The first time I began thinking about diversity in video games was when I saw this picture, last year:
Then my second thought was “Oh, wait…we screwed up.”
Encased in that image is a piece of several major video game protagonists from as far back as September 2011. On my own, I can pick out Ezio, The Dovahkiin, The Battlefield and Call of Duty soldiers, the nanosuit from Crysis, and several other characters from gaming’s best-selling games from the last few years.
There’s a common variant on this picture with some meme-text that reads “I’m a gamer because I don’t have a life, I choose to have many.” And yet, the “many lives” we gamers seem to have look awfully familiar. When we look at the thirty-year history of gaming, the diverse spread of gamers and game characters alike is barely represented in this image.
If you believed this image, all we as gamers want to play as are people who look like they just walked out of a gym in downtown LA. and yet, when I talked to my fellow gamers about who their favorite characters were, that didn’t sound like even remotely close to the truth.
Doing a quick, informal survey among a list of gamers that included men, women, cosplayers, politicians, actors, and soldiers, here’s a snapshot of who they ranked as their “favorite characters.”
Here’s the thing: This stuff matters.
Speaking to gamers like Staff Sergeant John Higgins of the Maryland National Guard, I learned about the way the demographics of the army as portrayed in games like Call of Duty doesn’t quite line up with reality.
“So-called war games have only just introduced characters that even remotely resemble what a real military would look like in terms of diversity. But I look around the military and I wonder…why are there so few minorities in Special Operations? (Only 10% of the US Navy Seals Officers are minorities, according to a report by the Navy Seals as seen in Time Magazine)”
“My thinking is honestly, there are so few modern stories of classic style heroism for young [minorities] that it doesn’t even occur to a lot of them that could or should devote their lives to that kind of cause. The black man in action games is a supporting NPC.”
According to Pamela Rutlege of the Media Psychology Program at Fielding Graduate University, “Visible character types are often modeled after cultural (and universal) archetypes. These archetypes are often symbolic of desires and drives allowing people to identify with these things rather than be constrained by specific characteristics. A limited number of characters cannot touch on the full range of human experience and identity, leaving some without the enjoyment that comes from being able to identify with a protagonist.”
“Since most protagonists follow the hero’s journey and are triumphant, we can experience the emotional and psychological experience of success within ourselves, independent of the avatars. This type of experience triggers the brain’s reward centers and improves mood and optimism. People who are optimistic tend to be more resilient, more confident and more willing to take on new challenges.”
In short, it can be harder for minorities to enjoy and fulfill the archetypes of the warrior soldier without any positive examples of their own visual identity to look up to. Though other mediums like Film and Television are equally guilty of similar archetypes, Gaming has far and away made more money off of depictions of the US Military in the last few years, with each Call of Duty game drawing over $1 Billion every year.
And then there’s the matter of female characters. Recent controversies like the trials and tribulations of Anita Sarkeesian to the #1Reasonwhy hashtag simultaneously showed how women can be just as passionate about games as men, but also highlighted the grim ugliness that can occur when they try to enter the gaming space.
A common argument is that the supposedly majority male gaming population (It’s actually only 53-47, according to a 2012 survey by The Entertainment Software Association) couldn’t stand to play as women, but Carly Smith, who cosplays under the name Roseofbattle, doesn’t see eye to eye with that viewpoint.
“I feel ostracized when I see female characters pushed to the sidelines, waiting for the male characters to save the day. I love games that have male protagonists like Assassin’s Creed and Dishonored. It’s just disheartening when I see the same stuff churned out from game companies. As a kid, I was thrilled when Pokemon Crystal came out and finally let you choose to be a girl. Women play games, too. We like male protagonists, so why wouldn’t men like to play as female protagonists?
And neither, while we’re at it, does Fantasy Author Scott Lynch, whose rant against complaints about the “historical accuracy” of his female pirate character Zamira Drakasha went viral a couple months ago. “Everyone who isn’t white or male has been told for years, both covertly and overtly: ‘You should be able to empathize with white dudes as the vast majority of your wish-fulfillment heroes without difficulty. Just shut up and use your imagination.’ Yet the opposite has never been generally allowed as true, that white dudes ought to be perfectly comfortable empathizing with women or people of color as their fantasy heroes.”
But whereas male minorities are dealing with a simple absence from the gaming space, this message has translated into something a little more unpleasant to women. Lydia Martin, a student at St. Mary’s College in Maryland, told us about her story growing up as a gamer and what messages she got out of the games she played: “The fact that neither television nor books nor video games had really any female characters that were both likeable and three-dimensional meant that I adopted the attitude that femininity was a bad, weak, silly thing that I didn’t want. And this affects other girls in different ways, too, but it really impressed upon me that ‘male’ was what I should be and act like if I wanted to be a ‘cool’ or ‘good’ person, and girls that acted like girls were stupid and to be avoided.”
And according to Rutledge, that’s a significant reaction. “Neuroscience shows that many of the responses we have to imagined mental images trigger the same neural networks and the same responses as in ‘real life’ so we are able to experience stories feeling that we are there. Stories become, essentially, simulations that allow us to experiment with different perspectives, behaviors, and identities.”
If those stories and simulations deliver the idea that being a “girl” is an inherently lesser character trait, than 47% of the gaming population is getting that message of inferiority every time they power up a console.
There are other populations that go underrepresented in gaming. People of different sexual orientations, or people with disabilities, have similar stories and experiences to the gamers we talked to above. But as important as it is to understand how this discrepancy affects the underrepresented, it’s also important to understand why it’s good for everyone as a whole.
For instance, there’s the fact that when you get down to it, a person’s skin color or sexuality isn’t what defines them—it’s who they are as a character that makes them compelling. Adam Nash, a game designer and soundtrack composer in Philadelphia, tries to take this approach when working on his own games. “I think it comes down to the world and feelings you’re trying to convey…I think that more than diversity, more than gender or race, what we ARE seeing more of – and still need more of yet – is just good characters in general [and] responsible writing.”
Tuuli Saarinen, a game designer at Decode Global, offered some tips on how aspiring game designers to tap into that unique school of design. “Cliches should be avoided at all costs, but they can be used as an easy way to introduce the players to a more complex story. If you have to design another fps character, start from breaking cliches: make it a she, not a he. Make him/her very skinny, kind of clumsy, old and stringy, or so young and beautiful that everyone hates him/her. Give the character an interesting and relatable back story: maybe he/she went into the army to rebel against their parents, or maybe they’re running away from something or someone? And always give them human faults and emotions: if the player can make them touch something disgusting, the character has to react in some way. Most emotions and character traits can be conveyed through gameplay, and that’s where the main difference between games and other media lies when it comes to storytelling.”
When those ingredients translate into a well-told story, it has major benefits for everyone. “The ability to engage with protagonists that are not like us allow us to see the world from new perspectives, a new set of eyes,” says Rutledge. “This increases our cognitive flexibility and, research suggests, decreases are propensity for conflict because we are able to see commonalities between ourselves and a wider circle of ‘others.”
In the end, we all want the same thing–better games, better stories, and more great characters we can add to our favorites list like the one above. To get there, we can listen to the real concerns of people who see themselves underrepresented, and find new characters and stories to help make gaming not just a more inclusive environment, but to make better games as well.
“Games are all about letting people experience something they’ll never be able to experience in their own lives, and experiencing someone else’s life is a major part of that,” Saarinen says. “Bringing in minority characters, more credible characters, and a more balanced presentation of people of both genders and all ages as well as all walks of life also brings in a lot of depth and credibility to the story, and will leave a more lasting impact on the player than another pile of muscles grunting and shooting around.”
R Bryant Francis – who has written 271 posts on The Jace Hall Show.
R. Bryant Francis is a former contributing writer to the Jace Hall Show who specializes in gaming, pop culture, and all-around geekiness. Outside of the show, Bryant pursues a career in Hollywood as a producer and filmmaker.

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