Hollywood Still Way Behind LGBT & Racial Representation

Description: Screenshot from GLAAD study that reads: Transgender
representation was merely one character in "Zoolander 2". The
character, played by Bennedict Cumberbatch, was used as the punchline
to a joke.

Two years ago, GLAAD released a video titled "Hollywood Must Do Better" that  was basically a supercut of the most egregious anti-LGBT moments from major Hollywood films from the past few years. It was a companion piece to studies the group releases every year that rate major Hollywood films on a "social responsibility index" that looks at the representation of racial minorities as well as LGBT characters. "Moonlight" won an Oscar this year, so that must mean things are pretty great now, right?

Wrong. As this year's study shows, Hollywood is still way behind when it comes represention people that aren't white, straight, or male. in a study of 125 major film releases from major film studios, only 23 films included LGBT-identifying characters. That's just 18 percent.

Of those 22 films, 19 had a gay male character. Lesbian characters went from 23% in 2015 to 35% in 2016. 3 films had a bi character. Transgender representation in major Hollywood films last here clocked in at exactly one: a character played by a cis male actor as the butt of a transphobic joke.

Racial diversity in onscreen characters declined as well. From the LGBT characters of the last year, 48 of them were white (69%), nine were Black/African American (13%), four were Asian/Pacific Islander (6%) and one character was Latinx. Eight LGBT characters were identified as non-human.

The study also outlines a great thumbnail guide in looking at LGBT characters in films called the Vito Russo Test. A  film passes the Vito Russo test if:

• The film contains a character that is identifiably lesbian, gay, bisexual, and/or transgender.
• That character must not be solely or predominantly defined by their sexual orientation or gender identity (i.e. they are comprised of the same sort of unique character traits commonly used to differentiate straight/non-transgender characters from one another).
• The LGBT character must be tied into the plot in such a way that their removal would have a significant effect, meaning they are not there to simply provide colorful commentary, paint urban authenticity, or (perhaps most commonly) set up a punchline. The character must matter.

Similar to the Bechdel Test, it's a fairly low bar to clear. Sadly, even the above reasonable standards aren't met by most films. As the study says:

Only 8 of the 22 (36%) inclusive major studio films passed the Vito Russo Test this year, the lowest percent­age in this study’s history, compared to 11 of 20 (55%) inclusive films released in 2014, 7 of 17 (41%) in 2013, and 6 out of 14 (43%) inclusive films released in 2012. This is a significant drop from the previous year when just over half of the inclusive films passed. There is clearly much room for industry improvement. More films need to include substantial LGBT characters that pass this simple test.

Anime Fandom Needs A Wake-Up Call

Anime fandom in the US has come a long way since the early 1980s when you'd be hard-pressed to find much available commercially outside of episode of Voltron or re-runs of Speed Racer and Astro Boy. From the anime boom of the 1990s to the mainstream success of the anime genre leading to over 2 billion dollars in US sales over the past decade, anime has sparked a cornucopia of fan activity along with it. Fan art, fan fiction, fan conventions.

 Many anime fans have been keen to point the rich tapestry of expression and artistry that goes into anime they like, which makes it really peculiar that anime fandom as a whole is so resistant to critique. Other forms of artistic media and media fandom have long had strenuous elements of critque, but when writers and critics attempt to look at anime with the same tool-set that has been successfully applied to books, music, and film for decades, the nerd rage is palpable. Anime Feminist which bills itself as a hub for "reviews, interviews and discussion on anime and manga through a feminist lens, run by a team of writers from academia, the industry and grassroots fandom" was online for five days before it received its first death threat.

It's not like the articles on that site rehash tired old debates like "subs vs dubs" either. The writing published is quality work from fans that know their stuff-- both media and academic-wise. For example, the site has a great interview with manga artist Minami Sakai as well as an essay by Peter Fobian that examines the difference in treatment of Black Lagoon's Revy and Gurren Lagann's Yoko:

Where Revy’s presentation sells a complex and volatile character, the choice of camera angles, exaggerated postures, and repeated compromising scenarios makes Yoko come off as a source of inappropriate humor at best or a pure source of visual titillation directed at the male audience at worst. Revy’s background and her relationship with Rock are able to be respectfully explored because she is presented as a serious character. Conversely, Yoko’s later development is undermined by her presentation as something less than a character, an ornament not to be taken seriously.

Anime Feminist's co-founder, Amanda Cook, gave an interview on Kotaku that touched on why she feels this matters, and how a stubborn refusal to examine anime can lead to shrinking of an art form AND its audience:

There are many, many women, queer people, non-binary people, people of color who can tell you quite clearly why it matters to them personally, and I think everyone should listen to their stories. If empathy isn’t enough to convince you, more objective reasons why sexualized or infantilized representation of women is a problem include the fact that it’s poor storytelling... [it's] common in anime and we accept it as the price of admission. Not everyone will care about storytelling quality in anime, or any media they consume, but high profile critics do, and most won’t waste their time reviewing—in other words, promoting—anything that they don’t expect to meet their basic standards for quality... I have a lot of friends who used to watch anime but don’t anymore, partly because, like me, it became too hard to seek out anime that treated women well. There are also lots of people who are enthusiastic about other geek properties but won’t touch anime because of its reputation of infantilizing women and sexualizing children. It makes it hard to recommend anime to people who aren’t already fans

This pervasive background radiation of out of place fan service and explosion of jacked-up sexualization has some collateral damage, too: other anime fans, especially cosplayers. In the article "How ‘Locker Room Talk’ And Casual Misogyny Are Making Conventions Intolerable For Cosplayers" Alyssa Fiske details how these attitudes can make conventions into an uncomfortable and sometimes even dangerous experience. 

Done well, cosplay can be one of the most joyous expressions of fandom, and a huge part of fandom is feeling like something special belongs to you, that a specific part of pop culture spoke to you so deeply that you wanted to wrap yourself up in it, mentally and physically. It’s a harmless bit of escapism, one that can inspire creative, emotional, and physical expression that many can take part in and enjoy. But it’s not without that dark side that Krose experienced at Dragon-Con, one that prompts those in the vicinity of cosplayers to gain a boldness that can make those in costume uncomfortable or unsafe. Oftentimes people forget that there is a human being beneath the costume, leading to inappropriate situations that add an unfortunate, even frightening, element to the convention experience.

In 2014, Bitch Media did a study on the percentages of people in the industry who had experienced verbal and physical harassment, and the numbers were staggering: 59% said they felt sexual harassment was a problem in comics, and 25% said they had been sexually harassed in the industry. As far as convention attendees themselves, 13% reported verbal harassment, while 8% had been physically assaulted, groped, or raped. In a society that still blames women for their own assaults or denies that they even happen, there is no guarantee that your distress will even be acknowledged. While it is great that the community takes care of its own, there are still steps that could be taken to ensure harassment numbers go down.

The US industry of anime and manga does some amazing things; it's possible to get official same-day release of subtitled episodes, digital releases of manga alongside print counterparts, more use of the visual novel style of games. But anime fandom's general insistence that its direction or demands or troubling attitudes and culture are sacrosanct-- especially when so much of it can be troubling and anti-women makes me sad. It also makes it super difficult for anime to reach a wider audience, because uncritical attitudes mean that anyone who just wants to dip their toe into the anime pool doesn't have good enough guidance to help them wade through a river of crap.

Libraries Have Reference Books, So Where's The D&D?

In theory, Dungeons & Dragons and local libraries are a perfect fit. Both libraries and D&D attract people who love reading, imagining new vistas, poring through books, reading and creating stories, and looking up lore. In fact, the earliest D&D game books directed readers to libraries for research and recommended reading. Many libraries even have extensive graphic novel sections, comic book clubs, or provide meeting space for tabletop gaming groups. In practice, finding D&D rulebooks-- or any sort of tabletop gaming resource is well-nigh impossible, even though Dungeons and Dragons have influenced an entire generation of today's writers. Why is that?

Edward Schneider is a professor who studies how media and information is used and how it's organized. Brian Hutchison is not only a lifelong Dungeons & Dragons player, but also an librarian and information specialist. They were fascinated by the disconnect between the potential fit between D&D in libraries and how thin on the ground the availability was, and decided to conduct a study tracking role playing gamebooks in libraries around the country. The study, entitled "Referencing the Imaginary: An Analysis of Library Collection of Role-Playing Game Materials" was recently published in the journal The Reference Librarian and Schneider explained a little bit about the study in an article for Gizmodo:

The most commonly held book was the 2008 edition of the Dungeons & Dragons Player’s Handbook, with 327 copies worldwide — almost 50 fewer copies than the sequel to Snooki’s opus! If you like irony, there are 70 copies of the world’s most depressing cookbook,Microwave Cooking for One, on library shelves, and 21 copies of Heroes of Horror.Heroes of Horror is the Dungeons & Dragons book that allows you to play as an Archivist — a magical librarian. 

...There is no sign that popular interest in fantasy and science fiction is subsiding. Game of Thrones, Lord of the Rings, HP Lovecraft, and Star Wars all have direct links to the role playing game genre. An increasing number of universities offer video game design and development programs, and Dungeons & Dragons has been extremely influential in the history of video games, especially in Japanese RPG’s. D&D games are natural tools for libraries to use in community building in public libraries, but they also belong in academic libraries; the academic study of games has steadily increased.

We heard many different reasons why libraries might not stock these materials widely, but none of them made much sense.

The materials were not more prone to theft, not more or less checked out or circulated then comparable volumes, and had plenty of positive reviews from a variety of sources. So why the scarcity? The author theorized anti-D&D hysteria from the 80s and 90s, as a possible idea that has taken hold. What does this mean for the future of these resources and local libraries, though? Schneider is hopeful, concluding that there was

...a huge opportunity for librarians to connect with a different part of their community. Librarians seek to serve their patron communities, and it is time they considered adding more from the RPG genre to collections... I encourage genre fans to talk to their local librarians. A few vocal patrons can make a big difference, give your local library an excuse to collect and display these materials. Give them some friendly guidance, and make sure to speak up for your favorite publishers!

Gaming Design With Kids In Mind: A How To

To paraphrase Mr. Rogers, play is the the "work" of children. And whether you are a game designer, a child psychologist, a user experience researcher, or are conducting playtesting, knowing how to approach this sort of gaming study is important. As researcher, user experience designer and author Antonia writes...

Gaming means a lot to me, not only was it my introduction to the digital world, it gave me a sense of belonging as a teenager. So any opportunity I get to work with game creation, I tend to throw myself into it, and so with research as well. This post is about some of the important tips, observations and experience I’ve had while running a research piece with kids. 

In this study, the research was to explore the usability of hand-held consoles vs tablets/smartphones with kids between the ages of 2 and 10. I had a sample size of 6. The research method was ethnography which I think is the best method when working with children. You want to learn and cocreate with them in a natural environment free of fear and stress.

Even if you don't think you'll ever be in a line of work involving playtesting or kids, the entire piece is a fascinating look at just what goes into feedback and game design, so I'd recommend you read the whole thing.

Mythbusting Ideas About Women In The Game Industry

Brianna Wu has an excellent article on polygon today on women in the gaming industry and harassment. She outlines the stories of a number of women in the gaming industry and the harassment they have received.

Not only that, but each particular case study takes a myth surrounding online harassment of women in the games industry and shows how it's false, using that woman's direct, lived experience.

An excerpt from the introduction:

My name is Brianna Wu. I lead a development studio that makes games. Sometimes, I write about issues in the games industry that relate to the equality of women. My reward is that I regularly have men threatening to rape and commit acts of violence against me. 

If you are a woman working in the games industry, especially in a public way, you’re going to experience harassment. I imagine telling my 12-year-old self that fulfilling my dream of making games would lead to constant threats. Would she still do it? Would any woman? The problem with sharing these stories in broad terms is that people think men and women receive the same harassment online. They do not. I’m not writing this piece to evoke your sympathy. I’m writing to share with you what prominent, successful women in the industry experience, in their own words.

The entire article is a must-read.

She also created a companion video:

The harassment of women in the games industry is an epidemic, and it's also a reflection of the crap that women have to go through in society in general. It's easy to lay the blame at the feet of anonymous internet cesspools like 4chan and misogynistic pockets of Reddit but those are really just enablers. The internet doesn't exist in a vacuum. It’s part of the culture that we, as a society, have allowed to mushroom because we haven’t done much as a society to stop it.

I talked about a few things men can do to help stop this both online and in general in my blog post "The Status Is Not Quo: Being A Geeky Woman Online & What Men Need To Do".