product: toys/games

Yesterday, a woman I know who moved to the U.S. as an adult mentioned that she was struck by portrayals of mother-daughter relationships in the U.S.  Representations of such relationships on TV, in movies, and regular conversation indicate that especially when daughters are in their teens and 20s, we practically expect their relationships with their moms to be fraught with conflict and difficulty (and the attendant eye-rolling and yelling), and for teens to be disrespectful and to find their parents intolerable. While she had certainly known individuals in Ecuador who didn’t get along with their parents, she felt that in the U.S. we almost cultivate conflict, making it seem like a normal aspect of child-family relationships in general rather than a characteristic of some individual families and culturally sanctioning the open expression of frustration with one’s parents as acceptable, even healthy.

I thought about that when I saw a commercial sent in by Livia A. for the video game Dead Space 2. Here’s a behind-the-scenes video released as part of the ad campaign; the entire selling point is the idea that your mom will hate it:

It’s a great example of this social construction of child-parent relationships as at least somewhat antagonistic: what kids love, parents hate, and parents hating it proves it’s awesome. Telling young people “your parents will be disgusted by this” becomes an automatic selling point. And this idea of how people relate to their parents (in this case, mothers specifically) is presented as an essential, permanent fact: “A mom’s disapproval has always been an accurate barometer of what is cool.”

But of course, this isn’t an inherent property of family life across human history. It largely rests on the invention of adolescence and young adulthood as distinct life stages in which we expect individuals to act differently than children but not quite like full-fledged adults yet, and the assumption that a normal part of this is to struggle to separate from your parents as you try to establish your own identity. Parenting norms today expect parents to accept teen/young adult rebellion and continue loving (and supporting) their kid anyway; you don’t get to withhold resources and affection if you think they’ve been disrespectful. And with the increased visibility of youth culture, we expect kids will find their parents terribly uncool and will see peers, rather than family members, as the proper judges for what they should like. Together, these cultural norms both make it relatively risk-free to take open joy in horrifying your parents and trivializing their values, since there’s little chance they’ll disown or abandon you for it and make young people who do like the same things as their parents seem weird.

I suspect some of our readers may have an interesting gender analysis, as well, what with the emphasis in this video on moms from “conservative America”, while the entire behind-the-scenes crew is made up of young men. While I can imagine an ad that might say “Your dad will hate it,” I don’t think that would work as well here, given that part of the desired reaction was a disgust at the level of violence and gore, something we assume women are more uncomfortable with than men.

Everyone says that Barbie has unrealistic proportions, but have you seen them? Denise Winterman at the BBC decided to make a visual, borrowing one Barbie doll, one real human woman, Libby, and the wonders of photoshop.

First, Barbie’s measurements:

• bust 4.6ins (11.6cm)
• waist 3.5ins (8.9cm)
• hips 5ins (12.7cm)

Second, the transformation:

Writes Winterman:

If Libby’s waist size of 28ins (71.1cm) were to remain unchanged, then applying Barbie’s proportions to her would mean Libby shoots up in height, to an Amazonian at 7ft 6ins (2.28m) tall. That’s just two inches shorter than the world’s tallest woman, Yao Defen. She would also have hips measuring 40ins (101.6cm) and a bust of 37ins (83.9cm).

But what if, instead, Libby’s height of 5ft 6ins (1.68m) was to remain unchanged. Doing the maths, Libby would have an extraordinarily tight waist of just 20ins (50.8cm), while her bust would be 27ins (68.5cm) and her hips 29ins (73.6cm).  Even the famously slight Victoria Beckham reportedly only has a 23ins (58.4cm) waist. But neither are they unheard of — Brigitte Bardot was famous for her 20ins (50.8cm) waist.

Citing scholarship, Winterman reports that “the likelihood of a woman having Barbie’s body shape is one in 100,000. So not impossible, but extremely rare.”

Via Jezebel.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Cross-posted at Love Isn’t Enough.

Brandy B. let us know about an interesting article by Isis the Scientist at Science Blogs on the apparent whitening of a children’s cartoon character for the Christmas toy market. PBS’s cartoon, “Super Why!”, includes a female character, Princess Presto, who has the power to spell. Here’s what she looks like:

Yet the plush doll version of Princess Presto (who is supposed to have one White and one African American parent) looks significantly different:

I found another Princess Presto doll online as well:

I did find one set where she looks more like the original:

Isis the Scientists says that in comments to an article on the topic at the Orlando Sentinel, someone claiming to represent the company says the plush doll looks more like the original in person than the pictures online and says the following:

…The hair on the doll is more purple than black and this was an aesthetic choice…The placement of the facial features was intentionally tweaked to make the embroidered beanies look cute, so there is a slight difference from the onscreen character. The alterations were similarly made across all characters in the line, not just Princess Presto. There are almost always slight differences when translating the onscreen characters to off-air product especially with regard to colors because we have to use PMS or CMYK color choices for products.

Isis says BS — that having seen an actual version of the plush toy, it looks like it does in the photo, with very light skin, and that aside from that, other manufacturers seem to be able to make African American dolls just fine. And saying you changed things for “aesthetic” purposes doesn’t explain why you thought her existing characteristics were insufficiently aesthetically pleasing. Of course, we also don’t know for sure the person writing the comment was from PBS.

I tend to side with Isis here: the idea that technical limitations prevent making a more accurate representation of a dark-skinned doll is…sketchy, to say the least, and makes me think PBS needs to partner with a better toy design firm. And the choices about what the Princess Presto doll should look like in doll form put PBS in the position of appearing to think that a mixed-race character needs to be whitened to sell. PBS’s dolls exist in a marketplace where we’ve seen controversies about African American dolls being literally valued less than White dolls, and whatever their supposed reasons, it’s hard to get around the fact that all of the choices made in the name of aesthetics added up to a doll that looks awfully White.

Mab R. sent in a nice example of how children are socialized into gendered expectations. Chunky Monkey Mind has a post about the cut-out trading cards that appeared on the back of Cap’n Crunch cereal boxes a while back. Each card features a Cap’n Crunch character. Here’s the card for Smedley:

Ok, so for the male character we get basic stats, and he’s clearly an active guy who has thrilling adventures.

On the same box that featured the Smedley card was a card for Magnolia Bulkhead, who is shown with hearts hovering around her face as she clasps her hands together in rapture:

But of course, being female, she isn’t going to give us all of her vital statistics — in particular, age and weight are secrets women should guard carefully. Also notice the reinforcement of the idea that women are obsessed with romance. While Smedley’s hobbies involve action, Magnolia’s only listed hobby is daydreaming about a man (and his cereal). And her greatest adventure? Why, almost getting married, of course. Yes, the most amazing adventure of her life is something she failed at, but since it held out at least the possibility of romance, and she’s female, it was still the highlight of her life.

Ah, gender stereotypes! Fun for kids of all ages!

“It is big, it is strange, it is unexpected.”

Schell spends the first six-and-a-half minutes of the lecture below talking about the surprising wins in technology this year.

Club Penguin, a flash game for kids, being bought by Disney for 350 million dollars.

Guitar Hero.

Webkins. “What?” “Really?”

He spends next 22 minutes trying to explain why these games have been so successful. Including:

Anything you spend time on, you start to believe, “This must be worthwhile. Why?  Because I’ve spent time on it.  And therefore it must be worth me kickin’ in 20 bucks because look at the I’ve spent time on it.  And now that I’ve kicked in 20 bucks, it MUST be valuable, because only an idiot would kick in 20 bucks if it wasn’t!”
…

What these all have in common is that these are all busting through to reality… We live in a bubble of fake bullshit and we have this hunger to get to anything that’s real.

…

Pockets turn the law of divergence inside out… remember the swiss army knife! …and this is why everyone hates the ipad.

And then, from about 21 minutes forward, he gives an account of what he thinks the future will look like. It’s, um, chilling.

Enjoy!

See also: Do We Play Farmville Because We’re Polite?

And also, he makes the same point we made in a previous post about how the new Ford Hybrid has made driving green into a game.

Via Text Relations.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

“It was kind of unreal,” the Steamboat Springs, Colorado native said, describing his recent 34th birthday fete at Kandahar Airfield, better known as KAF. “At least for a few minutes, you could pretend you were somewhere else. It was like going back home” (source).

“I was expecting to arrive in a warzone but instead here I am wearing sunglasses in the sun and eating a baguette,” said Dimitra Kokkali, a NATO contractor newly arrived from Brussels. “On my first night I surprised my family by calling them from an outdoor rock concert” (source).

A Time magazine slideshow, titled “R&R at Kandahar Airfield,” uses images to describe how the busiest airport in the world “tries to re-create the comforts of home for the coalition forces in Afgahnistan.” Kandahar Airfield is the busiest airport in the world because all supplies and troops pass through on their way to or from war in Iraq or Afghanistan. At any given time there are about 25,000 service members and civilian contractors at the airfield.

These images of the Kandahar’s “Boardwalk” recreation area are striking for a few reasons. First, they show a blurring of the line dividing the homefront and the warfront. The slide show includes images of service members using FaceBook in computer labs, and eating meals in their fatigues at TGI Fridays.

Second, these images reflect that there is increasing emphasis on how service members are supported and cared for by the military during wartime. These photos show the side of war that is not about fighting and danger—instead, they are about the comfort and making a foreign land where they are fighting as “homelike” as possible.

Third, these show the blurring of the boundary between the military and privately owned businesses. Civilian Contractors are augmenting military personnel during the wars in Iraq and Afghanistan and the inclusion of these civilian contractors in war zones has raised the issues of the safety of civilian workers and the costs of hiring corporations (Contexts).

Finally, as a consequence of the blurring of the boundaries of homefront and warfront, the division between the country of Afghanistan and the military is sharpened. Afghanis (except for those few with security clearance) are not allowed to shop or enjoy the free entertainment on the Boardwalk at Kandahar.  Meanwhile, service members can safely buy souvenirs on the Boardwalk itself.  Afghani culture is commodified as a tourist attraction in this theme park-like Boardwalk setting.

All of these images speak to the changing boundary between the homefront and the warfront, and as a result, changes in how we, as a country, view war. Instead of the images of brutality, death, and chaos that Americans saw in their living rooms on TV during Vietnam, for example, these images show the military taking care of service members who are being entertained, keeping in touch with loved ones, and having fun.

But as this service member describes, walking the Kandahar “Boardwalk” in a warzone is still a jarring experience:

“I couldn’t believe I was in Kandahar eating a double-dipped chocolate ice cream at sunset on a Saturday afternoon,” said Coleman, who was downing a strawberry smoothie from the French bakery behind him, where an Eiffel Tower climbs a wall above picnic tables with fake potted plants.

“It was a surreal experience,” he said, as a jet fighter roared across the sky, letting loose a stream of defensive white flares. “I remember thinking, ‘We’re in the heart of the war-zone. The bad guys are 10 miles away. And here we are eating soft-serve ice cream'” (source).

Wendy Christensen is a Visiting Assistant Professor at Bowdoin College whose specialty includes the intersection of gender,war, and the media.

Jessica B. sent in a link to a really great post over at Pigtail Pals. The author, Melissa, analyzed the contents of a number of holiday-season catalogs advertising toys. She tabulated how many girls and boys appear in each, how many are shown doing gender-stereotypical vs. non-stereotypical activities, and the main themes of the toys.

Here are the results for Toys ‘R’ Us:

Images from the catalog:

Wal-Mart:

Target:

It’s particularly striking to me how few images there are of girls and boys playing together, a predictable outcome, I suppose, of our insistence that boys and girls need different toys — since, if must play with different toys, they won’t be playing together.

Melissa discusses the specific images on several pages of the catalogs — check her full post out for more commentary.

Cross-posted at Ms.

Previously we’ve posted on the sexy makeovers recently given to Dora the Explorer, Strawberry Shortcake, Holly Hobby, Lisa Frank, Trolls, Cabbage Patch Kids, and the Sun Maid.  Here we have three more.

My Little Pony

The original My Little Pony, chubby and adorable (source):

Today they’re thinner, with an open mouth, more provocative stances, and more responsive positions (source):

Rainbow Brite

Vintage Rainbow Brite:

Rainbow Brite today:

Finally, Monika alerted us to the new look for Candy Land.  First, vintage Candy Land.

1949:

1955:

1962 Candy Land book:

2005:

From the website of Candy Land today:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.