product: toys/games

Cross-posted at Jezebel.

This holiday season, a dollhouse may be a feminist gift for a little girl.

A tweet from Natalie Novik inspired me to look into the toy.  She had discovered a gender-neutral dollhouse being sold at Etsy.  Following up on her lead, I went over the Toys R Us website to see what gender messages dollhouses were sending.  Some of the results surprised me.

Among the 22 best selling dollhouses at Toys R Us, four came without people, six came with a preponderance of females, ten came with a male, female, and children, and there were two I couldn’t categorize.  (All humans were white — some dollhouses included non-human creatures — and just about everyone appears to be wealthy.)

The majority of dollhouses, then, came in two types.  The first was an explicitly family-themed toy.  The message of these was heteronormative, for sure, and also pro-coupling and pro-reproduction.   The Fisher-Price Loving Family Home for the Holidays Dollhouse is an example:

The second type of house, however, had themes of friendship and, dare I say, female-independence.  These houses had only women or, more often, a group of women and one man.  They gave the impression of female home-ownership and female-dominated social interaction.  The Exclusive Barbie Malibu Dreamhouse is an example:

Interestingly, most of the dollhouses that fell into this second type were Barbie affiliated.  People disagree as to whether Barbie is a good role model for young women.  She is roundly criticized for upholding a harmful standard of beauty, but she also tells women they can run for President and go to the moon.  In this case, Barbie is sending girls the message that they can have fulfilling lives and own homes without a husband.

As if to capture the paradox completely, the dollhouse featured above comes complete with a Barbie in a bikini doing astronomy:

Children, of course, play with toys both creatively and in resistance to the messages they send.  We’d be happy to hear your stories and observations in the comments.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

In a fun five minutes, Mike Rugnetta manages to invoke John Stewart Mill and Judith Butler, plus discuss how “bronies” — male fans of My Little Pony: Friendship is Magic — challenge rigid rules of masculinity.

Thanks to Griff for sending the link!

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

[Note: Trigger warning for sexist, demeaning language and violent imagery.]

If you’re a regular reader of Soc Images, chances are pretty good that you also know about Anita Sarkeesian’s project to look at sexism in video games. Sarkeesian, who runs the fantastic Feminist Frequency site, attracted a large amount of hateful online attacks and harassment after starting a Kickstarter campaign to raise a few thousand dollars for a project looking at sexism in video games. If you aren’t aware of the story, check out any of the many media stories about her experience.

Sarkeesian’s project looks at stereotypes or sexist imagery in the design of the games themselves. My coworker Darren D. let me know about a website that highlights another element of sexism in the gaming community: the demeaning or threatening sexist comments gamers often send to other players, especially those they believe are women. Fat, Ugly or Slutty collects examples of the sexual harassment and sexist attacks that are an unfortunately common part of female gamers’ lives.

Many of the comments sexualize and objectify the women by suggesting they should be sexually available to other players or open to comments on their appearance. Some angrily lash out with hateful sexist attacks and put-downs about physical appearance and sexuality. Others send threats or vivid scenarios of violence.

As one of my female students told me last semester, as a gamer, she has the extra mental and emotional burden of having to decide, every time she considers playing, whether the joy she gets from the game outweighs the likelihood that she’ll be called a whore or a bitch or have to ignore sexual comments as she tries to concentrate on the game.

For more on the topic, check out the BBC’s documentary “Guns, Girls and Games.” Also check out Not in the Kitchen Anymore, where Jenny Haniver posts recordings of the types of sexist comments she has to deal with as a female gamer.

UPDATE: Several commenters have pointed out that men also get comments like at least some of these. That is absolutely true. Insults of a wide and creative variety are thrown around. But these comments, whether targeted at men or women, illustrate a common cost of admission to online gaming: whether a man or a woman, you have to expect sexist, demeaning, violent insults if you want to play. Those are the informal rules of the game.

And yes, both men and women receive these types of objectifying or sexist comments. In a world in which women are more likely to face this type of behavior in their everyday lives outside of gaming, and in which women playing multi-player or FPS games generally find themselves in the minority, the fact that both male and female gamers experience these insults shouldn’t reassure us that the impacts of them are equal and, thus, harmless.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

A while back readers absolutely fell in love with a vintage Lego ad from 1981, featuring a red-headed befreckled girl in pigtails and overalls.  It, and two more in the series, reminded us that advertising doesn’t have to impose rigid gender stereotypes the way that most advertising today and the newest Lego marketing strategy certainly does.

Joanne M. dug up two more examples, both from Family Circle in 1978.  Feast your eyes on these happy children:

David Pickett, by the way, wrote us an amazing four part history of Lego’s (failed) efforts — or lack thereof — to reach out to girls.  It’s a truly comprehensive and fascinating story.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

The term sexual dimorphism refers to differences between males and females of the same species.  Some animals are highly sexually dimorphic. Male elephant seals outweigh females by more than 2,500 pounds; peacocks put on a color show that peahens couldn’t mimic in their wildest dreams; and a male anglerfish’s whole life involves finding a female, latching on, and dissolving until there’s nothing left but his testicles (yes, really).

On the spectrum of very high to very low dimorphism, humans are on the low end.  We’re just not that kind of species.  Remove the gendered clothing styles, make up, and hair differences and we’d look more alike than we think we do.

Because we’re invested in men and women being different, however, we tend to be pleased by exaggerated portrayals of human sexual dimorphism (for example, in Tangled). Game designer-in-training Andrea Rubenstein has shown us that we extend this ideal to non-human fantasy as well.  She points to a striking dimorphism (mimicking Western ideals) in World of Warcraft creatures:

Annalee Newitz at Wired writes:

[Rubenstein] points out that these female bodies embody the “feminine ideal” of the supermodel, which seems a rather out-of-place aesthetic in a world of monsters. Supermodelly Taurens wouldn’t be so odd if gamers had the choice to make their girl creatures big and muscley, but they don’t. Even if you wanted to have a female troll with tusks, you couldn’t. Which seems especially bizarre given that this game is supposed to be all about fantasy, and turning yourself into whatever you want to be.

It appears that the supermodel-like females weren’t part of the original design of the game.  Instead, the Alpha version included a lot less dimorphism, among the Taurens and the Trolls for example:

Newitz says that the female figures were changed in response to player feedback:

Apparently there were many complaints about the women of both races being “ugly” and so the developers changed them into their current incarnations.

The dimorphism in WoW is a great example of how gender difference is, in part, an ideology.  It’s a desire that we impose onto the world, not reality in itself.  We make even our fantasy selves conform to it.  Interestingly, when people stray from affirming the ideology, they can face pressure to align themselves with its defenders.  It appears that this is exactly what happened in WoW.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

The splashy introduction of the new LEGO friends line earlier this year stirred up a lot of controversy. My goal with this set of posts is to provide some historical perspective for the valid concerns raised in this heated debate. 

This is Part IV, see also:

• Part I: The Brick Era (1932-1977) and The Golden Era (1978-1988)
• Part II: Gender Ahoy! (1989-2003)
• Part III: Lean LEGO Fighting Machine (2004-2011 )

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2012: LEGO Friends and the Ensuing Backlash

In Parts I through III, I’ve discussed the history of LEGO’s attempts to capture (or abandon) the imagination of girls and boys.  In this final installment, I discuss their newest effort to market to girls, LEGO Friends.

Several weeks before the first wave of LEGO Friends sets were available in U.S. retail stores, Bloomberg Businessweek ran a cover story that presented an in-depth look at TLG’s thought process in creating the sets. This was a very deliberate move on the part of TLG: it got their version of the story out there first (“four years of marketing research show this is what girls want”) and it made a bold statement about the LEGO brand (“like it or not, the minidoll is LEGO now”).

This move implies that they foresaw the backlash this line would inspire and hoped to mitigate it. The article portrays TLG sympathetically, as a company that wants to help girls build important skills and is trying to figure the most effective way to reach them. This idea is echoed in TLG’s official press release responding to the controversy. To a certain degree, this maneuver has been successful on TLG’s part. I have seen plenty of people point to the quote about “four years of marketing research” to dismiss the arguments that LEGO Friends perpetuates harmful gender stereotypes. But the attempt to integrate the minidoll into the LEGO brand is ultimately doomed.

In many ways, LEGO Friends is an improvement over the previous “girls only” themes. Even more so than Paradisa, for example, LEGO Friends has a building experience that is on par with other currently available LEGO sets (mostly City and Castle, as the action themes use more complex techniques.)

The interests/occupations of the female characters are just a little bit broader than previous lines. While Andrea and Emma have clear predecessors from Belville, Olivia the inventor, Sophie the Veterinarian, and Stephanie the farmer/pastry chef (?) broaden the range of possible careers just a little bit.

Despite the presence of a beauty salon and a fashion designer, the clothing options in Heartlake City are also very limited. There is only one pair of full length pants available and threes shirts with sleeves, everyone else has skirts or capri pants with tangtops and sleeveless blouses. Olivia will have to raid her dad’s wardrobe if she wants to make her laboratory OSHA compliant.

The minidolls may be the biggest barrier to efforts to use LEGO Friends as a gateway to the rest of the LEGO product.  In addition to being sexified and out-of-proportion to the classic minifig, their articulation makes them simply less interesting than the classic LEGO person.  The classic minifig has 7 points of articulation (8 if you count the hairpiece’s ability to move rotate independently of the head) whereas the minidoll only has 4 points (5 with the hair.) Minidolls can’t rotate their hands (which limits the ability to accurately pose accessories) or move their legs independently (which prevents them from being posed in active positions like running, they can only sit, stand or bend over).

The value of the LEGO system is the ability to connect all the different pieces to each other. The only compatibility between minidolls and minifigs is the hairpieces and accessories (think about the message that sends.) More, unlike the legs and torsos of minifigs, which easily connect to standard LEGO bricks so you can build any type of legs you want, the leg to torso connection on the minidoll is not compatible with any standard LEGO connection.  Additionally, the minidolls do not have LEGO connections on the back of their legs like minifigs do, making it impossible to securely attach to vehicles in seated positions.

To be fair, the minidoll has a slight advantage over the minifig in regards to racial diversity. Though darker skin tones were introduced to minifig in 2003 with Lando Calrissian, there has yet to be an identifiably feminine, dark-skinned minifig. Andrea (and Sarah) are therefore trailblazers. Friends is also the first instance of a LEGOLAND scale theme that integrates realistic flesh colors and is not connected to an external franchise (movies, comics, sports, etc.). This is a topic I’d like to discuss at length another time, but I hope this is the start of a trend that leads to a more ethnically diverse range of minifigures.

In sum, LEGO Friends is far from perfect, but it is a decided improvement over previously girly-LEGO iterations.  Still, many consumers object to the line vociferously, coining the clever slogan: “LEGO for girls already exist – it’s called LEGO.” 

TLG seems to fundamentally misunderstand this argument. In a press release, for example, they explained:

We want to correct any misinterpretation that LEGO Friends is our only offering for girls. This is by no means the case. We know that many girls love to build and play with the wide variety of LEGO products already available.

This isn’t satisfying to detractors because the critique of Friends (as I understand it) is not that it is being presented as the only LEGO product line for girls, but that TLG is so clearly marketing LEGO Friends only to girls. Rather than creating themes that appeal to both boys and girls and marketing them to both boys and girls, TLG is creating products for boys and products for girls. The fact that the focus groups for LEGO friends consisted of girls and women and the focus groups for lines like Power Miners and Atlantis consisted primarily of young boys proves that TLG fundamentally believes that boys and girls have entirely separate needs and desires. This is a harmful belief that we as a culture need to rid ourselves of.

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David Pickett is a social media marketer by day and a LEGO animator by night.  He is fanatical about LEGO and proud to be a nerd. Read more from David at Thinking Brickly.

The splashy introduction of the new LEGO friends line earlier this year stirred up a lot of controversy. My goal with this set of posts is to provide some historical perspective for the valid concerns raised in this heated debate. 

This is Part III, see also:

• Part I: The Brick Era (1932-1977) and The Golden Era (1978-1988)
• Part II: Gender Ahoy! (1989-2003)

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2004-2011: Lean LEGO Fighting Machine

As discussed in Part II, between 1989 and 2003, LEGO had introduced a stream of lines aimed specifically at girls.  None were particularly successful and the company was in trouble.  So, what next?

Those of us who follow every move TLG makes are well familiar with the company’s near collapse in 2004 and subsequent renaissance. This is a really important moment for our story, because this is the year when TLG stopped being a family run business and brought in a non-Kristiansen CEO, Jorgen Vig Knudstorp. With Knudstorp’s arrival came a change in philosophy. Quoted from the DailyMail article linked above:

Instead of “nurturing the child” – as Knudstorp puts it – [employees’] primary goal now had to be, “I am here to make money for the company.”

I, like many LEGO fans, am very grateful for what Knudstorp did to save and revitalize the company. The post-2004 era has seen a flourishing of LEGO themes and sets aimed at advanced builders. The LEGO minifig has been injected with more personality and variety than ever before. However, part of TLG’s new strategy also involved abandoning efforts the girl market and focusing exclusively on boys.

Abandoning schlock like Belville and Clikits is not a bad thing, but the push toward conflict and hyper-masculinity in classic themes (and a whole host of new ones) made LEGOLAND inhospitable for femininity.  Here are a couple more telling quotes from the Daily Mail article:

As always with Lego, this [action-oriented theme] was developed at every stage… with the help of focus groups, mostly comprising boys aged between six and 12.

In this new world focused on profit, the company sees no shame in admitting that, like it or not, what most excites little boys is conflict.

Which is to say, LEGO City is not the tranquil place LEGO Town was.

Notice the substantial hike in the m/f ratio in 2007. This ratio had been gradually approaching 1 throughout the 90s, but jumped back up to 1992 levels in 2007 (male/female ratio = 8).

Girls also disappeared from LEGO commercials and marketing collateral. LEGO produced a series of commercials encouraging fathers and sons to build together; the utter lack of anything similar for girls sends a clear message about who is expected to play with LEGO, it has entirely entered the masculine domain. With girls being actively excluded from TLG’s marketing efforts it’s no surprise that we see such a low percentage playing with them now.

In the final installment of this series, I’ll offer my perspective on the controversy over the new line aimed at girls, LEGO Friends.

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David Pickett is a social media marketer by day and a LEGO animator by night.  He is fanatical about LEGO and proud to be a nerd. Read more from David at Thinking Brickly.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

The splashy introduction of the new LEGO friends line earlier this year stirred up a lot of controversy. My goal with this set of posts is to provide some historical perspective for the valid concerns raised in this heated debate. 

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1989-2003: Gender Ahoy!

I discussed the introduction of LEGOs the invention of gendered minifigs, and early efforts to market separately to girls and boys in Part I of this series, covering 1932 to 1988.  The segregation of LEGO into feminine and masculine sets would escalate beginning in 1989.  That year the LEGO group introduced gender to the minifig in a big way with the new Pirates theme. The masculine figs sported copious facial hair and the lone feminine pirate had lipstick and a curved shirt that implied a busty chest.

This pioneering pirate was the first in a long line of token females in otherwise male-dominated action-centric themes. The imbalanced ratio of masculine to feminine minifigs persists today, though it has lessened over time. I have seen several different numbers for this ratio, so I decided to do my own count. I gave TLG the benefit of the doubt and counted as gender neutral any minifigs lacking definitely masculine (facial hair) or feminine (lipstick, eyelashes, cleveage) traits, even when LEGO marketing materials clearly delineate them as male or female.

The following graphs represent masculine minifigs in blue, feminine minifigs in red, and gender neutral minifigs in gray. I have also calculated the masculine to feminine ratio (m/f ratio). Ideally this should be 1, indicating that there are equal number of masculine and feminine figures. This chart shows the aggreagate across all themes for the five key years between 1989 and 1999. The m/f ratio for this data is 3.74 (which is a lot better than the initial 13.5 it starts at in 1989, but not exactly something to celebrate).

The trend to unrepresent feminine figures in the main LEGO product line is mirrored by a tendency to overrepresent them in the “girls only” lines. LEGO released four major “girls only” themes through this time period: Paradisa, Belville, Scala Dolls, and Clikits.  Here’s a quick run down of the “girls only” themes:

• Paradisa deserves props for using standard minifigs, but the building experience is simplified compared to other LEGO sets released the same year  (compare the Sand Dollar Cafe with Wolf Pack Tower). Also it represents men as active job holders (butlers, chefs, ice cream men, and life guards) while the women mostly relax, surf, and go horseback riding.

• Belville is the longest running “girls only” theme and also the pinkest and most gender stereotype reinforcing. The classic LEGO building experience is barely present; the sets favor gigantic pre-fabricated “walls” and floors, and the completed “houses” and “horse stables” don’t even look like their real-life counterparts. The figures are completely out of scale with minifgs, so while it is possible to use pieces from Belville in LEGOLAND and vice versa, it is unrealistic.

• Scala Dolls was essentially LEGO barbie. Here’s the dreamhouse. It has even less construction play than Belville.

• The Clikits jewelry line featured pieces that are barely compatible with regular LEGO bricks (some people might not even think to try.) The line also contained some Bratz-esque characters.

The message that these themes send to children about gender is clear — certain things are for girls only. Namely: fairy tales, equestrianism, the color pink, vanity, and being a homemaker. Boys shouldn’t want these things and the girls that don’t are lesser for it.

The chart below aggregates figures from the first three of those lines across all years they existed (since Clickits was a jewelry line, it didn’t really feature figures).  Beyond the inversely unbalanced the m/f ratio of 0.18 (roughly one masculine figure for every five feminine figures), it is also important to note that the percentage of neutral figs is incredibly low, so playing with these sets reinforces the either/or of gender roles:

Lest you think girls get all the special treatment, fear not, boys get their share of “boys only” themes. We’ve already discussed Trains and Technic which have long, proud, histories and exist in a blue and black anti-Belville realm (Technic even had Belville-sized masculine articulated figures for a while). In 1998 the ill-fated Znap bucked the trend of “boys only” themes being for advanced builders. It was simple to put together (like K’nex), but never caught on despite being viral. 1998 also saw the creation of a Technic subtheme with even more testosterone than usual: Competition. 2001 saw TLG try to bridge the gap between DUPLO and SYSTEM (for boys) with Jack Stone. 2001 was also the launch of TLG’s attempt to get in to the action figure market: Bionicle. This is arguably a gender-neutral theme, but considering that TLG forgot to include girl’s names for an online character creator for Bionicle’s successor, it’s clear that TLG does not think boys and girls can enjoy the same toys.

As a final note on this era, observe this graph of the m/f ratio on minifigs over time. Notice how it is on the decline (towards gender balance) before sharply increasing in the early 2000s? We’ll explore the reasons for that in the next installment.

Read Part III of A Historical Perspective on the LEGO Gender Gap.

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David Pickett is a social media marketer by day and a LEGO animator by night.  He is fanatical about LEGO and proud to be a nerd. Read more from David at Thinking Brickly.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.