This is something I’ve been chewing on for a while, so buckle in – I have a lot of thoughts.
I had planned to start writing about this at some point in the coming weeks or months, but I decided to accelerate that timeline because of a number of things that I witnessed recently – negative responses to an awesome new gaming venture by people I respect greatly, a nice overview of a common gaming question that Phil and Senda did on Panda’s Talking Games, and a recent episode of Backstory, the wonderful podcast by Alex Roberts.
In that episode, both Alex and her interviewee, Jeeyon Shim, were largely enthusiastic about the topics they were there to discuss, but they fell into a common habit among gamers – they defined something they liked as the opposite or absence of something they didn’t like. This is a practice we notice easily in jerks who speak out against something like New Agenda Publishing, but we often don’t see that it can still be a problem in media and discussions that are otherwise positive and progressive. (Sometimes we even cheer along when we agree.)
Yet it is one example of an overall issue that I have observed in gaming specifically and geek culture in general – the Primacy of Personal Experience. Fandom cultures are particularly susceptible to it because they are built on personal preference and enjoyment rather than an external structure or overarching philosophy. It causes problems in every aspect of our interactions: our social engagement, our habits of gameplay (and game selection), our approaches to design, and more. However, it’s not something we can erase or escape. Instead we must become aware of it and find ways to work within it.
Okay, that does it. I’m changing my attitude.
For the past couple of years, I have watched a variety of steampunk settings appear, some for existing systems and a few with their own systems. Each time a new one showed up, I have breathed a sigh of relief when I saw that they were doing the same old ahistorical, pro-colonial claptrap with magic (or sometimes horror) thrown into it, because it meant that Steamscapes remained unique.
But no more.
I am here not only to encourage but to demand more postcolonial steampunk RPGs as soon as possible.
A few days ago, I was inspired by a frustrated (I think we should give more credit to frustration as inspiration) article written by Tanya DePass of I Need Diverse Games. Her article led me to think about what I do in both my consumption and production of media with regard to people that are different from me and experiences that are different from my own.
Note – Before I dig into this topic, it’s important to acknowledge that anything I say here is built on the work of many other people who have done much more thinking about this than I have. If you are a writer of any kind, you should absolutely read Writing the Other by Nisi Shawl and Cynthia Ward. That’s a good place to start.
This will be a two-part exploration on writing diverse characters. This first part focuses more on the need for such characters and how we should approach them as audience members. The second part will dig into how I address this as a writer and game designer, including how this approach helps me to write “for” rather than “about.”
Tanya DePass of I Need Diverse Games reminded us just yesterday of the tired and stupid argument against diversity that there is somehow a zero-sum game of aspirational hero characters in movies, games, comics, etc. That somehow making more A-list properties with characters that are women, or black, or gay, or (heaven forbid) all of the above will take heroes away from straight white males.
Tanya’s post dismantles this complaint pretty handily, so I don’t need to add anything to that. But there’s another side of this that I want to address:
What does it mean to aspire? Continue reading
Three things have happened in the last few days to remind me just how incredibly bitter some people become at the suggestion that we need to include a wider range of voices in gaming.