Roll Up For The First Annual Objectify A Man in Tech Day

What if men writing tech journalism had to field compliments about their looks or sexual attractiveness any time they wanted to talk about issues of concern to their space? I’d love to find out.

UPDATE 28 January: Objectify A Man in Tech Day has now been called off - you can read Leigh's post about why she's cancelling it here

From booth babes to harassment, snide comments to double standards, women have often had a hard time feeling comfortable around the tech industry. 

But the fightback has begun: here at the New Statesman, Alex Hern covered the #1ReasonWhy campaign which allowed Twitter users to share the experiences they believe are putting off women from working in games. Prolific coverage of #1ReasonWhy resulted in stressful - but crucial - further conversations, in forums and comment sections, of the sort you might expect when a historically cloistered and self-protective group is prompted to consider opening up its insular club to the real adult world.

Emily Gera made an interactive text piece titled CONGRATULATIONS, YOU ARE NOW A KOTAKU COMMENTER to satirise the misguided, wildly terrified and thoughtlessly hostile responses to #1ReasonWhy that emerged in the popular gaming blog’s comments sections. It's full of lines such as "Often you think to yourself, 'what ever happened to all the men?' Once prized for everything from inventing snooker to the Yorkie bar, the population of men on the Internet is now under attack by the pastel-draped world of women whose shirts don’t even have 50 percent opacity." It’s barely satire, sadly.

In this crucible of negativity and conflict, the kind of harmless compliments that female tech journalists routinely get about their appearance when writing or speaking in public hardly seem worth getting heated up about. Yet sometimes it’s the more insidious elements of sexism that deserve the closest analysis, conversation and discussion. Everyone knows that discrimination is wrong. It’s just that sometimes people need a little help to recognise when discrimination is happening.

I speak in public often, but I’m loath to share and promote any video of my appearances – in part due to normal self-consciousness, and in part due to an aversion to response. A woman who shows her face in a male-dominated space generally can’t win. If her audience does not find her attractive, she will have to hear a lot of specific criticisms of her features (searching for me on Google Images yields a picture of my face alongside Jay Leno’s, a referendum on my chin).

It’s worse on her if her audience does like her looks: In that case they’ll say she obviously used her beauty to boost her career and is seeking attention and praise for displaying even a biographical headshot. Or she’ll be the recipient of vulgar comments and image manipulations.

Difficult stuff, yes – but also problematic, and much more widespread, is an insidious breed of sycophantism. This makes it more likely for a woman in geek culture to have to hear about how gorgeous and radiant she is whenever she wants to join important discussions, make statements on issues or use her expertise.

I use Twitter as a primary avenue to promote my work, and it’s common to see readers and self-described “fans” share links to my articles accompanied by superficial compliments that, while polite, have little to do with my writing, which generally focuses on game design analysis, social commentary and entertainment culture.  In an article compiling opinions from industry voices on the current game violence dialogue, it was pointed out to me that I am prettier than my male colleagues. In a video of a panel I recently participated in to give advice to game developers as a member of the press, I heard a lot about how great my hair is.

Now wait a minute, you might say – what’s so awful about a well-intentioned compliment? Isn’t it better than a vulgar one? People love compliments! (And the ‘winking’ emoticon. Always that damn smarmy winking emoticon!!)

Here’s the thing. Yes, the intention is usually harmless, even well-meaning. But superficial compliments have nothing to do with my writing, and coming from strangers, sometimes heaps of them at once, the net effect is creepy. This is the reality that many, even most women working and writing and speaking in tech fields face on a regular basis, and the reaction when we protest – please let’s focus on my work, not my face/body/hair – is telling.

People get angry. Rejecting physical compliments is considered snobby, unkind, uptight. You don’t like when men are abusive to you but you don’t like when they’re nice to you, either? Commenters sneer.  I’d love to have people complimenting me and coming on to me, shrug men. I call my friends “hot” all the time, protest people with whom you are not friends. Can’t you take a compliment is a sort of menacing thing to say, like attention from men is something we’re socially obligated to receive even in our workplace, which for writers is “the internet”.  

Still, we know we have to pick our battles in this landscape. So over the years, through a litany of being told I’m lovely – or the diminutive “adorable” – by people who are ultimately just trying to support and share my work, I’ve smiled tautly or ignored them.

Doing that, though, is as complicated a proposition as dealing with catcalls late at night. Shouting back is risky, potentially angering dangerous people or inviting accusations of being overly defensive toward people who were “just trying to be nice” by whistling to you from an alleyway as if you were a lost dog. But go too long ignoring it with a gritted smile and you start to break inside. Person after person is reducing you to an object, and you are tacitly accepting it.

So I got an idea, after seeing someone call me “lovely” for posting a design-oriented article on violence in games. Even though I know nobody intended anything other than respect for me, I had to act.

So I proposed the first annual “Objectify A Male Tech Writer Day”. On February 1, whenever you tweet an article, quote, comment or video from a man, add a comment about their appearance or attractiveness – “Great article on Final Fantasy XII-2 from the always-gorgeous Kirk Hamilton,” for example.

The purpose of the exercise isn’t to “get revenge” or to make anyone uncomfortable: simply to help highlight by example what a gendered compliment looks like, and to get people talking in a funny and lighthearted way about how these kinds of comments distract from meaningful dialogues and make writers online feel like their point of view is only as relevant as how attractive they are.

My friend Ben Abraham, a PhD candidate at the University of Western Sydney and a longtime blogger on games, helped me launch a formal campaign on Facebook. Left to my own, I’m a little embarrassed to admit I might have done nothing – the whole “pick your battles” thing has trained me to fear and avoid starting certain conversations online, and I’m afraid of backlash: You’re overreacting. You’re impossible to please. You probably don’t get that many compliments, you’re not that hot.

But Ben’s event page attracted retweets, comments both funny and serious, and over 100 attendees in its first hour. It wasn’t long before “men’s rights activists” arrived, offended at the “misandry” they saw in the act of asking people to try a playful shift in perspective or to have a conversation. The comments discussion is already fascinating, and Ben’s enlisted feminist student moderators to help engage and educate the curious. Interestingly, all the social media around the event so far has praised only Ben for his idea, even though we’re both co-hosts on the event.

We hope to see the idea shared broadly and the discussion continue on Facebook and through other social media outlets. If we all share the goal of making tech and gaming spaces for fair dialogue and respectful treatment of everyone, we should examine the way we talk to and treat one another – even when we’re “just trying to be nice.”

 

Leigh Alexander, gaming and social media culture journalist, is Gamasutra editor-at-large, columnist at Edge, Kotaku and Vice Creators Project, and contributor to Boing Boing,Thought Catalog and numerous others. She blogs intermittently at Sexy Videogameland

Gawker's Adrian Chen in a tutu, with "shoe on the head", here represents adorable male tech writers. Photo: Gawker
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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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