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University of Huddersfield Repository Peaker, Katie Fair-Play: How Women Experience Sexism within Board Gaming Spaces Original Citation Peaker, Katie (2019) Fair-Play: How Women Experience Sexism within Board Gaming Spaces. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34912/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Fair-Play: How Women Experience Sexism within Board Gaming Spaces By Katie Peaker, U1256795 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by Research in Communication, Culture and Media Studies. The University of Huddersfield September 2018 Copyright Disclosure i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 Abstract As a male dominated culture, board gaming demonstrates relative traits to its digital counterpart video games when it comes to accepting women within its spaces. Through the representations of women of both in game and from within the culture, board gaming has a lot to offer in terms of understanding their experiences. Despite this, board gaming has and continues to be a niche community that has been left fairly untouched by scholars and research. Although there has been previous work regarding board games, there has been no full exploration of the fans within this culture. This study aim to change that, and look into the very minority of board games, the women. This study aims to explore how women experience board games on a daily basis when engaging with their own gaming groups and spaces and talks through the labour and challenges that faces them when experiencing sexism and resistance from its male dominated audience. Through the use of twelve interviews with women based in worldwide locations alongside netnographic data taken from the BoardGameGeek forums, we begin to understand how women work within these spaces despite being under represented and dismissed. The study provides analysis on the participants answers by delving deeper into the concept of ‘play’ and subcultural style alongside fannish participatory labour to form a greater understanding as to how women experience sexism within their chosen community. 3 Table of Contents Copyright Disclosure 2 Abstract 3 Table of Contents 4 Introduction - “Why Board Games?” 6 Literature Review - “Understanding the Lore” 8 “The Backstory” - Gaming 9 “Pick your Class, Race & Sex” - Gending in Gaming 12 “Not being an NPC (Non-Playable Character)” - Fandoms and Free Labour 16 Conclusion 21 Methodology - “Playing by the Rules” 23 Chapter One: “Character Creation” Sexism within the Board Gaming Community. 30 Introduction 30 1:1 - Sexism within the ‘magic circle’. 30 1:2 - Subcultural Style within the Board Gaming. 36 1:3 - Challenging sexism within the community. 42 Conclusion 47 Chapter Two - “Worker Placement” Labour and the Board Gaming Community 49 Introduction 49 2:1 - What Free Labour is produced for board gaming community in online and offline spaces? 49 2:2 - How emotional and affective labour exists within board gaming. 60 Conclusion 65 Bibliography 67 Conclusion - “Final Round” 72 Appendix 1 - “Kickstarter Exclusive” - Annie 73 Appendix 2 - “Kickstarter Exclusive” - BeetleGran 85 Appendix 3 - “Kickstarter Exclusive” - Eeyore 93 Appendix 4 - “Kickstarter Exclusive” - FancyDice 104 Appendix 5 - “Kickstarter Exclusive” - GameBee 110 Appendix 6 - “Kickstarter Exclusive” - Invincimeeple 120 Appendix 7 - “Kickstarter Exclusive” - Kaylee 132 Appendix 8 - “Kickstarter Exclusive” - Moll Hackabout 143 Appendix 9 - “Kickstarter Exclusive” - Nora 160 4 Appendix 10 - “Kickstarter Exclusive” - Rebecca 175 Appendix 11 - “Kickstarter Exclusive” - Rena Delacreaux 189 Appendix 12 - “Kickstarter Exclusive” - Someone Subcool 203 5 Introduction - “Why Board Games?” It is surprising that the general consensus of board games amongst people who are outside of the board gaming culture assumes that board gaming consists of Monopoly, Cluedo and Operation and even more so, when you are a 25 year old, female “Board Gamer” talking about your hobby. The looks and frowns from people thinking that you spend your time devoted to passing go can be quite alarming but becomes expected after a while. The funny thing is, that board gaming is so much more than these games. In fact, you need only to look at someone’s ‘Shelfie’ to understand the sheer mass of games that have been produced and published over the past few decades. Despite board gaming dating back the Ancient Egypt whereby Pharaohs were known to engage in ‘play’, board gaming has really come alive in the last few decades. Board gamers play games, because they enjoy it and they are a “fan” but each individual will also have their own unique reasons to engage in board gaming as well. For some participants within this study their reasons are for nostalgia, for distraction or simply to meet other people. What is key to take from this however, is that board gaming is still largely underground and has not been studied in as much depth as other fandoms or cultures. When getting under the surface of board gaming, it becomes apparent that the passion and obsession of gaming is a growing force within its fandom. With every year, more and more board games are getting released and more and more convention spaces are being filled with a wider variety of people. Having the same stereotypical demographic as gaming, being overly male dominated, it is important to realise that the growth of board gaming is inviting the industry to demonstrate more inclusivity by its titles and represent its growing fandom fairly. This study focuses on the experiences of women that are within and engaging in gaming spaces to provide a new perspective on tabletop gaming studies as previous research does not explore the importance of the players and instead focuses on the games themselves as texts (see Booth, 2015; Woods, 2012). The emergence of board games into popular culture is demonstrated by the rise of board gaming/ ‘hobby’ stores and board gaming café’s that are opening around the UK. This rise in available local spaces also demonstrates that more people are discovering games and although I would argue that board gaming is not yet as mainstream as digital gaming, there is still a requirement to study the culture and its community. What is unique about tabletop gaming is that it is done face to face, unlike digital games whereby most multiplayer options are online. Gamers come together on a weekly basis to meet, 6 sit at a table and engage in board gaming and the list of different genres or categories are seemingly endless. There are party games, strategy games, cooperative games, wargames, horror games, escape games and many many more, meaning that players can sit down for a completely different experience every time and whilst this all sounds incredibly positive, face to face interactions can prove difficult for people, specifically women if they are not fully recognised within the culture itself. We have explored sexism in digital games multiple times and through multiple ways, by looking at the representations of women to looking into the players themselves but have not yet done the same from tabletop games despite the similarities between digital and analog gaming. Sexism in video gaming, whilst it does happen in a face to face settings it tends to be more online due to the nature of how players engage in the game itself. If we use this same idea for board gaming, this would mean that because players engage in face to face ‘play’, sexism is likely to happen within these real-life situations. The focus of this study is to provide a platform for women gamers to outline their own experiences as being the known minority within board gaming spaces. From the interviews with the participants, this study is broken up into two main chapters. The first chapter documents the types of sexism that women may generally experience from within the board gaming community alongside their own thoughts and feelings on the matter.
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