![]() “The woman/macro represents a relatively societally acceptable ‘powerful other’ with whom the male/micro can explore such needs, desires, conflicts, and relational themes,” continued Dr. For a male to find a female with whom he can explore relational needs of dependence, submission, and ‘being taken care of’ can be challenging due to stereotyped gender norms.” “In our culture, there is an association of ‘large’ with ‘powerful’ (which is at times difficult for large people). ![]() ![]() “Though it is not always the case, the male/micro may enjoy the sense of submission to a more powerful other,” said Dr. Thus, his responses should be taken in the context of a male/ female dichotomy. Anderson cautioned me about making this a binary male/female issue-that gender is a fluid spectrum, and that asking and answering these types of questions might play into heteronormative stereotypes. What motivates the participants, and what do they get out of it? Dr. I first asked him about the male and female roles in this dynamic. He is a psychoanalyst in NYC whose specialties include working with those with sexual concerns and alternative means of sexual expression. To gain more insight into macrophilia and how Lady Dimitrescu has been received by the public, Complex interviewed Todd Anderson, PhD, PsyD. The 1958 film Attack of the 50-Foot Woman is one of the literal iterations of macrophilia in popular culture. This push-and-pull dynamic-of desire and fear, and the desire to feel powerless and physically dominated-aligns with macrophilia, which literally translates from Greek as “lover of large.” Macrophilia manifests itself in many ways, but the most commonly seen archetype is of a macro woman, or ‘giantess,’ dominating a smaller, micro man. Sound is an important element in how she evokes fear with the player, as she will stalk Ethan throughout the castle and players will hear her coming without seeing her.” In addition to Lady Dimitrescu’s physical design, we also took great care in designing her sound, like her laugh and her walk. ![]() “I like how her character is dynamic, as in when you first meet her there’s a feeling of uncertainty, because she’s not noticeably scary or grotesque, which might signal to a player this is an enemy. “We wanted characters to have a sense of familiarity, but also present something else that would stoke a sense of fear or unease,” Resident Evil Village Producer Tsuyoshi Kanda explains in an interview with Complex. ![]()
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