How ‘Justice League’ ruined the ‘Wonder Woman’ Amazonian outfits

I’d been holding out on watching Zack Synder’s “Justice League” because I knew I was going to be disappointed after watching Patty Jenkin’s “Wonder Woman.” What I didn’t know is that not only would I be disappointed, I would be furious too.

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As I’ve mentioned before, the 2017 “Wonder Woman” movie starring Gal Gadot and directed by Patty Jenkins may or may not have changed my life. I cried my way though the whole movie and left the theater with high hopes for future super heroine depictions. Those hopes were somewhat sustained by the 2018 “Black Panther” release because, although the badass females in that movie weren’t the main characters, they were still very much celebrated and given almost as much screen time as the Black Panther himself, T’Challa, and his nemesis, Erik Killmonger (but that’s a topic for another blog).

Regardless, I left the theater after watching “Wonder Woman” with my heart in my throat and my head in the clouds regarding future super heroine depictions. But I was brought back down to Earth hard after I finally got around to watching Zack Synder’s “Justice League.”

Two VERY different designs
Can you guess which set of costume armor was designed by a man? Lindy Hemming designed the set used for “Wonder Woman” (left) and Michael Wilkinson designed the set for “Justice League” (right). Source: Instagram via People.com

By now, you’ve probably heard of the controversy surrounding the late 2017 release and, more specifically, the altered Amazonian warrior costumes (And if you haven’t, have you been living under a rock?).

According to an article from Cinemablend.com, the official line from Michael Wilkinson, costume designer for “Justice League,” is that the reason the costume designs are so different between the two movies is because of the different time periods.

“For the majority of screen time in Justice League, the Amazons appears in 2017: one hundred years after the events of the Wonder Woman film,” Wilkinson said. “We wanted to show the passage of time by having a slight development in their armor, so some of the lines and details are different.”

Saying “some” of the lines and details are different is a bit of an understatement as nearly all the Amazonian costumes in “Justice League” have been reduced to thin lines and bare midriffs, a design that is incredibly impractical for a female warrior race.

[READ: Wonder Woman Calls for a Reimagining of Cinematic Feminism]

Lindy Hemming, costume designer for “Wonder Woman,” has been interviewed on her inspirations for the 2017 movie costumes and several chapters of the book “Wonder Woman: The Art and Making of the Film” were devoted to the subject. But the best analysis of the costumes, by far, came from a fellow costume designer and writer Amanda Weaver. Weaver, an unaffiliated fan of the film, broke down the costume designs in a series of tweets that are well worth the read.

Weaver's Twitter costume breakdown
Weaver’s passionate break down of the Amazonian costumes in “Wonder Woman” – and how they compare to previous “pin-up” incarnations of Diana’s costume – is a real treat to read if you’ve got the time. Source: Twitter

Weaver reversed-engineered Diana’s costume and that of the other Amazons in the 2017 movie and compared it to early Roman armor, ending her passionate “gushing” by saying the armor of Diana and her fellow Amazonians “showed respect” and that “The intent was to portray these women as warriors first and foremost.”

And warriors they are. Even though that’s not how Wilkinson and Synder went about portraying them.

Wilkinson continued in the same article from Cinemablend, saying, “Zack [Synder] wanted a more primal feel. So we harkened back to a time where armor was more primitive, metal was less developed and the Amazons had a more tribal feel.”

[READ: Why Wonder Woman Should Have Her Own Video Game]

Because “primal” and “tribal” apparently mean less clothing, more skin on display, and not as much protective armor, which seems counterintuitive for a warrior race. Never mind that most of the Amazonians wore hard leather armor with only some pieces of metal placed at a few key locations along their bodies.

More Weaver breakdown
Another tweet from Amanda Weaver detailing the use of leather in early Roman armor and how it was used as the inspiration for the Amazonian costumes in “Wonder Woman.” Source: Twitter

I could keep going about how this costume change takes three giant steps back in terms of female representation in the movies by reducing a group of powerful warrior women to dude-bro fantasy babes wearing nothing but skimpy leather bikinis, or about how since “Wonder Woman” was filmed before “Justice League,” Synder probably already had the original Amazonian costumes and made the conscious decision to scrap those designs and waste time and money creating new more revealing outfits, but I’m not.

I’ll just content myself knowing that although Justice League made away with just over 2 million in domestic revenue, according to BoxOfficeMojo, Marvel’s “Black Panther” made almost that much on its opening weekend.

Better luck next time, Synder. Who knows, maybe if you stop catering to dude bros and start broadening your female and POC representation, you’ll start seeing greater returns.

Just don’t ever expect to get on Marvel’s level.

And with that, let the power of Lara Croft be with you.

warrior armor

A series of unfortunate characterizations: Chloe Frazer

It’s hard to claim there’s gender parity in video games when Nathan Drake as the “Uncharted” protagonist is kicking ass and taking names and Chloe Frazer is sexually threatened in the same role within minutes of the game’s opening credits.

For all the recent progress made in the video game industry with the inclusion of strong female protagonists and characters in video games, there have been just as many setbacks. This series is dedicated to elaborating on what went wrong with the various female character depictions and how we can learn from them to achieve representational gender parity in video games.

Chloe Frazer from “Uncharted: Lost Legacy”

Former love interest to “Uncharted” protagonist Nathan Drake, Frazer makes her stand-alone debut in the 2017 series spin-off “Uncharted: Lost Legacy.” She is the main protagonist alongside Nadine Ross, Drake’s former enemy from “Uncharted 4: A Thief’s End.”

While many fans of the series thought it odd that Naughty Dog would continue the wildly popular franchise without it’s flagship character Nathan Drake, the spin-off/sequel was generally well received, earning an 84% score from Metacritic and an 8.5/10 review from Polygon.

The game is, most likely, the last game to be developed by “Last of Us” studio Naughty Dog, but “Legacy” has set a solid foundation for an “Uncharted” universe without Nathan Drake, should any other studios try to take on this wildly popular video game series.

Gorgeous graphics, unique characterization, and critical approval aside, there were some parts of “Legacy” in which the gender of the game’s protagonists came into stark relief when compared to previous incarnations.

Uncharted: Lost Legacy
Telling the familiar “Uncharted” narrative from a female perspective may not have been a bold and innovative move for the developer Naughty Dog, but it was a recipe for success as it sold close to 2 million according to VGChartz.com. Source: Cnet.com.

First of all, let me be clear, I’m not trying to say that female video game protagonists should be exactly like their male counterparts. They should be able to do the same stunts as their male counterparts – jumping obscenely long distances, setting off explosions from miles away, bringing down the bad guy in some super heroic fashion, or whatever – but they shouldn’t necessarily be exactly like them.

[READ: Why Wonder Woman Should Have Her Own Video Game]

While you could take just about any male protagonist and read him as a case study in hegemonic masculinity, I think I’ll save that for a later blog and just say that as long as our male heroes are jumping off bridges and shooting up abandoned buildings full of bad guys, our female protagonists should be doing the equivalent, and for the most part they are.

However, in “Legacy” there are a few moments in which the gender of the protagonist becomes the main focus of the story in a way that never would have happened with Nathan Drake as the protagonist. There is one cringe-worthy moment toward the beginning of the game in particular that highlights this distinction and made my blood boil.

At the start of the game, Frazer is trekking through a war zone in India to meet up with Ross. She gets stopped and accosted at one point by a group of male soldiers who take advantage of her perceived weakness to make vaguely sexually threatening remarks, get into her face, and generally toe the line between street harassment and full-blown sexual assault.

One of the most gendered moments in "Legacy"
Frazer makes it through this encounter fine and no action is actually taken against her, but the fact that it actually happens is something that could only happen because of her gender and that matters in terms of treating female and male protagonists equally. Source: Geekireland.com

Although nothing actually happens and Frazer makes it through the checkpoint without telling the men off or starting a fight she can’t possibly hope to win, this moment still smacks of something approaching sexism. While yes, this is an accurate depiction of how too many women are treated in India and all over the world, and yes, Frazer makes a point afterwards to say how she could have taken those guys down if she had the time, and YES, the men in this situation are depicted as the “bad guys” and their behavior as deplorable, the fact of the matter remains that this never would have happened with Nathan Drake as the protagonist.

[READ: Rape in Video Games: “Sex Sells”]

Chloe Frazer, canonically, is a woman, and the game designers and writers used her gender very specifically in that moment as a way to heighten the tension and create drama. At that point, her gender was, essentially, a plot device, and one that didn’t do anything other than highlight the fact that she was a woman in a very dangerous situation.

Even Lara can't escape protagonist gendering
Lara Croft’s gender is also used against her in this moment from the 2013 reboot, a sexually threatening encounter that only happens because she is a woman and would never even been conceived if she was male-identified. Source: YouTube.com

There were other gender-centric moments of the game, but this moment was the most salient for me as it really highlighted the gendered treatment Naughty Dog gave their two “Uncharted” protagonists. Just try and imagine Nathan Drake in a situation like Chloe Frazer was forced into at the game’s start and you’ll see how differently their genders are treated and perceived when they are placed in the same role – snarky, treasure-hunting protagonist.

And if you don’t see any difference in how they were treated, then you need to check yourself, because they undeniably were and that slight difference is characteristic of larger patterns of normalized sexual violence against women in the real world.

Until next time, let the power of Lara Croft be with you.

Rape in video games: “Sex Sells”

Video games and controversy, especially where sex and violence are concerned, seem to go together like two things that often go together but really shouldn’t.

Violence in video games is no new thing.

Just poke around the Internet or listen to the news for a little while and you’ll uncover a treasure trove of articles and talk show rants about how video games are corrupting America’s children with their gratuitous sex and violence.

Personally, I’m of the belief that violence in video games does not translate to violence and real life, and the idea that it does or will is a myth perpetrated by overly anxious newscasters and parents. While you can argue that we have seen an uptick in casual violence in recent years, I think that’s as much a product of other societal factors including news coverage of wars and crime, gory TV shows and movies and explicit music videos as much as it is a result of teenagers killing pixelating people.

But that’s an issue for another blog.

Instead of picking apart the conservative argument that violence in video games causes violence in real life, I’d like to take a look at the other element of video games that tends to draw controversy like moths to a flame: sex.

[READ: Why sexy modding isn’t really sexy at all]

As a culture that holds conflicting attitudes towards sexuality, especially in regards to women, America often invites controversy over sex and sexual content as a way to sell products and push political or social agendas.

The age old adage “sex sells” is heard so often around some advertising agencies — or in some news reports justifying and/or condemning said sexual content — that it’s become an accepted mode of communication, especially persuasive communication.

Take, for instance, the Hardee’s and Carl’s Jr. commercials that feature heavily sexualized, buxom blonde babes taking monster bites out of a hamburger too big for her plump all-American mouth. These commercials are so outrageous and over-the-top they’re almost parodies of themselves. Despite recent claims that Hardee’s will dump the “Slutburger,” commercials featuring the sexy models still air in many states, perpetuating this ideal image of American women as sex objects and icons.

father son hardee's commercial screenshot
Even this new commercial with its central message of changing cultural attitudes within the company features big-breasted women with their juicy burgers even if the context in which they are shown is made to satirize such representation. Source: Youtube.com

In a contrast so sharp it may give you whiplash, the LPGA has recently announced a new dress code for female golfers intended at making their outfits less revealing and more “professional.” ABC News reported this tonal shift on morning talk show “Good Morning America” by showing stock footage images of female golfers in low cut, tight tube tops while actual footage of female golfers on the course showed women in skirts, long-sleeved tops and, in a select few cases, colorful racerback tanks.

michelle wie action shot
This dress code has been criticized as a form of slut shaming by the LPGA and, like the “pinky-length” dress codes enforced by overzealous middle school teachers, humiliates women when the real problem are the men who are so often “distracted” by such displays of skin. Source: Guardian.com

This strict divide between how American popular culture depicts women and what society actually wants them to be is confusing, hard to navigate and often leaves many women trapped in a social limbo where they can never fulfill cultural expectations without running afoul of actual societal assumptions.

[READ: ‘Wonder Woman’ calls for a reimagining of cinematic feminism]

But what does all of this have to do with rape in video games?

The answer lies in a discussion of one of the most pervasive social influences of this century, one that plays a hand in the conception and design of everything from TV shows to music videos to movies to video games to news stories to policy and political agendas while simultaneously coloring our perception of events in a way that tolerates and even condones violence and sexual violence against women.

Rape culture.

For anyone familiar with feminist discourse and rhetoric, the concept of a U.S. rape culture should be no new thing, but for those confused as to what rape culture means and what it looks like in our society, buckle in.

It’s a complex and evolving social concept, one that is decried and highlighted as much as it is ignored and tolerated. It’s also one of those social shames that nobody wants to talk about or admit has a hand in shaping how they perceive things. But in order to talk, really talk, about rape in video games, we need to talk about rape culture, what it looks like and how it affects us. The “Sex Sells” mentality of advertising is only one aspect of rape culture, a multifaceted, multi-headed Hydra beast.

Next week I’ll take a crack at defining rape culture and delineating its affects on our societal social perception, but for now just think about the LPGA golfers and the Hardee’s commercials I talked about above. Not only are they results of the rape culture mentality so prevalent in our society, they also further the kind of thinking that most feminists — and most rational people, if they actually stop and think about it — want to eradicate.

Until then, let the power of Lara Croft be with you.

huffington post pic
It should be this simple, but it often isn’t. Source: Huffingtonpost.com

Lucky 13: This ‘Doctor Who’ fan isn’t ‘scared’ of 13th Doctor’s gender

What a time to be alive.

Truth be told, I haven’t watched “Doctor Who” in years. Once a rabid “across-the-pond” fan, my attention has waxed and waned over the years before declining sharply with the introduction of Clara as “The Impossible Girl.”

Part of my inattention was caused by the increasingly complex (see: ridiculous) plotlines and escapades imagined by series writer Steven Moffat. The other part was a long waiting period and weakening Netflix addiction that was only revived by my foray into college life. But after yet another wibbly-wobbly timey-wimey tale of hijinks ran off the rails into dramatic explosions and cleverer-than-thou Doctor monologues, I had to stop watching the show or start hating the series that I had loved so much in my late middle school and early high school years.

However, with the release of the new trailer unveiling the 13th incarnation of the alien Doctor grabbing attention across the globe, I’m willing to give this classic British series another chance.

It’s no secret that I’m for more female protagonists. Whether they be in video games, movies, TV shows, books or other mediums, I’m of the belief that more female characters — more complex and engaging female characters with realistic emotional definition and detailed character arcs and plotlines — the better.

[READ: 5 things we need more (or less) of in video games]

So it should be of no surprise that I’m excited about this new Doctor. I do have one critique, however.

What the hell took you so long?

This show has been running continually on British TV since the 1960s — barring a brief break during the 90s until the show’s official relaunch in the early 2000s — with twelve, now thirteen, different incarnations of the title character and countless variations of the spunky sidekick role throughout the years.

ten eight two
Some of the most memorable Doctors include David Tennant (Ten, 2005-2010), Tom Baker (Four, 1974-1981) and Patrick Troughton (Second, 1966-1969) with more great companions than I have room to name in a 800-word blog post. Sources: David-tennant-news.com, Dailymail.com and Pinterest.com

But year after year, Doctor after Doctor, Tardis set after Tardis set, there have been no female Doctors until Jodie Whittaker. And Whittaker has already released a statement urging fans not to be scared of her gender.

You heard right.

Scared. Of her gender.

In a quote in the article “Doctor Who: Fans react to Jodie Whittaker casting” from BBC News, Whittaker said, “I want to tell the fans not to be scared by my gender. This is a really exciting time and Doctor Who represents everything that’s exciting about change.”

The tone of this quote is defensive and a little pleading and while I can sort of understand its necessity , I’m a little shocked and a lot pissed that Whittaker and/or her PR agent felt they had to say it.

But she’s not exactly in the wrong to feel defensive. The BBC article went on to compile some of the most memorable fan reactions to the announcement, rom a father tweeting about his 8-year-old pumping her fist in the air to Facebook and Twitter trolls bemoaning the syntactic difference between a Time Lord and a Time Lady.

yes and no tweets
Seriously, shut up. Just shut up. You have no right to take this moment of victory away from the female Doctor Who fans who are finally celebrating gender parity in regards to the show’s main role. Source: BBC.com

I could go on and on about how the term “doctor” is gender-neutral and about how the show has already shown us through secondary characters and Moffat-y exposition that there are as many Time Ladies as there are Time Lords and about how everyone criticizing the new direction of the show needs to get real about what year we’re living in, but I’m not.

Instead, I’ll just say that this is the kind of world I want to live in. Setting aside the horror-show that is modern politics, at least some in the entertainment industry are trying to do the right thing by factoring gender into equations of Hollywood and small screen success and broadening the traditional role of women in the industry.

[READ: ‘Wonder Woman’ calls for a reimagining of cinematic feminism] 

In a world where women can be Ghostbusters, and superheroes and Jedi and queens and Doctors, those who stand opposite these powerful women and complain about their successes are in the wrong. Those that complain and bemoan the death of traditionally male-dominated roles in the industry are in the wrong. And those that rail against gender parity, that criticize and demean and condemn the female presence as a mark of equality rather than an object of the male gaze are, undoubtedly, unequivocally, unmistakably wrong.

But to all those celebrating the new female Doctor, keep calm and carry on, as those of the BBC would say, and let the power of Lara Croft (and Diana Prince and Rey and the 13th Doctor) be with you.

gender parity

Honest Review: “The Solus Project”

I think it says something about me that all my Steam games are creepy, atmospheric survival horror while most of my Xbox library is shoot ‘em ups with a story.

There was a lot to like about this game. It was creepy and atmospheric, it was simple yet involved and it was engaging and beautiful to look at. But there were a couple things about this game that gave me pause, including the depiction of the alien overlords at the end of the game and the player movement speed, an important game mechanic in an atmospheric walking simulator.

Teotl Studios and Grip Digital did a really good job of introducing a slow build from a strictly survival-based game to one with elements of mystery and horror intertwined. It could have felt really tedious in the beginning (and did, to a certain degree), but instead I was drawn in wondering how the Solus spaceship crashed and who could live on the capricious watery island setting even before the game introduced the concept of a prior civilization.

As I walked beneath the surface of the islands and deeper into the complex cave system, I could feel the constant pressure to survive easing, replaced instead by the burning desire to solve the mystery of who had lived – and died – here before I arrived, who the Sky Ones were and what they had done to the planet’s inhabitants, and how all of it related to the spaceship crash at the beginning of the game.

I got irritated with the game’s mechanics occasionally, but overall I think “Solus” managed to enforce the game’s mechanics in a way that didn’t take too much away from the overall mystery and atmosphere of the game.

solus project wilson skyline
I was surprised by how little the survival mechanics came to matter towards the end, but I honestly didn’t mind all that much as I mostly play games where eating and drinking are secondary to exploration and fighting. (Source: Gamespot.com)

This game really shines in its graphic and epic world-building aspirations. The game world is huge with several large cells of various weather situations and topographic builds and multiple similarly designed cave cell systems.

[READ: Good story vs. good looks in game design]

However, that carefully created world and all its intricate topography, hidden caves and tunnels, and mountainous hills of geometric columns, felt a little too big sometimes. It often drove me to distraction and I spent countless hours roaming the open wasteland of the islands or the claustrophobic insides of the watery tunnels searching for secrets or relics or hidden caches of alien food.

And while “Solus” was no doubt designed for that sort of aimless open world roaming exploration, it often crossed the line between fun discovery into painfully boring walking.

solus project island topography
Incredibly ambitious and beautifully designed, I was really drawn in by the intricate configuration of the islands’ topography and the alien flora, although I would have liked to see just a little bit of fauna — assuming those angry spike balls were more like sentient sea urchins and less truly living animals. (Source: YouTube.com)

Part of that may have been the movement speed enforcing a glacially slow pace. Although there were relics to increase the overall speed, it never felt fast enough to justify a slow trip across the swaying fields of red island grass. The swimming speed was also incredibly slow and while I would have loved to explore under the fickle waves of the various islands, the swimming speed was never fast enough to allow me to do so.

Essentially, I got bored and frustrated with a lot of the exploration mechanics well before I found all the notes and relics. While some might say I just wasn’t determined enough to find all the extras in the games, I think part of my frustration was justified due to the slow movement pace that didn’t really increase no matter how many relics of speed/movement I found.

In addition to my concerns with the speed of player movement, I also had a serious problem with the ending. Not with what happened, exactly, but how everything was wrapped up and all the questions it left unanswered.

[READ: Twelve questions ‘Rise of the Tomb Raider’ raised and three it definitively answered]

For example.

  • What exactly did the Sky Ones do to the previous inhabitants of the island?
  • What is the genetic relationship between the humanoid previous inhabitants and the humans of the Solus Project?
  • And what in the flying hell is that black ball of rage and why is it constantly trying to kill me?
solus project smoke monster
To be honest, I never really figured out what this thing was or what it wanted with me. And, because of the slow movement speed, I never really found because I spent more time trying to avoid it at all costs than explore the area it occupied for notes and relics. (Source: YouTube.com)

Some of these questions might have been answered in all the tablets and drawings I know I didn’t find among the giant map cells of the game, but I don’t think all of them were.

Regardless, I think the reliance on such a stereotypically alien image — a giant UFO, a strange green power emanating from a staff held by a cloaked leader, the final survivor being taken away for questioning with strange medical devices positioned around them, etc. — was a little trivial and banal. It felt a little hackneyed, not to mention disjointed at times with the supposedly advanced cloaked aliens carving notes into stone tablets while simultaneously using television screens to monitor the island’s inhabitants.

Despite the rushed ending and its clichéd reliance on alien stereotypes, I really enjoyed the game and I definitely think it merits a playthrough if you like survival horror walking simulators. It’s important to note that this game was designed with VR capability in mind as the game asked me every time I launched it whether I wanted to play it in VR, normal game, or a number of other fancy game modes available through Steam.

[READ: Real talk: A VR skeptic talks future of gaming]

However, as I don’t have and probably will never have a VR system, I played it like another video game and still thoroughly enjoyed it.

In any case, game on, from Prolus Command, and let the power of Lara Croft be with you.

creepy as fuck dolls

A brief history of Gamergate and why it’s still important today

We need to remember Gamergate because we need to create a better Internet, one that isn’t defined by hate groups and the vitriol they’re allowed to spread under the banner of Internet anonymity.

My first exposure to Gamergate was in the research I did for my English 105i term paper (the one that inspired this very blog, as a matter of fact). While the paper itself focused more on Lara Croft as a representation of what future female game protagonists could look like, I read a lot of articles, both scholarly and not, about the Gamergate controversy and what it looked like for women in gaming in the initial stages of research.

What first appeared like another Watergate rip-off — incidents likened to the Nixon scandal by the –gate names that have becoming increasingly (see: too) common over the years — morphed into a reactionary flood of antifeminist and anti-diversity sentiments.

It started with Zoe Quinn, an independent game developer, and the 2013 release of her game “Depression Quest.” While some argued that the game drew ire because of its unusual format — it’s extremely nontraditional, a “game” where players read and then choose text “actions” based on an evolving story paired with a moving soundtrack — the closer you look, the more it becomes about gender and about the angry white men that make up the “traditional” gamer demographic.

zoe quinn
“Depression Quest” was based partly on Quinn’s personal struggle with depression, and yet her genuine expression of vulnerability and heart was met with hostility and contempt by many. Source: Vice.com.

Shortly after her game was released, an angry ex-boyfriend, Eron Gjoni, posted a series of blog posts about Quinn’s alleged emotional abuse and infidelity. In a scathing six-part series, he explained that Quinn slept around with industry leaders, including a Kotaku game writer, in order to get ahead, claims both Quinn and the writer, Nathan Grayson, denied.

While Gjoni’s posts can easily be read as the ravings of a mad ex-boyfriend, some Twitter users took his view and rolled with it, spouting off claims of journalistic misconduct and ethical violations. Some took it one step further, making anonymous usernames and taking to Twitter and 4chan to harass Quinn, posting her address online, leaking nude photos on social media and even sending her death and rape threats, some of them so vile and specific she was forced to flee her home.

At the time, most Gamergate supporters tried to minimize the latter part of their “movement,” emphasizing that the real problem was the journalistic misconduct and that the threats were just the protests of a small minority group. But the “minority group” then turned their sights on another independent developer, Brianna Wu, and feminist media critic Anita Sarkeesian, making the Gamergate conversation less about journalistic ethics and more about gender and inclusion. Or rather, the extreme resistance “traditional” gamers had to it.

brianna wu tweet
Internet culture allows for a dehumanization of women and other objects of derision, allowing violence to be further perpetrated against them under the protection of Internet anonymity. Source: BBC.com.

It’s important to remember that none of this would have been possible without the protective cloak of Internet anonymity.

Walter Isaacson of “The Atlantic” described anonymity as the “bugs in the foundation, bats in the belfry, and trolls in the basement” of the Internet and online communities.

“For years, the benefits of anonymity on the net outweighed its drawbacks,” he continues.

But if Gamergate has taught us anything, it’s that the opposite is becoming true in an era where claims of alternative facts and fake news dominate information cycles with increasingly regularity.

While it’s true that there are people willing to share their vile beliefs in person, in public, without any regard to who might or might not be listening – the Pit Preacher at my school and the things he screams at passing students is proof enough of that – Internet anonymity makes it frighteningly easy to do so without any of the traditional repercussions the public sphere provides.

Internet culture has created a “boy’s club” environment that is characterized by hostility towards women, gay men and other minority groups. It’s gotten better in recent years, but there’s no denying the fact that while the Internet may provide important and unprecedented avenues for interpersonal connectivity and expression, it has also allowed mean-spirited trolls to flourish anonymously with no real repercussions for their actions.

Which brings us to this: Why is Gamergate still important?

For one, Gamergate never really went away. It just kind of receded into that dank, dark Internet hole trolls and offensive memes hide in, just waiting for the right time to rise and strike again.

You can see it resurface from time to time in anonymous hate directed at female industry leaders, characters and players, and those who critique existing and upcoming games. You can see also it in the number of female video game professionals: 22% compared to a male 75% according to a 2015 international survey. You can see it in the “buxom babes,” “femme fatales” and “damsels in distress,” or the persisting female stereotypes as outlined in “Pixel Pinups: Images of Women in Video Games” by Nina Huntemann.

Screen Shot 2017-06-26 at 12.31.49 PM
These are the statistics about gaming’s shifting demographics, one that frightens many who identify as the traditional straight white males many companies advertise to. Source: Theesa.com

More importantly, you can see it in the larger divisions in our cultural dialogue, beyond just those concerning video games, the male demographic readily involved in Gamergate, and gender and gender harassment.

Caitlin Dewey of “The Washington Post” said it best in her analysis of Gamergate, “The only guide to Gamergate you will ever need.” In her article, she described the movement as a question about “how we define our shared cultural spaces, how we delineate identity, [and] who is and is not allowed to have a voice in mainstream culture.”

“It’s about that tension between tradition and inclusion,” she continued. A tension that is still relevant – and painfully present – in our culture today.

In order to alleviate that tension — or, at the very least, allow us to talk about it civilly and humanely — Internet anonymity needs to be reconsidered and revised. Isaacson suggests a number of reforms in his article “How to fix the Internet,” including a voluntary system of identification and authentication. But any real proposal to reevaluate and rectify our divisive Internet culture would need serious consideration by industry professionals, users, and government officials.

At its heart, Gamergate was a confluence of antifeminist sentiments from a white male demographic afraid of female power in “their” industry and small-minded hatefulness made possible by Internet culture and anonymity. It’s important today because the hateful discourse at the center of the Gamergate storm is still on the Internet, indiscriminately targeting online communities over a variety of social issues from feminism to birth control to abortion to gay rights to #BlackLivesMatter to intersectionality to equal pay to trans rights to bathroom bills to any number of social and political issues.

Gamergate isn’t going away. And it shouldn’t.

It should serve as a reminder to us all about what happens when you allow the very worst of humanity free reign over a powerful and influential media like the Internet. It should also serve as the motivation for a better Internet, one that isn’t defined by anonymous hate groups and their rage.

Until we have that kind of Internet, game on and let the power of Lara Croft be with you.

internet hate

‘Wonder Woman’ calls for a reimagining of cinematic feminism

It’s hard to put into words just how much this movie means to me.

When it comes to superhero movies, I’ve got pretty low standards.

I know it. My friends know it. My mom knows it. And my sister, the self-proclaimed film critic of our family, knows it and talks about it with me at length, often disparaging my taste in films while she preaches down at me with the great knowledge of YouTube’s Cinema Sins and Screen Rant behind her.

But this long overdue silver screen interpretation of the most enduring female superhero of all time surpassed my standards and even those of my sister. It also surpassed everyone else’s expectations of a female-led superhero movie associated with a superhero brand that just can’t get it right (and with a female director at the helm, no less).

Right out of the gate, the movie made cinematic history, earning over 100 million its opening weekend, according to the Associated Press. Gal Gadot’s “Wonder Woman” also has a 93 percent rating on Rotten Tomatoes as of Sunday with close to 250 reviews, higher than any recent DC movie, including “Man of Steel,” “Suicide Squad” and “Batman v Superman: Dawn of Justice,” and all Marvel films except the first Iron Man, according to Vox.

But it’s not about the money or the ratings or the number of people who gave it a good score on the “Tomatometer.” It’s about what it represents to me and many other female moviegoers sick of watching the same superhero formula film: hope.

beautiful badass diana
I legitimately swooned every time she burst into action. Source: Comicbookmovie.com.

[READ: Why Wonder Woman Should Have Her Own Video Game]

Don’t know what I mean? Think about this for a minute.

Two little girls sat down next to me in the theater. One was blonde and generically cute while the other, her sister, was dark-headed and clumsy, tripping (adorably) on her feet. In her hand she held a Barbie doll with jet-black hair, a familiar red and blue dress and two silver bands clasped around her thin plastic wrists. A tight coil of rope at her hip swayed back and forth as the girl held it, gesturing wildly in her excitement as her dad settled her and her sister down with some popcorn.

Whether or not those girls were old enough to see the movie is not in question here – but if it was, I would probably say they weren’t, as the very first preview was rated “R” and the movie itself featured an amount of violence that befit it’s World War I subject matter. What’s important to them and to other little girls across the country is that for the first time in recent cinematic history, a woman was able to fight and kick butt on screen in a genre of movies generally reserved for men. And what’s more, she wasn’t overly sexualized, much to my relief.

In fact, none of the Amazons were. Their costumes and weapons were appropriate for their Greco-Roman origins and the slow-motion cinematography used during the fight scenes only further highlighted their athleticism and ability, something that is distressingly lacking in other movies depicting female fighters. It seems, to Hollywood, when we aren’t whimpering weaklings, we’re over-sexualized she-demons with about as much venom and malice as a pair of boobs locked behind a tight corset.

[READ: Why ‘Sexy’ Modding Isn’t Really Sexy At All]

WONDER WOMAN
Not overly sexualized, but perfectly athletic and able, Diana and the other Amazonians are the strong women we need from our superhero action movies. Source: Ew.com.

But “Wonder Woman” proved that women can be tough and sexy and intelligent and witty and funny, all without being hyper-sexualized or put on display for the infamous “male gaze.” Not only was Gadot’s portrayal of Diana as funny and charming as it was youthful and emotional, she was a Grade A badass. I fell in love with the way she moved, the confidence in her fighting and her looks and the way she held herself throughout the movie: like someone royal, some awe-inspiring and, well, like someone wonderful.

I fell in love with “Wonder Woman” and with Gal Gadot’s portrayal of the timeless character. It was so important to me that this movie do well and I’m absolutely relieved that it did. Not only because it would have been a death sentence for all other female-led superhero movies, according to the tone of coverage surrounding the movie before it was even released – and that’s an issue for another blog – but because it showed girls, and Hollywood producers, that women are capable of kicking butt and looking hot. Of being sweet and funny while also being tough and heroic.

Of being an icon for a new generation of girls and feminists, ones who deserve a stronger third-wave, or a newly defined fourth, and who deserve to play with Wonder Woman action figures and baby dolls and Barbies and toys that don’t fit into the strict gender binary our consumer culture often forces them into.

It’s hard for me to overstate just how much this movie meant to me, and how much it will mean for a new generation of moviegoers. While it’s easy to say that this movie has finally shattered the impenetrable glass ceiling for women in Hollywood, we can’t get complacent. The same thing was said about movies like “Bridesmaids,” “Thelma and Louise” and “9 to 5,” and here we are, still working towards gender equality in Hollywood and pretty much all other facets of life.

mashup posters
All three of these movies have shattered expectations and cinematic norms, but the glass ceiling has remained firmly intact after each release. Source: Amazon.com and Wikimedia.org.

While I could easily continue to talk about how much I loved this movie and how much more can be done towards making it a truly feminist movie, I think it’s important to remember that these things take time. Yes, “Wonder Woman” is not the magic bullet for female equality in Hollywood some might have wanted it to be, but it can get us there and, if we all work hard enough, we can help it stand for more than just an awesome female superhero movie – which it undeniably is.

We can help it stand representative of a new wave of feminism, or a revisited old one; one that calls attention to the new problems women are facing in our age of social media and technology and one that shakes up the postfeminist narrative that has invaded our media culture.

One last thing. To all those men angry about women-only screenings: Get. Over. It.

Look around a movie theater next time you go to a major action movie like “Fate of the Furious” or “Die Hard” or any Bond movie or the fifth Transformers movie coming out June 21. Those are pretty much all men-only screenings. Besides a brief stint in the silent movie era, almost all of cinematic history has been defined by male movie successes, and even those that flop – “Green Lantern,” “Batman v. Superman” or the Tom Cruise “Mummy” reboot to name a few – are usually given another chance to wow us or, more likely, flop again.

So shut up, sit down, get used to it and let the power of Lara Croft (and Diana of Themyscira) be with you.

Oh and Rocksteady? Don’t think this lets you off the hook. I’m still waiting for a Wonder Woman video game to match your Arkham series.

wonder woman unlocked