Aalborg Universitet
Gender Values in Simulation Games
Sex and The Sims
Albrechtslund, Anne-Mette Bech
Published in:
Proceedings of CEPE 2007
Publication date:
2007
Document Version
Early version, also known as pre-print
Link to publication from Aalborg University
Citation for published version (APA):
Albrechtslund, A.-M. B. (2007). Gender Values in Simulation Games: Sex and The Sims. In Proceedings of
CEPE 2007: The 7th International Conference of Computer Ethics; Philosophical Enquiry Center for Telematics
and Information Technology.
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Gender Values in Simulation Games: Sex and
The Sims
Anne-Mette Albrechtslund
Aalborg University
Kroghstraede 1, room 2.023, 9200 Aalborg East, Denmark
E-mail: [email protected]
Abstract
My paper is based on the idea that computer games as simulations can be seen as a new kind of
aesthetical realism forming a certain perception of reality and thus certain ideological statements.
These statements can be found in the structural shaping of the games, in other words the rules and
gameplay of a game. The investigation thus concerns the framework that the rules and gameplay
provide in games and its ideological effects or statements, and in this paper, I am specifically
interested in uncovering value statements on gender and sexuality in The Sims 2 (EA Games/Maxis
2004). The Sims, being an immensely popular game and a ‘pioneer’ within the prevalent genre of
simulation games, can be seen as representing general tendencies in computer games, and therefore
the study of this game should offer overall insights into the ideological aspects of gaming.
Keywords
Computer games, ideology, interface aesthetics, gender, aesthetic theory, simulation
INTRODUCTION
This paper offers an analysis of value statements on gender and sexuality in the immensely popular
simulation game, The Sims 2 (EA Games/Maxis 2004). I draw on my background in comparative
literature, and therefore the approach to this subject builds on the theoretical insights gained within
games research while being generally inspired by critical and literary theory. I take my cue from
Miguel Sicart who has convincingly argued that “games are and can be designed as moral objects,
with ethical values embedded in their design” (Sicart, 2006).
I begin by giving a brief theoretical introduction to the critical study of games and to issues such
as realism and representation in games. Reflection on these issues is important in order to
understand the relations between the player, the game itself and the context within which it has
been produced and is being consumed. I then proceed with a closer look at the representation of
gender and sexuality in The Sims 2, where I describe some of the central features of the game in
regards to this issue. This leads to a discussion on which values or social discourses are being
reproduced or challenged in the interaction between player and the game, and I conclude with some
remarks on the interactive relationship between player and game.
THEORETICAL BACKGROUND
The critical study of games
Computer game research
1
has been quite occupied with the criteria for analyzing, evaluating and
defining games as an aesthetical genre, and the relevance of terminology and methods taken from
other aesthetical research areas such as comparative literature and film studies has been discussed.
Gonzalo Frasca and Espen Aarseth, among others, have pointed out the dangers of simply
transferring a certain methodological approach such as narratology from these well-established
1
In this paper, I will use the term ”games” in the sense of computer games in general. Whether the newly developed field of
game research should apply only to computer games or whether game research can be said to apply to all kinds of games, not
only digital, is an ongoing subject of discussion that I will not enter into here.
disciplines to the new research in games. They argue that games as opposed to literature and film
are not static representations made of fixed sequences of events but rather dynamic simulations
(Aarseth, 2001). However, this is not the same as saying that games cannot be seen as aesthetical
phenomena, which can be described through general aesthetic theory; this is actually a valuable and
highly relevant approach to games – or as Jesper Juul puts it: “I think that having the tools for
discussing games, and remembering how we interpret other cultural forms can prevent us from
making naïve, literal interpretations of games” (Juul, 2005). Games do not function in quite the
same way as books or film, but this does not mean that they are transparent or ideologically neutral
playing machines.
Realism, representation and simulation
Games have their own distinct characteristics, limitations and possibilities, but share many issues
with other art forms. One of the central issues in art in general concerns the relationship between
work and reality, and the definition of realism in this context varies greatly depending on theoretical
and ideological positions within aesthetical criticism, but it can be broadly defined as the act of
representing a social reality by the use of signs referring to aspects of this reality. In the twentieth
century, we have learnt to regard realism as a style or a discourse, which is no less natural or neutral
than others. Realism in art is thus understood as much more than a direct, objective reproduction of
reality; rather, it expresses different visions of reality and thereby also certain values or ideologies.
Again, it should be stressed that realism in games is certainly not directly comparable to realism
in e.g. literature, but it is my opinion that we can speak of realism in games in the sense that various
aspects of a game can be said to be founded in references to real life experience. This goes for
various aspects of gaming, e.g. the virtual environment of the game, such as the everyday suburban
setting of The Sims 2; the possibilities and forms of social interaction, such as conversing and
flirting in The Sims 2 but also physical interacting in an otherwise fantasy-based game like World
of Warcraft (Blizzard Entertainment/Vivendi 2004); and of course, the frame narrative(s) or back
story of a game can also be based in realistic scenarios. We can also speak of realism in game
experience – in the games industry, designers and developers almost always strive for overall
improved game experience to provide the “illusionistic realism” (Pold, 2005) that allows for the
player’s immersion and engagement in the game.
Realism is closely related to mimesis, a concept derived from ancient Greek, referring to the
aesthetical representation of reality through similarity and imitation. However, the French
philosopher Paul Ricœur argues that mimesis is not the same as a static reference to reality, but
rather an interpretative process in which the reader is engaged while reading, in other words it is a
dynamic process (Ricœur, 1983). In this sense, mimesis is understood as a configuration in fictive
terms of something already prefigured in the life experience of the reader, and becomes an active
reconfiguration of the reality of the text interacting with the reality of the reader. Thus, the world of
the text and the world of the reader are united through the preconception of the reader, since the
text’s reference to a known, common world is a condition of its understandability. This
preconception often carries an implicit cultural generalization or ideology.
Ricœur’s theory on mimesis and narrative is, of course, directed towards literature, but his points
about the interpretative and active participation of the reader in the configuration of the meaning of
a literary text fits well with the concept of simulation, which plays a vital role in the context of
representation of reality in games. Simulation indicates a dynamic process rather than a fixed
image, and in my opinion, simulation can still be considered a representation if representation is
understood broadly as a mimetic practice communicating something about the world we live in
through signs
2
. Within the representative frame of the virtual world, the player participates in a
creative process of sense-making. Games are, of course, extremely varied in setting and genre, but
most (recent) games and certainly simulation games present realistic worlds for the player to enter
and interact with, and it is the dynamic relationship between the player and the gameworld – and
what representation(s) result from it – that I wish to analyze.
2
The discussion about whether games should be understood as representations and/or simulation is well-known, and I will
not enter further into it in this paper. My point here is simply that I understand the concept of representation as tied to
mimesis (as an imitation of reality) more than to narrative, and therefore simulation and representation are not necessarily
contrasts in my view.
REPRESENTATION OF SEXUALITY AND GENDER IN THE SIMS 2
“Love” in Simlish
The main purpose, or rather the main activities, in The Sims 1 and 2 consist of creating and
controlling virtual characters in a virtual world. The player and the game is freed from traditional
game conditions such as winning or losing, and instead the game is more about achieving and
maintaining a level of success – or just experimenting with different scenarios – rather than
reaching a final victory. Within the frame and space of The Sims, the player can move freely,
creating his/her own missions, experiments and narratives. It is a remarkable fact that this type of
game with its special gameplay and lack of traditional game conditions is among the most popular
(meaning the best-selling) of all computer games. But in spite of this apparent lack of restrictions,
The Sims (as well as other open-ended simulation games) is still furnished with a number of
indispensable rules and conditions, and studying these can help point out underlying ideological
structures.
There is no doubt that for many players, one of the main attractions in The Sims (both the original
game and the sequel) is the simulation of social interaction in the game and in particular the
possibility of playing with romantic interaction between Sims. Acknowledging this popular aspect,
the game industry has picked up this feature and has developed copycat games such as Singles: Flirt
up your life (Rotobee 2004), which focuses solely on a simulation of romantic and sexual
interaction. Romantic interaction in The Sims 2 is certainly an important part of the game, and even
though it is not a necessary condition for success (or progress), neglecting to explore this aspect of
the game will cause the player to miss a large portion of the range of possible actions and
interactions in the game. So, the player can ignore the romance part while playing, but this would
mean not exploiting the possibilities provided by the game.
In The Sims 2, what motivates the development of a Sim’s life is aspiration, where certain actions
performed earn Sim points, which are monitored by the “Aspiration meter” on the control bar.
Achieving and maintaining a high level of fulfilled aspirations is rewarded with bonuses such as a
longer lifetime and various objects. The player can choose between five life aspirations, six with
expansion packs – family, knowledge, fortune, pleasure, popularity, and romance – when creating a
Sim. The inclusion of these aspirations as an integral part of the gameplay speaks of the game as
reflecting a social reality where these are important values in life. And that romance is among these
speaks of the importance attributed to this aspect of life. Since the game obviously refers to a
contemporary (American) social reality, giving the player these options to choose from shows that
these are the values that the game identifies as normal and credible – although there is a clear
element of satire in the game’s portrayal of modern life
3
.
The conditions of succeeding romantically in The Sims give some clues as to the values inherent
in the game. I have played through various scenarios in The Sims 2 in order to search for the
constraints and possibilities afforded by the game as regards to gender and sexuality issues. First of
all, there is no such thing as jumping directly into bed – Sims have to build up a certain degree of
friendship before they can do this. In other words, Sims will have to like each other before they can
love each other. Teenage Sims cannot be romantically involved with adult Sims, and although
teenagers can go on dates and kiss and such, they cannot make “WooHoo” (the game’s euphemism
for sex) and so cannot get pregnant. A new feature in the Nightlife expansion pack allows the player
to choose two “turn-ons” and one “turn-off” for each Sim, so that Sims can have positive or
negative chemistry with each other, which facilitates or slows the process from friendship to
romantic relationship. Among these turn-ons and –offs, the player can choose such things as
different hair colours, make-up, bathing suits and stink, but you cannot choose to make a Sim prefer
one sex over another.
A Sim can have as many romantic partners as he or she is made to engage with, but if a Sim
couple is married or living together, infidelity does have a clear impact on their mutual relationship
(conveyed through relationship points on the control bar). For example, as I experienced in one of
my games, when pregnant Sim Marion Phillips witnessed her romantically aspiring husband flirting
a little too heavily with one of their house guests, her attitude towards him dropped from +99
relationship points to an angry -99 score, and it took a lot of effort for Barry to build up the
relationship again. This had an impact on how the game could be played, since time had to be spent
3
The satire and humor in The Sims is an important part of the joy of the game (at least in my view), but the game as a whole
is not presented or mainly experienced as satire.
repairing the relationship, so the two Sims could make use of each other as ‘mood boosters’ again.
They could, of course, also choose to break up/divorce, but this would mean ejecting one of the
Sims from the lot. In fact, infidelity does not have to be directly witnessed by the affected Sim – in
The Sims 2, Sims have memories and an act of infidelity can thus be witnessed by an outsider Sim
and later come up in conversation with an affected Sim.
Gender and sexuality
As shown above, gender seems to be treated without differentiating between the two sexes in The
Sims 2. Sims move around in the same way and have the same possibilities of interacting with each
other and with objects, regardless of their sex. Sims can live in a same-sex relationship, and
although in that case they cannot be married, they can be joined together in a union, which is a quite
progressive feature (at least in an American context). Animated cutscenes have been introduced in
The Sims 2 to sum up or capture moments that are considered important, which includes sharing a
first kiss, exchanging marriage vows, and making “WooHoo”. The cutscenes integrate the Sims that
are being played into the animation, so that the player-customized Sim(s) are the ones appearing in
the scene. It makes no difference in the animation sequence if, for instance, a male or female Sim
initiated “WooHoo” or proposed marriage.
If two women make “WooHoo”, one of them can even become pregnant – a feature that is not
only progressive, but impossible in the natural world. Even male Sims can get pregnant, but only by
alien abduction, which is probably more a comical than progressive element and not a standard
scenario. However, the pregnancy feature in the game does bring about some gender-specific
situations. When a Sim gets pregnant, she is put on a mandatory maternity leave during pregnancy,
and while she still gets paid her full salary, she does not have the opportunity to be promoted (or
change career track) during this period (which in The Sims 2 is three days). Of course, this is a very
friendly representation of what having a child can do to a woman’s career in real life, but still, a
more gender-neutral option would be to give the non-pregnant partner a mandatory parental leave
as well after the child is born to scale things out.
The setting of the game and the central position of marriage and family values in the gameplay
options does seem to favour a certain social behaviour within the otherwise progressive feel of the
game (see also Flanagan, 2003 and Sicart, 2003). Mia Consalvo writes that although The Sims (here
speaking of The Sims 1) has “certain ideologies constituted within its gameplay (how can it not?
It’s a human creation), it is not necessarily hardwired to follow dominant ideologies. The gameplay
itself structures but also leaves free spaces for user interactions as they occur in spontaneous ways”
(Consalvo, 2003). This is true, but I choose to see the fact that the game itself “structures” as a
pointer that it does express certain values, even though the player can act relatively freely within
this frame.
In all cases, a successful life in The Sims does not necessarily presuppose heterosexuality, but it is
still tied to a certain way of living both in gameplay and game representation. There are certain
features in the gameplay that facilitates or impedes the player’s options in regards to sexuality and
gender positioning, and in this sense, the representation is not quite neutral. For instance, one of the
upgrades in The Sims 2 allows the player to interact with almost all the NPC’s (non-player
characters) under the same conditions as other Sims in the game, which means that your own Sim
can end up marrying e.g. the maid. When you order maid service in the game, the game discreetly
urges the player to interact and flirt with the maid, since both the male and female maid are
designed as pretty and scantily dressed, and from the interaction pie menu, the option to “Flirt...”
will always be present. Interestingly, the sex of the maid will always be the opposite to that of the
Sim who ordered the service, showing that the maids are clearly designed for a heterosexual
relation.
With regards to gender representation, the game has a quite clear distinction when it comes to
physical appearance. Male and female bodies are quite defined; females are voluptuous and males
are broad-shouldered and tall, and the game does not allow the player to customize body shapes.
The option to choose a “thin” and more androgynous body shape in The Sims 1 has also been
removed in the sequel. Wardrobe in the game is gender-specific, and it is simply not possible to
choose a dress for a male Sim. The closest I could get to cross-dressing in the game was a kilt,
which is hardly a feminine garment. Make-up, however, is available for both sexes. Some of these
features can of course be modified by aid of fan-made clothing and faces, and this possibility for the
player to customize his/her game is even supported and encouraged by the game developers
themselves. As Sicart remarks, “The Sims offers a large degree of freedom to the players – the rules
only determine the context in which actions have game meaning, and the game system reacts to
them. But this freedom is encapsulated precisely by the rules” (Sicart, 2005). In a way, the player
completes the game by adding his/her own goals, ideas, narratives and sometimes graphical content,
but always within a certain framework that the game has put up.
CONCLUDING REMARKS
The relationship between the representation or construction of gender as found in the game’s
structural form (i.e. the game as a fixed structure) and the possibility of the player to act creatively
while playing the game (i.e. the interactive aspect of the game) needs to be discussed further,
whereas this paper has focused on a case study and analysis. The concept of the dynamic mimesis
developed by Ricœur, which I mentioned earlier, can perhaps be of use in trying to examine the
interactive relationship between player and game. I do believe that mimesis in a hermeneutic
understanding can be applied to all art forms, regardless of their (many) mutual differences.
Although I agree completely with Gonzalo Frasca and others that computer games cannot be treated
as narratives or fiction in exactly the same way as literature or film, I think that Ricœur’s theory
applies to games as well as other aesthetical phenomena. In this perspective, the meaning of the
game as experienced by the player is a result of the game’s intermediary position between the
player’s pre-understanding of the world and of what it is to play a game and his/her reception and
‘application’ of the game (Ricœur, 1983). In other words, the player brings with him/her a certain
understanding of the world into the game, which is also set with its own set of rules and values, and
finally, the playing of the game results in a kind of ‘re-figuration’, where the player’s values are
confronted, challenged, manipulated or reproduced by the game.
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BIOGRAPHY
Anne-Mette Albrechtslund holds an Advanced MA in Comparative Literature and is currently
working as a research assistant in e-Learning Lab, Aalborg University, Denmark. She is preparing
to begin PhD work on representation, creation and identity in computer games.
