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front desk manager jobs near Florence, KY
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Manager in Training
Holiday Inn Riverfront - Covington, KY
Front desk, banquets, restaurant, kitchen, housekeeping, and maintenance. Act as the Manager On Duty when necessary....
Full-Time Swim School Managers, Assistant Managers & Lead Supervisors
Bear Paddle Swim School - Cincinnati, OH
10-15 hours in the pool-10-20 hours at the front desk. Team Member Handbook-Manager Handbook-Swim School Manager Training....
Front Desk Associate/Night Auditor
Country Inn & Suites Hotel by Carlson / CVG/ Airport Area - Hebron, KY
Front Desk Associate/ Night Auditor. Maintains the cleanliness and neatness of the front desk area. Reports any unusual occurrences or requests to the manager...
Scheduling Administrative Assistant
Helping Hands Healthcare - Cincinnati, OH
O Manage front desk and direct traffic flow appropriately. Acceptance of Additional Responsibilities as Designated by the Division Manager, Compliance Manager,...
Dental Lead front/office manager
Afinia Dental - Cincinnati, OH
We are a state of the art group dental practice seeking experienced front office lead/manager based on experience....
Receptionist/Administrative Assistant/Dispatch
Pioneer Vending - Cheviot, OH
Report to sales manager. The Dispatching/Front Desk position duties and responsibilities include, but are not limited to the following Activities.*....
Physician / Family Practice / Kentucky / Permanent / Job
International Medical Placement, Ltd. - Kentucky
It also houses one NP, and office manager, front desk personnel and all billing and collection support. Join a long standing private practice one hour from...
Part Time Night Auditor
DoubleTree Suites by HIlton Cincinnati - Blue Ash - Cincinnati, OH
Front Desk experience preferred. Front Desk or Customer Service:. Security or Manager is scheduled during these shifts as well....
Front Office Manager
Millennium Hotel Cincinnati - Cincinnati, OH
Oversees all front desk, bell, and reservations departments. Front Desk in addition to the above essential duties and responsibilities....
Physician / Medical Director / Kentucky / Permanent / Job
International Medical Placement, Ltd. - Kentucky
It also houses one NP, and office manager, front desk personnel and all billing and collection support. Join a long standing private practice one hour from...


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Welcome to Kamloops
If you've opted to follow Hwy 1 from Vancouver east to the Rockies and Banff, Kamloops makes a useful break in the journey. Motels abound and there's a walkable heritage center. Historically, the Shuswap First Nation found the many rivers and lakes useful for transportation and salmon fishing. Traders set up camp for fur hunting in 1811... Read More
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I know there are a zillion threads on this topic, but the more I read the more confused I get! We'll be in London for 3 full days as far as sightseeing is concerned and planned to get the Oyster PAYG. But I find that 2/1 offers are available for Greenwich, some Tate Britain exhibits and Shakespeare's Globe Exhibition, all of which I want to see, so does it make better sense for me to just get a 3 day Travelcard? Will be travelling down to London by Scotrail, does that ticket qualify for the Travelcard? It's a single, though. Thanks for your patience in answering my endless queries
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Unfortunately they no longer offer 3 day travel cards. You could get 3 - 1 day travel cards though.
Scotrail I believe does qualify so that may work for you but only on the day of travel I believe.
I always like the freedom of unltd travel as London is very spread out so I would probably just get 3 - 1 day travel cards and not worry if it costs just slightly more. The difference isnt likely to be that much, and for the hassle of trying to estimate how much you are likely to use on PAYG its just worth it to get the 1 day travel cards. I think you can buy them all at once from the manned ticket booths at National Rail stations so I would just do this when you arrive by train into I assume Kings Cross.
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"so does it make better sense for me to just get a 3 day Travelcard?"
There is no 3-day travel card.
Your train tocket down from Scotland will qualify for 2for1 on that day --so if you arrive in the morning you could easily knock off the Globe and Tate Modern that day -and maybe even the Tate Britain.
However --which exhibitions do you want to see? Big/popular ones require pre-booking and timed entry so won't work w/ the 2for1's.
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was posting the same time as jamikins . . .
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No-brainer is how I'd describe the 2-4-1 offers assuming there's at least 2 of you and there's something you want to see.
Even if you intend to walk everywhere you aren't going to save much money by not using a Travelcard bought at a National Rail ticket office. Normally you should be able to buy all three days worth of Travelcards at once but at worst you pick up the next days card in the late afternoon of the previous day.
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Yes, will pick up 1 day travel cards, also do the Globe and Tate Britain the first day. Will need to work out something for Greenwich, but maybe we could just take the train there, that should work. Anyway, thanks again!
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Hot Latina Naya Rivera claims that daily bathing is just White people shit. She told the menopausal bobble heads at The View that "ethnics" like her only bathe every few days.That seems pretty nasty. If she had said I only shower every few days after anal, that would've been nasty and hot. Read all about Naya's tainty can (The Superficial) Yara Khmidan shows off her topless wonders for your viewing pleasure. (...read more
Naya Rivera knows there are kids in need of some UNICEF somewhere in this world. She doesn't fool around. Tits, ass, no underwear, now are you feeling generous, you global pillaging American one-percenter? I typically earmark my United Nations contributions toward the legal bills of U.N. representatives who go too far with escorts in New York hotels. Also, to some of their more convoluted anti-Semitic undertakings....read more
Last time we checked in with Naya Rivera, she was denying she had new tits and her fiance Big Sean was bolting because she was trying to install GPS ankle monitoring devices on his rapper cock. I think that's a compliment in disguise. She had a wedding date of July 19th but nobody to marry, so she hooked up with a struggling actor named Ryan Dorsey she met several years back in Hollywood and married him on the 19th...read more
I'm not sure why actresses still feel the need to lie about getting fake titties. Naya Rivera went through some contortions to explain how the shifting secant patterns in global ocean currents led to her breasts becoming naturally larger. Nobody's buying it and nobody's turning off Glee because they're ashamed of your enhancement surgeries. They're turning off Glee because they're men who got deprogrammed at Jesus...read more
I need to remind myself not to believe everything I read online. Especially the baseless shit I write myself on here. First Kim Kardashian turns out not to be re-re-married yet and now Naya Rivera wasn't booted from Glee because Lea Michele was jealous of her new big tits. Or for any other reason. Naya's very own truth telling spoke people confirmed that Naya is still on contract with Glee for next season. Also, that...read more
A new pair of fake cans can get you far in this world, unless you're working on Glee with a demo that could care less about tits. Naya Rivera might have been better served to stand up for animal rights or march for gay marriage or have the pain of Dead Cory Monteith to rise above, because that's what Lea Michele did and she's still standing. Despite reported onset feuds between Naya and Lea, publicists around the show...read more
Glee star and spicy empanada Naya Rivera seems to be the reason she and Big Sean broke up. The fairy tale romance ended this week when Big Sean's publicist released a statement saying he kicked her fine ass to the curb. Rumor has it that the reason was because she is a crazy controlling succubus with hypnotically empowered new titties. Apparently, Naya demanded to know where Sean was at all times, was constantly...read more
Photo Credit: Bongo [gallery id="3979"]read more
They're pretty nice, but for some reason Naya Rivera, that chick on Glee whose character had a boob job, is denying the presence of foreign intervention on what looks to be a suddenly much larger chest. I only know her tits are suddenly big because she posted a photo of them on Instagram, just to make sure nobody noticed. Now she's got all her reps and minions lapping up E! balls and insisting her chest remains 100%...read more
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Naya Rivera is the obligatory sexy Latina on that TV show Glee that I mostly have to know about now since Cory Monteith overdosed in Vancouver. She seems to be doing far better than Cory at the moment. Though with the amount of photoshopping in this Complex magazine shoot, she could have actually passed three years ago from a horrible tractor accident and you wouldn't be able to tell. Photo Credit: Complex [gallery...read more
If there's one thing I hate, it's hypocrisy. Well, hypocrisy and canned tuna fish. I'm sorry, I know you love fish that comes compressed in a can, but it's simply not natural. But I don't have to eat it, I do have to swallow the hypocrisy of corporate America by way of a bunch of really backwards thinking people who believe that seeing naked chicks onscreen or in magazines will be the ruin of us all. They see bare...read more


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HT interviews DPS Dwarka principal Sunita Tanwar. The school has topped the West Delhi rankings in the 2013 HT-Cfore Top Schools Survey.


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DeeZee Cab Length Nerf Bars Installation - 2013 Ford F-150
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DeeZee Oval Tube Steps Kit Installation - 2016 Ram 1500
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Westin E-Series Round Nerf Bars Installation - 2010 Jeep Grand Cherokee
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DeeZee Tube Steps - Running Boards DZ15301S-15315 Review
Today, we're going to be taking a look at the DZ Rough Step Running Boards. These running boards are going to make it easy to get into and out of your vehicle. They're going to offer an extra wide platform, which is going to offer superior stability. They're going to feature a nice, rugged-step surface that's going to have the industrial grating. I do want to bring you in for a closer look so you can really get a detailed shot of what that rough design looks like. You can see right here that we got the ridges on it. That's really going to help provide great traction for sure footing.
Bestop TrekStep Truck Bumper Step Installation - 2013 GMC Sierra
Today on this 2013 GMC Sierra, we're going to review and install the Bestop Truck Step Truck Bumper Step, part #B75300. This is what the truck step looks like when it is installed on a Sierra. Right now it's in it's retracted position, so it's stowed up and out of the way. When we need to use it, all I got to do is push down on it, a little bit of pressure from the back, and it pops right out. Then we can use it to get into our truck bed. When we're done using it, pressure from the bottom and it pops right back up. Unlike other steps that rely on your hitch, this one is off to the side, so you can still use your favorite hitch accessories.
Westin Round Nerf Barfs Installation - 2000 Ford F-150
Today, on this 2000 Ford F-150 Super Cab, we're going to review and install the Weston Signature Series Round Nerf Bars, Part #25-1430. This is what the tube steps look like when they're installed on our F-150. Take a closer look at the shape of it. You'll notice it's a round tube style, very common. This is a 3-inch diameter. You'll notice how the outside is nice and smooth, and the same thing applies to the inside.
DeeZee Oval Tube Steps Kit Installation - 2016 GMC Sierra 2500
Today on our 2016 GMC Sierra 2500, we'll be taking a look at and installing the Dee Zee Oval Tube Steps part number DZ16123-16318. Here's what our Dee Zee Oval running boards are going to look like once they're installed in the vehicle. They're going to have that real nice polished stainless steel appearance. It's going to help prevent any kind of rust and corrosion. As well as the nice plastic threshold here. It's going to be easy to step on and it's going to divert any kind of water or debris from your feet when you're stepping in and out of the vehicle. Step on, and in.
Westin Sure Grip Running Boards Installation - 2013 Ford Edge
Today on our 2013 Ford Edge we'll be taking a look at and installing the Westin Sure-Grip Running Boards with Custom Installation Kit. Part number 27-6125-1825. This is how our running boards will look like once they are installed on our vehicle. They're going to have that nice sleek, slim look adding to the vehicle's profile. They're going to be 6 inches wide with a step-pad of 4 1/2 inches. Total length of the boards is going to be 72 inches.
Westin E Series Round Nerf Bars Installation - 2010 Chevrolet Colorado
Today on our 2010 Chevrolet Colorado, we're going to take a look at and then show you how to install the Westin E-Series 3 inch Round Nerf Bars. These are the black, powder coat steel, part number is 23-3155. Now when getting in and out of the vehicle, it's going to be nice to have that little bit of an extra step there to kind of give us that umph we need to get up and in. See there, our door clears it without any kind of issue. We're going to have a nice, large diameter 3 inch tube, and also the 3 inch step right up on top here. The nice thing about the way the step is put on here, they don't have any holes that are drilled into the top of the tube.
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This episode examines the general lack of female representation among standard enemies as well as in the cooperative and competitive multiplayer options of many games, and the ways in which, when female enemies do exist, they are often sexualized and set apart by their gender from the male enemies who are presented as the norm. We then highlight a few examples of games that present female enemies as standard enemies who exist on more-or-less equal footing with their male counterparts.
This is the fourth episode in season two of Tropes vs. Women in Video Games. For more on the format changes accompanying season two, please see our announcement here: https://www.kickstarter.com/projects/566429325/tropes-vs-women-in-video-games/posts/1469466
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The Tropes vs Women in Video Games project aims to examine the plot devices and patterns most often associated with female characters in gaming from a systemic, big picture perspective. This series will include critical analysis of many beloved games and characters, but remember that it is both possible (and even necessary) to simultaneously enjoy media while also being critical of it's more problematic or pernicious aspects. This video series is created by Anita Sarkeesian and the project was funded by 6968 awesome backers on Kickstarter.com
Assassin's Creed Unity (2014)
Assassin's Creed Syndicate (2015)
FIFA International Soccer (1993)
Super Street Fighter II Turbo HD Remix (2008)
Call of Duty 4: Modern Warfare (2007)
Ninja Gaiden Sigma 2 (2009)
Uncharted 4 (2016)
Saints Row: The Third (2011)
Wolfenstein (2009)
Hitman: Absolution (2012)
Metal Gear Solid 4 (2008)
BioShock Infinite (2013)
At the 2014 Electronic Entertainment Expo, the game development company Ubisoft debuted a trailer showcasing the cooperative mode in their upcoming game Assassin's Creed Unity. One thing viewers quickly noticed about the trailer was that all the assassins in it were male. When questioned about why female characters weren't an option in this mode, the game's creative director said that although there were originally plans to allow for female assassins, the development team couldn't add them because it would require "double the animations, double the voices, and double the visual assets." Meanwhile, a level designer on the game stated that including female assassins would have meant recreating 8000 animations on a new skeleton. These comments led to an explosion of controversy and criticism on Twitter, with many people using the sarcastic hashtag "women are too hard to animate."
A number of experienced game developers joined the chorus of voices calling out the absurdity of Ubisoft's claims. Animator Jonathan Cooper, who had previously worked on Assassin's Creed III for Ubisoft, tweeted, "I would estimate this to be a day or two's work. Not a replacement of 8000 animations." And Manveer Heir of Bioware summed up what Ubisoft was actually saying: "We don't really care to put the effort in to make a woman assassin."
Ubisoft's disregard for female character options didn't stop with Unity. Also at E3 2014, the director of Far Cry 4 admitted to a similar issue with that game's online co-op mode, saying, "We were inches away from having you be able to select a girl or a guy as your co-op buddy." Again, the excuse for why this option wasn't available was that it would just be too much work. And yet again, what they were really saying was that they just couldn't be bothered to do the work it would have taken to provide that option. Though it's worth pointing out that in the two years since this controversy, Ubisoft has made clear efforts to improve the representation of women in the core Assassin's Creed games, with the most recent entry, Assassin's Creed Syndicate, giving the option to play as Evie Frye through much of the campaign.
Of course, Ubisoft weren't and aren't the only ones with this apathetic attitude toward female inclusion. In fact, not doing the necessary work to include women has long been the norm in the video game industry. The FIFA soccer game series, which had its first entry in 1993, took over 20 years before finally introducing female teams in FIFA 16.
CLIP: "I'm in the game."
And it took ten years for Call of Duty to introduce female soldiers into its competitive multiplayer with 2013's Call of Duty: Ghosts. The long-running Battlefield franchise, on the other hand, has still never allowed for playable female characters in its multiplayer modes.
There's an important conversation to be had about the ways in which military shooters work to glorify violence, but as long as we're going to have such games, it's actually better when they include female combatants in them. Now you might be asking yourself, "Doesn't having female enemies in a game perpetuate violence against women?" And that's a good, fair question. When we refer to depictions of violence against women, we're generally discussing situations in which women are being attacked or victimized specifically because they are women, reinforcing a perception of women as victims.
Such scenarios are very different from those in which women are presented as active participants. In the Street Fighter games, for instance, when Chun-Li and Ryu fight each other, this isn't considered violence against women, because the two characters are presented as being on more or less equal footing, and because Chun-Li is an active participant who isn't being targeted or attacked specifically because she's a woman.
Similarly, the waves of male attackers players face in so many games are typically not passive victims. They are active participants in the conflict, and importantly, the violence against them isn't gendered. Players fight with them because they're on the opposing side, not specifically because they are men.
Unfortunately, when female combatants do appear in games, they are often presented in sexualized ways which inevitably lend the player's attacks an air of gendered violence. In Saints Row The Third's so-called "Whored Mode," for instance, players must defeat waves of sexualized women, sometimes beating them to death with a large purple dildo.
In the 2009 game Wolfenstein, the Elite Guard are a special all-female enemy unit whose absurd uniforms sexualize not only the female characters themselves but also player's acts of violence against them.
Similarly, in 2012's Hitman Absolution, the Saints are a special unit of female assassins who wear latex fetish gear underneath nun's habits. It's a ludicrous design choice that is transparently intended to sexualize these enemies.
And in Metal Gear Solid 4, the Beauty & the Beast unit is an enemy group made up of five female soldiers that players fight over the course of the game. At a certain point during these encounters, each boss sheds her armor and appears as a woman in form-fitting attire.
CLIP: "It's all so funny."
If players then avoid the Beauty's deadly embrace for several minutes without killing or neutralizing her, the game transports them to a white room where equipping the camera results in the character making sultry poses. Funny how that doesn't happen with the male bosses in the game.
Whenever female combatants are dressed in sexualizing attire, it sets them noticeably apart from other enemy units. It's intended to make the player's encounters with them sexually titillating, and that's particularly troubling considering that those encounters often involve fighting and killing those characters. Violence against female characters should never be presented as "sexy".
The way for games to handle female combatants is not to present them as sexualized treats for the player. Rather, it's to present them simply as combatants who happen to be women fighting alongside their male counterparts on equal footing.
For all of its many, many problems, one thing Bioshock Infinite did right was to include non-sexualized female officers on Columbia's police force. And in Assassin's Creed Syndicate, both the player's gang and the enemy gang have rank-and-file female members who fight alongside the men.
Despite the presence of female combatants in games like these, there is still a tendency for game studios to treat female representation as some kind of extravagant goal, rather than simply treating it as standard in the same way they handle male representation. The excuse that I hear most often for the absence of female combatants in games is that players wouldn't believe it. But games, even ones that draw on historical locations or events like the Assassin's Creed series, create their own worlds and set the tone for what we will or won't believe. To participate in the worlds games create, we happily accept time travel, superpowers, ancient alien civilizations, the ability to carry infinite items, the idea that eating a hot dog can instantly heal your wounds, and a million other fictions. It's certainly not too much to ask that these fictional worlds give us believable female combatants too.
The media we engage with has a powerful impact on our ideas of what's believable and what's not. Games like Assassin's Creed Syndicate demonstrate that when the existence of female combatants is presented as straightforward, normal and believable, players have no problem believing it. And they shouldn't, since, unlike those magical healing hot dogs I mentioned, female combatants actually exist.
In the 1989 film Ghostbusters II, Peter, Ray, Winston and Egon discover that "mood slime" is being powered by all the hatred and aggression in New York to bring the city to the brink of yet another ghostly apocalypse. If mood slime were a real thing, the male-entitlement-fueled rage directed at the new Ghostbusters reboot surely would have been enough to open a massive portal to the spirit realm and bring the world as we know it to an end. As it stands, that rage manifested in hate-filled tweets aimed at the film's director, Paul Feig, and the main cast, especially targeting Leslie Jones, while also earning the film the highest number of dislikes on a movie trailer in YouTube history, all because the beloved franchise had been reimagined with an all-female crew.
The onslaught of aggression toward the remake is not at all surprising to anyone participating in online culture these days, where attacks against women remain a daily occurrence. In fact, online misogyny is so tiresomely predictable that the film anticipated it. In one of its most grimly funny moments, Abby (Melissa McCarthy) and Erin (Kristen Wiig) see a comment left on a YouTube video they have posted: "Ain't no bitches gonna bust no ghosts."
But while plenty of people were decrying the film's very existence for somehow retroactively ruining their childhoods simply by suggesting that women could also be professional paranormal investigators and eliminators, there were also many of us who were thrilled to see even the suggestion of this kind of reimagining. Before its release, I had many conversations with friends and colleagues that usually went something like this: "Oh god, I hope it's good. It might not be. But it's so important. Please be good!" And in truth, it's unfortunate that any film should have to shoulder such expectations. There's no sense that if a high-concept sci-fi comedy with male leads bombs, it means that men aren't funny, or that men simply shouldn't play characters in a particular profession.
But even as female-led comedies continue to make and break box office records, there is still an overarching sense that they just aren't good or won't be successful, and that if they aren't successful, it's somehow a commentary on women as a group, and what kinds of roles they should or shouldn't play. While these illogical sentiments continue, there is a tremendous amount of undue pressure put on comedies that star women to be masterpieces. In a better world, there would be plenty of comedies starring women, some great, some forgettable, and it wouldn't be a big deal. But this is the world we live in, and the outrage directed at the very existence of the new Ghostbusters indicated that it is, indeed, a very big deal.
Even with all the pressure and expectations the film had to carry, I very quickly found myself pulled into the new Ghostbusters. Very often, ensemble movies and TV shows have one female member of a core group otherwise made up by men, severely limiting the range of female representations we get and making "female" a defining character trait. (Katha Pollitt coined the term "the Smurfette Principle" to describe this phenomenon.) When there are a variety of female roles in a single piece of media, we get a wider spectrum of personalities and character traits, which helps avoid boxing women into obnoxious and played-out stereotypes. With the new Ghostbusters crew, we are presented with a range of women: geeky scientists, quirky engineers, and tough historians.
The story follows a similar arc to the original: ousted from their academic positions, scientists with an interest in the paranormal start catching ghosts who are wreaking havoc around New York, face bureaucratic hurdles that threaten to put a stop to their work, and end up fighting an epic battle to save the city. But like Kylo Ren of Star Wars: The Force Awakens and the terrifying Kilgrave of Netflix's Jessica Jones, this film's villain is a personification of male entitlement. Rowan North (Neil Casey) works at a hotel but sees himself as a scientific genius whose gifts were never properly recognized, and so he aims to take the power that he bitterly feels entitled to by harnessing the energy of the spirit realm. When he's confronted by the Ghostbusters, he gives them a spiel about how hard it has been to be so brilliant and never get the respect he deserves. Abby, of course, knows exactly what it feels like to not be treated with respect, just as any woman who has had to struggle against the boys' club mentality of scientific circles would, and she says as much. The camera cuts to Patty (Leslie Jones), who no doubt could teach Roland a thing or two about what it's like to not be respected by society, and she doesn't need to say a word; her look says it all.
While the film successfully avoided the Smurfette Principle, I couldn't help but feel like Patty fulfilled the role of the token black character. This became especially pronounced during a ghostbusting session at a metal show. There's an amusing gag in which Abby successfully crowdsurfs to get at an evasive ghost but when Patty attempts to do the same, she is dropped by the crowd and exclaims, "I don't know if it's a race thing or a woman thing but I'm mad as hell!" A few moments later Jillian (Kate McKinnon) praises her teammates Abby and Erin for their hard work but jokingly tells Patty to "try harder." Both of these are amusing gags and while they were used as an opportunity to acknowledge racism and sexism, it felt like the film was singling out the one woman of colour on the crew. And like Ernie Hudson's Winston Zeddemore in the original films, she's presented as the "working-class" member of the team, leaving her job at the MTA to join up, while the other three come from highly educated, scientific backgrounds.
Chris Hemsworth's Kevin, on the other hand, is a male subversion of the old stereotype of the female secretary who is kept around more for her looks than for her skills. Kevin is as inept as he is attractive, and his sheer obliviousness about how to even do the most basic things like answer the phone properly leads to a number of funny moments throughout the film. Erin fawns over Kevin constantly in a way that's both amusing and kind of pathetic. On its own, this would be frustrating, but again, because Ghostbusters gives us a range of women with notably different personality types, no one character is holding all the weight for womankind, so the film has more freedom to explore comedic territory without reinforcing negative stereotypes.
Kevin here fills the same function that Annie Potts' Janine filled in the original film, though Janine, if anything, was far too competent to be working for the Ghostbusters. Alas, her skills as an administrative assistant only earned her mockery from Bill Murray's Peter Venkman. Annie Potts is one of many cast members from the original film who make cameos in the new one; Bill Murray, Dan Aykroyd, Ernie Hudson and Sigourney Weaver all show up as well. And not all the cameos are by human actors. There's a gag involving the Stay-Puft Marshmallow Man, and also an appearance by Slimer. That's fine in and of itself, but unfortunately this time around Slimer is joined by a female Slimer who is the very definition of a Ms. Male Character. While Slimer remains just a green ectoplasmic blob with a face and is perceived as male, his companion has practically every female signifier in the book–lipstick, long blonde hair, and a bow–to differentiate her as female.
Despite frustrations like this, the Ghostbusters reboot takes the beloved franchise from the 80s and manages to give us more of the rollicking comedic sci-fi adventure we loved in the 1984 classic while simultaneously wiping out much of the sexism that plagued the original. We also saw this with The Force Awakens, and it's a trend I can certainly get behind.
Some internet misogynist may have commented that "ain't no bitches gonna bust no ghosts" on that video the new Ghostbusters upload to YouTube, but in the end, just like the heroes of the original, they bust the ghosts and save the day. The final moments of the film clearly nod toward a possible sequel, and if the early box office results are any indication, we may well get one. In any case, it's great to see a funny, entertaining film in which women triumph in spite of the sexist attitudes they encounter, and it's made all the more sweet by the fact that this film also represents something of a triumph against legions of entitled men in the real world who felt so threatened by the simple idea of women busting ghosts.]]>
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Anita Sarkeesian visited downtown NYC to chat with The New Yorker editor David Remnick on the latest episode of New Yorker Radio Hour. The two discuss Tropes vs. Women in Video Games, the toll of harassment, and our upcoming series, Ordinary Women: Daring to Defy History. You can listen to the full interview below or on The New Yorker website.
Anita Sarkeesian's critiques of sexism in her Web series "Tropes vs. Women in Video Games" made her the victim of online harassment and threats from some in the gaming community, and a central figure of the Gamergate controversy of 2014. But Sarkeesian, who runs the Web site Feminist Frequency, hasn't quit speaking out about sexism in the gaming world and beyond. She spoke with David Remnick about her new series, "Ordinary Women Daring to Defy History," which tells the stories of neglected feminist heroes.
This year, however, it's unfortunately clear that whatever positive momentum may have existed on this front going into last year's E3 has dissipated. Of the 59 games showcased at press conferences held by Sony, Microsoft, Bethesda and Ubisoft, as well as on the first part of Nintendo's Treehouse stream, only a paltry two feature exclusively female protagonists, and both of these games were returns from last year's E3: ReCore and Horizon: Zero Dawn. (Bound is a gorgeous-looking game with a female protagonist coming to PlayStation but it was not featured during the press conference.) Meanwhile, 12 times as many featured games–24 in all–are centered on defined male protagonists or groups of men. These games include the newly announced titles Days Gone, God of War, Dead Rising 4, and Death Stranding.
We were encouraged to see, however, that the showcase of Dishonored 2 once again focused on the playable female character, Emily, and that in the trailer for Mass Effect: Andromeda, the female version of protagonist Ryder was featured, whereas with the original Mass Effect trilogy, almost all promotional materials used the male version of Shepard. Dishonored 2 and Mass Effect: Andromeda were two of 29 games in which you either choose to play as male or female characters, or in which the gender of your character or characters appears to be unspecified, such as Fe. Of course, the option to choose is welcome. However, a purely binary understanding of gender was once again on display, with no games indicating the ability to choose from a wider range of gender identities and expressions. Furthermore, the fact that a whopping 12 times as many featured games center exclusively male protagonists than exclusively female ones indicates that the video game industry still has an extremely long way to go before approaching anything resembling gender parity.
This massive discrepancy means that for now, games continue to reinforce the deeply entrenched cultural notion that heroes are male by default. We live in a culture that regularly encourages girls and women to project themselves onto and fully empathize with male characters, but rarely encourages boys and men to fully project themselves onto female characters. When players are encouraged to see a game universe exclusively through the eyes of a humanized female character, it helps challenge the idea that men can't or shouldn't identify with women as full human beings.
Games can be a powerful tool for generating empathy. But as long as games continue to give us significantly more stories centered on men than on women, they will continue to reinforce the idea that female experiences are secondary to male ones.
Of course, the games presented during these press conferences don't reflect the sum total of video games or games culture. They are, however, how the biggest developers and publishers choose to represent themselves at the industry's largest annual event, and as such, they are a strong indicator of what some of the most powerful forces in the industry consider emblematic of the best and most exciting things that gaming has to offer.
How we came up with our data:
We counted only those upcoming games which were given full trailers, announcements, or demonstrations on stage, so games that only appear briefly in montages or sizzle reels or for which only a very small amount of teaser footage is shown (such as the upcoming Star Wars game from Visceral) are not included.
Survey on combat:
Of the 59 games featured, only 11 are nonviolent or appear as if they might not have mechanics involving combat or violence. (The card games Gwent and Elder Scrolls Legends use cards to symbolize battle, but we opted to count these two as nonviolent games.) In other words, about four out of every five games showcased employ combat mechanics, meaning that the player is either required to or can choose to engage in violence as a means of conflict resolution. (Last year, the ratio of games incorporating violent mechanics was closer to three out of every four.)
This isn't about passing judgment, or equating the cartoonish pirate ship battles of Sea of Thieves with the far more realistic gun violence of Ghost Recon Wildlands. Rather, the data is presented simply to indicate how prevalent violence remains as an element in games across the board, because when violence is seen as a core component of game design, it limits our sense of what is possible and of the kinds of stories that can be told. There remains tremendous unexplored potential for games as a medium, and it's necessary that the industry put more effort into exploring new mechanics and storytelling techniques rather than continuing to rely so heavily on established norms if the medium is ever going to achieve that potential.]]>
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This episode explores the ways in which female characters are frequently placed in wildly impractical, sexualizing outfits specifically designed to objectify them for the titillation of the presumed straight male player. We then discuss the problems inherent in linking the sexualization of female characters to notions of female empowerment, and examine what positive depictions of female sexuality and sexual desire in games might look like.
For more on the use of sex as a reward for player accomplishment:
For more on the sexual objectification of female characters:
For more on the male gaze:
For more on sexualizing outfits for female characters in games (as well as a nifty female armor bingo card):
This is the third episode in season two of Tropes vs. Women in Video Games. For more on the format changes accompanying season two, please see our announcement here: https://www.kickstarter.com/projects/566429325/tropes-vs-women-in-video-games/posts/1469466
Press Image for Media Use: https://www.flickr.com/photos/femfreq/27452057366/
The Tropes vs Women in Video Games project aims to examine the plot devices and patterns most often associated with female characters in gaming from a systemic, big picture perspective. This series will include critical analysis of many beloved games and characters, but remember that it is both possible (and even necessary) to simultaneously enjoy media while also being critical of it's more problematic or pernicious aspects. This video series is created by Anita Sarkeesian and the project was funded by 6968 awesome backers on Kickstarter.com
Assassin's Creed Syndicate (2015)
Bayonetta (2010)
Bayonetta 2 (2014)
Bloodrayne 2 (2004)
Dark Souls 3 (2016)
Dragon's Crown (2013)
Firewatch (2016)
Fist of the North Star: Ken's Rage 2 (2013)
Golden Axe: Beast Rider (2008)
Ride to Hell: Retribution (2013)
The Last of Us: Left Behind (2014)
Mass Effect 3 (2012)
Metal Gear Solid: The Twin Snakes (2004)
Metal Gear Solid V: The Phantom Pain (2015)
Mortal Kombat (2011)
Ninja Gaiden Sigma 2 (2009)
Ninja Gaiden 3: Razor's Edge (2012)
Perfect Dark (2000)
Resident Evil: Revelations (2012)
Smashing the Battle (2016)
Soulcalibur IV (2008)
Street Fighter V (2016)
Street Fighter X Tekken (2012)
Ultra Street Fighter IV (2014)
Whacked! (2002)
The Witcher 3 (2015)
X-Blades (2009)
CLIP: BloodRayne 2
"My god, look at that."
"Good night nurse!"
"Ooh! That's definitely stimulating my economy."
In the late 90s, developer Rare wanted to replicate the success of their landmark 1997 shooter GoldenEye, but didn't want to make another James Bond game. Instead, they began work on a science fiction spy thriller called Perfect Dark. For the game's star. they wanted to create a striking new type of special agent who wouldn't just live in James Bond's shadow, so they drew inspiration from figures ranging from Joan of Arc to The X-Files' Dana Scully. Her name was Joanna Dark. A few years earlier, Eidos Interactive's Lara Croft had rapidly become one of the most famous and recognizable game characters of all time, so it was reasonable to think that an action game with a female protagonist could be a smash hit. Alas, Joanna Dark never reached quite the levels of fame occupied by Lara Croft, but Perfect Dark was still a big success. Let's take a look at a commercial for the game:
CLIP: Perfect Dark trailer
"Welcome to 2023. Big businesses now merge with alien nations. An ancient war is being fought under the sea. The president is about to be cloned. And it's your job to try and save the world. So you've got an important decision to make: What are you going to wear to work?
From the team you brought you GoldenEye for N64, meet special agent Joanna Dark in Perfect Dark, where you'll find out that the only person man enough to handle a job like this is a woman."
Can you imagine an ad exactly like this, only with Marcus Fenix or Master Chief, getting out of bed naked, taking a sexy slow-motion shower, putting on his sexy underwear, and the narrator saying that he has an important decision to make: what is he going to wear to work?
Animation VO:
Welcome to 2016. There's a war out there…somewhere. You're not sure where, exactly. Anyway, the important thing is, you're Special Agent Jake Grimshadow. It's your job to save the world. The only question is: What are you going to wear? …. WAIT… WHAT??
A commercial like that would never happen, nor should it. But Joanna is treated differently than her male counterparts. Even though Perfect Dark is a first-person shooter and, as a result, you rarely see her in the game itself, by focusing on her getting dressed, this ad encouraged players to think of Joanna's appeal as being rooted in her sexual desirability rather than her skill as a special agent.
A character's clothing is one of the first things we notice. It's an important part of our first impression of who that character is, and as such, it's a way for designers to immediately communicate to players what is most important and noteworthy about them.
Female heroes in video games might be special agents or soldiers or treasure hunters by trade. They often find themselves in dangerous, physically demanding situations, fighting off bad guys and saving the world. They are typically performing activities that call for practical or protective clothing. But when we look at the types of outfits that female characters are made to wear, we can see that they are often both sexualized and completely absurd.
Ivy from the Soulcalibur games is a bold warrior who finds herself in battles where sharp, deadly weapons are being used and protective armor would be a must, but the clothing she wears–or lack thereof–is not exactly intended to keep her safe.
Cammy from the Street Fighter series is a British special forces operative whose thong leotard does a better job of calling attention to her butt than of offering any kind of protection.
Jessica Sherawat from Resident Evil: Revelations is a member of the Bioterrorism Security Assessment Alliance and regularly faces deadly infected mutants in combat, but her outfits appear to be designed for…yeah, I don't even know.
And this is just a small fraction of the vast number of female characters who are forced into impractical and objectifying clothing while in dangerous situations…
CLIP: Mortal Kombat (2011)
"You'll learn respect!"
CLIP: Metal Gear Solid: The Twin Snakes
"You're a fool to come back here."
CLIP: Street Fighter V
"All right, let's begin!"
CLIP: The Witcher 3
"And instead of donning a breastplate, you dash into battle, shirt open, navel and…whatnot exposed!"
Because clothing can shape our first impressions of a character and has a tremendous influence on our sense of who they are every time they are on screen, sexualized outfits can contribute to what's called the hyper-sexualization of female characters. Hyper-sexualization in the media occurs when a character is designed to be valued primarily for their sexual characteristics or behaviors. In hypersexualized characters, these attributes are highlighted above all else and made the center of attention, while everything else about the character is made secondary.
Games and other media often work to frame this sexualization as a positive thing for women. They blur the distinction between female sexualization and female power, and as a result, sexualized female characters are sometimes celebrated for being perceived as "owning" their sexuality in a way that is empowering. But it isn't actually empowering because the sexuality these characters exude is manufactured for, and presented as existing for, the presumed straight male player.
Bayonetta is a quintessential example of such a character. When the camera caresses her body as it does in the opening scene of Bayonetta 2, establishing the player's relationship with the character, she is frozen in time, the passive object of the male gaze. The camera is putting her and Jeanne on display for the player, breaking them down into what the game is communicating is most important about them: their sexualized parts. And when Bayonetta starts moving, it's the player who has the power to control her sexuality as a weapon throughout the game, both literally and figuratively.
She has an assortment of special moves called "torture attacks" which involve devices meant to suggest BDSM and that look like something you might expect to see in an exaggerated stereotype of a sex dungeon. But these sexualized moves have nothing to do with sex: they just obliterate her enemies. And a number of her attacks literally leave her naked, because, you see, she's attacking the enemies with her hair and her hair is also her clothing so when she's using her hair to attack her enemies it can't be covering her body and…
In these ways, the game deliberately links Bayonetta's sexuality to power, selling a version of sexual objectification that we're all supposed to feel good about and find "empowering." Every aspect of Bayonetta's existence, from the way the camera is magnetically drawn to her sexualized body parts to the pole dance reward for completing the game, is expertly designed to be sexually affirming and satisfying for a presumed straight male audience.
If it seems like I'm frequently repeating the fact that the player is presumed to be a straight male, that's because it's vital to remember. This presumption influences and shapes so many creative decisions that are made in the development of many games.
CLIP: Whacked!
"Let's see, target market – mostly male, 18-24 years old, interests – senseless violence, high tech weaponry, pain, humiliation… hey! Maybe this'll do the trick."
Of course, characters like Bayonetta are a fictional fantasy. But in reality, we exist in a culture where women are often valued primarily for their sexual desirability to men. So while characters like these are incredibly powerful in the physical sense—able to slay entire armies and bring down gods–there's nothing empowering about the fact that they are sexually objectified.
In fact, this connection between objectification and empowerment is extremely damaging. It's harmful to women because rather than asserting that women have intrinsic value as people, it communicates that the kind of power available to women comes from men finding them desirable. And it's damaging to men because it suggests that women who are liberated and empowered are also women whose sexuality is always available to men. When we conflate the sexualization of women with power for women, we internalize this harmful myth and begin to think sexualization is the only way to achieve gender equality.
But the truth is that sexualization doesn't actually bring us any closer to equality. In her book Enlightened Sexism, Susan J. Douglas sums up the issue. "Under the guise of escapism and pleasure, we are getting images of imagined power that mask, and even erase, how much still remains to be done for girls and women, images that make sexism seem fine, even fun, and insist that feminism is now utterly pointless–even bad for you. True power here has nothing to do with economic independence or professional achievement: it has to do with getting men to lust after you and other women to envy you."
Some gaming fans have come up with all sorts of ridiculous defenses for the sexualized costumes female characters are often made to wear, like the idea that they dress in these outfits as a tactic to help them distract their male opponents. It's not unheard of for developers to sometimes rely on this harmful logic, too. The superintelligent AI companion Cortana from the Halo franchise has always been depicted as naked, and when asked about why this is, franchise director Frank O'Connor said, "One of the reasons she does it is to attract and demand attention. And she does it to put people off so they're on their guard when they're talking to her and that she has the upper hand in those conversations. It's kind of almost like the opposite of that nightmare you have where you go to school in the nude, and you're terrified and embarrassed. She's kind of projecting that back out to her audience and winning intellectual points as a result."
Meanwhile, male AIs in the Halo universe do wear clothing; the idea of them trying to "win intellectual points" by walking around naked is ridiculous. But we rarely question the extremely widespread association of sexualization and power when it's applied to female characters.
Usually, the games themselves don't go into much detail to explain or justify why female characters are sexualized. Players are simply meant to unquestioningly accept the impractical outfits these characters are wearing. Sometimes, however, as in the case of Quiet from Metal Gear Solid V: The Phantom Pain, developers build convoluted and absurd tales about a character's past into the game in an attempt to justify their blatant sexualization.
CLIP: Metal Gear Solid V: The Phantom Pain
"She, uh, refuses to wear clothes. The last staff member who tried to dress her – breathing through tubes. Other than that, she's completely cooperative. She understands English, she never speaks, sweats, or breathes."
"Well, not with lungs at least. She breathes through her skin. Clothing would suffocate her. Showers are okay, but she can't be submerged."
"What's wrong with her?"
"She's drinking. Through her skin."
So you see, she can't wear clothing because she breathes through her skin! These ludicrous narrative justifications don't "make it okay." Regardless of whatever absurd explanation a game might provide, it should go without saying that the only real functionality of outfits like this is to titillate the presumed young straight male player base.
Out of all the arguments that are tossed out to defend the impractical and objectifying clothing that women are made to wear in games, there is one in particular that I hear the most often and that is perhaps the most pernicious. That argument is: "Maybe that's what she wants to wear!" Which is ridiculous. These women are fictional constructs. That means that they don't dress themselves or pick out their own clothing. I can't believe I have to say this. All these visual designs are deliberate choices made by the developers, and they serve a specific purpose: they communicate to straight male players that these characters exist primarily as sex objects to be consumed. In doing so, they also reinforce the larger notion in our culture that the value of real human women is determined largely by their sexual desirability to men.
It's not hard to imagine what more practical clothing options might look like for some of these characters. But if you're having a hard time envisioning that, I will let you in on a little secret:
For those of you who aren't familiar, there is this thing called a sports bra. Sports bras are designed to keep breasts held in place to better facilitate athletic activities. In other words, they are used to prevent "jiggle physics" in real life. In the real world, there are many female martial artists, athletes, and women in combat roles that developers could use as inspiration when designing and dressing their female characters.
It's important to note that the amount of skin shown is not the crux of the problem. Many female athletes wear minimal form-fitting clothing because it's more conducive to their activities. However, their outfits are not designed with the primary goal of sexualizing the athletes for the benefit of spectators.
The problem of female characters wearing impractical, sexualized and objectifying attire and being put on display for players is not a difficult one to solve, and developers already know how to do it. Even many fighting games that have several sexualized female characters on the roster often have one female option who is in more practical attire. The Dark Souls games are generally pretty good about not making armor appear significantly different on female characters than it does on male characters. Natural Selection 2 and XCOM also have examples of women in practical armor. And Assassin's Creed Syndicate put female gang members in outfits very similar to those worn by the male gang members.
None of this is to say that characters in games should never be sexual; far from it. Sexuality and sexualization are very different things.
The sexualization of female characters is about designing them, dressing them or framing them in ways that are specifically intended to be sexually appealing to presumed male viewers or players. Women's sexuality, on the other hand, exists for themselves, and for those they care to consensually share it with. And sexuality can be expressed or experienced in any kind of attire.
CLIP: Dirty Dancing
"Come here lover boy!"
Unfortunately, examples in games of female characters expressing sexual desire in ways that aren't sexualized are exceedingly rare. These next few examples aren't great depictions of what we're talking about. They're just some of the only examples that exist at all, which serves to illustrate how rare it is for female sexuality in games to be presented in ways that are humanizing rather than sexualizing.
The Last of Us: Left Behind features female characters who express romantic feelings for each other, rather than exuding a sexualized energy that is directed outward at the player.
CLIP: The Last of Us: Left Behind
"What do we do now?"
"We'll figure it out."
And in Firewatch, though it's only heard and not seen, Delilah expresses sexual desire for the player character, Henry.
CLIP: Firewatch
"I wish I was over there."
"I wish you were too."
"We could sit outside, we could talk, without these radios. We could, um, you know."
These moments aren't presented as titillating morsels of sexuality for players. Rather, they function as expressions of the characters' sexuality that deepen our investment in the characters and their relationships to each other.
To clarify, the act of sex isn't the problem, but rather how its presented. I'd love to see great representations of healthy, consensual sex in games. But sadly, when consensual sex does occur, it's often presented as a transaction or as a reward for player accomplishment. Whether that accomplishment is completing quests, or just choosing all the right dialogue options to get the sex cutscene to play.
When fictional female characters in games are dressed in impractical armor or clothing, it encourages players to view them as sex objects, and reinforces the already pervasive and harmful notion in our culture that sexualization is the most viable or only real route to power for women. By contrast, when those characters are dressed in clothing that is truly practical and functional for the work that they are doing, and when they express sexuality and sexual desire in ways that aren't served up as sexualized treats designed primarily for straight male players to consume and enjoy, it encourages players of all genders not to view those characters as sexual objects but to be invested in them as people.
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"Speaking honestly, an all-male party feels almost more approachable for players. Even the presence of one female in the group will change their behaviour, so that they'll act differently. So to give the most natural feeling, to make them feel sincere and honest, having them all the same gender made sense in that way."
That's Hajime Tabata, director of Final Fantasy XV, discussing why that game's core party is made up entirely of men. I thought of Tabata's words when I was playing Uncharted 4, much of which is a globe-hopping adventure featuring the trio of Nathan Drake, Nate's brother Sam and his old pal Sully. Nate has lied to his wife, excluding her from the group without even giving her a chance to decide whether she might want to participate. So she must finally force her way in, but when she does, she brings with her all sorts of gendered complications, representing things Nathan has to face but doesn't really want to, and that, as players, we aren't inclined to want him to, either. Her presence, as Tabata suggests, does indeed "change" Nate's "behaviour." It's all so much simpler when you're just adventuring with your bros, amirite?
Of course, Uncharted 4 is supposed to be a story of Nate finally growing up. An early sequence has him playing with a toy gun in his attic, still longing for the days of adventure that he thinks are behind him. And when, in the end, he seems to finally find peace in pursuing a less reckless, more responsible way of life, we are meant to admire this change and appreciate that he has grown, that he is no longer the Nathan who lied to his wife to go off and have so much fun with the fellas.
But if we examine how the game functions, I doubt that most players in their heart of hearts were led to a point of actually being critical of Nate's dishonesty and recklessness. Late in Uncharted 4, there comes a point when Nathan decides to walk away, to abandon his quest despite having come so far and gotten so close to the legendary pirate treasure he has put so much energy into finding. And perhaps at this moment, we are "meant" to admire the growth and responsibility he's demonstrating. But in truth, we don't want him to be responsible. That's not how the game is structured. We're rooting for him to be reckless, to keep going, to leave Elena behind again if need be, because that's where the gameplay is, that's where the fun is. And of course when the game contrives a reason for Nate to keep going (as we know it must), we rejoice in the fact that Nathan gets to keep being reckless for just a little bit longer.
In response to our review, someone tweeted the argument at me that Elena is:
"not a thrill seeker anymore; she wants a normal life, I don't think it's a sexist issue. Elena has evolved and ultimately wants a happy marriage with Nate. Elena's maturity serves the strong purpose of grounding Drake in reality. He would be LOST without her."
And I agree that this is the conclusion that the narrative wants us to come to. But if we take the game as a whole, gameplay included, we are encouraged to side with Nate. Those very characteristics of Elena that the narrative wants us to admire in some way–her relative responsibility, the way that she "grounds" Nate–are the very things that make it impossible for her to be part of the carefree, fun-lovin' core group, and when she shows up, she brings with her heavy conversations about the state of their marriage.
Still, it's tremendously appealing that Uncharted 4 gives relationships so much weight. It certainly doesn't give violence very much. Nathan Drake's relationship to violence is somewhat different than that of many other violent white male game heroes. Where some, like Bioshock Infinite's Booker DeWitt and The Last of Us' Joel, are grizzled men who seem steeped in violence, haunted by it and yet inextricably bound to it, Nathan Drake seems utterly unburdened by it. He floats above the violence that he commits. He is a character in the Indiana Jones mold. The famous scene in Raiders of the Lost Ark where Indy shoots a man and nonchalantly walks off perfectly sums up Drake's own connection to violence. It just rolls right off of him. He can snap a few necks and then make a snappy witticism. (Uncharted 4's biggest action setpiece, a destructive vehicular romp across a town in Madagascar, takes obvious inspiration from a legendary action scene in Raiders of the Lost Ark.)
The designers have done a masterful job of giving the combat a sense of flow; enemy guns sometimes seem to land in Drake's hands of their own accord, and his allies have a way of appearing and helping him clobber an enemy with attacks so perfectly synchronized that it seems as if our heroes share a psychic link. All of this contributes to a feeling that Nathan is just breezing through all of this, almost by accident, as if the gods are looking out for him and vanquishing his enemies while he just leaps and swings and fumbles his way through his adventures. There's no need for him to feel weighed down by any guilt about the deaths that happen along the way. It's practically fate.
And so this breezy, near-effortless violence of Drake's becomes just another part of his charm. At one point, the villain Rafe says that Nate and Sam don't kill anyone in "cold blood" and the game expertly works to construct scenarios that encourage us to actually believe this, as if Drake and his allies kill hundreds of people almost without killing them. It is just something that happens, not something they do. He is incredibly lucky. He is indeed "a man of fortune." Fortune smiles upon him as the bodies pile up. We aren't supposed to think about it. We are barely even supposed to notice. Violence is normalized in a way that makes it seem almost weightless, inconsequential. Charismatic. Charming. In this regard, Uncharted 4 is par for the course.
And yet, there are so many ways in which this game is not content to be just par for the course. Ways in which it tries to do more than we expect a typical action adventure game to do. In the early goings, I was shocked by how willing it was to take its time using gameplay to establish the contours of Nathan's "normal" life–his job working for a salvage company, his chats at home with his wife over dinner about their respective days at work. There's an audacity to a massive mainstream action game that spends a level having you just swim around, calmly retrieving crates and securing a shipping container to a crane. And I loved that "The Brothers Drake" is an entire chapter about exploring a house as young Nathan, a house cluttered with details that tell the story of a marriage that comments on Nathan's relationship with Elena in the present day, only in this marriage, it's the woman who puts adventure ahead of family. This chapter also deepens our sense of the bond between the brothers, and gives us a crystallized moment to hold onto in the form of a faded Polaroid.
So throughout, Uncharted 4 seems pulled between the need to fulfill the expectations of the action adventure genre and the desire to challenge them, and in its epilogue, it finds a surprising way to both look back and look forward. As Elena and Nate's daughter Cassie, you play a level from Naughty Dog's 1996 game Crash Bandicoot in which Crash runs toward the camera, which is also something Nate has done from time to time. It's an homage to the studio's legacy that acknowledges how far they've come while also simultaneously recognizing that in some ways, things haven't changed much at all.
As the spotlight shifts from Nathan to Cassie, and we see that now she may be the one with the treasure-hunting career ahead of her as dad has settled into a less reckless existence, it seems appropriate to me that she is a gangly teen awkwardly caught between childhood and adulthood, not unlike Nathan was (despite actually being an adult) for most of Uncharted 4. It's not nearly enough, but it's some small gesture toward challenging the gender dynamics of this game and of so many games. It wants us to imagine a future in which Cassie is the one at the center of her own adventures. And the home you explore in the epilogue is so beautifully designed and rich with detail that you actually do want to be there, in this calmer, more stable place. It doesn't feel like an afterthought in comparison to all the places Nate explored on his adventures. It feels warm and inviting, like you've finally arrived in the place you were looking for all along.
I want games that go further to challenge our expectations and actively disrupt our ideas of what a game like this could or should be. And yet I appreciate that Uncharted 4 is a game that seems to recognize its own point on the trajectory. It may be the culmination of a storied franchise but in terms of where this leaves us for the development of the genre, we're still all just teenagers, looking ahead and speculating about what the future might hold. And I think there is something beautiful about that, awkwardness and all.
(Watch our review of Uncharted 4.)]]>
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By Carolyn Petit
Uncharted 4 opens with the quote "I am a man of fortune and I must seek my fortune." In the three prior Uncharted games, protagonist Nathan Drake has certainly filled the role of the typical man of fortune, someone with adventure in his blood, for whom the pursuit of gold and glory is the only way of life he understands. The latest and, ostensibly, the last Uncharted game is very much yet another globe-hopping adventure full of climbing things and killing people, but while it fulfills the requirements of the action adventure genre and sometimes feels frustratingly trapped by them, there are also some exciting moments when you feel the game pushing up against the restrictions and expectations of the genre, and when it at least tries to make Drake himself and us as players question whether being a man of fortune is really all it's cracked up to be.
The basic premise is this: Nathan's brother Sam, long thought dead, appears out of the blue with a price on his head and convinces Nathan to come back into the treasure-hunting game to help him find the legendary pirate loot that will let him buy his freedom. But it's not the events of the plot that are especially interesting in Uncharted 4. Rather, it's the way the game tells its story, with a real focus on the characters and their motivations. The dialogue and acting are excellent; often it's what the characters don't say that tells us the most, and sometimes they can speak volumes with just a look.
The plot itself, on the other hand, can be cliche and frustrating, and because the storytelling is so great, this leaves us wishing the characters were in a better story. The first time we see Nathan and his wife Elena together, it's a delightful and surprising scene that suggests the two share a wonderful level of closeness and trust. Their conversation is serious and playful and honest all at once. It's so disappointing, then, that Nathan does what men in these stories so often do when he sets out for adventure: he lies to his wife about what he's doing.
Having Nate do something so foolish is an easy and predictable way for the story to generate conflict that also relegates Elena to representing the dull, domestic existence Nate leaves behind while he's off gallivanting around with Sam and Sully. As players, of course we want Nathan to "seek his fortune"–that's where all the fun and excitement comes in–and this tired plot device only makes Elena seem like an obstacle to that excitement. She's a great character when she's given the chance and Uncharted 4 does eventually give her the chance. But it would have been refreshing if, instead of relying on formulaic plot points, the game had given us a portrait of a marriage between two people who really do trust each other and who face challenges together as equal partners.
Uncharted 4 also stumbles with its portrayals of people of color. The only prominent person of color in the cast is Nadine Ross, the tough and cunning owner of a private army called Shoreline, which, weirdly, despite being run by a woman, doesn't seem to employ any. Still, she's a decent character, and a better brawler than Nathan. But she is a villain, and aside from her, people of color in Uncharted 4 are often depicted as threatening stereotypes, like the tattooed thugs you fight in a Panamanian prison or the sadistic drug lord who threatens to end Sam's life if he doesn't find the legendary pirate treasure. The fact that the heroes of the game are a bunch of very privileged white people makes it a little uncomfortable that the game treats a town in Madagascar as their personal playground, with parts of it left damaged and destroyed in the wake of a massive action setpiece.
At times, internal tension arises between the human story that Uncharted 4 is trying to tell and the inhuman actions that the game makes its heroes perform. Nathan and Sam sometimes reflect on the morality of the pirates whose treasure they're hunting but never really pause and question the morality of their own actions. And in one scene, the psychopathic antagonist Rafe Adler states that Nathan and Sam don't have it in them to kill Nadine, even though they've literally killed hundreds of people by that point in the game.
It's in moments like this that Uncharted 4 feels most constrained by the fact that, as an action adventure game, it is seemingly required to force you into situations where you have to kill a dozen or so guys. But to its credit, Uncharted 4 also tries to rise above the standard expectations of the action adventure game. In some ways, it's clearly building on Left Behind, developer Naughty Dog's wonderful DLC for The Last of Us which placed more emphasis on storytelling and character development than on action and violence.
This is a game that's willing to really take its time using gameplay to enhance our understanding of its characters, as in an early scene where you explore Nathan's house, finding mementos of his past adventures. There is a wonderful density of detail to its environments that makes you feel grounded in these places as you just walk around, examining objects and getting a richer idea of who these people are. There's also a terrific confidence to the game's pacing. Even more so than in earlier Uncharted games, long, compelling stretches are devoted to just traversing its beautiful levels and solving puzzles, with combat feeling like a periodic punctuation to the action rather than something the game relies on constantly.
Uncharted 4 is frustrating when it is exploring really conventional and (ahem) well-charted territory. But there are a number of beautiful and surprising moments in it which I'm not going to talk about here, and the excellent environmental design, writing and voice acting often lift the characters above the conventions of the story they're stuck in. In the end, it's the relationships, not the pirate booty, that matter most in Uncharted 4. And while the game sometimes goes through the motions of being a standard action adventure, it also simultaneously demonstrates that there's still room for AAA games to challenge our expectations and really surprise us, and that's something I want to see a lot more of in the future.


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text: PaulRelfOfficial Paul Relf London Prolific singer songwriter poet and artist. I have written around two thousand songs since the age of 15 and am trying to record all of them, which is difficult not least because I continue to write more. Alongside many self released E.Ps and albums under my own name, I also have numerous side projects including Crows Feet Disciples, Those Gin Soaked Rags, The Nuclear Ghost High Fives and ReptilianShapeShifters. I have over 100 videos on YouTube. Users who are followed by PaulRelfOfficial Mark McWhinnie The Batmark Glasgow, Britain (UK) madison schaeffer Madison Schaeffer Josef Kenny Brighton, Britain (UK) Get Method Get Method Moscow Tunes Moscow, Russia Zeel Demos, Jams, Rehearsals & Live Dublin, Ireland SendUs | WePostYourMusic Repost Our Track Then Mail Us Your Music For Repost BEST UN/SIGNED MUSIC ON SOUNDCLOUD Thee Brambles Tidy Lil' Outfit Ireland Streek Naazz. IF, Ukraine


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Welcome to Fr. Tadhg Fitzgerald
of Ardfert who has taken up his appointment as Parish Priest of St John's. We welcome Fr. Tadhg back to Tralee having served both in St. John's and Our Lady and St. Brendan's.
Sincere thanks to Fr. Seán Hanafin
|who has completed his time as Parish Priest of St. John's and is taking a sabbatical year before being appointed to a new parish in July 2017. A Farewell Party in his honour will be held in the coming weeks, full details to follow.
Neighbourhood Masses
Communities interested in organising an Area Mass for their neighbourhood are asked to contact their local priest through the Parish Centre (7122522) to make the necessary arrangements.
Fountain Court: Wednesday July 20th at 7.30pm
Kerins Park: Thursday July 28th at 7pm.
Castlemaine Bridge: (The Belfry, Skehanagh, Cois Abhann, Bruach na Habhann and Caherwisheen Area) Friday August 5th at 7.30pm.
Poll an Aifrinn, Thurs August 11th at 7.30pm
Group at the recent Area Mass for Cois Laoi, Caheranne and Springfield, celebrated by Fr. Bernard.
Progress on New Stained Glass Window
A substantial amount of the funding required to complete the new Reconciliation Window is now in place. The artist Tom Denny will visit St. John's later in October and expects to have window completed and installed within 12 months.
Annagh Cemetery Mass
will be celebrated on Friday July 29th at 7.30pm.
Children's Liturgy
will take a break for the summer for July and August and will recommence again at the 10.30am Mass in St. John's in September. All children aged 4—8 years are welcome to participate.
Tralee 800 Mass in the Park
As part of Tralee 800 Celebrations 10.30am Mass on Sunday June 19th, was celebrated by Fr. Seán in the Town Park.
Thought for the week
It is not too difficult to love those who love and respect us and believe in us. In a world that celebrates beauty and strives for perfection it can be difficult for some of us to fit in. For the sinner, the poor, the broken, the weak or the sick life can be a difficult roadway to travel. Try to be mindful of others. Judge not the sinner or the person who struggles. The shoes they walk in are heavy and full of worry......
Margaret Theresa Naughton


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