One in three LGBTQ gamers have faced identity-based harassment in multiplayer games, new report shows
A new report out today from the Anti-Defamation League (ADL) spotlights the sobering extent of harassment in online multiplayer games. The study is based on a representative survey of video game players in the United States and examines the social experiences of individuals in the online games they play. The top-line finding is that 74% of adults who play online games have experienced harassment of some kind; and further, that 65% have encountered severe harassment, which entails “physical threats, stalking, and sustained harassment.”
Despite the fact that video games are a $156 billion industry (larger than the global film industry) and that 64% of online adults in the U.S. are players, video games have largely been omitted from national discourse about the broader impacts of online social platforms. The ADL report emphasizes that online games are social platforms and indeed some of the most popular platforms available. Games like World of Warcraft and, more recently, Fortnite, have become primary outlets for social interaction for the millions of people who play them. And while these interactions have been a topic of concern within corners of the industry for some time, it’s now clear that much more needs to be done to address the widespread negativity on these platforms.
Perhaps the most pernicious finding of the survey related to the intersection of online harassment with forms of prejudice and hate. The study finds that 53% of those who experienced harassment in online games were targeted for their identity (race, religion, ability, gender, gender identity, sexual orientation, or ethnicity). For LGBTQ players specifically, 35% reported having been harassed for their identity. It’s important to keep in mind that many online gaming interactions, particularly over text-based chat, are quasi-anonymous and that players often limit their own exposure in anticipation of—or in reaction to—harassment. In fact, the report found that 1 in 5 players have avoided a game altogether due to personal experience with harassment or perception of the game’s toxic environment.
However, the report also highlights the positive social experiences of players, which are more common than negative ones. A significant 88% of online players report having had a positive social interaction, such as making a new friend, helping other players, or generally feeling a sense of community. For the LGBTQ community, in particular, games have the potential to be a tremendous force for good. Twenty percent of players learned something new about themselves while playing, something that is commonly described by LGBTQ players who are discovering or coming to terms with their identity.
While a number of recommendations have been offered to reduce incidences of social bias in online games, one key factor is the increased representation of marginalized identities within the game world itself. Last year, GLAAD introduced the Outstanding Video Game category at the 30th Annual GLAAD Media Awards to honor games which lead the industry in LGBTQ representation. The inaugural winner of the award was The Elder Scrolls Online: Summerset, itself a massively multiplayer online game. Through the inclusion of transgender and queer characters in the game, The Elder Scrolls Online is a model for how games can demonstrate to their communities that LGBTQ players are welcomed and accepted.
Last week, GLAAD praised The Sims 4for featuring an LGBTQ couple on its new box art. While it is primarily an offline game, The Sims 4 nonetheless has a sprawling online social community; the prominent inclusion of LGBTQ characters in the game’s marketing goes a long way in setting the tone for the community at large. GLAAD called on other studios to step up and match this kind of visibility in their games, and we join with the ADL today in calling for greater efforts to ensure safe and constructive social environments in online games as well.
Broadway’s ‘Moulin Rouge!’ Is a Dystopian Glitter Bomb of Empty Excess: REVIEW
When the first notes of “Lady Marmalade” trill through the Al Hirschfeld Theatre — red dripping from floor to ceiling, the stage crowded with inset hearts — they inspire a palpable sense of déjà vu. A musical based on Baz Luhrmann’s 2001 film seems like a foregone conclusion even before it begins, treading a road already paved by legions of similar screen-to-stage adaptations, jukebox confections, and nostalgia-baiting juggernauts.
But the Moulin Rouge! that opened on Broadway tonight resembles nothing so much as an absurdly expensive and utterly exhausting game of dystopian karaoke — on a machine that willfully plays only two to three mega-hits at once, or else spits hooks from dozens of chart-toppers like so much machine-gun fire. Pandering at every turn and tailor-made for what its creators must assume has become the attention-deficit generation, Moulin Rouge! makes a persuasive case for marking the nadir of Broadway’s basest instincts.
While every jukebox score banks in part on audience affection for familiar tunes, the frenetic assemblage of 70 pop songs arranged here by Justin Levine (who’s also credited with music supervision, orchestrations, and additional lyrics) comes at the expense of nearly everything else, including story, character, heart, and often plain old sense.
The plot, such as it is — boy meets courtesan, villain completes love triangle, courtesan dies — may not demand much (and John Logan’s book delivers just as little). But when the closest Karen Olivo’s Satine gets to a statement of character is Katy Perry’s “Firework,” a lack of chemistry between her and Aaron Tveit’s bohemian dilettante can hardly be blamed on the performers. The snippets of pop lyrics that constitute their supposedly red-hot affair were written for radio appeal, long since stripped of meaning or impact through repetition.
The score’s auditory assault of Top 40 faves makes all of the nightclub’s denizens seem more like avatars than real characters, speaking in tongues (Gaga! Britney! The Rolling Stones?) without voices of their own. That several seasoned actors are forced to sing wildly out of their range (Danny Burstein is a treasure, but Sia he’s not) is perhaps cruelest of all.
To translate Luhrmann’s signature celluloid flash and sizzle to the stage, director Alex Timbers deploys ladies of the night (gartered-up and gyrating), confetti (heart-shaped and otherwise), spark fountains (!), and a queen bee’s worth of Valentine doilies to represent… Paris? (Scenic design is by Derek McLane.) A program note detailing the legendary dancehall’s history is the closest Francophiles can expect to nourishment here; the production is French only in the way of stale fries drowned in processed cheese, souring under the glare of too-hot lights.
That Timbers jams all of these sensory flourishes into the opening number alone is the first sign of a production that demonstrates little economy — of spectacle, feeling, humor, or anything that lent the movie its charm. Aside from an overdetermined sign reading “l’amore” in neon, don’t expect much further in the way of visual pageantry. By the time Moulin Rouge! attempts a sharp turn into tragedy (cue the Adele), the lack of blood and soul beneath all that red makes for a dry-eyed demise.