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Women gamers and LGBT gamers are becoming more vocal as they become more numerous, but they are up against an army larger than Sauron’s orcs and about as bright and implicitly endorsed by influential gaming figures and organisations. It’s the default identity in the gaming world.Īnybody born after the mid-1980s who has an interest in gaming grew up with the values and narratives of male geek culture. If she doesn’t identify herself as a woman, everyone assumes she’s male.

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The latter involves other gamers being excessively polite and giving her lots of free stuff to make it easier for her. When other male gamers discover her gender she generally receives either a deluge of hate comments – similar to those at Fat, Ugly or Slutty – or what SW calls the ‘creepy Victorian gentleman’ response. If she’s playing online games SW has historically not disclosed the fact that she’s a woman for two reasons, both tied to different versions of misogyny.

It’s part of the portrayal of the woman as an idealised object, and parallels the idealised magical Black characters we find in writers such as Stephen King, and, with the exception of Studio Ghibli, it’s a stereotype common to a lot of anime too. ‘McGuffin’ was Alfred Hitchcock’s term for the magical item or secret object that the hero of the narrative has to locate, eat, destroy, rescue, wake or marry to end the story. Very often in male geek narratives, the woman becomes the McGuffin. Misogyny is not just about the privileging of particular models of male power but, more importantly, the explication of types of male pleasure. Women in games are often magical helpers for men or pieces of sexualised meat – and they are always hot. Whether it’s Tomb Raider or Game of Thrones, male geek culture has a lot of trouble incorporating feminist and queer narratives. The reality is that white male privilege bequeaths one an amazing array of blind spots, one of them being the excuse that you’re a nice person. This is how it works.’ I don’t think it’s because I’m an idiot – though this may well be true. Even then, as the years passed, it has more often been a case of SW explaining to me: ‘No, Steve. And though SW’s mother, and the gang of lesbian punk bikies who became SW’s godmothers, did their best to teach me this, it was only when I was actually responsible for the welfare of a baby girl that the understanding slowly became visceral. It’s the white male’s final act of narcissism. In a sense it has always been much easier for me to rail against misogyny and homophobia because I don’t have to experience its prejudices in action I just get to actualise them. I’ve realised that if you’re a woman or queer gamer, you need a strong sense of the ironic and a mind of steel to be able to breathe and thrive in a culture that can often seem to despise you to a remarkable degree.

So Resident Evil 4 becomes saturated in hilarious misogynist stereotypes and idiotic macho posturing, rather than the kind of displays of brutal sexism that would once have made me grind my teeth. SW is also very good at ironising games for me. And we had a pretty hilarious time last night with Harvest Moon (especially with the pig and the cats). The first game we played together right through was the legendary The Secret of Monkey Island. When SW was little and I’d just discovered computers we played a lot of games. It’s companionable and because she’s so fluent I might as well be watching a movie. However my daughter, SW, is a serious gamer and I really enjoy sitting next to her and watching her play. The last game I played all the way through was Crimson Skies, a shoot-em-up flying game set in an alternate reality of Nazis and Tesla-tech.

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