Girls, gaming, and gender: summit looks at closing gaming participation gap

Female scholars, game designers, new media artists and 50 teenage girls from around Chicago plan to connect and collaborate in August at an event focusing on interactive gaming and gender.

A summit organizer said the goal was to “have a safe space where girls can talk about their relationship with games and technology with a really powerful role model and then begin to prototype something that would be a game that they would want to play.”

The public program of the event, called3G Summit: The Future of Girls, Gaming and Gender, is set to begin with a discussion and presentations featuring female scholars, designers and artists working in interactive game production and theory.

Throughout the summit, the Chicago-area girls will participate in a workshop during which they will collaborate with each other and experienced design mentors to create a prototype for a new digital game.

The game prototypes developed by the girls will be presented at a public exposition, where they will be critiqued by representatives from the gaming industry before being voted on by the public.

The winning game design will be produced into a fully-playable game by Columbia College students.

Mindy Faber, academic manager at Columbia’s Department of Interactive Arts and Media and an organizer of the summit, said that the majority of developers and designers in both Columbia’s game program and industry as a whole are men.

This gender imbalance affects the content of games, Faber said. “The themes and the stereotypes and the values that are embedded into the game mechanics themselves have become very identified with a kind of hyper-male culture.”

While there is a push to increase the participation of girls in gaming and technology, Faber said, many efforts are based on stereotypes about girls’ interests in gaming, such as the assumption that girls prefer not to play competitive games.

“We have so many assumptions and so many stereotypes about what girls like to play, but we never bother to stop and ask them, ‘What do you like to play best, and why?’”

Faber said the goal of the summit was to “have a safe space where girls can talk about their relationship with games and technology with a really powerful role model and then begin to prototype something that would be a game that they would want to play.”

Robyn Fleming, former senior editor of Cerise Magazine, a publication of an online network for women gamers, said that discussions of gender and gaming at conferences and symposia are typically small parts of a larger whole.

Fleming said such discussions also tend to address gender disparities in gaming by focusing on the idea that “a certain kind of game is going to appeal more to girls and that we should make those in order to attract girls.”

She said it is also important to address gaming culture and hostility or narrow constraints to female participation. “That’s something that you can’t address through creating a game.”

Five community youth media organizations and schools will each select 10 girls to participate in the summit, Faber said.

She said she plans to continue working with the youth participants after the summit. The partner community organizations and schools will receive a stipend to run after-school gaming clubs for girls supported by Columbia faculty.

The school will also teach the girls skills to create a citywide online social network to attempt to maintain connections between the girls and create a culture that supports girls and technology.

“We’re interested in trying to see if we work with them all three years and keep their club and social network going, if they end up choosing technology-rich careers or college options,” Faber said.

The summit is scheduled for Aug. 12-15 at Columbia’s Department of Interactive Arts and Media, 916 S. Wabash Ave., except for the panel discussion, which is scheduled to take place at Ferguson Auditorium, 600 S. Michigan Ave.

Related Links

Games for Change

Many of the ideas for the 3G summit come from last summer’s Games for Change workshops conducted by Columbia College Chicago’s Interactive Arts and Media Department as part of classes for high school students.  The multiweek class took a unique approach to share programming and game design skills to make games relevant to the experiences of the youth. See photos of workshop activities or play games produced by the youth.

This was originally published as Gaming summit aims to encourage girls in technology on the Medill Reports Chicago site.

gaming reviews vs. criticism

I’m not a gamer, but I found this article, linked to from BoingBoing relevent not just to gaming but other types of media:

Similarly, there would be no point today in writing a review of Ultima IV, since it is long out of print. A useful work of criticism, however, is entirely conceivable: discussing, perhaps, its role as one of the first games to consider the moral implications of a player’s acts, and to use tactical combat as a minigame within the context of a larger, more strategic title. Such an article, well-written, ideally with an understanding of the influence of tabletop roleplaying on the development of the early western CRPG, and of the place of this title in the overall shape of Richard Garriot’s ouevre would be of interest to readers today, even if they’d be hard put to find a way to buy the damn game. And it might find a place in anthologies and studies of the 20th century origins of the popular medium of the game, going forward into the indefinite future.

The truth is that, for the most part, we don’t have anything like game criticism, and we need it — to inform gamers, to hold developers to task, and to inform our broader cultural understanding of games and their importance and impact.
Read more at Pro Gamer Review.

I swear I’m going to stop writing about meta-discussions of punk subculture, but this makes me ask the question – does punk’s (and other musical subcultures for that matter) reliance on the review as a source of dialog about media objects narrow the vision for its social relevence and fail to push media producers to make music with a consciousness of its place in history and the current social context?  Also, what is the impact, with the rise of web content and media review (I heard a piece about metacritic.com on Morning Edition this morning) coupled with the rise of consumption and review of technological commodities, on punk (and musical subculture in general)?  Clearly, a generation of young people, deeply invested in this review culture intersects the listenership of subcultural music.

I single out punk just because if you look at any of the popular punk fanzines (MRR, Razorcake, etc.) an incredible amount of the content is dedicated to the reviewing of zines and records.  I guess this is true of music media in general, but I am, of course, most familiar with punk, and I want to challenge the idea that punk is somehow ahead of the curve when it comes to cultural behavior.  Looking at mainstream media, I find it even easier to criticize the review because they are increasingly blippy, often dedicating less than a paragraph to a discussion of the content.

Link to essay
Link to bb post