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Eduvest � Journal of Universal Studies Volume 4 Number 06, June, 2024 p- ISSN 2775-3735- e-ISSN 2775-3727 |
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Exploring the Evolution of
Female Identity: A Case Study of Karina in Mobile Legends |
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Danny Susanto* Universitas
Indonesia, Indonesia |
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ABSTRACT |
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This study investigates the portrayal of female characters in the
popular mobile game, Mobile Legends, focusing on the character Karina, and
its implications for gender representation in the gaming industry and broader
societal contexts. Drawing from feminist theories and semiotics by Roland
Barthes, the research examines how Karina's characterization challenges or
reinforces patriarchal norms within gaming narratives. The analysis delves
into the appeal of Karina for both male and female players, exploring how her
portrayal embodies a blend of masculine strength and feminine charm. Through
the lens of feminist scholars such as Simone de Beauvoir and Spivak, the
study evaluates whether Karina's depiction in Mobile Legends aligns with or
counters traditional gender stereotypes, particularly regarding the perceived
inferiority of women. Furthermore, the research examines the implications of
Karina's characterization for players of different genders, considering how
it reflects and potentially shapes broader societal attitudes towards gender
roles and equality. Ultimately, the findings highlight the complex interplay
between gender representation in gaming and societal perceptions, advocating
for more inclusive and empowering portrayals of women in digital
entertainment narratives. |
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KEYWORDS |
Female Identity, Genders, Mobile
Legends |
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This work is licensed under a Creative Commons Attribution-ShareAlike 4.0
International |
������������������������������������������������� INTRODUCTION
Online gaming has
revolutionized the gaming landscape by providing interactive experiences over
the internet. Unlike traditional offline games, online games offer additional
features such as chat rooms, enhancing the gaming experience. In Indonesia, the
popularity of online gaming has surged, with an increasing number of users
engaging in action strategy games, particularly in the Multiplayer Online
Battle Arena (MOBA) genre. Baruah (2012) defines online games as cyber-mediated
environments where users interact through virtual avatars, spanning textual,
two-dimensional, or three-dimensional forms. The term MOBA has gained traction
among gaming enthusiasts, driven by the proliferation of smartphone-based games
like Mobile Legends and Free Fire.
MOBA games pose
significant challenges to players, requiring both individual skill and teamwork
for success. These games represent a new medium in the technological landscape,
influencing identity formation in society. The rise of new media platforms, fueled
by internet connectivity, has facilitated seamless communication and
connectivity. Gaming, alongside traditional media forms like film and
television, plays a pivotal role in shaping societal constructs and
perceptions.
As a prominent online
game, Mobile Legends strives to maintain relevance by introducing captivating
characters. Character design undergoes meticulous planning to resonate with
diverse player preferences. Given Indonesia's robust online gaming market, characterized
by a burgeoning player demographic, Mobile Legends strategically crafts
characters to cater to user interests.
Indonesian society serves
as a thriving market for online gaming commodities in Southeast Asia. Mobile
Legends, in particular, has garnered widespread acclaim, dominating app
downloads on platforms like Google Play. The pervasiveness of mobile games in Indonesia
underscores their accessibility and appeal to a broad audience. Furthermore,
online gaming, akin to film and television, influences societal constructions
and perceptions, embedding ideologies subtly within its narratives.
The representation of
women in gaming narratives often perpetuates stereotypes and commodifies female
bodies. Women are portrayed predominantly in terms of beauty and physical
appearance, reinforcing societal norms. This phenomenon underscores the need for
critical analysis, combining semiotic frameworks with feminist perspectives to
deconstruct representations of women in gaming.
In this context, the
researcher seeks to investigate the representation of women, focusing on the
character Natalia in Mobile Legends. Natalia, a favored hero among Assassin
users, embodies various gameplay attributes, prompting player unease and
strategic challenges. Additionally, the portrayal of Karina, another prominent
character in Mobile Legends, warrants scrutiny, particularly regarding the
commodification of women's bodies within gaming narratives.
The researcher posits two
central research questions: Based on the conclusion provided, here are two
potential research questions:
1. How
does the portrayal of female characters, exemplified by Karina in Mobile
Legends, challenge or reinforce patriarchal norms within the gaming industry?
2. What
are the implications of Karina's characterization in Mobile Legends for players
of different genders, and how does it reflect broader societal attitudes
towards gender roles and equality?
Theories
In this research, Roland
Barthes' semiotics theory is utilized. Barthes, a semiotician, expanded on
Saussure's work in "Cours de linguistique g�n�rale" and explored the
application of semiotics beyond linguistics. Initially introduced by Ferdinand
de Saussure, the concept of semiotics revolves around the dichotomy of signs:
signifier and signified. This concept posits that meaning arises from the
relationship or absence thereof between the signifier and the signified. A sign
constitutes a unit comprising a signifier with a concept or signified. Put
simply, the signifier is the sound, writing, or image with meaning. Hence, the
signifier represents the material aspect of language, encompassing what is
spoken or heard and what is written or read.
Roland Barthes employed
the signifier-signified theory and introduced the theory of connotation. The
primary distinction lies in Barthes' emphasis on myths and specific cultural
contexts. Barthes posited that all seemingly rational phenomena in society are
the products of connotation processes. Another difference lies in the emphasis
on contextualization in signification. Barthes used the term
"expression," referring to the form, expression, for signifier, and
"content," representing the textual content, for signified.
Theoretically, language as a system is static; for example, a green table means
a green table. This is referred to as language as a first-order sequence.
However, language as a second-order sequence allows the phrase "green
table" to carry the meaning of "experiment." This secondary
layer is termed connotation. The signified refers to the signified, which then
refers to the reference or reality. Zoest (1991) explains that "The
arbiter signified refers to the reference field without limits. References can
be concrete, abstract, or imaginary. References may exist, have existed, or may
exist in the future." Based on the above quotation, it can be said that
everything in the human mind can be a reference.
Based on Saussure's
definition, Barthes argued that signification can be divided into denotation
and connotation. Barthes states:
�"La d�notation est le niveau premier du
sens, celui de la description objective et litt�rale des choses. Elle renvoie �
la signification directe d'un signe, � son sens imm�diat et universellement
reconnu. En revanche, la connotation est le niveau second du sens, celui de
l'interpr�tation subjective et culturellement situ�e. Elle renvoie � l'ensemble
des associations d'id�es, d'�motions, de valeurs qui s'attachent � un signe, en
fonction du contexte social, historique, et personnel dans lequel il est employ�."(1964)
(The denotation is the
primary level of meaning, that of the objective and literal description of
things. It refers to the direct significance of a sign, to its immediate and
universally recognized meaning. On the other hand, connotation is the secondary
level of meaning, that of subjective and culturally situated interpretation. It
refers to the set of associations of ideas, emotions, and values that are
attached to a sign, depending on the social, historical, and personal context
in which it is used)."
Additionally, Roland
Barthes is also the creator of myths, essentially extending Saussure's ideas
regarding the relationship between language and meaning or between the
signifier and the signified. For Barthes, myths operate within the regional
signs at the second level or at the level of language connotation. If Saussure
stated that meaning is symbolized by a sign, Barthes added this definition to
meaning at the connotation level. Myths are meanings at the connotative level,
where connotations have been naturalized, accepted as normal and natural,
acting as a conceptual map of meaning used to understand the world. Barth. In
Le mythe aujourd�hui(1957)� (Myth Today),
he� expressed resentment towards the
frequent confusion of Nature and History in the contemporary narrative, and
expressed a desire to investigate the underlying ideological manipulation
within the conventional portrayal of these concepts.
Since the character
Karina under study is a woman, this research also employs feminist theory. Mass
media constructions of women portray that in social life, the relationship
between women and men positions women in a subordinate role, always defeated and
viewed as fulfilling men's desires and complementing the male world. This
phenomenon is implicit in research findings on mass media advertisements
conducted by Burhan Bungin (2008) which states that "what women do in the
media is only to please humans, especially men, while she herself is part of
the effort to please rather than enjoying her own pleasure, she is only happy
when others are happy". So far, many media outlets including the internet
exploit women as objects, which in turn breeds a society full of violence
against women.
The feminist theory
employed is from Gayatri Spivak, who states that initially, feminism was a
French term and spread in Europe, the United States, and their colonies in the
19th and 20th centuries. Initially, this term was intended to denote a women's
movement seeking to advance women's positions. This movement then grew larger
and was not even confined by space and time. Spivak uses "subaltern"
taken from the early Marxist era, Antonio Gramsci (1891-1937). In his� book, "The Prison Notebooks," which
contains complaints during Mussolini's fascist rule in Italy, Spivak explains
the paradox, which is often misunderstood by many. Spivak� understands women's position as members of
the subaltern group. She argues that in post-colonial feminist discourse, as a
subaltern group, third-world women have disappeared because we have never heard
them talk about it. The main problem with the subaltern is not only about
categories of oppressed people or oppressed working classes, but also about
anyone whose voice is restricted by access representing them. They do not have
the freedom to speak; they can be seen as Subaltern Spivak wants to state that
women's position as inferior will not find space in social life. Women as a
subaltern group must be given opportunities and voices. Spivak's desire is to
choose subaltern women in history. In this regard, Spivak understands that her
desire to choose the subaltern in history is shaped by ideological formation.
Spivak proposes a theory
of subalternity in her essay "Can the Subaltern Speak?" (1992) In
this essay, she highlights the limitations of subalterns, questioning "Can
the Subaltern Speak?". By "subaltern," Spivak means the oppressed
subjects or more generally those "of inferior rank. She further adds that
Within the framework of colonial production, the marginalized individual lacks
a recorded history and a voice; moreover, when considering the marginalized
individual as female, their oppression is further obscured.. Spivak concludes
the essay� by reiterating her standpoint
that� the subaltern� actually cannot speak. Her statement� has ignited controversy in the post-colonial
context. Spivak's statement is actually a one-stop answer for all the
questions. It is an outcome of her lifelong search for truth and is formulated
based on socio-cultural backgrounds. The theory formulates that the subaltern
can speak but others do not have the patience to listen to them. The message
conveyed by the sender does not reach the receiver as it is hindered by the
element of noise. Articulation is an involuntary act by human beings, but to
interpret things in the real sense takes conscious effort on the part of the
listeners. Morton clarifies the wide discrepancy between articulation and
interpretation of subaltern women in the following words: Spivak's conclusion
that the subaltern cannot speak is often misinterpreted to mean that subaltern
women have no political agency because they cannot be represented. Such a
reading is contrary to the very situated theoretical framework that Spivak
establishes in "Can the Subaltern Speak?" Spivak certainly does not
want to deny the social agency and lived existence of disempowered subaltern
women. The crucial point, however, is that these disempowered women receive
their political and discursive identities within historically determined
systems of political and economic representation.
RESEARCH
METHOD
Through a case
study of Karina's character in the Mobile Legends game. Karina was chosen as
the object of her research because of her prominent role and her potential to
represent various aspects of women's identity in the context of video games.
The research will identify and analyze the changes that have occurred to
Karina's character in terms of character design, story narrative, and role in
gameplay since it was first introduced until now. The research methods used
include content analysis of various sources of information such as game
updates, character guides, and player responses and interpretations to the
evolution of these characters. This research aims to provide in-depth insights
into how the representation of female characters in video games may evolve over
time and how this may affect gender perceptions within the player community.
The following is an
analysis of the character Karina:
Karina is depicted
as a beautiful woman of Aryan race (white race), as seen from her fair skin
color, sharp nose, thin lips, and tall, slender figure. Her long hair is light
blue. Her eyes gaze sharply, and her mouth is closed. Her body is proportional,
and her breasts are prominently displayed. She wears typical Knight attire,
which appears to be made of iron and is dominated by purple color, accompanied
by various accessories in purple, light blue, and silver. She also wears a pair
of iron boots in purple and silver, with bright green decorations on them. In
this depiction, she is drawing two swords, her weapons of choice, which are
light blue in color. She is shown in a ready-to-fight stance within a circle of
dark blue, indicating her preparedness for battle. The ground or floor where
she stands is black, and the background is predominantly black with hints of
dark blue and light blue.
The details of the
image are denoted signs, according to Barthes, or what he calls the first-order
signification. However, Barthes does not stop at the first-order signification
but proceeds to the second level, or second-order signification, known as connotation.
The choice of
Karina as a woman of Aryan descent, evident from her fair skin color and tall,
typically Western female figure, suggests that the gender equality movement
generally originates from Europe or North America. In fact, women from these
regions are the most active in advocating for gender equality compared to women
from other parts of the world. History shows the existence of the women's
liberation movement, a collective struggle for equality that was most active
during the late 1960s and 1970s. This movement sought to free women from male
oppression and supremacy. The movement consisted of women's liberation groups,
advocacy, protests, consciousness-raising, feminist theories, and various
individual and group actions in the name of women and freedom.
Based on the desire
to create gender equality, Karina is depicted with highly feminine physical
characteristics, such as facial features, nose, and lips, even though her role
in the game is that of a fighter. This reinforces the connotation about Western
women's desire for equal rights and also shows that women can also do things
typically done by men, such as fighting. Furthermore, her prominently displayed
breasts affirm her femininity, distinguishing her from men, but indicating her
desire to challenge male dominance by appearing as a warrior.
The contrast
between the feminine and masculine sides is also evident in Karina's long,
light blue hair, which matches the color of her sword. The long, soft blue hair
accentuates femininity because long hair is a characteristic of women, as is
the soft color used. The harmony between the hair color and the killer sword
highlights both the aesthetic sense of a woman and her desire to be equal to
men. Blue is the color of the sky and the sea, often associated with depth and
stability. Blue is perceived as a symbol of trust, loyalty, wisdom,
intelligence, faith, truth, and heaven. In reality, color is one of the design
elements widely used for aesthetics, function, and symbolic elements.
Color can be a sign. Each color has its own
codification, distinguishing one color from another. At the concrete or
concrete stage, we interpret color as well as color gradations in the light
spectrum. This is elaborated in detail by MacLaury (Anthropology of Color:
4-5), who explains: "Perception is shaped by the knowledge and
practicality of a culture, and cultural factors that influence the development
of differences in vocabulary, including in color vocabulary. Color naming
systems develop separately from color vision." The blue color of Karina's
hair is associated with awareness and intelligence. Blue is a masculine color;
according to research, it is highly accepted among men. Dark blue is associated
with depth, expertise, and stability.
However, the light
blue color used here is a soft, feminine blue. Additionally, her swords, which
are of the same color, reinforce the contrast between the feminine and
masculine sides of Karina. The two swords she wields, and the number two, which
is the most feminine among all numbers and closely related to qualities such as
softness, wisdom, diplomacy, forgiveness, and understanding. Thus, what is
emphasized here is that even in a battle, women always want to appear
beautiful, attractive, and fashionable, and there is pride and dignity in
patiently facing their male enemies. Karina's beautiful eyes with a sharp gaze
are a contrast between women who have a seductive gaze of the opposite sex, but
also a sadistic gaze full of desire to kill, as an affirmation that women are
not always weaker than men.
Her sensual and
sexy mouth, tightly closed, indicates that with her charming appearance, she
can also be firm like a man. The contradictory nature is also shown through the
headpiece she wears, which is silver with blue accents. Silver is a strong
color that can bring mental, physical, and emotional harmony. The meaning of
silver color includes glamour, sophistication, and respectability. In addition,
silver is used to describe things that are slim, masculine, and modern.
Therefore, the masculine colors of blue and silver contrast with the feminine
decorative function of the head accessory. The protruding ends pointing towards
the sky symbolize optimism and courage, ideal characteristics constructed for
men. The costume she wears is made of iron, a symbol of resilience, violence,
toughness, and rigidity, typical characteristics of men.
However, the color of her costume is purple, which is formed from the
stable blue with the energetic red. Purple is associated with royalty and is a
symbol of power, glory, luxury, and ambition. Furthermore, purple is also
associated with wisdom, dignity, independence, and creativity. This feminine
color is combined with silver color, again showing the contrast between
femininity and masculinity. In addition to these two colors, her costume is
complemented by accessories in a soft light blue, a combination of masculine
and feminine colors. Karina also wears a pair of boots in a combination of
purple and silver, and there are bright green decorations on her knees.
Originally, boots are synonymous with the military world, which is very
synonymous with the male world.
The boots worn by
Karina are a resistance to this norm, especially since the color of her boots
is a contrasting combination of feminine (purple) and masculine (silver)
colors. The green accessories covering her knees are the color of nature,
symbolizing harmony, balance, and peace, indicating that as a fighter, Karina
can remain calm when facing her enemies. This calmness is her added value
compared to her mostly male enemies. Furthermore, in this image, Karina stands
within a circle of dark blue, which connotes protection, in accordance with the
knightly spirit she possesses as a warrior. In reality, the circle is often
symbolized by the sun or boundaries in curves symbolizing defense and
protection, similar to the function of Karina's character.
The dark blue
circle strengthens the impression of protection, which is generally considered
the duty of men. Additionally, the floor or ground where Karina stands is
black, a color representing strength, confidence, drama, mystery, classicism,
and masculinity. The predominantly black background combined with dark and
light blue hints at a strong masculine element, although there is still a
feminine element present, portraying Karina as a woman who, by her nature as a
woman, seeks not to be dominated by men, as befits her role as a warrior in
this game.
Thus, from the
connotation analysis, almost all signs indicate a struggle between the
masculine and feminine sides of the character Karina, which gives rise to the
myth of the conflict between the two genders, or more precisely, the desire of
women to not only play the role of objects for the opposite sex. From a
feminist perspective, women have indeed been constructed as objects, as stated
by Simone de Beauvoir and also Spivak. According to a 2017 study, one in five
people worldwide believes that women are inferior to men and should stay at
home. Meanwhile, they believe that men are more capable of working and going to
school, according to a global survey published Tuesday on International Women's
Day.
Almost all of the
17,550 people surveyed agreed that men and women should have equal rights, but
three out of four indicated that women continue to experience social,
political, and financial inequality. "It's heartening that the majority of
men and women worldwide believe in equal opportunities (...) but at the same
time, the majority still believe that true equality has not been
achieved," said Kully Kaur-Ballagan, director of Ipsos MORI, the survey's
author. Half of the survey respondents, conducted in 24 countries including
Brazil, Canada, Russia, Britain, India, and Sweden, declared themselves
"feminists," but a quarter said they were "scary" defending
women's rights. About half of those surveyed in China, Russia, and India said
that men are superior to women and better at making money and getting an
education, according to the survey. UN Women has described the global wage gap
of 24 percent as the "largest theft" from women, while the World
Economic Forum said in its 2016 wage gap index that men and women would not
achieve economic equality for 170 years. Through the character Karina, the aim
is to deconstruct these myths and place women in a respected position, able to
act as subjects like men.
The injustices
experienced by women have prompted the application developers to use the
character Karina to counter the myths that women are considered second-class
(Simone de Beauvoir) and that women are Subaltern. In fact, this character is
highly liked and even the most preferred in this mobile legend game. She is
positioned as a great fighter who is sadistic and kills many people, most of
whom are men and are difficult to defeat. Karina, who is included in the hybrid
Mage/Assassin category, is strong in her first skill, which makes her immune to
basic attacks and increases her movement speed for three seconds.
This skill allows
her to effectively kill enemies without fear of running out of blood.
Additionally, her powerful combination of skills is reinforced by the cooldown
reduction effect if she can kill enemies or get assists. Therefore, in the late
game, Karina is difficult to defeat even by the enemy team, even when fighting
alone. Furthermore, Karina has a very powerful passive skill when she is in the
battlefield. After attacking the target twice in succession, the third attack
will deal true damage to the target equal to 10% of the enemy's missing health.
Karina also has the active skill Elusiveness, which makes her disappear for 3
seconds and immune to basic attacks, as well as increasing movement speed by
35%. In this state, the next basic attack will slow down the opponent while
also becoming an extra 165/175/185/195/205/215 magic damage crit attack.
Getting a kill or
assist will reduce the cooldown by 60%. So, you will be faster to use skills in
the next battle. Karina is also armed with the active skill Dance of Death;
swinging her twin swords and dealing 260/280/300/320/340/360 points of magic
damage to enemies around her. Getting a kill or assist will reduce the cooldown
of the skill by 60%. Karina is one of the charge/reap heroes with very strong
magic damage. By using the ultimate skill called Shadow Rush, this hero quickly
runs towards the target, dealing 430/530/630 magic damage. Killing enemy heroes
will end the cooldown of this skill, while getting assists will reduce the
cooldown time by 80%. Continuously pursue the next enemy target.
Based on the
explanations above, the designation of women as subaltern proposed by Spivak
and as the second sex by Simone de Beauvoir seeks to be eliminated through the
character Karina. However, on the other hand, the feminine side as an object is
still maintained through appearance, accessories, and even her primary weapon.
Thus, on one hand, the myth that women can only do things that are constructed
for them is being broken through the signs displayed.
However, the
existing myth that women can succeed because of their attractiveness remains.
The application developers' efforts to attract users from both genders have
succeeded. On one hand, male users find Karina's feminine side attractive and
satisfying. On the other hand, female users who thirst for recognition of
equality can also identify themselves with the character Karina, who represents
women's resistance to male domination. From a social cognitive perspective, as
a result of the construction of a patriarchal society that positions men as
subjects and women as objects, women are always in a suppressed and powerless
position in the face of the "fate" that befalls them.
CONCLUSION
In patriarchal societies around the world, women
have always been considered inferior to men. Even in the 21st century, this
perception persists, resulting in women still not achieving equality. Mobile
Legends, a popular mobile game, chose the character Karina to be featured as
one of the game's characters in the hope of attracting as many players as
possible. Through myths created and perpetuated, app developers aim to attract
users of both genders. For male players, Karina is interesting because she is a
strong character equipped with various skills that allow her to defeat her
enemies. On the other hand, Karina still offers the typical charm and sensuality
of women, which is appreciated by men. For female players, Karina is not only
relied on because of her fighting power, but also a forum for women to identify
with women who break male dominance. The feminist claim of Simone de Beauvoir
and Spivak that women are always positioned below men is not fully proven in
this game.
Women, whom they claim to be the second or subaltern
sex, are not seen as such, as Karina emerges as dominant and is capable of
outpowering men. Nevertheless, the stereotype of women as objects of sensuality
remains clear. The gaming industry, which is profit-oriented, undoubtedly aims
to make its products successful and sell well. The app's developers have
managed to lure players of both genders through the myths presented and broken.
In essence, the conclusion of this study is that in Karina's character, Mobile
Legends shows signs that women should not be placed as subalterns. Karina's
character is able to represent women, showing that women are strong and capable
of fighting and are also capable of intelligent thinking, even in war. If we
look at our country, Indonesia, in the real world, we can also see that women
should not be underestimated as subaltern. This can be proven by the number of
female heroes who died on the battlefield, such as Tjoet Nyak Dien and others.
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