Women as Reward - Tropes vs Women in Video Games

“Fantastic!”

( ♪ Theme Music ♪ )

This episode comes with a content warning
for game footage involving

hypersexualized female characters
and is not recommended for children.

As always, remember that it is both
possible and even necessary

to be critical of the media we enjoy.

That’s going to be especially
important to keep in mind

given the video game franchise
we are about to discuss…

In 1987 Nintendo released a 2D
action adventure game for their

Nintendo Entertainment System
which departed

from traditional video game conventions.

Metroid starred a bounty hunter
named Samus Aran

who is covered head to toe in the
now iconic cybernetic “power suit”.

The game’s manual referred to the
protagonist with male pronouns

and described his identity as
“shrouded in mystery”.

Metroid was notable as an
early example of a game

that employed multiple alternative
endings which could be unlocked

based on the player’s gaming
skill and performance.

If the player is able to complete
the game in under five hours

a short cutscene will play featuring the
protagonist without their armored helmet,

revealing that Samus Aran is, in fact,
a woman.

This was a significant moment
in gaming history,

especially for many female gaming fans,
because, at the time,

nearly all protagonists were just
assumed to be male by default.

Remember this was back
before the internet,

when you couldn’t just hop online to find
out about all the secrets and spoilers,

so for many players, the ending of
Metroid came as a genuine surprise.

Still, the subversion only worked
provided players were skilled enough

to achieve the surprise ending.

In retrospect, Samus’ gender reveal perhaps
should not have been as shocking as it was,

considering that Metroid is
heavily influenced by the Alien films.

Sadly the alternate endings
did not stop there

the two “best” endings make Metroid
one of the first games

to exploit the Women as Reward trope,

as both reveal Samus
in various states of undress.

The better a player does,
the more clothing is removed.

If the player completes the game in under
3 hours Samus is shown without her armor

and in a leotard.

If the player finishes in under 1 hour
they are treated to Samus in a bikini.

So yes, Samus wasn’t a damsel’ed woman
waiting at the end of the game as a trophy

rather, her body itself became the prize
awarded to players for a job well done.

Later games in the Metroid series
continued the convention of

rewarding players with endings featuring
Samus in various states of undress.

In one sense Samus Aran definitely did
subvert traditional gender tropes

of the 1980s by taking on the role
of intrepid hero.

However she and her body were still
presented to players as prizes to be won.

The convention, of earning access to
cutscenes or ending vignettes

with eroticized female bodies can be found
in many titles over the past 30 years.

“Apollo”

“Whoa! Whoa!”

(Audience laughter)

“Oh!”

We can trace the roots of the
Women as Reward trope all the way back

to the beginnings of the medium itself.

As we discussed in our
damsel in distress mini-series,

upon successful completion
of many arcade games

players were rewarded with the
related Smooch of Victory trope, so named

for the kiss the hero received as a reward
for rescuing a kidnapped princess.

Sometimes the prize is blatant as with the
Standard Hero Reward

in which a king will give his
daughter to the hero.

On other occasions, it’s taken a step further
by employing the parallel

Sex of Victory or Rescue Sex trope.
Yes, it’s exactly what you think it is:

instead of a kiss, sex with the rescued
victim is the player’s reward.

“That was gonna get ugly. You saved us!”

“My pleasure, ladies.”

“Thank you, thank you. Thank you.”

“You saved my life. A bit of joy as
recumpence is not too much to ask.”

“I’m intrigued. It’s been a tough day.
I think some joy might do me good.”

(Moaning)

We’ve coined the Women as Reward trope
to describe a long-running pattern

found in interactive media.

It occurs when women
or more often women’s bodies

are employed as rewards for
player actions in video games.

The trope frames female bodies as
collectible, as tractable or as consumable

and positions women as status symbols

designed to validate the masculinity
of presumed straight male players.

There’s some overlap between the
Damsel in Distress and Women as Reward

but they function differently.

While the Damsel in Distress
trope uses women

as a plot device to motivate male heroes,

the Women as Reward trope presents women
as a formalized reward mechanism,

meaning that the reward is coded
into the game system itself.

The result of this incentive structure is
that access to women’s bodies,

women’s affection or women’s sexuality is
reduced to a simple equation that guarantees

delivery as long as the correct set of
inputs are entered into the system.

In this way the Women as Reward trope
helps foster a sense of entitlement

where players are encouraged to view women
as something they’ve earned the right to

by virtue of their gaming actions,
skills or accomplishments.

This is illustrated in arcade classics
like Joe and Mac

and Teenage Mutant Ninja Turtles

after players save the damsel
in both games,

she will bestow a kiss on the character
who earned the most points on that stage.

“I owe you one.”

Entitlement to women is made even more
explicit in many versions of Double Dragon.

At the end of the game, after the
final boss has been defeated

and the damsel in distress saved, player
one and player two must fight each other

over who “gets” to “have” Marian and
with her, the smooch of victory.

Notice that Marian’s desires are not part
of the equation, she has no say in the matter

she simply fills the role of a trophy for
whichever player is ultimately victorious.

This scene serves as inspiration
for similar scenarios

in more contemporary games
like Castle Crashers.

We’ve identified 6 primary ways the Women
as Reward trope manifests in video games.

Over the course of this episode
we will examine each in turn.

In addition to the “earned cinematics”
we’ve already discussed, we will cover

the trope as it relates to
Easter Eggs, Unlockable Costumes,

Experience Points, Collectibles,
and Achievements.

Easter Eggs are intentionally
hidden secrets or jokes

which developers conceal
inside of their games.

Like the eggs at a
children’s easter egg hunt,

these secrets are usually difficult to find
but are meant to be discovered as rewards

for particularly industrious gamers.

Easter Eggs can be hidden messages, items,
secret characters or random events,

and their inclusion encourages
experimentation with the game’s systems

and mechanics in order to
uncover these extra treasures.

Some can be found
inside game environments,

while others require a
cheat code to unlock.

For example, if players input a specific
button sequence while starting up

the 1991 role-playing game Rings of Power
the title screen would change.

By pressing down, right, A, B, C and the
start button, players were rewarded

with an image of a topless woman
next to the Naughty Dog logo.

Easter eggs are, of course,
not inherently problematic,

and gaming history is filled with
examples of neat secrets

that designers have hidden
away for players to discover.

But too frequently, Easter eggs
are used as another way

to reward players with women’s bodies.

Tony Hawk Pro Skater 4 included a secret
unlockable character named Daisy,

who bore the likeness of
porn star Jenna Jameson.

Daisy’s sexualized appearance and
skateboard tricks are designed as a reward

for those players who unlocked her.

One way to do that is
by entering this code

Probably one of the most famous
Women as Reward easter eggs

brings us back to Samus Aran.

The original Metroid used a password
system to save progress.

By inputting the secret code
“Justin Bailey” into this system,

gamers would unlock a powered-up
playable version of Samus

wearing only her
leotard-style bathing suit.

Incidentally this is the same outfit we
covered earlier as an end-game reward,

only here she has the powers of the Varia
Suit and its associated color pallete swap

which changes her hair color to green.

Players can then play the entire game as
Samus without her space armor.

So she ends up exploring
a hostile alien world

and fighting off deadly monsters
in her underwear.

“Welcome to the Hovercon intergalactic
hoverboard competition!”

There’s a bizarre easter egg
in the original Ratchet & Clank:

If the player does a series of side-flips
in front of a green-skinned alien,

the woman’s breasts will
suddenly begin to inflate.

The more gymnastics stunts performed,
the larger her boobs will become.

There are so many Women as Reward-style
easter eggs in the Metal Gear Solid series

that it would take several hours
to go over them all.

First released for the PlayStation in 1998
and then remade for the GameCube in 2004,

Metal Gear Solid featured not one
but two separate easter eggs

that allow players to see
Meryl Silverburgh in her underwear.

The second of these easter eggs requires
players to follow Meryl into the ladies room

and interrupt her while she is changing.
If this is done quickly enough

the next cutscene will play with
Meryl in her underwear.

“Anyway, how did you recognize me in disguise?”

“I never forget a lady”

Jumping ahead to the fourth game,

the protagonist is assigned a psychologist
for PTSD counseling.

During these remote sessions, if
players shake their Playstation controller

the psychologist’s breasts will
bounce and jiggle in response.

“Memories began to resurface
from his childhood,"

"when he fought for Solidus
in the Liberian Civil War.”

Keep in mind that easter eggs
are not accidents or glitches.

They are intentionally put into the game
by the designers,and as a result, indicate

the value that the designers themselves
place on these female characters.

They communicate to players that yes,
these women exist for players to exploit

or experiment with
for their own amusement.

Unlockable outfits are additional
costumes earned during gameplay

which allow gamers to play dress up with
player characters or party members.

Alternative “skins” as they are sometimes
called come in all shapes and sizes

and are typically just cosmetic changes
to the character’s appearance,

although sometimes they
add special abilities.

Many unlockable costumes
are cool, wacky or bizarre.

But when applied to female characters
we see a distinct pattern

of revealing, hypersexualized outfits.

Fetishized bunny, cat, maid or nurse
costumes are commonly used by developers

as a way to pander to an assumed
straight male player base.

It’s important to remember that
sexualization is not necessarily

just about the amount of skin showing,
but is instead connected to the question

of whether or not a costume is eroticized
for the express purpose of titillation.

“Hey, why were you wearing
that stuffy-looking suit of armor?”

“Oh? You didn’t like it? It’s pretty sturdy
and protects my body quite nicely...

See? Look at this beautiful skin,
free of bruises and blemishes!”

“Very nice… I’m actually worried
where my eyes might wander.”

“You don’t look all that worried to me.”

“I’ve just got a good poker face.
So, you’re okay?...

You don’t mind leaving your armor behind?”

“It’s sturdy, but it’s heavy. Walking
around with that on tires me out.”

“Hey, no complaints here. I prefer
eye candy to scary armor any day.”

These types of unlockable outfits
can be especially pernicious

since they often end up
undermining women who are

otherwise appropriately dressed
for active or professional roles.

The Resident Evil franchise has been
particularly guilty of this over the years.

Almost every major release in the series
has included the Women as Reward trope.

Resident Evil is a bit unusual in that,
since its beginnings in the mid 90s,

the franchise has featured a large
number of playable female protagonists

most of whom are skilled zombie fighters

and have impressive professional
resumés, to say the least.

Rebecca Chambers is a police officer and medic
in the Special Tactics And Rescue Service.

Players can dress her up in “sexy nurse”
and cheerleader costumes.

Jill Valentine is a high-ranking
Special Operations Agent

in the Bioterrorism Security Assessment
Alliance, and also the master of unlocking.

She can be placed in sexy police woman
and sexy pirate outfits.

Claire Redfield is a member of a
human rights organization

that provides aid during
bioterrorism incidents.

She can be turned into a
motorsport umbrella girl.

Sherry Birkin is a US government agent working
with the Division of Security Operations.

And here she’s wearing
a schoolgirl outfit.

Helena Harper is a Secret Service agent
and a former member of the CIA.

Her unlockable costumes include
another “sexy” police woman

complete with mini skirt and garter belt.

Sheva Alomar is an agent for the
Bioterrorism Security Assessment Alliance,

operating in the West African branch.

The tribal print bikini outfit is
especially disconcerting,

because it combines the sexualization
of a female character

with the racist tradition of
exotifying women of color,

particularly women of African ancestry.

More on that topic in an upcoming video.

As a reward for completing the
main game under specific conditions,

players gain the ability to shove these
female police and special agents

into the digital equivalent of those
patronizing “sexy” Halloween costumes

we see mass produced every year.

These ensembles are not only completely
inappropriate for the mission at hand,

but also reduce otherwise capable
characters to sexual objects

for the voyeuristic enjoyment of players.

“None of this makes any sense.
What did we do?”

“I wish I could tell ya.”

The latest game in the series, 2015’s
Resident Evil: Revelations 2

continues this condescending
tradition by offering DLC

that puts Claire Redfield into a
sexualized cowgirl outfit

and forces Moira into whatever
the hell that is supposed to be…?

The developers call it an
“urban ninja” costume?

[Sigh.]

Meanwhile, the male
playable character Barry

gets a gentleman’s Commandant
alternative costume.

Alternative costumes for men
are rarely objectifying.

They’re instead presented
as “tough guy” power fantasies

for other straight men to identify with.

And when men are stripped
down to their beachwear

it’s most often meant
as a lighthearted joke.

Shifting to an example of a game that
does alternative female costumes right,

Alice: Madness Returns features a wide
assortment of imaginative unlockable dresses.

And if you must go the
“bunnygirl” or “catgirl” route,

this right here is definitely
the way to do it.

In many games experience points,
or XP, are earned by completing tasks

like defeating monsters
or finishing quests.

Once enough experience points
have been accumulated

player characters can
periodically level up,

making them stronger or giving
them access to new abilities.

Unfortunately designers sometimes
tie the awarding of experience points

directly to sexual interactions
with female characters,

effectively transforming women into
conduits which players can utilize

to become more powerful warriors.

In the 2007 game Conan, for example,

dozens of half naked “maidens”
are chained up throughout the game.

“Take me and crush me with your love!”

When rescued they essentially function
as sexualized treasure chests

rewarding the player
with experience points

which are then used to unlock
more powerful fighting moves.

“…just a bit longer”

“We’ve reached Athens.
Get your things and get out.”

A number of other games tie
experience points directly to sex.

The God of War games, for instance,
established a tradition of including mini-games

that reward the player for successfully
having sex with one or more women.

Completing these little quick-time
events earn players red orbs

that are used to upgrade
attacks and magic.

Beginning with the 3rd game,
the Grand Theft Auto series

allows players to buy
sex from prostitutes…

“Get in the car.”

…and rewards them by
restoring their health meter.

In Grand Theft Auto 5, players are
given additional encouragement

to solicit prostitutes, in the
form of an increase to

their character’s stamina rating, which
enables those characters to sprint, swim,

or ride a bike faster for
longer periods of time.

Similarly, in The Witcher 3, Geralt earns
a handful of experience points for

buying sex from prostitutes, and he earns
more points for sex with the “courtesans”

in the wealthier districts than with the
“strumpets” in the poor parts of the city.

“Greetings to the honorable gentleman.
Welcome, make yourself at home...

What have you come for? We’re
prepared to fulfill your every whim.”

“I like you. Like how you look,
like how you smell.”

When women are used as sexualized
experience point dispensers,

the sexual scenarios are
themselves a reward

designed to validate the masculinity of
presumed straight male players.

But there’s a dual reward here: absorbing
these expressions of female sexuality

carries with it the ability for male
characters to grow stronger, faster,

and more capable, reducing the women
to points in a mathematical equation

that directly links the flippant
consumption of female sexuality

to an increase in male power.

Note that, while the consumption of
women makes male characters more powerful

it has nothing to do with mutual
relationship building.

The “relationship,” such as it is, ends
with sex, or rescuing the woman.

At that point, she has
served her purpose.

Players have reaped the benefits
and her value has been depleted.

Like an empty energy drink container, she
is simply cast aside after being consumed.

“That was nice!”

That’s hardly the only
problem with female NPCs

who are designed to function as
sexually objectified set dressing.

For more on the myriad of issues
with these types of characters,

see our two videos on the
Women as Background Decoration trope.

Collectibles are virtual
items placed or hidden

throughout a game
world for players to find.

Some collectible objects have
effects on gameplay,

such as boosting player stats or
serving as score multipliers.

Other collectibles are designed
simply to be accumulated

to provide a sense of accomplishment.

Once acquired, some collectibles unlock
concept art or other media fragments

that can be viewed later in galleries
selected from the game’s menu screen.

When done well, collectibles inspire
exploration and replayability.

However, when they’re designed to
function as an extension

of the Women as Reward trope, players
are encouraged to view women’s bodies

as souvenirs of their adventures.

In the 2010 remake of Splatterhouse
players are encouraged

to collect ripped-up pieces of photographs
of the protagonist’s girlfriend

which are strewn around each level.

Once the player pieces them together,

the completed images consist mostly of
private, personal sexual photos.

“I swear to God, you put this on the
internet, and your ass is grass, buster.”

Sometimes the Women as Reward trope

takes the form of corporate-branded
product placement.

For instance 2K Games officially
partnered with Playboy to include

50 hidden magazines scattered throughout
Mafia 2’s open world environment.

Once found, each collectible opens
to reveal vintage centerfolds

from real 1950s Playboy issues.

The discovered magazines are then
stored in the game’s inventory

and are available to be perused
at the player’s whim.

Konami’s Metal Gear Solid series
took this trend a step further

by actually turning pornography
into a weapon.

In Metal Gear Solid 4,
there are Playboy magazines scattered

throughout the game world
for players to find.

When acquired, the magazines are
stored in the game’s weapons inventory

alongside rifles and handguns,
and serve a dual purpose.

Players can look through the images at their
leisure, and also use them to set traps

by laying the centerfolds open on the
battlefield to distract enemies.

“Ooh, what’s this?
Heh heh heh…heh heh heh…”

In the first Witcher game, players are
awarded “romance cards” for successfully

seducing each of over two dozen different
non-playable female characters.

“Let’s take our relationship further.”

“Come home with me. Let me thank you”

“Let’s go.”

Like other examples we’ve talked about,
these pornographic collectibles

are saved in the player’s inventory and
are available to be ogled at anytime.

The souvenirs function as a
private trophy collection,

encouraging players to view these female
characters as sexual conquests

and acquire as many different flavors of
women as possible during their playthrough.

If collectibles in the player’s inventory
work as a private trophy collection,

then achievements serve as a public
trophy case, on display for all to see.

Achievements, or trophies,
are meta-goal award systems

built into most popular gaming platforms.

Unlike collectibles, achievements are
earned through in-game actions

but awarded outside of the game environment
itself and have no effect on gameplay.

Some achievements are rewarded
for skill or completion of tasks

while others are arbitrary
challenges set up by developers.

“Oh, please. Are you really just
doing this for the achievement?...

Click a door five times? Is that all that
you think an achievement is worth?...

No, no, no, no, no. I can’t just give
these merits away for such little effort.”

These systems encourage “replayability”
and provide players with incentives

to spend more time inside the
game space experimenting

with its environments and characters.

By default, your achievements are visible
to anyone who views your profile

on a gaming platform and thus they allow
players to show off their gaming skill

or dedication to their friends.

In other words, achievements are designed
to function as status symbols for gamers.

A whole host of games reward
players with trophies for

successfully having sex with
one or more female characters.

A suspicious number of those
achievements are called “ladies man”.

(Giggling.)
“The Gods have truly blessed you, Kratos”

Other games in the God of War series

use a variety of euphemistic
naming schemes for this.

In the PS3 version of the original game
the trophy is titled “Rockin’ the Boat.”

In Ghost of Sparta players receive the
“A Hero’s Welcome” trophy

and in Chains of Olympus the award
is called “Two Girls One Spartan.”

“Oh, Nico! I really like you!”

Some games in the Grand Theft Auto series
offer achievements for bedding a “girlfriend.”

“I think she likes me.”

Just so we’re clear on
what’s happening here,

players are receiving a literal trophy
for “achieving sex” with a woman.

When games such as these award
players with achievements or trophies

for sexual conquests they are directly
reinforcing negative ways of thinking

about the dynamics between men
and women in our society.

By presenting sex as an end goal of men’s
interactions or relationships with women,

these games frame sexual encounters
as challenges to be overcome.

Let me emphasize that the problem here

is not necessarily that sex
is included in these games.

By presenting sex as a goal and
then presenting players

with an award for accomplishing that goal,

these achievements function
as a form of trophyism.

Simply put, trophyism is the tendency
for men to view women as objects

to be collected and displayed as status
symbols of their sexual prowess or virility.

These “trophy women” then
serve as a way for men

to assert their social status among
and relative to other men.

The “fame points” system in the
2004 version of Sid Meier’s Pirates!

provides us with a stark
illustration of trophyism.

In the game, romancing and then rescuing
any of the game’s many governors’ daughters

not only rewards your pirate with
the option to marry her,

but also wins him extra fame points.

The daughters are largely interchangeable;
they don’t even have names,

and their value as a reward is
tied directly to their appearance.

Courting and marrying a “plain”
daughter earns fewer fame points

than marrying an “attractive” one,
and marrying a “beautiful” daughter

earns the most points of all.

Fame points then directly
contribute to the social status

your character achieves
at the end of the game.

Depending on the amount of points accrued,
you could end up as anything

from a lowly pauper
to a powerful governor.

Other ways to earn fame points include
acquiring wealth and defeating rivals.

Like all your swashbuckling escapades,
acquiring a woman becomes

just another feather
in your proverbial cap,

functioning to elevate your
prestige and renown in society.

And since, in the game’s Xbox Live Arcade
release, there are achievements

for getting married, and for
courting governors’ daughters

from all four nations at once,
these accomplishments

also increase your gaming status.

Achievements on Sony Playstation
platforms are called “trophies”

but back when they were first introduced
they were called “entitlements,”

which is a fitting name for those that
fall into the Women as Reward trope.

Since entitlement, or more
specifically “male entitlement”,

is the crux of much of what we’ve
been discussing in this video,

let’s take a moment to define what
“male entitlement” actually means.

First, the word “entitlement” refers to the
conviction that someone deserves something,

that they are owed it,
that they have a right to it.

By extension, “male entitlement”
is the conviction

that men are owed something
by virtue of their gender.

It’s the belief structure that tells men they
deserve to have their whims catered to,

both culturally and interpersonally.

One of the most harmful aspects
of male entitlement

is the false belief that men have a right
to survey and use women’s bodies.

This mentality carries with it a
corresponding set of expectations

about what women should provide for men.

It’s a worldview that primarily defines
women’s social role as vessels of sexuality,

and men’s roles as consumers
or patrons of that sexuality.

Unlike access to clean water
or health care, which should be

considered human rights that all people
deserve simply for being human,

access to a woman’s affections,
her body or her sexuality

is not a right owed to
anyone, except herself.

This should be obvious, but unfortunately

male entitlement is a pervasive
problem in our culture today.

The male entitlement mindset
has a profound impact

on how men relate to
and interact with women.

We see it manifest whenever a man orders
a woman to show him her “tits”,

or makes demands during an online game

that a woman send him
nude or sexual photos.

We see it in real-world spaces whenever
men catcall women on the street.

We see it whenever a man gropes a
woman at an event or convention.

We see it whenever a man expects sex
in return for buying a woman dinner.

At its most serious, male entitlement is
the mentality that serves as the foundation

for the epidemics of date rape
and sexual assault in our society.

To be clear, this doesn’t mean that
every individual man consciously thinks

that he has a right to the body
of every individual woman he sees.

Rather, male entitlement operates
in the background of our culture;

it’s a socially constructed mentality
that is so deeply ingrained

that it’s often invisible, operating as
an unquestioned base assumption.

The critical thing to
remember here is that

men are not born with this sense of
entitlement; it’s a learned way of thinking

that shapes the ways men
relate to women and women’s bodies.

"Fantastic!"

This attitude is taught through
a complex socialization process

impacted by a whole host of factors.

Families, religions, peer groups,
movies, pop-music,

mainstream pornography and
video games can all play a part

in the construction and
perpetuation of this mentality.

So of course video games
on their own are not responsible

for singlehandedly creating
“male entitlement”; however,

because games are interactive
systems, they can be programmed

to reinforce male entitlement in some unique
ways not found in other forms of media.

For instance in Asura’s Wrath, when the
player stares at a maiden’s breasts,

she’ll try to cover herself up.
But if the player keeps staring

they will unlock an achievement
called “View of the Valley”.

Similarly, in Lollipop Chainsaw
the player can unlock the

“I swear! I did it by mistake!”
achievement for using the game-camera

to look up Juliette’s skirt for
an extended period of time

despite her coy efforts to
block players from doing so.

The “Casanova” achievement in
The Saboteur can be unlocked

for utilizing a mechanic in which players
kiss 50 random women on the street

without their consent as a form of
camouflage to evade pursuing Nazis.

“That’s what I’m looking for.”

These achievements are
directly rewarding players

for in-game behavior that
amounts to sexual harassment.

Players are actively being encouraged
to think of women’s bodies

as something they are
entitled to interact with.

That fact, in and of itself, is troubling
but it’s just another example

of the core problem with
the Women as Reward trope.

Game systems are designed to provide
feedback mechanisms that either

punish or reward players for the ways they
interact with virtual environments.

Because video games are constructed
around these formal input/output systems,

they can be an especially powerful tool
for reinforcing cognitive patterns

by modeling and rewarding
player behavior.

In a game, you’re not just watching someone
else being rewarded with a woman.

You, the player, are earning a
woman as a reward yourself

for the actions you
yourself have performed.

Players make the correct
inputs into the game;

a woman’s affection or her body
is the corresponding output.

Players go through the process of saving
the princess, and the game’s algorithm

dutifully rewards them with what they think
they are rightfully owed for doing so:

whether it be a kiss,
a girlfriend, or sexual attention.

Social science indicates that one of the
primary ways we learn about the world

and our relationships to each other,

is through a process of
observation and imitation.

Human beings also learn by
seeing something modeled for us,

especially when the modeled actions are
accompanied by rewards or punishments.

Video games are uniquely positioned to provide
experiences that do all of these things,

because in most games, the player
occupies both the role of participant,

and the role of spectator
to their own actions.

In this way the women as
reward trope in video games

becomes a mechanism through
which male entitlement

is taught and reinforced
in our wider culture.

Cognitively, it’s strikingly
similar to the expectation

that if a man buys a woman a
few drinks, then he is owed sex.

The money and time for the alcohol
and conversation are the inputs,

the sexual gratification is the output.

When men’s entitlement-based
expectations are not fulfilled

they sometimes lash out in resentment
or aggression towards women.

This is clearly illustrated in the
catcalling scenarios I mentioned earlier:

street harassers feel entitled to
women’s time and women’s attention.

If they don’t get the response they
feel they are owed, they can become

increasingly angry, following their targets,
insulting them, groping them,

or otherwise aggressively
demanding to be acknowledged.

In the gaming community, we see
this entitlement-fueled outrage

bubble to the surface when some
gamers encounter indications

that games aren’t made exclusively
with their fantasies in mind.

Angry public temper tantrums from straight
male players have occurred when

role-playing games have forced them
to interact with gay male characters,

or presented them with lesbian characters

who were not available as
romance options to male avatars.

Angry backlash from straight
male players also materializes when

Western releases of Japanese games place
women in slightly less revealing outfits,

or increase the age of young
sexualized female characters to 18.

In the same vein, when presented
with critical analyses of the

poor representations of women
in many popular games,

this intense male entitlement manifests
in aggression, abuse and threats.

As we’ve demonstrated in this episode,
the Women as Reward trope

is set up to fulfill a very specific
male entitlement-oriented fantasy.

In many cases game creators may
not even realize their mechanics

are working to cement this
mentality, but when games use

a woman’s affection, her body, or her
sexuality as a carrot on a stick,

they’re actively encouraging men

to think of women as objects,
prizes, and status symbols.

And it’s not just men who are affected.

This ideology of male entitlement
seeps into the wider social consciousness

of everyone, regardless of gender, a
byproduct of which can negatively impact

the ways women relate to
one another and the ways

we think about our relationships to our
own bodies, and our own sexuality.

The good news is that because male
entitlement is a learned attitude,

it can, through education and
conscious effort, be unlearned.

And game systems are capable of
being part of that transformative process.

Just as their interactivity makes them a
powerful tool for reinforcing male entitlement,

so too could that interactivity be harnessed
to disrupt antiquated gender dynamics

and engage us with game mechanics
that explore more equitable interactions

between people of all genders.