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"Mario!"

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"Ah! Hjelp!"

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Feminist Frequency

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Troper vs Kvinner i videospill

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Jomfru i nød
Del 1

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Velkommen til denne videoserien i flere deler som 
utforsker rollene og representasjonene av kvinner i videospill.

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Dette prosjektet vil eksaminere troper, plott og mønstre som vanligvis forbindes med kvinner i spill

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fra et systemisk helhetlig perspektiv.

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Serien vil inkludere kritiske analyser av mange kjære spill og karakterer

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men husk at det er både mulig og nødvendig

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å kose seg med media, samtidig som man er kritisk til de mer problematiske eller skadelige aspektene.

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Så, la oss ta for oss jomfruen i nød.

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La oss begynne med historien om et spill ingen fikk sjansen til å spille.

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I 1999 jobbet spillutvikleren 'Rare' på en ny orginaltittel til Nintendo 64 kalt Dinosaur Planet.

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Spillet skulle ha en 16 år gammel helt kalt Krystal som en av to spillbare hovedroller.

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Hun fikk oppgaver som å reise i tid, kjempe mot forhistoriske monstre med en magisk stav

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og å redde verden. Hun var sterk, hun var dyktig og hun var heroisk.

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"Og hvem kan så du være, dyrejente?"

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"Mitt navn er Krystal"

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Ganske kult sant?

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Vel, det ville det ha vært, men spillet ble aldri sluppet.

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Når spillet nærmet seg ferdigstillelse vitset den legendariske spilldesigneren Shigeru Miyamoto

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om at det burde være den tredje utgaven av hans Star Fox serie istedet.

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I løpet av de to neste årene var det akkurat det han og Nintendo gjorde

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De skrev om og redesignet spillet og slapp det som Star Fox Adventures til Game Cube i 2002.

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I denne fornyede versjonen har Krystal, som skulle ha vært protagonisten blitt omgjort til en jomfru i nød

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og tilbringer det aller meste av spillet fanget i et krystallfengsel

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i påvente av å bli reddet av den nye helten, Fox McCloud.

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Actionsekvensene i spillet som i utgangspunktet var skapt for Krystal

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ble omgjort for Fox istedet.

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Krystal er gitt et mindre, mer sexualisert antrekk.

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"Wow! Hun er vakker!"

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"Hva er det jeg gjør?"

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Og ja. Den kleine saksofonmusikken er der for å gjøre det krystallklart

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at hun nå er et objekt for begjær, selv i bevisstløs tilstand.

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For å strø salt i såret, bruker Fox hennes magiske stav til å kjempe seg gjennom spillet for å redde henne.

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Fortellingen om hvordan Krystal gikk fra å være helt i sitt eget episke eventyr

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til å bli det passive offeret i noen andres spill

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illustrerer hvordan Jomfru i nød tropen umyndiggjør kvinnelige karakterer

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og frarøver dem sjansen til å være helter i seg selv.

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Termen 'Damsel in Distress' er en oversettelse av det franske 'demoiselle en détresse'.

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'Demoiselle' betyr enkelt og greit 'jomfru'

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mens 'détresse' betyr, angst eller fortvilelse på grunn av en følelse av forlatthet, hjelpesløshet eller fare.

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Som en trope driver jomfruen i nød handlingen fremover

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som en kvinnelig karakter plasert i en farlig situasjon

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hun ikke kan rømme fra selv og må reddes av en mannlig karakter,

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som vanligvis er hovedmotivasjonen i protagonistens oppdrag.

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I videospill er dette oftest oppnådd med kidnapping

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men det kan også skje i form av forsteining eller demonbesettelse for eksempel.

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Tradisjonelt er kvinnen i nød et familiemedlem eller ###################

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prinsesser, koner, kjærester og søstre er alle vanlige å bruke i rollen.

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Jomfruen i nød er selvsagt flere tusen år eldre enn noe videospill

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Tropen kan spores tilbake til gammel gresk mytologi og fortellingen om Persevs.

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Ifølge myten er Andromeda i ferd med å bli slukt av et havmonster

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etter å ha blitt lenket fast til en stein som et menneskelig offer.

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Persevs dreper beistet, redder prinsessen og gjør krav på henne som kone.

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I middelalderen var jomfruen i nød et vanlig innslag i sanger, legender og eventyr

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Det å redde ei hjelpeløs kvinne ble ofte framstilt som raison d'être

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eller grunnen for å eksistere i datidens romantiske fortellinger og dikt

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med en vandrende ridder på eventyr for å bevise sin ridderlighet, dyktighet og dyd

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I overgangen til det tjuende århundret, ble unge kvinnelige ofre yndlingsklisjeen til den

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spirende amerikanske filmindustrien siden det ga et enkelt og sensasjonelt motiv for handlingen.

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Et berømt tidlig eksempel er Keystone Cops kortfilm fra 1913 "Barney Oldfield's Race for a Life"

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med den ikoniske scenen av ei kvinne som blir bundet til et jernbanespor av en ond bartesnurrende skurk.

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Omtrent på samme tid begynte bildet av en gigantisk ape som bar på ei skrikende kvinne å bli populært i alle slags media.

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Tarzans potensielle kjærlighet Jane tas til fange av en brutal primat

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i Edgar Rice Burroughs kioskeventyr fra 1912, 'Tarzan and The Apes'

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I 1930 brukte Walt Disney dette memet i en tidlig Mikke Mus tegnefilm klat 'The Gorilla Mystery'.

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Bildet ble tilogmed utnyttet av USAs militære i denne rekruteringsplakaten for første verdenskrig.

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Men i 1933 skjedde det to ting som, 50 år senere

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skulle legge til rette for at jomfruen i nød kunne bli et fundamentalt element i videospill.

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Først introduserte Paramount Pictures deres animerte serie 'Popeye the Sailor' til kinopublikumet.

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