, which she's of course saying is guilty of the trope), or if anything changes if the damsel's rescue has any other implications besides motivating a male protagonist's actions. Indeed, it would seem that qualifying as a damsel in distress by Sarkeesian's interpretation of media means a) being kidnapped or otherwise imprisoned/placed in peril and b) being female.
That's troubling to me, because avoiding the trope altogether (not subverting it or deconstructing it- merely not using it) might then involve wrapping every female character that appears in a videogame in plot cellophane, while ostensibly all the male characters would be ripe for the plucking... presumably because they aren't "traditionally" placed in danger. If your female characters can't get kidnapped, you're necessarily treating them differently than male characters
because they're female.
This seems incredibly limiting from the perspective of writing three-dimensional scenarios that make sense and serve a larger narrative with more interesting goals than "hero rescues damsel." If your game strives for anything more than that basic plot structure, merely
containing the kidnapping of a female character means it now "has a Damsel in Distress storyline." So put another way: in 2015, women can't get kidnapped in fiction anymore. What? That's such an inadequate representation of the theme, which has been around since antiquity, that it almost cheapens the validity of her calling out the many
actual instances of this trope in gaming narratives, be it the very first appearance of Princess Peach or Beatrice in Dante's Inferno.
I'd argue that stipulating that being a "damsel in distress" is unrelated to the character traits of the damsel in question is a tacit reduction of that character to "a female," which is exactly what we
shouldn't do if we're trying to encourage more well-written female characters that don't conform to traditional androcentric tropes.
She clarifies that
But to me this is still totally inadequate. It essentially excuses the trope in any scenario in which you just alter the gender of one of the participants: male hero, female kidnapee, male kidnapper. That's laughable to me. I know that Sarkeesian likes Mirror's Edge, and I'm a huge fan of that game and think Faith is a solid protagonist as well. But Kate is basically a textbook damsel in distress. She has no agency. She's a bargaining chip. She acts as a plot point pushing the protagonist forward. She doesn't even get the "token attempt at engineering her own escape" that Anita calls attention to. In fact, she is recaptured after an initial rescue attempt and the final moments of the game literally involve ascending a Very Tall Tower to rescue her and thus "win"; damsel successfully saved, credits roll. She may say Jade doesn't matter because "DiD" is a plot device rather than a character trait; but Kate
is the plot device. I'm supposed to excuse this lazy, formulaic writing merely because the protagonist is a woman? If you played as Kate's brother rather than her sister, then suddenly it
would have a "damsel in distress storyline"? Or how about if you played as Kate's brother, but the villain kidnapping her was female herself- now we're back to
not a damsel in distress because the competition she's being used as an object in isn't between two men?
There's also the point that Rais is
wrong. The writers aren't describing Jade as "something of yours," the
character is doing that. You're not meant to view his description of the situation as accurate, you're meant to be disgusted by it. "Something of mine "....bitch, that's the fucking Scorpion you're talking about.
What really got me is that in her video series, after casting this net which I'd argue establishes a definition of Damsel in Distress that is far too broad, she goes into her idea for a potential game to serve as a deconstruction of the trope. When I was watching for the first time, I thought to myself, "okay, this is where it will get interesting"- I may not have agreed with her premise of what constitutes a Damsel in Distress, but I'm fascinated at how she would want to subvert it if designing her own game.
Unfortunately...
The "damsel" goes on to fight through a forest and corrupt city (whose government had imprisoned her), leveling up combat, stealth abilities and gear, eventually storming a castle and defeating the evil monarchy to free the kingdom.
In other words, it's a traditional action-adventure wherein the first scene involves the main character being imprisoned awaiting rescue, and decides to engineer an escape instead. What makes this a unique, ideal subversion of the trope is that the character in question is a woman.
That... sucks. I won't purport to be able to speak to how female gamers should feel about this proposed game, but anyone who cares about writing compelling characters with depth regardless of gender should be insulted by it. Essentially what she's saying is that by far the most important attribute her protagonist has in this game is that she's female. Everything about the design forces the protagonist to scream "Look! I'm just as capable and awesome at all this stuff as a male character would be!" It's such a basic and shallow and patronizing concept.
Frozen did a better job of subverting the damsel in distress trope than her game would. Her idea is along the exact lines of what happens at the end of
Enchanted; more of a parody than a deconstruction (ha-ha! it's the girl doing the saving!).
That's a real problem. If you want to offer a thoughtful deconstruction of a long-held trope in fiction, you have to reach for more than that.
Ironically, Jade Aldemir features many of the qualities she wants to ascribe to her idealized anti-damsel protagonist- she's courageous, strong, cunning, intelligent- but the fact that she is female is borderline irrelevant to the narrative. She is a character, not a vehicle for the subversion of traditionally reinforced gender roles in fiction. The idea that because she is captured and needs help it necessarily converts her into the tried-and-true Damsel in Distress plot device is a hard sell for me. After all, Sarkeesian isn't opposed to
all instances of female characters needing help from male characters (bizarrely, the CC on her video identifies Jade from BGAE as 'Jane,' but whatever). And... Dying Light isn't at all a particularly well-written game. It just isn't guilty of this particular vice. So what are we really talking about here?
Seems a little like Sarkeesian is largely unwilling to consider nuance, even if it might be extremely relevant. I'm thinking her work suffers from the old syndrome: if all you have is a hammer, everything starts to look like a nail.