SJWs and Mega-Women Warriors

So Gameranx tweeted today about yet another feminism-related gaming Kickstarter debacle, this one concerning Mighty No. 9, a reboot of the apparently beloved Mega Man series. Interestingly, Ian Miles Cheong’s piece begins with the phrase “Be respectful and considerate,” because, apparently, commenters on the Kickstarter have been anything but.

Cheong presents the “issue” as the consequence of a posted piece of fan art made by a new community manager named Dina which depicts Mega Man as a female character. Said character – as we can see – is not wearing ludicrous armor, is carrying a large wrench, and has tastefully applied eyeliner and lipgloss with wispy red waves. (Note: she is not wearing a bow.) This is clearly a piece of fan art, a genre that depicts fan preferences rather than (necessarily) original content from the work in question. Quite a bit of fan art alters the original work – for instance, a representation of the Mass Effect crew in Dragon Age gear (with Joker riding a dragon). Not in the original.

No one gets horribly bent out of shape when fan art alters the setting, time period, or even species of many characters (MLP Doctor Who, anyone?). But apparently swapping up genders of videogame characters is an act that is beyond even the fan art pale. One fan, as Cheong notes, complains that “it’s Mega Man, not Mega Woman!” as though the existence of fan art would cause us all to forget.

However, the comments themselves, while beyond irritating, are not where this story goes into horribly wrong places. Cheong reports the following:

Finding fault with her presentation, these persons decided to pry into Dina’s personal life by combing through her Twitter account for other transgressions against the human race, and found that she had written tweets supportive of feminism and linked to one of Anita Sarkeesian’s videos. In a similar case, her being initially hired as a community manager and artist became tantamount to BioWare’s employment of Jennifer Hepler as a writer for the Dragon Age games—sometimes dubbed as the “cancer that is killing BioWare” by particularly well informed readers.

These vocal individuals went so far as to produce a video “calling out” Dina’s past with “dirt” on her—because sympathising with the feminist cause is indeed enough to demonize someone according to these people. The vocal, well informed fans have since been calling for her resignation from the developer. At this point, these individuals have flooded the game’s development forums, and are trying to hold the game hostage by asking for refunds.

One user, a Mr. Nicholas Day, wrote: “This is a bad idea guys. I don’t want any anita sarkeesian feminism all up in my megaman reboot. I don’t want a sjw [social justice warrior] monitoring the forum, deciding who has good opinions and who has bad ones.”

In essence, the response to women speaking out in the industry – whether as critics, fans, or employees – is apparently grounds for their termination by the Men’s Rights powers-that-be. It is unconscionable that women should voice their opinions about games – like Carolyn Petit’s review of GTAV or a more recent review of CoD:Ghosts by Patricia Hernandez on Kotaku that has garnered hysterics by commenters.

Those of you who read this blog or TLF regularly know that I’m not Anita Sarkeesian’s biggest fan in terms of agreeing with what she says, but you also know that I will, to quote an oft-misattributed quote, “fight to the death for [her] right to say it.” (Note: that quote is usually attributed to Voltaire but in fact comes from his biographer, Evelyn Beatrice Hall, a woman.) And while I also believe that the commenters have the right to dislike Dina’s female Mega Man, they do not have the right to demand either its removal or hers.

I think that, ultimately, this sort of behavior is symptomatic not of internet or gaming culture, but an increasing insistence across the US (and perhaps elsewhere) that we have the right to not see anything that disagrees with us, and, if we do, that we have the right to demand its removal. Increasingly I see people insist that they have the right not just to publish or produce offensive material, but that they also have the right to be free from criticism when they do. Both of these are anathema to the concept of free speech; free speech means that someone can post something controversial, but it also means that others have the right to criticize it.

But this leads me to one more place, the place where Cheong starts his article: “Be respectful and considerate.” As human beings, people have the right to not be brutally attacked, online or off, for expressing their opinions. People do not have the right to abuse one another, online or off, for being or believing different than the status quo. Commenters should have the right to state their disapproval of Dina’s art, but they do not have the right to attack her, demand her firing, or be rude and cruel about their disapproval (especially because Kickstarter is not a public forum – it has regulations and rules which participants have to follow).

In short, as a culture we have become both too sensitive and not sensitive enough; we demand that everything we see and hear conform to our beliefs and opinions, and yet we express our own views with absolutely no respect or consideration for the feelings or situations of others. It seems to me that this is one of our severest failings as a society; we have lost the ability – or inclination – to respect others while disagreeing with them.

TLF: Shadow Game

My review of Compulsion’s new game Contrast is up over at TLF!

Short version – worth playing, even if it is a bit short. Available on PSN, XBL Arcade, and Steam (probably most worth buying on Steam, honestly, but if you’re an achievement-monger go ahead and get it for XBox, but only 360).

Contrast not only has cool mechanics – you can be a person or a shadow! – but is a rare example of a game that features not one, but two! female protagonists who aren’t damseled in any way, shape, or form. In fact, they’re the absolute antithesis of damsels, which is pretty rare, and pretty darn cool.

“Characters who look cool…”

So today Gamers Against Bigotry posted on their Facebook page about an interview on Rock, Paper, Shotgun with Blizzard developer Dustin Browder about the new Heroes of the Storm. Much of the interview is pretty straightforward, until Nathan Grayson (of RPS) asks the following question:

RPS: You have some interesting alternate outfits for heroes. Roller Derby Nova, especially, caught my eye. On its own, that’s totally fine – just a silly, goofy thing. A one-off. But it got me thinking about how often MOBAs tend to hyper-sexualize female characters to a generally preposterous degree – that is to say, make it the norm, not a one-off at all – and StarCraft’s own, um, interesting focus choices as of late. How are you planning to approach all of that in Heroes? 

The question is fairly clear – how are you, as a developer, going to respond to the current demands of some of your target demographic to less hyper-sexualized female models? In essence, the question is, “are you going to continue doing what you’ve done, or are you going to accept that feminism has a point?” The answer is not terribly heartening:

Browder: Well, I mean, some of these characters, I would argue, are already hyper-sexualized in a sense. I mean, Kerrigan is wearing heels, right? We’re not sending a message to anybody. We’re just making characters who look cool. Our sensibilities are more comic book than anything else. That’s sort of where we’re at. But I’ll take the feedback. I think it’s very fair feedback.

Yes, Kerrigan (Starcraft) wearing heels is definitely the problem here. Because hyper-sexualization is putting women in silly shoes. I’m not a fan of silly shoes, either, but this woman is not being hyper-sexualized by heels.

Now at least she’s… sort of wearing something covering most of her body. Okay, so it appears to be an exoskeleton that isn’t exactly detachable from her body, but she’s not the scantily clad Dark Elf from Warcraft, either. These images, Browder says, aren’t “sending a message to anybody. We’re just making characters who look cool.”

Browder may not realize that his team is “sending a message,” but when images like this become normalized – whether in gaming or, as he suggests, in comics – they in fact do send a very clear message, one that has been picked up on by gamers, non-gamers, and developers around the world (Do I need to reiterate how horrific Warface‘s female soldiers are?). There are plenty of ways to make characters “look cool” without all-but-exposing their breasts and giving them waspish waists that perpetuate an unrealistic image of female beauty.

In his defense, Browder also says that the backlash against such hyper-sexualized characters is “very fair feedback,” but it is said as almost an afterthought to the defensive insistence that the creation of such characters is based on “comic book sensibilities.” While this may be true, it deflects responsibility for a more egalitarian aesthetic on a medium that originated in the 1940s and 1950s (not a time of glowing gender equality) and is itself known for horrifically sexualized portrayals of women (and men, but, as this spoof indicates, to a much lesser degree).

So what do the Heroes of the Storm characters look like? Well, they appear not to have sexualized the Panda.

There are, of course, other heroes – including Kerrigan and Diablo – in the game, some of whom are sexualized (the women) and some of whom are not (the not-women – in which I include pandas, irrespective of gender). And that’s really the issue. Is it okay to have some characters sexualized and some not? Yes, of course. But when all of your sexualized characters are female (and humanoid female, specifically), and all (or almost all) your female characters are hyper-sexualized, that should be an indicator of gender inequity that needs much closer examination.

Will Heroes of the Storm change its models? I really rather doubt it. But I do think that it’s time to stop considering scantily-clad characters the epitome of “cool” in gaming, and to use the same standards of “cool” for both genders – armor, weapons, clothing details, rather than lack of clothing. Because, really, as long as we continue to encourage the hyper-sexualization of women in our media, whether games or tv or movies or music performance, we won’t be able to get away from the attitude that women are sexual objects designed and purposed for male pleasure – in other words, rape culture. So instead of excusing sexist designs as “cool” or a product of our preexisting “sensibilities,” let’s create some new ones.

Gaming Criticism and Ms. Men

Yesterday, Anita Sarkeesian’s most recent video in the Tropes vs. Women in Video Games series came out on the “Ms. Male Trope.” As is likely predictable by this point, the internet, in all its trollish glory, reacted with its usual backlash, including, but not limited to, death and rape threats, complaints of censorship, and howling about how feminists are going to ruin videogames.

Today, I submitted my reaction to The Learned Fangirl, so I’m not going to rehash it here. Suffice it to say that I think – as I have consistently thought – that there are good things and bad things about the video, but that for the most part, she has a point. I do think that this time she missed the most important part about this trope in an effort to take on BioWare’s Mass Effect series, which may have been a poor choice on her part for a variety of reasons (some of which my post at TLF goes into).

But that’s not actually the point of this post. Yesterday, a petition went up at Care2 concerning Sarkeesian’s series. My initial reaction – as I’m sure anyone familiar with the gaming community could probably guess – was a heavy sigh of “Aren’t we done with this yet?” But the petition isn’t quite what I expected. First of all, it’s articulate, and expresses concerns with the nature of internet debate that I think are eminently valid… even if I remain unconvinced of the overall conspiratorial tenor of this particular petition.

For the record, I do not think that Sarkeesian has “effectively silenced any genuine criticism of her often erroneous and intentionally misleading point of view by portraying all of her critics as a ‘cyber mob’ of misogynist internet harassers,” since 1) I criticize her work every time she puts out a video and have yet to be called either a misogynist or a cyber-harasser, and 2) I know someone who invited her to speak on a campus who had to deal with very real threats of physical harm against her. I think that there is a very vocal contingent of the gaming community who lack a certain level of basic human decency but who also don’t realize that what they say and do online can have very tangible emotional consequences – they believe that their “harassment” is funny and harmless, not that it causes psychological trauma. I don’t believe that most of the people who threaten Sarkeesian will ever do anything to her – but I also believe that their threats are a valid cause of upset for Sarkeesian, who is fully within her rights to protect herself and expose online harassment.

I don’t think that she automatically dismisses “any legitimate criticism of factual inaccuracies in her statements, differences of opinion, or any other disagreeing response as part of a ‘misogynist hate campaign,’” rather, that her dismissal of criticism becomes overwhelmed by the tide of hate-filled misogyny she genuinely receives. Does that mean she doesn’t address all the valid points made about her work? Of course! As a functional internet celebrity, it would not physically be possible for her to do so. Should she attempt to address at least some of the reasonable critiques? It’s her choice whether she does or not, and petitioning her to do so is, quite frankly, childish and silly.

But here’s the one point that I think may actually have some validity: “both gaming and mainstream media outlets have extolled Ms. Sarkeesian’s viewpoint uncritically, we feel that it is time to demand that our voices be heard.” While I myself have been critical of what Sarkeesian has had to say, I am not a major media outlet and people do not flock to my blog (or even to TLF, more’s the pity) to read my opinions on games. I was surprised, however, when Wired featured her because, although she is doing critical work on gaming, she isn’t a part of the industry, either in games journalism, games criticism, or game development. Like the petitioner, I find it a little disturbing if, in fact, Sarkeesian was “likened Anita Sarkeesian to Rosa Parks, Martin Luther King and Harvey Milk” by PBS, because – again – while she is engaging in a much-needed critical discussion, she isn’t facing anything like the level of hatred, bigotry, or violence that was faced by Parks, King, and Milk.

Sarkeesian has become something of a feminist darling (something I’m sure she would hate to read written about her… sorry) because, in part, she is young, female, and fairly attractive. She’s also articulate and knows how to put together a video that is straightforward and clear. What she isn’t is in the industry – yet. Maybe this series will springboard her into a career in games journalism or games criticism (she’s a pop culture critic, which is a lovely thing to be, but is much more general than a games critic because it encompasses tv, books, and movies, too, and typically engages them on a more surface level because it talks about so many things rather than in-depth in one thing).

Now I do have a problem with the impression that has been created around Sarkeesian that she is neigh-on-untouchable because she is standing up against gaming misogyny, either because she has been sanctified by taking on this impossible battle and/or because of the fear that maligning her will place a media outlet or journalist into the undesirable category of “misogynistic troll.”

But this isn’t a problem exclusive to Sarkeesian, nor is it worthy of a petition (although there are a good deal of things unworthy of petitions that end up with online petition sites… I remember a similar impulse among my third and fourth grade classes with notebook paper). In essence, the problem is that journalists, websites, Sarkeesian herself, and people in general have the inability to evaluate anything by degrees: we want things to be either good or bad, and attempt to shove anything into either the square or round hole, whether it is square, round, triangular, or rhomboid.

What we need to do, in games criticism, games journalism, and life in general, is recognize that all things are grey, composed of good and bad elements, and worthy of both praise and criticism (although not dolled out in equal measure). We should be able to criticize Sarkeesian, but we (and she) should also be able to criticize games for whatever we see fit, provided we do so with decorum and reason. And that’s really the problem here. We’ve abandoned logic for emotional impulse, gradation for extremity, and no conversation can be reasonably carried on about anything if every game either feminist or misogynist, every comment an attack or a defense, every participant a princess or a troll.

Leadership in Games, or Why I’m not Insane for Studying This

So today I was pointed in the direction of this article about leadership by Brendan Sinclair at Games Industry International, focused on Dr. Ray Muzyka (one of the co-founders of BioWare, the makers of Mass Effect and Dragon Age). Sinclair’s piece examines Muzyka’s theory of leadership, namely, that “The unfortunate truth is it’s easier to be a half-assed or outright bad leader.”

While I know very little about Muzyka’s style as the leader of BioWare (a position which he has since left), what I do know is that both the Mass Effect and Dragon Age series are obsessed with questions of leadership, both good and bad, and work very hard to train their players on making the proverbial tough choices that leaders have to make. One of the best things about both series, in my not-very-humble opinion, is that both games ask their players to become leaders within the virtual gamespaces of the Milky Way galaxy and Thedas (respectively), forcing them to consider issues of ethics, of compromise, of loyalty, and of – to paraphrase one of the characters from Mass Effect – ruthless calculus.

Muzyka suggests that leadership is more important now than it ever has been – which is a phrase that has appeared in the literature (philosophic, fictional, and nonfictional alike) of every culture capable of writing. While I don’t subscribe to the “now more than ever” mentality, I do think that leadership is always important to social, political, and even scientific progress, and that it serves as the core reason for the success or failure of a work of art, an individual, or a civilization.

Muzyka suggests that the primary challenge in the twenty-first century is distraction:

There are a plethora of gadgets that enable people now, but technology can be overwhelming, and even paralyzing. It doesn’t replace good leadership or focus, Muzyka said. Good leaders need to cut through the noise and provide a clear path forward for their team. That starts by providing clear and consistent core values. It’s not just about what you consider important; it’s about what you don’t consider important.

Although Muzyka focuses more on the leadership capabilities of an industry developer than he does on the overwhelming presence of leadership in the company’s games, it’s clear that the development team as a whole has a good idea of what leadership is and what it should be, given their depiction of it through both narrative and mechanics in their games.

Digital Longevity

Since today I was handed an article entitled saving games and then saw this article from IGN’s Mitch Dyer arguing that games can’t last, it seems that the universe is pushing me to address the seeming “issue” of videogame impermanence. Dyer says that his kids “will never know what Gears of War: Judgment is. They will never wonder what Killzone: Shadow Fall was like, they will never play The Legend of Zelda: A Link Between Worlds, and they will never ask me about Grand Theft Auto V.” And that may be true. It also may not.

As my students (in my Games, Game Theory, and Leadership Studies class) could tell him, some games do last the test of time. Pac-Man, for instance, has been re-released, ported, and updated on every available console, computer, and phone, despite being originally released for arcade-only play by Namco in 1979. That’s pretty good longevity. Pong (found on phones, calculators, and computers world-wide) was released by Atari in 1972.

Sure, that’s forty-some years which pale in comparison to Shakespeare’s 400-some, but we’ve also lost some of Shakespeare’s plays (Love’s Labours Won and Cardenio, at least), and who knows how much literature from Chaucer’s and the Pearl Poet’s respective eras. We’ve kept Agatha Christie, but there are dozens if not hundreds of murder mystery authors who have fallen by the proverbial wayside, unremembered, unpublished (any more), and unread. Musical instruments and genres move into and out of fashion, some lost, some preserved, some remaining popular despite the steady march of chronology.

My point is really that we aren’t yet in any historical position to make claims about the permanence or impermanence of games, particularly – as Dyer does – in comparison to a genre (literature) that has been around since humans learned to string together words to form a narrative. And we don’t have any of THOSE stories, either. The earliest examples of a genre don’t last – in that, Dyer may have a point. Few people watch the first-ever film (made by Edison, it’s horribly fuzzy but can in fact be found on YouTube), comparatively speaking, and fewer still watch many of the early examples not preserved in “collections.” There are hundreds of rolls of cellulite film that dissolve into nothingness every day, just as there are books that disintegrate into dust.

Videogames are still a young genre, one that was invented in the lifetimes of all adults over the age of forty-five. Forty-five years is not nearly long enough to make an assertion like the one Dyer makes. It’s also fundamentally flawed in its comparison. Literature has been an established genre for centuries, and its one that has shaped our culture into its present form. Film is growing into a similarly powerful presence. As will – I would suggest – videogames. Mario, Zelda, Pac-Man, and Space Invaders will one day be introduced as the forerunners of the Tale of Two Cities of videogames (which, I would think, hasn’t yet been made). World of Warcraft and Call of Duty will appear on syllabi as games that reshaped digital culture and birthed massive online communities, breaking down national and cultural barriers by integrating people from around the world into guilds and teams all focused on a common goal.

We aren’t yet at the place in videogaming creation where we have the capacity to create a game-Hamlet (although there are some games out there about Hamlet) that will endure into future generations. We’re still learning about our technological capacity, learning about how to integrate narrative and ludology, still experimenting with form and function in a society that is adapting to the pervasiveness of digital media into what was, not so long ago, an analog world.

Yes, the technology become obsolete, the graphics “crude” in two or five or ten years. Yes, our technological capacity increases almost exponentially from year to year, console generation to console generation. But that doesn’t mean that games can’t hold our attention or critical capacity far into the future. Dyer’s point – that even Vice City has become “after just a few years, a messy, clunky thing.” But compare the most recent film version of Hamlet to the set-less, hastily memorized disaster area that Shakespeare’s first production of it must have been.

Videogames are no more transient than plays, than films, than television series, than poetry, than music. They are simply different, with different challenges, different media, different limitations. Yes, some of them will disappear, brought to uselessness by the deterioration of technology, storage media, or disuse. The same is true of all genres of art and culture. But some of them will endure, not because of their graphics, but because they speak to us about our culture, our society, our hopes and our dreams, our fantasies and fears.

Our children may not play GTAV (personally, I hope they don’t), but they might play Journey or Mass Effect or Gone Home. They might play World of Warcraft or Skyrim or Red Dead Redemption or Bioshock. They might not. Maybe our games – our early twenty-first century games – are not the games that will last, but I would bet that some of them are. They will persist, just as Hamlet or The Tale of Two Cities persist. Just as Casablanca or Psycho persist. They will persists because they present us as a complex society capable of both great kindness and great cruelty, they ask the difficult questions, force us (as players) to make the difficult choices. They will last because they are an essential part of our new digital culture. In other words, art.

You say Potato… I say Misogynist.

Gamers Against Bigotry posted a link to Wired piece about female soldier skins (character art, basically) in the online game Warface that struck a chord with me about a recurring problem in videogame – and fantasy – depiction of women.

The piece seems, at first, to be about the developer’s use of different female skins in different localizations (regional adaptations) of the game. But, as Wired‘s Philippa Warr says of the issue, “you say ‘cultural relativism’, I say ‘inherently problematic’.” That’s because no matter which way you look at it, the skins are not even remotely realistic. For instance:

The male versions of both characters appear to be fairly “normal.” They’re wearing armor, carrying weapons, etc. I’m sure there’s something unrealistic about them, but I would believe that those people were appropriately attired for a combat zone. The female rifleman, however, has a shocking lack of sleeves, and her decolletage has got to be getting in the way of her aim.

And I haven’t even said anything about the female sniper. Warr says that she is “likely to get extreme nettle rash all over her bosom as she lies down to line up her shot,” and that’s being quite kind, all things considered. After all, why have a hood if you’re going to expose the brilliant whiteness of your heaving bosoms to the sky?

Now here’s the thing. Warr is talking to developer Joshua Howard about the localization of the game, and Howard has a lot of really interesting things to say about the conflict created in cross-regional competition by the fact that different areas – he mentions China and Russia – have different spec preferences for their weapons in terms of damage and kickback. And that is really interesting.

But the sniper’s cleavage is just too prominent for me to allow the piece to stay there. Howard tries – valiantly – to excuse the female models by arguing that they’re “better” than what the fans expected: the fans, he says, “were very comfortable with the fact we have these very realistic-looking men but they wanted the women to be not what we would think of as realistic at all. Up to and including running round in high heels which is just silly, right?” In short, Crytek is trying to respond to fan requests for the kinds of skins they want, and, Howard says, “They’re not what our players at first requested in the Russian region. They tended to be considerably more extreme that what we ended up shipping with.”

So Crytek tried to make these models more realistic. I don’t think I want to see what they started with, especially considering that sniper apparently also began by wearing high heels. But here’s the thing. Catering to a fanbase is all well and good – and is generally a good strategic marketing choice – but at what expense? Does anyone seriously believe that a more realistic female model is going to cause Warface‘s fans to stop playing the game? Because I don’t.

Any more than I think that putting some clothes on the sniper (what is it with female snipers, anyway?) in the new Metal Gear Solid V is going to make fewer people play that game. The Metal Gear series has had buxom female snipers before, but at least Sniper Wolf wore a body suit. Sheesh. (Kotaku has some theories about this.)

I think that if either Konami or Crytek wanted to include realistic models of women in their games, they would have just as many players as before. At least, I suppose, Crytek put a few more articles of clothing on their sniper than Konami.

Both companies could easily include female models that are attractive and reasonably clad, as in Tomb Raider or Bioshock Infinite or Gears of War. Instead, by pandering to the input of the fans who are asking for admittedly ludicrous models, Crytek is enabling the misogyny that’s already rampant in the industry by perpetuating an unrealistic image of women that is not only highly sexualized, but designed explicitly for the viewing pleasure of (straight) male gamers. And this last is really why I have a problem with it – because images of women in games should not be designed as sex objects; rather, they should be created as characters serving a purpose – as soldiers, medics, explorers – first and foremost, the exact same way their male counter-models are created.

And that’s really my point. We aren’t going to see equality in gender-representation in games until characters are created as characters, rather than as sex objects. I’ve heard the argument that female gamers won’t ever be happy with female characters unless they’re “ugly” or “fat” or “completely covered,” which is silly, and I’ve heard the argument that “if you want good female characters, then they have to be designed by women.” Sure, women could design good female characters, but to suggest that only women can design women is just as silly. All that needs to happen is that characters need to be designed as characters, as their purpose (soldier, healer, mage, adventurer) rather than as proverbial “eye-candy,” no matter what their gender.

TLF: Don’t Judge Too Harshly

My review of Gears of War: Judgment is up over at TLF!

I’m afraid that at this juncture in the semester, I’m lucky to have even that much to say about games and gaming, although I am learning quite a bit about using games in the classroom.

For instance: Trivial Pursuit does not make for a good classroom game. We learned from it that trivia games that are not specific to an audience are enormously frustrating for that audience.

On the “Concept of Being Masculine”

So today’s grand internet explosion related to gender and gaming has to do with a comment made by the lead developer of the Grand Theft Auto series Dan Houser at Rockstar games and printed in The Guardian, and picked up by Polygon:

Despite Rockstar’s sometimes secretive aura, Houser is very direct and has strong views on GTAV’s relationship with the movies (“We don’t need to hark back to film when technology allows us to produce our own response to real places”), on the lack of playable female characters (“The concept of being masculine was so key to this story”) and on game conferences like E3 and Gamescom, which he no longer attends (“You don’t play a videogame in a room with 20,000 people doing the same thing unless you’re a lunatic”).

The reason there aren’t playable female characters in GTA is that “The concept of being masculine was so key to this story” that having a playable female avatar seemed inappropriate. I am a staunch advocate for more playable female protagonists. I think a lot of games could be improved – and reach a broader fan base – by making gender one of several customizable options in character creation.

But I don’t care that GTA wants all their protagonists to be men. (And not just because I have no personal interest in playing it – I played Braid and I think that needed to be a male protagonist, too.) The reason I’m entirely unconcerned by Houser’s comment is because I think that telling a story about masculinity is the only reasonable explanation for having only male protagonists. Could they talk about masculinity from a female protagonist’s perspective? I’m sure they could, but that’s not the point. The point is that this is a story about masculinity, machismo, and its relationship to an urban environment replete with vice and crime. It’s a very particular story and it actually has a legitimate claim to a specifically-gendered protagonist.

Yes, you could have a woman or a gay man or a trans*person in the same setting, but then the story wouldn’t be about cis-masculinity. It would be a different story, and one probably worth telling, but that isn’t GTA‘s story, any more than the story of a young man coming of age is Tomb Raider‘s story.

So while I do think there should be more female protagonists in videogames, this isn’t another Call of Duty: Ghosts problem; where Activision proffered a lame excuse about ‘technology’ being the limiting factor for their lack of women in the COD series, GTA has an aesthetic, meaningful reason for their choice, and that, in my estimation, is actually a justification for the continued exclusion of female protagonists from the game.

This is not to say that I consider GTA to be a paragon of games. While its open-world layout has revolutionized the industry in many ways, I find its depiction of prostitutes and women in general to be rather heinous. I despise the fact that the player can beat women and is even praised for doing so. But in this – and possibly only this – case, I think they’ve given a justification for why their protagonists are and will remain (for the time being) men.