Unfolding female quiet in wargames: gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay

Hot, fancy, and dangerous: The representation of female characters in three popular video games: Multimodal discourse analysis

“…For detachment realization, because those three female characters are most commonly shown involved in battle, they are shown in oblique angle (Kress & van Leeuwen, 2021) while they are fighting. However, the case of Hinata the percentage of her shown in involvement because of the reason showing her upper body part that leads to male gaze (Gandolfi & Sciannamblo, 2018) to her unusual breast size as in Quiet who also shows that she wears bikini and represented them in sensualized way (Behm-Morawitz, 2017) by having more revealing upper body clothing than the male characters such as tank tops and bikini (Miller & Summers, 2007). However, although they are shown in more sexualized ways, the camera position or angle is dominantly taken in the eyelevel angle or equality (Caple, 2013;Kress & van Leeuwen, 2021).…”

“…Table 1 (Gandolfi & Sciannamblo, 2018) while in the Mission from snipping point. Meanwhile, In NUNS4, Sakura and Hinata are playable character which can be the main character because the type of this video game is versus battle such as Tekken.…”

“…he other research conducted by Kondrat (2015) investigated female representation in various genres of video games by interviewing 180 respondents, and Lynch et al (2016) who conducted their research on 571 video games from IGN, a website which offers information about video games. The more specific analysis of the representation of female characters is the research of Han & Song (2014) In their research, they analysed Lara Croft in the synchronic and diachronic manner, while Gandolfi & Sciannamblo (2018) which took Quiet in Metal Gear Solid V: The Phantom Pain into their investigation.…”

“…These three video games are also taken because the research by Lynch et al(2016) investigated video games released from 1983 to 2014, and the video games released after 2014 are not yet addressed. This research used multimodal discourse analysis because it is expected to address aspects not discussed by Gandolfi & Sciannamblo (2018). Therefore the purpose of this study is 1) to analyse the representation of four female characters verbally and visually in the gameplay and cut scene and 2) to assess the sexualisation and violent representation of four female characters through their appearance and action in gameplay and cut scene.…”

Playing with Phantoms: Decoding the Ludic Language of Metal Gear Solid V

“…In MGSV, Quiet serves as a de facto love interest for Venom, and is one of the NPC “buddies” that can be deployed to help the player on certain missions. The character is true to her namesake—a silent figure—as a result of parasites that have “been implanted in her vocal cords with the instruction to become a lethal contagious form if she attempts to communicate in English (she can only communicate in Navajo)” (Gandolfi and Sciannamblo 337). Despite this, narrative cutscenes revealed throughout the game—such as one where Venom and Quiet play in the rain—demonstrate the growing bond shared between the pair, and also seem to “[freeze] the flow of action in moments of erotic contemplation” (341).…”