Image: Replay Studios
The computer games "Velvet Assassin", "Prince of Persia" and "Mirror’s Edge" were not working without their strong women’s figures.
During the cinema the draws of exploitation women in bikinis and with ubergroben creak all of Sigourney Weavers "Alien"-Ripley and Jodie Fosters smart rolls ("Panic Room", "Brave One", …), this development takes place in the video game. Get involved "Red Sonja", Airbrush fantasy stereotypes and their exercise in the "Gauntlet"-Heroine chain bikinis and overgrobe two-hand swords – the former role and found gradually in Lara Croft: Another cartoon queen figure, but at least beyond their sights a real role in the calculation of the game. With "Mirror’s Edge", "Prince of Persia" and young "Velvet Assassin" Discover the gaming industry the courage to real heroine, which can also work away from manner fantasies.
The most recent example appears, "Velvet Assassin", at least the appearance and the presentation of his protagonist after still as the relented. While the 40s-year glamor hairstyle of Violet Summers is still due to the present time and the historical role model, the third-person perspective probably sets the correspondingly shaped rear of the heroine for the sophisticated player. At all seems "Velvet Assassin" Celinalize the direction of violet: It is Allied secret assessment and Saboturin during World War II, the game will be paid in the form of remembrance teats of the Violet lying in the coma, and, despite the broken historical role model, operates violet Szabo just a little optimistic history revision. Violet itself is trapped in a conflict: on the one hand the figure is the equivalent of the ice-cold Schleich professionals of one "Splinter Cell" or "Metal Gear Solid", On the other hand, it is true "Velvet Assassin" Also, the heroine does not have to be all too phallic-supposing, but emphasizes their vulnerability and emotionality in various monologues and cut scenes. Especially grotesque will be this indecision in "Morphium mode": On tricky places, the player can administer a morphine syringe from his coma out of their coma. The picture blurs all NPCs freeze, and purple can turn off an opponent without resistance. However, an explanation of why she remembers her succinctly from a stress-dominant SS uniform for this effect and in a scarce, white top night shirt, the game remains guilty.
The corporate woman spirit
From a completely different direction Elika, the supposed Sidekick in the latest "Prince of Persia". Already the designer for a graphic style of Cellshading drawings testifies, how much "Prince of Persia" his sightings emphasized. Elika appears visually as a mixture of Arabian princess and hippem Oko twen with harness pants and belly-free blouse. But it is your game-mechanical meaning you pick up from a Schnoden ethno-Lara Croft: Thus, the man’s main character without Elika is actually only for the lame climbing and half-motivated male swing, if it is not supported by the princess. She catches the player in the middle of the leap and hurls him to the next platform, she puts opponents on command with jumping companions, and she serves numerous magical gimmicks of the game world, which will make flying even the flying. In addition, Elika is "Prince of Persia"s Replacement for checkpoints and storage poles, the immersion-damaging process of re-loading brings the game in the game: Whenever you push out or threatens to win an opponent, Elika attacks, surrounded by a blue shimmer and reaches the helping hand. That often fanged in the environment of the publication "Non-dying can" this is always always prussian rescuer. Their game-mechanical role is also reflected in their narrative function: That’s the way it is always Elika, which refers to the nameless cynic protagonists in the barriers. His collegeboy bays bounce off at the self-confident princess of a secret desert city without a trace, and more than once, not only the player wonders why the manual character is needed at all – expressing Elika with their magical skills anyway the much more patient shape.
The conflict is indispensable for the (incurred by the reviewing press grandiose) history indispensable: "Prince of Persia" paid by a mystical place whose corrumation bears the signs of an industrial society. The antagonists are ice-cold professionals in their field, and the hero – a thief – the public-minded messenger of a more advanced Augenwelt. He merely brings his spiritism into this city, which was never built with its many levels and high differences anyway anyway for non-flying people anyway. The physically ground-standing protagonist meets the morally steady Elika, and only the connection of the two – which is naturally cemented with progressive action in a love story – proves to be actually effective means against the decay, and thus for the faithful modernization of the old. Elika is much more than just a video game Sidekick and keyword provider for the adolescents projections of the hero. Their function within the plot is only to be fulfilled by a female figure.
Shopping strolling instead of online shopping
"Mirror’s Edge" By contrast, a female variant of the thief offers directly "Prince of Persia" at. The game that represents the first real acrobatics game with its (unfortunately only) almost pacifist concept, which is entirely on the porousness of his protagonist Faith. It runs overcadded roofs, climbs up and down in dizzying high levels of waters, jumping from platform to platform, ran away from wandering to reach the next lead, from there on the next roof two floors deeper, and rolls off elegantly. And all this at the touch of the player, in first-person perspective – an ego-runner, and probably the most serious further development of the steady shooter genres of recent years. In contrast to the similar agile Lara Croft, Faith’s body is already the realistic athlete, and behind this claim also had to resume the obvious attractiveness of the figure. In the gaming community, this circumstance provided for adolescent image editing, which in turn the developers of "Mirror’s Edge" sad.
Faith’s superior spirituality and its big transfer to the player not only fills a game-mechanical function: "Mirror’s Edge" paid by a dystopic future of the stable monitoring by a non-clarified police state, the surreal design of the game world contributes significantly to the feeling of the loneliness of the real individual. The only possibility for private communications are the Runner couriers such as Faith, which can carry away packages and messages away from legalitat and strip level. And although not all runner female, so during the whole game, no single assistant of the total rule appears, the women’s figures are in "Mirror’s Edge" Subscribed to the side of the protagonist. The body use of the Runner is a backburning away from media dominance, quasi shopping spree instead of online shopping. The heroine recognizes that her body is the last bastion of individuality in a unique mass society, and its design is a little out of the public-cyclic mainstream underpinning this meaning. Faith is identification figure for the few players equailed as they invitably invitations the man’s pockers for reflection on stereotypes Hero figures. A manless protagonist had never diminished these two roles.
Image: Electronic Arts
Is from the three discussed "Velvet Assassin" certainly the most uninteresting, both in a playful way (here you get barely bids than in 1998 with "Thief: The Dark Project"), as well as the role of his heroine. While it is a successful further development of the phallic Lara Croft cliches in a differentiated tragic heroine, but for the calculation of the game, this circumstance is ultimately insignificant. "Mirror’s Edge" and "Prince of Persia" On the other hand, a few months before the release of the World War Laughter game already thought a step further. While Elika outsourced her corperity in the man’s protagonists, Faith defines almost exclusively about it. Elika, on the other hand, is in its physical absence of the classic female spirit, which leads the body – like most recently Skynet in the youngest "Terminator"-Movie. Faith, on the other hand, is ultimately successful, which remains reserved in a widespread topos of the actionkinos the man’s hero – by Rambo to big Bryan Mills -: It is a completely self-reliable professional. And with this autonomy is inevitably the loneliness.