Feminism and Final Fantasy (Part Five)

If we can assume that the fantasy trope of mystical female other in bondage gear is popular among men, perhaps we can likewise assume that the fantasy trope often referred to as Draco in Leather Pants is popular among women. According to this trope, a man with a complicated past, equally complicated motivations, and a markedly antisocial streak has a heart of gold somewhere deep inside – especially if he’s handsome. The character Balthier from Final Fantasy XII meets all of these conditions; and, judging from the amount of fan fiction and fan art that has been created in his honor, female fans of the game love him.

It is therefore not unreasonable to argue that Balthier’s design and characterization both contain just as many fetish elements as Fran’s. After all, the male characters in the Final Fantasy series are subject to the same narrative tropes as the female characters. If Rydia is wedged into the role of spell caster by virtue of her gender, then Cecil is similarly cast into the role of the dark/white knight by virtue of his own gender. Moreover, if Rydia is sexually attractive to men, Cecil is perhaps even more attractive according to non-heteronormative female standards of male beauty (which include delicate features and long, willowy limbs). This is fantasy, and we want our characters to be attractive, and interesting, and suitably epic. There is no rule, after all, that says fantasy has to be any less subject to the confines of narrative tropes than, say, interwar French existentialist fiction.

If everyone in the Final Fantasy games is fetishized, and if everyone is subject to gendered tropes, however, can the series really be called “feminist”? Through my discussion of Rydia, Aeris, and Fran, I have attempted to prove that each successive game in the Final Fantasy series has become less sexist and phallocentric. I posited at the beginning of this essay that a “feminist” work contains “strong” (by which I mean “multi-dimensional” and “featured prominently”) female characters who are not villainized. By this standard of judgment, the games in the Final Fantasy series are indeed feminist works. Even though the player-protagonist is often male, this character is usually subordinate to the narrative importance of a central female character. Even though the story of this female character is seen through the eyes of a male character, it is her story that is being told, and the male player-protagonist is just along for the ride. While the player controls the gameplay, the actions of the female protagonist advance the plot and open more of the game’s world.

Although we could once safely assume that the gamer behind the player-protagonist was male, this is no longer the case; he is now just as likely to be controlled by a woman. The player-protagonist may have his own story, but he is also the eyes through which the player looks and the hands and feet by which the player explores and manipulates the world. Such a direct player identification thus makes his identity somewhat less than stable, along with his gender and sexual orientation. The player-protagonist is arguably little more than a cipher in many situations (such as Tidus in Final Fantasy X, who is never addressed or referred to by name, lest the player’s identification with him be impeded), and the true spotlight shines on the female protagonists of the series, such as Rinoa, Garnet, Yuna, and Ashe.

Perhaps, because these female characters were created by development teams consisting primarily of men, they can never be considered “pure” feminist role models, but there is another side to the equation – the female (and male!) fans of the series who have been inspired by these characters and have interpreted them in ways that may differ wildly from the original intentions of their creators. As I have argued elsewhere, a text does not end with the “Game Over” screen but rather spins into ever wider and deeper perversions in the personal fantasies of the player. These personal fantasies can then be reinforced and expanded upon when introduced into larger communities of gamers. Player reception is engaged in a feedback loop with Square-Enix, which has used the enormous revenue it has earned from the Final Fantasy franchise in order to develop games that will better appeal to its fans, both new and old. The strong female characters of the series have resulted in a large and vocal female following, which has in turn resulted in Final Fantasy XIII, a title that has been celebrated as a truly feminist video game. As gaming technology becomes more sophisticated, and as the narrative mechanisms of role playing games become more innovative and complex, I am looking forward to meeting the female characters in the future of Final Fantasy.

I cannot claim to have the final word on Final Fantasy, or on the topic of video games, role playing, and gender. Allow me to therefore cite my sources and inspirations, both online and in print.

The absolute best pieces of writing on Final Fantasy that I have ever had the pleasure of reading are collected under the title The Rise and Fall of Final Fantasy. Each of these essays is quite long, but each is beautifully written and provides all of the background information I have omitted, which is presented in a humorous and highly intelligent tone. The online video game “magazine” The Escapist recently posted a video essay called True Female Characters, which is a bit superficial in terms of analysis but makes some good points and provides several examples of female characters in video games who are prime examples of sexist stereotypes. A short, journalistic article called Getting the Girl offers an interesting counterpoint to this discussion in the light it sheds on female game developers and the market pressures they face when designing female characters. The website The Mary Sue has a number of interesting pieces on women and geek culture, including statistics relating to female gamers.

If you’re interested in other aspects of the Final Fantasy series as viewed from a “scholarly” analytical perspective, there is an essay in Mechademia 4: War/Time titled “Imagined History, Fading Memory: Mastering Narrative in Final Fantasy X.” This essay is somewhat crippled by the word count imposed by the journal, but it contains an interesting argument relating to how the narrative structure of the game may relate to Japan’s experience of modernity. There are also several interesting and tangentially related articles in an academic journal called Games and Culture, including an essay on ethics in Final Fantasy VI and Final Fantasy VII, as well as an interesting piece on fantasy races in MMO-RPGs.

On a broader level, Sharalyn Orbaugh’s “Busty Battlin’ Babes: The Evolution of the Shōjo in 1990s Visual Culture” (found in the collection Gender and Power in the Japanese Visual Field) is an excellent discussion of cross-gender character identification in a Japanese context. All four chapters of Tania Modleski’s short but brilliant Loving with a Vengeance discuss the romance tropes surrounding male characters and might be useful for a sustained inquiry into why a character like Balthier (or Sephiroth) is so popular with female fans. Finally, while I was writing this essay, I was addicted to Eleanor Byrne and Martin McQuillan’s Deconstructing Disney, which opens by making a strong case for why we should continue to analyze popular culture and then goes on to provide an fantastic model of how to do so.

All of the games and characters I have discussed, as well as (almost) all of the images I have borrowed, belong to Square-Enix. Square-Enix, I love you. Please don’t sue me.

Part One
Part Two
Part Three
Part Four

Feminism and Final Fantasy (Part Two)

Anyone who has played the first three Final Fantasy games, either on the NES or as reincarnated through their PSP and DS remakes, knows that there isn’t a great deal of character development involved. Male and female characters are more or less interchangeable; the gender of any given character is no more than window dressing for an essentially sexless data animal. Final Fantasy IV, the series’s first installment for the 16-bit Super Nintendo Entertainment System, is considered groundbreaking because it is the first of the games to feature a cast of characters with unique abilities, personalities, and backstories. The game follows the exploits of the dark knight Cecil, who has to (a) come to terms with the fact that he is working for an evil king, (b) overcome the darkness in his heart, (c) gain the holy sword necessary to fight evil, and (d) fly to the moon to defeat his evil brother and the dark force possessing him.

Cecil, who is your party’s fallback melee fighter, is supported by Rosa, one of those selfless white mage types who will do anything for Cecil but is all but useless in battle (at least until she learns the attack spell Holy). Despite all of the transformative and empowering fan work that has sprung up around her over the past twenty years, in the original game, Rosa was really nothing more than the love interest of Cecil and his rival Kain. Your party must repeatedly fight to save her from various conundrums, like fainting in the desert and being kidnapped. Much more interesting than Rosa, who is the proverbial sheath for the hero’s sword, is the summoner character Rydia.

Rydia is a young summoner whose village is unwittingly destroyed by Cecil. Since she has nowhere else to go after the entire race of summoners is killed, she accompanies your party until she is spirited away by a summon creature, Leviathan, to the city of summon creatures deep under the earth. When Cecil ends up traveling underground and finds himself in dire straights, he is rescued by Rydia, who has aged more than ten years while living in a different flow of time. Rydia is a valuable asset to your party, wielding whips that inflict paralysis and various other status ailments, as well as battle-ending summons and black magic so powerful that its use is depicted as killing other mages.

Since Rydia is so useful as a playable character, the player is given a strong incentive to go on several difficult side quests that serve no other purpose than to make her more powerful. The player therefore has something of a first-person investment in her, which is strengthened by her moving backstory. This backstory provides both a juxtaposition and an alternative to Cecil’s own. Both Cecil and Rydia are orphans who were raised to be masters of their respective powers, and both must make a choice regarding whom they will forgive and whom they will protect. Unlike Rosa, the adult Rydia does not need saving, and she is not interested in romantic love. It would seem that she is therefore not an object but rather a subject, a female hero who stands on equal footing with the male hero.

Unfortunately, there is the issue of her costuming. While the two primary male characters, Cecil and Kain, are allowed armor, Rydia is clothed in leggings, oversized arm warmers, a leotard, and high heels. Besides not being very practical for battle, this outfit is highly sexualized. As a result, fanworks from both Japan and America have cast the character as a porn star who is raped by not only Cecil and Kain but also by her summon monsters, a dubious honor that is not shared by Rosa.

This pornographic treatment is not merely a result of Rydia’s sexy costume (or of Rule 34), however. There is also an air of innocence and a whiff of child-in-a-woman’s-body about her that invite male protection and exploitation. While Cecil and Kain are depicted as undergoing emotional trails on the road to character development, Rydia has an almost complete lack of interiority. If the adult Rydia ever faces any doubt over her abilities or conflict over the fact that Cecil killed her entire family, for example, the player doesn’t hear about it. Rydia is magical and mystical and unknown; she is a blank slate in an appealing costume onto which the presumably male player can project his fantasies of exotic and mysterious femininity. Moreover, although Rydia’s magic is undeniably powerful, the game’s strict MP limitations ensure that she is never more than a support character in the vast majority of battles, an unfortunate caveat that also applies to Rosa.

In both the gameplay and narrative aspects of Final Fantasy IV, then, female characters are associated with magic, innate ability, dependence on men, and cheerful self-sacrifice, while male characters are associated with physical power, training and skill, and development toward emotional independence. The player is strongly encouraged to identify with the male characters and their personal struggles. The male is the subject, and the female is the object. The male is known and powerful, and the woman is unknown and mystical. These are popular fantasy tropes, and they are not unique to Final Fantasy IV, whose story is powerful and appealing partially because it makes effective use of these tropes.

Part One
Part Three
Part Four
Part Five

Feminism and Final Fantasy (Part One)

For most of my life, I never gave any serious thought to the Final Fantasy series, despite the literally hundreds of hours I’ve spent playing it. I always had two fundamental assumptions regarding the series’s female characters. First of all, they can fight just as well as the male characters. Second, while they are very, very pretty, so too are the male characters. Like it says on the box, this is fantasy. In other words, my allergy to misogyny never flared up while I was playing the games.

I have since reconsidered these two assumptions. Before I begin this essay in earnest, however, I would like to state that I do not consider the Final Fantasy series to be misogynistic. Still, there are nuances in the portrayal of the primary female characters of the series that I would like to address.

I’d like to start off by defining my terms. Feminism, pure and simple, is the idea that men and women should be given equal opportunity. Although there are some basic biological differences between men and women that transcend time and culture, feminists believe that neither men, nor women, nor anyone in between should be judged or discriminated against simply by virtue of their sex or gender.

The antitheses of feminism are misogyny and sexism. Misogyny is an attitude of hatred towards women. It’s expressed through statements such as “Women are weaker than men” or “women can’t do [x, y, or z] as well as men.” It can also be expressed by identifying negative qualities with femininity, such as referring to a coward as a pussy. Misogyny is a type of sexism, which is an overgeneralization of character traits based on sex or gender. Sexism is like racism or ethnocentrism; it’s like saying “Jewish people are good with money” or “French people wear fashionable clothing.” Common sexist misconceptions include the ideas that women are more spiritual than men, that women are more artistic than men, that women are more in touch with their emotions than men, and that women have stronger social networks than men.

While on the surface it may seem like none of these statements is negative, such overgeneralizations in fact trap women within narrowly-defined social expectations. For example, a female elementary school student with a talent for math might not be encouraged and rewarded in the same way that a male student would be, since obviously girls are not good with numbers. Let’s say this little girls fights social pressure and the indifference of her teachers and grows up to become a promising investment banker. It’s really too bad that she won’t receive the same starting salary as her male colleagues, since everyone knows that she’ll just get pregnant, get married, and quit the firm. When facing social pressure and statistics like this, it can be difficult for girls and women to achieve personal goals that fall outside gender-related stereotypes.

One of the main tenets of feminism is that both boys and girls are constantly subjected to sexist social messages. If, for example, there were just one instance of a naïve young girl who makes stupid decisions for love being valorized while an experienced, unmarried older woman with political ambitions is demonized, then we could leave it at that – it’s just one instance, and relatively harmless. Feminist thought holds that there is an interconnected, unending web of such messages, however.

Both boys and girls are constantly bombarded with sexist social messages, and it’s difficult to escape their influence, even with proper parenting and media awareness. Over the past several decades, there has been a great deal of debate concerning what should be done about this. I personally believe that most people are smart enough to see through and see past sexism, but it’s still good for women to have strong female role models who aren’t villainized.

This brings us to Final Fantasy. Does the series promote sexist views of women? Does it provide strong female role models for the players who invest so much time and emotional energy into the series? To address these questions, I am going to look at three characters: Rydia from Final Fantasy IV, Aeris from Final Fantasy VII, and Fran from Final Fantasy XII. I will use these characters as examples in order to argue for a shift in the series from a male-centered viewpoint to a more gender-neutral narrative focus.

Before analyzing these three specific characters, though, I think it might be worthwhile to introduce the video games themselves. Final Fantasy is a series of fantasy role-playing games published by Square-Enix, which was formerly known as Square. Square was founded as a developer of computer game software by Miyamoto Masafumi in 1983 and, within five years, had fallen on tough times. In 1987, the company’s director of planning and development, Sakaguchi Hironobu, came up with the concept of a simplification of computer-based role-playing games meant to capitalize on the success of Enix’s Dragon Quest, which had been released the previous year. Because the success or failure of Sakaguchi’s proposed game would make or break the company, the seven-man production team decided to call the project “Final Fantasy,” as it would be Square’s last game if it didn’t sell. The game did sell, however, and it has since expanded into a record-breakingly profitable franchise that has spawned countless spin-off games as well as numerous anime, manga, and feature films.

Besides Sakaguchi, several other key players in the early success of this franchise are Amano Yoshitaka, who was responsible for the games’ concept art, Uematsu Nobuo, who wrote the musical scores for the games, and Itō Hiroyuki, who designed the games’ distinctive battle systems. Since Final Fantasy VII, the series’s debut on the 32-bit Playstation console, Kitase Yoshinori has taken over directorship of the games, and Nomura Tetsuya, who had previously adapted Amano’s artwork into pixel-based sprites, took over art direction and character design. The staff for each successive game in the series has gotten larger as each game has become more sophisticated in terms of technology and gameplay, so it’s impossible to attribute the success any of the games to the genius of one or two people. I mention these names of directors, programmers, artists, and composers in order to emphasize the careful planning and artistic contributions that go into every game in the series.

I also mention these names to point out that the main contributors to the series are male. Moreover, the primary audience of the games has historically been male. I should also point out that, with the exception of Final Fantasy X-2 and Final Fantasy XIII (and perhaps Final Fantasy VI, which is a bit of an anomaly in several ways), the player-character and primary hero of each of these games has been male. In other words, we’re talking about a group of men telling stories about men for an audience of men. Although by now it has become an untrue and clichéd stereotype that only men play video games, in the early days of the series, the stereotype was very close to the truth. Perhaps it’s therefore understandable that the games have been fairly phallocentric, a word that I use to refer to the dominance of a heterosexual, male-centered economy of desire. If the phrase “heterosexual, male-centered economy of desire” makes your head spin, I will confess that it makes my head spin a little too. In essence, though, it means that men are sexual subjects, and women are sexual objects. The boy gets the girl, not the other way around.

What I am going to argue is that the Final Fantasy games have become progressively less phallocentric with each successive installment in the series. This is a happy story, both for feminism as a whole and for fans of Final Fantasy, who come to the series looking for fully developed characters and intriguing stories, not just two-dimensional paper cut-outs going through the motions of a fantasy-themed farce. Before we can get to the more gender-equal present, however, we need to take off our nostalgia glasses and take a serious look at the dark days of the beginning of the series.

Part Two
Part Three
Part Four
Part Five