Sex, sterility, and emptiness: why the industry fears real attractiveness in games

Foreword from us

We don't set ourselves the goal of “fighting the industry” or finding some special formula. It all started simply: we created our character Lexi as Lessi's digital alter ego. A dancer, an artist, a fashionista, a girl who likes to be different - sometimes bold, sometimes gentle, sometimes bright.

And in this search - who she is, how she moves, how she dresses, what she thinks, what she believes in - we suddenly found ourselves faced with a question: why is it so difficult today to find a heroine who is simply... alive? Not depersonalized, not exaggerated, not polished to a shine. But like real people - attractive, charismatic, but without fetishism and without fear.

At first, it was just a conversation between us. Then a short post - an observation. Some comments. But one comment that really resonated was from Tyvic Stallworth (https://www.linkedin.com/in/tyvic-stallworth/), Technical Combat Designer at Sucker Punch (Ghost of Tsushima), a man with extensive experience at Naughty Dog and High Moon Studios. He wrote:

“To make a well-rounded, grounded, and believable character, it takes a lot of skill. Psychology and human behavior are topics someone has to know to make a totally believable and relatable character.”

This phrase explains a lot. Creating such a heroine does not mean pleasing everyone. It does not mean “playing it safe.” It requires an understanding of psychology, life, vulnerability, and strength all at once. And perhaps that is why such characters are rare.

This article was born as an attempt to understand the problem more deeply. We are not trying to “please everyone.” And we do not claim to know the truth. But if, like us, you feel that something in the industry has gone wrong, you may find food for thought here.

Introduction

Video games have come a long way in their portrayal of characters, especially female characters. From the days of overt hypersexualization - when heroines with deliberately curvaceous figures and revealing outfits were the norm - to the current era of a kind of “sterility” in design, where any sexuality is carefully removed so as not to cause controversy. Today, it seems that the industry is balancing between two extremes: either the heroine is an overtly sexualized object of fan service, or her image is deliberately simplified and devoid of any sensuality. The result is a “void” - an almost complete absence of those truly attractive and charismatic characters who are beautiful and charming without fetishization or stereotypes.

Why did this happen? Why has the middle ground - making a character charming but multifaceted - become a rarity? Let's examine this phenomenon through the prism of cultural differences between East and West, historical phases of game design, the influence of social media, and the fear of “cancel culture.” We will analyze how the industry has arrived at two polar standards and what prevents the emergence of a “golden mean.” In the process, we will refer to specific examples - from the hypersexual Bayonetta and android 2B to the “sterile” Aloy from Horizon, the evolution of Lara Croft's image, the legendary Samus Aran, the heroes of Genshin Impact, the characters of The Last of Us, and others. We will pay special attention to quotes from developers, analysts, and players themselves, who shed light on this issue.

Global context: East vs. West in the design of attractiveness

Opposing trends are particularly noticeable when comparing Western and East Asian schools of game design. In recent years, the American and European industries have clearly shown a tendency toward realism and political correctness, sometimes to the point of self-censorship. Many Western developers fear accusations of sexism, so they consciously avoid explicit images. For example, Mortal Kombat 11 art director Steve Beran stated outright that in the new installment, the studio deliberately desexualized female fighters: "You're not going to wear a bikini to a fight. <...> Our design is just getting more mature and respectful.“ In the same vein, when Mass Effect was re-released, the creators removed the famous shots of Miranda's hips: ”Why was that focusing on Miranda's butt?" wondered project director Mac Walters, explaining why the camera was changed in the remaster. These examples show the typical position of modern Western studios: to emphasize the character and combat qualities of the heroines, removing “excessive” sexuality so as not to offend anyone.

In contrast, in many Japanese, Korean, and Chinese games, the attractiveness of the characters is still elevated to cult status - often in the form of overt fan service. Asian game design culture has historically been more tolerant of idealized, sexually attractive images. Yoko Taro, creative director of the NieR series, unabashedly admits, “I like girls, first of all, you have to remember that,” commenting on the explicit design of the android 2B. He even joked that because of the hype surrounding 2B's fillet parts, he asks fans to send him compilations of fan art in the form of weekly ZIP archives. This openness in approach distinguishes many Eastern developers. South Korean game director Kim Hyun-tae (Shift Up) openly rejects claims of excessive sexuality in the heroine of his project Stellar Blade. According to him, the audience wants to see the ideal: "Honestly, when I play a game, I would like to see someone who is better-looking than myself... I don't want to see something normal; I want to see something more ideal." In his understanding, games are entertainment where idealized images have a place, especially if the project is aimed at an adult audience.

It should be noted that attractive images are still found in the West, and there are restrained heroines in Asia. However, the general trend is as follows: in the 2020s, the West is gravitating toward realism and caution, trying not to “go overboard” with sexuality, while the East more often strives for vivid idealization and is not shy about adding charm and sensuality to its heroines. As a result, cultural context has a strong influence on images. The Japanese Bayonetta is the embodiment of frank, daring sexuality, while the Western Aloy from Horizon is extremely practical and devoid of any obvious sexual traits. Even fans note this contrast: against the backdrop of exaggeratedly sexy heroines from Asian games, Aloy's realistic appearance is perceived by some as deliberately unfeminine. However, other players, on the contrary, appreciate her naturalness. For example, journalists have noted with irony that “players are furious that Aloy looks like a real person and not a Barbie doll” - debates have flared up online because the character's face model shows peach fuzz on her cheeks and natural features without makeup. This curiosity highlights the difference in expectations: part of the audience is accustomed to idealized images (largely thanks to Eastern games of the past), while another part, on the contrary, rejoices in down-to-earthness and is tired of unrealistic beauty standards.

Historical evolution: from hypersexuality to sterility

To understand how the industry has reached its current extremes, let's take a look at the historical phases of images in games. In the 1980s and 1990s, technical limitations prevented characters from being rendered in detail, but even then, the first sex symbols were emerging. A striking example is Lara Croft, who made her debut in 1996. Her image - short shorts, a tight-fitting top, huge breasts, and the fearless character of a tomb raider - had the effect of a bombshell. In the late 90s, Lara's appearance seemed revolutionary: it was a novelty for players to control an attractive female adventurer rather than yet another “brutal paratrooper.” It is noteworthy that Lara's creator, designer Toby Gard, deliberately went against the cliché: he made the main character a woman, and a British aristocrat at that, breaking the stereotype that a successful game hero must be a muscular American man. But even he did not expect the emphasis publishers would place on his heroine's sexuality.

The success of Tomb Raider spawned a whole trend of hypersexualization. The gaming market of the late 90s and early 2000s was full of characters with disproportionately attractive appearances. In fighting games, each new installment tried to surpass its predecessor in terms of neckline depth and breast physics. Just remember Dead or Alive, famous for its “breast physics,” or the costumes of the heroines of SoulCalibur and Tekken of that era - minimum armor, maximum exposed body. Even serious series were guilty of this: in the early Mortal Kombat games, female ninjas fought in bikinis instead of armor. Such an abundance of fan service was considered almost the norm. Moreover, marketing actively exploited sex appeal. Lara Croft was built up as a pin-up diva: from advertising posters with the ambiguous slogan “Sometimes having a killer body isn't enough” to hiring models to portray Lara at exhibitions. The heroine was openly turned into a sex symbol of the industry - to the delight of some fans and the annoyance of others. Toby Gard, who conceived Lara as a multifaceted, strong character, was so opposed to Eidos' hypersexual campaign that he left the studio immediately after the release of the first game. He couldn't stand to see “her being turned into a sex symbol,” a victim of superficial objectification, because sexuality had become the only selling point of the image.

Nevertheless, at the turn of the century, such hypersexuality was widespread. Players, especially the young male audience, accepted this - games at that time were mainly made “masculine” for men. In the 2000s, a gradual shift began. On the one hand, the market became saturated with stereotypical sexual heroines, and banal fan service gradually became tiresome. On the other hand, criticism grew in society. In 2012, publicist Anita Sarkeesian released a series of videos called “Tropes vs. Women in Video Games,” drawing attention to stereotypes and the objectification of women in games. Despite the controversial reaction, this moment became a watershed: the discussion of the problem of sexualization spilled over into the mainstream. This was followed by the infamous Gamergate scandal (2014), which divided the community into supporters of “traditional” game development and advocates for reform. Against this backdrop, major publishers concluded that it was time to change in order to avoid reputational risks.

In the second half of the 2010s, we saw a shift toward “sterility.” Many AAA studios began to consciously reject overt sexuality in their characters, sometimes going to the opposite extreme. Crystal Dynamics' remake of Tomb Raider (2013) rebooted Lara Croft in a realistic vein: the heroine's bust was reduced, her clothing became practical, and the emphasis shifted to the vulnerability and growth of the young Lara. The developers finally paid attention to Lara's personality, her feelings, and her motivations, effectively restoring her humanity after a period of comic book sex action in the later Core Design games. A similar trend can be seen in other series: the heroines of modern Assassin's Creed, Uncharted, and The Last of Us dress and look as appropriate and believable as possible for their worlds. Whereas before, one might have expected a conventional adventurer to wear low-cut tops and high heels, this is now almost unheard of.

Of course, these changes have not always gone smoothly. Some of the audience, accustomed to the old images, reacted negatively to the “modernization.” For example, in Mortal Kombat 11, fans noticed that female characters were dressed in much more modest costumes for the first time in a long time. When the art director of NRS confirmed that this was a deliberate decision in favor of realism (after all, fighters are not going to fight half-naked), some players praised the studio for its maturity, while others accused it of giving in to “censorship” and the “SJW” agenda. Something similar happened with Mass Effect Legendary Edition: the removal of inappropriate hip angles caused a wave of controversy - some talked about progress, others about the loss of Miranda's “iconic” image. And Diablo II: Resurrected (2021) presented a more muscular, rugged appearance for the Amazon compared to the original, which also drew criticism. Game director Rob Galleriani admitted that accusations of sexualization in the original designs “hung over us like a heavy burden.” He assured that the team was not so much afraid of new accusations as they wanted the heroines to look like fierce warriors, not like people “who had just come out of a nightclub.” The fact itself is telling: even if the official motivation is “world logic,” there is an underlying desire to move away from the old sex appeal.

Thus, historically, the pendulum has swung from one extreme to another. Whereas previously the image of a female hero was often reduced to a “killer body,” now the focus is on a “killer personality,” and the body is made as neutral as possible. It should be noted that the industry has become much more diverse and open to different types of characters, which is a plus. However, along with the “unnecessary” elements, the charisma and charm of the character are often swept away. The 2013 version of Lara Croft is certainly deeper and more realistic than her “killer sex machine” counterpart from the late 90s, but she has lost some of the playful confidence that made the original Lara an icon. Jill Valentine from the RE3 remake (2020) is practical and serious, but some people nostalgically remember her daring top from the 1999 version - ridiculous, but memorable. Historically, it is clear that sexuality as an end in itself has discredited itself, but at the same time, by getting rid of it, the industry has partially lost the courage to make characters simply attractive in appearance.

Social media and the fear of being “canceled”

One of the decisive factors in this shift was the fear of public condemnation, reinforced by the era of social media. Today, every design decision instantly receives feedback on Twitter, Reddit, and gaming forums. If someone finds a character offensive or “outdated,” a scandal can erupt in a matter of hours. No one wants to be the subject of an exposé or a wave of hashtags like #SexistGame. Therefore, developers are increasingly playing it safe, trying to anticipate outrage. Sometimes they cut out controversial moments before release, fearing cancel culture.

As one commenter noted when discussing the trend of reducing female characters' bust sizes in new games: “Developers may simply be afraid of scandals related to the sexualization of women in games.” This comment appeared on Reddit and received widespread support. Indeed, cases of overt pressure from public opinion are well known. After criticism of the revealing angles of Miranda in Mass Effect 2, BioWare chose to remove them in the remaster to avoid further attacks. In 2016, the creators of Overwatch removed Tracer's overly sexual pose after a fan complaint - a seemingly minor issue, but Blizzard decided to defuse a potential scandal right away. In recent years, Capcom and Square Enix have introduced internal rules (so-called “ethics departments”) for global releases: for example, they make sure that female characters in the West cover up overly revealing necklines or shorten the length of their skirts. All of this is a result of fear of negative reactions from Western audiences and media.

Social media has not only amplified the voices of critics, but also made developers hostages to public opinion, which is often polarized. A telling example is the controversy surrounding Aloy's appearance. When screenshots of Aloy with a slightly rounder face began circulating before the release of Horizon Forbidden West, some users threw a real tantrum on Twitter, saying that the heroine had been “de-feminized” and made “too masculine.” There were even enthusiasts who offered their own “edits” - adding a ton of makeup, a thin face in the style of Instagram filters, and threaded eyebrows. These fan arts were distributed with the message: “This is how it should be, make her more beautiful!” In response, another part of the community ridiculed these claims, pointing out that demanding makeup and perfect hairstyles in a post-apocalyptic world is absurd. Guerrilla Games did not publicly comment on the controversy, but the tension was palpable. Obviously, the studio originally intended to keep Aloy's appearance realistic - a girl with a strong physique, without glamour. However, the situation itself illustrates a dilemma: who to listen to? If you go along with the first group, you will be accused by the second (and vice versa). As a result, many choose the third path - to make the image as neutral as possible so as not to fall under either category.

The fear of condemnation affects male characters as well, but it is especially acute for female characters, because their appearance has historically been the subject of much controversy. Remember the barrage of aggression that rained down on the developers of The Last of Us Part II because of Abby's image. The character, with her atypical female musculature, was admired by some for her realism, while others reacted inappropriately (Abby was rudely called a “man” and the authors were accused of imposing a “gender agenda”). In this case, Naughty Dog stood its ground, as Abby's character and story dictated her appearance. But the industry has learned its lesson: any deviation from the usual standards - whether toward greater sexuality or less - is guaranteed to cause a storm on social media. This forces studios to act very cautiously or to mask controversial decisions with internal logic. For example, Blizzard, when changing the Amazon model in Diablo II Remastered, could have honestly said, “We don't want naked warriors,” but instead chose to justify it by saying that the heroines now look more like real female warriors than club dancers. In other words: we made them less sexy, but we'll explain it away as “realism” so as not to upset old-school fans.

As a result, social media has become a kind of censor, albeit an unofficial one. Developers feel that if they add an extra centimeter of cleavage or an overly attractive facial feature, they risk a barrage of criticism, even threats of boycott. This atmosphere, of course, stifles creative freedom. Artists no longer ask, “How can I best express the character's personality visually?” Instead, they first think, “Will this be considered sexist?” This gives rise to deliberately “flawless” images from a social point of view, which, alas, sometimes turn out to be faceless. One of the developers, speaking on condition of anonymity, admitted to journalists that now “it's easier to make all the women in the game as modest and average-looking as possible - it's safer for the studio.” These words sum up the whole issue: the fear of “cancellation” has given rise to self-censorship. And although overt sexualization has indeed long been in need of revision, the new problem is that along with the “bad” aspects of games, much of the good is often lost as well - charisma, style, memorable appearance.

Extremes have become the norm: fan service versus sterility

Today, we have two extreme paradigms that have become de facto standards in different segments of the industry. The first is fan service hypersexuality, aimed at fans of anime aesthetics, gacha games, and 2000s-style action movies. In such games, female characters are deliberately made super-attractive according to the “male gaze” template: big eyes, ample breasts, long legs, revealing outfits, model-like poses. Their goal is to immediately capture the attention (and wallet) of a specific audience. The second paradigm is the sterile, neutral realism of AAA projects, especially Western ones. Here, the heroines are dressed and look as utilitarian as possible, often emphasizing the “ordinariness” of their appearance so that no one can accuse the developers of chasing after a male audience. Sexuality as a character trait or appearance is generally left out of the equation.

Examples of the first approach are easy to find in the Asian and mobile gaming segments. Genshin Impact, one of the most popular games in recent years, is filled with the aesthetics of “cute magical girls” and “handsome boys.” Although there is no direct eroticism (the game is still rated for teenagers), all the main characters are deliberately attractive: perfect figures, flawless faces, flirtatious lines. Many of the heroines' outfits emphasize the waist, legs, and breasts, albeit in a fairy-tale fantasy manner. The game deliberately exploits players' infatuation with the characters: fan art, cosplay, millions of views on YouTube of compilations of the most appealing moments - all of this confirms that the focus on visual appeal is commercially justified. Dozens of gacha games follow a similar path: Goddess of Victory: Nikke (a famous shooter with a camera focused on the swaying hips of the characters) openly sells sex appeal. Kim Hyun-tae, head of Shift Up studio, admits that when designing female characters, he follows his instincts and the tastes of the public: “It's something that users like and want, but I also do it because I like it.” Such candor speaks volumes: fan service is a conscious choice, a commercial formula for success in a specific niche of games. A game may be secondary in terms of gameplay, but it will attract an audience thanks to one or two strikingly sexy characters.

The character Eve from the game Stellar Blade is an example of how modern Asian studios follow the ideal of attractiveness. The project director noted that he wanted to see “something more ideal, not normal” in the design of the heroine. Critics in the West have accused Eve's image of being overly sexualized, but the developer stands by his vision. Such idealized female characters remain the hallmark of many Eastern games aimed at fans of vivid fan service.

On the opposite side are large story-driven blockbusters and prestigious studios that have chosen a strategy of completely deconstructing old images. The Last of Us Part II and similar games demonstratively avoid any glossiness. Ellie, the main character of TLoU2, spends most of the game wearing a stained jacket, jeans, and with abrasions on her face. There is no hint of traditional feminine appeal - and this is entirely intentional, because the game is about survival, pain, and revenge, where there is no place for glamour. Another heroine, Abby, defies stereotypes with her physique - muscular, strong, with masculine features. Naughty Dog knew they were going against convention, but they did so deliberately for the sake of the plot. However, anti-fan service has also become a new template. Many have noticed that almost all female characters in recent prestigious projects look deliberately simple: Frey from Forspoken, Dani from Far Cry 6, and Aloi herself - they are all different, but none of them can be called glamorous or sexy in the classic sense. Critics note that the industry has fallen into another extreme: “they are so afraid of unrealistic beauty standards that they make the heroines unrealistically unattractive,” as one blogger put it caustically. Perhaps this is an exaggeration, but there is a grain of truth in it. The formula of “not attracting too much attention” has become an unspoken rule for some studios.

Thus, today, sex and sterility coexist in the industry in parallel, but rarely intersect. If you want to see light-hearted flirting and perfect bodies, you'll go for niche Japanese titles, fighting games, or MMORPGs, famous for their “armor bikinis.” If you want serious drama, get ready for harsh heroes without a hint of sexual appeal. But where are the games that can combine both - give us a charismatic, attractive character without going overboard? Alas, they are rare. Market realities are such that it is easier to position a project either as a fanservice-heavy product for a specific audience or as a serious work that completely rejects fanservice. The golden mean commercially risks pleasing neither one nor the other.

Where has the “golden mean” gone?

The most interesting question is: why does the industry hardly ever offer us characters who are both attractive and not just flat objects of desire? After all, in theory, this is the ideal - a character who is physically appealing, but whose appearance does not overshadow their personality. Such characters have existed before (for example, Alex Vance from Half-Life 2 - attractive, but without exaggeration, or Zoe from Left 4 Dead). However, it feels like there are fewer of them now. The reasons for this phenomenon lie both in the aforementioned fear of criticism and in the inertia of thinking.

First, both extremes are convenient. By creating a hypersexualized heroine based on a template, the developer knows that they will attract a certain segment of fans who will come for the “pretty picture.” By making the heroine as neutral as possible, the developer insures themselves against scandals and may even receive praise from the press for their progressiveness. But taking the middle path is risky. Add a little attractiveness, and some will immediately declare the image sexualized. But conversely, make it too ordinary, and you will lose the interest of some players who value aesthetics. It's easier to choose one side or the other. The paradox is that real people are usually drawn to attractiveness; it's natural. Studies show that both men and women like it when their avatar in the game looks beautiful. In 2024, a psychological study was published which found that female gamers, even if they have a negative attitude towards hypersexualized images, still more often choose to play more sexualized characters if given the choice. In other words, on a rational level, one can criticize “armor bikinis,” but on an emotional level, many will still prefer a spectacular image to a modest one. This is confirmed by the words of the players themselves. One female gamer writes candidly: "I like cute, stereotypical female characters. I don't care about realism or ‘ugly’ characters. After all, games are just for fun..." There are many such opinions, including among female audiences. No one wants their gaming alter ego to be openly unattractive or boring.

If there is indeed a demand, why do we hardly ever see heroines who combine moderate sexuality with depth of character? This is where stereotypes in the studios themselves come into play. In the era of the fight against objectification, a false dichotomy has emerged: either a female character is “strong and independent, therefore not sexy,” or “sexy, but then stupid and weak.” Although this is a false dilemma, it is unwittingly perpetuated. Some screenwriters have openly said that they were afraid to add a romantic scene to a female character or make her too beautiful, lest it undermine her “strong image” in the eyes of the public. This has led to a deliberate coarsening and simplification of their appearance. As people say online, “Does a woman really have to walk around with a dirty face and no signs of femininity to be taken seriously?” Of course not. Attractiveness does not contradict depth - as blogger Kenichi Kitsune aptly wrote back in 2013: “A character's external sexuality does not have to contradict the strength of their personality or depth of character. On the contrary, often a character's attractiveness and sensuality only emphasises their higher spiritual or intellectual qualities!” He noted that the problem is not that a heroine can be sexy, but when that is her only virtue. In other words, sexuality is normal and even wonderful if it is only one facet of the character and does not replace everything else. “A character, like a living person, is incomplete, crippled, and dull without sensuality,” the author asserted. It is difficult to disagree: the complete emasculation of attractiveness leads to colorlessness.

Why is the industry reluctant to listen to these arguments? Apparently, extremes are easier. Creating a truly balanced image is more difficult than creating a stereotype. It requires the delicate work of artists and screenwriters, and most importantly, the courage to defend this image against possible criticism. There is already a lot of toxicity around: some will shout “too sexy!”, others “not pretty enough!”. Not every management team is ready to get involved in this war. It's easier to take the beaten path: either we target anime fans right away and give them a beautiful woman with curves, or we pretend that appearance doesn't matter and draw an “average” heroine. As a result, both extremes have long since become clichés. In Japanese RPGs, you already expect the obligatory dose of fan service - for example, a heroine-magician in a miniskirt or a paid swimsuit skin. And in Western cinematic action games, you expect everyone to be dressed for the weather, without a hint of sex appeal, even if the action takes place on the beach.

In essence, players from all camps suffer from this. Those who love aesthetically beautiful characters are forced to put up with the fact that in major story-driven games, their favorites are deliberately made to look simple. On the other hand, those who are tired of the old sexualization don't get any variety - they are offered a palette of heroines who are often charmless and “gray.” I would like to see more heroes who are attractive without excessive fetishism. Incidentally, this problem also affects male characters: although they are less often sexualized, the trend toward “averaging” has affected them as well. Take Dante from Devil May Cry, for example, in a comparison between Japanese and Western games: in DmC (2013, Western version), he was deliberately made less glamorous, with his long hair removed and his features roughened up - the reaction from fans was negative. As a result, Dante was given back his former polish in the Japanese fifth installment. This is a hint: the audience loves stylish, slightly idealized heroes - both male and female.

So where did those charismatic average characters go? They exist, but they are few and far between and often remain in the shadows. For example, Jade from Beyond Good & Evil is an excellent heroine, beautiful and yet not exaggerated, but the game itself was niche. Elizabeth from BioShock Infinite is attractive and feminine, but she is not the subject of sexual jokes, she is a full-fledged character; a good example, but she is not a playable heroine, she is a companion. Ciri from The Witcher 3 is attractive and strong, but the game still focuses more on the male character. So there are examples, but they don't form a trend. Rather, they seem like exceptions that prove the rule: balance is rare.

Examples of characters: from Bayonetta to Ellie

Let's take a closer look at a few iconic examples and how they illustrate the industry's fear of true attractiveness - or attempts to overcome that fear.

Bayonetta (2009) is perhaps one of the most controversial images. A sexy witch in a tight-fitting suit made of her own hair, with a model figure, a sultry voice, and a fighting style that is half striptease. At first glance, she is the quintessence of the male gaze and fan service. Unsurprisingly, Bayonetta sparked a storm of debate: some branded the character as “created entirely for male fantasy,” noting that her sexuality only pretends to be “power” but in reality serves as a reward for the player (after all, when using super attacks, Bayonetta loses her clothes). Others, on the contrary, saw her as an example of sexuality as strength: developer Alicia Andrews cited Bayonetta as a case of “sexy done right.” She notes that Bayonetta is in control of her sexuality, she clearly enjoys herself, flirts, and seems to “invite you to have fun together.”

“Bayonetta, the character, enjoys her sexuality. She is choosing to display it in this manner, and is inviting you in on the fun. It's wonderfully refreshing to have a character that seems in control of her sexy bits,”

writes Andrews. In her opinion, Bayonetta's difference is that she feels like a subject, not an object - unlike dozens of “breasts in the air” from other games, where the heroine is sexual not because of her own will, but because it is necessary for marketing. Perhaps Bayonetta's success lies in the fact that this image has been taken to the point of self-irony and grotesqueness - the creators at PlatinumGames have made her sexuality so exaggerated that it has become a character trait rather than primitive fan service. As a result, many players - especially female ones - have fallen in love with Bayonetta. Female fans admitted that at first they dismissed the game as “just another boob game,” but then tried it on the recommendation of their friends and were won over by the heroine's charisma. Nevertheless, Bayonetta remains a niche phenomenon. The mainstream has taken note: such a candid image is a rarity, allowed only in Japanese auteur projects. In a major Western game, this would not go unnoticed without a loud scandal. So Bayonetta is more of an exception, a deliberately provocative image that was able to justify itself through style. But even the series' producer, Yusuke Hashimoto, came under fire for his words: he stated that “Bayonetta cannot be oversexualized because she doesn't have that big of breasts,” which was met with ridicule - as if bust size alone determines sexuality. This episode only added fuel to the fire: opponents saw confirmation that the game was run by men with a questionable understanding of the female perspective.

2B (NieR: Automata, 2017) is another striking example of appeal that is nevertheless integrated into a deep storyline. The android 2B looks like an anime fetishist's fantasy: a slender figure, short skirt, thigh-high stockings, eye patch, high heels. It would seem to be pure fan service. Yoko Taro himself joked: “When the hype around 2B's butt came out, so many obscene artworks were made... since they're posting them anyway, they might as well send me an archive every week!” He clearly enjoyed the response, making no attempt to justify himself. Nevertheless, in the game itself, 2B's sexuality is played out subtly: against the backdrop of completely emotionless machines and the total despair of the world, her humanity is revealed even through her exaggeratedly sexual image. In analyzing the game, it was noted that 2B's design is “sexy but not sexualized,” in the sense that it serves aesthetics and symbolism, rather than simply “for the player's enjoyment.” 2B is confident, determined, tragic - and her attractive appearance reflects this inner confidence: “her sexy exterior conveys a confident interior,” writes the critic. This is perhaps an example of the middle ground: the heroine is extremely attractive, and the authors do not hide this, even fueling interest (a separate camera setting allows you to look under 2B's skirt, which is accompanied by a flirtatious reaction from the character). But at the same time, 2B is not a flat object; she commands respect and empathy, and her beauty becomes part of the artistic concept. However, NieR is also the brainchild of a Japanese author known for his originality. If someone at Sony, for example, tried to propose a heroine in such an outfit, it would probably be rejected by the ethics department. Therefore, 2B remains a phenomenon from the “alternative” pool of games that does not influence the policies of major Western publishers.

Stellar Blade (2024) and its heroine Eve are interesting as a sign of the return of fan service to a major console exclusive (the project is being released with Sony's support for PS5). Eve was drawn by Korean artists, and her image clearly pays homage to Lara Croft from the 90s: a tight-fitting suit, feminine facial features, and a perfect figure. Even at the announcement stage, Western journalists began to criticize the design, calling it “overly sexualized” and “outdated.” However, as we have already quoted, director Kim Hyung-tae was not intimidated and publicly defended the design, emphasizing that he was not interested in making something “normal and ordinary” and that games are a place for beautiful, ideal characters. Moreover, he noted that in games, the attitude towards “unrealistically beautiful characters” is now particularly strict compared to cinema and animation, but personally, he does not consider this fair. It turns out that Stellar Blade has become a kind of experiment: will the public accept a game where the heroine is a classic sexy action character? Judging by the hype, there is an audience for this.

Aloy (Horizon, 2017-2022) is the complete opposite of the above. She has become a symbol of the modern heroine, free from old tropes. Aloy is a young warrior dressed in practical skins and armor, with no makeup on her face and an athletic build, but without any exaggeration. Her attractiveness is closer to reality: some find her cute, others find her rough. The main thing is that Guerilla Games did not even try to “embellish” the heroine for marketing purposes. Moreover, in the sequel, they made the model even more realistic, adding small details such as a mole on her skin, which sparked the internet debate about “Aloy's beard.” But in the game itself, this topic is simply irrelevant - what matters there is Aloy's character, the world, and the plot. Aloy is praised for feeling like a real person, not an idealized avatar. At the same time, some players (especially those from the older school) criticized her, saying, “The heroine doesn't look attractive enough. Why not make her a little sexier?” Such opinions were marginal, but they did arise. Fortunately, the authors did not give in. Aloy is a good example of when the sterility of an image is justified by the setting and character. She really doesn't need glamour to be interesting. But does Aloy represent the “golden mean”? Not quite - she is rather deliberately removed from the field of sexuality. She lacks conscious attractiveness. Yes, many players still love her and find her cute (after all, her face model is based on the real-life beautiful girl Hannah Hoop). But Aloy's image was clearly created under the motto “no fan service.” It worked for this story, but it cannot be said that Aloy restored the industry's faith in attractive heroines - rather, she confirmed the trend toward “strong and simple” characters.

Lara Croft is a character who has gone through all the phases and is therefore particularly illustrative. In the 90s, she was a hypersexual icon. In the 2000s, she was a “sex machine” who had lost her individuality (as they wrote, by the fourth installment, Core Design had turned Lara into a “deadly sex machine, blindly chasing treasures, having lost her humanity”). In the 2010s, she was a realistic, vulnerable young woman, without a trace of her former playfulness. Which Lara is most memorable? That's debatable. The old Lara Croft still holds Guinness World Records and is included in lists of the greatest characters, largely thanks to her iconic image, which combined sex appeal and strength. The new Lara has been highly praised for her depth of character, but she is no longer as much a symbol of sexual attractiveness as she once was. Interestingly, the creators of the reboot tried to incorporate romantic appeal in a different way - for example, through a secondary character (in Tomb Raider 2013, there was a hint of a romantic connection between Lara and a guy named Alex, but it was barely developed). Perhaps they were afraid to give Lara any hint of seductiveness, so as not to conjure up ghosts of the past. Now, in upcoming games (Embracer Group is planning a new installment), fans are wondering: what will the next Lara be like? Will they give her back at least a little glamour, or will they leave her serious and practical? This choice will show the direction of the industry. For now, the story of Lara Croft teaches us that extremes don't work in the long run: hypersexuality made Lara famous, but quickly emasculated her image and bored players; the rejection of any sexuality restored respect for the character, but partly deprived her of her trademark charm. Somewhere between these two extremes would be the ideal Lara - attractive, sensual, but also deep. We want to believe that sooner or later we will see her.

Samus Aran, Nintendo's legendary heroine, is interesting in how her perception has changed. In the original Metroid (1986), the main surprise was discovering at the end that the hero was a woman. Samus was neither sexualized nor described in any way at all - it was a gender twist. However, even then, an element of encouragement was included: if you completed the game quickly enough, Samus would take off part of her spacesuit and appear in a pixelated bikini - a kind of “prize” for skilled players. In the 90s and 2000s, Nintendo did not exploit Samus' sexuality in the main games - she is almost always in power armor. But Zero Suit Samus - the version without armor, in a tight leotard - became fan service in spin-offs and Super Smash Bros. Many noted that Zero Suit (especially with the added heels in Smash) was something alien to the Metroid games themselves, made specifically “for the fans.” Nevertheless, the image caught on, and Samus also became a kind of Nintendo sex symbol, albeit a secondary one. In recent games (Metroid Dread, 2021), the developers returned to a fully armored Samus without a single sexy moment. And it worked - no one complained because the gameplay and atmosphere were top-notch. But here's where Nintendo's approach is interesting: they divided the image. The main games - no emphasis on sex appeal. Side media, merchandising, and fan service projects - please, Samus without a suit, in a tight-fitting blue suit. This way, everyone is happy: the reputation of the serious series does not suffer, and the audience that loves the beautiful Samus gets what it wants. Perhaps this is also a way forward - to allow attractiveness to come through in secondary forms without interfering with the main tone of the game.

The characters in The Last of Us – in terms of attractiveness, both female and male characters come to mind. In this series, Naughty Dog went for realism in everything. Ellie is an ordinary teenager (in the first part) and a thin girl (in the second), Joel is an older bearded man. No one looks like a model, and that's the point. Nevertheless, there is a romantic storyline between Ellie and Dina in the second part, shown delicately and naturally - without any fan service for the audience. In contrast, the sex scene between Abby and Owen is deliberately awkward and rough, discouraging the viewer from thinking about the eroticism of the moment. All of this is part of the artistic concept - to show the uncomfortable, ugly sides of human relationships. TLoU has received tons of awards, but few people would discuss the “beauty” of the game's characters. And that's normal for this genre. However, when this approach is adopted everywhere, games risk losing their escapism. Not all projects want to be dark dramas; many would benefit from a little romanticization. The main thing here is balance and appropriateness. In The Last of Us, it would be inappropriate to see glossy beauties - and there aren't any. But in a conventional adventure game or fantasy, it's okay to let the heroine be a little more striking without fear of destroying the narrative.

To sum up the examples: each of them demonstrates an extreme or a rare attempt at balance. Bayonetta and 2B are hypersexual but strong characters (East). Aloy and Ellie are completely desexualized strong characters (West). Lara and Samus vacillated between extremes until they arrived at a more neutral embodiment. Against this backdrop, one misses characters like Chun-Li from Street Fighter: a strong fighter, yet feminine and attractive, without excessive objectification (well, except for her famous hips - but that's something fans have turned into a fetish). Or Princess Zelda from the Nintendo series: her image changes from game to game, but in the latest installments, she looks cute, without going overboard, and at the same time does not fade as a character. These images are like a breath of fresh air, reminding us that harmony is possible.

Conclusion. Finding a balance between sex and emptiness

So why is the industry afraid of real attractiveness in games? Because attractiveness comes with responsibility. By making a character truly charming, the developer must put their heart and soul into it so that beauty goes hand in hand with character. It is easier to either take the easy route of sex appeal (by drawing stereotypical fan service) or to remove the theme of physical attractiveness altogether, focusing on other aspects. The first path is fraught with emptiness of image, the second with sterility. We see both of these all the time today.

Ultimately, the industry is not afraid of beauty itself, but of the reaction to it. A beautiful female character inevitably becomes the target of various critics, from moralists to trolls. The days when Lara Croft could grace the covers of Playboy (a real case - Eidos collaborated with Playboy in the 1990s, releasing digital images of Lara in the nude) are gone forever. But that's not a bad thing - a game should be a game first and foremost, not soft porn. The problem lies elsewhere: along with the rethinking of old templates came excessive self-deprecation. Developers seem to be ashamed to make the heroine simply attractive without any “buts.” If they do, they are sure to add an excuse or a joking reference, as if to say, “We know this is fan service, don't hit us.”

However, the demand for charismatic, colorful characters has not gone away. Fandoms still draw tons of fan art, choose the “waifu” and “hasubando” of the year, and argue about who has the best chemistry. This is an integral part of the enjoyment of games - loving a character not only for their skills, but also for their image, beauty, and sex appeal. Although the industry strives to be “more mature and serious,” it would be a mistake to completely abandon this. The good news is that there is a gradual realization that extremes are becoming obsolete. In recent interviews, many developers have noted that they want to bring back an element of lightness and flirtatiousness to games, “but in a new way, without the old chauvinism.” Perhaps the future lies in characters whose attractiveness is presented with respect and context.

As Kenichi wrote in his blog, “there is nothing wrong with fictional characters being sexy or sexualized: stirring the imagination is one of the vocations of art, and video games in particular.” The important thing is that this is not empty pandering, but an interesting image. Someday, the industry will find this balance: characters will cease to be either “sterile figures afraid of their own attractiveness” or “soulless walking fetishes.” Instead, they will simply become vibrant personalities who can be both beautiful and diverse - just like in real life. Signs of this are already visible: we are increasingly encountering strong characters whose beauty is portrayed naturally, without fanfare or shame. Games are maturing, which means they will be able to deal with the topic of sexuality in a more mature way, without falling into teenage extremes.

Ultimately, a character's true appeal lies not in the size of their cleavage or its complete absence, but in the harmony between their external appearance and inner essence. The industry needs to overcome its fears and prejudices in order to return to this harmony. Players, with their money and feedback, are showing that they want to see interesting, lively, and yes, attractive characters in games that they can admire, not just respect for their combat skills. So, demand will create supply. It is very likely that the next generation of games will bring us new heroes and heroines whose image will finally break free from the dictates of “sex or sterility.” And then no one will be able to say that the industry is afraid of beauty - it will simply learn to show it in a genuine way.