The Art of the Fantastic

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I had the great luck to be able to attend Spectrum Fantastic Art Live 2 just a little while ago.  The drive to Kansas City, MO took far longer than I should have wished, but it was well worth it. The variety of great artists filling the gallery hall was a site I will remember in both my memory and my photo album. These are the paintings that inspire children to dream of dragons, for men and women to visualize as they read through books to escape their lives for a short time, these are the pieces that create a world beyond the real.  While my main objective for this trip was to enjoy the fantastic art I have loved since childhood and to have informative conversations with artist of a far better caliber than myself, I always have secondary objectives. 

Spectrum 20 Award Gala, Beautiful

Walking around the hall, rows of paintings, sketches, sculptures, and live demonstrations, it is easy to identify some of the classic depiction of sci-fi and fantasy women. Sadly, these classic depictions are most commonly that of the Damsel in Distress, the Evil Seductress, or the Power is Sex(y). There were rows upon rows of booths, but within those rows, hidden sometimes at the corners, these upsetting depictions of the women in sci-fi and fantasy were still alive. At one point I began to notice that some of the paintings, prints, and illustration that had more graphic sexual content were being censored with small slips of stick-notes. They were stuck on, hiding nipples or genitalia, while the rest of the picture was open for the viewing public. The picture of the chained woman with the distressed face and her legs spread, the exposed captured woman being taken off, the seductress enthralling onlookers with her sexual power, were all okay for viewing, all undamaging, as long as those few key pieces of anatomy were covered.  Seeing this it gave off a sad message: Viewing women as disempowered and objectified is fine, so long as that sticky-note stayed were it was stuck. I know this may have been for the sake of the children, since both artists and spectators were free to bring their children and some certainly did, but that does not really make the situations any better in my opinion. By blocking off those parts, but not the image it self, it may make it appropriate for public viewing, but it certainly does not decrease the impact it would have on how a boy views women or how a girl will choose to view herself.

I would like to clarify that I am not at all opposed to nudity in art. Nudity in art has existed since the beginning of art itself. The human body can convey power, grace, beauty, sexuality, environmental interaction, and the spectrum of human emotion.  David Palumdo's Fed is a great example of the power nudity can convey to an image. It is a disappointment when these such powerful works are overrun by the objectified and over-sexualized female figures so common in the sci-fi and fantasy world.  Again, though, similar to the argument about who has the power in what children see if video games, who has the power to change what is seen on book or comic covers?

Dan Dos Santos, a great artist I had the pleasure of meeting at SFAL2, was indirectly accused by a BBC article of being sexist in his works by using one of Dos Santos’ works as the example for sexist science fiction art.  The article goes on, giving other examples including the classic Conan depictions. The article brings up a few good points, such as how “many science fiction and fantasy readers are disappointed to encounter everyday sexism in a medium that is supposed to offer an escape” (which is similar to the immersion-problem many feel when playing video games).  It also points out that many science fiction covers, classic and modern, are still created to attract a heterosexual male audience, even though the amount of science fiction and fantasy female authors and readers, as well as members of the TGLBQ community, is on the rise.  One of the most powerful, and true, lines from the BBC article comes as a quote from Tracy Hurley:

"Male characters [are] powerful and strong, and women's sexuality will be emphasized. And why is that a problem? It's constraining for both men and women."

Art Hall, filled with fans, both men and women.

In response to this indirect critique, the artist collaboration blog Muddy Colors responded internally with a post by Arnie Fenner, retiring co-director of the long running Spectrum books that inspired/created the whole SFAL event.  Arnie brings up the key of the whole issue in his post Objectify:

“But unless I'm missing something, here's the thing that bugged me about the BBC article and Hines' cosplay: the artists get the "blame" for what appears on the books' covers. Not the writers whose stories and descriptions lend themselves to the interpretations being decried; not the publishers, not the editors, not the art directors, not the sales reps, not the retailers, and not the consumers. All of whom dictate what the commercial artist creates and delivers. If they don't approve, if the artist doesn't follow direction and give them what they're paying for, the art is never seen. If the customers don't buy the books, other solutions are sought.”

           

I agree, mostly. I agree that it takes a whole line of people from writer, to an art director, to an artist, to a publisher, to the consumer to create the sphere of influence in which these art pieces (both written and visual) can exist.  There is no easy solution. It is a whole cultural setting in which the realm of the idealized men and objectified women is written about, enforced, and portrayed. No individual or part of the chain of creation can be completely at fault, and blame cannot be so easily delegated.

            So, when a talented artist such as Dos Santos creates works such as the one critiqued by the BBC article, it took several stages for it to become that particular piece. The writer created the character, the art director gave input for the work, and the art was completed through the views of several people, not the artist alone. Also, to have called out an individual piece without these correct justifications was an obvious mistake. Sexist and objectified depictions, in video games, in comics, in the world of Fantastic art, do not exist in a vacuum and do not under the majority of circumstances come into the public view through the work of an individual.

            I’ve heard it said that in the art world that you have to take the jobs offered to you. To start off, you need all the money, work, and publicity you can get. Young artists, or artists just starting off, may find that falling in line with these constricted image types is the best way to begin a career, but this will only continue to perpetuate these images for years to come. Once set in their career, artist can choose to be picky. Steven Belledin, another artist I have had the great opportunity to meet, never compromises his values in his depiction of female characters.  He has said that this has at times put him at odds with those offering jobs, but I would like to assure him that for some viewers and new artists just knowing that not compromising is an option is a light for a better future. 

-K.

I Didn’t Hear You Correctly, Did I?

    While this article may not be within the realm of video games, I would still like to take time to comment on comics when I feel the need arises.  It is important to note that comics are another section of the ‘geek’ subculture to which games are also bound. Also, as I refer here to those characters existing within the Batman/Gotham DC Universe, it is important to know that just like this franchise, comics and games have had a border-crossing relationship for years.

    A while back I began reading the Gotham City Sirens, I got the whole set after enjoying the first few and I have been slowly working my way through them since.  After a group discussion about the interesting article by Rebecca Demarest, ‘Superheroes, Superpowers, and Sexuality’ I decided to take another look at the first issue.

Gotham City Sirens #1 - All in the Title, Isn't It?

To set the base for this discussion, I would like to first note on an interesting point put forth by Demarest. The concept of Inherent vs. Gifted Powers in the realm of comics is interesting and diverse, leading to a bounty of beloved or disputed origin stories.  She states “the women heroes are rarely ones to have inborn powers; they are usually gifted to them” while “the men on the other hand have inherent powers”. This is obviously not the case for every female or every male (an example being the X-Men), but it leans towards truth for the majority. Issue #1 of Gotham City Sirens begins with a narrative by Catwoman, so I will first attempt to elaborate on this anti-hero.

    Catwoman has a developing origin story. She was a prostitute who broke free from her old life.  In some she is a mafia boss’ daughter, and in others she is the daughter of a drunk. In Demarest’s understanding of Catwoman’s origins, “Catwoman’s…skills were taught to her by a karate sensei and a boxer, both of whom she was introduced to by a third party. She worked her butt off during her training, but it was still an integral part of the story that she did not get to where she was by herself, she had help”.  In this way, or even if looking at Catwoman as a product of Mama Fortuna’s training, Catwoman’s abilities are ‘gifted’ to her.

Poison Ivy- Just Out for a Jaunt

Poison Ivy, a villaness and eco-terrorist of the DC Universe, is one of the Siren trio.  For this series she has thrown off most of her criminal activities, and at points even treads along the line of anti-hero. Her powers are certainly ‘gifted’.  In both her modern and Silver Age origin stories she is injected with a serum/poison by another person (maliciously). It is this ‘gifted’ serum that gives her the abilities she posses as a villainess. (It should also be noted that in the modern origin story, the serum also makes her unable to bare a child.)

    Last, but never least, is Harley Quinn. At one point in Harleen’s life she was a prominent young physiatrist working a difficult but prestigious job at Arkham, but sessions with the Joker twist her into a gag-hammer toting, laughing lackey.  It is only through her ‘awakening’ by the Joker that she has initiative to take to villainy. Through her origins, she is the definition of a Barnacle character and while she already possessed the physical attributes to act, it is only through Jokers ‘gift’ of initiative that she steps onto the villain stage.

Harley Quinn - Poor Girl

    So, for these women, within the Batman/Gotham DC Universe, they fit the majority of the ‘gifted’ powered women. Demarest, calling on a contributor from the book Cultural Anthropology: A Problem-Based Approach, in this case Robbins, recalls ideas from linguist Robin Lakoff, stating that Lakoff “was one of the first to draw attention to the way that a woman’s identity in society influences how she speaks” and Lakoff says that women are “constrained to minimize their expressions with…tag questions…rising intonations…the use of hedges…[and] indirection”  (Robbins 2006: 205). It is this sort of language I examine Gotham City Sirens #1 for.

    While the appearance of this super-trio certainly falls into the stereotypical skimpy outfit and attractive figure, I am relieved to find that their speech patterns do not. Catwoman, while introduced as weak due to a recent injury, uses very assertive and sarcastic phrasing, similar to many primary young male supers.  She makes clear statements, and her use of questions is not meant to minimize her assertive statements. Poison Ivy has similarly assertive speech, with a slightly more sexualized overtone due to her inherent appeal based abilities. Harley Quinn, portrayed as childlike and still love struck, speaks mainly through the use of questions, tag questions, and assumed rising annotations, being the main fall-gal for the ‘feminine’ speech patterns.

    I believe that the reason behind the strong use of language by two of the main characters in Gotham City Sirens #1 is due to the need for strong central characters within the main cast. Having two strong voices can and will lead to interesting conflict, and the edition of a less assertive voice allows for comparison as well as the creation of dependent and engaging speech.

    There are many other facets of Demarest’s discussion of the difference between male and female supers in comics, including relationships and appearance, and the article is well worth a read for those interesting in the topic.  There is also an ongoing column over at Comics Bulletin discussing differing takes on DC’s gender issues that is well worth a read.  In the future I may examine some of DC’s New 52 for these patterns, although I know already that the New 52 has made a few mistakes with its female supers.

-K.

Many & None: Gender for the Asari

An interesting discussion brought to mind the concept of Sex versus Gender. In this way, I mean to say the line between biological sex and societal gender. The people over at Penny Arcade touch on this lightly in their Extra Credits: True Female Characters video, explaining that biological sex may determine the physical construction of a female (or male) character, but it is the constant assumption of feminine gender social constructions that continues to allow the creation of cookie-cutter princesses and token girlfriend characters.

So, if the World Health Organization puts forth these definitions:

"Sex" refers to the biological and physiological characteristics that define men and women.

&

"Gender" refers to the socially constructed roles, behaviors, activities, and attributes that a given society considers appropriate for men and women.

Then how can we observe these in a well know video-game species such as the asari? How can gender and species play into a fictional alien species with only one ‘sex’, but many (or by some ways of thinking, no) ‘gender’ expressions.

The Codex within Mass Effect describes the asari as an all-female race, but on the updated online official information site for the game the asari are considered a “mono-gender race—distinctly feminine in appearance and having maternal instincts”. By this they mean that the outward appearance of the asari would be considered very female by human biological sex standards. While the asari do appear female, they are non-gender specific with no concept of gender differences. The primary asari in the game, a teammate and talented biotic fighter, Liara, identifies her species as “mono-gendered” (which refers to mono-sexed in the terms laid out here) and that “male and female have no real meaning for us [the asari]”.

Due to the mono-sex of the asari, they are meant to have no concept of social gender pressures. The ‘women’ of the asari are everything anyone can be; fighter, politician, assassin, engineer, stripper, broker, chef, everything. There is no stigma, no idea that an asari must dislike the idea of being a soldier because some asari must be soldiers, some asari must be anything a species, a civilization, needs to have reached the whole of the galaxy, to become the most powerful species currently on the Citadel (a place of power for the galaxy).  They have no exclusionary bi-sex or poly-sex distinctions. (They also appear to have no internal asari ‘racial’ distinctions based of their varying blue to purple complexions.)

Although they are the most common species to be seen as consorts and strippers, this falls into the created world in a rational way, not just as a joke for the sake of sexy strippers.  The asari are physically attractive to the humans (for body shape), the turians (for cranial extensions), and for the salarians (for skin color). The asari are a populace species, with a home planet and many colonies throughout the galaxy, as well as asari dispersed throughout other populations. They have had the long-term exposure needed to become identifiable as ‘attractive’ to other species. They were first of all the species to reach space and reach the Citadel. In fact, on the Citadel (at least in ME3), advertisements feature asari as the means of ‘sex sells’ sales attempts. The asari are many, and just as in the diversity of humans (or turians or any other species), an asari can choose to be a consort, a stripper, a thug, or a crime lord.

The asari are also a wonderful study of sexuality. They have no distinction between male and female in those species that have them. Due to this there is no stigma against an asari choosing to be with a male or female of another species. (The asari have the ability to ‘meld’ and thus reproduce with any species, but the child is always asari and comes from the asari mother.) No stigma means that an asari has no social restrictions as to sexuality and may choose whom to hold a relationship or intimate encounter with based purely on attraction, emotion, and/or love.

Aria T'Lok: Crime Lord, Omega

The only social restriction placed on the reproduction of an asari is inbreeding. This means that societal pressures are placed upon asari to reproduce with members of other species (such as human or turian).  Asari-asari offspring are considered ‘purebloods’ which is considered to hinder the advancing variation of the asari species. The story’s main asari, Liara T’Lok, is a ‘pureblood’ and this is given as a reason for her social outcast. Also, the creators of the asari also created a type of asari called an Ardat-Yakshi. The genetically mutated Ardat-Yakshi are dangerous, highly sexual, ‘purebloods’ which are thought to be the result of excessive inbreeding. Thus, they have created both a social and biological reason to place one restriction on the sexual lives and choices of asari.

There are others who see the asari in a different light. Mass Effect and all that it includes is open to several strains of interpretation. For a different take, check out this Gamerism.

-K.

MMORPGs and Sexuality

In "Doing gender in cyberspace" by Lina Eklund, women who are players of World of Warcraft were interviewed and Eklund discusses gender and sexuality performance in game. She (2011: 339) says, “women who play World of Warcraft bring with them their offline gender identity and social contexts when they go online.” Although I do not play World of Warcraft, this got me thinking about the MMORPG that I do currently play, The Secret World, and how the topics Eklund raises are reflected in the game.

Eklund points out that not only do players bring their offline gender and social contexts with them online, but also that “the game itself limits and restrains; it is not a neutral space” (2011: 339). In the case of World of Warcraft, this is reflected in part by the character designs and the heterosexual presupposition. A good example she provided to illustrate her point was in-game flirtation and dancing.

While The Secret World does not have the mechanic of flirting, and the game itself does not leave much space for inter-player sexual interactions, sexuality is pulled into the game in other ways, such as in cutscenes and NPC dialogue. An example of this could be the “Dragon” faction initiation cutscene. This scene continues the exoticizing and eroticizing of Asian women, however I think that some elements have some potential for challenging in-game heteronormativity.

Cut-scene

In this scene, a member of the Dragon faction, a young Asian woman, aggressively pursues the player’s avatar, bringing the avatar to climax (a moment when your mind is “open to the truth,” allegedly), which transports the player/avatar to what is effectively the game’s tutorial, where as you play as unknown characters stuck in a Tokyo subway fighting something supernaturally evil. It is worth noting that the initiation scenes for the other factions (Templars and Illuminati) are not sexual in nature. What I find interesting about this scene is that it is exactly the same, regardless of the selected sex of the avatar. While the clip is voyeuristic, I found it gratifying as a queer player that the creators did not swap in a man for players with a female avatar, thus leaving open the door for (some) queer expression, albeit under a presumably (heterosexual) male gaze.

Perhaps a more convincing example of The Secret World crafting a cyberspace that challenges heteronormative assumptions can be found in the example of “Moose.”

“That man saved my life, selflessly, and I love him for it. I’d go to the ends of the world and back for Andy…I don’t think I’ll ever win him over though.”

Moose is a NPC in one of the first areas a player begins the game, which is a town overrun by the living dead. Moose is portrayed as a tough, explosives-making, lone-wolf biker. However, as the player pursues dialogue options with Moose, it becomes clear that he is in love with another NPC in the area, Deputy Andy. This character is an example of everything media usually does wrong done right. Moose is not “the gay character.” He is not a gay caricature. He is a character that happens to be gay, which is never turned into a cheap plot device. This signals to me, and probably other queer players, that this is a cyberspace heterosexuality is not assumed, either on the part of the NPCs or the players themselves.

So while The Secret World does limit and restrain players, for example by offering only two (cis-)sexes to choose from and by effectively limiting body models to the “conventionally attractive,” I think the MMO opens up in-game sexuality in a way that perhaps World of Warcraft does not.

- A.

Eklund, Lina.
2011    Doing gender in cyberspace: The performance of gender by female World of Warcraft players. Convergence. 16: 323-342.