Finding Community and Black Representation in Video Games

While the gaming industry has experienced record-breaking sales over the course of the pandemic — valued at up to $175 billion USD as of last year — minority representation in the space has lagged behind its explosive growth. A survey conducted in 2021 by the International Game Developers Association found that only 4% of game developers in the United States identify as Black.

“We saw the highest numbers ever for respondents who felt that diversity was important, yet 74% said there is not equal treatment and opportunity for everyone within our industry,” the survey reads.

Due to a lack of representation within the industry, Black protagonists in video games coming out of major studios are few and far between. And when Black characters are depicted, their representations are often stereotyped — for instance, only being included as characters who are athletes or are sidekicks to white protagonists. “In film, there have historically been three roles you see Black characters in: Black as violent, Black as the sidekick, Black as the help. This has also been true in video games,” Kishonna Gray, a professor at the University of Illinois, Chicago, said in an interview with TechCrunch.

HYPEBEAST spoke with Neil Jones, Keisha Howard and Kang Gaming for further insight on the experience of Black creatives working in the gaming industry and what changes they want to see in the industry moving forward. An independent 3D artist and game developer from Detroit, Jones is the creator of a popular game called Aerial_Knight that is inspired by his home city, among other titles. Howard, a self-described “geek cultural enthusiast,” is the founder of Sugar Gamers, an organization that advocates for underrepresented demographics in tech and gaming. And Kang Gaming has worked as a professional gaming streamer for over six years, launching his career on YouTube before expanding to Twitch.

What drew you to pursue a career within the gaming industry?

Neil Jones: I’ve always wanted to make games. I started off wanting to be an engineer but I was very bad with code when I first started. I took a 3D art class in college and happened to be really good at it so I made that my core skill and learned other skills as I grew.

Keisha Howard: It never occurred to me that I could have a career in gaming until the 2008 housing crisis. The economy tanked while I was working in luxury high-rise real estate. On a fluke, I met a diverse group of women who played games in Chicago. I founded the Sugar Gamers community in 2009.

Kang Gaming: After my son was born, I had a bit of time on my hands while staying home so I decided to just go for it. I went out, bought a cheap mic and camera and started making videos on YouTube. From there, I transitioned into doing live content.

Only 4% of US game developers identify as Black, according to the International Game Developers Association. Why are there so few Black creatives in the gaming industry?

Jones: It’s because of many historical reasons along with racial bias in the hiring process. A few years ago, that number was only 2%, so we are growing, but nothing can really make up for the time and people we lost that should have been in those roles to begin with. When you don’t have Black main characters in games, it’s a direct result of not having Black people in higher-up roles that make Black people a priority.

Howard: From the experience I’ve had over the last 12-plus years, there is a severe pipeline issue that starts with how Black people are socialized when we are younger, and where representation in gaming lies. Growing up, we didn’t have a super cool tech, geek, gaming personality representing the many opportunities in the space. Without socialization and representation, many African Americans grow up encouraged to pursue other types of careers. Gaming isn’t seen as something “serious” or expansive.

The gatekeeping around the pathways to get into the industry has also been severe and gridlocked. These types of hurdles have led many Black creatives to burn out quickly and become discouraged from continuing.

Kang: I think there still is a lot of stigma in the Black community around gaming. A lot of our parents and grandparents thought of it as, at best, a waste of time or, at worst, detrimental. So, a lot of us didn’t really get immersed into gaming as much as our white peers except for the random games people would play, like sports games or fighting games. This probably directly correlates to the low numbers of Black people in tech.

Many Black developers, video game artists and gamers have formed peer networks for support and access to resources, such as job opportunities and professional advice. What advice do you have for Black creators who are first starting out in the industry and seeking community?

Jones: In this space, 10 people with the same job will give you 10 different stories. All that matters is that you believe in yourself and make the choices that you feel good about. There are so many communities out there to support us like Blacks in Gaming and Black Voices in Gaming. I definitely recommend checking them out and connecting with them.

Howard: Collaboration is imperative. Teamwork really does make the dream work. Also, an understanding that continued self-directed learning is a requirement. Regardless of the DEI problems the gaming industry faces, it’s still highly competitive. Being resilient in the face of rejection and other challenges that will inevitably come up is key.

How can the gaming industry become more inclusive for Black creators? What changes need to be made?

Jones: That’s a really big question because there is just so much time lost that can never be made up for. If anything, outreach is a good starting point. setting up studios in Black cities and just making the hiring of Black developers a priority – not just in February, but year-round.

Howard: Capital to further enrich and develop Black creators and other marginalized groups is vital. There also needs to be a deconstruction and examination of the data that investors in this space used to determine success metrics. Also, intentional support of studios like Glow Up Games and Brass Lion Entertainment, [among] other indie studios.

Kang: More highlighting of Black creators needs to happen. With that, protecting Black creators from abuse and harassment needs to be a priority.

What do you hope to see in terms of visibility within the gaming industry over the next few years?

Jones: Just more Black faces working in the industry. I think that would fix a lot of problems over time.

Howard: While I absolutely love streamers, cosplayers and pro-gamers, I would love to see the gaming industry add more visibility to game developers — the artists, narrative designers, and audio programmers that actually make these games come to life for all of us.

Kang: That simply seeing Black individuals will become the norm. The Black creator being highlighted or a Black character in a game won’t be seen as “political” by some people.

Interviews have been lightly edited for brevity.