I'm kinda baffled by it to be honest. Leaving aside it deals with three female characters, the character it lauds is a poor example of anything, and the character it kinda sweeps under the rug has hidden virtues the author is too shortsighted to notice.
Lara Croft (original)
Lara Croft is perhaps the most famous woman in gaming. Since the original Tomb Raider arrived in 1996, the character has attracted criticism for her physical appearance â" so when the most recent release in the series gave her a realistically proportioned body, the new Lara was praised as a more relatable hero. Removing the over-sized breasts and teeny, tiny waist is apparently all that was needed for the character to evolve from sex object to admirable âoesurvivorâ.
I played a few original TR games, and quite honestly, "physical appearance" is the only aspect of Croft that's dubious. The character is independent, physically strong, smart, quick, and so on. It could be argued that she has "princess" style origins, being born into wealth/power, but she's not a princess in any other sense. She uses the resource at her disposal to her advantage, but she's working hard to get something better. If stereotypical teenage males are drawn into the games by seeing a hottie with large whatevers, said male then experiences a character who makes for quite a good role model. He won't be left with a "Women are toys to be objectified" view.
The counter to that, I guess, is that appearances might put off gamers not attracted to HwLWs, which is a perfectly reasonable complaint, but peripheral to the story the writer writes. The writer is trying to find examples of "strong women" in video games, and pretty much ignores this example, because she's top heavy.
Lara Croft (rebooted)
While Bayonetta fully embraces her sexuality, in the Tomb Raider reboot, Lara fades into her grueling, grey surroundings (...) Lara Croft has had to change to fit into the âoestrong female characterâ role, whereas Bayonetta whips it into submission and makes no apology for her love of lipstick, high heels or, indeed, herself.(...) For all the praise of Laraâ(TM)s growth throughout Tomb Raider, that maturation process is arguably nothing more than a jarring graduation from doubting, guilt-ridden girlhood into lean, mean, psychopathy. Her first kill is supposed to devastate us as it apparently devastates Lara but, almost immediately, weâ(TM)re thrust back into a game which rewards us for killing. Lara is a character who is even uncomfortable in her own story. (...) But within games and wider media, the âoesurvivorâ is a tired trope, women are survivors where men are heroes; they overcome rather than succeed.
I can kind of agree with all of this, survivor is a tired trope and one I've parodied in the past multiple times between pretty much every TV show since the original TV version of Nikita has insisted on portraying heroines-who-sometimes-have-to-use-violence in that way. I'm not sure whether the worst was the 2000s version of Bionic Woman, where the heroine felt obliged to be upset and complain constantly about the fact she'd been the successful recipient of experimental life-saving completely-positive-in-every-way prosthetics, or T:SCC which is just went on for ages with "Miserable Sarah".
But at the same time, what does that have to do with anything? If a male were in the same boat (figuratively), would they act significantly differently? We get miserable if we manage to claw ourselves out of a disaster but are still in danger too, I suspect at any rate.
Despite appearances, Bayonetta rarely panders to the imagined male audience. Yes, sheâ(TM)s ridiculously proportioned and scantily clad for most of the game, but far from being an object, she is portrayed as having complete autonomy and control over her body and femininity. (...) Bayonetta (...) makes no apology for her love of lipstick, high heels or, indeed, herself. Everything about Bayonetta is determined by her womanhood and femininity, yet she remains dominant throughout: during the course of the game she spanks angels, submits them to humiliating torture attacks and transforms into a panther, clad with painted red claws and gold jewellery. Bayonetta is a powerful woman, she is not powerful in spite of being a woman (...) a truly empowering woman whoâ(TM)s unapologetically feminine, sexual and confident. Dismissed by many as an objectified fantasy, she is a woman without compromise who refuses to be ashamed of her body, who in one sequence giggles seductively as she grasps the pulsating heart of a heaven-sent deity and asks: âoeDo you want to touch me?â
I'm a little puzzled as to how this character is in any way a positive example of a "strong woman" archetype if, as the author breathlessly appears to claim, her greatest strengths are largely limited to some kind of violent version of being flirty and manipulative.
Moreover, if her powers revolve around her sexual effects on the compatible gender, does this not presume that that compatible gender is, in fact, the common controller of power and her oppressor? And does it suggest that the right approach to becoming strong is regularly flashing your boobs to distract someone who isn't doing what you want them to do?
I'm struggling with this one to be honest. If this view of the world is right, then prostitution is a liberating profession, and having skills suited to leadership roles the world needs are nothing compared to the ability to have a boss who's easily caught off guard because he's physically attracted to you.
Despite the title, the article mentions three characters, quickly dispatches with the only one of any worth, and then avoids bringing up any more. The thesis seems to be survivor bad (well, OK, I guess), looks are important, and strong women are best when they're distracting men by being all sexy and stuff.
I think that's an awful, awful, idea. I don't think my daughter is going to become President, the first person on Mars, or the leader of the largest gang in South Florida controlling 74% of the American cocaine trade, with that attitude.