It's been a while since I've written about the Prismatic Art Collection here and I wanted to share some of the cool stuff that's been happening.
Backer and Donated Art
We offered character portraits as a reward to some backers and other people have been nice enough to donate some artwork they own. We expect more backer art over the next month or two, but here is some of what we have so far.
Concepts, Sketches, and more
Once I had the backer art requests to the artists, I was in a place to start commissioning our own art. We're not far along yet, but I'd like to share what we have so far.
Farewell to Fear
Finally, we were able to work a deal with Machine Age Productions to release all of the art developed for Farewell to Fear to the collection (and into the Creative Commons). As a warning, some of the images in Farewell to Fear have naked breasts, much in the way you might see them in National Geographic.
My friends and I have been working on getting a new gaming group together. Our old group split up a bit, two of them moved away around the same time the third welcomed a baby girl to our awesome world. Those of us left kept talking about getting a game together but no one felt the fire to get it started. Recently that changed for me and I’m now planning a new campaign.
I realized a few things about myself from the last one. I much prefer to play an episodic campaign, with more in common with say Doctor Who than Lord of the Rings. The stress of making sure I can hold up my end of an epic tale that rivals the struggle in Mount Doom gives me too much anxiety. Plus, I really enjoy both not railroading players and interacting with their characters’ stories more than my own.
One thing I’ve struggled with in the past is making their choices matter as much as I think they should. I’ve done my best, doing things like showing them the spriggan whose life they spared went on to follow his life’s ambition and start a bar in the middle of the woods with an eclectic, but friendly, clientele.
I recently played a simulation game called Dungeon Village. I frakking love that game. Essentially, you are the planning manager for a small village near a number of ruins and monsters. Your job is to make the town as appealing as possible to adventurers, getting them to not only spend money in your town but also hopefully get them to settle down and make it their home. You do this by building various shops and attractions and throwing events.
While I loved the concept of town building as part of the game, I wasn’t sure how to make it matter in terms of an RPG. Then I read the Flatpack RPG by Machine Age Productions. Now that game has a few other elements that I’d love to borrow (such as using other puzzles and games to simulate in-game challenges, more in the future), but for this, it’s the Flatpacks themselves that have me interested. In this game world, you play young or young-at-heart WRENCHes in a post-apocalyptic world. Before the big apocalyptic event, people had invented various types of buildings that folded flat for easy storage and movement. WRENCHes find these buildings, bring them back to their hometown, and set them up. As they do this, they gain resources they can use for future challenges, including access to specialists.
What I’d love to do in my new campaign is something similar. I want to set this game during a war, giving the PCs the job of protecting an important part of the supply route, most likely a ferry. They might play soldiers, medics, or even regular townspeople being asked to pitch into the war effort. They may have volunteered or be forced to serve. But all of them will hopefully be invested in improving the town. I’m using a lot of the research I’ve done on what happens when war is local. Think M*A*S*H but in a fantasy setting.
We’re likely to use D&D Next for the main portion of the campaign. The backgrounds, and especially their traits, should work pretty well for this. A number of the traits require access to something like a library or a temple for there to be a benefit. I’m also thinking of linking specialties to improvements that can be made to the town. Want to add a new skill, such as Planar Lore? Perhaps it’s time to requisition new books or find a way to entice a specialist to move into the town.
Also, since it’s war time, resources overall will be fairly constrained and they may be expected to get what they need or want on their own. Perhaps they decide that there’s too much traffic through the town for the ferry to keep up. They could build a new ship or perhaps design and build a bridge. Both need wood and some study. Want to make the work go faster? Find a way to provide enough nighttime illumination to have additional shifts (fire beetles might help with that).
By linking this to a town setting during a war, we should have a variety of stories to tell and a variety of characters we can use. This means some sessions can be closer to a more traditional playtest experience while other sessions can play with the rules a bit. It also means we can use other games some nights. For instance, characters that can be NPCs during the D&D Next sessions could be PCs for another system such as Dungeon World or 13th Age. We also could create Fiasco playsets to use on the nights when we can’t quite get a full group and play out some crazy shenanigans (I sense a play or talent show to raise morale in our near future).
I realize it’s still a rather loose idea and needs to be worked out quite a bit more, but that’s where I am at these days.
A lot of great discussion has happened since yesterday’s article
Minotaurs, Udders, and Worries of Gender Stereotyping. It seems that two of my points about bias might have been lost a bit beneath all the other words so I’d like to talk about them here. Both of these biases individually and together reinforce the idea that the female is “The Other.” This feeling of otherness can drive away some players, particularly women who are unsure if the game is right for them. So I think it merits examining these issues a bit more.
Female as Marked
What is “marked?” Here’s a basic definition from "Marked Women, Unmarked Men" by Deborah Tannen.
The term “marked” is a staple of linguistic theory. It refers to the way language alters the base meaning of a word by adding a linguistic particle that has no meaning on its own. The unmarked form of a word carries the meaning that goes without saying -- what you think of when you're not thinking anything special.
Notice in Jon Schindehette’s article, there was no discussion of what defines a male minotaur. In fact, we rarely discuss what defines males of any race (although we might talk about average height, weight, etc) This is because we consider the male to be the default and the female to be the exception or “marked” condition.
Now at least one commenter argued that this is because there is an overlap in male characteristics, in that both minotaur and human have a penis, but there is a difference in location of the female mammary glands, and, thus, we need to discuss this. However, the issue here is that both breasts and udder on a fantasy creature could be just as easily hidden as a penis often is. There’s no reason to believe that a muscular minotaur wouldn’t be flat chested and have her breasts covered by a hairy chest. Likewise, lower body coverings could easily cover an udder and, if the minotaur tends to be naked instead, then whatever covers the penis could cover the udder as well. As a construct of the human imagination, we can create this creature however we wish. That we believe the male intimate areas would not be noticeable but the female ones would is part of this bias towards marking women.
Another part of our bias is focusing on the mammary glands as a way to mark femaleness. While there is a fair bit of variation due to time period and location, heterosexual males often (but not always) have a bit of a fascination with breasts. That’s one of the reasons why the “male gaze” often focuses on them as an important body part. However, this way of looking at the female body is far from universal. Kate Elliott explores this in her post, The Omniscient Breasts. Focusing on breasts as the way to distinguish a female character can easily run into this problem. In my opinion, it fetishizes them and takes them out of the context of the character as a whole.
In addition, I’d suggest that this may be one of the main reasons we end up with characters that look like they’ve had a boob job and are dressed in clothing that shows off their breasts, such as boob plate, corsets, and boob windows. I can see the thought process now: “Well, they told me they want a female character and that female characters of this race are distinguished by their breasts....If I draw the breasts too small, they might not be noticeable, so, to make sure I don’t have to redo any of my work, I better create the fantasy art outfit equivalent of big neon signs that say ‘HERE THERE BE BREASTS!’” If your intention is to cut down on artists depicting women in this fashion (and I’ve heard multiple times from multiple people that it is), perhaps telling them that breasts are the way to define a character is counter-productive.
The main reason I wrote yesterday's article and this one is that I think we should be aware of the biases not only that we hold but that exist in what we consume. Being aware of a bias doesn't mean that we must stamp out all occurrences of it. As Elliott discusses in her article, there are times to write a character using a "heterosexual male gaze" point of view, just as there are times we should use the "heterosexual female" or others. Rather, it's a check to make sure that we are using the one that aligns best with the story we are trying to tell. In the case of D&D Next, I'd hope that game material that discusses races and classes clings more to a gender neutral perspective than some previous editions have.
In two recent posts, Jon Schindehette and James Wyatt explore the minotaur and question what defines a D&D minotaur. From everything I can tell about D&D Next, the entire mythos of D&D is getting a once over in preparation for the core books and two of the important guiding principles seems to be 1) does it feel like D&D and 2) is this creature/class/background iconic enough. For the latter, I believe they want to make sure that each creature seems unique and is instantly identifiable.
One of the issues with minotaurs is that over the years the creature has gone from the one-of-a-kind monster created as a punishment for defying a god's commands through the union of a snow-white bull and a human woman and found in the labyrinth beneath Crete to a full race with society, offspring, and the like. Since there was no society in the original stories, the earlier D&D authors had to create one. They often centered on the beastly qualities of minotaurs, and that makes sense to a degree. Hence why minotaurs often have a gore attack or are described as being incredibly strong.
It's not wrong to have some races who exhibit these traits, and I can see the minotaur as being one where it makes sense to have so a strong dichotomy between sexes. I do quibble a bit on a few elements though on how things are presented.
Physically representing the gender of a minotaur
In his article, Jon has a section on, if there are female minotaurs, how should their sex (or gender) be signified in the art. The poll has three options: human-styled breasts, cow-like udders, and they should just all be male. This left me with some questions. Why do we only talk about how females should be represented physically, but not males? Do they not see how this reinforces that females are the other? And why is the first thought to represent gender as a biological dimorphism rather than in another way? I mean, we don't have to display the male minotaur's penis to show that he's male (even though it would also fit with our mythology since bulls are often tied to virility and fertility).
Minotaurs as a symbol of Strength and Power
From James' article we have this possibility for the minotaur origin story in D&D:
Sometimes, when Baphomet’s petitioners plead with him for strength and power, he rewards them by transforming them into minotaurs. Some cultists thus transformed view it as a blessing, others as a curse, and each viewpoint largely depends on the opinion they held of Baphomet before the transformation.
This quote in itself isn't worrisome, but I start to get a little nervous when we consider that according to Jon's poll, minotaurs might be male only. One of the issues I've had with D&D (and part of why I didn't play for a long time) was that all-female races were often tied to looks, either being so beautiful that poor adventurers, especially male ones, couldn't help but want to have sex with them, or so ugly that no one would want them and that made them bitter old, well, hags. All-male races tended to be beasts of some kind, influenced by their out of control appetites, whether they be sexual, as with the satyrs, or gastronomical in nature. If minotaurs are male-only, this continues the tradition of gender stereotyping where it doesn't make much sense. I realize that cows are often seen as docile, but they are also strong.
Things I'd Love to See
Again, it's none of these are at the "this is so obviously sexist and I will not purchase these products" level of thinking, but it makes me worry a bit and is one of the difficulties of looking at individual races without seeing the whole picture. How many other races support this rather human-based dimorphism?
Focus on Needs and Motivations More than Sex and Gender - What do these races eat? Are they civilized? If so, what do they produce and trade to others? What are the race's core needs - food, shelter, companionship and the like. In just about every society, all sexes contributed more than just children to the community. If you need gender roles, give everyone jobs beyond procreation. In some early societies, physically weaker (but perhaps faster or higher endurance) people would help herd deer and other game towards the skilled and physically stronger hunters. Find interesting things for everyone to do. Characters tend to have very similar needs and motivations; their sex and gender often influence how they satisfy them.
Write from the Point of View of the Female Members - My experience with many previous editions is that they took either an outside observer stance or spoke about the society from the male viewpoint. The main exception I can see are the Drow, but they are so incredibly problematic in my opinion that I can't advise someone use them as an example. I'd love to see more of a person on the ground approach.
Value Female Contributions Equally (Where it Makes Sense) - Yes, we will have some societies and/or races that are horribly sexist (like the Drow). However, as noted above, in many societies, especially where there isn't an overabundance of resources, everyone has to contribute to society. In societies that have gender roles but aren't meant to be oppressively sexist, consider valuing the contributions from female members of society as highly as those from the male members. Remember, many fantasy societies still rely heavily on a barter economy rather than a currency based one. Food and clothing was often a more immediate need than a new sword or iPod and, in settings that lack of technology, could be a bit more expensive to get.
Understand the Biases in the Source Material - Many of those myths we use as the basis of our stories, including D&D, were meant to transmit values to younger generations. The heroes and monsters were meant to convey what behavior would be rewarded and punished by the societies that told them. Likewise, many of the earlier editions took a field guide approach to discussing creatures, concentrating on what they ate and looking at their mating and childrearing habits. One thing to consider there is that there's a long history of scientists trying to use nature to reinforce what they considered to be proper human behavior and they hid or would not report on behaviors that deviated from their expected script.
Is Sex-DIfferentiation Important for this Race? - Consider how important sex-differentiation is for the race. There are lots of animal species out there where it's rather difficult for humans to tell the sexes apart. They still seem more than capable of reproducing, so why should it be so important to every race in a fantasy world to outwardly display their sex?
Move Beyond Primary and Secondary Sex Characteristics - This emphasis on primary and secondary sex characteristics, especially of women characters, feels a bit creepy to some women and men. Seriously, a female character should be more than her organs, whether they be her legs, her breasts, or her skin. Many societies find it important to mark the transition to adulthood in some outward way. Perhaps we can use those as signifiers instead, and have them for all sexes and genders in the society?
Consider non-heterosexual and non-cisgender viewpoints - Throughout human history, we've had differing opinions on close and romantic relationships between members of the same sex. We've also had differing opinions on the importance of gender and even whether or not gender is binary. By bringing some of that diversity to the gaming world, we can cut down on some of the sameness we often experience.
Remember Rule Zero - Rule Zero doesn't just work in the game, it happened in real life. When war came knocking, people often didn't care whether or not so-and-so didn't want women to have weapons. Women are just as intelligent and resourceful as men and they would use what they knew about to try to fight off invaders.
Stop Giving Gendered Answers to Poll Questions - Seriously, guys, enough with poll answers like "My kid sister could kick its butt."
A frequent topic in gaming and game socializing has to deal with respecting personal boundaries. Just about everyone has a line (or multiple lines) that they prefer people don't cross. Sometimes they are common boundaries, part of our culture and/or subcultures. Other times they are personal and often point to our individual traumatic experiences. These boundaries may shift, for instance I know my husband has different boundaries from my close friends and they have different boundaries compared to complete strangers.
One of the difficulties we face, particular online and at gatherings where people outside our core social groups might be present, is a misunderstanding over boundaries. I feel there's a tendency to normalize the behavior of our friend groups and assume that new people we meet, especially ones that seem similar to our friends, will welcome the same behavior. When we act in ways that others have welcomed and the person ends up not responding in the expected way, it's a form of rejection. That can be hard for many people to take, especially people who haven't experienced it before.
We also have an additional problem, at least in the US, of certain sayings that minimize and or dismiss the boundaries set by women in particular. "Boys will be boys," "you can't blame a guy for trying," etc, these all are meant to tell women that they should keep quiet when faced with someone who doesn't respect their boundaries and they tell men and women that the boundary crossing is normal and expected. It's not the person violating the boundary that's at fault, it's the woman who complains.
I bring this up because I've received quite a few comments recently that attempt to defend a person who disregarded either my own or another person's boundaries.
Do you like ribbons?
The first I'd like to bring up is a benign interaction that happened to me in a GenCon hallway. Sunday morning I rushing to get to a morning meeting. As I walked down the hall, someone came up to me to ask a question. From what I could gather in the brief interaction, he had seen that my badge had some ribbons, he wanted to play Settlers of Catan, and asked if I wanted to play. I told him thanks but no, I had a morning meeting to get to. He said ok and we went our separate ways.
For the most part, not much going on there. Except it did bother me a bit. I couldn't figure out why he thought he should stop me, even though I was in my city-walking pace, to play a game. There were a fair number of other people around. I don't think I made eye contact with him first and I was walking pretty quickly, not sitting or standing. As far as I can tell, I wasn't anywhere near the actual games area, although he could have interpreted the ribbons I had gotten from Susan Morris and E Foley to be Catan resource ribbons. Was it because I was wearing a skirt? Or maybe he was hitting on me? I didn't know at the time and still don't know.
I wrote about this experience on G+ not to say that the guy was horrible, because he wasn't. However, I did feel a little uncomfortable and I wanted to explain why, partially in a naive hope that it would enlighten people about the ways some women think. The response from some people, however, was quite disheartening. They wanted so hard to defend the guy and explain to me why I had no right to feel uncomfortable.
Note to self - if inviting a random stranger to play a game at a con, read badge and make sure it's not +Tracy Hurley because, holy crap.
But I also think that sometimes an invitation to play Catan is just an invitation to play Catan. And if every time a male has to read the mind of every female before inviting her to play a game at a convention? Screw it. He'll just ask other dudes to play.
Sorry everyone, if my defense of random ConGoer's completely normal and not-at-all inappropriate actions translated into me being a bit of an ass. It's probably this penis I have that's causing all the problems. Stupid penis!!!
If I am reading this right, you are interpreting a guy inviting you to a game as hitting on you. And making a pass at a woman is bad because she may not be comfortable?
No offense, but if that is the case you are taking it a bit strangely. People interact with strangers all the time and sometimes they want to follow their biological urge to reproduce. That's life.
okay, that detail wasn't clear to me. the stopping you while you were obviously in a hurry has nothing to do with being a horny guy. It's just rude. But life is full of rude people, so I stand by "that's life"
That being said, don't blame guys for being interested in women. That's what they do. Men try to be agents, they see women as goals to be attained. This is biology.
Tracey, you can find it as fucked up as you want. Humanity is not pretty, it's a biological-social mess. I don't blame you for wanting to vent when a person inconveniences you, or makes you feel uncomfortable, but dudes are gonna try to do what their body tells them too. Maturity is the control of these urges. You dealt with an immature person.
Throughout these comments (by two different men, but lots of men said awesome stuff, so keep that in mind too), there are some common themes. The first is a bit of myth about men and masculinity, that is men can't help themselves whenever they see a woman they are attracted to. We see this a lot in classical mythology and the motif is repeated in many stories since. People who buy into this sometimes believe it's hatred of men to be made uncomfortable by this "fact" of male sexuality. The issue is that men are more than capable of comporting themselves and not violating another person's boundaries even when their passions are aroused. It's a skill people learn as they grow up. The problem is, if you tell them they don't have to learn it, some won't.
Another common theme is the belief I'm supposed to care more about the man's feelings in this than I am my own. That the man's desire to tell me something or interact with me should be given more value than my desire to move from point A to point B in a timely and efficient fashion, and that by not valuing that person's desire more than my own, I'm not being nice and am someone who should never be randomly invited to play games. But here's the deal, the context is all wrong for those conclusions to be the ones drawn. If I had been in the gaming area, or come up to a group playing a game, the question, as asked, would have had a context that would have removed the elements that made me uncomfortable.
Some of the responses to the story made me much more uncomfortable than the event itself. I was getting the clear message that I was not allowed to establish boundaries if they violated what some people feel are men's rights to chase women.
Who uses the word banging anyway?
A few days before the Catan incident, I was at a bar near GenCon relaxing with some friends. Trevor Kidd and I were sitting on bar stools having a nice chat when this guy comes over and starts talking to Trevor. I listened to the conversation for a bit and at some point the guy realizes that he mistakenly thought Trevor was someone he talked to earlier. He decides at that point to introduce himself. They exchange names and then the guy turns to me and says, "Hi girl who's banging Trevor." Yeah. I had a choice to make there. I could have let that ruin my evening. I could have gotten mad. But you know what, I was having a pleasant evening. I was enjoying hanging out with Trevor. So Trevor and I just sort of looked at each other and laughed.
I'm glad I was in a place where I could do that, surrounded by friends who probably would have understood if I hadn't taken the laugh it off approach. But it also made me feel nervous and uncomfortable. I was with a bunch of other people are in the industry. I have a column for Wizards of the Coast, I have a well known blog, I freelance, and I do podcasts. I was on a panel the next day. Yet, to this guy, the main thing he considered about me was that I must be there for a sexual reason. If I hadn't known the people so well, I probably would have been really embarrassed and would have felt unsafe enough to leave the bar.
Telling people they make you uncomfortable is disrespectful?
This story isn't about me, but it has some of the same themes. Recently, my friend Chelsea had a guy on twitter who was saying things to her, at first over DM but then publicly, that made her feel uncomfortable. He made it clear that he paid enough attention to how often she tweeted to be able to assume that she was asleep, a comment he sent via direct message. After she unfollowed him, he started making comments to her publicly, including telling her that she needed to know that she is pretty. Even though she rarely replied to his messages and had even unfollowed him, he didn't get that he was making her uncomfortable.
When her boyfriend told him to stop contacting her, the guy went after him, doubling down and saying he had a right to say what he wanted, that it was freedom of speech and that she should just ignore him if she didn't want to hear it. He even went on to seek out some of the people who were providing her support.
At some point, she realized that this guy who wasn't respecting her boundaries also was a customer at the store where she works. That made her feel uncomfortable and she said so. The person responded by claiming she was disrespecting him and sending a tweet to the corporate twitter account of the place where she works. He claimed that she should not be able to say this about a customer because he was not acting creepy.
I've seen this a fair bit unfortunately. Some people, in many of my experiences men, get upset when people point out that they feel uncomfortable around them. That someone finds them creepy is disrespectful and must be "corrected." But here's the deal, when you not only ignore someone's boundaries but claim you don't have to respect them because you have a right to something, you are being creepy. Being creepy isn't about particular actions or behaviors (although there are some behaviors that are highly likely to cause that response within a particular culture), but it often is about not respecting a person's boundaries. Yeah, I get that sometimes it's hard to know what those boundaries are going to be in advance and that not everyone is great at picking up on non-verbal cues and that there are some medical conditions that make it much harder to discern these things. Most people I know get that too. But, there's a difference between unintentionally crossing someone's boundary (at which point, it's probably best to just apologize or at least step back a bit) and claiming that they have no right to set that boundary in the first place.
These repeated violations of boundaries and the arguments that women's boundaries don't have to be respected if they conflict with traditional male behavior are wrong. They make some women feel that it's better to opt out of the community and are one of the biggest barriers we have to getting more women to go to conventions and to participate in public spaces.
This year I had a real treat at GenCon. For the past few years, Susan Morris has created and run a game for Girl Scouts based on the Heroes of Hesiod adventure she wrote for Wizards of the Coast. HoH is a simplified version of D&D for kids. This year I suggested a Halloween sleepover adventure, in part inspired by a few episodes of My Little Pony and because dressing up and telling spooky tales are activities that many kids would have experience with.
For me, when trying a new game, I find it easier if the scenario draws from elements in my real life: traditions, holidays, occupations, and the like. Many kids celebrate Halloween in the US, they participate in dress up, and they tell stories. The costumes element of Halloween was an added benefit because the players could dress their characters however they wished, and one of the girls at my table wanted to be a princess and the other a unicorn (I ran a smaller table so we didn’t have as many players at first). Giving them this control over their characters seemed to get the girls more interested in the game.
We also tried to pick monsters that were instantly recognizable, had fun noises or movements we could act out, and that the players could interact with. The first monster was a ghost that I based a bit on Slimer from Ghost Busters. The ghost dripped slime over everything, including the heroes. If they tried to move after being slimed, they might slide in unexpected directions. (Playtest Note: In hindsight, the heroes didn’t move enough to make this important, so I might adjust it in the future.)
After that we had the zombie. I skipped it in my game since we started late and the smaller group size made things a bit more swingy, but many of the tables loved this monster. Susan designed it so that it could throw its brain at the heroes. If the brain hit and got stuck, the hero would then attack whomever had the tastiest looking brains around, turning on her fellow heroes. Some of the tables played with throwing the brain around at each other.
The next monster was one of my weird ideas, a possessed sleeping bag. It lept up from the ground to attack the nearest hero. If it succeeded, it covered her and anyone other than the engulfed hero who attacked it risked injuring the hero inside. We had quite a few turns where someone tried to pull the sleeping bag off of one of the poor heroes.
Finally, we had the imp who was controlling it all. On its first turn, the imp produced two copies of itself. These functioned like minions. The girl who picked the main imp to hit felt great about her choice and the others liked making the duplicates disappear with one hit.
The game went great. I could have been better about giving the girls more opportunities to control the story, but they still had a great time. One of them noticed that we had skipped the zombie and asked to fight it after the main game. She and another girl set up the scene for the zombie attack, they were watching a zombie movie on tv when the zombie on screen came through and started attacking them. One of them loved running away from the shambling zombie and they both wanted to stay clear of the brain. The girl who asked to fight it also asked for the adventure at the end. It was pretty clear that she wants to play again. Fortunately for her, her father is a D&D player, starting with 1st edition if I recall correctly. Since he played in the game, he should have a good idea of what she might like.
So, that was the Girl Scout game. I’m glad the girls enjoyed it and I would love to write more adventures for that age group in the future.
This morning, Pelgrane Press had a pretty awesome tweet:
RPG idea: define your character. Last thing - roll for character's gender.
— Pelgrane Press Ltd (@PelgranePress) August 10, 2012
So why is this awesome? Consider that while there are a large number of women who game, many groups are predominantly male and many of the content creators are male. As an additional layer, parts of the community feel uncomfortable about gender bending during games, that is having players play characters that are not their own gender. What this means is that many of the characters, especially PCs, are male and the focus is on male stories.
Given this focus on the male characters, it becomes easy to forget about women, particularly in games that claim some degree of historical accuracy. We've always had exceptional women and, in every society, women were rarely true victims and usually had their own sources of power. However, since those power structures tended to exist separate from the public sphere, they are left out of many history and gaming books. Furthermore the opportunities and challenges faced by women tend to vary depending on socio-economic class, but many of our stories focus on the interests of the ruling or upper classes.
Also, women's power tended to ebb and flow. Women have a long history in resistance movements in part because those movements often promised more freedom for them and also because the groups needed all the help they could get. During times of disease or war, women were called upon to fulfill traditionally male tasks. Someone needed to keep the farms and shops producing. For wars on local soil, women were called on to aid in defense. Even armies that marched elsewhere often had some women in the camp followers: wives of soldiers and officers, wives and daughters of the provisioners, blacksmiths, and the like, women who provided entertainment or other services.
The interesting thing about these stories is that while they were often promoted during the conflict, most often aren't spoken of after the conflict ends. Sure we might talk about the ones we can't ignore, especially if in the end it doesn't turn out well for the women, such as Joan of Arc. One reason for this is that it often didn't suit societies needs to talk about the bravery of its women when the men returned home. These acts of heroism and individual resolve were in direct conflict with the female gender role which stressed that a woman's worth was to be found through marriage and children.
My hope is this. Random rolling of gender should lead to a greater number of female characters. In order to make them unique and interesting, we'll have to look at history how it really was, complex. We'll start appreciating women's contributions to society and value what people like Molly Pitcher and Elizabeth Wynne. While I might hope that people would expand their ideas of what women are capable of, even if they decide to keep to the traditional definitions, I hope they might see that women often faced the same problems as men and found their own solutions within the framework they were presented. Finally, if more characters were women, I might hope that the audience would demand more artwork of women that was meant to fit their character and the world, rather than to serve as decoration.
 I don't point these things out to make a judgment about it but rather to explain how behaviors that are reasonable and rational might lead to unexpected and perhaps even unwanted outcomes.
The artwork is from Farewell to Fear.
During a recent discussion about Brad Murray’s No Contact, the issue of dealing with female characters in a game set during the Vietnam War came up. To satiate my own curiosity, I started researching women’s roles during the war. The beauty of Google is that sometimes you find things you didn’t expect to find. In this case, I found stories about women from the Vietnamese side, namely the long-haired warriors and other volunteers who did everything from road building to fire the anti-aircraft guns. During this research I came across the book, Even the Women Must Fight: Memories of War from North Vietnam.
Not only do I recommend this book for people who love history and women’s stories, but I also think it makes a great book for game designers and writers, especially ones who would like to include more female characters into their games. The book does, in my opinion, an excellent job of portraying the internal struggles of women as they deal with a society that views them one way but requires them to act another, especially in times of war. In addition, it explores the frequent revisionism that happens after wars, where men’s valor and bravery are often embraced and celebrated while women’s contributions are often reframed if not discarded.
By the time of the American War (what we call the Vietnam War), the country had a complex and sometimes contradictory view of women. The book’s title is named after a Vietnamese proverb, “when war strikes close to home, even the women must fight.” There’s a long history of women warriors in Vietnam including the Trung sisters, two women from a rural military family who lead a rebellion against the Chinese and Trieu Thi Trinh, (Lady Trieu), rumored to be 9-feet tall with yard-long breasts she threw over her shoulders while she fought against the Chinese. More recently, some believe hundreds of thousands of women were instrumental in the victory over the French at Dien Bien Phu.
This reality of warrior women contrasts with other beliefs about the proper place of women in Vietnamese society. As the book explains, confucian beliefs often asked for obedience from women, first to their fathers, then their husbands, and finally to their eldest son. Daughters-in-law were often expected to make their mothers-in-law happy. An importance was placed on male children, not only as a way of continuing the family line but also as a way of ensuring that women would be taken care of in their old age, especially as they were expected to not remarry if widowed.
Layered on top of this were the beliefs brought to Vietnam by the French, both in terms of how they viewed women and how they viewed the native Vietnamese people as a whole. A number of the women relate how it seemed that the French were willing to allow a number of discriminatory practices against women to continue under their rule, even as women in France enjoyed rights they did not have.
Finally, we have Ho Chi Min and his beliefs that women should be involved in the political sphere. For a number of women in Vietnam, this gave them hope that they would be able to live a different life than the one offered to them under the traditional beliefs. However, as with Confucianism and French doctrines, this was a foreign idea as well, brought in as part of a push towards Communism.
These varying and sometimes contradictory views of women mean that understanding women’s service and reactions to their service can be complex and difficult to understand. Women served for a number of reasons, from a desire to follow in the footsteps of the traditional tales of women warriors to a belief that women’s emancipation would follow victory to a pure sense of adventure.
Immediately after the war, while there were many stories about the men’s acts of bravery and valor during the war, the women’s stories often went untold. The book presents a few reasons for this, including male control over many of the media outlets, that male bravery is seen as something to embrace while female bravery makes them less feminine, a desire by some women to forget their service and move towards a more normal life, and guilt by some of the men over the sacrifices made by women during the war.
Those stories that did present the female story often reframed the women as being more sexualized or traditionally feminine than they were. In my studies, I’ve seen similar revisions of history after other events. The key here is that the war is recent enough that it’s possible to talk to the people who served but enough time has passed that many documents about the war are available.
Not only is the book an interesting study in understanding a foreign culture in terms of its own culture and how these complex feelings on the role of women in society might lead to their invisibility in the stories produced after the war, but it provides a lot of great information for creating strong female characters. The book repeatedly talks about how the experiences of the women survivors are different from those of the men. Many of them spent years fighting in remote jungles, often catching malaria, disfigured by injuries, and suffering from PTSD. While many of them fought in hopes they would be able to have a traditional life of wife and mother, the long years of war left them undesirable to many of the men.
Some decided that their inability to find a husband wouldn’t stop them from attempting to have a child. Artificial insemination was too expensive for most, so they had to find men who were willing to have sex with them in a society that frowned upon such relations. The number of children born this way lead to changes in laws and practices that led to these children being accepted as part of the village in ways they were not before.
Those who found husbands often faced another difficult decision. Exposure to chemicals during the war, particularly Agent Orange, increased the odds for many that they would give birth to a child with birth defects. Some decided the risk was too great and went childless in a society that judged women on their ability to have children.
Overall, this book is a great window into what is often the secret world of women. Many of the issues faced by the women, both during and after the war, are discussed in a mostly frank manner, although it is important to note that the interviews were conducted in the presence of a Vietnamese official. There’s a diversity in experiences in the book to show that the women had differing views about the war and their role in it as well as the ongoing role of women in society. It provides a number of tales of heroism, bravery, and leadership from women. Many of the war stories compare and contrast service experiences of men and women. Finally, it shows how and why women’s contributions to war efforts are often made invisible after the conflict ends.
Finally, if this is a topic you are interested in learning more about, the book has an excellent bibliography and also discusses some fictional accounts, including some movies.
For the recent Tome Show episode 200, we decided to play a game. I decided to create a mixture of D&D versions for the game to make it run faster. Since a few people wanted to see how the characters looked, I'm adding them here.
These are really quick characters I created from scratch for the game. I departed from tradition for the AC calculations. I gave each of them a special benefit or a few based on their occupation. We played a bit loose with the rules and had a ton of fun with the game.
Social skills: CHA
Knowledge skills: INT
Athletic Skills: STR/DEX
Butcher Baker (Fred)
HP: 15 + Con (Healing Surges: Con + 1)
AC: 10 + Con, FORT: 10 + CON/STR, REF: 10 + INT or DEX, Will: 10 + WIS/CHA
Weapon: Cleaver (Attack: +STR, Damage: 1d6 + STR)
Weapon: Stink bags (Attack: +DEX, Damage: 1d4 + DEX, on hit, target smells)
Sure strike (encounter): +STR + 2 bonus to hit
Quid pro quo: Gain a +Cha + 2 bonus to a negotiation check by offering quality meats.
Rod Huggins, Candlestick Maker (Randall)
HP: 15 + 2 (Healing Surges: 3)
AC: 12, FORT: 10, REF: 14, Will: 11
Weapon: Candlestick (Attack: -1, Damage: 1d6 + 1)
Weapon: Sling (Attack: + 4, Damage: 1d4 + 4)
Equip: Phallic shaped candles, 19 hard wax balls (slingstones) Backpack, Waterskin, Loaf of Bread, Jug of Wine, Torch, Tinderbox
Lighting the way: Gain a +WIS + 2 bonus to search checks (if aiding, the aid bonus goes from +2 to +4)
Unless turned off, always increases light of room one level (dim to standard, standard to bright)
Sager the Magician (Andy)
str 9/-1 dex 14/+2 con 11 Int 17/+3 cha 15/+2 wis 14/+2
HP: 15 (Healing Surges: Con + 1)
AC: 10, FORT: 10, REF: 13, Will: 12
Weapon: Dagger (Attack: -1, Damage: 1d4 -1 )
Weapon: Sling (Attack: +2, Damage: 1d4 - 1)
Magic Missile: (Autohit, 1d4 damage)
Web: (Attack + 3 vs Reflex, Restrained)
Cantrip: Ghost sound, mage hand
What does it say? +5 to checks for understanding text or languages
Tailor Alfonse Threadbare (Brian)
HP: 17 (Healing Surges: 3)
AC: 12, FORT: 12, REF: 13, Will: 11
Weapon: Dagger (Attack: +1, Damage: 1d4 + 1)
Weapon: Crossbow (Attack: +3, Damage: 1d6 + 3)
Pinpoint accuracy: (2 x encounter) +1d6 with combat advantage
STR 13 (+1), DEX 16 (+3), CON 14 (+2), INT 9 (-1), WIS 12 (+1), CHA 11 +0
Stuff: Sewing kit, feather boa, hand mirror, Jermone my floor length mirror bearer.
Apothecary Apothacus Maximus (Jeff)
HP: 16/4 (Healing Surges: 2)
AC: 11, FORT: 11, REF: 12, Will: 12
Weapon: Dagger (Attack: +1, Damage: 1d4 + 1)
Weapon: 7 potions from the following list:
1) Alchemist’s Fire x1 (Attack: +2 vs Ref, 1d6 + 2)
2) Grease x2 (Makes square slick, -2 penalty to Athletics checks)
3) Laughing gas x1 (Distraction, grants combat advantage until save)
4) Healing potion x1 (Restores full health)
What’s that? Automatically identify most common household items and a +2 to any other appraise or identification checks.
STR/DEX/CON 13 (+1), INT 15 (+2), WIS 12 (+1), CHA (+2)
Things: Random apothecary-ish stuff.
*Trigger Warning: Rape, sexual assault*
*Spoilers for Outlander by Diana Gabaldon*
During the recent Lara Croft discussions, some (including myself) pointed out how tired they were of the lazy use of rape in a number of stories, particularly fantasy and science fiction. This led to the question of which rape stories were “good” and, to be honest, I had a hard time coming up with any beyond perhaps Tess of the d'Urbervilles. For most of them, I felt that the rape, attempted rape, and sexual assault used could have been replaced with a number of other horrendous violent crimes and the overall story would not have changed, except maybe to be less sexualized overall.
Then I read Outlander by Diana Gabaldon. The bulk of the novel is set in 18th century Scotland and primarily involves multiple levels of Scottish society and British soldiers. As in the Game of Thrones, rape was a constant threat for women, particularly those who did not have political power through their relationships to men (although sometimes those relationships were also seen as reasons to “ruin” the woman as a political maneuver).
Lots of novels make use of rape as a background device, as an easy way to show how evil the time period was and as a contrast to today. However, Outlander goes further, making the act of rape and society’s views of it, part of the story.
- The main character, Claire, learns how to protect herself and is given self-defense lessons. She learns how to use the society’s low expectations of women to her advantage, giving her the upper hand in a number of occasions. She is forced into the position of welcoming a rapist’s advances to make it easier for her to kill her attacker.
- The worldview of her love interest, Jamie, is tainted by rape and attempted rape. He becomes estranged from his sister in part because his captor, Captain Randall, tells him not only did he rape her, but she carried his bastard child. This leads him to place the blame on himself and blinds him to the entire story of what happened between Jenny and Randall.
- Later in the book, we suffer with Jamie as Randall captures him again and he surrenders his body to Randall in exchange for Claire’s freedom. The way in which Randall rapes Jamie leads him to question himself, feeling that his body betrayed his emotions and his love for Claire. Through this, we explore the guilt often suffered by survivors, especially when Jamie says he couldn’t stop his body from reacting anymore than he could stop a cut from bleeding. We watch as he works through this grief and guilt.
A number of other similar situations appear in the book. A few of them, particularly in the beginning, might fit more into the flavor category, showing us how the world of 1740s Scotland worked. Overall, however, rape isn’t used just to establish how terrible the society or the people within it was. We get to examine not only the effects it has on the individuals, but on society itself, especially as we see Claire, a woman from the 1940s, deal with her desire to be a free and independent woman and the realities of a world where women who expressed their independence often suffered consequences for it.
Outlander deals with some dark aspects of the human condition but often does so with gravity and respect and in a way that leads the reader to think critically about not only the world of the novel, but our own as well. Given the number of survivors out there, of all genders, I think we have an obligation as creators to use rape in moderation, especially in more mainstream works, and when we do use it, to make it more than a symbol for how bad a person or society is.
Given the sensitive nature of the subject, comments will be moderated.