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They’ll Know My Name: An Analysis of Gender Representation in Rise of the Tomb Raider

Abstract

Media texts are useful tools for the spreading of ideologies. Stereotypes and representations

through media texts may be used to challenge or reinforce societal values and perceptions. The

emerging video game industry has long been criticized for its representation of female

characters, who are often portrayed as sexualised and passive compared to their male

counterparts. Discussions of female representations in video games usually uses Lara Croft, the

famous Tomb Raider video game franchise to criticize the role that has been given to most

female video game characters. In 2013, the Tomb Raider series has undergone a reboot, changing

the look of the game and the look of the female protagonist. Using textual analysis, this essay

looked at the promotional items used during the marketing of the second game to the reboot

series, Rise of the Tomb Raider, to analyse how the female representation are marketed to their

targeted audience. Though the female lead character is portrayed as empowering and the

emergence of strong female characters are rising, the problem lies on the attitude of the gaming

community on reducing female characters.

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INTRODUCTION & RATIONALE

Just as how film and television became important areas of study due to their popularity

and role in everyday life, video games are gradually rising to that status of importance

(Huntemann, 2004: 251). Video games have changed over the last decade, where the graphics

have improved drastically – it has gone from being blocks of two-dimensional pixels on a small

screen to being highly detailed with realistic graphics and can be projected and played on

displays as huge as a movie screen. The realism that video games has managed to achieve does

not only provide aesthetically-pleasing visuals, it would also enable the players to fully immerse

themselves in the fictional world, as they would with films (King and Krzywinska, 2005: 132).

The technology allows video game characters to appear human, turning them into expressive

beings rather than flat characters that the players would embody (King and Krzywinska, 2005:

140). These qualities have given rise to the video game industry. As it is working its way to the

mainstream media, video games have the potential to implant dominant ideologies and help

shape societal values through their media texts (Sanbonmatsu, 2014: 474). Gender representation

in the media is an ongoing issue that is often discussed in media criticism, and video games

prove to be contributing greatly to this area. In 2013, the famous video game franchise, Tomb

Raider, has undergone a revamp by Crystal Dynamics. The female protagonist, Lara Croft, has a

completely different physical appearance compared to her predecessors. The previous iconic

look of Lara Croft has been criticized for her disproportionate body, but she was not the only

game character who was presented in this sexualized way. This essay explores the gender

representation in video games by pointing out the gender disparity in video games and general

debates surrounding the female video game icon Lara Croft, followed by a textual analysis on

how Lara is presented in the promotional images and videos for the latest instalment to the Tomb

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Raider reboot series, Rise of the Tomb Raider (2015). Video games have been argued to be a

rather persuasive media form due to its interactivity (Sanbonmatsu, 2014: 473). Therefore, it is

important to study how video games are representing gender in the recent years where gender

issues are a widespread concern in the age of social media.

LITERATURE REVIEW

Stereotyping and Representation

Dyer states that we use typing characteristics to process information quickly in everyday

life (1977, in Hall, 1997: 257). However, stereotyping occurs when we reduce a person

belonging to groups other than ours to the few characteristics that are associated with them (Hall,

1997: 258). Stereotypes are generalized views of those attributes to all members of a certain

group and perceive those representations as real (Lind, 2004: 3; Hall, 1997: 263). Individual

personalities do not emerge within stereotypical perceptions. Race and gender are the two central

characteristics with stereotypes, simply because these beliefs are established long ago as the two

most important ‘markers’ of difference (Lind, 2004: 2). Hall mentions that power plays an

important role in representation (1997: 259). The dominant group holds the power to assert a

representation towards other groups in ways that they see (Dyer, 1977: 30 in Hall, 1997: 259).

This way of seeing will be reinforced repeatedly in the media and becomes the dominant

ideology that the society will come to accept as a norm, regardless of whether or not it represents

reality (Lind, 2004: 7). A single meaning will be fixed through representations to overshadow

other possible meanings that a text might contain, and stereotyping usually occur when a single,

dominant ideology is being forced upon the reader across multiple texts (Hall, 1997: 270).

Stereotyping is widespread among the society, and we cannot avoid triggering the stereotypes

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associated to certain groups when we see them (Devine, 1989 in Gorham, 2004: 16). Whether or

not one perceive others according to those stereotypical characteristics is, of course, depending

on their behaviours and attitudes. Stereotypical representation is constantly portrayed in the

media, resulting to the reinforcement of the ideology to reality, influencing our thoughts and

actions towards groups that are different from us (Devine, 1989 in Gorham, 2004: 16).

Gender Representations in Video Games

Content analyses carried out by researchers show that females are underrepresented

compared to males in video games (Ivory, 2006; Williams et al, 2009; Millers & Summers,

2007). Males often occupy the lead role or the hero position as game developers target their

products towards a male-oriented audience, particularly young males (Ivory, 2006: 104). While

females still feature in video games (though a lot less), they rarely take on an active role (Ivory,

2006: 105). Female characters are usually portrayed as hyper-sexualized characters that the

primary character will interact with in the game. They are reduced to being sex objects – dressed

in revealing clothing that barely cover up their bodies, and often they act in a sexualized manner,

which reinforces the gender stereotypes that are often seen in other media forms (Miller and

Summers, 2007: 735). Another frequent female portrayal in video games is the damsel-in-

distress, the stereotype of women being weak and helpless (Dickerman et al, 2008: 22).

Regardless of the roles they represent, one aspect remains largely the same across video games:

the bodies of the female video game characters are disproportionate, featuring big breasts, thin

waists, and full bosoms (Dickerman et al, 2008: 23). In contrast with their male counterparts,

female’s attire does not serve any additional function to the gameplay, other than appeasing the

male audience (Huntemann, 2004: 254). This gender difference and representation of females in

video games may affect the society’s attitude towards women.

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Video games have stronger persuasive skills than other types of media due to its

interactivity (Miller and Summers, 2007: 735). Moreover, the realistic visuals that closely

resemble the real world will further engage the player into the game-world, which is beneficial in

terms of technological advancement but could also contribute to the negative attributes that the

game might contain, for instance, inaccurate gender representation (King and Krzywinska, 2005:

125). The more realistic the game design is, the more successful the game would be (King and

Kryzwinska, 2005: 125). According to Williams et al, the games with the problematic gender

representations are the ones that are successful and popular (2009: 829). This may lead to

another issue of having a bad example on younger audiences as believable and humanlike

characters are more likely to be looked upon as role models (McDonald and Kim, 2001 in Miller

and Summers, 2007: 733).

Tomb Raider’s Lara Croft

The new Lara Croft is based on two models’ likeness captured using motion capture

technology that is prevalent in recent video games (King and Kryzwinska, 2005: 140). Her

emotions are expressed successfully with the help of voice-acting and accurate facial

expressions. Her new look and story enable new analysis on the present Lara Croft (MacCallum-

Stewart, 2004). Prior to Crystal Dynamics/Square Enix’s version of Lara, she fits the physical

description of the stereotypical female video game character: unrealistic body proportions (big

breasts – even pointy and geometrical in the earlier ones), tiny waist, and wears rather short

shorts and tight-fitting top. The new Lara is seen to be more empowering than before, with the

narrative detailing her self-discovery and her journey to becoming a stronger and independent

person – most importantly, not dependent on men (MacCallum-Stewart, 2004).

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METHOD

This research focuses on the latest instalment to the Tomb Raider reboot series, Rise of

the Tomb Raider that released on November 2015 on Xbox One. Rather than looking at the game

in its entirety, promotional media texts that are released during the marketing of the new game

are looked at instead, as promotion of the game is a crucial stage to attract consumers. These

short visual snippets of the game are more memorable than the game as a whole, as they carry

the functions of advertisements of memorability (Cowan, 2002 in Dill and Thill, 2007: 855).

They often use the condensed version of the complete game as the selling points of the game will

be used to promote it, hence the feel of the game, especially the characters, will be displayed.

The sample chosen for the study are the official poster used to promote the game and the music

video released by the official Tomb Raider YouTube page for the original song written for the

game, entitled I Shall Rise (2015) by Karen O. The signs on the poster are analysed using

semiotic analysis, with the guidelines provided by Gillian Dyer on the connotations that the signs

might bring (1982: 96-104 in Rose, 2012: 115). Similar to the framing techniques used in

advertisements for symbolisation, how the female protagonist is positioned in the poster and

other promotional images may reveal the ideological messages behind it (Goffman, 1979).

Textual analysis is carried out to study how Lara Croft is represented and introduced to the

public in the span of less than four minutes through the music video, including the lyrics to the

song, which functions as an anchorage for the preferred meaning by the game developers (Rose,

2012: 120). Scenes chosen to be included in the music video and how she is presented are looked

at, i.e., her actions, how she is framed, if she is portrayed as an empowering individual or

conforming to gender stereotypes. The use of lyricism in providing additional meanings through

the song by Karen O and the arrangement of visuals in the music video is studied using the

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criteria outlined by Creeber (2006). Textual analysis is useful for this study as it suggests that

multiple interpretations may exist from the same text. It is important to keep in mind that the

reading provided in this study is one of the various subjective perspectives, as different readers

produce different interpretations according to their cultural knowledge (Creeber, 2006: 36).

FINDINGS

Representation of the female protagonist

Promotional poster

Posters tend to be more widespread compared to other types of promotional items. Rise of

the Tomb Raider has one official poster (Figure 1 in Appendix) that is used to promote the

launch of the game and it also appears as the cover art on the box of the physical game copy.

Lara Croft takes the centre stage of the poster, directing the focus on to her. The poster has an

inner frame formed by the entrance of the cave that Lara is standing in front of, with a white,

wintry landscape as the backdrop. The opening of the cave forms a circle around her, drawing

further attention to her with no other visual distractions interrupting the image. Lara has a well-

covered attire, armed with several weapons and holding a burning red flare above her head. Her

clothes are predominantly dark colours, with the sleeves looking torn from fights or bracing

through the extreme winter condition. Her facial expression looks fearless and it may be implied

that she has gone through a few combats from the scratches or dirt details on her face. She is

standing with her feet apart for body support, with one hand holding an axe in a position that

seems to look like she is ready to strike if needed. The words of the game title are in white but of

lower opacity to not accentuate itself but still visible enough to capture attention while being

placed at the bottom of the poster, making sure that Lara has the spotlight, being the centre point

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of the game narrative. It has a worn out design to the letters as well, which parallels to Lara’s

worn-out appearance – a look of a survivor of hardship.

The lit red flare adds to the fierceness of the character, as the colour red is symbolic of

danger, passion, or force. The act of holding a burning flare resembles the Statue of Liberty,

possibly linking Lara Croft to the fight for liberty and to be free from oppression, in which case

it could be the oppression towards the female gender. Lara is presented in a powerful stance. She

is stood with her arms away from her body, as if embracing what is ahead and ready to brace

herself for the tasks. Therefore, her pose could be seen as empowering, presenting her as an

active character rather than submissive.

Her choice of weapons that can be seen in the poster, especially the axe she is holding,

implies Lara’s fearless personality to use a melee weapon for close combats which require her to

be in a close proximity with her enemies. The bow may signify her accuracy and silent

manoeuvres skills, and these involve strategic planning to take down her enemies and move

around undetected. From these visual cues, it shows Lara Croft’s bravery and skills – attributes

that are rarely be thrown upon to female video game characters.

The use of song and visual in shaping the character

I Shall Rise, performed by Karen O, is written specifically to be included in the game

soundtrack and it is heavily used during the promotional period, in which a music video for the

song is released. The music video features scenes from the game edited in synchronization with

the music. Several scenes are edited to complement the lyrics sung by the female artist. The

scenes selected are of significance to the game’s narrative as opposed to promoting the

gameplay. The focus is placed on Lara Croft, and the lyrics (plus the female voice) imply that it

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is sung from Lara’s point of view.

The music video opens with a medium shot of Lara wearing dark clothing with a hood

over her head, making her blend in to the dark surroundings with extremely low lighting (Frame

1). The first line of the song has not been sung yet, but three different scenes are already shown,

establishing the locations that the game will take place in. The two notable ones are the desert in

Syria and the snow mountains in Siberia. The look and weather of the locations are in contrast

with each other, but they are both expansive landscapes that Lara will have to endure in the

game. The first verse is sung, and the visuals are edited to match the lyrics:

As I walk through frozen sands

Through the flames of burning lands

My feet are torn, they are torn to strands

I will not thirst

Lara is seen walking through deep snow (“walk through frozen sands”), escaping a crashed

vehicle that explodes after (“flame”), falling off a cliff and struggling to get an axe down on the

rocky surface in order to survive, then climbing up the ledge to get to a safer ground. The scenes

alternate from the desert to the snow mountain in this sequence, juxtaposing the actions of her

struggling and surviving dangerous situations in different locations. These lines are sung in a

slow tempo, perhaps signifying the fatigue that she is experiencing (“my feet are torn”).

The next sequence shows Lara falling into the icy water and being trapped under frozen

ice while she tries to find a way back to the surface. The lyrics resonate her situation:

Waves are crashing over me

They drag me down, they drag me down

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I will not drown

As she swims in the water, the corners of the frame are fading to black, which usually means that

the “health” of the character is draining in video games (“they drag me down”). Lara continues

swimming towards the light, determined not to drown. The lyrics may also symbolize the

challenges that keep crashing on to her and trying to “drown” her, and she is voicing that she will

not give up.

The pre-chorus provides more information about Lara Croft’s character development in

this game. The lyrics talk about how after facing all the challenges and obstacles she experiences

throughout her expedition, she will be known and accepted by, presumably, the society (“They’ll

know my name”). The sequence cuts to a low-angle shot of Lara’s father – a flashback that

shows a younger Lara’s point of view (Frame 2). The lyrics sung during this sequence states,

“They’ll know my name, when they’ve forgotten all about you.” This anchors the meaning that

Lara is overshadowed by her father’s name and reputation, and she is hoping to clear her family

name and be recognized not by what her father has achieved—or not achieved—but be respected

for her own discoveries and achievements as an archaeologist.

As the song builds up to the chorus with the line, “they’re calling out my name,” a

medium close-up shot of Lara discovering an important artefact is seen in the video (Frame 3). A

subtle golden glow shines up to her, presenting the significance of the discovery to her career as

an archaeologist and as an individual, making her look victorious.

The chorus finally sings the title of the song and makes clear the central message or goal

that our female protagonist is fighting for, where she “shall rise again and again.” The montage is

edited in synchronization with the drumbeats, dramatizing her actions and creating a sense of

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fearlessness and determination that shapes Lara’s personality. The visuals show juxtapositions of

her enduring through several collapsing buildings (Frames 5-8), using her weapons (Frame 4),

and conquering the harsh environment. One of the shots show a medium close-up of Lara

drawing her arrow (Frame 9). The red lighting, along with her clear facial expression, display her

bravery and strength, portraying her as a powerful character. The video ends with a tagline that

reads, “Discover the legend within,” with her lighting up a red flare, producing the look of the

game’s poster (Frame 10). The “legend” may indicate Lara, who is seen as a legendary video

game character that people have come to admire over the years. It also emphasizes that the game,

or the reboot series as a whole, takes place before Lara becomes the Lara Croft that she started

out to be when the Tomb Raider game was first introduced back in 1996.

Female representation in Rise of the Tomb Raider

From the music video that is less than four minutes, plenty of information about the

game, especially the lead character, are provided. Lara Croft is portrayed as a young mid-20s

Caucasian female, where her age might be within the age range of the targeted audience. Her

self-exploration plays a huge part in the game, which may position her as a role model for the

audience that are going through a similar stage of self-discovery. It is clear that Lara is not

reduced to her gender stereotype, and she embodies the skillsets and endurance that are usually

only given to male characters in video games. Her body build looks proportionate and appears to

be more realistic than her predecessors. Her hair is tied up to a simple ponytail throughout the

entire game, no attempt of flamboyance is directed to the character’s hair to emphasize beauty.

Additional details such as dirt, smudges and wounds can be seen on her face and body as the

game progresses to depict realistic physical outcomes to the actions that she executed. Several

variations of her outfits are shown in the video, but the iconic Lara Croft tank top and shorts

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combination did not make a return. Her clothes are weather-appropriate – tank top and cargo

pants in the desert, well-insulated outdoor mountain-climbing attire for snowy weather, a long

sleeve shirt with long pants, and so on. The game includes outfits that players can unlock as they

progress or for purchase. The outfits prove to have functional purposes towards the gameplay as

well as realistic representation of proper attire for the conditions. Most importantly, they do not

sexualize the character.

The shots in the music video are of normalcy – shots are not focused on her figure or

parts of her body that would be done with the purpose of appealing to the male gaze. Facial

expressions are of significance in order to create an emotional link between the character and the

player.

CONCLUSION

Crystal Dynamics’ take on Tomb Raider has taken female representation seriously and

dared to deviate from the look and reputation of the previous games. The marketing of the game

has relied heavily on spreading the message of empowerment through Lara Croft. Unlike the old

versions, this version of Lara Croft attempted to eliminate the perception of Lara as a sex

symbol. Although the Tomb Raider series has displayed progressive and empowering female

representation, stereotypical representation of female is still prevalent in the video game

industry, namely the Grand Theft Auto series and the latest instalment of the Metal Gear series

where a female character is featured as a silent figure that wears revealing clothing. Misogynistic

gamers that exist in the gaming world might still find ways to sexualize a female video game

character to suit their preferences, making it harder to overcome this representation. On a

positive note, video games that feature strong female characters are emerging more frequently in

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the past few years, such as Sony Computer Entertainment’s Beyond: Two Souls (2013) with a

lead female character and The Last of Us (2013) with a young and capable female character.

What may be lacking in progress in the video game industry might be the representation of

minority races. Besides Telltale Games’ The Walking Dead (2012), there has yet to be a handful

of successful video games that feature lead characters of a non-Caucasian race. With the release

of virtual reality system in the coming years, these social issues should be addressed, rather than

solely focusing on tackling and introducing new technology to the gaming industry.

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Appendix

Figure 1

Frame 1 Frame 2

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Frame 3 Frame 4

Frame 5 Frame 6

Frame 7 Frame 8

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Frame 9 Frame 10