This thesis is an examination of the representation of trans characters like Bridget from GuiltyGear Strive(2021). By analyzing trans representation in movies and games, the typical tropesof trans characters were found, and conducting a close reading of the visual design of Bridgetto see where she represents and differs from these tropes. The results of the close readingfound that Bridget's shape language conveys a harmless appearance, differing from the tropeof violence. The color scheme conveys harmonious and youthful, contrasting trope ofdysphoria. Bridget's cute appearance makes her similar to the trope of ambiguity. Bridget'suse of toys as weapons makes her comedic without becoming the butt of the joke. Bridget isnot treated as disgusting nor focused on the male gaze. This thesis concludes that Bridgetmainly differs by not being as adult-oriented, showing it can represent trans identity withoutrelying on these negative tropes.

Postmodernism is a complex concept to grasp, and although artists frequently create postmodernist work, a cognitive approach to it is difficult. This study is therefore unique in its aim to support creative writers in the formation (creation and representation) of postmodernist characters. Thus, this study contributes to the theory of creative writing, within the current zeitgeist and associated writing styles. A zeitgeist is the collective universal subconscious of the world within a specific epoch and is recognisable in the identity of the people that live during that zeitgeist, as well as in the art of the time. Postmodernism, as the contemporary zeitgeist, implies a postmodernist identity (or identities), which can creatively be represented in the artwork (literary text - prose). Through an integrated threefold study of Postmodernism (and postmodernist identity), "character" as covered in literary theory and the "creation and representation" of character as covered in the theory of creative writing, a paradigm is postulated to support the creative writer in the creation and representation of postmodernist characters. The paradigm manages postmodernist characters within three overlapping categories that approach characters as (1) icons that represent postmodernist people, as (2) literary motives that illustrate postmodernist themes and, as (3) containers of postmodernist discourses. Such a paradigm is not to be considered a model or recipe, but is instead to be viewed as an angle of approaching postmodernist characters and as a launch pad from where the creative writer must further rely on his or her own creativity, talent and dexterity. The paradigm therefore keeps in mind both the limitlessness of Postmodernism and the dynamism of the creative process. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006.

Postmodernism is a complex concept to grasp, and although artists frequently create postmodernist work, a cognitive approach to it is difficult. This study is therefore unique in its aim to support creative writers in the formation (creation and representation) of postmodernist characters. Thus, this study contributes to the theory of creative writing, within the current zeitgeist and associated writing styles. A zeitgeist is the collective universal subconscious of the world within a specific epoch and is recognisable in the identity of the people that live during that zeitgeist, as well as in the art of the time. Postmodernism, as the contemporary zeitgeist, implies a postmodernist identity (or identities), which can creatively be represented in the artwork (literary text - prose). Through an integrated threefold study of Postmodernism (and postmodernist identity), "character" as covered in literary theory and the "creation and representation" of character as covered in the theory of creative writing, a paradigm is postulated to support the creative writer in the creation and representation of postmodernist characters. The paradigm manages postmodernist characters within three overlapping categories that approach characters as (1) icons that represent postmodernist people, as (2) literary motives that illustrate postmodernist themes and, as (3) containers of postmodernist discourses. Such a paradigm is not to be considered a model or recipe, but is instead to be viewed as an angle of approaching postmodernist characters and as a launch pad from where the creative writer must further rely on his or her own creativity, talent and dexterity. The paradigm therefore keeps in mind both the limitlessness of Postmodernism and the dynamism of the creative process. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006

This thesis contains an analysis of transgender characters in games. The method for selecting the characters was based on the importance of the character in the game with the requirement that the game must have sold at least half a million units. The goal was to analyse well-known characters in gaming history to get an overview of how the game industry has represented transgender in games. Out of 102 characters only six of them met the requirements and have been analysed with the use of queer theory. Gender and how the characters break the norms of what is feminine and what is masculine is in focus. In the analysis, the characters are examined through their mannerism, design, personality and dialogue. The analysis is then summarized into identifiable patterns. The result of this thesis is a better understanding of how transgender characters are portrayed in the game industry.

Literary representation of character in South Africa is not just problematic but also complicated by racial dynamics, which easily lead to prejudiced portrayal by most writers. Mphahlele's reaction to White writing's "distortion" of the image of Blacks, in his critical texts resulted in his being labelled a protest writer. Concerning his creative writing, he admits that he initially couldn't portray the character of a white person roundedly due to limited acquaintance with him. What he only knows about him and therefore depicts in his early writings is the White stereotype. His acquaintance with the White world through varied interaction gives a leverage that improves his portrayal of the White character. Consequently his later works reflect objective representation of characters from different races. The study therefore concludes that he falls outside the bracket of protest writers, as his literary works prove to transcend the limitations of stereotypical character representation. / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

Literary representation of character in South Africa is not just problematic but also complicated by racial dynamics, which easily lead to prejudiced portrayal by most writers. Mphahlele's reaction to White writing's "distortion" of the image of Blacks, in his critical texts resulted in his being labelled a protest writer. Concerning his creative writing, he admits that he initially couldn't portray the character of a white person roundedly due to limited acquaintance with him. What he only knows about him and therefore depicts in his early writings is the White stereotype. His acquaintance with the White world through varied interaction gives a leverage that improves his portrayal of the White character. Consequently his later works reflect objective representation of characters from different races. The study therefore concludes that he falls outside the bracket of protest writers, as his literary works prove to transcend the limitations of stereotypical character representation. / Afrikaans and Theory of Literature / M.A. (Theory of Literature)