Fuckable female robots in video games – a timeline [LARGE][maybe-NSFW]

Recently, my brother sent me a screenshot from a MOBA in development – Paragon – of a female android character named Muriel. When I saw it, I promptly headdesked:

Paragon_Muriel.0.0

I was furious. Furious! ROBOT CAMEL TOE?? THIS IS WHY WE CAN’T HAVE NICE THINGS! Which is what I yelled at Twitter, only to be promptly reminded that Mass Effect had gotten there previously, with EDI – a fact that I had forgotten because the very first thing I made EDI do was PUT ON SOME GODDAMN CLOTHES.

That got me thinking about female androids, and video gaming’s problem with wanting them to always be fuckable. So I started doing some digging, and Wikipedia handily provided me with a list of fictional female robots in video games! Huzzah! A lot of them I had heard of, but there were a lot that I hadn’t, and… jeez. Some of them are really bad. I struggled for a bit on how to actually present what I came up with, until I just decided to arrange them all in chronological order. So I plunked my screenshots into Illustrator and promptly… uh… got a bit carried away:

Timeline
CLICK THROUGH FOR MORE READABLE VERSION

(Note that some results from the Wikipedia list have been omitted. I chose not to include characters from visual novels, since those feel like their own distinct thing. I also, FOR THE LIFE OF ME, could not find any screenshots of the character from Doreamon worth using.)

Now because this is me, while I was staring at all of these screenshots of (mostly) incredibly sexualized character designs, I started wondering exactly how I could quantify “bad” for the purposes of determining the overall level of badness. After all, when going through the Female Armor BINGO, a lot of the points like “how does it attach” or “almost naked for an adventure in a cold climate” don’t really apply to characters that are robots. So instead, I compiled a “hierarchy of sins” (to steal a term from Dogs in the Vineyard) of sexualization, starting with things that represent not being sexualized at all (“Nonhumanoid”, “Humanoid, fully covered”) and going all the way to totally objectified (“actually naked”, “camel toe”).

Then I went through for each character I plotted on the timeline and counted the highest criteria that they met on the “hierarchy”, at which point I made some loose categorizations to see what would happen, and I got this:

androids

I realize statistics don’t mean as much when you invent the criteria and kind of half-ass the definitions, but two thirds of the designs counted are at least moderately sexualized, and only 18% of the designs weren’t sexualized at all. So, you know. SURPRISE! Most female android characters in video games are sexualized! What a shock!

Next time, I’ll write about something equally surprising. Like, character creation in RPGs is important, or video games require an input device in order to play them.

Epilogue: On “KickStarter Diversity” – problems, but not many potential solutions

[Note: I know I’ve been a one-note blog these last few weeks. This is going to be my last post about KickStarter for a while, promise.]

I would be remiss if I did not mention the tremendous response that I got to last week’s post. So thank you to everyone who said positive things in response, or who offered words of comfort, or who tried to offer assistance.

Thanks also to people who bought one of my games, or who became a patron. Not gonna lie, I’m feeling a bit guilty about the spike in sales that I saw – it wasn’t my intention to guilt people into buying my games or becoming patrons, I can understand how me opening a window onto some of the harsh, ugly feels that I’ve been having would seem like me yelling at you, my readers, which wasn’t my intention.

Of course, not all of my responses were that friendly and receptive. Like these, for example:

comments

There was also someone who popped up on my G+ and commented using the hashtag for GooberGate, which freaked me the fuck out for a few minutes when I saw it. (Thankfully that crowd doesn’t seem to be very active on G+?) So that was fun. Nice to know that after all of the word count that I devoted to gathering data on proving how fucked women publishers are, talking about feelings in gaming is still the biggest sin you can commit when writing about games while female.

Lastly, I feel like it’s worth addressing that a lot of people had questions about how I handled The Starlit Kingdom specifically, when honestly the second half of the post was by far the more “serious” of the two situations. The lack of response to TSK was an irritant, not the crushing disappointment and maddening frustration of being able to prove that people don’t buy games by women and still trying to find a way to be successful anyway. I lost a lot of time and effort, and that sucks and is discouraging. But it seems like that’s what a lot of people focused on because that’s the part that could be “fixed”.

So, you know, yeah I acknowledge there’s more I could have done to promote TSK. I probably threw in the towel a bit too quickly. But it’s also important to remember that the best places to promote an anime-themed game (Reddit, YouTube, and 4Chan) are virulently unfriendly to women and my anxiety just couldn’t deal with venturing into those spaces. As I pointed out in a comment:

There’s a REASON I never approached 4Chan. The NICEST thing anyone from 4Chan has ever called me when linking to my material is a “jealous lesbian”, so you’ll understand that sort of reaction isn’t exactly motivational for me to engage with 4Chan. Likewise, given the shit that gets leveled at me here on my own blog, the idea of putting a demo of play up on YouTube gives me HIVES, given the things that people say about women there. Likewise, I never did an AMA on Reddit because Reddit is where men call me things like “ignorant judgemental cunt” and compare rape to a sport in threads about things I’ve written.

So that’s a thing. Moving on.

In which I disclaim:

(It’s important to note here that I am going to talk about this in terms of women, but this goes double for people who are visible minorities, queer, disabled, etc. It just gets a bit laborious trying to include all of that, so please just remember that we’re not just talking about white ciswomen like me here.)

(Also I’m perfectly aware that I am presenting problems without solutions. I KNOW that. With the huge volume that I have written in the last month+ about the complexity of issues surrounding being a female publisher, this isn’t something where I can write a 2000-3000 word post about “here are the problems and here are the solutions”.)

(Also, I just KNOW that some people are going to read this and say “she doesn’t think white men should make money on games!” or “she thinks that recruiting diverse teams for game projects is bad!” or “she’s saying she should get more money just for being a woman!”. Which. Um. No. I am talking a problem that exists at a SYSTEMIC LEVEL. It’s important not to get bogged down in specific examples, even if specific examples are what I’m using to illustrate my point.)

KickStarter Diversity

Okay. So basically what we’ve been covering here for the last month and a bit is that being a female publisher sucks. And part of the reason you don’t see many female-fronted KickStarters is because of all the structural and cultural barriers that are placed in front of women designers and publishers. The result is that the games publishing industry tends to look a whole lot more homogeneous than their customer base actually is; it doesn’t matter if you’re looking at the big companies or at the scrappy indies, the tRPG industry is overwhelmingly white and male.

Now this is something that certain publishers are starting to be aware of. It’s also something that tRPG gamers are beginning to care about. As a result, it’s becoming more common to see efforts to have diverse creative teams for KickStarters. However, all too often the “diversity” that you end up seeing is what I think of as “KickStarter Diversity” – it’s disappointingly shallow at best, and outright deceptive at worst.

What do I mean? Well, here are two of my personal experiences that I feel serve as pretty solid examples of what I’m talking about.

Case Study 1: Deceptive Diversity

Pretty early in my game writing “career”, I happened to sign on as a freelancer to a pretty mammoth project – I was going to be one of a large number of co-authors writing a monster game book for a Really Big Name Publisher. The lead developer (who, I want to be clear, was also a subcontractor and not employed by the Really Big Name Publisher) wanted to put together a diverse team of writers to do a truly inclusive project. I was really excited about that! And it was early enough in my efforts to be a “real” game designer that the “legitimacy” of being able to say I’d written for Really Big Name Publisher was appealing.

And in the end, the work that I did for RBNP was some of the best work I’ve ever done. I’m proud of the work that I did, and of the book that we created. But here’s the thing, RBNP’s terms were outright abusive.

First, they only paid 3 cents per word. Even for small assignments of 1000-2000 words, you end up being underpaid when you do the math of how long it took you to write those words versus how much you’re getting paid. But when you’re talking the massive wordcounts that most members of the team were pulling in order to put together this mammoth tome? 10 thousand, 15 thousand, or even 20 thousand word assignments require time, research, and planning. A lot of it! Even with the advantage of plenty of my previous writing experience, with the amount of time that I spent on my assignment I miiiiiiight have gotten (American) minimum wage for it. Barely.

There’s also the issue that RBNP’s contract terms were (and as far as I know still are) half on acceptance (which I’ll come back to) and half pay-on-publication. Given the length of time that your average game book spends in development, this means that writers are putting in time and effort without any guarantee of payment; books do get delayed, and even canceled. Not often, but it does happen! Now yes, game development is an expensive process; there are illustrators and layout artists to be paid, as well as production and shipping costs to consider. But given that KickStarter is now the default publication model for any seriously large game book, it’s even more abusive that a company would still make their payment terms pay-on-publication, because a few weeks after the campaign ends, they already have all that money sitting in the bank.

In the case of the project that I worked on, it broke six figures on KickStarter, and yet I didn’t get the second half of my money until eighteen months after I’d completed and turned in my drafts. And don’t even get me started on how hard it was to get a copy of the book, which was also in my contract.

The whole experience left a sour taste in my mouth, because again – I truly believe in the product that we made and am grateful to the lead developer for his hard work in putting together such a wonderfully diverse team of writers and in pushing some hard conversations to make sure that we got things right, from a standpoint of being inclusive. But the fact is that the lion’s share of the profit from the six figures that were KickStarted are going to owners who are white and male, whose business model seems (at least from the subcontractor end of things) to  to revolve around getting marginalized writers who crave legitimacy to sign on to projects, because they don’t have expectations they should be treated better.

It is great that RBNP is publishing games that are inclusive, and it makes me happy that that is something that audiences are excited about. But when their business model is predicated on achieving that inclusivity by getting a diverse team of writers, treating them like shit, and then stuffing all of the money into the pockets of some white guys? That sucks. And don’t get me wrong, I’m not saying the owners don’t deserve to profit! Publishing is a fucking huge job and it’s expensive. But it is possible to be a publisher AND treat your freelancers well, which they are not.

Case Study 2: Shallow Diversity

After my experiences writing for RBNP, I swore off of spec writing for big game projects. Especially when I ended up making more money per word on SexyTime Adventures, which isn’t even a real game, than I did on my writing for RBNP. And I definitely earn more money per word here on my blog, even on the long posts. The return on investment just wasn’t worth it.

However, subsequently a friend of mine contacted me about a KickStarter for a game by Another Big Name Publisher that was written around themes of diversity and inclusion that was looking to put together a diverse team of stretch goal writers to reflect the themes of the game. Because of the reputation of the game in question, and because the request came through this friend who had done a lot to support me as a publisher, I decided to sign on. But unfortunately, I wound up regretting that decision.

To be fair to Another Big Name Publisher, their terms were objectively better – 5 cents a wordand pay on acceptance. However, “on acceptance” turned out to be unexpectedly vague – the contract didn’t specify what “on acceptance” actually meant – on acceptance of my draft? On acceptance of everyone’s drafts? How soon after “acceptance” would we get payed? And how was I supposed to know when “acceptance” had happened? None of these questions came up until after I turned in my draft (on time) and… then didn’t see any money. It ended up being three months between the deadline for drafts and the date that I actually got paid. When I started asking about payment and timelines at about the two month mark, it was generally a week between emails. All in all, it was not a happy freelancer experience.

Now admittedly, 3 months is still a hell of a lot better than 18. But the amount of money that I was owed didn’t even break 3 digits, and again, this was for something that already had many thousands of dollars in the bank thanks to the KickStarter.

There’s also the problematic element that ABNP is a company that is mostly male and almost entirely white is using diversity as a selling point for this game. Given that the diversity of participation was through fairly small stretch goals, it makes sense that the profits would go to the company (and the writers) making the game. But as with RBNP, you have the very people who are contributing the diversity that is desired being the people who are least compensated.

Case Study 3: The Forgotten – Progress!

Andrew Medeiros is the co-designer of Urban Shadows and, in the interest of full disclosure, my co-designer on The Watch – recently finished his KickStarter for The Forgotten – a card-based LARP about people trying to survive in a city under siege by doing whatever it takes to stay alive. His second stretch goal (also full disclosure, extra photography by me was the first stretch goal) was actually to commission Kira Magrann to write a variant game based on The Forgotten that would be available to backers.

I found that idea hugely interesting! Because it goes beyond the standard approach to diversity of “if we get $4000 more we’ll add $100 worth of cost and maybe a bit more in terms of development costs for a stretch goal by a not-white-guy”. Because that model of KickStarter diversity is only ever going to be shallow by definition, and the demographics of game development logically dictate that shallow models of KickStarter diversity are always going to funnel the most money to white dudes. Which, you know, fuck that. Diversity should be more than just a wallpaper selling point!

Instead, what is happening with The Forgotten is that the designer is taking a share of his games profits and saying to a not-white-dude game designer, “I want you to create a game”. It represents taking a share of the extra profits earned by male-fronted games and funneling toward a female creator in a way that results in MORE compelling content, not less. (Kira’s variant game is going to be about patriarchal dystopia, a la The Handmaid’s Tale, and I am RIDICULOUSLY excited to play it.) And of course, the devil is in the details. The game hasn’t been written yet, and there are lots of details to be ironed out. But the potential for this sort of arrangement is HUGE.

And sure. This sort of arrangement wouldn’t work for every KickStarter. It would be a nightmare for something the size and complexity of 7th Sea (which also just ended, and raised 1.3 million). But part of why I’m writing this is to start a conversation. Publishers are a smart lot, used to solving a lot of complex problems. So, publishers, what can we do about this? How can we start creating meaningful diversity in publishing that isn’t just wallpaper on a mostly-white product?

Publishing while female: 2 vignettes of bafflement, frustration, and humiliation [long]

Last time I wrote about the many and sundry reasons why it sucks being a female publisher, and how that suckitude is driving women out of publishing, and how the only way to fix the problem is for people to START BUYING GAMES BY WOMEN, and it was a very difficult piece for me to write. The entire time I was writing it I was afraid that people would read it as sour grapes on my part and use that to dismiss what I was saying, because unfortunately my personal lack of success as a female publisher is of course the very thing that will most commonly be used to dismiss what I am saying when I try to talk about the lack of success of female publishers in general. So because I didn’t want what I was saying to be dismissed entirely out of hand, I worked very hard to keep that post’s tone more distant and less emotional – despite wanting nothing more than to yell my hyperbole-laden and profanity-laced anger at the internet.

As it turns out, wrestling with fear about how people will react to what you are saying while trying to perform a tone-balancing act is difficult and emotionally draining! (Amazing! Who’d have thought!) So it was nice that I did get some sympathetic commentary about my last post. Some.

But I also got dudes commenting on my Plus about how they “agreed” with what I was saying, but, well, you know. The kinds of games that they like to play are the kinds that are more likely to be produced by men, and WHAT COULD THEY POSSIBLY DO? It’s just too bad that the situation for female publishers is so messed up, and they want to do more, but HOW could they possibly make any personal contributions to changing things? HOW?

And let me tell you, that kind of willful helplessness in the face of what is a pretty damning and clear picture of how fucked things are in our hobby? It’s pretty goddamn frustrating having the biggest perpetrators respond with willful obliviousness while simultaneously trying to get credit for acknowledging that there is a problem and that they feel bad about it. “Wow. You’re right! This is terrible! It’s such a shame that this is all inevitable and that there is nothing more that can be done!”

… BRB, setting the world on fire.

You know what? Given that the wage gap is still DEFINITELY A THING (and actually getting worse here in Canada – so much for being a liberal community utopia), why don’t you men spend some of those extra 22-28 cents on the dollar on buying a game or two by women every now and then that you don’t actually want to play, just to show some support for women designers and publishers? You know, especially since you don’t have to worry about the extra gendered costs of inequal healthcare or products made for your gender or places to live.

JUST A THOUGHT.

So. Because my mostly dry, logical analysis didn’t seem to quite hit home for some people, let me attempt to put things in perspective by sharing two vignettes with you from my personal experience.

Case #1: The Starlit Kingdom, Andy Kitkowski, and Magical Girls

Andy Kitkowski, the brain behind Kotodama Heavy Industries (which is a game company, not a Japanese industrial company), has been doing pretty well with publishing translations of Japanese anime-themed RPGs for… quite a while now. Tenra Bansho Zero – the gonzo “throw literally every anime trope in a blender” game that I actually wrote Ruined Empire as a setting for – KickStarted for $129,000+; Ryuutama, a gentle and “heart-warming” game about traveling and adventure, KickStarted for $97,000+; and recently Shinobigami, a game which seems to be about schoolgirls having ninja battles (I admit to skimming the description on that one and going by the art, since it didn’t seem like my thing) just KickStarted for $87,000+. Even before KickStarter was a thing, I remember Andy going to GenCon and selling absurd numbers of copies of Maid RPG to anime fans who were dying to try out anime-themed roleplaying games. He pretty much created the market for English-language translations of Japanese, anime-themed tRPGs.

So I had all of that very much in mind when I first started developing The Starlit Kingdom. The Starlit Kingdom was inspired by the launch of a Sailor Moon reboot – Sailor Moon Crystal. There was a lot of excitement about that in my circles, and given that the idea seemed timely and that Andy had been doing quite well at publishing anime RPGs for several years, I figured than a game about magical girls as inspired by Sailor Moon would be a good investment in terms of time to eventual dollars returned. If even only a small number of the people who threw money at Andy to translate all sorts of anime-themed games bought copies of The Starlit Kingdom, it would still pay off since I was doing everything – from writing to playtesting to illustration to layout – myself. I might not make a lot of money, but certainly I’d make a nice little sum – enough to justify the effort, right?

Well…

I should have seen the writing on the wall at GenCon last year and just walked away.

You see, at GenCon in 2014, I ran 4 sessions of The Shab al-Hiri Roach at Hogwarts (my light setting hack of the Shab al-Hiri Roach to take place in the Harry Potterverse) and sent more than 10 people over to the IPR booth to try to buy copies of a game that they hadn’t stocked because it’s so ancient. So in 2015, I was determined that I would run my own games and actually, you know, PROMOTE MY OWN WORK. Only… no one wanted to play my games. Out of the four 4-hour slots I was scheduled for, two of them didn’t happen due to lack of interest. The third, I wound up running the other game I was playtesting, and the fourth? Well, I did get to run The Starlit Kingdom. Once. BARELY. But it only happened because I ambushed another GM (a man) whose slot had also fallen through and begged him to play it with me so that I could run it for the one person I’d met at Games on Demand who actually wanted to play it. The con variant of TSK is supposed to run with four people. I made it work with 3.

Still, the game went so well and was so great, and both my players said that they had a ton of fun – even the male player who I’d had to beg to play, who admitted after that it wasn’t something he would have chosen to play on his own given the subject material. So, falsely encouraged, I went home and did more playtesting and spent time polishing, editing, rewriting, and illustrating the game before releasing it in November. To… crickets. (Fun little aside: To date, TSK has made half as much money as SexyTime Adventures: the RPG – which is silly, stupid parody game in which character creation involves paper dolls, and players are encouraged to get rerolls by making inappropriate pornface while narrating their actions.)

It took finishing and releasing the game, which I am still incredibly proud of, to make me realize the ugly truth: it doesn’t matter how much commercial appeal Sailor Moon has; no one wants to play a game about magical girls. Because, you know, cooties.

As you might imagine, this realization was hugely discouraging. As a result, I decided that I wasn’t willing to pour even more time and effort into trying to revive a game that had been such a dismal failure; maybe it could be done, but the amount of time and effort it would take could be spent more profitably on other endeavors. So I walked away from TSK and turned my attention to other things. That is, until it came time to do signups for GM slots for Dreamation; I wanted to get my badge comped, and I was reluctant to go back to running other peoples’ stuff, just because I didn’t have anything newer than The Starlit Kingdom that I wanted to try running. So I signed up to run TSK, since it was finished – hoping I could maybe move maybe one or two copies. Except this time I refined the pitch to remove anything that would signal “inspired by Sailor Moon” to an observer not already intimately acquainted with Sailor Moon.

This met with… moderate success. I got enough people to run one session of TSK; the other session, no one signed up for. The session I did get to run went very well! There were two women and two men, and the men were just as into the game, if not moreso, than the women. It was intense and emotional and hard-hitting and horrible in all the ways it was supposed to be, which was great!

But then, when we were finished, one of the male players – the one who had been not at all familiar with Sailor Moon – admitted that if he’d known that The Starlit Kingdom was a game about magical girls, he wouldn’t have signed up. He’d gotten the impression that TSK was a game about “space tragedy fantasy”, which is what interested him. And, you know, retroactively he was glad that he’d played and had fun and stuff – because actually enjoying a game about magical girls turned out to be a pleasant surprise.

And that moment right there killed the last vestiges of my willingness to promote the game, because how fucked is it that the only way to effectively promote my game is to pretend that it’s about SOMETHING ELSE. Especially when I KNOW that it succeeds at making men actually care about and enjoy playing a game that forces you to tell stories about powerful women? And when the reason that I wrote the game is because I have INCREDIBLY POWERFUL FEELS about the feminist value of Sailor Moon (and about magical girls as a genre) and the value of stories that depict heroic women working together and getting shit done while also being apologetically feminine, it really fucking hurts getting confirmation that the things that give me those POWERFUL FEELS are the very reasons why gamers don’t want to play The Starlit Kingdom.

And it makes me wonder, what is it about magical girls that people are so “uninterested” in exploring? Is it the idea of playing a story where most of the protagonists are necessarily women? Is it the idea of exploring stories that are marked as being “for girls”? Is it as simple as seeing a woman’s name on the cover of a game about women? I’ll never know, and that sucks.

Case 2: PLEASE SIRS, MAY I HAVE SOME LEGITIMIZING MALENESS?

As frustrating as the situation with The Starlit Kingdom is, that’s not nearly as humiliating and upsetting as an experience that I’ve been suffering through the last few weeks.

You see, I have an alpha draft for a game that I’m pretty sure would have a lot of commercial appeal… but not if I published it. And the numbers that I gathered on the statistics of KickStarter funding of roleplaying games support me in that assessment! By looking at both the statistics that I collected and also examining trends regarding the revenue earnings of various kinds of games KickStarters, I determined that a medium-sized game studio could gross 4-5 times more than I would be able to make if I were to attempt KickStarting the game on my own. And when I showed my numbers to other (male) friends who do game publishing, they agreed with my assessment!

I decided that what I needed was a publishing partner that was:

  1. not a huge company that would screw me out of my IP and keep the lion’s share of the profits for themselves
  2. a company that I had either worked with before or knew enough by reputation to trust their ethics
  3. published the same kind of games that I was writing and…
  4. could confer legitimizing maleness

As you might imagine, that set of criteria rather severely limited my options – there ended up being only 2.5 publishing companies that fit all of the criteria. (The third company mostly didn’t fit #3, but sorta did? A little?) It was not at all encouraging, but still. I put on my grown-up pants, polished the alpha draft of my game into something professional-looking, wrote up a business proposal showcasing the commercial viability of the game that I wanted to publish, and started approaching potential publishing partners.

…who have all officially turned me down.

And to be fair, each of the companies that I approached had legit business reasons for not accepting my proposal. Publishing-Me understood and agreed with the reasons that each of the companies laid out (and each company did have different reasons) for why it didn’t make sense to work with me on that project. CREATOR-Me, however… Creator-Me has spent a lot of the last few weeks crying and trying to deal with rejection in a calm, competent, professional manner that wouldn’t result in any burned bridges while dealing with a whole lot of harsh, ugly feels.

Firstly, it is incredibly, profoundly depressing that I can prove with numbers that female publishers operate at a disadvantage in terms of net profits as compared to their male publishing peers. I have a Bachelor of Fine Arts, have been publishing games since 2008, and have freelanced for some of the biggest companies in the industry – Green Ronin, Onyx Path, and Wizards of the Coast. But knowing that none of that matters, that no amount of hard work and hustle will overcome the gender penalty that female publishers operate under in the current publishing landscape… it makes it hard for me to feel pride in my abilities and accomplishments as a game designer and publisher. Worse, it is incredibly humiliating having to go hat-in-hand to male-led publishing companies, present my research findings calmly and clearly, and ask in perfectly calm and neutral tones for them to confer some legitimizing maleness on my project while also trying to convince them that there are good business reasons to want to do so. Because doing so requires admitting that no matter how hard I try, without a male business partner I am never going to be anything other than a third-rate micropublisher.

And getting the rejections themselves? …there is so much that I want to say about how that felt that I don’t know how to assemble into a clear picture. All I have is fragments.

Like crying in a school computer lab, my hands shaking and a friend patting my shoulder as I typed calm and professional-sounding assurances that I understood their situation and didn’t bear them any ill-will, because of course this was business. Or being terse and distant with my husband when he was trying to get me to talk about what was wrong, and then crying over the dishes when he got me to open up. Or crying on a friend’s shoulder and feeling ashamed that I couldn’t just act like a damn grownup and get over the disappointment already. (And of course, the fact I can’t stop crying about these disappointments makes me feel like a fake and a failure, because crying is for girls and if I was a “real” publisher, I would be able to roll with the punches and move on. THERE’S NO CRYING IN GAME DESIGN. See how that works?)

This leaves me trying to figure out what the fuck to do with this game that I still believe in. The last thing I want is to invest hundreds, if not thousands, of hours into developing, writing, testing, and publishing a full-length game only to have it fail as badly as all of my recent projects have. But without a male-fronted publishing partner, what options do I have?

Publishing under a male name? That’s all well and good for someone just getting started, but what about the 8 years of work that I’ve done as a game designer? I have an established reputation, no matter how small. Walking away from that would be cutting my nose off to spite my face. Do I give up and walk away? Even knowing that this is the most commercially friendly idea I’ve had in a very long time? Do I find, as some of my female friends put it, a KickBeard – a Totes Legit Male Micropublisher willing to put his name on the cover and promote it as a project he’s associated with (despite having nothing to do with development) in exchange for a tiny percent of the profits? It would increase my profits, but inevitably some people would see it as “his” game, no matter how open he is about his lack of actual involvement in writing and development.

I honestly have no fucking idea what I’m going to do. All I know is that I am TIRED. I am tired of beating my head against this wall and it not moving. I am tired of trying and failing and trying and failing and trying and FAILING and NEVER having any hope that next time will be different. I am SO FUCKING TIRED that sometimes all I want to do is lie down and never get up again, because men get to “fail forward” and “find fruitfulness in failure”, but all women get is ground down, chewed up, and spat out. It makes me want to give up, throw my hands in the air, and quit altogether. Except I’ve been painted into this corner by own small amount of never-quite-enough-to-survive-on success, and I don’t have any damn choice but to keep trying, because all of the other options I’m faced with are even worse.

Even now, writing this. My throat feels tight, my eyes tingle, and my teeth are clenched. I am in mourning for the me that never got to exist – the me that was a “real” publisher, and who was able to build her audience such that she could stop falling into a series of abusive dead end jobs and realize her dream of being creative full time. But no amount of blood, sweat, and tears is going to bring that me into existence, and so it’s time to let her go.

So to those of you who “feel bad” that the games you like “just happen” to be made by men and there’s “nothing” you can really do about that? Why don’t you stick that in your pipe and smoke it?

KickStarter Part 2: The Only Way to Fix the Problem is to BUY GAMES BY WOMEN

Okay, folks. Today’s post is a 301-level post, in that it builds on a lot of things that I’ve written previously here. I know I’m shooting myself in the foot in terms of expecting anyone to read this by linking to a bunch of stuff right off the bat, but…

So here goes.

In the past, I’ve written about

Importantly, I’ve also written about the statistics of crowdfunding while female for both Patreon and KickStarter – although looking back I can see that my stats for Patreon were not as in-depth as I would like. (I may go back and correct that, but probably not.)

Everything I write here in this post is going to be predicated on the assumption that you have read those posts, or at least understand the concepts that I’ll be addressing. If I get any questions or comments referencing something covered in one of the above posts, I’m going to moderate your comment.

Again, this is NOT a 101-level post, so fair warning.

WHY IT SUCKS TO BE A FEMALE GAME DESIGNER/PUBLISHER: A SUMMARY

One of the classes I’m taking, now that I’ve gone back to community college (Canadians call it “college, which confuses the shit out of me, still), is Operations and Supply Chain Management. I never expected to get much out of it, but surprise! I am. And one of the things that we’ve spent A LOT of time on is various types of flow charts, or “process charts”. Which is sort of what I’m starting with here.

…so to tl;dr everything I just linked to in the most reductive way possible, if you are a female game designer and/or publisher, you will face the following barriers to designing, producing, and publishing your own games:

  • lack of community support (passive): fewer reshares of promotional posts on social media, less “buzz” around the development of projects you are working on, etc etc
  • lack of community support (active): gate-keeping, misogynist backlash against your games because… reasons (it’s a thing folks, it really is), marginalization of your work as “for women” or “niche”, etc etc
  • internal cognitive: especially Imposter Syndrome – this one is the biggest
  • practical realities of being a woman, and miscellaneous RL shit: the wage gap, second shift labor that disproportionately affects women, losing emotional/mental bandwidth to having to deal with microaggressions on a daily basis

If you struggle and persevere and actually start publishing games, you will attract:

  • less community buzz/support: Yes I listed it twice. It’s that important. Buzz translates into post-crowdfunding sales. Without it, you can’t expect anything substantive with regard to post-campaign sales
  • fewer backers/patrons: which when combined with less support leads directly to
  • fewer long term sales and lower overall revenue

These factors translate directly into:

  • women designers having to set lower goals and take on less ambitions projects: which is itself an ugly catch 22, because over time this perpetuates an unconscious view of women designers are people who make scrappy little games and niche projects and men as designers capable of pulling down the big bucks ($50,000+). Look at all of the $200,000+ RPG KickStarters in the past two years. It’s not a coincidence that every single one of them was fronted by a man.
  • projects by women designers attaining their goals with much lower margins of success (which is stressful): look, I’ve done it. I didn’t think Ruined Empire was going to fund, to be honest. It’s stressful, and it sucks, and that stress was the main reason why I didn’t do a KickStarter in 2015.

Over time, this has long-term consequences:

  • Women become less active or simply produce less over time: You can’t afford to produce what you won’t get paid for. Designing for the “passion” or “the love of the hobby” just doesn’t cut it when you’re talking about something that takes as much work as designing games
  • Talented and amazing women leave the hobby: Elizabeth Shoemaker-Sampat leaving tabletop gaming, or Leigh Alexander leaving video gaming are just two of my least favorite depressing examples of this. Not everyone is as amazingly hard-headed and contrary as I am, and that’s mostly a good thing, because sometimes choosing to leave is the only objectively sane course of action.
  • Women become 2nd class designers: Women resign themselves to being 2nd class designers who write freelance for larger projects on which they won’t earn any royalties (this is distressingly common), or who write small games that might make a couple hundred here or there, but nothing else

All of which translates into A PAY GAP FOR FEMALE GAME DESIGNERS. And unless you ACTUALLY BELIEVE that men just do better work than women, that is a problem, not just for the women but for the hobby itself. Because logically, if male game designers aren’t better at game design than women, it means there are a whole lot of amazing games that could change the face of the hobby entirely that just won’t ever get written, because women don’t have the time, energy, and bandwidth to write them.

The only way to fix this is for people to START BUYING GAMES BY WOMEN

It doesn’t matter if you personally buy games by women. I mean, of course YOU do, gentle reader, because you’re lovely and progressive and are invested in the betterment of the hobby and all that. Now be quiet and don’t interrupt.

Look, the numbers are stark, and the only conclusion that can be drawn is as bleak as it is inescapable: as a community, WE ARE NOT BUYING GAMES BY WOMEN.

Obviously that needs to change. So what can you, personally, do? Well…

1) TAKE A HARD LOOK AT WHO YOU FOLLOW AND HOW YOU BUY GAMES

First, look at your social media: Who is in your circles on G+? Who do you follow on FB/Twitter? What is the breakdown of the space where you go to talk about games? How many women are in those spaces?

Second, look hard at who are the designers whose work you follow most closely? How many of those designers are women?

Third, look really hard at how much money do you give to men versus how much to women? (I’ll admit that I’m not so great about this, myself. My personal games collection is hugely unbalanced, and I don’t feel great about that.)

Note that I am NOT saying “don’t buy games by men”. FFS, that’s some straw-manning bullshit, so don’t even do that shit.

What I am saying is this: if the if the people you talk about games with are mostly white dudes, expand your circles to include more people who aren’t white dudes.

If the designers you follow are mostly white dudes, start following designers who aren’t white dudes.

If the people you buy games from are mostly white dudes, try to buy more games from people who aren’t white dudes.

I’m not saying that you’ll reach perfect parity overnight, but being aware that your spending is skewed isn’t enough. You need to actively look for ways to support projects by women.

2) PROMOTE WOMEN’S WORK

I can’t tell you the number of times I’ve had what I felt like was a solid, appealing project and tried to promote it and gotten… crickets.

This goes DOUBLE for you, whites dudes with community “cred”. Your word carries more weight than mine ever will, because that’s how bullshit identity politics work. You may not like it, you may not want to hear it, but it’s the truth.

3) MAKE GENDER A TIPPING POINT

How many times have you thrown money at a game you know you probably won’t ever play but want to read? Shit, I’ve done it. I’ve got half a shelf of game books that looked appealing but I knew I probably wouldn’t play, and most of them are by men.

Make “IS IT BY A WOMAN” part of that calculus. If you’re not sure if you want to buy a thing, and it looks interesting but you’re not sure if you’ll play it, check the gender of the author. And if it’s by a woman, and you have the money to spare anyway, consider actually buying it – because that supports that game designer in making more games down the line.

This got longer than I was expecting, so next time: I’ll look at examples of what I’m talking about “in the wild”