Much digital ink has been spilled over the D&D consultants controversy. There have been a lot of demands for proof, but what proof would actually entail seems to be rather vague and mostly defined by the fans of the two people involved. I don't care about that, what I do want to explain is what happens if you engage one of these two people in an ongoing discussion in which there is a fundamental disagreement.
The Fail Forward blog had a post about the controversy, How Dungeons and Dragons is endorsing the darkest parts of the RPG community. I shared it on G+, stating explicitly that I wasn't sure how I felt about the title. Personally, I don't think hiring someone endorses everything about them, just as I don't think adding a +1 to a G+ post is an endorsement of everything said in the post, but I know that there are people who disagree. There was a long, heated conversation.
During the conversation, I found another post, by someone who wrote the following: "What the heck? Someone found my blog by googling for pregnant rpg porn games?! O_o" In between games of Hearthstone with Jared, I decided to check out my own analytics to see what search terms people used to find my blog. I posted a tweet about it.
fun search terms: "medieval princess sex stories” "do minotaurs have penises” "medieval sex stories"
— Tracy Hurley (@SarahDarkmagic) July 31, 2014
Analytics information is always interesting and I looked at where in the world hits were coming from. I looked at a few and then noticed something that I thought was pretty funny. Some person decided to check out a particular page on my site, not once, but twice, and it seems like the person hadn't visited any other pages. The page only has the image on it, no text, no commentary.
I thought this was funny so I posted on G+ a link to my blog along with the context of why I found it funny. The individual in Uruguay hit the page not once, but twice. What happened next is a good illustration of what happens if you engage with one of the two people and then do something that they assume is an attack.
Seriously, fuck +Tracy Hurley and her lying shitsack Character Assassination. This is utterly fucking pathetic, even by Swine standards. How low, how desperate, can you get?
Also, Tracy, your porn sucks ass. But what should we expect from a fucking prude? The very proof of you being a fucking prude is that you think a sad pathetic lie like this is what will somehow work, because you know, looking at porn is supposed to be shameful, so one way to discredit enemies is to claim they're looking at your porn... how fucked up is that?
I never visited your fucking site once, and certainly wouldn't waste my time on sub-par shit like this. I'd go to Suicide Girls... which is what really pisses you off, isn't it? That things done by people you envy are more successful than anything you've ever had a crack at? How sad.
Go fuck yourself.
The guy making the post is RPGPundit. He makes a number of key assumptions:
- That I know and/or remember that he lives in Uruguay.
- That any reference to Uruguay must therefore be a reference to him.
- That this is porn.
- That, even if it was porn, that I would use the fact that someone likes porn to shame or discredit "my enemies."
This is nothing but vile and filled with the same old sad personal attacks. This is the response people get when they dare to share their experiences with others. Everything you do, write, or say is analyzed to see if it's really just a veiled attack against one of them. If they find something that can be twisted into an attack, a post like the above goes up, and you get comments like this.
[+Someone else in conversation] So the best option is to act like a passive-aggressive little shit, like +Tracy Hurley ?
She pointed it out she had a webpage visitor from said country for a reason. Considering the history between her and Pundit it's ringing fucking alarm bells. Why would she do that? Seems pretty loaded.
And the "holier than thou" attitude of the other commenters is the most pathetic sight I have seen is many years.
But I want to point you to something else as well. See the part at the top, where he shares it just with his extended circles? So what does that mean?
When you click on the "extended circles" label, a dialog box appears informing you that the post is "visible to everyone in [the original sharer's] circles, plus all the people in their circles." Meaning that it's shared with those up to 2 degrees away from the original sharer.
So this means that only those who are in his circles and the people in their circles will be able to see it. Now, it's possible he did this because he was trying to let loose on me without bringing down the wrath of the internet, I'll give him the benefit of the doubt. But this is also an example of why it's so hard to provide screenshots and other proof of this sort of behavior. Much of this is not said in public. It's not easily searchable. This is a big reason why so many people never see it and why calls to link to this are seen as onerous.
Compared to some of the things on the internet I've been through and my friends have been through, this is relatively mild. I'm (sadly) used to people raging at me. I laughed at Pundit's post. Mistaking an Eisner winning comic for porn was a bit interesting (although I can see it). Once he assumed it was that, I can almost see his argument although it's not one I would ever make. Seeing that he was really arguing with the image of me that he's concocted in his head made it much easier to deal with his anger.
It's easy, though, to laugh off this one incident. However, it comes after weeks of having him, on my posts, call a coward anyone who refuses to argue in his proscribed way. Weeks of him asking me to defend arguments I've never made because apparently my side (whatever that means) made them. Of him decrying certain behaviors in one part of his post, only to engage in those same behaviors himself.
It's tiring. It's toxic. It's made people afraid to share their concerns and their experiences in public. It's why the people who are anonymous in the Fail Forward blog don't want to be named. I'm not asking you to agree with them. I am asking you to understand their point of view.
I had also shared on G+ Mandy Morbid's version of the controversy.
I also want to point out that it's not just the targets of people like RPGPundit who get attacks. Someone I respect got such hate directed at him too and I'm glad he was willing to post it. We can make our points without doing this. If you threaten someone in the way he was threatened, you are not my ally.
Some of you may know about my recent foray into reading and enjoying comics. It wasn't easy at first to figure out where to start and I was led down some dead ends. Recently one of my friends from college contacted me about an idea she had for a business venture and I fell in love with it because of my experiences. What if someone sent me every month a box of new comics for me to explore, perfect for someone new to a particular title or character? I recently received a Hero Chest beta box in the mail and I think the box delivers on this promise.
Here's what I got in the box:
- Superman He'l on Earth (trade paperback)
- Outcast 1
- Legendary Starlord 1
- Grayson 1
- Avengers Silicone Tray
- Marvel Vinyl Bobble Head mystery mini
- Original Sin bouncy ball
- Comic Shop News 1409-1412 and summer preview 2014
- All-New Young Guns
- Some small posters and other promotional material
- Write ups of each of the included comics including any backstory you might need to jump right in and why the curators thought it was awesome.
In the past, I've talked about some of my experiences with comic book shops, some good, some bad. The way I view this box is like a comic shop in a box. I get the great recommendations from people who love and care about comics, comic shop news which can help point me in new directions, and the ability to dip my toes in a variety of comics to see what else I might like whether it be a character, story line, writer, or artist.
For me, the star of the group was Outcast, the first issue of a new project by Robert Kirkman, of The Walking Dead fame. This issue came bagged and boarded because the book sold out nationwide. It's a dark book, with a fair bit of blood, but an interesting story line. The other two issues, Grayson and Legendary Starlord, are both interesting though veer on being a bit too similar to me since both involve rather young men who are off seeking adventure, the former as a spy and the latter as a vagabond hero. I haven't had a chance to delve into the Superman trade paperback yet, but I'm interested that Supergirl is included and that the writing and art is supposed to be strong. The All-New Young Guns is fun and I think it is an neat way for people newer to comics to find artists they like.
In addition to the comics, there were a few fun items. The bouncy ball feels really nice to me as a foot massager. I keep rolling it around under my foot. The silicone tray is awesome and I can't wait to make a bunch of little Mjolnir ice cubes for a party (although I better get started now). The timing was particularly fun because I received it not long before the announcement that a woman will be Thor (again) soon. I got the Green Goblin as the mystery Marvel Vinyl Bobble Head.
If getting a curated collection of comics and geeky accessories appeals to you, check out their kickstarter.
Contains spoilers for the D&D Starter Set adventure, Lost Mines of Phandelver
For those who haven't heard, Basic D&D 5e is out as a free pdf download and some friendly local gaming stores already have the Starter Set (everyone else can get it starting July 15th). I was fortunate enough to get a press-preview copy of the Starter Set for review. There's a lot I want to talk about but since Mike Mearls was kind enough to give us some hints about inclusivity in the new edition when we interviewed him on the Tome Show, I want to talk about that today, focussing on gender.
There are two obvious big things in the Basic D&D pdf rules that I'd like to mention upfront. The first is the inclusion of a comparatively progressive discussion of sex, gender, gender identity, and sexual orientation, in the game. Found on page 33, here is the full text:
You can play a male or female character without gaining any special benefits or hindrances. Think about how your character does or does not conform to the broader culture’s expectations of sex, gender, and sexual behavior. For example, a male drow cleric defies the traditional gender divisions of drow society, which could be a reason for your character to leave that society and come to the surface.
You don’t need to be confined to binary notions of sex and gender. The elf god Corellon Larethian is often seen as androgynous or hermaphroditic, for example, and some elves in the multiverse are made in Corellon’s image. You could also play a female character who presents herself as a man, a man who feels trapped in a female body, or a bearded female dwarf who hates being mistaken for male. Likewise, your character’s sexual orientation is for you to decide.
Some Opinions on the Wording
First things first. The intent here is nice. I mentioned the existence of this passage to one of my nonbinary friends over dinner and her eyes lit up. The fact that a game company the size of Wizard of the Coast was willing to start the discussion of these topics is important to me. That said, there is definitely room for improvement. Many people who don't feel quite comfortable with the way it was presented have been saying great things. I implore you to go out and listen to them. For instance, one person I admire, Avery Mcdaldno, wrote this:
First off: if that "X trapped in an X body" narrative works for your friend, that's great. We all find different narratives helpful.
The trouble isn't that the narrative exists, but that it has been used for decades as a single story. If the phrase single story doesn't mean anything in particular to you, this is a really good video: http://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story
So, there are a couple reasons why this narrative is a harmful one to perpetuate as the single story about trans bodies.
The first is that it implies that total medical transition is necessary in order to belong to your body. In my case, that would mean: collarbone restructuring, jawline shaving (the face is opened up and the bones are scraped down), tracheal shaving, full-body electrolysis, vaginoplasty, breast augmentation, hormone replacement therapy, and more. At the end of it I'd still be trapped in a testosterone-sculpted bone structure. The "trapped" narrative suggests that every trans person needs to commit $10,000-$120,000 toward rehabilitating their body... and that until they do, it's still a wo/man's body.
The thing is: if you identify as a woman, your body is a woman's body.
To say that trans people are "trapped" in the "wrong body" implies a limited range of solutions for finding happiness: pay endless dollars or kill yourself.
Again, if it's a narrative that individuals adopt to make sense of themselves / their lives, that's awesome. I 100% support them. But it's different when others push it on you as a monolothic trans narrative, and lots of people see it as exclusionary / reductive / regressive.
"X trapped in an X body" puts the burden of change upon individual trans people, who are presumed to be broken and then instructed to fix themselves. We need a new narrative. One that says, "Navigate gender on your own terms, ask for the support you want, demand the resources you need, break the binary where you ought to."
There's a really important piece of writing by Little Light, Elena Sims - http://takingsteps.blogspot.ca/2007/01/seam-of-skin-and-scales.html
Another person, Caoimhe Snow, said this:
I will add that as far as I know, this is the first time that Corellon has been called "hermaphroditic" -- previous descriptions of the god referred to something like (from memory) "he, she, both, or neither" which is an example of genderfluidity (and/or divine shapechanging powers), and not of intersex genitals.
There's a lot of other problems with it, ranging from possible confusion of the "female character who presents herself as a man" with a trans man to the fact that most trans people aren't themselves outside of the gender binary.
They had good intentions, but it's clearly written from a cis perspective to a cis audience in way that casts trans people as outsiders -- even explicitly so by referring to intersex magic elves.
Some people pointed out that they would love to see a rewording of the text instead. neongrey posted this new wording:
You can play a character of any gender without any mechanical effect, but you can consider how that might affect your roleplay. You might think about how your character's gender and personality relate to their culture's expectations of them. Do people think it's unusual that your fighter is a woman? Did your drow cleric leave for the surface because his temple wouldn't accept him?
Neither do you need to conform to binary notions of gender. Elves and dwarves are often perceived as androgynous in two very different ways, for example. You could also play a character who feels no gender applies to them, or a woman unhappy with the body she was born with. Don't forget the prevalence of magic lets you explore these possibilities in ways you couldn't in real life, no matter what your own gender is. Your character's identity is entirely up to you!
I hope Wizards of the Coast listens to these various perspectives on the language and updates it in future versions to be even more inclusive and welcoming. I loved that it was pointed out that this is not the first time D&D attempted to address these issues, for instance I believe it was 3e who said you can play a male or female character. Unfortunately, that inclusive left out others because it reinforced the gender binary.
Does the product meet its stated goal?
So, leaving aside where the wording definitely can be improved, let's look at whether or not the promise of the section is matched with the reality of these two products. I've read over both the Starter Set and the basic rules a few times. I think the hints Mike gave about the inclusivity in the art hold true, at least when it comes to gender. There's only one piece of art in the basic rules. While I think there could still be some critiques regarding it, it can be read as having parity between male and female genders and the female characters aren't the only ones not on the front line.
This trend also carries through to the art in the Starter Set. (Sorry about the quality, as far as I can tell they didn't release the art online and I'm not near my scanner.)
Lots of women who are by and large similarly posed and dressed to the male characters. There's another image where I'm not even sure if one of the characters is of a particular gender. At least two of the female characters in the Player's Handbook continues this trend according to previews sent out by Wizards of the Coast.
I'm happy so far with the way the art has been done and I think it meets the promise of the sex and gender section of the Basic Rules. So what about the writing?
First, let's look at how gender is portrayed in the races section of the Basic Rules.
[Elves] Males and females are about the same height, and males are only marginally heavier than females.
Halfling men often sport long sideburns, but beards are rare among them and mustaches even more so.
Male dwarves value their beards highly and groom them carefully.
Human skin shades range from nearly black to very pale, and hair colors from black to blond (curly, kinky, or straight); males might sport facial hair that is sparse or thick.
So, first, let's acknowledge that they had very little space to talk about these races and that none of the descriptions are sexist. However, they do start to reinforce the gender-binary and cisgender norms, no? Also, the inclusivity text asks us to think about how our characters act in accordance with or in contrast with the gender expectations of where they are from yet the only gender expectations set here are for the male characters. It doesn't intend to, but it can give the impression of the male character traits being more important. I've discussed this in more depth in a previous post.
Also in the Basic Rules, they talk a bit about two fighters from D&D novels and how they can both be the same class and yet very different. It's great that they give a male and a female example. However, both examples have elements that are stereotypical when it comes to gender:
Tika Waylan is innocent, almost childlike, believing in the value of life and the importance of appreciating everyone. Neutral good in alignment, she cleaves to ideals of life and respect. Artemis Entreri never allows his emotions to master him, and he constantly challenges himself to improve his skills. His lawful evil alignment gives him ideals of impartiality and a lust for power.
Tika Waylan is naive and emotionally vulnerable, younger than her companions and annoyed that they still think of her as the kid they knew years ago.
Artemis Entreri is completely walled off from any personal relationships and just wants to be left alone.
I think it's important to say here that part of the issue is dealing with the history of D&D is that it has a checkered past when it comes to gender. As with the inclusivity statement, I believe Tika was likely added in an attempt to counteract gender stereotypes but, also like the statement, there may have been some blindspots during her creation and development and in the way that the examples were picked and presented in the Basic Rules.
While the Starter Set rules are also pretty neutral when it comes to sex and gender, the adventure, in my opinion is a mixed bag. Let's start with named characters where the gender is known from the text.
Sir Aldith Tresendar
There are a few other characters that I wasn't quite sure how to categorize: Tsernoth, Palien, Ander, Thistle, the dopplegangers Vyerith and Vhalak, and Tergon. Now, not all characters need to have a clear gender designation, but the gender ambiguity on some of these characters leads to further issues. Let's look at some of the +1 weapons one can obtain through the adventure:
The chest also holds a +1 longsword in a silver-chased scabbard. The sword is inscribed with the name “Talon,” and its hilt is worked in the shape of a bird of prey with outspread wings. It once belonged to a great knight named Aldith Tresendar, known as the Black Hawk. A character who succeeds on a DC 15 Intelligence (History) check recognizes the sword and recalls this lore.
Beneath the coins is a rusty old battleaxe of dwarven manufacture. Runes in Dwarvish on the axe head read, “Hew,” and the rust is misleading. Hew is a +1 battleaxe that deals maximum damage when the wielder hits a plant creature or an object made of wood. The axe’s creator was a dwarf smith who feuded with the dryads of the forest where he cut firewood.
This +1 mace was made for a cleric of Lathander, the god of dawn. The head of the mace is shaped like a sunburst and made of solid brass.
This +1 breastplate has a gold dragon motif worked into its design. Created for a human hero of Neverwinter named Tergon, it grants its wearer advantage of saving throws against the breath weapons of creatures that have the dragon type.
None of these items are directly connected to an obviously female character (I'm holding out slight hope that Tergon turns out to be a female character). In fact, one of the +1 weapons appears to be connected to killing dryads, a race that is specifically tied to the female.
There's also an uncomfortable plot line in Phandalin. One of the male characters, Thel Dendar, was killed for standing up to the Redbrands after some of them leered at his wife.
Thel Dendar, a local woodcarver, stood up to the Redbrands a tenday ago when they came by his shop and leered at his wife. The ruffians murdered him. Several townsfolk saw it happen. The Redbrands grabbed his body, and now his wife, daughter, and son have gone missing too.
It's not their shop. They didn't stand up against the Redbrands together. He wasn't killed during a fight after she stood up to them. Only he counteracted the leering. She and their two children are then kidnapped by the Redbrands, who also turn out to be slavers. Mirna, the wife, and their daughter are in one cell and the son in another.
A pair of disheveled human women are held in a cell to the south, while a human boy is confined the north. All are dressed in plain gray tunics and have iron collars fitted around their necks.
I'm willing to bet no one thought about it, but this feels uncomfortable to me. Redbrands leered at her, she is kidnapped by them, they are slavers, the two women are in their own cell, and only they are described as disheveled.
Let's also look at how some of the female characters are described:
Elsa, a gossipy barmaid
Trilena, the innkeeper’s wife
Linene Graywind, sharp-tongued
Halia Thornton, ambitious and calculating
Qeline Alderleaf, wise
Agatha (a banshee), vanity
None of these are necessarily a problem on their own and in a diverse world with lots of examples of women, they wouldn't raise an eyebrow. But to me, they don't really push gender stereotypes much. Why is Trilena a wife of an innkeeper and not an innkeeper herself? Why have the banshee be vain, a trait commonly associated with women? Also, where are the women who are described like Sildar?
Sildar Hallwinter is a kindhearted human male of nearly fifty years who holds a place of honor in the famous griffon cavalry of the great city of Waterdeep. He is an agent of the Lords’ Alliance, a group of allied political powers concerned with mutual security and prosperity. Members of the order ensure the safety of cities and other settlements by proactively eliminating threats by any means, while bringing honor and glory to their leaders and homelands.
Daran Edermath is a retired adventurer who lives in a tidy little cottage beside an apple orchard. A fit, silver-haired half-elf well over a hundred years old, Daran is a fighter who served as a marshal and herald for many years…
It's also important to note that none of the women are/were adventurers. While a few serve as liaisons for larger groups in the Realms, many of them exist to do nothing more than point the PCs in the right direction to get more information or help with many of those destinations being male characters. Now sure, some of the male characters are presented in stereotypical or negative ways, such as the townmaster.
The current townmaster is a male human banker named Harbin Wester--a fat, pompous fool. Completely intimidated by the Redbrands, he claims that they’re “just a mercenary guild, and not all that much trouble, really.”
But we also have men in the town who are actively standing up to the Redbrands, something that the women aren't doing.
I want to acknowledge that they are trying. There are parts where we can tell that. For instance, the list of important NPCs has parity. But there are still quite a few blind spots. No one of the items I brought up above are necessarily an issue on their own, but the overall trend is. I have faith that they will continue to work on it.
As for the question asked in the title: Yes, I feel like it is a more inclusive D&D, but that doesn't mean that there isn't still work to do. We need to iterate and improve.
It's a bit strange to be writing again. My online presence had dwindled for about 2 years, I know, but the past 4 months in particular have been a bit of time for and about me and have been a good capstone for my multi-year transformation.
For those who don't know, I suffer from both anxiety (pretty much all the time) and depression (more cyclical). It's pretty much always been that way. I was always shy as a kid and afraid that people wouldn't like me and I remember periods of my childhood when I didn't want to eat food because its taste didn't seem worth the effort of chewing. When I started playing D&D a few years ago, it helped me get out of a depression I was in then. But, unfortunately, it also triggered the sort of attention that often causes me to sink back in, namely sexism and negativity for negativity's sake (versus constructive criticism which some people seem to conflate).
In addition to dealing with that stuff in the gaming sphere, there were a number of real life things that made me require a space where sexism couldn't flourish. One of my friends who had been a big support of my work (in part because she too didn't like the sexism in our culture, especially the latent, unquestioned type) was suicidal and eventually killed herself. Fred was rather close to her and was someone who was trying to get her to get help. Someone else who was very close to me was also suicidal and went to the hospital. Then Jared got cancer. Playing support for so many people led to an ever deepening depression of my own that I tried to put on hold as I helped others. There should be a mechanic for that with paladins, I swear. To top everything off, I found out last October that my job was going away at the end of the year and also that for much of my career I was paid significantly less than market.
So, starting January 1st, I put my mind towards becoming a phoenix and reemerging from the ashes. While I still felt fragile, my depression had stabilized and my mood improved thanks to therapy and medication. I decided that it was a good time to check out the rest of me and it's good I did, my insulin resistance had gotten worse and my blood sugar was no longer steady. This of course can impact one's mood and mental health, so we found at least two things that were probably negatively reinforcing each other. In the past I've suffered from anemia and the doctors always told me to eat more iron to help. Well, it turns out that I actually had non-iron-deficiency anemia, a condition that's common among some mediterranean people that is caused by genetics, similar in concept to sickle cell. Mine isn't that bad, so I probably carry the recessive gene, but it could explain some of my fatigue. In brighter news, my stress test and cardiologist visit went pretty well considering that I was born with a heart defect, so small victories. Oh, and I've lost about 20 pounds.
In addition to dealing with the mind and body, I worked on our house! We put up bookshelves in the dining room, turning it into a book and game library. We finally put up curtains and our landlord bought us a new fridge when the old one died. My parents got to visit me for an extended weekend and we worked on some of the house projects together.
Then I got a new job which is absolutely awesome. I love the people I work with and I have a bunch of support now that I didn't quite have before (larger companies are good for some things). To celebrate, we got a new couch and chair for our living room and made our guest room into a lounge which is much more useful for us. I'm also going to be able to go to more tech conferences with a goal of speaking at some in the next few years. I've already presented here at work during our big group lunch.
I presented at PAX East! On a panel about anxiety and depression in gamers. It was one of the hardest panels I ever did because, like this post, it was the real me and sometimes a bit close and personal. It was also hard because of some of the questions. For instance, one person asked what video game characters did we escape into as kids when we had issues. The hard part for me was that video games at that time didn't have that sort of escape for me. Instead I found hope in books like Little Women. I felt bad because the question brought up that divide that exists for some in gaming. I wanted to be able to name a character because it would make him feel better but at the same time, I could tell my honesty resonated with a number of the women in the audience because they were nodding their heads.
I also took up gardening. We have a bunch of herbs and some small number of fruits and vegetables. We don't have a yard to grow them in so I found some great containers for our deck area. I also got a bunch of indoor citrus trees for the living room and a big split leaf philodendron.
Last week we took a vacation to Seattle, in part for the wedding of two of our college friends. I got to meet up with a bunch of my gaming friends that I hadn't seen in a while (in part because I had to miss GenCon last year) and we also had a mini college/fraternity reunion. It was during that week that I felt my old self resurface a bit. As an added bonus, I came back to find that Jared had spent a fair bit of time fixing up our "house" in Starbound.
So why am I writing this? Well, partly because I want to thank of you who have stood by me in the past and been the rays of sunshine that I needed. I also hope it explains a bit why issues of representation in games are important to me. Also, my experience at PAX East reaffirmed my belief that there can be healing in sharing our stories.
When I talk about my experiences and the experiences of others who have shared their thoughts with me, I am often presented with a paradox by some commenters. They present two ideas, often within the same comment.
1. When will you acknowledge that there are just differences between men and women?
2. I though this was a gaming blog. When will you get back to writing about gaming and not women and politics?
Sometimes I think people have become so desensitized to those arguments that they can't see how confining and paradoxical they are. For instance, if it's true that there are differences between male and female genders (we can leave aside which are due to nature versus nurture for now), then why wouldn't what I write be influenced by my gender? Why call it political rather than just another perspective on gaming? Why aren't the posts that focus on things traditionally coded as masculine called political as well? Why don't we ask men why they can't seem to write about more than men?
The people who say these things often have the best of intentions. What they often see is me banging my head against the wall and complaining about the headache. Much like the joke, "Patient: Doctor it hurts when I do this, what should I do? ::pause:: Doctor: Don't move it!" it's easy to treat the symptom and not explore its cause.
That's why I can't help but to write about gender and biological sex and gaming. My culture raised me differently than it raised its sons. Having a uterus means my body does things that others don't. All of those things affect me and my approach to games and stories in the same way that others are affected by their own backgrounds. Not talking about those things would be like I was role playing in real life, taking on a personality and character that is not my own.
At the same time, there is so much we all hold in common regardless of our background. Intra-group differences tend to be much more pronounced than inter-group ones. When you have the time, take a look at your favorite "gender" study and notice the spread within a gender versus the difference in average between the genders. It might surprise you. For instance, while men outnumber women when it comes to being an NFL fan, the spread is actually along the lines of 56-44 with 55% of women watching the sport.
For some, it's hard to deal with the reality that we are all different, that gaming isn't about a monolithic world view with "us" versus "them." That saddens me. These are often the same people who constantly confront me with this gender paradox. At the end of the day, they want me to either conform to their standards or shut up. They misrepresent my arguments, trying to say that I won't be satisfied until everything is done 100% my way, but those libels and slanders are false. The real issue is that they cannot and will not see a pluralistic world. They only see things in terms of hierarchy. There can be only one....
If you wonder where my anger comes from sometimes, that is where. The harm being done is often hidden away under academic pretext or polite phrasing. It comes in the form of seemingly reasonable and rational arguments that never get more than superficial scrutiny. "Men notice breasts. Breasts are a secondary sex characteristic. Therefore all women who show their cleavage do it to attract mates." Sigh.
And it's difficult because others in the discussion, often because they are in over their heads themselves, think all sides are equal, that all theories are valid, even though we know academically it's not the case. In addition, we are so terrible as a species at actually being objective, even when we think we are. But often we don't actually judge people on an objective measurement of concepts like niceness, but on what we expect from the individual. So, when we live in a society that tells us that women should be quiet, demure, nice, and then men should be aggressive, loud, steadfast, we will call women vitriolic for saying the same thing that we considered to be a symbol of restraint from a man.
It's strange to me sometimes that gamers don't notice this. Games, in many ways, are meant to deal with those exact issues. That's why people can be so picky about dungeon masters who fudge dice rolls. They don't want their success (or failure) to come down to how the DM was feeling at that moment in time. That's why many games that allow for narrative control often have a system for bargaining and a lot of advice about talking about things up front.
So, what I ask in the end is that people start questioning some of these assumptions they've made about all manners of things: gender, biological sex, race, ethnicity, sexuality, sexual orientation, the color of the sky, etc. Try to find ways to talk about these things that don't create a paradox. And let's see where it can take us.
War Witch (also called Rebelle) follows the life of 12 year old Komona (Rachel Mwanza), a child soldier from a rural village in Africa. The movie starts with her being kidnapped from her village and forced into service. The invaders give her a horrible choice, kill her parents with a gun or watch them butchered with machetes. The movie doesn't pull many punches. There is kidnapping, war, rape and attempted rape, and murder. However, under all of that is also a tale of love and survival. It keeps the protagonists human despite the inhumane acts around them.
The rebels drink "magic milk," a hallucinogen created from tree sap that is believed to give magic powers. When Komona is the sole survivor of an ambush due to warnings from ghosts, her group believes she is a witch and it falls onto her to be able to determine when and where government soldiers might attack next. She befriends a fellow soldier, an albino boy named Magicien who is protective of her and practices a form of magic of his own.
The movie was written and directed by Kim Nguyen, a Canadian of Vietnamese and French ancestry. He was inspired by a Burmese story of child soldiers. It was filmed primarily in the Democratic Republic of Congo, using local actors. While it is written and directed by a foreigner, this story stays local. Unlike many movies set in Africa, it is not told through the eyes of a white person and no one is saved (or directly harmed) by whites.
I love this movie. Komona and Magicien aren't portrayed as helpless victims. The complicated feelings that can result from these experiences comes through. The struggle Komona has between the traditions of her family and the world she finds herself in grounds her character and help the audience to connect with the story. Nguyen did a wonderful job of changing the story beats to help the audience along. There are moments of levity and hope mixed in at just the right time amid the despair and loss.
I also think the movie did a good job at showing how gender would influence a child soldier's experience. At the age most of these children were taken, there isn't a ton of difference between the sexes, especially when you factor in that most of the "work" is being done by guns. While not directly addressed in the movie, it's important to note that about 40% of the world's child soldiers are girls and that their role is much more complex than the typical "sex slave" narrative often propagated.
As for using the movies as inspiration for tabletop roleplaying games, the use of children in war is nothing new. Many fantasy and science fiction stories explore similar themes. For some groups who want to roleplay a similar scenario, this movie would provide an insight that perhaps isn't always seen or discussed. Given the use of magic in the story, I could see a number of the scenes translated into many fantasy world setting. I could see it working best in a system with narrative currency, since part of the movie is about people who lack power trying to carve out a life for themselves. It also provides some examples of how someone can try to come to terms with the horrors of what they've had to do during war. How do you work past being forced to kill your own parents?
I found the movie through Netflix and it was available in the US for instant streaming. It appears to also be available through Google Play and Amazon Instant Video. It is primarily in French with English subtitles. The movie won a number of awards and was a nominee in the Best Foreign Language Film at the 85th Academy Awards.
Jared and I watch a lot of video game play throughs together. There are more video games out there than we have the time (or money) to play but knowing about them is a great idea given what we love to do. Additionally, some of the commentators are just awesome. Recently we watched one that just blew us both away, Jesse Cox playing the first act of Broken Age by Double Fine Productions.
Two years ago, Tim Schafer and his company Double Fine Productions asked fans to fund his idea for an point-and-click adventure game through Kickstarter. Originally asking $400,000 to create both the game and a movie about creating the game, they raised $3.3 million. Promising to put the extra money into the game, the result is just beautiful. Not only does the game use great voice actors such as Masasa Moyo, Wil Wheaton, Jennifer Hale, Jack Black, Ginny Westcott, and Nicki Rapp, the art is amazing under the lead of Nathan Stapley and the music ties the whole game together.
Over the course of the game, you play two different characters, both question authority and tradition in their attempt to be heroes. Vella, a maiden from the village of Sugar Bunting is expected to dress up in a fancy costume and sacrifice herself for the greater good. In this case, it's to appease Mog Chothra, an ancient creature from far away who visits the villages every 14 years. Out of fear of having their villages destroyed, they hold maidens feasts where the girls are on the menu. Vella, encouraged by her grandfather, thinks there has to be a better way and sets off to find a way to kill Mog Chothra.
The second character is Shay, a boy in spaaaccceee...er, sorry about that...a boy in space. He is watched over by the ship, largely through a computer interface that represents his mother. After a hearty breakfast of cereal (I particularly liked the one named Soylent Dreams), he's given a choice of missions to undertake such as saving people from an ice cream avalanche. We quickly learn that he is in a protective bubble in the form of a ship. He feels like there has to be something more out there.
I can't quite give a proper review of the game as I had watched the entire play through by Jesse Cox before playing it myself. I grew up playing point-and-click adventure games like Kings Quest and I love the genre even if I didn't always love the finickiness of some of the older games. For instance, Jared and I have been watching "I have no mouth, and I must scream" and I don't think I'd ever play that one. The people playing it are often frustrated with the difficulty in clicking just the right pixel and figuring which of the commands are the right one to use.
Broken Age is different. Gone are the multiple commands and limited vocabulary. With very few exceptions, the pixel areas are rather forgiving. You interact with the environment by clicking and/or dragging items from your inventory to the environment element you want to interact with. While watching the play through, I never felt stuck although there were times when the commentator wasn't quite sure what to do although I imagine it's hard to give commentary while playing. The simplicity of the game play isn't for everyone, but I thoroughly enjoyed the game.
The humor throughout was refreshing and often made me laugh. While I think gender definitely influences the adventure each is on and what is expected of them, no element of the game feels gendered. I also love that Vella is definitely a self-rescuing heroine while Shay is someone who likes to rescue others and that the creatures he rescues don't have a gender. Overall, I found the game delightfully subversive.
The main difficulty I see with the game is the price. On Steam it is currently $24.99 for the base game and $29.99 for the game with soundtrack. I played it in about 3 hours but I had already seen a play through. In one of the reviews I read, the writer said he played it in about 5 hours of casual play. I was worth it for me and I'm glad to support the game but I could see it an issue for wider adoption. The other difficulty I see is that the second act isn't out yet and there doesn't seem to be a firm release date for act 2. Act 1 leaves on a cliff hanger, so I could see some fans wanting to wait so that they can play the whole thing through at once.
All that said, please check this game out. Not only does it have a female protagonist, but she is a person of color. Both main characters question the world around them in important ways. The story, art, and music are all superb. It's a great example of innovation in gaming. Now I must find some way to be patient until Act 2 comes out.
This afternoon we found ourselves in a local game store, The Games People Play. Fred took the opportunity to buy one of the games he's loved for years, Diplomacy, and I splurged on a few items: Once Upon A Time (a card story telling game by Atlas Games), Story Cubes - Voyages, and two knowledge card sets, Forgotten English III: Long Lost Insults and African American Art.
Forgotten English III: Long Lost Insults
The set of insults should be good fun for gaming, allowing me to throw out random insults at player characters. Each card has the word on one side. The other side often has the word's definition, source for the definition, and an illustration that shows or evokes the behavior referenced by the insult.
Examples of Use:
- My rather straight-laced character always worries that the new people she meets are sinful. I select a card at random and say that she hopes that the new person she just met isn't one of those people. "Did you see how he just interrupted their conversation like that, asking such foolish questions and not letting them get on with it? I hope he's not a nargyle!"
- During character generation, whether for an NPC or PC, I want to add a unique character aspect. I select a card from random and apply that insult to the character. For instance, if I pick rum-gagger, I should make a bard who loves to tell her stories of woe wherever she goes, trying gain the pity of the poor folks who hear her tale.
- The PCs decide to go in a direction you hadn't anticipated and you need to create a scene for them and quickly. Let's say that they go to see the local magistrate. You could pull a card and have two or more parties there trying to figure out what to do about the insult. If pre-planned, it could give background information on the NPCs.
- Some of the images could easily inspire NPCs, scenes, adventures, and more. For instance, the back the Hogs-Norton card contains two well-dressed humanoid pigs.
- Party game: Everyone gets an package with the list of insults, definitions, and one of the cards. They then have to act like a person referenced by the insult. Other guests have to figure out which you are. Using rules similar to Dixit, you get points based on how many people guess which insult you personify so long as at least one person got it but not everyone.
African American Art
The second set of cards will find a variety of uses in my life and games. I've wanted to become more knowledgeable of art and artists for a while and African American artists and their art are one of the areas where I'm least knowledgeable. By becoming more familiar with African American art, I'll be more likely to include and suggest pieces that would work in my games. Additionally, for games that are meant to fit into our history, I will enrich the characters I add to the game world. For instance, a number of these artists would work well in a game set anytime from the mid-1800s to the mid-1900s. Finally, picking a piece of art can bring all sorts of inspiration to my games since the art runs the gamut from landscapes to cityscapes to portraits to abstract works.
Each card has a piece of art on one side and information about the piece and the artist on the other. These cards appear to be made in collaboration with The Smithsonian National Museum of Modern Art, so it also includes details about the art such as call numbers, media used, and size. Just as a note, one of the limitations of this set is that it leaves out many contemporary artists.
Examples of Use:
- A scene takes place in an art gallery or museum. The cards could be laid at random to provide ambience or chosen beforehand to support the story being told.
- A game scenario, such as a Spirit of the Century game, takes place during a time period with multiple artists. The artists could be used to inspire characters in the scenario.
- Playing in a game set now or in the future? Pick a piece from the deck that would interest your character. Research more of the artist's work and use that art at the table as a way for her to speak.
- Tell a story using the cards. Each person takes a turn as storyteller, taking one card from their hand and using an element of the piece of art to add to the story.
The company that makes these sets, Pomegranate Communications, Inc, has a number of other sets that might also provide inspiration such as these.
- Black Film: A Quiz Deck on African American Movies, Actors, and Directors
- Great African Americans
- African American History
- African American Wisdom
- African American Women
- The Civil Rights Movement
- American Abolitionists
- Who Was She? A Quiz Deck of Notable Women in Literature
- Who Was She? A Quiz Deck of Notable Women in Music
- Royal Women Quiz Deck: Queens, Consorts, and Concubines
- What Do You Know About Women in Sports? A Quiz Deck
- Women Explorers
- Women Who Dare Vol. I
- Forgotten English
- Intoxicants & Potions: Forgotten English II
- Mathematical Games
I enjoy props at a table and I find that toys can often make for wonderful props. For example, at a variety store a few years ago, I bought a miniature Stonehenge set.
Inside the box there are three groups of things: puzzle pieces for creating the base of Stonehenge complete with numbered areas to help you with placement of the pieces, the "stone" pieces, and a booklet of information about the site.
Even without the stone pieces on top, the base could be used to help describe an area in a game. Anything could be in those numbered squares. For instance, they could be statues (or living things turned to stone). You also could hand out the puzzle pieces over time as pieces of a map or an ancient scroll that showed how certain artifacts had to be placed in order to complete an intricate and ancient ritual.
In addition to the base, the construction of Stonehenge could be used in multiple ways. For instance, it could be off to the side as a form of clock to show how much progress an adversary has made towards obtaining their goal. Or the PCs could be tasked with finding some or all of the pieces of Stonehenge and put it back together. Or maybe the dragon they fought had knocked the pieces down and it is up to them to set everything up right again. Additionally, the fully finished model could be used as part of a puzzle that involves how light would shine on the location at a certain date and time.
The Stonehenge set was made by a company called Running Press. Amazon has a number of their kits.
Similar to this set is another toy I found (although I didn't buy it quite yet). At a local store, I saw a toy penguin that is made up of seven stackable wooden pieces.
As with the Stonehenge set, this could be used as a clock for either the PCs or their adversary and help illustrate their progress towards a goal. Similarly, one could take the image of an important NPC or location in the game and create a puzzle out of it using card stock or cardboard. The nice thing about the puzzle is that it's possible that the players can guess it before the final piece but it helps keeping you from giving too many clues at once. However, if they still can't get it after they have all the pieces, it may be time to allow them access an expert or take 20.
What sorts of toys inspire your games?
When we talk about women fighters in medieval-inspired fantasy games, people will often go on about how we're really trying to reinvent history. In some ways, they are right. Few women fought in organized armies at the time and most of history was written about those armies. However, in many ways they are missing the point.
Most Men Didn't Fight
A combination of ancient and modern warfare clouds our understanding of much of Medieval Western European combat and armies. We're used to large standing armies and large drafts to create larger and larger armies, especially in the two World Wars. We're used to large percentages of young men and smaller percentages of young women shipping off to war.
This view of war would have lost many Medieval wars. The simple reason: food. We have much higher crop yields today, coupled with machines to make harvesting easier, and this frees up more hands for the war effort. I read on one site that we're talking about something like 1 in 30 seeds would mature to feed us in Medieval Europe versus 1 in 2 to 1 in 7 today.
Lower crop yields required much more land and labor than today. To send significant numbers of men, especially young men, off to war would have put the fields and harvest in jeopardy. The exception to this would be the sons of nobility. Since one of the defining characteristics of the nobility is that they didn't work with their hands, they often didn't work the fields. And since titles couldn't be shared or split and a titled family often needed as many resources as possible, spares didn't always have much of a future to look forward to.
Since the overwhelming percentage of men were commoners tied to land and were needed to farm it, the vast majority of men simply wouldn't have been involved in the formal military campaigns of the period, the very same campaigns we often rely on for our information about medieval warfare. We ignore this for games like D&D because it's just not exciting. If it's not exciting for male characters to keep to historical realism, I might suggest it's not exciting for female characters either.
Overlooked Combat Opportunities
With the focus on formal military campaigns, other sources of combat experience often are overlooked. For instance, we know of a number of peasant uprisings during the period. Rebellions have long recruited whomever they could get and have been a source of opportunity for women who yearned for something more. Likewise, when under attack, women could be employed in a variety of defensive positions. They could pour boiling water from above.
In addition, women have long provided combat support roles throughout history. Wives, daughters, and other women might accompany a military campaign. Some would have been noble women, often attempting to get pregnant since that was their and their husband's duty.
Why Do I Find This Important?
There isn't as much documentations on women in these positions in part because it just wasn't that important to the people at the time. Portraying women as independent and strong went against the typical narrative of the day. But when we look at the vast amount of data from the past 300 years, we see plenty of evidence that the formal narratives of the time often differed from women's lived experiences. We should keep that in mind as well as remind ourselves of the limits of history:
- Someone had to find the information important enough to record.
- Future generations had to find the information important enough to save.
- Our generation has to find the information important enough to seek out.
With all of that said, I'm not arguing for historical realism in the majority of games, such as D&D. Instead, I'm suggesting that we cease using inaccurate "historical realism" as an excuse to perpetuate the gender bias and stereotypes we have today.