Your bunkmates are already fast asleep when you fall wearily onto the hard mattress; it’s been a long, tiring day of back-breaking labor in the camps. Tired as you are, however, your thoughts are unsettled and sleep seems elusive.
Once, years ago, you would have felt anger about the accident of birth that forced you into this state, but now you accept your fate. You are but a man, and the strength of men exists to serve the greater good. Or at least that’s what they tell you, and who are you to question them?
At last you decide that sleep will not come and reach under your mattress, pulling out the small handheld hidden there. Pulling your blanket over your head to hide the glow of the screen, you turn it on, eagerly waiting to resume from where you left off. But the screen barely has time to flash HITMAN 37 before you hear a tremendous crash as the door to your dormitory is kicked off its hinges. “WE’VE FOUND HIM,” someone shouts.
No time to hide the evidence – the blanket is suddenly yanked from your head and you find two large Gaming Police officers standing over you, your terrified expression reflected back at you in their mirrored sunglasses.
The first officer snatches the handheld away from you and pops out the disc. “Code 37 – no female protagonist,” she grunts, snapping the disc in half in her fist.
The second officer flashes her badge – GAME POLICE: FEMINIST CRITIC, and your heart sinks. Being apprehended by the Gaming Police was bad enough, but that they have a Game Critic with them? This is bad, very bad. The Critic grabs you by the collar, half-choking you as she pulls you to your feet. “Playing games after curfew, huh? Well guess what, bub?” She pulls you closer and the light glints coldly off her earrings. “Games are for women.”
You feel the cold metal of handcuffs snap around your wrists. “We’re taking you in,” the first officer says coldly.
You pray that she only means you’ll be going to a reeducation center, but then she holds a retinal scanner up to your face and it immediately sounds an alarm. “Repeat offender,” it squeals.
You look back to your bunkmates, but none of them will meet your gaze. “You know what that means,” the Critic growls. “Time to go.”
You’re stuffed in the back of a small transport that is packed with other terrified men. Nothing is said by anyone as you are driven out of the camps and into the capitol city itself. Any other time, you would have gasped – while living in the camps, you never would have imagined that such grandeur was possible. But you keep silent, not wanting to make things worse for yourself than they already are.
At last you stop and are unloaded in front of what can only be the palace. It is a place you have heard of but never seen, a place designed to strike fear into the hearts of men.
You stand before the Gamer Gate – which stands open before you. Constructed entirely of bone, it gleams coldly white under the floodlights that illuminate the palace exterior. Lining the walkway to the palace steps are the dread female warriors, said to be able to strike any man dead where he stands with a single glance – the Social Justice Warriors. And there in formation behind them are their male honor guard, the White Knights, proudly bearing the black, white, and red banner of the Feminist Gynocracy.
The Critic and the Gamer Police march you, along with their other captives, up the steps of the palace and into a great hall. At one end of the great hall stands a throne of skulls, upon which sits a woman, who proudly wears the womb-shaped badge of a Game Journalist. Stunned, you find her both beautiful and terrible to behold.
You are thrown to the floor in front of the throne. The skulls leer at you mockingly as the Game Journalist considers your fate. “And just who are you?”
“A gamer,” you whisper. You had intended it as a statement of defiance, but your voice sounds small and frightened. You clear your throat and try again. “A gamer! I am. I am a gamer.”
The Game Journalist smiles, a terrible rictus to match the throne on which she sits. “Too bad for you. Gamers are over.” She snaps her fingers, pointing at the captain of her guard. “Execute him! Add his skull to my throne!”
“Wait!” From the shadows behind the throne steps a third woman who wears the robes of a Game Developer. “You may yet be spared, if…” She smiles like the cat that got into the cream. “…you consent to become my lover and say good things about my latest game.”
You draw back, horrified. “Never!”
A murmur passes through the ranks of the assembled Social Justice Warriors. “He does not consent,” The Critic says sternly.
“It is our highest law,” the Game Developer agrees sadly.
The Game Journalist sits back on her throne. “Then flay him alive and add his bones to the Gate.”
You can only scream in horror as the White Knights step forward to take you away.
I’ve actually avoided writing about the new edition of D&D, even though I have a lot of positive feelings toward it, mostly because of having my name tied to the shitstorm that was Consultancygate – despite never actually saying anything publicly about Consultancygate. (Other than referencing that it was a thing that was stupid. Go ahead and google if you need to. I’ll wait.)
But now that’s died down, albeit mostly because a bunch of shitstains succeeded in creating an even bigger and more embarrassing faux-“scandal” that’s currently being used to harass women and “SJWs” in gaming (ie #GamerGate or #GamerGhazi or #notyourshield or #SockPuppetGate or #WhateverTheFuckTheyreCallingItNow), I figured now would be a good time to write about my impressions of the new edition.
Or, wait, no. Scratch that. What I meant was that some butthead said some wrongheaded stuff about the art direction and I felt compelled to lay a smackdown:
UGH WIMMENZ WHY DOES THE NEW D&D HAVE SO MANY OF THEM THEY ARE OBJECTIVELY TERRIBLE AMIRITE AND ALSO BROWN PEOPLE DON’T RUIN MY FANTASY ABOUT MAGIC AND DRAGONS WITH BROWN WOMEN WTF IS WRONG WITH YOU
Jesus, internet. Could you maybe try to be less awful some time?
So here we go. Because it’s a thing worth saying, here are some reasons why D&D 5E is great and is totally a thing that tabletop gaming needed. (Spoilers: it’s the art)
Guys the art is so good I just can’t even
In the interests of full disclosure, I will mention that D&D really doesn’t mesh with my play preferences, and although I do own the PHB 3E and 4E, I will not be purchasing 5E. But this is the first time that I’m actually sad about that, because YOOUUU GUYYYYYSSSS. LOOK AT THE ART YOU GUYS:
WUT. Fully-clothed, actively posed, heroic looking women? Brown people? Heroic looking brown women? NO BOOBPLATE??? [swoon]
CHECK IT OUT, A HALF-ORC PALADIN. This is something I never expected to see! The treatment of race in the Forgotten Realms setting has always been… problematic at best. Orcs and half-orcs have always been depicted with traits that read as a very thinly veiled analogue for blackness. So to see Paladins, who are the literal embodiment of good, being represented by a righteous-as-fuck looking half-orc? That’s revolutionary!
Also, taking a step back, look at the characters being depicted here. These characters all come from obviously distinct cultures. So not only do we have group portraits that include a variety of ethnic backgrounds, but we also have PoC adventurers who come from obviously non-white cultures, rather than being rolled into some White Fantasy Crypto-European culture.
Which is really just the best, because yay social justice! But also because White Fantasy Crypto-Europe has gotten boring as shit. So the fact that WoTC has taken effort to portray a variety of cultures that go beyond different flavors of white people is amazing, because it’s new and exciting.
And to anyone who is complaining that not-sexualized women are so booooring, I submit the following as evidence:
BEST. BARD. EVER.
Seriously, look at that cocky smile. Look at that badass outfit. LOOK AT THE GUITAR. How could you not want to play David Bowie with pointy ears? What is wrong with you? Are you some kind of terrorist? Some kind of awful, freedom-hating anti-Elf-Bowie terrorist?
Seriously, though, look at the image on the title page – the very first piece of art you see when you crack the book:
Holy crap! That is one seriously heroic-looking black guy, beating the ever-loving shit out of a group of goblins! And we’re not talking “slightly tan skintone” black guy, either. Rather, this is a very-dark North-African-looking guy looking totally heroic and not-at-all like a villain, which is just really refreshing. Because all-too-often in fantasy artwork, people with this sort of skin tone are depicted as either 1) not focal or 2) evil. (I’M LOOKING AT YOU, THE DROW.)
But awesome depictions of PoC aren’t just limited to men. Nope! There are plenty of badass PoC ladies too:
That’s right! The iconic human is a black woman! A badass, fighter-y black woman to boot. I guess you could say that makes her a social justice warrior?
Now all of this isn’t to say that there aren’t still things that could use improvement. For instance:
…it’d be nice if this group shot included some non-white folks. (Although I’ll admit that the old elf guy reads as white to me, but his skintone is also a bit ambiguous?) But even saying that directed at one illustration feels like nitpicking; there’s a good mix of gender and ages depicted and no ridiculous boobplate, and the rest of the book is obviously making a clear statement that THIS WORLD IS INCLUSIVE DAMMIT.
Why we’re winning the culture war (in which I drop names)
To see this kind of dedicated effort to Not Failing At Art from what is arguably the flagship product of tabletop gaming is just the best. It feels like a vindication of everything that I’ve been doing here. And in some ways, it sort of is.
Mike was very open about the difficulties that he’s faced in trying to push inclusivity in the game products he’s worked on. He talked about how he’d been assuming diversity of representation was the default, only to realize later that there were many others who had assumed the opposite, who feared they might face consequences if they pushed their content “too far”. And now he’s working to actively make D&D products more inclusive going forward (something which I will write about in further detail later).
Another topic of conversation that we talked a fair bit about was how they’ve been trying to solve the problem of diverse art by creating a list of fictional cultures inspired by real-world counterparts and then making that part of the specs handed out to the artists. Instead of asking an artist to give them an illustration of a “human warrior”, they are asking for a “human warrior from [Fictional Culture]” to ensure that the art that is handed in isn’t mostly just white folks.
It also sounds like they’re making a point of cracking down on ridiculously gratuitous sexualization when initial art drafts come in. Without going into potentially incriminating detail, Mike Mearls did tell us a pretty funny story about rejecting a piece of artwork that had humanoid breasts on a non-mammalian fantasy creature – which is heartening to hear! (One of my greatest disappointments regarding 4E was that female dragonborn were described textually as not being visually different from male dragonborn, only ALL THE DAMN ART gave them boobs. All of it.)
So to bring this back to Hates Women and Brown People in D&D Guy… Sorry, random awful person on the internet, but this bygone era that you long for, in which women and brown people are either objectified or ignored in D&D? That ship has sailed, and it’s not too likely to return. And frankly, I can only believe that that is a good thing.
 Don’t get me wrong, GG is still a total fucking shit show and anyone who seriously tries to advocate for it as a “real issue” after 3+ weeks of abuse that has actually driven women out of the industry is going to land themselves straight on my block list.
 I’ve played a fair amount of 3E and 4E, and a lot of 3.5E. But now if I’m going to play “killing things and taking their stuff” games, I’m much more likely to play Dungeon World or Descent.
[NOTE: I’m just about to finish Day 10, so please no spoilers on things that come after that.]
I was having a conversation with my husband the other night about cultural appropriation and Lightning Returns, in which I had occasion to make the following comparison: “It’s like an Evangelical white Texan decided to write a game about Hinduism. That’s how wrong it gets everything.”
And I’d really like to expand on that! But before we go any further, let’s break down the specific example I’m talking about.
Lightning Returns: the most bonkers take on Catholicism ever
So firstly, let’s just get started with the fact that in 13-1, Lightning becomes the pawn of the fal’cie, nigh-omnipotent servants of an omnipotent but mostly absent god who created the world and then abandoned it. She then spends the entire game fighting against entities that are roughly analogous to archangels, and soundly kicks their asses. And somewhere in there she somehow befriends Odin and he becomes her beating-things-up buddy, because, I dunno, I guess he just really likes that her name is Lightning?
Then in 13-2, she’s suddenly abducted by a goddess of Death-but-not-really(?) and turned into a valkyrie. And now in 13-3, she’s back working for God again, and she is literally the savior. As in, that is her title now – Savior Comma The.
So now 13-3, Lightning Returns, stars Lightning, The Savior, chosen of God – Bhunivelze the Lord of Light, who apparently decided that priestly robes were passe and that Lightning should have priestly bondage wear instead.
And then there’s a bunch of stuff about the end of the world because it’s Squeenix and let’s just cut to the fact that “God’s” base of operations is The Ark, which looks like a fevered acid-trip conjured by the love child of a Futurist and an Art Nouveau aficionado. And that weird tree there? Oh, don’t mind that, that’s just The Tree of Life, AKA Yggdrasil, AKA the World Tree of Norse mythology:
Why is Yggdrasil a plot point in a game that is literally about making Lightning the Christian Bondage Wear Messiah? Let’s not worry about that, okay? Let’s also not worry about that in 13-3, Lightning saves a white chocobo named The Angel of Valhalla, who was really – surprise! – Odin all along! Only Odin is a giant white chicken now, because reasons. And Odin, Valhalla, and Yggdrasil… well Norse culture only predates Christianity by, like, a couple centuries, and Scandinavia is, like, in the same hemisphere and Norse people and Christians are both white, or you know, mostly white, or okay there are non-white Christians but we just won’t pay attention to them because that’s not important.
So, okay, Lightning the Bondage Messiah has been chosen by God to save the souls of as many people as she can before the end of the world so that they can live again in the new world that God is going to create. And no, none of that sentence was in any way a metaphor, because here is Lightning doing some sweet, sweet, soul saving:
Oh, and then there’s the official church of God, who are, like, God’s official homies. Only they’re called “The Order”, and they are totes Catholic because seriously check out this badass Cathedral:
But even though the Order are God’s official homies, they’re also preparing to fuck up God’s shit by doing a ritual to destroy all of the dead souls still hanging around and shit, which would ruin God’s promise to bring back Lightning’s dead sister after she helps him save the world and stuff. Because holding family members hostage is something that totally happened, like for real the New Testament was full of DO WHAT I SAY JESUS OR I WILL FUCKING SHIV MARY SERIOUSLY DO NOT FUCK WITH ME JESUS.
Oh, and even though I haven’t finished the game, I know for realz that Lightning is going to wind up beating up and maybe killing God because Squeenix is telegraphing it so hard, which is also legit Christian, because don’t you remember that time that Jesus and God had that throwdown in the Octagon?
…I think you probably get the idea by now.
So what does this have to do with cultural appropriation?
And yes Japan does have a history of colonialism itself, and yes it does have a problem with racism against non-Yamato-Japanese. But Japan has never colonized the West, nor has it attempted to forcibly convert Western people or otherwise destroy Western religion. And bizarrely-worded t-shirts aside, it certainly doesn’t have a history of selling misrepresentations of Western religion and culture for profit in such a way that would comprise a threat to the integrity of said religion and culture.
So while Lightning Returns is a deeply weird take on Christianity that some might find offensive (I don’t, but I could understand people who do), I don’t think it’s fair to call it cultural appropriation.
So why go on at such length? Because I think the close-but-not-quite nature of Lightning Returns makes it a useful illustration of what cultural appropriation looks like for people who might not be accustomed to looking out for such things.
There are, unfortunately, a lot of game writers out there who see nothing wrong with raiding non-European cultures for game fodder. Because these cultures are often seen as “inspiration” and not as cultures that belong to real, living people, the result can be big, dumb pastiches of stereotypes and misinterpretations that read as bizarre at best to members of that culture. And because the majority of game developers are still, sadly, white, it only perpetuates the cultural trend of white people commodifying and profiting from the cultures of groups that they themselves have historically victimized.
There’s nothing inherently wrong about writing a game about or set in a culture that you are not a part of. I’m a firm believer in promoting the stories of marginalized groups of people! Hell, I wrote a game set in the Reconquista specifically because I was bothered by the erasure of PoC from European history. But it is wrong to write a game about a culture that isn’t yours if you don’t treat it as something worthy of respect.
Which is where we come back to Lightning Returns as a useful example of What Not To Do!
Looking at Lightning Returns, we have:
* Casual conflation of two distinct cultures from ethnically similar but distinct groups of people (Norse paganism =/ Christianity)
* Use of a cultural or religious symbols to argue for the destruction of that culture or religion (because come on, I don’t have to have finished the game to know that Lightning is going to try to kill God)
* Characters represented in such a way that would be offensive to a significant portion of the real-world members of that culture (Lightning’s bondage messiah gear)
* Representation of a religious figure/cultural hero as something antithetical to their traditional representation. (Jesus was a Jewish carpenter and prophet, not a pink-haired Japanese sword-wielding lady badass who beats up gods for fun.)
So, you know, if you’re struggling with the whole “how not to do cultural appropriation”, you can at least not do those things, which will be a start.
 Because a Buffy reference seemed appropriate.
 Only it’s Thor that’s the Norse Thunder God, not Odin, but let’s not get sidetracked…
For quite a while, I’ve been working on collecting data for a post about sex workers in video games. It was going to be long and contain a lot of detailed data points and… honestly I tried to find just about any excuse not to work on it, because it was hard. Almost all of the games I was looking at were of the GRIMDARK MALE HERO school of protagonist design, which for the most part I avoid like the plague. (Although I’m willing to make exceptions for exceptional writing. I loved The Last of Us so much that I wrote two posts about it.)
So in order to gather the data points that I was looking for, I was having to wade through some truly awful gameplay clips on youtube, or depressing Google Image search results, and it was just depressing.
And the idea of collecting all the data points I wanted for the entire list of 86 titles I’d put together was more than daunting. It made me want to give up all together. And I felt bad about that, because it was important – something well worth writing about! Something that spoke to the deepest core of misogyny in the game development industry.
And then Anita Sarkeesian released her most recent video about the phenomenon she calls “non-player sex objects”, which addressed everything that I wanted to say and so much more. And I’ve been mulling over the problem of this post that I wanted to write and realizing that the thing I was planning on writing? I think that’s a thing that would be redundant now. Because Anita said it better than I could.
I feel a little bad about it, because this was something that I’d had hanging over my head for the last six months. But at the same time, I have to recognize that doing the needed research required exposing myself to disturbing and violent imagery, which was a task I just don’t have the emotional bandwidth for right now.
Still, I thought it was worth writing a brief post here, because I want to highlight again that Anita Sarkeesian IS A MOTHERFUCKING SUPERHERO. She deals with the absolute worst that the internet can throw at her and marinates in the disturbing and graphic misogyny produced by the game industry and still manages to create videos that are insightful and powerful and compelling.
I’ll probably still write about sex workers in video games at some point in the future, but I imagine it will be more narrowly focused than the sprawlingly ambitious piece I had intended to write. In the mean time, if you haven’t seen Part 2 of the Non-Playable Sex Objects series, here it is. [ALL OF THE TRIGGER WARNINGS]
[NOTE: SPOILERS for pretty much all of the FFXIII games. ALSO – I’m writing this post before I’ve actually finished playing Lightning Returns, so PLEASE don’t spoil anything past day 10. Thanks.]
I’ve been working my way (slowly) through Lightning Returns the last few months. Despite the railroad-y nature of FFXIII, I did enjoy the characters – especially Lightning, whom I’ve written about as being one of my favorite RPG characters ever. I enjoyed FFXIII-2 even more, as it combined solid writing with more non-linear play options, even if the ending was 100% full of shit.
Especially since Squeenix was coy for the first several months about whether there was going to be an FFXIII-3. Yup! We’ve killed a protagonist, destroyed time, and ended the entire universe. The end!
…sorry. Got a little sidetracked there.
Anyway, when I found out that XIII-3 was going to be a thing, I knew that I was going to have to play. It was going to mitigate XIII-2’s crappy ending! And even better, it was going to star Lightning!
And then I started hearing… things. About how the game was going to bring back dress-spheres, and how the development team wanted to implement jiggle physics, and how there was a catgirl outfit that served no real purpose other than making Lightning look hawt. And suddenly I wasn’t so sure I wanted to pay money for the game.
Thankfully, a friend of mine had already purchased it before getting sidetracked playing the re-release of FFX/X-2. Problem solved!
Canonical Lightning’s Outfit sucks
Unfortunately, the facepalms started as soon as I fired up the game for the first time and saw Lightning’s new costume design. Yes, despite supposedly just having woke up from crystal stasis, which she entered while wearing her FFXIII-2 valkyrie armor, she woke up in this brand new outfit that honestly doesn’t make any fucking sense at all. Seriously, check out these stills, both of which happen in cutscenes within the first hour of starting a new game:
The worst part is that the top image is from the very beginning of the game, the first time we see Lightning, the supposed protagonist of the game that I’m supposed to spend the next 40ish hours with. And the first thing I get is Lightning’s crotch.
Seriously, it would be impossible to overstate just how bad Lightning’s starting outfit is. Because while it might look borderline “reasonable” from the front, at least by the standards of normal video game oversexualization, what it looks like from the back is an entirely different story:
That’s right. Her flappy loincloth is designed to billow dramatically, which also, coincidentally, gives us a total panty shot. Also, it highlights that Lightning is really just wearing mostly straps and not much else.
BUT WUNDERGEEK. U CAN CHANGE WHAT LIGHTNING WEARS SO WHY DOES IT MATTER.
Well, yes, thanks internet. But that doesn’t change the fact that I had to play through the first hour or so of the game without any option to change outfits. Also, in terms of what has been established as the “canonical Lightning” for Lightning returns, this is, unfortunately, it:
But sure. Yes. Okay. There are lots of other garbs to choose from, so I don’t have to play with the default garb. True! Except…
The entire impetus for this post happened when my husband was watching me play last night and commented that I hadn’t changed any of my outfits in a long time. (As in 12-15 hours of gameplay.) And I groused that that was because the few garbs I’d encountered with better stats than my current garbs were garbs I wasn’t willing to wear because they were oversexualized nonsense.
So I decided that I was going to look at all of the available garbs in Lightning Returns and see how bad the actual breakdown was.
Sources, Criteria, and Caveats
I used the Final Fantasy Wiki to get a complete list of garbs, although there are a lot of limited edition preorder garbs that are nothing more than color- or pattern-swaps. So I decided to only include the 80 that either come with the game itself or can be gotten as DLC, so that the preorder only garbs didn’t muddy the results.
My goal was to classify each garb as either suggestive or not suggestive, using the same criteria established in my original article that started this blog. Tl;dr: anything showing cleavage, bared midriff or otherwise incompletely covered torso, or legs uncovered by a garment (skirts count, thigh-high stockings do not) counts as suggestive. (And honestly, all of the outfits classified as suggestive hit more than one, if not all of these.)
My hypothesis going in was that the breakdown would probably be 50/50 suggestive versus non-suggestive. So I was surprised when 44 of the 80 garbs counted as suggestive. No wonder I’d had trouble finding useful garbs that didn’t suck! The odds were actually stacked against me!
The problem with the above chart, however, is that it doesn’t really tell the whole story. Because the problem is that while a 45/55 split still sounds okay in terms of reasonable outfits versus sexualized outfits, there were outfits that I wouldn’t ever consider wearing that didn’t count as suggestive.
For instance, there are no less than seven different evening gowns. EVENING GOWNS. Which makes no freaking sense. The entire series has been built up around what a martial badass Lightning is and how no one in the world is as strong or as good at fighting as she is, not even Snow. Not even Caius. So please explain to me how in a game based entirely around solo combat with a sword and shield, it makes even the smallest amount of sense to have Lightning run around in an evening gown while she swordilates things. (Yes it’s a word, shut up.)
In addition to the seven evening gowns, there were two other garbs that I categorically would never use, even if they don’t count as suggestive, simply because they feel so radically out of character that I wouldn’t be able to take the game seriously at all while using them.
Don’t get me wrong – I have nothing against non-awful schoolgirl outfits, and this one is certainly pretty decent. The thing is, throughout the entire series, Lightning is depicted as the hardened veteran, the one who knows what has to be done and is willing to walk the difficult path – pretty much the complete opposite of the naive schoolgirl trope. Which makes this garb read as a fanservice fetish outfit to me. Gross.
And the moogle queen? …do I even need to explain how weird and jarring it would be to play with this garb?
Anyway, when I factor the above caveats into the breakdown, it winds up looking a lot worse:
Wow. So now instead of having slightly less than half of the outfits being not-suggestive, not-immersion breaking outfits, we’re down to only a third. That sucks. That sucks a lot.
How does it suck? Let me count the ways.
First, let me dispel the notion that when I talk about sexualized outfits, that I’m talking about things like Lightning’s FFXIII-2 valkyrie armor, which was admittedly pretty cool even if it didn’t have pants. The stuff that I’m complaining about is this:
The garb on the far left is actually called, I shit you not, AMAZON WARRIOR. Because nothing says “female empowerment” like battle panties. Or thigh-high stockings. Or lingerie ninjas. You know, because ridiculous oversexualization to the point of becoming the platonic ideal of the male gaze is, like, totally okay if it’s a strong female character.
The problem with these extremely sexualized garbs is that they’re actually what shows up in the game’s in-engine cutscenes, which has been pretty much everything past the first hour. And that radically undercuts any sense of drama or investment in the narrative that I might have. How am I supposed to pay attention to Lightning’s speeches about saving her sister or creating a new world when I can’t take my eyes off of her ridiculous battle panties?
And again, some people might say BUT U DON’T HAVE TO WEAR THEM STFU. And sure, if you ignore the fact that the game mechanically punishes people not willing to use sexualized or impractical garbs by having them outnumber the reasonable garbs 2-to-1, that’s true.
But what is also true is that it isn’t possible for me to entirely ignore the sexualized garbs either. Whenever I visit an Outfitters, looking for new garbs, there isn’t any indication of which garbs are sexy versus which aren’t, so I wind up being frustrated half the time when all of my new options are just more ridiculous cheesecake.
There’s also the issue that some of the ridiculously sexualized garbs are actual plot rewards, which makes them doubly impossible to ignore. The above Amazon Warrior garb is an example of this – it’s a garb that you get as a plot reward upon completing one of the game days. But another equally egregious example is the Mi’quote garb, which you have to actually quest for:
SO GROSS. I did the quest, because I’m something of a completionist, albeit within reason. (I didn’t bother getting any of the ultimate weapons in FFX, for example, although I did build up a champion blitzball team.) But as soon as I saw what it was, I promptly wish that I hadn’t. Hope’s dialogue about the Mi’quote as a culture felt like a weirdly tacked on addition to justify putting Lightning in blatant fetish wear, which was jarring. The director might as well have come onscreen and said “hey, I just really wanted to see sexy catgirl Lightning. Sorry.”
And I hate that. HATE IT. Because the immersive qualities of the Final Fantasy series games are what keep me coming back for each new title. And having that immersion jarred SUCKS. How the hell am I supposed to take this game seriously when this kind of bullshit sexism is being continually shoved in my face?
Just look at the difference one of these stupid outfits makes:
The first screenshot is an epic fantasy hero who happens to be female holding her own against a dude wielding a seriously ridiculous sword. The second is a stripper in a cat costume using an improvised weapon to fend off some creepy dude.
Do some people want to play the second way? Sure. But the people who are actually invested in Lightning as a character and who want to see her treated like a human being and not a piece of meat shouldn’t have to have this bullshit sexualization rammed down their throats in order to even play the game.
In other words, I’m not even saying that the sexy costumes shouldn’t necessarily exist. I’m just saying that they should be optional, clearly marked, and NOT FUCKING PLOT REWARDS. In other words, they should be opt-IN, not opt-OUT.
Lastly, a point of pedantry for the Final Fantasy fanatics
My last beef with the bullshit sexist outfits is that they even spilled over into the classic Final Fantasy jobs that appeared among the garb choices. Here are the six iconic final fantasy jobs/classes that showed up as garb choices:
And here’s how those classes have typically been rendered in other series. (Yes I’m ignoring X-2. It was one game and didn’t match with how the jobs/classes are typically portrayed):
So looking at the Red Mage and Black Mage garbs, I have to say that I actually really like them! The red mage is absolutely true to form. And the Black Mage is actually a really nice feminine version of the typical unisex Bklack Mage design while still not being ridiculously impractical or fanservice-y.
The Dragoon and the Dark Knight I was much less happy with. They’re certainly much better than most of the other sexualized armors, but would it have killed them to include pants? The armors are so good except for that pesky lack of pants!
The two I like the least are the Blue Mage and the White Mage. The Blue Mage, because it tosses all of the design history out the window in favor of sexay that happens to be mostly blue. And the White Mage, while I didn’t actually count it as suggestive, also feels really boring and girly. They didn’t include any red in the design, the silhoutte is completely different, and there isn’t anything remotely priest-like about that dress. Which, honestly. If even X-2 managed to have sexay outfits that still recognizably adhered to the iconic class outfit design, what was their freaking excuse? It strikes me as being just plain lazy.