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Gender and the Games Industry: the Experiences of Female Game Workers

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Gender and the Games Industry: the Experiences of Female Game Workers Gender and the Games Industry: The Experiences of Female Game Workers by Marsha Newbery BA., University of Winnipeg, 1994 Thesis Submitted In Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art & Technology © Marsha Newbery 2013 SIMON FRASER UNIVERSITY Spring 2013 Approval Name: Marsha-Jayne Newbery Degree: Master of Arts (Communication) Title of Thesis: Gender and the Games Industry: The Experiences of Female Game Workers Examining Committee: Chair: Frédérik Lesage Assistant Professor Alison Beale Senior Supervisor Professor Catherine Murray Supervisor Professor Leslie Regan Shade External Examiner Associate Professor, Faculty of Information, University of Toronto Date Defended/Approved: February 8, 2013 ii Partial Copyright Licence iii Ethics Statement The author, whose name appears on the title page of this work, has obtained, for the research described in this work, either: a. human research ethics approval from the Simon Fraser University Office of Research Ethics, or b. advance approval of the animal care protocol from the University Animal Care Committee of Simon Fraser University; or has conducted the research c. as a co-investigator, collaborator or research assistant in a research project approved in advance, or d. as a member of a course approved in advance for minimal risk human research, by the Office of Research Ethics. A copy of the approval letter has been filed at the Theses Office of the University Library at the time of submission of this thesis or project. The original application for approval and letter of approval are filed with the relevant offices. Inquiries may be directed to those authorities. Simon Fraser University Library Burnaby, British Columbia, Canada update Spring 2010 Abstract In the digital games industry women are statistical and cultural outliers. Using a cultural studies lens, this thesis examines the experiences of women game-makers in order to more deeply understand the attitudes of female game-workers, and to ascertain whether work in the male dominated gamed industry can be ‘good work’ for women. When compared to other cultural sectors, female game workers face unique barriers to sustaining careers in this high status industry. Gender stereotypes keep many women from fully participating in games industry culture which in turn discriminates against any worker who does not fit in to the ‘might is right’ mindset. Female game workers are getting mixed signals from an industry that appears to desire gender diversity in order to attract the growing ranks of female gamers, but is resistant to change sexist and discriminatory work practices that continue to alienate women. Keywords: Gender; video game industry; creative labour; work; technology iv Acknowledgements One of the joys of completing a project is being able to look back and remember all of the support and encouragement that you received along the way. I would like to express my heartfelt gratitude to my senior supervisor Dr. Alison Beale, who has been an unwavering source of support, friendship and encouragement throughout my degree. I also owe a debt of gratitude to my supervisor Dr. Catherine Murray who was always ready with a friendly challenge and always sought to push my work to new levels. I will always appreciate how much you both supported my work and believed in my potential to go even further than I’d ever planned. I would also like to extend my thanks to Rina Fraticelli of Women in View. Your mentorship, support and advice over the past year helped me find the inspiration for this work and also gave me the space to work and study at the same time. This thesis would not have been possible without the support of the nameless women who participated in this study directly, and the many women and men in the games industry who supported it more informally over the past year. The support for this research from the industry has been stellar and I can only hope that their efforts and this work will pay off and help make their beloved industry even better. Thank you to my house-mate and friend Mitch, who made me breakfast and dragged me to the gym on the days when I would have never have left my desk. These things kept me sane. Finally, thank you to my mother and her family for providing me with a home-away-from- home and a writing refuge filled with Americanos and French sodas, horses, and as much daydreaming time and peace and quiet as any writer could ever hope for. v Table of Contents Approval ............................................................................................................................ ii Partial Copyright Licence .................................................................................................. iii Abstract ............................................................................................................................ iv Acknowledgements ........................................................................................................... v Table of Contents ............................................................................................................. vi List of Tables ................................................................................................................... viii List of Figures .................................................................................................................. viii List of Acronyms ............................................................................................................... ix #1ReasonWhy ................................................................................................................... x 1. Introduction ............................................................................................................... 1 Background & Rationale ............................................................................... 2 Game Work: A Hybrid Cultural Sector .......................................................... 4 Thesis Outline ............................................................................................... 8 Section 1: Theoretical Overview .................................................................................. 11 2. The New Economy and the Rise of Creative Labour .......................................... 12 2.1. Theoretical Foundations of Cultural Labour: The Socio-political context. .............. 12 The New Economy ..................................................................................... 12 New Labour for a New Economy ................................................................ 14 Creativity as the New Economy Doctrine ................................................... 17 2.2. Defining Creative Labour ........................................................................................ 19 The Characteristics of Creative Labour ...................................................... 21 Evaluating Creative Labour: Good or Bad Work? ....................................... 24 Unique Characteristics of Game work ........................................................ 26 3. Gender, Technology & The Digital Games Industry ............................................ 31 3.1. A Brief History of the Games Industry .................................................................... 32 3.2. Gender & Communities of Practice ........................................................................ 35 3.3. Technofeminism and Technology in the Games Industry ...................................... 38 3.4. Women & the Modern Digital Games Industry ....................................................... 40 3.4.1. An Overview of the Global Digital Games Industry ..................................... 40 3.4.2. The Canadian Games Industry ................................................................... 43 3.4.3. The Digital Games Workforce ..................................................................... 46 3.4.4. Women in the Games Workforce ................................................................ 47 3.4.5. The Importance of Gender in the Digital Games Industry ........................... 50 Section 2: Qualitative Study: The Experiences of Female Game Workers .............. 52 4. Methodology ........................................................................................................... 53 4.1. Methodological Approach: Theory .......................................................................... 54 4.2. Approach & Initial Analysis ..................................................................................... 55 Building the Sample .................................................................................... 55 vi Initial Analysis ............................................................................................. 58 5. The Experiences of Female Game Workers ......................................................... 61 5.1. Game Industry Culture and the Impact on Work Experiences ............................... 63 5.1.1. Defining Game Industry Culture .................................................................. 63 5.1.2. The Experiences of Female Game Workers ............................................... 66 5.1.3. Competing Cultures: Independents vs. Triple A Studios ............................ 68 5.1.4. Signs of a Maturing Industry ....................................................................... 69 5.1.5. Fitting In: Being the Right Kind of Worker ..................................................
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