Accompanying Essay
to
Dissertation Presentation
Who Is Responsible For Perpetuating Sexism and Alienating Women Working Within The Gaming Industry?
(Is Sexism Rampant In The Gaming Industry?)
by
Tracey Valliere-Evans
BA (HONS) Design: Creative Media
Glyndwr University, Wrexham
12.12.12
Accompanying Essay
to
Dissertation Presentation
Who Is Responsible For Perpetuating Sexism and Alienating Women Working Within The Gaming Industry?
Tracey Valliere-Evans
Glyndwr University, Wrexham
Introduction: Who Is Responsible For Perpetuating Sexism and Alienating Women Working Within The Gaming Industry?
“The games industry started as boys making games for boys. Now that 47% of women play games, there is a massive imbalance as only 6% of the games industry are women (in the UK (Skillset, 2011)). This needs to change.” (Anon, Questionnaire, 2012)
The main points of this paper will be made evident in this essay, which accompanies the Dissertation presentation, delivered on 12.12.12, at Glyndwr University, Wrexham, titled: Is Sexism Rampant In The Gaming Industry? ...If So Who Is Responsible For Perpetuating This Environment in Alienating Women Working In Games? Throughout this writing, quotes from various industry personnel, independent survey, and media will be incorporated and referenced as appropriate.
With an evident lack of women working within game creation, a mere 10-12% (Clark, 2012), does this pronounce that sexism is rampant in the gaming industry? It is rife within the games itself according to recent media and industry interest (Hamilton, 2012). With not only gender stereotype in game play, advertising, and character animation (Peck, et al., 2011), but also, as voiced in accompanying questionnaire[1] by both male and females working in games (Anon, Questionnaire, 2012), is noticeable within today’s working environment.
The subject of ‘women being portrayed as sex objects in games’ will not be covered, and neither will employment procedures and job creation/roles for women in games. Although there is a significant pool of data available, and is current[2], this research and questionnaire guided a different route.
Due to the diverse enormity of these current and highly-emotive topics, this piece of writing will only discuss the trending topic of ‘Sexism and Lack of Women Working in Games, and Why’ and endeavour to lead you through the research carried out for the presentation, leading to conclusion.
1. Chapter 1 introduces initial observations and avenues investigated, which were selected to be delved into further, and explaining the reasoning for this.
2. Chapter 2 presents a questionnaire that formed a main part to this research, with extensive submissions and shared views, which formed a main part of the study.
3. Chapter 3 presents the findings, opinions, and feedback.
4. A concluding chapter to confirm resulting theories and argument, with accompanying Bibliographies and Appendices, therefore follows.
Chapter 1: RESEARCH
Newly entering the games world, as a direct result of reading online articles and newsletters on the lack of women in games, formed the decision to study the debate of ‘women in games’. Through investigation, various avenues to follow became apparent, which linked into the styles of games and how they characterize females[1]. Initial research into sexism and women in games, uncovered a myriad of linked debates and theories gained from a range of sources: academic journals, online and printed publications, game companies, employees and directors, social media, ie LinkedIn, Facebook, and Twitter, in addition to contacts made at BAF (Bradford Animation Festival), fellow peers and colleagues[2][4].
According to the ESA, 47% of all game players are now women (ESA, 2012)[1][5], yet the sexist portrayal of women in games nonetheless still receives extensive research and debate, with concerns of “games excessive use of sexist imagery” and evidence of, “a link between long-term exposure to sexist video games and sexist attitude” (Stermer, 2012). Whilst also evidenced, is young people’s perception that, “Female characters are more likely than male characters to be portrayed as sexualized (60% versus 1%)” (Dill & Thill, 2007), and the appearance of female characters in games and advertising, “…were typically depicted in sexualized roles”. (Peck, et al., 2011). Is this then ingrained, permeating into the gaming working environment causing gender-bias and inequality from an embryonic stage, thus allowing sexism to become a cancer? According to the answers given from a number of people questioned, who have a number of years experience working in games, this is not only common, but also accepted by some (Anon, Questionnaire, 2012).
Though not a new subject, as firmly highlighted by a readers letter in Edge Magazine, (Barber, 2012), the current state of sexism in the gaming industry exploded onto the media in the latter part of 2012, featuring in such tabloid’s as The Guardian (Hamilton, 2012). This was in direct response to the mass interest generated by Luke Crane’s Tweet on Twitter, the social networking forum, which he posted online November 26th, 2012, asking “Why are there so few lady game creators?” (Crane, 2012). Creating an unprecedented response and emotive outpouring from both male and female, who used the hashtag ‘#1reasonwhy’ (Twitter, 2012) to collectively voice their opinions on social media network, Twitter, and, as pointed out on Time Newsfeed website, “Echoes of sexism, misogyny and marginalization came not only from gamers, but from big players in the industry, including game writers and designers.” Suffice to say, this event exposed a stagnant pond of sexism in the gaming industry; articles exposing the major events in video games for 2012 featured this (Alexander, 2012) (Cifaldi, 2012)[1][6].
It was also highlighted just how far-reached, when broadcaster Jonathon Ross discussed ‘lack of women in games’ on stage at a major games event, alongside industry leaders; the video was used to open my presentation (Martin, 2012), and set the agenda that followed.
The strength of emotion this evoked, and confidence in people to promote and vent their opinions alongside so many others, aided the successful promotion of my questionnaire and invaluable, and some direct, responses (Anon, Questionnaire, 2012).
Chapter 2: QUESTIONNAIRE
Structuring an online questionnaire with the subject of ‘women in games’ and then promoting this to various networked contacts direct, via e-mail and forums (LinkedIn: Valliere-Evans, Tracey, 2012) granted a strong, and qualitative response, and further circulation. Some of these included contacts from Sony and internationally-known games companies networked via attending Bradford Animation Festival (National Media Museum | Bradford Animation Festival, 2012)[2][7][3][8]. Other sources came from games company employees, directors, owners, social media, and by contacting direct. Various contacts came forward, or replied, offering a pool of support with information, feedback on the questionnaire, and of course opinions. Added write-ups and e-mails with further advice, pointers and contacts were also sent direct[4][9] from females in international managerial/director positions; some contacting privately with advice, information, and their own stories[5][10].
Although not obviously searching for a fashion link, receiving messages from females in the industry[6][11], who saw my posts on various LinkedIn forums (Valliere-Evans, 2012), divulging their own thoughts and experiences on the way that women felt they had to dress, offered another angle. Being able to relate to this area, both personally and professionally from own experiences working in the fashion industry, encouraged the decision to base the presentation on what women wore, why, and how this affected the sexist attitude. This included how females felt from a younger age, how they presented themselves in a feminine or non-feminine manner, and the perception this gave to their peers.
Obviously, this generated more interest in my investigation, having designed collections for business ladies, and also being informed that I could not work on a building site as I would be a distraction. Experience of selecting the most suitable working wardrobe, whether for a fashion show, a presentation, the design studio or, covering up on a building site awards me some personal credibility and insight.
Is what a woman wears, or how she styles herself, linked to how she is perceived by the 'boys' in games? This developed into whether attire is a part of how women are viewed by their counterpart males, or if a certain personality, education, or social status affects the opportunities to gain promotion.
Chapter 3: RESPONSES FROM QUESTIONNAIRE
Overall, the response from the Questionnaire and industry network feedback, revealed interesting results, and created a catalyst in leading this study. 33 people started the questionnaire, with nearly 60% answering all questions, and additional writing.
A male responder commented on his experience and views on sexism in games, with:
“What's important for us as industry members is to call each other on any sexism we may encounter. Some of this is going to be engrained from upbringing,...but some people get away with it because they can. Calling people out on this behaviour and making sure that at the very least management/senior staff have the power and inclination to stamp it out is a great step forward. If the #1reasonwhy campaign achieves anything, it's a reminder to studios that despite many patting themselves on the back for not having any noticeable sexism, there are many staff members who may still feel victimised and that more can be done.” (Anon, Questionnaire, 2012)
Not purposefully looking for fashion and attire, but with the information received[1][13], some from high industry leaders, this was a strong point that could not be ignored, especially, as previously stated, with my background in fashion, and thus was added to the questionnaire. Females commented on this question, yet as the males did not appear to mention this at all, further investigation would have benefited this study to obtain a less gender-biased view.
The quality, and quantity, of feedback and opinions from the questionnaire[2][14], strengthened the argument and realisation that this is a topic that is ongoing, and now very much in the forefront; of both genders.
Vancouver Film School[1][15] will offer its 'Women In Games Scholarship' for the fourth year in a row (Caoili, 2012) I think this highlights further, the growing recognition of attracting women to work in the gaming industry, but as Jonathan Ross quoted his wife, and a fellow presenter’s view, women don’t apply, and maybe if they did, then would more women in the workplace alter the status quo?
CONCLUSION
Reading across a range of mediums, from academic journals on Athens, to LinkedIn forums (David W Smith, 2012), sexism in the workplace attracted major attention. Coverage was extensive across social media, tabloids, and major gaming websites, including male writers presenting information, which I deemed highlighted the negative yet showed support; “…notable figures in the industry putting forth claims and accusations about situations they had found themselves in.” (Rose, 2012). Even this subject matter bore a spiderweb of intricate and controversial lines to follow, yet the evidence gleaned throughout this study, revealed that sexism and lack of women working within this industry is still occurring today.
The research quite obviously illustrates that there is a lack of women in the games industry and that there is a problem with sexism, but also that women are perpetrating and exacerbating the reaction and social acceptance of women in the workplace, by the evidence strongly put to me in e-mails from those working in the industry. Accommodating to this by favouring to follow what has been previously diseased throughout the history of the gaming industry; games for boys by boys. Growing from this has been an epidemic of social acceptance at the cost of femininity within the office environment; dressing down to work, realizing at college that to get ahead and fit in means becoming more boyish, less girly: no dresses, heels or make-up.[1][16]
Unless women stop trying to fit in, and initiate being themselves, then this endemic state will continue to permeate the core of gamers; male and female, and no progress will be made into this obviously penetrable wall of sexism. Fashion trends change, it may be harder to regress and re-learn, but only women can address this by facing up to their own character of style, presence, and being true to themselves, in turn educating fellow male colleagues. This in turn will educate and revalue the role of a female games worker as a ‘female’ not just a woman fighting to fit in, and create a more fluid, creative and honest team[2][17]. It will not happen overnight, but opinions and evidence is showing that some are taking note, standing up and addressing the matter to ensure they make a difference. Dress like the woman you feel for work rather than conforming to hiding under what makes it easier – or so you think, and thus will eventually ensure we are seen for what we are, and respected for that – stop hiding behind drab!
The research concludes that women are lacking in games for various reasons; lack of women applying, sexism, masculine environment, and women who are conforming to the stereotype of typical female, fearing to alienate themselves or hinder their career progress, appearance overruling their skill, and not being true to themselves or presenting a feminine persona, and allowing individualism to prevail.
FOOTNOTES
[1]
See appendices, and for all other references to this, unless otherwise stated.
[2] Gina Jackson, Chief Executive of Women In Games Jobs, made a presentation on recruiting as recently as December 6th 2012 (Jackson, 2012).
[3] See appendices Avenues.
[4] See appendices research folder.
[5] Although other research states a little lower at 42% (Coney, 2013).
[6] Gamasutra; the online free version of Game Developer Magazine, featured sexism in games in their ‘5 events that shook the video game industry in 2012’, stating that, “…never before was there such a concentration of horror stories, ranging from being groped at conferences to studios not hiring women because they're "more trouble than they're worth” and stating that 90% is still male.” (Cifaldi, 2012).
[7] See BAF appendices.
[8] Including: Lucas Hardi: Bethesda Games Studios, Tomek Wojcik: Lead Programmer at CD Projekt Red; Tara Saunders: London Studio Art Manager at Sony Computer Entertainment Europe (SCEE).
[9] See sample e-mail appendices.
[10] “I wore a nice dress and was told (by other women) that if I wanted to succeed I needed to stop wearing dresses and go out and get a pair of jeans & some t-shirts. A few years later, I started dressing feminine again (conservatively and professionally, but feminine), and I was told (by another female boss) that I needed to stop it because I would distract the guys.” (Chief Creative Officer of Games Company USA, 2012).
[11] See sample e-mail appendices.
[12]See Appendices: Questionnaire.
[13] See email Appendices.
[14] “From knowing that my appearance is discussed and scrutinized on a regular basis, to having to speak up when I overheard male colleagues commenting on a new female employee's appearance.” (Anon, Questionnaire, 2012)
[15] "Supporting the growth of women in games is something that I feel strongly about," says Vancouver Film School's Game Design head Dave Warfield. "It benefits the industry to gain new perspectives, creativity, and passion that is reflective of how gaming has changed and expanded in the past 5 years." (Caoili, 2012)
[16] “I've also noticed that my female students generally begin to dress and act increasingly less feminine as they go through their classes. I, myself, even went through a phase in college where I attempted to disassociate with my own gender. This phenomenon may occur in response to any number of issues: stereotype threat, perceived dangers from harassment” (Chief Creative Officer of Games Company USA, 2012)
[17] “Siobhan Reddy, the (female) Studio Director at Media Molecule, put it best when she said: “Games are made by teams, and teams are only as good as the sum of their parts. Think of a band, a film crew, or.... The more interesting personalities you add to the mix, the more interesting the outcome will be. Merely by internally reflecting our broadening audience, the industry stands poised for ever greater success.” (Houghton, 2013) Teams make can create a more varied game and attract more players.
BIBLIOGRAPHY
Alexander, L., 2012. Gamasutra: The 5 most significant video game controversies in 2012. [Online]
Available at: http://www.gamasutra.com/view/news/183158/The_5_most_significant_video_game_controversies_in_2012.php#.UO8kI29abis
[Accessed December 2012].
Anon, Questionnaire, 2012. Questionnaire: Is Sexism Rampant In Games?. s.l.:SurveyMonkey.
Anon., 2012. Journal of Media and Communication Studies, Volume Vol. 3(6), pp. 212-220.
Barber, A., 2012. Dialogue - Gender Roles. EDGE, November, Issue 245, p. 29.
Caoili, E., 2012. GameCareerGuide.com. [Online]
Available at: http://www.gamecareerguide.com/news/129151/vancouver_film_school_offering_women_in_games_scholarship.php
[Accessed November 2012].
Chief Creative Officer of Games Company USA, 2012. Direct Message. s.l.:s.n.
Cifaldi, F., 2012. Gamasutra. [Online]
Available at: http://www.gamasutra.com/view/news/183134/The_5_events_that_shook_the_video_game_industry_in_2012.php#.UOr41m9abis
[Accessed December 2012].
Clark, M., 2012. iQU Game Industry Buzz Blog - 7 Influential Women In The Games Industry. [Online]
Available at: http://iqu.com/blog/seven-influential-women-games-industry
[Accessed December 2012].
Coney, S., 2013. Develop-Online. [Online]
Available at: http://www.develop-online.net/features/1791/Smashing-the-glass-ceiling-in-gaming
[Accessed January 2013].
Crane, L., 2012. Twitter. [Online]
Available at: https://twitter.com/Burning_Luke/status/273121518362439680
[Accessed November 2012].
David W Smith, 2012. LinkedIn: Women Seeking Games Jobs (WIGJ Careers). [Online]
Available at: http://www.linkedin.com/groups?gid=4349147&trk=hb_side_g
[Accessed November 2012].
Dill, K. E. & Thill, K. P., 2007. Video game characters and the socialization of gender roles: Young people's perceptions mirror sexist media depictions. SEX ROLES, 57(11), pp. p851-864.
ESA, 2012. Entertainment Software Association. [Online]
Available at: http://www.theesa.com/facts/index.asp
[Accessed December 2012].
French, M., 2012. The Market For Computer & Video Games (MCV). [Online]
Available at: http://www.mcvuk.com/news/read/mcv-s-2012-uk-games-industry-salary-survey-the-results/089686
[Accessed Dec 2012].
Hamilton, M., 2012. TheGuardian.co.uk. [Online]
Available at: http://www.guardian.co.uk/technology/gamesblog/2012/nov/28/games-industry-sexism-on-twitter
[Accessed December 2012].
Houghton, A., 2013. Digital Storm. [Online]
Available at: http://www.digitalstormonline.com/unlocked/lifestyle-sexism-in-the-gaming-industry-idnum34/
[Accessed Jan 2013].
Jackson, G., 2012. REC & WIGJ: Is the traditional recruitment process still fit for purpose?. [Online]
Available at: http://prezi.com/vlawunvnauy1/rec-wigj/
[Accessed December 2012].
LinkedIn: Valliere-Evans, Tracey, 2012. LinkedIn: Video Games Design Professionals. [Online]
Available at: http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&discussionID=193000234&gid=120203&trk=eml-anet_dig-b_nd-pst_ttle-cn&ut=3J_Ls7hDfZpBA1
[Accessed December 2012].
Martin, M., 2012. BAFTA Games Question Time: Women in Games. [Online]
Available at: http://www.gamesindustry.biz/articles/2012-12-11-bafta-games-question-time-women-in-games?utm_source=newsletter&utm_medium=email&utm_campaign=european-daily
[Accessed 12 December 2012].
National Media Museum | Bradford Animation Festival, 2012. BAF Game - Bradford Animation Festival - National Media Museum. [Online]
Available at: http://www.nationalmediamuseum.org.uk/BradfordAnimationFestival/BAFGame
[Accessed November 2012].
Peck, B. M., Ketchum, P. R. & Embrick, D. G., 2011. Studies Racism and sexism in the gaming world: Reinforcing or. Journal of Media and Communication, June, Volume 3(6), pp. 212-220.
Rose, M., 2012. Gamasutra. [Online]
Available at: http://www.gamasutra.com/view/news/182336/Twitter_hashtag_1ReasonWhy_exposes_sexism_in_game_industry.php#.UPMFi29abit
[Accessed December 2012].
Sifnioti, M., 2012. 1ReasonMentors Resource. [Online]
Available at: http://storify.com/pixelsprite/1reasonwhy-mentors-resource
[Accessed December 2012].
Skillset, 2011. Sector Skills Assessment for the Creative Media Industries in the UK, s.l.: The Sector Skills Council For Creative Media.
Stermer, S. P. &. B. M., 2012. SeX-Box: Exposure to Sexist Video Games Predicts Benevolent Sexism. Psychology of Popular Media Culture, 21 May, pp. 1-8.
Twitter, 2012. Twitter. [Online]
Available at: https://twitter.com/search?q=%231reasonwhy&src=hash
[Accessed December 2012].
Valliere-Evans, T., 2012. LinkedIn. [Online]
Available at: uk.linkedin.com/in/traceyvalliereevans
[Accessed December 2012].
Introduction: Who Is Responsible For Perpetuating Sexism and Alienating Women Working Within The Gaming Industry?
“The games industry started as boys making games for boys. Now that 47% of women play games, there is a massive imbalance as only 6% of the games industry are women (in the UK (Skillset, 2011)). This needs to change.” (Anon, Questionnaire, 2012)
The main points of this paper will be made evident in this essay, which accompanies the Dissertation presentation, delivered on 12.12.12, at Glyndwr University, Wrexham, titled: Is Sexism Rampant In The Gaming Industry? ...If So Who Is Responsible For Perpetuating This Environment in Alienating Women Working In Games? Throughout this writing, quotes from various industry personnel, independent survey, and media will be incorporated and referenced as appropriate.
With an evident lack of women working within game creation, a mere 10-12% (Clark, 2012), does this pronounce that sexism is rampant in the gaming industry? It is rife within the games itself according to recent media and industry interest (Hamilton, 2012). With not only gender stereotype in game play, advertising, and character animation (Peck, et al., 2011), but also, as voiced in accompanying questionnaire[1] by both male and females working in games (Anon, Questionnaire, 2012), is noticeable within today’s working environment.
The subject of ‘women being portrayed as sex objects in games’ will not be covered, and neither will employment procedures and job creation/roles for women in games. Although there is a significant pool of data available, and is current[2], this research and questionnaire guided a different route.
Due to the diverse enormity of these current and highly-emotive topics, this piece of writing will only discuss the trending topic of ‘Sexism and Lack of Women Working in Games, and Why’ and endeavour to lead you through the research carried out for the presentation, leading to conclusion.
1. Chapter 1 introduces initial observations and avenues investigated, which were selected to be delved into further, and explaining the reasoning for this.
2. Chapter 2 presents a questionnaire that formed a main part to this research, with extensive submissions and shared views, which formed a main part of the study.
3. Chapter 3 presents the findings, opinions, and feedback.
4. A concluding chapter to confirm resulting theories and argument, with accompanying Bibliographies and Appendices, therefore follows.
Chapter 1: RESEARCH
Newly entering the games world, as a direct result of reading online articles and newsletters on the lack of women in games, formed the decision to study the debate of ‘women in games’. Through investigation, various avenues to follow became apparent, which linked into the styles of games and how they characterize females[1]. Initial research into sexism and women in games, uncovered a myriad of linked debates and theories gained from a range of sources: academic journals, online and printed publications, game companies, employees and directors, social media, ie LinkedIn, Facebook, and Twitter, in addition to contacts made at BAF (Bradford Animation Festival), fellow peers and colleagues[2][4].
According to the ESA, 47% of all game players are now women (ESA, 2012)[1][5], yet the sexist portrayal of women in games nonetheless still receives extensive research and debate, with concerns of “games excessive use of sexist imagery” and evidence of, “a link between long-term exposure to sexist video games and sexist attitude” (Stermer, 2012). Whilst also evidenced, is young people’s perception that, “Female characters are more likely than male characters to be portrayed as sexualized (60% versus 1%)” (Dill & Thill, 2007), and the appearance of female characters in games and advertising, “…were typically depicted in sexualized roles”. (Peck, et al., 2011). Is this then ingrained, permeating into the gaming working environment causing gender-bias and inequality from an embryonic stage, thus allowing sexism to become a cancer? According to the answers given from a number of people questioned, who have a number of years experience working in games, this is not only common, but also accepted by some (Anon, Questionnaire, 2012).
Though not a new subject, as firmly highlighted by a readers letter in Edge Magazine, (Barber, 2012), the current state of sexism in the gaming industry exploded onto the media in the latter part of 2012, featuring in such tabloid’s as The Guardian (Hamilton, 2012). This was in direct response to the mass interest generated by Luke Crane’s Tweet on Twitter, the social networking forum, which he posted online November 26th, 2012, asking “Why are there so few lady game creators?” (Crane, 2012). Creating an unprecedented response and emotive outpouring from both male and female, who used the hashtag ‘#1reasonwhy’ (Twitter, 2012) to collectively voice their opinions on social media network, Twitter, and, as pointed out on Time Newsfeed website, “Echoes of sexism, misogyny and marginalization came not only from gamers, but from big players in the industry, including game writers and designers.” Suffice to say, this event exposed a stagnant pond of sexism in the gaming industry; articles exposing the major events in video games for 2012 featured this (Alexander, 2012) (Cifaldi, 2012)[1][6].
It was also highlighted just how far-reached, when broadcaster Jonathon Ross discussed ‘lack of women in games’ on stage at a major games event, alongside industry leaders; the video was used to open my presentation (Martin, 2012), and set the agenda that followed.
The strength of emotion this evoked, and confidence in people to promote and vent their opinions alongside so many others, aided the successful promotion of my questionnaire and invaluable, and some direct, responses (Anon, Questionnaire, 2012).
Chapter 2: QUESTIONNAIRE
Structuring an online questionnaire with the subject of ‘women in games’ and then promoting this to various networked contacts direct, via e-mail and forums (LinkedIn: Valliere-Evans, Tracey, 2012) granted a strong, and qualitative response, and further circulation. Some of these included contacts from Sony and internationally-known games companies networked via attending Bradford Animation Festival (National Media Museum | Bradford Animation Festival, 2012)[2][7][3][8]. Other sources came from games company employees, directors, owners, social media, and by contacting direct. Various contacts came forward, or replied, offering a pool of support with information, feedback on the questionnaire, and of course opinions. Added write-ups and e-mails with further advice, pointers and contacts were also sent direct[4][9] from females in international managerial/director positions; some contacting privately with advice, information, and their own stories[5][10].
Although not obviously searching for a fashion link, receiving messages from females in the industry[6][11], who saw my posts on various LinkedIn forums (Valliere-Evans, 2012), divulging their own thoughts and experiences on the way that women felt they had to dress, offered another angle. Being able to relate to this area, both personally and professionally from own experiences working in the fashion industry, encouraged the decision to base the presentation on what women wore, why, and how this affected the sexist attitude. This included how females felt from a younger age, how they presented themselves in a feminine or non-feminine manner, and the perception this gave to their peers.
Obviously, this generated more interest in my investigation, having designed collections for business ladies, and also being informed that I could not work on a building site as I would be a distraction. Experience of selecting the most suitable working wardrobe, whether for a fashion show, a presentation, the design studio or, covering up on a building site awards me some personal credibility and insight.
Is what a woman wears, or how she styles herself, linked to how she is perceived by the 'boys' in games? This developed into whether attire is a part of how women are viewed by their counterpart males, or if a certain personality, education, or social status affects the opportunities to gain promotion.
Chapter 3: RESPONSES FROM QUESTIONNAIRE
Overall, the response from the Questionnaire and industry network feedback, revealed interesting results, and created a catalyst in leading this study. 33 people started the questionnaire, with nearly 60% answering all questions, and additional writing.
A male responder commented on his experience and views on sexism in games, with:
“What's important for us as industry members is to call each other on any sexism we may encounter. Some of this is going to be engrained from upbringing,...but some people get away with it because they can. Calling people out on this behaviour and making sure that at the very least management/senior staff have the power and inclination to stamp it out is a great step forward. If the #1reasonwhy campaign achieves anything, it's a reminder to studios that despite many patting themselves on the back for not having any noticeable sexism, there are many staff members who may still feel victimised and that more can be done.” (Anon, Questionnaire, 2012)
Not purposefully looking for fashion and attire, but with the information received[1][13], some from high industry leaders, this was a strong point that could not be ignored, especially, as previously stated, with my background in fashion, and thus was added to the questionnaire. Females commented on this question, yet as the males did not appear to mention this at all, further investigation would have benefited this study to obtain a less gender-biased view.
The quality, and quantity, of feedback and opinions from the questionnaire[2][14], strengthened the argument and realisation that this is a topic that is ongoing, and now very much in the forefront; of both genders.
Vancouver Film School[1][15] will offer its 'Women In Games Scholarship' for the fourth year in a row (Caoili, 2012) I think this highlights further, the growing recognition of attracting women to work in the gaming industry, but as Jonathan Ross quoted his wife, and a fellow presenter’s view, women don’t apply, and maybe if they did, then would more women in the workplace alter the status quo?
CONCLUSION
Reading across a range of mediums, from academic journals on Athens, to LinkedIn forums (David W Smith, 2012), sexism in the workplace attracted major attention. Coverage was extensive across social media, tabloids, and major gaming websites, including male writers presenting information, which I deemed highlighted the negative yet showed support; “…notable figures in the industry putting forth claims and accusations about situations they had found themselves in.” (Rose, 2012). Even this subject matter bore a spiderweb of intricate and controversial lines to follow, yet the evidence gleaned throughout this study, revealed that sexism and lack of women working within this industry is still occurring today.
The research quite obviously illustrates that there is a lack of women in the games industry and that there is a problem with sexism, but also that women are perpetrating and exacerbating the reaction and social acceptance of women in the workplace, by the evidence strongly put to me in e-mails from those working in the industry. Accommodating to this by favouring to follow what has been previously diseased throughout the history of the gaming industry; games for boys by boys. Growing from this has been an epidemic of social acceptance at the cost of femininity within the office environment; dressing down to work, realizing at college that to get ahead and fit in means becoming more boyish, less girly: no dresses, heels or make-up.[1][16]
Unless women stop trying to fit in, and initiate being themselves, then this endemic state will continue to permeate the core of gamers; male and female, and no progress will be made into this obviously penetrable wall of sexism. Fashion trends change, it may be harder to regress and re-learn, but only women can address this by facing up to their own character of style, presence, and being true to themselves, in turn educating fellow male colleagues. This in turn will educate and revalue the role of a female games worker as a ‘female’ not just a woman fighting to fit in, and create a more fluid, creative and honest team[2][17]. It will not happen overnight, but opinions and evidence is showing that some are taking note, standing up and addressing the matter to ensure they make a difference. Dress like the woman you feel for work rather than conforming to hiding under what makes it easier – or so you think, and thus will eventually ensure we are seen for what we are, and respected for that – stop hiding behind drab!
The research concludes that women are lacking in games for various reasons; lack of women applying, sexism, masculine environment, and women who are conforming to the stereotype of typical female, fearing to alienate themselves or hinder their career progress, appearance overruling their skill, and not being true to themselves or presenting a feminine persona, and allowing individualism to prevail.
FOOTNOTES
[1]
See appendices, and for all other references to this, unless otherwise stated.
[2] Gina Jackson, Chief Executive of Women In Games Jobs, made a presentation on recruiting as recently as December 6th 2012 (Jackson, 2012).
[3] See appendices Avenues.
[4] See appendices research folder.
[5] Although other research states a little lower at 42% (Coney, 2013).
[6] Gamasutra; the online free version of Game Developer Magazine, featured sexism in games in their ‘5 events that shook the video game industry in 2012’, stating that, “…never before was there such a concentration of horror stories, ranging from being groped at conferences to studios not hiring women because they're "more trouble than they're worth” and stating that 90% is still male.” (Cifaldi, 2012).
[4] See appendices research folder.
[5] Although other research states a little lower at 42% (Coney, 2013).
[6] Gamasutra; the online free version of Game Developer Magazine, featured sexism in games in their ‘5 events that shook the video game industry in 2012’, stating that, “…never before was there such a concentration of horror stories, ranging from being groped at conferences to studios not hiring women because they're "more trouble than they're worth” and stating that 90% is still male.” (Cifaldi, 2012).
[7] See BAF appendices.
[8] Including: Lucas Hardi: Bethesda Games Studios, Tomek Wojcik: Lead Programmer at CD Projekt Red; Tara Saunders: London Studio Art Manager at Sony Computer Entertainment Europe (SCEE).
[9] See sample e-mail appendices.
[9] See sample e-mail appendices.
[10] “I wore a nice dress and was told (by other women) that if I wanted to succeed I needed to stop wearing dresses and go out and get a pair of jeans & some t-shirts. A few years later, I started dressing feminine again (conservatively and professionally, but feminine), and I was told (by another female boss) that I needed to stop it because I would distract the guys.” (Chief Creative Officer of Games Company USA, 2012).
[11] See sample e-mail appendices.
[12]See Appendices: Questionnaire.
[11] See sample e-mail appendices.
[12]See Appendices: Questionnaire.
[13] See email Appendices.
[14] “From knowing that my appearance is discussed and scrutinized on a regular basis, to having to speak up when I overheard male colleagues commenting on a new female employee's appearance.” (Anon, Questionnaire, 2012)
[15] "Supporting the growth of women in games is something that I feel strongly about," says Vancouver Film School's Game Design head Dave Warfield. "It benefits the industry to gain new perspectives, creativity, and passion that is reflective of how gaming has changed and expanded in the past 5 years." (Caoili, 2012)
[16] “I've also noticed that my female students generally begin to dress and act increasingly less feminine as they go through their classes. I, myself, even went through a phase in college where I attempted to disassociate with my own gender. This phenomenon may occur in response to any number of issues: stereotype threat, perceived dangers from harassment” (Chief Creative Officer of Games Company USA, 2012)
[17] “Siobhan Reddy, the (female) Studio Director at Media Molecule, put it best when she said: “Games are made by teams, and teams are only as good as the sum of their parts. Think of a band, a film crew, or.... The more interesting personalities you add to the mix, the more interesting the outcome will be. Merely by internally reflecting our broadening audience, the industry stands poised for ever greater success.” (Houghton, 2013) Teams make can create a more varied game and attract more players.
BIBLIOGRAPHY
Alexander, L., 2012. Gamasutra: The 5 most significant video game controversies in 2012. [Online]
Available at: http://www.gamasutra.com/view/news/183158/The_5_most_significant_video_game_controversies_in_2012.php#.UO8kI29abis
[Accessed December 2012].
Anon, Questionnaire, 2012. Questionnaire: Is Sexism Rampant In Games?. s.l.:SurveyMonkey.
Anon., 2012. Journal of Media and Communication Studies, Volume Vol. 3(6), pp. 212-220.
Barber, A., 2012. Dialogue - Gender Roles. EDGE, November, Issue 245, p. 29.
Caoili, E., 2012. GameCareerGuide.com. [Online]
Available at: http://www.gamecareerguide.com/news/129151/vancouver_film_school_offering_women_in_games_scholarship.php
[Accessed November 2012].
Chief Creative Officer of Games Company USA, 2012. Direct Message. s.l.:s.n.
Cifaldi, F., 2012. Gamasutra. [Online]
Available at: http://www.gamasutra.com/view/news/183134/The_5_events_that_shook_the_video_game_industry_in_2012.php#.UOr41m9abis
[Accessed December 2012].
Clark, M., 2012. iQU Game Industry Buzz Blog - 7 Influential Women In The Games Industry. [Online]
Available at: http://iqu.com/blog/seven-influential-women-games-industry
[Accessed December 2012].
Coney, S., 2013. Develop-Online. [Online]
Available at: http://www.develop-online.net/features/1791/Smashing-the-glass-ceiling-in-gaming
[Accessed January 2013].
Crane, L., 2012. Twitter. [Online]
Available at: https://twitter.com/Burning_Luke/status/273121518362439680
[Accessed November 2012].
David W Smith, 2012. LinkedIn: Women Seeking Games Jobs (WIGJ Careers). [Online]
Available at: http://www.linkedin.com/groups?gid=4349147&trk=hb_side_g
[Accessed November 2012].
Dill, K. E. & Thill, K. P., 2007. Video game characters and the socialization of gender roles: Young people's perceptions mirror sexist media depictions. SEX ROLES, 57(11), pp. p851-864.
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Available at: http://www.theesa.com/facts/index.asp
[Accessed December 2012].
French, M., 2012. The Market For Computer & Video Games (MCV). [Online]
Available at: http://www.mcvuk.com/news/read/mcv-s-2012-uk-games-industry-salary-survey-the-results/089686
[Accessed Dec 2012].
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Available at: http://www.guardian.co.uk/technology/gamesblog/2012/nov/28/games-industry-sexism-on-twitter
[Accessed December 2012].
Houghton, A., 2013. Digital Storm. [Online]
Available at: http://www.digitalstormonline.com/unlocked/lifestyle-sexism-in-the-gaming-industry-idnum34/
[Accessed Jan 2013].
Jackson, G., 2012. REC & WIGJ: Is the traditional recruitment process still fit for purpose?. [Online]
Available at: http://prezi.com/vlawunvnauy1/rec-wigj/
[Accessed December 2012].
LinkedIn: Valliere-Evans, Tracey, 2012. LinkedIn: Video Games Design Professionals. [Online]
Available at: http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&discussionID=193000234&gid=120203&trk=eml-anet_dig-b_nd-pst_ttle-cn&ut=3J_Ls7hDfZpBA1
[Accessed December 2012].
Martin, M., 2012. BAFTA Games Question Time: Women in Games. [Online]
Available at: http://www.gamesindustry.biz/articles/2012-12-11-bafta-games-question-time-women-in-games?utm_source=newsletter&utm_medium=email&utm_campaign=european-daily
[Accessed 12 December 2012].
National Media Museum | Bradford Animation Festival, 2012. BAF Game - Bradford Animation Festival - National Media Museum. [Online]
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Peck, B. M., Ketchum, P. R. & Embrick, D. G., 2011. Studies Racism and sexism in the gaming world: Reinforcing or. Journal of Media and Communication, June, Volume 3(6), pp. 212-220.
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NOTES & RESEARCH:
Stems from discovering & perusing articles on the lack of women working in the Gaming industry.....developing into whether attire is a part of how women are perceived by their counterpart males, or if a certain personality, education or social status affects the climb to get on top!
Had helpful advice from x-colleagues & friends on using surveys, suggesting which ones to use, & I also looked at various websites including instructions on how to create with Google Drive & Help Pages on Survey Monkey which might not all be applicable but there are certain points to take into consideration.
Other helpful sites included, Phrasebank, for assistance in updating & reminding myself how to write an academic paper.
Jonathon Ross at BAFTA !Video: Broadcaster Jonathan Ross on the evolution of acceptance in video game culture
At a sell-out event in London last week, BAFTA andGamesIndustry International held Games Questions Time, a public forum aimed at shedding light on the continued success of the video games industry.
Presented by Eurogamer's Ellie Gibson, the panel consisted of broadcaster Jonathan Ross, Torsten Reil of CSR Racing publisher Natural Motion, Sports Interactive's Miles Jacobson and Lego Star Wars publisher TT Games' Tom Stone.
In the second short video of the event published today, Ross discusses the objectification of characters, games culture finding its own natural levels of acceptance, and parallels with writing for the movie business.!
Thought-provoking, discussion-creating, & current-debate: My Blogged "Sexism Rampant in Games" post & link.
Sexism Rampant In Gaming Industry
 |
| Is a storm brewing in a glass ?? |
Is the argument on the lack of women working in the gaming industry gathering momentum: #1ReasonWhy Reveals Sexism Rampant In The Gaming Industry reveals more. Social Media is helping to promote & generate discussion & feedback; some obvious, some not so...& a conclusion?
More links:
Various follow-up research from the recent trending of sexism/lack of women in gaming.
And Here’s Why Women In The Games Business Put Up With So Much Crap Rhianna Pratchett - Author. Created #1reasontobe, a tag to collect tweets of why women work in the games industry.
List of the 1Reason Mentors - a list was compiled of all the people who offered to mentor people wanting to/working in the gaming industry:
"1ReasonMentors Resource Trying to put together all the wonderful people who have volunteered to help with mentoring women getting into the game industry. Keep it coming, folks!" Assoc. Producer & Researcher @TEGames.
Womeningames.wordpress.com - although dated I found some useful links to follow here after my search for women in games.
Gamasutra included #1reasonwhy Twitter campaign in their The 5 trends that defined the game industry in 2012: Editor-in-chief Kris Graft kicks off Gamasutra's annual year-end roundups with five trends that defined 2012, from massive shifts in business to the beginnings of a major cultural shift:"We're certainly no strangers to the issue around here, but never before was there such a concentration of horror stories, ranging from being groped at conferences to studios not hiring women because they're "more trouble than they're worth." & "The 5 events that shook the video game industry in 2012"
Gamasutra included #1reasonwhy Twitter campaign in their The 5 trends that defined the game industry in 2012: Editor-in-chief Kris Graft kicks off Gamasutra's annual year-end roundups with five trends that defined 2012, from massive shifts in business to the beginnings of a major cultural shift:"We're certainly no strangers to the issue around here, but never before was there such a concentration of horror stories, ranging from being groped at conferences to studios not hiring women because they're "more trouble than they're worth." & "The 5 events that shook the video game industry in 2012"
Dissertation Questionnaire
After researching survey companies & questionnaires, & seeking information from friends & colleagues, I chose Survey Monkey to compile & circulate my online questionnaire for my Dissertation. The layout & process seemed very easy to use, although I was limited in the number of questions I could pose, I downloaded, analysed & utilised the relevant data & stats; another obstacle overcome.
Hi All
I am a mature student, only recently entering the games industry & studying a BA (HONS) Design: Creative Media, specialising in Games Art. Graduating 2013, I have my 1st major deadline; a presentation for part of my Dissertation on the morn of Dec 12th & would be most grateful for some information to help me.
Looking for a slight-re-direction in my career, I previously founded a fashion label, I read about the lack of women working in games & followed my gut instinct. This topic has recently received a lot of media coverage & trending rapidly on Twitter; with a lot of spin-off articles being written. Hence the title of my Questionnaire.
I understand you are busy people, but would be ever so grateful if you would take some time & answer my questions; even if only a few are answered, it will help me.
My many thanks, & if you have any other info, advice, stats, research, contacts etc or opinions you wish to share, then do please get in touch.
Kindest regards
Tracey Valliere-Evans
My Questionnaire received an amazing response from people in the gaming industry, both UK & international, nearly 50/50 male/female, both creative & technical; more being creatives. Apx 70% added further information, with others emailing me information direct, which, even prior to reading the survey, 1 Chief of a games company in the USA spoke to me about 'attire' & what females tend to wear; this is one of the topics I had arrived at to research further; especially coming from a fashion business background. It seems females even start in college, to 'dress down' so to speak, to ensure they are accepted & not standing out; fitting in to succeed!
Dressed up for the office...but how will that go down, or you go up, in the games industry?
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