Pathfinder Part 2: Looking at Art in Pathfinder Material [CHARTS][LONG]

[EDIT TO ADD: I realize some people are going to look at it and say “so what, two of these three books are older books”. However, what I feel makes it pertinent are the fact that the numbers from the newer book in the lineup are right in line with the older book. And, to slightly mangle one of my favorite Tumblr gifsets, it’s not exactly like women hadn’t been invented yet.]

[Edit 2: In the comments, Jean-Francois was kind enough to point out that I’d made my charts for suggestively attired and fully covered using absolute values and not percentages, which was completely my mistake in selecting the wrong fields to pull data from while making the charts, and then writing about the incorrect charts. This has now been fixed.]

Recently, I wrote about my experiences in trying out the Pathfinder Adventures card game app, which was released several weeks ago. Unfortunately, the sub-optimal experience created by the already confusing and buggy UI was made worse by bafflingly sexist art which I had no option to escape or avoid. And that was confusing! I don’t play Pathfinder, since the system makes me cranky, but I’ve always had an impression of Paizo as being One Of The Good Companies. As I said on Twitter:

Here’s a thing that I find puzzling: about 40% of the awesome female fantasy characters I pin on Pinterest come from Pathfinder art. And yet actual Pathfinder products make me want to punch things and scream, like, A LOT.

Case in point, I was bored with my recent mobile addiction and decided to try out the new Pathfinder Adventures app. Spoiler alert: the art is frustratingly sexist. Also, kinda bad – I mean, it’s impressive how WRONG some of these breasts are. Because I wanted to believe that it was video game devs skewing the product, I borrowed a bunch of Pathfinder books from a friend and…

Nope. That shit was just as bad, if not worse. Which – guys I wanted to like it so bad. SO BAD. There are great people at Paizo, and they have done and said some really great things wrt inclusion in their products. Also, [Jessica Price] has been one of the people I consistently point to as an example of how to promote diversity in the industry correctly. I WANT to be able to appreciate Pathfinder! I want it to be as great a game as the people I know at Paizo!

So I decided that I would try to borrow some Pathfinder books and take a look at the art, just to see how they compared to the game. I was hoping (foolishly, perhaps) that they would be better than the game? But, alas, my hopes were dashed.

Since something that I discovered in looking at the D&D 5E core books last year was that the art was much more balanced in the player’s handbook, I made sure to borrow more GM-facing materials, as I wanted to see how bad the art really got. And, uh. It gets pretty bad – starting with the covers. The books I borrowed were Battle of Bloodmarch Hill Part 1 – a small adventure path, The NPC Codex, and The Inner Sea World Guide. And two of the three covers… well…


The fact that the artist (I’m guessing Wayne Reynolds) felt it necessary to squeeze in a weirdly objectified barmaid on the cover is aggravating enough, but WHAT THE ACTUAL FUCK is going on with the cover of the Inner Sea World Guide?? Seriously, it took me a good three or four minutes of squinting to determine if Seoni was facing toward or away from the camera. The artist was SO DETERMINED to show some boobage that they drew her boobs showing on either side of her torso, never mind the fact that this would mean her boobs would have to be pointing outward away from each other at about a 45 degree angle. But, you know. Whatever. Let’s just move on and get to the numbers:

Criteria Studied

Since the issues I was interested in looking at with the Pathfinder books were pretty much the same as what I examined with D&D, I used all of the same criteria:

As with all of my other “numbers” posts, I was specifically interested in tracking the following criteria:

  • total breakdown of figures by gender
  • prevalence of fully-covered versus suggestively-attired figures by gender
  • class archetype depicted by gender

(For a more detailed explanation of what I mean by these criteria, you can read my very first such study here –starting with the heading “Determining Methodology”.)

However, because of trends that I noticed flipping through books, I did make some modifications to my criteria and how I counted things. For instance, as there were a large number of illustrations where it was not possible to determine the gender of a given figure, I counted “humanoid figures without discernible gender” separately from male and female figures.

One thing that I also noticed while flipping through the books is that there seemed to be a marked difference in representation between group shots (shots with multiple figures) and shots with only one character; as such I looked at the gender-breakdown of single-character shots as well as group shots that contained male figures and group shots that contained female figures.

Gender Representation in Pathfinder Books: Depressingly Predictable

I went into this analysis hoping that the results wouldn’t be as predictably imbalanced as I thought they would be. And… well… the good news is that they weren’t. The bad news, however, is that’s only because they were worse than I had anticipated.

Out of the three books I surveyed, the NPC Codex wins the dubious distinction of being the most gender-balanced – despite actually having a higher percentage of male figures than Battle of Bloodmarch Hill – simply because all of the characters illustrated in the NPC Codex had handy text blurbs specifying who the character was. Conversely, the Inner Sea World Guide – the setting guide of all of the nations that make up Golarion (the official Pathfinder setting) – wins the “honors” of least gender-balanced, with an impressive 68% of all figures with discernible gender being male and only 24% being female.

Most depressing, however, is the fact that the breakdown for Battle of Bloodmarch Hill and the Inner Sea World Guide look almost identical, despite being published four years apart. The Inner Sea World Guide was released in 2011, the NPC Codex in 2012, and the Battle of Bloodmarch Hill was released in 2015. One would hope that there would be at least some movement toward inclusion, along the line of what Wizards managed with the release of 5th Edition D&D, in those four years, but… not so much.

Somewhere else that Pathfinder comes up short in comparison to D&D is the issue of representation in group shots. In examining the art from D&D 5th Edition books last year, I discovered that women were better represented in group shots than they were in single-character illustrations. So given the overall abysmal numbers of female representation, I was curious to see if that would be the case with these Pathfinder books. They are, after all, a pretty similar product. But as it turns out, women are actually less represented in groups and scenes!


Despite the fact that only 26% of all female figures in Battle of Bloodmarch Hill are women, 35% of all single-character illustrations are female – which means that group scenes are punching way below their weight. And while the disparity isn’t quite as noticeable with the other books, the fact remains that groups and scenes are actually less representative than single-character illustrations. Seriously, check this shit out:


For all that Battle of Bloodmarch Hill had pretty much the same disappointingly low levels of female representation as the Inner Sea World Guide, there was only 1 illustration out of 8 (12.5%) that didn’t include any women. The Inner Sea World Guide, however, which is supposed to be a book about setting and the world of Golarion, had a staggering 59% of all group shots containing only men. Which is some weird and creepy shit, right there, when you’re writing a book about an entire world. Seriously, where the fuck are all the women???

And when women DID appear in group shots or scenes, the odds were pretty damn high that they would be THE ONLY WOMAN in the image. Only ONE of the 7 group shots in Battle of Bloodmarch Hill contained more than one woman. And out of the depressingly small number of group shots that DO contain women in the Inner Sea World Guide, only 31% of those images contain more than one woman, which is just… fucking depressing.

Differences in Depiction: Active Posing and Suggestive Attire

The other set of numbers that I collected for the three books focused on how men and women were portrayed differently. In collecting these numbers, again I stuck with my usual methodology for counting 1) figures that are actively posed versus neutrally posed 2) figures that were suggestively attired and 3) figures that were fully covered. (If you want to read explanations of how I determine these things, my methodology and reasoning are all spelled out here.) When looking at each figure, I also determined what the class archetype of the figure was: warrior, rogue, mage, or no class depicted.

When looking at active poses versus neutral poses, the numbers come out a bit mixed:


For both Battle of Bloodmarch Hill and the Inner Sea World Guide, women are slightly more likely to be posed as neutral than active. In the NPC Codex, women are slightly less likely to be posed as neutral. However, a confounding variable that I didn’t know how to account for was that the NPC Codex contains almost exclusively single-character illustrations with no background whatsoever, and it is significantly harder to draw a character that looks active with those constraints.

When looking at suggestively attired figures and fully covered figures, things similarly come out a bit mixed:


[This section has been updated and corrected]

There is pretty close to an even gender split of suggestively attired figures in Battle of Bloodmarch Hill are male, with a slightly higher percentage of male figures counting as suggesting – although this is entirely owing to the fact that Battle of Bloodmarch Hill is a scenario that involves A LOT of orcs – almost none of whom are wearing shirts. And as I’ve written about VERY recently, simply not wearing a shirt does NOT make an illustration sexy. However, the numbers are a lot more clear in the NPC Codex and Inner Sea World Guide. In both of these books, women were about twice as likely to be suggestively attired as their male counterparts.

As for fully covered figures, again the prevalence of orcs plays havoc with these numbers in Battle of Bloodmarch Hill. Even so, women come out only slightly more likely to be fully covered, and in the NPC Codex they are less likely to be full covered. Which means that as usual, women have the double-whammy of being both less likely to be fully covered and more likely to be suggestively attired – which is in keeping with the general trend toward sexualization of women in game art.


Finally, we come to depictions of class archetype, which I include simply because in fantasy and gaming artwork, it’s still an unfortunately common stereotype to see men depicted overwhelmingly as fighters and women overwhelmingly depicted as mages. And the numbers are… mostly frustrating:


Interestingly, the NPC Codex manages to have a nearly even split of how men and women are depicted, with women actually being slightly less likely to be depicted as not having a class than men. Which is fascinating! Especially since it’s bookended (in terms of publication dates) by Battle of Bloodmarch Hill and the Inner Sea World Guide, which are both very unbalanced in their class depictions.

In Battle of Bloodmarch Hill, only TWO out of 34 male figures that fit into a class archetype are shown as anything other than a warrior or fighter! As compared to the women, who are 40% less likely to be fighters and are nearly 20% more likely to not fit any class archetype at all. And the split is even worse when looking at the Inner Sea World Guide! Only 34% of all women can be said to fit into a class archetype – which is ALL KINDS OF DEPRESSING when you consider how incredibly underrepresented women are in the Inner Sea World Guide as a whole. There are vast swathes of the book where there are no women at all, and when women DO show up, fucking TWO THIRDS OF THEM aren’t even heroes or adventurers. They’re fucking barmaids, peasants, princesses, and slaves – which is some creepy woman-erasing misogynistic bullshit.

Stay Tuned!

Because next time, I’m going to be looking at specific piece of art – because HOLY SHIT THEY ARE SO BAD WTF HOW ARE THEY SO BAD.

So because I don’t want to end on such a downer note, here’s a baby squirrel:

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:


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:


(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:


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.

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.


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…


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.


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.


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”

Detailed analysis of successfully funded games KickStarters in 2015 [SO MANY CHARTS]

Lately, I’ve been working on a series looking at the gender distribution of crowdfunding, starting first with Patreon – which is a crowdfunding model that enables serial content. So far in the series, I’ve done a gender breakdown of a representative sample of Patreon creators with games-related Patreons, a look at the barriers that keep women from becoming creators on Patreon, and an aside with advice for women who want to get into having a Patreon anyway. And unfortunately, the statistics of Patreon creators are pretty dismal; only 24% of Patreons had female contributors, with only 13% of creators surveyed being solo women.

However, only looking at Patreon would be ignoring the elephant in the room. Patreon has changed the landscape of creativity in that artists who want to do projects that wouldn’t traditionally be commercially viable now have a venue for doing work that they want to do instead of having to focus on projects that they are not as interested in but they know will be an easier sell. But Patreon’s funding model doesn’t really do much to address the economic realities of game development: it’s expensive. In order to produce a polished, finished game there are a lot of expenses – writing, editing, artwork, layout, printing, fulfillment, and they’re all vitally important.

Tabletop RPGs are procedural documents – ensuring that your text is clearly written and conveys what it needs to is vital. Layout is just as critical, because the best writing and editing in the world won’t keep your customers from being frustrated if they can’t find the rules they need to reference at the table. Art is important to draw people in to the world you are creating, and to convey the feel of the game. And as with any creative work, you get what you pay for. You can save money by finding people who are willing to work on the cheap, but generally the people doing the best work know that they’re doing the best work and will insist on being fairly compensated for their time.

Lastly, while I’ve heard increasing grumbling from publisher friends that “next time” they’re going to do a KickStarter with digital-only distribution, we have yet to reach a point where that wouldn’t be cutting off your own nose to spite your face. But face it, shipping physical product suuuuuuckkkkksssss. Production and shipping the physical product is a huge chunk of any KickStarter budget, and costs are non-negotiable. If you want the thing, you pay what the supplier demands. Those costs add up quickly, and even for small projects with only modest aspirations, budgets for a typical RPG tend to be thousands of dollars. So for most small to medium-sized publishers, KickStarter (or other platforms like IndieGoGo) is the only way that indie publishers can afford to produce polished, professional quality game products.

So with all of that said, I felt that I would be I would remiss were I to not do examine the demographics of KickStarter, just as I have already done with Patreon.

Methodology and Sources

In determining which data I wanted to examine, I decided that I would look at all successfully funded RPG KickStarters from 2015 – excluding campaigns that were either canceled or failed to meet their goal. Unfortunately, assigning gender to a KickStarter is a much trickier prospect than with Patreon; very few Patreons had more than two creators, and only one that I surveyed had a creator team with more than four people. However, since KickStarter projects can be much larger, teams for RPG products can get pretty damn huge. For example, I was one of twenty or so writers on V20 Dark Ages. Then there were lead developers, an editor, and I don’t even know how many artists. So figuring out how to determine the “gender” of a project becomes a much trickier prospect.

In the end, what I settled for was looking at who it was that fronted the project – so either who was it that created the campaign, or if that was inconclusive was there a name attached to the title of the campaign itself? (Frex) I then assigned each result to one of the following categories:

  • solo male (a single man working alone)
  • solo female (a single woman working alone)
  • all male (a group of at least 2 men working together)
  • all female (a group of at least 2 women working together)
  • mixed gender (a group with at least one woman and one man working together)
  • studio (a medium to large sized games company or publisher that is not a sole proprietorship)
  • unknown (aliases or names for which gender could not be determined)

I also broke down the types of campaigns, since “roleplaying games” is a pretty broad category, into the following sub-categories: campaign settings, adventures, events, multimedia, dice, accessories, supplements, and games. Lastly, for each campaign I recorded the total amount raised and what percent of their goal was raised. (Logically, since I only looked at successful campaigns, all results for percent of goal raised were over 100%)

Sadly, KickStarter’s interface is pretty terrible for collecting this sort of data. So I wound up turning to RPGGeek, where RPGGeek users maintain an ongoing list of games KickStarters by year. I’ll admit that I have no way of verifying if their data collection is 100% comprehensive, but it is definitely exhaustive. In collecting the data that I needed, I had to go through twenty four pages of forum results. Given that I counted a total of 388 successfully funded campaigns, I feel that my results are definitely statistically rigorous.

That said, I did filter my raw results slightly. In putting together “final” numbers for the charts that I was preparing, I chose to omit 18 campaigns from the results because of sketchy practices surrounding artificially low funding goals. For instance, there was one guy who by himself had 8 successfully funded campaigns in 2015 – which sounds impressive! Until you realize that he was funding basic adventure modules and his goal for each campaign was only $30. So despite that each campaign was only making around $800-$1500 or so, he was seeing THOUSANDS of percent on his campaigns in terms of percent of goals raised. Since I was very interested in percent of goal raised to see if gender was a factor, I wanted to get rid of the extreme results so that my conclusions would actually be meaningful. So it should be noted that while I recorded 388 successful campaigns, results below were tabulated based on the filtered total of 370.

The Results


As someone who has been observing KickStarter as a publishing platform for several years, I wasn’t too surprised that the gender breakdown even less egalitarian than Patreon. What did surprise me was how much lower the percent of female participation was. Patreon’s 13% representation of female-only creators is pretty dismal, but 13% is at least mostly in line with the current representation of women in the industry as a whole.

KickStarter, however, had slightly less than half those numbers in terms of solo female representation, with only 6% of all successfully funded games projects in 2015 being fronted by solo women. And widening the focus to include all campaigns that include at least one female front person actually makes the numbers worse, which may be due to the fact that out of 370 KickStarters, not a one of them was fronted by a group of just women. As it turns out, solo female campaigns together with mixed gender campaigns made up 9% of overall KickStarter campaigns, as opposed to 24% of the Patreons that I examined having female creator participation (or only 3/8 of Patreon’s numbers).

Pretty bleak, right? Well strap in, because it gets worse.


Holy shit! Solo female campaigns make up 6% of the total number of KickStarters, but account for only 3% of 2015’s total funds raised! Mixed-gender campaigns also suffer a penalty, although not quite as bad – they received only 2% of total funds raised despite making up 3% of overall campaigns. By contrast, all-male campaigns accounted for 10% of total funds raised while only making up 4% of overall campaigns.

Granted, it is true that solo male campaigns “underperformed”, at 41% of total funds raised for 65% of total campaigns. However, I think that probably has a lot to do with the fact that there were an awwwwful lot of sketchy solo-male campaigns that I saw that had super-low (ie sub-$1000) goals, so it makes a lot of sense that the studio campaigns would overperform so dramatically while solo-male campaigns would suffer.

So what happens when you start looking at averages by gender category? Well, things get interesting, and a bit less clear.


Studios had the highest average funds-raised-per-campaign, which makes sense. A company like Onyx Path or Green Ronin is going to have a larger audience and has the logistics in place to fund a campaign with a much larger scope than the smaller operators, which lets them rake in the big money. What I didn’t expect was how comparatively small the gap between studios and all-male campaigns would be, and how large the gap between all-male campaigns and everything else would be.

The fact that mixed-gender campaigns outperformed solo gender campaigns is interesting, although it may be another reflection of the preponderance of low-goal “sketchy” campaigns by solo male creators. Still, it is undeniable that solo female creators have the lowest average funds raised by far, with solo female campaigns averaging a mere quarter of all-male campaigns, and just under 90% of the average solo male campaign.

Of course, something that is undoubtedly a factor is that if you look at the average requested funding level, the gender category that asks for the least money is, of course, women:


Again, studios come out on top – although again that’s not terribly surprising given the scope of many studio-fronted products. The results after that get a little muddled; for instance why are mixed-gender campaigns averaging the second-highest requested goal?

Still, women again come in last, asking for only only 73% of what solo male campaigns requested, and only 39% of what all-male campaigns requested. I was hoping against hope that perhaps that would be mitigated if I looked at the percent of goal raised. If the lower goals were perhaps offset by solo female campaigns doing better in terms of percent of goal raised…? But no. They weren’t, mostly:


So yeah, there’s a weird blip with mixed gender campaigns having the second-highest requested goals and yet having the lowest percent raised. I honestly couldn’t begin to untangle what’s going on there. But solo female campaigns still come in second last, at only half of the percentages that all-male campaigns have managed. So, you know, that’s a thing that’s depressing.

I could have stopped there, but I got curious about what would happen if I looked at each campaign type by gender, which actually turned out pretty interesting. So just for shits and giggles, I present for your further edification the gender breakdown of each category examined:


What the actual fuck. In ALL of 2015, EVERY SINGLE GODDAMN SETTING KickStarter was either by a studio or a lone dude? (For a second I was like, WHAT THE SHIT WHAT ABOUT RUINED EMPIRE, I KNOW THAT WAS BY A LADY LIKE PRETTY CONCLUSIVELY. And then I remembered that was in 2014 and felt stupid.)

So. Yeah. NO settings fronted by women, or even partially by women in 2015. Wow.


Jeez. Adventures have some female representation, but honestly the numbers don’t look all that much better. Around 8ish percent of all adventure KickStarters had female participation, but they only received 2% of total funds raised for their category? I mean, sure it’s great that they over-represented in terms of goal and percent of goal, but still. Oof. Feels.


Events represented the smallest category, so it’s hard to make any conclusive statements other than even with a large relative proportion of campaigns by people of unknown gender, it’s still pretty damn male-dominated. Which was surprising, because all of the best, most competent, most hard-working event organizers I know are women! So I didn’t expect that at all.


The lack of any mixed-gender teams in this category makes the numbers really straight forward. Yes it’s great that when you look at average funding, solo female campaigns over-performed relative to their overall participation in the category. But that doesn’t change the fact that only ONE out of ten multimedia KickStarters in 2015 was by a woman, which is a shitty ratio no matter how you look at it.


I seriously was not expecting such a large number of KickStarters making DICE of all things, nor was I expecting them to be so lucrative. Still, not really sure what else to say that won’t sound repetitive here. I mean, whee! Yet another category totally dominated by men. Shocker.Bar-accessories

Cool. So with no mixed-gender participation, once again we have ONE campaign with female contribution out of an entire category that makes up a pretty sizeable chunk of the total number of successful campaigns. Still, one out of 44 is still 2.2%, so that doesn’t really explain the fact that that singular campaign only raised 0.3% of total revenue. Seriously? What the hell.

Yup. Looks like women making supplements have a shitty time of it too. MY SURPRISED FACE. LET ME SHOW IT TO YOU.


Well. Kickstarters for games at least manage to do (sliiiightly) better than average in that 8% of total campaigns were fronted by solo women, as opposed to 6% of the overall total. Still, as with every other category, they did not receive a proportionate level of funding. YAY. EVERYTHING IS DEPRESSING.

And that’s all for today

I’ve got more to say, but that’ll have to wait for next time because this post got super long and I AM FINALLY DONE.

The gender imbalance of games-content creators on Patreon

Since the end of the year, I’ve been working on a numerical analysis of my freelance income in 2015 (although admittedly, it did get derailed by real life stuff; I’d been hoping that it would be finished before now). Non incoincidentally, the income I receive through Patreon for this blog is a large part of that.

My Patreon has done pretty well for itself since inception. I started out with 17 patrons in 2014 and currently have 80 patrons – though that’s down from a high of 84. According to data compiled by Graphtreon, as of the time of writing this post my blog is in the 88th percentile of all Patreons by number of current patrons. Still, as well as I’m doing here, it’s sometimes a little hard for me not to get hung up on the number of male-fronted Patreons that are doing… significantly better than mine. And sure – obviously I recognize that a feminist blog about games is much more of a “niche” Patreon than Patreons producing “actual” game content. Still, something I have been quietly discontented about for a while is the fact that Patreon is a platform heavily dominated by men, and it got me wondering – just what are the gender demographics of games-related Patreon creators[1]?

Unfortunately, this is a difficult question to answer, since Patreon’s interface is, frankly, really really bad. To be fair, they are trying to improve on this, but the results so far have been… mixed. So gathering this sort of data required looking to sources outside of Patreon, since I was not able to determine a way to do this using Patreon’s own website.


In the introduction, I mentioned Graphtreon as a source of Patreon rankings. I actually wound up not using Graphtreon as a source for my data, since it turns out they were actually a little too accurate for my purposes.

Instead, I gathered all of my ranking data from Pledge Society – which combines Patreon’s own data with a pretty, actually sort of usable UI. Unfortunately, Pledge Society doesn’t do anything to mitigate Patreon’s awful sorting algorithms, which don’t take into account the different revenue models built into their own site, and makes the rankings that it comes up with pretty useless if what you want is an actual list of “who ranks higher than whom”.

What do I mean by this? Well, the ranking system used by Patreon (and thus Pledge Society) doesn’t differentiate between Patreon’s structured around revenue generated per unit content and Patreon’s structured around revenue generated per month. So to use my own blog as an example, I average between 3-5 paid posts per month, with a nominal pledge level of $170/post (which doesn’t incorporate the diminishing returns effect of monthly pledge caps, but that’s a different can of worms entirely). Logically, my blog outperforms Patreons which only bring in $170 at the end of the month, and yet that’s where it appears in the rankings.

However, in this case, that mix of high and medium-level campaigns in the top rankings actually wound up more useful in capturing a representative sample for two reasons: First, the very top of the top of the leaderboards are even more homogenous than the lower-high-end and the middle of the pack, which still aren’t terribly diverse anyway. Second, despite the different sorting methods, both Graphtreon and Pledge Society are getting their data from Patreon, which does not include gender of creator in its rankings or campaign summaries. So in order to put together the data for this post, I had to go to each individual Patreon page to attempt to determine the gender of the creator(s), which was a stupid amount of extra, incredibly tedious work.

About three quarters of the time, this was all that was needed. Hooray! However, the rest of the time I wound up needing to go to a YouTube channel, or a Twitter account, or a Facebook page, etc. Given how irritating all of that was, I lost patience early on and decided I was only going to do the “top” 200 games Patreons as ranked by Pledge Society, since the inaccurate sorting method meant that I’d get a random sampling of middle-level Patreons sprinkled in. Because NO EFFING WAY am I going to look at 2485 INDIVIDUAL PATREONS. Nope nope nope.


In gathering data, I looked at two things: 1) what a Patreon was producing and 2) the gender composition of its creators[2] – which I recorded as either “male creator(s)”, “female creator(s)”, “mixed-gender group”, and “unknown gender”. You’ll note that there’s no differentiation between solo creators and homogeneously gendered groups of creators. Unfortunately, this is something I regret, however I didn’t think to record solo versus group until I was around #175 or so, at which point I wasn’t about to go repeat almost all of my work.

As for what a Patreon is producing, the categories that I recorded were: games (video games, tabletop games, game settings and resources, game mods, etc), videos (let’s plays, streams, vlogs), podcasts, comics, and other (multimedia, art, reviews, blogs, criticism, etc).

It’s important for me to note that there was one category of campaign that I trashed from my results entirely, despite being the third largest category overall: porn. It may sound naive, but I honestly was surprised that porn is even allowed on Patreon, and I was even more surprised by how much porn there is and how much support it’s receiving. But it’s there, and there is a lot of it, and wow is it making a lot of money.

Out of the 200 Patreons that I looked at, a whopping 54 are for campaigns producing porn. The largest portion seems to be for campaigns making porn games and interactive novels. However, there were also things like porn comics featuring notable video game characters, porn videos using custom renders of video game characters, and even an online platform for virtual furry sex rendered in… uh… quite graphic detail.

These sorts of Patreons were not only nearly 100% male-created, but it also seemed that the issues present had much more to do with the subculture of porn content production than the subculture of games content production, for all that the content being created uses the medium and visual language of games. As such, these sorts of campaigns were not included, although an analysis of these Patreons would be interesting on its own (even if I’m not likely to ever write it myself.)

The Results

Out of the 200 Patreons that I looked at, here’s how they broke down by category:


Patreons producing video content through YouTube are outproducing Patreons producing actual games by 4%, which was a bit of a surprise. Although reflected in those numbers is an increasing trend of content that would have been delivered as podcasts now being delivered as vlogs or video series – as indicated by the fact that podcasts are making up a measly 3% of the Patreons surveyed. I suspect had Patreon been available five years ago, the proportions of vlogs and YouTube Channels being funded would have been far lower, and podcasts would have been much higher; certainly five years ago[3] it seemed like there were an awful lot of gaming podcasts out there (many of which are now defunct).

Unfortunately, when you start looking at the breakdown of gender of creators overall (again, this is not including porn), the results are depressing but not really all that surprising.


Female-only creator(s) make up only thirteen percent of non-porn Games Patreons! That’s squarely in “just barely better than the MOMA” territory, which is pretty goddamn sad. And creator teams that simply include even just one woman still only bump the total up to 24%! Yikes! Now, yes, it is true that creators of unknown gender account for 10%. However, even if you say that every single one of that 10% of creators is actually a woman (statistically unlikely), that still leaves two thirds of the non-porn Patreons that were examined with no female contributors whatsoever, which is pretty sad.

Things get sliiiightly less bleak when you look at the breakdown of non-porn Patreons that are producing games, although I still wouldn’t start dancing in the streets:


Just under half of Patreons surveyed that are making non-porn games have zero female contributors while fewer than one-fifth of Patreons for non-porn games are controlled exclusively by women. Including mixed-gender teams gets the distribution much closer to half, but again these numbers are belied by the fact that in mixed-gender teams of creators with more than two people, the women were always outnumbered, usually rather significantly. (Again, something I’m kicking myself for not recording actual numbers on.)

But wait, it gets worse. The most popular content type provided by the Patreons I surveyed is also the second-most male dominated!


SEVENTY SIX percent of Patreons creating video content have zero female contributors, while only a fifth have any female contributors at all! Unfortunately, it seems that as Let’s Plays continue to expand in popularity as an entertainment trend, the people actually getting paid to produce that sort of content are… pretty well all male.

But even seventy six percent is still better than zero, which is how many Patreons producing podcasts featured any female contributors:


Yup. That’s a thing that happened.

As for comics, they look downright egalitarian by comparison.


Hooray! Fifty percent of Patreons for comics feature content by women! Except, the sample size is pretty absurdly tiny, so I’m pretty sure all I did for this one was make a pretty chart. Oh well.

Lastly, the “other” category, which encompasses art, conventions and events, reviews, criticism, etc. This is the hardest to gauge, because it has the highest proportion of unknown gender creators:


Is it good that people producing content that is hard to categorize are less likely to be male? Or is it that people producing this sort of content feel more compelled to obscured? I’m honestly not sure what to think.

Whichever way you look at it, though, it’s impossible to deny that the gender imbalance on Patreon in its games-related content is pretty staggering.

[1] It’s worth pointing out that the thesis of this post completely ignores the overwhelming whiteness of games-Patreons, which reflects the overwhelming whiteness of the games industry itself. However, while using names, bios, videos, and profile pictures to make judgements about gender presentation is itself (at the very least!) venturing into problematic territory, it is impossible to use these same methods to determine anything useful about a creator’s racial or ethnic identity. As such, I figured it was best to not even try.

[2] I know that my data falls into the gender binary trap, which is problematic and can be erasing of trans and nonbinary gender identities. And I acknowledge that that sucks! However, I feel strongly that looking at the gender imbalance of crowdfunding platforms like Patreon is important, so this is where I simply acknowledge that “hey, this thing I’m doing is still a bit problematic but I didn’t know how to solve that problem”.


Data Analysis of Trolls and Sea Lions in 2015 [CW][TW]

For about the last month, I’ve been dealing with an increase in trolling. It seems that writing a 3-part series that examines data sets in detail to analyze sexist trends in representation in D&D 5E isn’t nearly as controversial as writing posts in which I talk about simply having feelings about a game. Because my post about my personal reactions to opening packs of the latest Magic: The Gathering expansion attracted a whole lot of assholes – not just here in the comments, but in other parts of my social media. Frex:


Those are all comments from ONE POST on Google+. (As someone else pointed out in that thread, it’s like I put out jackass fly paper or something.)

It’s gotten to the point where the last week or so, I’ve been leaving notifications on on my phone while I’m socializing with friends (something I usually make a point of not doing) simply so that I can keep an eye on comments on my blog, in case something particularly odious gets posted that I’d really rather not leave up for any length of time. Which, of course, presents a bit of a dilemma. If this sort of nonsense is getting to be more common, shouldn’t I just lock down comments completely?

The problem with that is that my patrons and other long-time readers are pretty damn smart, and often contribute quite a lot in the comments sections of my posts. Case-in-point, the comments on my recent semi-tongue-in-cheek post about games I don’t plan on letting my daughter play are actually full of some really great recommendations of fun and progressive games. One other notable example is my post from last year about Lightning Returns and its bonkers wholesale cultural appropriation of Western religious iconography. While I stand by the content of my post, the commenters added a lot of context that I hadn’t been aware of regarding the historical oppression of Christians in Japanese society.

Closing down comments entirely would mean that I would be cutting off actual intelligent and enlightening contributions by supportive readers, and I’m not quite ready to do that. However, while I’ve gotten pretty damn jaded when it comes to people calling me a crazy fat lesbian, there have been quite a few commenters that have started dragging my daughter into their attacks on me since my recent post, and that is… a lot harder to deal with.

To quote myself from Twitter:

I’ve been awake for half an hour, and I’ve already had to remove three comments from my blog that weren’t there when I went to bed. All because I wrote a post, which included GAMES I LOVE, about how I’m worried about sexism in games re: my 3yo daughter. And honestly, I’m so used to people talking smack about ME that it doesn’t even matter. Fat? Uh huh. Jealous? Sure. Lesbian? Whatevs. Man-hater? Obvs. Misandrist? You know it. Seriously, that shit just doesn’t even bother me 99% of the time anymore

But when they start dragging my DAUGHTER into it? That shit really fucking sucks. “it’s a good thing she doesn’t spend much time with you” “you’re raising her to be a dysfunctional lesbian” “you’re a bad parent”. They say all of this because I had the nerve to say even HALF-seriously that there are some games I might not let my daughter play. But for all that their objections are framed around her, they don’t actually CARE about my daughter, her feelings, or her upbringing.

It’s an entirely new level of sexist bro entitlement. They don’t just feel entitled to games that cater to ONLY THEIR INTERESTS… They feel ENTITLED to having MY DAUGHTER playing the same games that they want to play, like several years from now. Because fuck her feelings and her development as a healthy woman in a toxic patriarchal society. That bitch better like their favorite games. And honestly, I don’t know how I can find any of this shit surprising anymore. I really don’t. But I do.

So, you know, thank you, you entitled shitstains, for proving my damn premise about why sexism in games is so fucking toxic.

One of the things that I have done in an effort to make dealing with this sort of nonsense a bit easier is to write a FAQ covering all of the most common shit that gets hurled at me, so that I would have something to point at when removing comments instead of having to type out the same justifications over and over (and over and over…).

In the post which rolled out the new FAQ, I vented some of my frustration over the increased nonsense level around here by saying:

I don’t feel bad in the slightest about summarily trashing comments that insult myself or others, and I’ve grown to quite enjoy replacing derailing comments with sarcastic memes. Because again, see #3 – this is MY house where I make the rules.

But of course, there are certain types of people (men) who think it is LITERALLY JUST THE WORST that I don’t run an open forum for them to insult, abuse, and generally dispute everything I’m saying here. And those people get really. Fucking. Tiresome.

But of course I got questioned on it. Because despite that this is a feminist blog in which I write about sexism in a perceived-as-male-dominated-geeky-subculture, somehow me complaining that it’s always men who have a problem with me removing their comments from my blog is somehow suspect because… uh… reasons?


At the time my response was terse and to the point, since I felt that was about all the attention that particular question deserved.

However, since then, the continued activity of trolls and sea lions got me thinking. As 2015 winds to a close, wouldn’t it be an interesting exercise to set about doing a data analysis of the comments that I’ve gotten to date in 2015? So that’s what I set about doing.

Data analyzing troll and sea lion comments

This has probably been the least fun post that I’ve written in a while. Gathering numbers to do one of my data analysis posts is always an exercise in tedium. Worse, it required going through 11 months of comments, including the ones that were so horrible that I simply deleted them from my blog without even meme-ing them.

I’ve left email comment notification on for the purpose of archiving all comments in their original state, so the process of reviewing them was actually simple, if rather unpleasant. Because breaking down the comments enough to categorize them and analyze the underlying trends required… actually reading them. In detail. Something which I do my best to avoid. And it also required digging up a lot of hurtful stuff that I’d honestly forgotten about from earlier in the year.

Originally I’d conceived of this post as something I’d be able to knock out in a day as a quickie “fuck you” to the trolls that have been plaguing me lately. However, I didn’t count on the fact that it is hard and upsetting purposefully immersing yourself in the words of people who want to make you feel like crap about yourself. What I thought would be a relatively easy task for one day has turned out to be a grueling and exhausting task that’s taken all of today, and parts of yesterday and the day before, and has left me feeling pretty emotionally raw.

Still. It’s done, and the analysis proves pretty clearly that my hypothesis was pretty near correct. You can read the entire summary here, with fancy interactive charts and everything, on Though I’ll ask that you please exercise caution, since it might prove triggering for anyone who has experienced online harassment, gender-based or otherwise.

This is how it starts, and it gets “better” from there.

I’ll note that I know some readers have issue with accessibility re: color blindness with some of the charts that I use here. That’s mainly why I used to put this together – mousing over any particular data point highlights the data segment in question. This is especially useful in the couple of charts that have A LOT of different colors, if differentiating colors is something that is difficult for you.

Of course, I don’t believe that this sort of analysis is actually going to solve anything, because the sorts of people who troll and sea lion my blog aren’t the sorts of people to be swayed by actual facts. Besides, the fact that I’m making this a patron-supported post is pretty likely to draw at least a few trolls out of the woodwork, given that I’m literally being a “professional victim” by doing so. But I haven’t let the asshats and the haters stop me from doing what I do yet, and I’ll be damned if I’ll start now.

D&D 5E Core Books: Smurfettes and Sexy Corpses

Well folks, I lied when I said that I was going to focus exclusively on specific pieces of art in today’s post, because there is one very important meta-trend that I forgot. So, since I’ve already sunk more than 3800 words into this series already, let’s just jump straight to business.

Art Trend #3: Smurfette Syndrome

In the first post in this series, I talked about representation of women in group shots and how on the face of it the core books tended to do better  remembering to represent women in those than in the single-character shots – in which women were greatly underrepresented. However, the difference in representation between group shots and single-character illustrations is greatly exaggerated by the way that I counted, because I wasn’t actually looking at gender balance of figures within a group shot. I was just counting if a group shot contained women.

And depressingly, there were a significant number of group images that only contained ONE female character:


The first image might be a little unfair, given that there are two prominently placed female hero characters getting into a serious brawl in the foreground. However, if you take a look at the rest of the figures in the bar, ALL of the patrons shown in the background are men and the only other woman is a goddamn barmaid. The far right image, however, is more typical of what I’m talking about. On the face of it, I like the design of the female thief – she’s an interesting-looking WoC who looks like she’s a pretty capable lady. However, when you look at the image as a whole, the other characters all have discernable character traits – like “bruiser” or “mastermind”, whereas the female thief’s only discernable character trait is “woman”, which just exemplifies the problem with the Smurfette approach to group shot composition. Men can be anything you can imagine while women can be pretty.

The most ridiculous example, however, is the middle image which depicts a battlefield teeming with heroes and monsters, and only contains ONE figure that is discenably female. Because apparently it is easier to conceive of a titanic battle against ogres and skeletons and other monsters than it is to imagine a world where more than one woman might be found on a battlefield.

And it’s sad, because in some regards D&D has made great strides; when it comes to illustrations that are meant to depict a party of adventurers (ie player avatars), it’s clear that a lot of thought and care is being taken to balance gender and other factors. But that same level of care obviously isn’t being applied to the world itself, and the end result is a world creepily devoid of women. (Seriously. Where are they??)

Specific Things That Are Messed Up #1: Conditions

There are lots of specific illustrations that I could rant about, but instead I’m just going to hit the lowlights, as it were. Going from least to most fucked up, we’ll start with the illustrations done for conditions, found in the PHB:


This is some of the worst “heroes are always men” bullshit that I have seen in a fucking long time. Sure it includes women, but take a look at what roles they occupy. You have a princess, a witch who is obviously not a PC, and a woman who is too scared of a monster to fight. Way to implicitly tell women that they can’t hack it as adventurers, WotC.

…please excuse me while I go punch the world in the face.

Specific Messed Up Thing #2: Vampire and Vampire Spawn

Perhaps my least favorite pair of illustrations in the Monster Manual are the illustrations for Vampire and Vampire Spawn respectively:


To be honest, when I sat down to try to explain just why this made me so angry, all I could muster was the urge to furiously bang my keyboard.

Thankfully, aggressively curating my circles means that I have some wonderfully intelligent friends on G+, and they were more than happy to point out a whole host of reasons why this was pretty fucked up. (Paraphrasing their words here):

  • The man is depicted as an aspirational monster – a monster a PC might want to become, while the woman is crazy and clearly can’t be reasoned with – the sort of monster you don’t want to become
  • The man is depicted as reasoned and intelligent while the woman is shown as bestial and insane (bitches be crazy, amirite?)
  • “He’s talking to you, she’s stalking towards you. Also note the exaggerated hip/shoulder twist, is she doing a runway strut?”
  • The man is a person. The woman is not.
  • They reinforce social power dynamics; the man is a human-looking noble, the woman is a ragged, filthy-looking peasant
  • The woman is “spawn”, and is depicted as clearly inferior to the “original”
  • Given that the “spawn” is unreasoning and feral, the woman is clearly subject to the control of the master
  • Which makes it pretty fucking gross how sexualized the woman is; if she is feral and unreasoning and subject to the whims of her “master”, the degree of sexualization also implies some pretty rapey stuff about how her “master” could use her for sex
  • Especially because when you think about the process for becoming a vampire spawn in the first place, obvious rape metaphor is obvious
  • And there’s definitely a subtext that this is what happens to women who have sex, because she couldn’t resist his sexual advances and now she is damaged goods

(Many thanks to Laura Hamilton, Paul Czege, Joanna Piancastelli, Andrew Medeiros, Mikael Andersson, Arlene Medder, Sean Nittner, Brianna Sheldon, Brand Robins, Steve Dempsey, John Stavropoulos, Josh T Jordan, and Chris Chinn for helping me out on this one.)

Specific Messed Up Thing #3: Women as nurses and sexy corpses

The set of images that most raised my ire were these images from the DMG. These are the only three images in the core books that deal with the aftermath of battle from a PC perspective (there are several of a party of PCs surveying the damage after they have obviously murdilated a bunch of dudes and/or monsters):




Looking at the image on the far left, you have a woman being cradled in the arms of a man. She’s suffered a gut wound, and there don’t seem to be any clerics or other sources of divine healing nearby, which reads to me as though she’s dying. I’ll admit that I do appreciate the way that he’s comforting her – there’s some real tenderness there which isn’t something that you often see in fantasy artwork of this nature. But given how the woman’s arms are raised and she’s clearly about to deliver some Touching Last Words That Will Imbue The Hero With Tragic Purpose To Achieve The Plot Point And Avenge The Woman He Couldn’t Save, it still leaves a bad fucking taste in my mouth.

But AT LEAST as awful as the subtext in the first image is, the woman isn’t being depicted as a SEXY CORPSE, like in the middle illustration. Yes she’s about to have (presumably) a scroll of resurrection recited over her, so she’ll get to not be dead, but look at how she’s twisted around to emphasize the sexy bits, especially that ridiculous fucking boobplate. (Which isn’t as bad as the boobplate in my previous post, but is still pretty fucking bad.) And of course, the cherry on the shit sundae is how she died by getting STABBED IN THE BOOBS.

Which. Seriously. What? NO.

First, the wound depicted would require her to have been stabbed through the sternum, which is one of the hardest points to penetrate on the human body – and with good reason. Your sternum protects some pretty important shit. Second, in order to penetrate BOTH her armor AND sternum with sufficient force to cause lethal damage, there would have to be a much bigger hole in her armor than that tiny-ass hole. I understand wanting to depict sanitized violence, but come on. It’s obvious that the artist just wanted to draw a dead lady who was dead from getting stabbed in the tits because tits.

So it isn’t so much the last image that I am angry about as the contrast between the last image and the first two. Those are some pretty fucking serious wounds that our male warrior friend is getting seen to; the chest wound especially could have been potentially very serious depending on the amount of blood lost. But don’t worry, ladies! He’ll live to fight another day. That is, after he grits his teeth and gets to be all stoic and stuff, and maybe talk a little about how being a hero is a hard job and somebody has to do it and he’d rather it be him than some kid who’s totally unprepared. And then maybe he’ll stare broodingly into the middle distance for a long while before banging that hot elf nurse chick.

I wanted this to be better

The depressing thing about writing this series of posts is that I wound up having so much material to work with. Hell, I have things in my notes that I may come back to and write about later, because it turns out there’s a surprising amount of messed up material enshrined in Forgotten Realms canon that doesn’t come across from just flipping through the books and looking at pictures. But I’d rather not beat a dead horse, so if it’s something I write about I will have to come back to it later.

And that’s not a great feeling, because frankly D&D 5E is still so much better than an awful lot of games out there! Because for all that I can point at specific pieces of art and rant about why they are messed up, at least doing better at depicting women is a priority for the D&D team and they are working on getting better at it. Which is, sadly, more than can be said for a pretty fucking huge portion of the industry.

So as much as I’ve gone on at length about things that D&D has gotten wrong, I feel it’s important to close by noting that they are moving things in the right direction and I hope that they continue to do so.