(Trigger Warning: Transphobia, Passing Anxiety)
(Spoiler Warning: Shin Megami Tensei: Persona 3, Shin Megami Tensi: Persona 4, Catherine)
|Is he who you want him to be?|
Earlier this year, I wrote a research paper on representations of gender and sexuality in video games where I chose Bayonetta from her eponymous game and Naoto in Shin Megami Tensei: Persona 4. The wealth of critical discussion on Bayonetta speaks for itself; I had no trouble supporting my own argument about her because of the importance the gaming community attributed to shaming or empowering her (and, of course, options other than these). However, my research on Naoto resulted in pretty much nothing; from what I could tell, the gaming community felt he (it is debatable which pronoun to use, so I am using he as it is my interpretation from my playthrough) was a cross-dresser and would be referred to as a woman. There are mentions of Naoto in articles related to Kanji’s (a fellow party member) questions about sexuality, but nothing at all about the complicated politics the game design promotes in concern to transgender topics. So let this be an ode to Naoto, as he deserves a critical analysis, but also my questioning of and challenge to Atlus about their representation of transgender characters. While Persona 4 makes the player interact with the issues surrounding someone who is transgender, the games before and after featured transgender characters more in the background. It shows a deliberate move by the development team to include transgender characters in their games, and therefore make a statement about them; it is extremely rare for a transgender character to appear in a game, much less three in a row. I investigate Altus’ position on transgender topics (as shown in their games) while informed through their depiction of Naoto in the context of these other characters.
In Shin Megami Tensei: Persona 3, your party gets a small reprieve on an island, where the boys eventually go to the beach to pick up women. They are unsuccessful until they meet one that seems especially receptive to them, who will “show them a thing or two” and is otherwise outlandishly suggestive. Before she can take anyone back to her room, a party member notices she has hair on her chin, outing her as transgender; she admits her plan in tricking the boys and keeps the offer of sex open before departing. To say the least, this is an atrocious depiction of trans-women that relies on the sexual anxieties and (perceived) deviances of heterosexual men. Many took it as a comical and lighthearted scene from the rest of the morbid and dreary storyline, however, this is one of the very few ways trans-women are characterized in media overall, which is extremely unrealistic and damaging. Persona 3 carries on transphobia by failing to offer a character different from conventional imagining of trans-women as sexual deviants deceiving hapless heterosexual men. It also relegates them strictly to the sexual realm, as if that is the only place transgender women appear, and those are the only qualities unique to this group of people.
Based on that experience alone, seeing Naoto in Persona 4 would seem to be a cause for celebration, as he is an extremely well written character and overall engaging and respectable. However, the extremely problematic character Erica in Catherine throws the intentions behind Naoto into question. There is little information during gameplay to let the player know Erica is transgender, however in hindsight, these hints are rather malicious. Throughout Vincent’s time in the game’s bar, he and his friends are amicable to Erica but also say rather disparaging things about her femininity. The group of men seems to put up with Erica rather than appreciate her friendship, and is vaguely trying to steer away the youngest member, naïve Toby, from pursuing his attraction for her. The second hint comes when Erica shares that she is starting to have nightmares, which only men are supposed to be having, however it is easy to overlook this, as it appears everyone who goes to the bar has these dreams. The player finds out directly only if they achieve the True Lover’s Ending, when it is implied the guys told Toby Erica is transgender and expresses regret losing his virginity to her. It might be tempting to say that because the only real overt transphobia comes from the main villain, who happens to be her employer, and that Atlus is taking a favorable position on transgender representation in Catherine. However, like the character in Persona 3, she is the deviant, sexual trickster who seduces unsuspecting men to their sexuality questioning doom. Her friends don’t show any support and have extremely little respect for her identity as a woman; as well, her boss is constantly hitting on her, despite that he was punishing her for transitioning into a woman and seeking romance as a trans-woman. Erica herself is a great character with relatable dialogue for the most part, but the politics surrounding her doesn’t provide any optimism for trans-folk and their allies.
Transgender topics were blips in these games, which is why they more so provide the context of how Naoto is interpreted rather than stand on their own to inform the player how Atlus, or gaming overall, is treating transgender characters. A brief synopsis of Naoto’s presence in Persona 4: Naoto is a 16-year-old detective prodigy that appears at first as a mysterious character with clues surrounding the murder cases. His appearance is noteworthy as Kanji starts feeling attracted to him, and this is a tense topic as he is apparently struggling with his sexuality (that’s a whole other topic). Naoto’s relationship with the group is tense at first as he realizes they harbor secrets relating to the case, but they all see him as respectable, intelligent, and capable (it is also worth mentioning that he has a resemblance to male protagonists in other Shin Megami Tensei games). He eventually uses his fan following, who calls him the ‘Detective Prince,’ to his advantage to gain a lead in the case. In the Jungian-like TV world where Naoto confronts his ‘Shadow,’ the player finds out that Naoto is female and the Shadow wants to perform sexual reassignment surgery on him. As this scene depicts, Naoto presents himself as a man because of the environment of the police force; no one would take him seriously if he were a woman. After defeating his Shadow, Naoto decides he doesn’t need to become a male to succeed as a detective, and joins the party.
This is when Atlus promptly fails Gender 101. The game text begins to refer to Naoto as she and her, and makes no distinction between sex and gender. Whenever there is a need to divide the characters along the lines of gender, Naoto appears with the women instead of the men. In general, they keep his personality the same and make more references to androgyny to keep in line with the character they have built up. The game continues to depict Naoto as an awesome personality through the main storyline, and receives a generally warm acceptance by everyone even though there is a question about his true sex. However, the essentialist attitude similar to the antagonist’s in Catherine exposes a lack of understanding about transgender issues and tucks in an almost sinister transphobia in what seems to be overwhelming support and popularity for Naoto as a character.
Most (if not all) people who are transgender face an internal struggle with sexual reassignment. There is a heavy amount of reinforcement from society to have it in order to achieve (some amount of) social acceptance. This is a source of tremendous anxiety, especially for those cannot attain resources that allow them to transition. More importantly, not everyone wants to change their sex, or better yet, don’t feel that changing their sex should be a requirement to being treated as the gender they identify as. I saw that scene with Naoto at first as a brave proclamation to continue as a man without aiming to become male, only to be confused and devastated when the game started to turn him into a woman. This happens in attention to the assumed romantic and sexual intentions of the player by making Naoto accessible as to not threaten the assumed player’s (a heterosexual man) gender and sexuality. Because all of the females are open for romance (don’t get me started on just that thought), the logic of the game decides Naoto should be as well, and he becomes the antithesis of what he wants during his Social Link with the protagonist. There is a clear disconnect between the Naoto in the main story and the Naoto in the Social Link. While you are able to become intimate with Naoto while encouraging him to still be a man, there are options for you to persuade him to act and dress as a woman. What makes this disturbing is Naoto’s identity hinges on the player’s choices, and the gameplay mechanics encourage the player to nudge Naoto towards becoming a woman. For instance, the first trigger that can initiate romance with Naoto when choosing “I’m glad you’re a girl” when he is having a moment wishing he was born male. The second romance flag comes when you choose to protect Naoto from harm, for which the protagonist frustrates him by making him feel weak when treated as a woman. All of this is after he expresses little interest in wanting a relationship, and that he makes no indication of his sexual orientation; the game allows the player to force him into the romantic fantasies of a heterosexual man. If this wasn’t enough, there is a scene after you confess your love for Naoto when he asks the player if they want him to start talking with a higher pitch to his voice to sound more feminine, and if they choose to have a higher pitch, he will dress up in a girl’s school uniform during the Christmas event. This event is more poignant in the Japanese version of this scene; instead of the pitch of his voice, he asks the protagonist if he minded Naoto’s use of ‘boku,’ which is the ‘I’ that men use. Telling him that you want him to stop prompts the above scene, but you also can opt for Naoto to stay the same. The scene when Naoto dresses up in a girl’s uniform completely transforms his personality; he’s now always blushing, stammering, quiet, scrunched up as much as he can into himself. Very typical Japanese schoolgirl as this is just before an implied sexual scene. This scene trivializes the pressure transgender people feel to perform their gender well enough not to violate their partner’s sense of sexuality, and the incredible burden to make sure they are always passing as the desired gender. Naoto’s Social Link was an extreme waste of an opportunity to explore the intricacies of a relationship when at least one partner is transgender, something I don’t think I’ve ever been able to witness in the media.
I do find value in Atlus including transgender characters in their games, but in order for these instances to be progressive, they have to be positive and enlightening depictions. Each one of these characters appeared in the game and interacted with the player in a way that is specific to heterosexual men, and uses said culture to define their character arcs. Despite the flaws Atlus implanted into Naoto, I enjoyed his character and explored my feelings of being romantically attracted to a trans-man (which wasn’t something I considered at the time), and find this type of game to be a powerful avenue to promote diversity and understanding of those underrepresented in the media. It also shows how much other characters in games revolve around how they relate to heterosexual men, which prompts said group to inform game developers of their interest in more diverse viewpoints.