INTRODUCTION
Many of us have been forced by COVID-19 to reflect on the value of communities, which is why there are now a plethora of online communities that aren’t only for gamers! Going back to the word’s origin, one of the fundamental ideas of sociology and the human sciences is “community.” It is also a contentious subject that will inevitably bring the researchers into political arguments around what defines a “good life,” what makes an “ideal society,” or what is wrong with the way society is developing today. Since video games are a similarly contentious phenomenon, the idea of “gaming communities” comes up for discussion and is fraught with conflict on many levels (Kowert and Thorsten Quandt, 2015).
Both Taylor (2015) and Witkowski (2012) have understood the term “eSports” (electronic sports) to be a growingly popular kind of structured, professional, and competitive computer/video game play. Hutchins (2008) suggests that the rise of esports has on the one hand, caused the divisions between sports, media, and digital communication technologies to become less fixed. Conversely, new forms of gaming and communication offer esports participants new ways to create experiences and solidify identities that cross gaming and social domains. This allows players to participate in seemingly democratic and multimodal forms of social/virtual interaction, blurring the lines between producer and consumer—sometimes referred to as “prosumer”—and to become “players and fans.” Players participate in creating their own social realities and personal/social identities as player-consumers within this web by exchanging in-game experiences, providing emotional and social support for different teams and off-line competitive tournaments, and converting passion into concrete consumption behaviours in and through social media and streaming services (Xue, Newman and Du, 2019).
In the world of gaming and esports, a landscape often characterised by virtual battlefields and digital accomplishments in the form of high ranks in a game, it sits idly co-existing with the continuous imbalance – a gender disparity that pervades the very fabric of these domains. Women and individuals from marginalised communities (LGBTQIA+) navigate the gaming space rooted in a tradition of male dominance, where systemic barriers continue to hinder their participation and recognition to the degree in which their male counterparts get praised and recognised. While it may be enticing to consider modern esports as a beacon of inclusivity and progressive values, the reality exposes a stark contrast – the landscape flawed by the inescapable gender disparities and marginalisation.
Stepping away from the field of negativity, to shed light on the growing visibility of female and LGBTQIA+ personalities who leverage their platforms to advocate for change and empower fellow female gamers. Figures like Christine Chi, a former professional Counter Strike (CS) player for SK (Schroet Kommando) Ladies turned VALORANT Coach for the VALORANT Champions 2023 winner Evil Geniuses, exemplify the status quo, using her influence and platform to encourage women worldwide to embrace gaming and not to settle for less. As Chi herself eloquently stated, “There are some women out there right now, some girls who could be 17 years old, they could be the exception [referring to competing in the higher tiers of CS professional scene] they might be good and it’s my responsibility to allow these women to be inspired to understand that they have what it takes to take it to the next level” (Chi, 2015).
Fewer games depict queerness; they are frequently highly marginalised, stereotyped, and the source of controversy in the larger gaming community. This is in an industry where games about aliens, magic, and sentient weapons are seen as the “norm.” Some voices oppose LGBTQ+ representation in any form, arguing that it is coerced, politically manipulative, and amounts to “shoving your beliefs down my throat.” Látal (2022) expresses that There are many negative comments mixed in with a generally accepting view of queer representation in the gaming business. Although every group under investigation acknowledges the presence of queerness in gaming and larger culture, they all emphasise that, depending on their theoretical framework, the portrayal is frequently done in highly problematic ways. Many representations of the queer community are viewed as token gestures, attempts to pacify the Western demand for inclusivity without upsetting the markets. All the concerned parties stress the value of believable characters and their complexity, which have the power to dispel any preconceived notions about the subject.
DISCUSSION
The position of women in Esports:
The esports industry still has a glaringly low representation of women. Even though esports are becoming a worldwide sensation and have reached viewership heights of over 470 million, with over 100 million more expected in the next two years (Gough, 2021), Women continue to be underrepresented in major esports league organisation and competition. About 35% of esports players are female, and the majority of them compete in smaller teams and community events (Rogstad, 2021). According to an article by Hilbert (2019), they estimate that only 5% of competitor at the highest level of play being women. In addition to being subjected to pressure to be role models for other girls and women, women who have gained some notoriety in the gaming community are also more likely to become victims of harassment (Kuznekoff and Rose, 2012). This harassment typically takes the form of unwanted sexual attention from male players or verbal abuse during online gaming sessions. As detailed by Krämer and Wolf (2022), a limited number of women enter the world of esports as competitors, presenters, or hosts. Since most study on women in gaming focuses on casual players and how people see women in the industry rather than the experiences of accomplished female gamers. According to prior studies (Jenson & de Castell 2011: 175), there are no discernible gender disparities when boys and girls have equal opportunities to play video games. This suggests that societal norms that perpetuate the idea that gaming is just for men are the source of skill differences. According to prior studies (Jenson & de Castell 2011: 175), there are no discernible gender disparities when boys and girls have equal opportunities to play video games. This suggests that societal norms that perpetuate the idea that gaming is just for men are the source of skill differences.
The term “Hegemonic Masculinity” was coined by T.L. Taylor, it refers to the configuration of gender practice which embodies the currently accepted answer to the problem of the legitimacy of patriarchy, which guarantees (or is taken to guarantee) the dominant position of men and the subordination of women (Taylor, 2015). In the realm of esports, meritocracy is characterised by the fact that spots on elite teams are awarded exclusively to players based on their own abilities and competitive spirit, regardless of their gender, identity, or cultural origin (Siutila and Havaste, 2019). Hegemonic masculinity falls under the Meritocracy of Esports, alongside ‘geek’ or ‘fragile masculinity’. Meritocracy can harness the toxicity that the esports industry releases, ‘toxic meritocracy’ refers to the reality that esports’ meritocracy wilfully ignores women and marginalised communities, refuses to acknowledge the detrimental effects it has on these groups and their communities, and perpetuates the myth that men are better at gaming than women, which explains why there are fewer women in professional gaming (Friman & Ruotsalainen 2022: 139; Taylor & Stout 2020: 453). Women are therefore not given the same opportunities to demonstrate their ability because of the added difficulties and structural and societal constraints based solely on their gender.
The sexualisation of women in gaming:
Lara Croft, one of the most, if not, the most iconic female video game icon of our lifetime fights her way through jungles and ruins – while sporting skimpy clothes or a bikini. Chun Li, another nostalgic character adored by many, me included, has suffered at the hands of sexualisation. As a child, I was infatuated with how Chun Li was a fearless fighter in the Street Fighter game series, I fear that my male family friends had a different reason to be infatuated with her. From the snarky remarks and the objectification of a female video game character riddled me with discomfort even as a child. As discussed by Lopez-Fernandez et al., (2019) video games often feature sexualized content and are linked to stereotypically masculine traits like being excessively aggressive. It seems that female gamers need coping mechanisms to deal with harassment. The elements that women search for in video games are different and aren’t typically included in game designs, which limits their potential. For example, the overly sexualized and exaggerated portrayal of women in avatars can cause social comparisons, lower self-esteem, sadness, and other negative effects on wellbeing. Generally, although making up half of the gaming population, women still face barriers when it comes to enjoying video games.
Underrepresentation of the LGBTQIA community:
According to research by the US advocacy group Gay and Lesbian Alliance Against Defamation (Glaad), video games still lag behind their film and TV equivalents in terms of queer representation. According to research of players residing in the US, 17% of them identify as LGBTQ+. This is 10% higher than the percentage of the US general population that is believed to be LGBT+, and it represents a considerable increase from the 10% discovered in a 2020 Nielsen Games study (MacDonald, 2024). In comparison, there are just 2% of games with an out LGBTQ+ character. The report also details the opinions of players when it comes to the inclusion of LGBTQ main characters. Detailed by Mejeur and Ho (2022), it has been demonstrated that, within the framework of all video game characters published between 1985 and 2020, the majority of LGBTQ characters were cisgender men and/or white. Despite the fact that games allow players to be whoever they want to be, the industry has remained committed to using extremely limited alternatives for depiction.
Due to the hostile nature of social media where the voices of the discriminatory are loud and overshadow the voices of those who celebrate the diversity in gaming, it is easy to misconstrue the overall opinion of the player base. On the 24th of March, the popular Riot FPS (first person shooter) game, VALORANT, released a new in game character named Clove which sent the community into a divide. Players have reacted negatively and intolerantly, or positively and enthusiastically. The same trite arguments that we’ve heard time and time again from players who can’t accept that VALORANT or other video games have a non-binary character are, “Keep gender identities out of video games,” and “Who cares about being represented in a game?” Some are not happy that Riot decided to prioritise creating a non-binary agent above things they would have preferred to see changed or added. In any case, these kinds of remarks demonstrate that the VALORANT community’s poisonous atmosphere extends far beyond merely calling someone out for bad gameplay, and it continues to be a major problem for marginalised and non-binary individuals who simply want to enjoy the game without interference (Iwamasa, 2024).
CONCLUSION
With an emphasis on the experiences of women and people from marginalised communities, this article has illuminated the widespread gender inequities, marginalisation, and hyper sexualisation that exist within the gaming and esports industries. Despite the increasing popularity and skill in esports, women still face several obstacles, such as negative preconceptions, undervaluation, and being disregarded. In view of the pervasiveness of sexualized content in video games and the underrepresentation of women in esports, there is an immediate need for increased inclusivity and diversity in the industry.
Despite these challenges, there are glimpses of progress, with female and LGBTQIA+ personalities leveraging their platforms to advocate for change and empower fellow gamers. Figures like Christine Chi exemplify the potential for positive impact within the gaming community, inspiring women worldwide to embrace gaming and challenge discriminatory norms. However, the road to inclusivity and acceptance remains long, as evidenced by the ongoing hostility and discrimination faced by marginalized individuals within gaming communities. To fully fulfil its promise as a friendly and inclusive community for everyone, the gaming and esports business must work together.
Paper written by Sophia Francesca Mangat.
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