Diversity Watch: Bastion

As a sort of closing thoughts on my time with Bastion, I’m curious as to how I can further my agenda of promoting diversity in games, or seeing how games are an artifact of a culture’s stance on diversity. This isn’t meant to scold Bastion by not fulfilling their quota of minorities, but letting it speak for itself.

Race and Ethnicity

For all the fear that the industry has about touching the topic of race and ethnicity, Bastion pushes the topic out there and lets the player interpret it. What is disheartening is how easily players can overlook this tension and participate in the usual brand xenophobia (and anti-environmentalism at that) that is produced from video games. Bastion makes use of race to draw on the player’s cultural understanding of them against us, of a nation against savages. The Ura draw on the qualities of the Far East (they even live in the East) to act as markers when juxtaposed against the kid and Rucks’ racial features; they have paler skin with dark hair, superstitious about a pantheon of gods, move around the map sharp and quickly (reminiscent of ninjas), and Zulf’s personal item is a hookah. This wouldn’t be so noticeable if Rucks and the kid weren’t depicted as very western (bulky males, caucasian facial features, imperialistic culture, science-orientated), however it goes a step further and marks them as very American. I was personally shocked when I first heard Rucks’ voice and then confused when I saw him; the voice actor was particular in using a tone and diction that is reminiscent of African-American (I use this term to identify a specific group of people, not to be PC) local color stories. So when I saw that Rucks was depicted as caucasian, my rationalization was assuming the team was looking for an aesthetic that was patently American. Following this line of thinking, I’m sure someone can come up with an interesting interpretation of seeing the US against its eastern anxieties (most of the Middle East, China, North Korea) in Bastion. However, that’s not my goal here; it’s possible that those with a differing ethnicity than the canon American one would be able to identify with the wrong done to Zulf, but it would be a difficult claim as you kill more and more Ura to get to your goal. Rucks’ excuse for killing all these people is flimsy and ethnocentric, as I could imagine a different reaction if Caeldonian lives were the ones at stake (or maybe they are, and that’s why it’s easy to kill Ura).

There’s also the tucked away issue about Zia’s liminal status when it comes to her ethnicity; she was raised in Caeldonia, but her race is of the Ura. There are mixed messages with the plot point of Zia running off to meet Zulf, and the implications of him claiming her as an Ura. It is unclear if Zia ever felt a sense of belonging, though this might be implied by the very subtle hints of the kid’s affection towards her.

Gender and Sexuality

The game assumes heteronormativity and doesn’t make any grand statements about gender. Bastion follows many traditions in this genre; the main character is a young male who identifies as a (conventionally Western) man and uses many typical props that suggest masculinity. There are some neat twists on the weapons in the game, but they are the same from every other: every type of gun you can think of and a bunch of melee weapons that require strength rather than anything else. One of the upgrades for the Bastion is a distillery which indicates that the kid is drinking throughout his adventures; I have nothing against drinking, but it is a common trope of masculinity to be a hard drinker, and this cannot go unnoticed if the main character is continually called ‘the kid.’ I find it problematic in an abstract way when boys in video games are assumed to have weapon and combat competency, or at least how prevalent this type of character is in video games. Rucks reinforces these expectations by the actions he points out the kid doing; I remember feeling a little put off when there was a quote of the kid having a sort of affection for one of his guns (I think there’s multiple references like these for the musket). There is little room for any other expression or identification of any other type of masculinity other than the gamer hegemonic one.

Zia’s representation as the sole woman (I’ll assume female as well) seem more to be in service of contrasting the kid’s masculinity. The (typical) emphasis on her beauty is slyly done by hearing her song and voice before you meet her. The sequence attributes the usual qualities to Zia before we even meet her; delicate sounding, beauty in an ethereal sense, a rare sight, something to chase. Rucks’ narration during this sequence is ambiguous during the first play-through as the player doesn’t know who he’s telling the story to (I assumed he was tell me the story), and it prompts the unaware listener to admire Zia as an aesthetic. Also, seeing that her personal item is a cooking pot… It doesn’t seem like Bastion is trying to leave behind any molds.

Something interesting is at work, though, when comparing the two aesthetics invoked, as they seem rather gendered. Zia’s song seems to be the audio translation of the visual representation of the game; I look at Bastion and see something beautiful and delicate. But Rucks’ narration, the only other voice of the game, gives the aesthetic more grittiness, enough so it isn’t alienating to the type of character the kid embodies. My personal observations of the themes at work in this game sprout from details like this, and I’m sure an interpretation waits to be read there.

Closing Thoughts

More could be said about age and and ableism, but they seem to just exist in the game and don’t really complicate the matter. Rucks has an interesting role as an elder, but turns out to be a threat of a harmful culture rather than an agent on his own. There is also no indication of transgender, intersexed, or asexual people, though given this allegory to America overall, it would be interesting where such characters would fit in.

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