Games & Virtual Worlds Series

Demographics by Age & Sex

Designing Games & Interactive Stories

Michael Filimowicz, PhD

Published in

Narrative and New Media

14 min readJan 4, 2023

Broadly speaking, players of different ages and sex have distinct playing styles; however, traditional gender roles are rarely fully upheld, and there is a great deal of overlap between men’s and women’s interests. About half of all heterosexual women report being tomboys as kids, according to studies cited by Holly Devor in her book Gender Blending: Confronting the Limits of Duality. The next several paragraphs will go deeper into the various demographic groups.

Men & Women

But what if the player is female?

— Sheri Graner Ray, Gender Inclusive Game Design

It is difficult to determine the exact percentage of people who play video games that are women, as this can vary depending on the specific game and the platform it is played on. However, according to data from the Entertainment Software Association (ESA), in 2020, 45% of all gamers were women. This data includes all types of gaming, including console, PC, and mobile.

It is worth noting that the percentage of women who play video games has been steadily increasing in recent years. In 2014, the ESA reported that 41% of gamers were women. This suggests that the gender gap in gaming is narrowing and that more women are becoming interested in playing video games.

Patterns in the Data

There are a few factors that have been identified as potentially being more off-putting to women than to men in video game design.

One factor is the portrayal of women in games. Studies have shown that many women find it off-putting when female characters are objectified or sexualized in games, or when they are portrayed in a stereotypical or one-dimensional way.

Another factor that may turn some women off from playing games is a lack of inclusivity. This can include a lack of diverse characters or a lack of options for customizing characters to reflect a player’s own identity.

Finally, some women may be put off by the competitive or aggressive nature of some games, or by games that are excessively violent or gory.

It is important to note that these are generalizations and that not all women will be turned off by the same aspects of games. It is always a good idea for game developers to consider inclusivity and diversity when designing games, as this can help to make their games more appealing to a wider audience.

Some research suggests that women may be more interested in social and cooperative video games than men. Other studies have found that women tend to prefer games that are more social and offer opportunities for teamwork and cooperation. Some research has found that women who played online games were more likely to prefer games that allowed them to interact with other players and form social connections. Some research suggests that women may place a higher value on interpersonal relationships than men. Other research has also found that women tend to be more focused on maintaining relationships and are more likely to engage in activities that strengthen social bonds.

These are generalizations of course, and that not all women will prefer social and cooperative games, or that all men will prefer competitive games.

Taking risks is a major component of gameplay, and there is some research to suggest that men and women may view risk differently. Some studies have found that men tend to be more willing to take risks than women, which may be due to socialization or cultural factors that encourage men to take risks and be more competitive.

Other research has found that women may be more risk-averse in some contexts and more likely to take risks in others, with some researchers found that women were more likely to take risks when the potential rewards were high and the risks were low.

Games, of course, are full of conflict! Some research suggests that men and women may have different approaches to conflict resolution. Some research has found that men were more likely to use competitive and assertive tactics to resolve conflicts, while women were more likely to use cooperative and accommodating tactics. Other studies suggest that men are more likely to use a problem-solving approach to conflict resolution, while women were more likely to use a relationship-oriented approach.

There is some research to suggest that women may be more interested in customizing their avatars in video games than men, with research arguing that women who played online games were more likely to spend time customizing their avatars and expressing themselves through their in-game appearance, since women tend to be more interested in games that offer a wide range of customization options and allow them to create unique and personalized avatars.

There is some research to suggest that women may have a stronger preference for puzzle games compared to men. A study published in Computers in Human BehaviorLinks to an external site. found that women who played online games were more likely to prefer puzzle games, while men were more likely to prefer action games. Other research has also found that women tend to be more interested in games that require strategic thinking and problem-solving skills.

Some studies have found that men tend to play video games more frequently than women, with men were more likely to play video games on a daily basis, while women were more likely to play less frequently.

Men also tend to spend much more money on video games compared to women. Some have conjectured that these differences in the amount of resources spent on games — namely, time and money — between men and women is related to the disproportionate responsibilities that fall on women to raise children and other family matters, such as caring for elders and managing households.

Bear in mind that these are broad strokes that have been found in empirical research. Female gamers are a sizable demographic, and many of them do of course pay just as much as men for gaming gear . There are also many male gamers who are parents of young children and can only find the time to play a cheap puzzle game once or twice a day. It’s not always predictable what demographic groups a new game will appeal to.

Designing Games for Children

There are a few key differences to consider when designing video games for children compared to adults:

Age-appropriate content: Children’s games should avoid themes, graphics, and language that may be inappropriate or disturbing for young players.

Difficulty level: Children’s games should generally be easier than games for adults, as younger players may not have the same level of problem-solving skills or patience.

Length of play: Children have shorter attention spans than adults, so it’s important to design games that can be played in short bursts or have a clear sense of progression to keep them engaged.

Educational value: Many parents look for games that will also educate their children, so incorporating educational elements such as counting, letters, and basic problem-solving can be a good idea for children’s games.

In-game purchases: It’s important to carefully consider the use of in-game purchases in children’s games, as young players may not fully understand the concept of real-world money and may accidentally make unintended purchases.

The 7 Kisses of Death

Carolyn Handler Miller has compiled a list of the “Seven Kisses of Death” which are common misunderstandings about what children like.

Her book, Digital Storytelling, Second Edition: A Creator’s Guide to Interactive Entertainment is a good resource for learning more about these deadly kisses.

Death Kiss #1: Kids love anything sweet. Kids enjoy some sweet characters and settings, but they don’t really have a media sweet tooth. They watch plenty of cartoon content that is far from being sweet.

Death Kiss #2: Give them what’s good for them. Kids get tired of always being told what’s good for them, since that makes up a lot of conversational content adults aim at them. Adults don’t like it either, always being given advice on how to improve themselves. When playing games, they want to relax and have fun, not get self-improvement tips.

Death Kiss #3: You’ve just got to amuse them. Kids can interpret stories with more sophistication than they’re often given credit for. They don’t want to be pandered to with bad acting and cliché plots, and enjoy some sophisticated layering in their media.

Death Kiss #4: Always play it safe! If there’s too much effort to make the media safe for kids, by removing violence, conflict and unpleasant situations, they will see through it and lose interest.

Death Kiss #5: All kids are created equal. There’s no such thing as a kid’s market or niche. They grow up fast! One year they’re in one market and then they’re in another. Kids’ games should assume a general ‘for kids’ approach.

Death Kiss #6: Explain everything. Children prefer learning by doing and do not care for lengthy explanations of the game’s rules. The assumption that children need to have things spelled out to them is one that adults have, but in a video game setting, when there is no risk of injury, this is not the case.

Death Kiss #7: Be sure your characters are wholesome! Being pure and simple is dull and monotonous. In the same way that adults wouldn’t put up with generic characters, kids don’t either. They like genuine characters with their own flaws and weaknesses.

Games for Girls

There are a few factors that game designers may want to consider when creating games for a specific gender:

Stereotypes: Game designers should be mindful of avoiding gender stereotypes in the characters, storylines, and gameplay of their games. This means avoiding the use of overly sexualized female characters or portraying males as the only ones interested in action or adventure.

Interests: While there is a wide range of interests among both boys and girls, game designers may want to consider the specific interests of the gender they are designing for. For example, a game designed for girls may feature more social gameplay or a focus on creativity and self-expression.

Marketing and promotion: Game designers should also be mindful of how they market and promote their games to specific genders. This means avoiding the use of gendered language or imagery that could alienate players who don’t conform to traditional gender roles.

There can sometimes be a tension in the game design process between creating games that are inclusive and welcoming to players of all genders, and creating games for a well-defined market demographic so that the game can earn a profit.

Kaye Elling’S Five Cs

Former Bratz series creative manager and Animex festival lecturer Kaye Elling spoke on “Inclusive Games Design” in 2006. To make games more welcoming to and playable by girls, Elling suggested five features, all beginning with the letter C, that developers should aim towards.

Characterization. When compared to male gamers, female gamers consider their avatars as a reflection of themselves rather than a mere tool. As a result, for an avatar to appeal to girls, the character must be relatable and free of turn-offs.

Context. Girls are sensitive to the aesthetics of their surroundings and will avoid areas they perceive to be unwelcoming or unappealing.

Control. Girls want to feel like they have some agency within a game, as opposed to being passive observers. The risk-and-reward gameplay strategy is less popular among female gamers because they are less likely to take chances than male gamers. They also don’t appreciate mechanics that make it difficult to try again if you fail.

Customization. Since girls are more likely than males to personalize their mobile phones and other personal items, they would also want to do so in video games, particularly with regards to their avatars. Some of the best rewards are hidden ones that can be unlocked by playing and winning minigames.

Creativity. The Sims’ appeal to women and girls stems in large part from the game’s encouragement of imaginative play. Players can share their unique perspectives and accomplishments with the community through their creativity.

Jesyca Durchin’s Research

Jesyca Durchin, formerly an executive producer at Mattel as, now runs Nena Media, a consulting firm that develops media for girls. She presented a summary of her research on teenage females’ video game habits at the Game Developers Conference in 2000, summarized below.

Girls Have Wide-Ranging Interests

It is crucial to figure out what kind of girl plays your preferred game. Girls, in contrast to boys, have a wide variety of interests. During the course of their development, girls undergo more fast and distinct changes in both their emotional and intellectual states. Between the ages of 4 and 14, or childhood more generally, a girl’s playing requirements change virtually every year.

Design Interactivity on Proven Play Patterns

A child’s approach to a toy or an activity that she uses for entertainment follows a predictable and, at times, instinctive pattern known as a play pattern. Below is a list of play types that girls traditionally value:

Fashion play
Nurture play
Glamor play
Collection play
Action/twitch play
Communication/social play
Adventure play

Girls, like boys, enjoy playing because it allows them to use their imaginations while also simulating situations they might encounter in real life. The ubiquitous Barbie facilitates the transfer of adult roles and interests into the world of the child’s play.

A couple more things to consider:

Girls enjoy things. They like to acquire, show, or remove stuff as part of their play. They like to feel a purpose in playing. In contrast to earlier software aimed at boys, the idea of scoring has been replaced in girl games by the concept of collecting things. For instance, collecting all of the different shells is more exciting than aiming to get a high, but arbitrary, score.

Create settings that are appealing to girls. They want realistic settings that are either lovely or make sense in terms of the plot. For girls, aesthetic aspects like symmetry and color coherence are important. The girl should feel as though she is in a different location in each game world space, even if not everything is pink, purple, and girly. Both boys and girls have a rich imagination, and they develop other plot lines in their own minds.

Sensual interfaces are popular among girls. Girls typically react more favorably to engaging interfaces that are vibrant and sound-driven. The user interface must feel magical and have the “brrrring” effect. They like interfaces that light up, ring and vary in shape and color.

They like software realizations of their physical toys, which is also a great way for product companies to expand their brand as girls are also ‘digital natives.’

Designers shouldn’t feel inferior about their work. Either go all in or don’t go at all. If you’re embarrassed to create games for them, girls will know. Don’t bother if you find it awkward to refer to things as “relationship games” or “hair play.”

Misconceptions

Since there are fewer girls than guys that play ‘hardcore’ games, assumptions are made about what these players seek. Some of such errors in thinking are addressed in below:

Girls don’t like computer games because computers are techie. This is not true. While females are less likely to be interested in learning about computer hardware and software than males are, this does not prevent them from enjoying video gaming consoles or other tech objects like wearables and cars.

Girls don’t like violence. Girls, on the contrary, dislike pointless, constant aggression. They aren’t so much disgusted by it as they are bored by it. Their creativity isn’t sparked in any way. They’ve witnessed one explosion too many to want to see another. Elling also notes that girls dislike brutality, which she defines as “casual, cruel, or excessively graphic violence.” There is a greater tolerance for violent behavior when it is used defensively, when it is provoked, or when it takes on a more cartoonish quality.

Girls want everything to be happy and sweet. Not so. Fiction aimed at girls is not all pink and fluffy. Mystery, suspense, and even danger are popular with female readers, but only if they serve a greater purpose than simply entertaining.

Girls don’t like to be scared. This can be somewhat true. The distinction between spooky and scary that Jesyca Durchin draws is an important one. Spooky but not terrifying is preferred. Nighttime at the carnival or in an abandoned house might be nicely spooky. It is scary to make your way through the dark city streets while a killer is on the loose. The fear of being startled or frightened is what makes anything spooky, but the fear of harm or death is what makes something scary.

Social Ideals & Market Realities

Some programmers, both men and women, are offended by the prospect of creating games centered on topics like fashion and beauty, arguing that it promotes harmful gender stereotypes. While this is a valid point, a significantly higher percentage of games promote an even more negative ideal of masculinity by depicting men engaging in aggressive, materialistic, self-centered behavior. It sets a double standard to criticize games aimed at girls because they represent social norms.

Bibliography & Further Reading

A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design by Anna Anthropy and Naomi Clark
A Theory of Fun for Game Design by Raph Koster
Advanced Game Design: A Systems Approach by Michael Sellers
An Introduction to Game Studies by Frans Mayra
Basics of Game Design by Michael Moore
Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made by Jason Schreier
Board Game Design Advice: From the Best in the World vol 1 by Gabe Barrett
Building Blocks of Tabletop Game Design: an Encyclopedia Of Mechanisms by Geoffrey Engelstein and Isaac Shalev
Character Development and Storytelling for Games by Lee Sheldon
Chris Crawford on Game Design by Chris Crawford
Clockwork Game Design by Keith Burgun
Elements of Game Design by Robert Zubek
Fundamentals of Game Design by Ernest Adams
Fundamentals of Puzzle and Casual Game Design by Ernest Adams
Game Design Foundations by Brenda Romero
Game Design Workshop by Tracy Fullerton
Game Mechanics: Advanced Game Design by Ernest Adams and Joris Dormans
Game Writing: Narrative Skills for Videogames edited by Chris Bateman
Games, Design and Play: A detailed approach to iterative game design by Colleen Macklin and John Sharp
Introduction to Game Systems Design by Dax Gazaway
Kobold Guide to Board Game Design by Mike Selinker, David Howell, et al
Kobold’s Guide to Worldbuilding edited by Janna Silverstein
Level Up! The Guide to Great Video Game Design, 2nd Edition by Scott Rogers
Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, et al.
Narrative Theory: A Critical Introduction by Kent Puckett
Narrative Theory: Core Concepts and Critical Debates by David Herman, James Phelan, et al.
Narratology: Introduction to the Theory of Narrative, Fourth Edition by Mieke Bal
Practical Game Design by Adam Kramarzewski and Ennio De Nucci
Procedural Storytelling in Game Design by Tanya X. Short and Tarn Adams
Professional Techniques for Video Game Writing by Wendy Despain
Rules of Play by Salen and Zimmerman
Storyworlds Across Media: Toward a Media-Conscious Narratology (Frontiers of Narrative) by Marie-Laure Ryan, Jan-Noël Thon, et al
Tabletop Game Design for Video Game Designers by Ethan Ham
The Art of Game Design, 3rd Edition by Jesse Schell
The Board Game Designer’s Guide: The Easy 4 Step Process to Create Amazing Games That People Can’t Stop Playing by Joe Slack
The Cambridge Introduction to Narrative by H. Porter Abbott
The Grasshopper, by Bernard Suits
The Routledge Companion to Video Game Studies by Bernard Perron and Mark J.P. Wolf
The Routledge Encyclopedia of Narrative Theory by David Herman
The Ultimate Guide to Video Game Writing and Design by Flint Dille & John Zuur Platten
Unboxed: Board Game Experience and Design by Gordon Calleja
Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques by Evan Skolnick
Writing for Video Game Genres: From FPS to RPG edited by Wendy Despain
Writing for Video Games by Steve Ince
100 Principles of Game Design by DESPAIN