Emilie Medland-Marchen

I definitely agree with your complaints about movement and the meshing of 2D and 3D animated sequences. I remember the original Sailor Moon being incredibly vibrant and well animated, in a way that really complimented the characters. There were comical moments with a lot of minimal animated movements, but the control and fluidity that defined the animation of the transformation sequences was really impressive for its time. In Crystal, this fluidity seems stunted, the girls more like walking portraits rather than dynamic, moving characters. I think that’s a stylistic choice, given the extreme change in art style, but it seems like a poor choice given that the Scouts are supposed to be courageous, brave and always in charge. The animation in the original reflected their capability with its dynamacy. With the new style, it seems like their abilities are stunted along with their movement. They don’t seem as capable and courageous as they once did.

Tommy’s rage is made even more devastating as it directly contrasts the apathy of Kathy and her inability to change the world around her. Tommy’s constant drive to prove that he is truly in love, and thus gain his and Kathy’s sovereignty, drives the later part of the novel. Kathy seems to be a complicit narrator, relaying events that happen to her and other Hailsham students that they are either unable or unwilling to change. But although Tommy’s rage is enough to drive him to attempt to change his own life, it is not enough to drive him to overthrow the oppressive system he lives in. This hits at the heart of the devastating quality of the novel; the combination of Kathy’s apathy and Tommy’s unwillingness to direct his anger results in a desolate world that is loathe to change, and hope itself becomes hopeless.

The game industry’s representation of female voices is definitely a problem. But I think the Zelda series does a better job than most to provide complex female voices in its games. The fact that the article was able to provide so many examples of female characters in the Zelda series is evidence that female representation is apparent, though it may not exist beyond stereotypical views of womanhood. Most games definitely pass the Bechdel test (Twilight Princess in particular), and a woman is given a major continuing role within the series (Zelda). Zelda is presented as a well-rounded, interesting character, and I would argue that her representation as a archetypal “Damsel” has changed a lot throughout the series. In Zelda I and II, she was essentially an extension of Princess Peach from the Mario series. In Wind Waker and beyond, she is given a more leading and helpful role.
Zelda’s problem is that she is a supporting character, rather than the star of the series (Link). It would be nice to see a game where she breaks out of a support role and is able to lead a narrative on her own. That could be a very possible reality for the Zelda series, as the relationship between Midna and Zelda in Twilight Princess was particularly interesting, though not fully developed.
With such a variety of female characters, it would be excellent to see the Zelda series utilize the potential for feminist representation by having them interact more, independently of the male characters. Instead of all seeming to serve Link, having them explore their own destinies together and independently of major male characters would be a big step in a more feminist direction.