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Media VentriloquismHow Audiovisual Technologies Transform the Voice-Body Relationship$
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Jaimie Baron, Jennifer Fleeger, and Shannon Wong Lerner

Print publication date: 2021

Print ISBN-13: 9780197563625

Published to Oxford Scholarship Online: April 2021

DOI: 10.1093/oso/9780197563625.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 October 2021

Performing Fragility

Performing Fragility

Re-sounding the Gendered Hero in the Voice of Lara Croft

Chapter:
(p.157) 8 Performing Fragility
Source:
Media Ventriloquism
Author(s):

Milena Droumeva

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197563625.003.0009

This chapter argues that the vocal performance of Lara Croft’s character in Tomb Raider 2013 manifests a particular type of media femininity requiring her fear and fragility and contrasts with similar games featuring male leads. Extending the discussion of the male gaze to sound brings new insight to the relationships between a character’s look, her movements and mechanics, and her vocalizations, to embody the character’s gender or act as gendered corporeality. The chapter argues that by virtue of being sound “effects,” women’s voices and feminized sounds in games draw on and solidify some of the most deeply entrenched gendered norms of sound design and voice-over work. Lara Croft’s excessive breathiness, as well as the overuse of environmental reverberation, codes her gendered sonic position as “feminized.” Players experience Lara Croft’s vocalizations as coded with abundant emotionality and fragility—sounds of strain, inner monologue, gasps, reactions, and battle cries—especially when compared with a similar narrative and game character, Nathan Drake, from the Uncharted series. By comparing the gendered sonic positioning of Lara and Nathan, the chapter shows her embodied vocal fragility by linking these characteristics to a transmedia historiography of feminized vocal typologies.

Keywords:   gender, games, game culture, voice studies, Tomb Raider, ventriloquism

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