Gamasutra: The Art & Business of Making Gamesspacer
View All     RSS
October 25, 2014
arrowPress Releases
October 25, 2014
PR Newswire
View All
View All     Submit Event

If you enjoy reading this site, you might also want to check out these UBM Tech sites:

Just Close Your Eyes
by Phil Chu on 01/01/13 06:10:00 pm

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


After seeing yet another I'd-really-like-to-show-some-diversity-but-it's-sooo-hard-and-I-always-get-in-trouble-for-it article, (which at least is a refreshing change I'd-really-like-to-show-some-diversity-but-the-customer-doesn't-want-it-and-never-mind-that-I-don't-have-real-evidence-for-that), I'll start of this new year with a repost of a Blog I wrote in 2011 after reading a column by Brandon Sheffield that was well intentioned and not as defensive as the latest, but nevertheless rubbed me the wrong way like that salesperson who blared "Ni hao ma" at me in the mall the other day (I'm Asian-American, but I bet that you CAN'T tell that from my speech or writing, except when I start ranting about this stuff)

(Rewind to 2011)

I welcomed Brandon Sheffields’ column in the latest issue of Game Developer, pointing out the white male heterosexual dominance of video game “casting”. I’m going to quibble a bit, though. For one, I have trouble believing that white people are deliberately chosen as video game characters because they are “safest”. I don’t sit in on those kinds of meetings (“I vote for female Klingon”), but I just have trouble envisioning a scene where someone says “let’s make the character non-white”, and cooler heads caution “better not, we’re going to get a lot of criticism.” In fact, as in film, there doesn’t seem to be much reluctance in casting non-white characters in non-protagonist roles, particularly as ethnic decoration, or to sex up lead females with bigger boobs and smaller outfits – actually, I have been witness to this type of decision, where a publisher (and our company management) insisted on tarting up our female characters, even more than the game artists wanted to!

More plausibly, the subject doesn’t come up and there’s a default assumption the character is white, or if someone does suggest a non-white character, it takes some decision-maker out of his or her comfort zone, and maybe the “safety” rationale is raised, just as dubious as the catering-to-the-market rationale that film studio executives use, when they say, great idea for a movie, but can the lead be a white guy? (Or, as Sheffield points out, in the case of recent Hollywood anime remakes, can the entire cast of this Japanese story be white?)

Which brings me to my next quibble. Sheffield states that film has done more to advance racial understanding than to hinder. Maybe in one particular year, here or there, but overall, I doubt it. We’re all programmed by our culture, including film (if you’re going to claim a medium enlightens, you have to admit it can reinforce negatively, too, and there go the defenses about not promoting violence, it’s an art form, etc.), and I think if film was overall a net force for positive social change, we’d all be holding hands and singing “We are the world…” by now.

In any case, Sheffield cites Spike Lee and Pedro Almodovar, but films that really make a difference are those that have a mixed cast without being self-conscious about it in settings that we can relate to. Sheffield asks if portraying an Indian character in a game would bring in more Indian players (I assume he means Asian Indian), and concludes not. I think they would, as long as you’re not talking about Apu in a Simpsons game. I just read a story on the Fast and Furious franchise where some of its success was attributed to it’s multi-racial casting. There are some TV shows I watch (e.g. The Mentalist, Bones, The Closer) largely because they regularly feature Asian-Americans like me and for the most part not involved in a story about Chinatown gangs, human smuggling from China, or martial arts (although there is always one such episode).

Oddly, the shows I just cited are crime shows and most of the crime fiction I read have the “white man writing” syndrome where all the characters including the protagonist are assumed to be white (and women are described in terms of how hot they are), and you know this because any non-white character is specified as such when they are introduced, often accompanied by some banter in the form of “hey, you’re white” “hey, you’re black”  and some attempt at an ethnic patois. If found it very distracting in the Spenser novels, for example. And speaking of Boston, I have three native Bostonian friends – multigenerational Jewish, Chinese and Italian – and if you closed your eyes and asked them to say “wicked awesome”, there’s no way you could tell which is which.

And that’s the nice thing about writing – you can leave some things open to interpretation. I  was actually startled when I saw The Lord of the Rings how white the cast was (except for the orcs). Somehow, when I read it in my childhood, I didn’t visualize it that way. Of course, it’s likewise understandable that white people will assume a character is white unless otherwise specified (I did that with the Alex Cross character of the James Patterson novels until I saw Morgan Freeman in the role), but it can go too far, as with the casting agent I saw interviewed on TV who said Latino actors aren’t getting a lot of roles because there aren’t parts written for them. Implying most roles are written explicitly not for them? Most of the sample scripts I’ve seen while I’ve worked on my never-going-to-be-finished screenwriting project don’t have character descriptions like WHITE MALE, or NOT LATINO. The same goes for video game characters. Personally, I think it would have been cool if Nathan Drake was an Asian-American (for that matter, Indiana Jones, too).

So when Sheffield concludes, saying how in a recent project he attempted to create four characters of different races that were “quite different” from his life experience as a Caucasian male, I don’t see why he had to try that hard, unless he normally writes game stories involving British ancestry, dining on haggis or welsh rarebit or whatever, or a game where the character is prone to severe sunburns. I’m glad that he’s encouraging developers to stretch a bit, but don’t get the idea that you have to stretch that far. We’re not that different. Just close your eyes.

Related Jobs

Digital Extremes
Digital Extremes — London, Ontario, Canada

Sound Designer
Disruptor Beam, Inc.
Disruptor Beam, Inc. — Framingham, Massachusetts, United States

Lead 3D Artist
Red 5 Studios
Red 5 Studios — Orange County, California, United States

Graphics Programmer
Red 5 Studios
Red 5 Studios — Orange County, California, United States

Gameplay Programmer


Zack Wood
profile image
Nice article! I was also bothered by the recent "I-want-to-make-a-diverse-cast-but-it's-too-hard-and-they'll-get-mad-at-me!!" article. I almost responded to that one with exactly what you said here- it's actually not that big a deal. People of different races are not aliens species beyond comprehension. It DOES help to have a basic level of open-mindedness and compassion, and maybe even real-life interaction with a variety of people, to understand that different people might have different feelings and responses than you do, and to be able to imagine what those feelings and responses might be, but it's not THAT much of a stretch, and they might not even be that different. Especially if we're just talking about English-speaking Americans.

Creating a believable character from a foreign culture, on the other hand, no matter what the race, would probably be more difficult, and easier to fall back on stereotypes if you have no idea about their culture, since they might actually think about the world in a fundamentally different way than people in your culture. But it's still possible, and worth trying, with a little effort to be aware of stereotypes and realities.

Another thing people like the two authors in question often do, is include a single character who is different somehow (one female or one asian character) and then complain about the backlash. I always want to grab them by the shirt collars and yell "Maybe try including more than one person who is different, so they aren't weighed down by being the token representation of everyone who isn't straight/white/male!? I don't know, say, three characters, with a reasonable range of variation in personalities- you know, the same way you make your straight white male characters."

I agree that human beings are not so vastly different from each other that you can only write about someone just like yourself. At the same time, people do sometimes have very different experiences and views because of who they are. But it's nothing that awareness, open-mindedness, and real-life experience can't overcome.

Phil Chu
profile image
Great point about having a just a single "diverse" character (almost an oxymoron). That's so noticeable in TV and film, especially when I was younger. Battlestar Galactica is my favorite example of diverse casting that doesn't make a big deal out of it - you don't really notice until you compare it to something like, say, Gossip Girl. Even Firefly, also one of my favorite shows, has nary an Asian face although everyone curses in Chinese and eats with chopsticks (Asian-American actors in Hollywood have to wondering what it takes to get a job in this town). Advertising is a more progressive medium (not something I thought I'd ever say) - they've realized they can reach a wider audience by showing Americans who look different (rather than Americans who seem different). The professed difficulty with white males creating non-white male characters really has disturbing implications - logically, that would mean non-whites have difficulty writing (or drawing, modelling or animating) outside of their own race, and women can only create female characters. I think Nathan Drake would beg to differ.