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Rethinking the Discourse of Gender and Digital Gaming“

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Rethinking the Discourse of Gender and Digital Gaming“ DIPLOMARBEIT Titel der Diplomarbeit „Rethinking the Discourse of Gender and Digital Gaming“ Verfasserin Michaela Kögl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2015 Studienkennzahl lt. Studienblatt: A 190 344 350 Studienrichtung lt. Studienblatt: UF Englisch UF Italienisch Betreut von: Ao. Univ.- Prof. Mag. Dr. Eva Zettelmann DECLARATION OF AUTHENTICITY I confirm I have conceived and written this thesis in English all by myself. Quotations from other authors are all clearly marked and acknowledged in the bibliographical references, either in the footnotes or within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors have been truthfully acknowledged and identified in the footnotes. Signature i Acknowledgements I wish to express my sincerest thanks to Prof. Eva Zettelmann who not only inspired and encouraged me to write this thesis but also gave me the time I needed to complete it. I dedicate this paper to my family who has supported me my whole life. To my parents, as without their unconditional support and love, writing this paper would not have been possible. I am especially grateful to my partner Gábor and our son Márton, for their endless love and encouragement through this entire journey. Their support and love is what kept me on track to finish this paper. I also wish to thank my friends, relatives and colleagues who inspired and supported me, knowingly or not. ii Abstract English Children of both sexes show the same interest for technology and sciences only up to a certain age with girls often losing their affection during adolescence. As digital games are perceived as a soft entry into the world of technology, it is important to clarify if games directed at a female audience, games for both genders or even gender-neutral games offer an adequate option to achieve a certain gender equity. Therefore, the intention of this diploma thesis is to frame the topic of digital games and the female gender and to thereby investigate if former claims by academia, industry and gamers have already been implemented. Due to the absence of an overall consensus of frequently used terms like gender, computer and video games, or girl gamer in the sources available, an overview of the key terminology was required. Apart from more recent contributions to the canon, the collective volumes From Barbie to Mortal Kombat, Beyond Barbie and Mortal Kombat, Doing Gender in Art, Media and Culture, and Wie wir spielen, was wir werden served as starting point. In general, the investigation was carried out adopting an interdisciplinary, feminist approach within the field of gender studies. The research is particularly concerned with Western cultures and all sources either stem from the U.S. or Europe, with particular focus on English and German contributions. As hardly any Austrian data were available, I conducted a questionnaire at an Austrian grammar school. As regards the results of the study, a slight majority of girls who played digital games expected their future career to be related to technology. iii Abstract German Genderspezifische Unterschiede in den Bereichen Technik und Wissenschaft gelten als wissenschaftlich erwiesen. Diese manifestieren sich jedoch erst ab einem bestimmten Zeitpunkt des Heranwachsens und resultieren im Erwachsenendasein in einer Kluft in ebendiesen Bereichen. Digitale Spiele werden als sanfter Einstieg in die Welt der Technologie angesehen. Ziel dieser Arbeit ist es mithilfe zweier Grundlagenwerke From Barbie to Mortal Kombat und Beyond Barbie and Mortal Kombat, sowie anhand weiterer aktueller Quellen zu dem Thema ‚Digitale Spiele und das weibliche Gender’, wie Doing Gender in Art, Media and Culture, und Wie wir spielen, was wir werden einen aktuellen Forschungsstand festzuhalten und zu beleuchten, inwieweit Forderungen und angeregte Lösungsvorschläge bereits zum Einsatz gekommen sind. Im Zuge der Untersuchung aus interdisziplinärer sowie feministischer Perspektive galt es nun abzuwägen, ob digitale Spiele ausgerichtet auf eine weibliche Spielerschaft, gleich orientierte Medien oder gar genderneutrale Spiele eine geeignete Option darstellten. Des Weiteren war es nötig einen Überblick über oftmalig verwendete Begriffe wie gender, computer und video games, sowie girl gamer zu schaffen, weil kein einheitlicher Konsens in der Literatur festzustellen war. Da von einem gemeinsamen Phänomen in westlichen Kulturen ausgegegangen wird, wurden Quellen aus den USA und Europa, vor allem Deutschland, England und Österreich herangezogen. Aus Mangel an österreichischen Daten wurde zusätzlich ein Fragebogen an einer höherbildenden Schule in Wien erhoben, um eine exaktere Momentaufnahme zu ermöglichen. Die Auswertung der Daten zeigte unter anderem, dass jene Mädchen, welche angaben digitale Spiele zu konsumieren, sich eher vorstellen konnten einen technischen Beruf zu ergreifen. Im Bezug auf adäquate Spielausrichtung rücken gender-neutrale Spiele immer mehr in den Vordergrund. iv List of figures and tables Fig. 1 Genre comparison 93 Fig. 2 Forbes’ list of most popular games 2014. This list refers to sales numbers from the US. 95 Fig. 3 Cover of Let’s Talk about Me. Retrieved from <http://www.museumofplay.org/online- collections/22/66/109.11996> 20 June 2015. 95 Fig. 4 Barbie Fashion Designer. Retrieved from <http://www.amazon.de/EyeToy-PomPom-Party-inKl- PomPoms/dp/B001F513RS> 20 June 2015. 95 Fig. 5 Eye Toy: Play Pom Pom Party. Retrieved from <http://at.playstation.com/ps2/games/detail/item103260/EyeToy™-Play-PomPom-Party/> 20 June 2015. 95 Fig. 6 Eye Toy: Play Hero. Retrieved from <http://at.playstation.com/ps2/games/detail/item103271/EyeToy™-Play-Hero/> 20 June 2015 95 Fig. 7 Genre preferences. Retrieved from sheet 36 from “3. Oö Jugend-Medien-Studie 2013“. 96 Fig. 8 Percentage of gamers according to gender. All rights reserved EEDAR. See Nofziger for source information. 96 Fig. 9 Active gamers across platforms. All rights reserved EEDAR. See Nofziger for source information. 97 Fig. 10 Active mobile gamers. All rights reserved EEDAR. See Nofziger for source information. 97 v List of abbreviations The following table describes various abbreviations and acronyms used throughout this diploma thesis. Abbreviation Meaning “DID“ “Damsel in Distress“, see Sarkeesian “WBD“ “Women as Background Decoration“, see Sarkeesian AAA games “Triple A“, games with high development budget AESVI Associazione Editori Sviluppatori Videogiochi Italiani AAUW American Association of University Women BBMK Beyond Barbie and Mortal Kombat BFD Barbie Fashion Designer BIU Bundesverband Interaktive Unterhaltungssoftware BMK From Barbie to Mortal Kombat COD Call of Duty EB Games formerly Electronic Boutique, U.S. computer and video game retailer ESA Entertainment Software Association FEMTECH Frauen in Forschung und Technologie fForte WIT Women in Technology FIT Frauen in die Technik FPS, fps First-person shooter fs female speaker GGM Games for Girls Movement GTA Grand Theft Auto J4G Just for Girls MMO, mmo massively multiplayer online see MMORGP MMORPG, mmorpg massively multiplayer online role-playing games ms male speaker MUT Mädchen und Technik NPC non-playable character OED Oxford English Dictionary PEGI Pan European Game Information PSP Playstation Portable RPG, rpg role-playing game UD Urban Dictionary USK Unterhaltungssoftware Selbstkontrolle vi Table of contents DECLARATION OF AUTHENTICITY .............................................................................................................................. i AcKnowledgements ............................................................................................................................................................ ii Abstract English ................................................................................................................................................................. iii Abstract German ................................................................................................................................................................. iv List of figures and tables .................................................................................................................................................. v List of abbreviations .......................................................................................................................................................... vi 1 Introduction .................................................................................................................................................. 1 2 Theory .............................................................................................................................................................. 3 2.1 How to define gender ....................................................................................................................................... 3 2.2 How to approach digital games ................................................................................................................ 11 2.3 Children’s play behaviour in general ..................................................................................................... 16 2.4 Gender-related preferences concerning digital games .................................................................. 19 2.5 Why girls play or do not play digital games ........................................................................................ 22 2.5.1 Differences in socialisation and acculturation
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