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New scoring system that ranks games based on their representation of race, gender and disabilities reveals there’s still a long way to go to accurately represent the diverse communities playing them

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A new study by Currys PC World investigating diversity in the gaming industry has found that, while the representation of race, gender and disabilities has improved in games since the nineties, there is still a distinct bias in favour of the young, white, straight male.

Using a bespoke scoring system (please see methodology for breakdown), they analysed games that have made a mark at E3 and The Game Awards over the last 20 years. Games were awarded points for: female characters in prominent positions; for exploring LGBTQ+ plot points or themes; for mixed race characters prominently placed in the story; and for disabled characters or references. Their key findings are below:

Ethnic minorities are still underrepresented in games, but things are (slowly) improving

Despite efforts being made in recent years to improve the ethnic diversity of characters in games, an analysis of all games nominated for a Game Award from 2003 to 2018 unearthed that black and ethnic minorities are still severely underrepresented.

While RPGs (role-playing games) sometimes offer a choice of playable characters, their default characters are often white. When other ethnicities are represented, it’s also common for them to be type-cast.

“The diversity that is applied to white characters is something that is often missing when other races are depicted in games.” Adam Campbell, co-founder of POC in Play. “Representation still feels incomplete and inconsistent. We’re still also hard pushed to find those protagonists that are not the stereotypical Indiana Jones or the tough, bald, male type, so ‘diversity’ is the exception rather than the rule.”

·         Proper ethnic diversity is still lacking. Only 3% of Game Award nominees (2003-2018) have featured a person of colour as a default protagonist.

·         Grand Theft Auto: San Andreas and The Walking Dead are the only games where a playable person of colour is baked into the story from start to finish.

·         Fallout 4 doesn’t feature a specific character on the cover, but the player creator screen serves a generic white male/female face as the first thing you see.

·         Canada is by far the best at getting representation right. Edmonton’s Bioware has put an emphasis on freedom of choice of character, and Ubisoft Montreal consistently tells diverse stories (e.g. Assassin’s Creed).

Representation of women in games is on the rise, yet the characters are often hyper-sexualised

With as many as 42% of gamers in the UK being female (and that number rising to 52% in France[1]) it only makes sense that women are represented equally in games. This doesn’t appear to be the case, however. While the last decade has seen a 189% increase in games featuring playable female characters, fewer than a third of game covers feature a woman in a prominent position. When women are featured, they’re often sexualised. For example, the cover of San Andreas sports a blonde-haired woman in a come-hither pose.

“Female characters have historically been hyper-sexualised for the male gaze in gaming,” says Jay-Ann Lopez, founder of Black Girl Gamers. “You can observe this with the various representations of Lara Croft. I do not believe there is an inherent problem with women being viewed as sexy. However, when it is the only version of women shown, it strips us of our depth and limits us to serving as purely visual objects. Still, there are more and more holistic and nuanced female characters appearing within games.”

·         Game covers continue to put men first. Only 11% of covers have women as the focal point, or with a share of the focus.

·         From 2012 onwards, diversity has markedly improved. The Walking Dead release that year starred a black man (Lee) and a young mixed-race girl (Clementine) and was a critical and commercial hit.

The notion that people with disabilities need to be “fixed” is rife in the gaming industry

On the rare occasions that disabilities are represented in games, they are more likely to be physical ailments than mental. Mental health has only been tackled in the last few years as awareness rises. Plus, characters with a physical disability are often “fixed”.

Accessibility expert Ian Hamilton says: “This notion that people with disabilities are broken and need to be fixed – a concept known as the medical model of disability – was rejected and abandoned in the 1970s, yet still persists in media and in games, often through the trope of medical conditions being replaced by superhuman powers or superhuman prosthetics. Moreover, games are often guilty of furthering the myth that a disability is rare, with all the impact that has on broader prejudice and discrimination.”

·         Deadly Premonition shows protagonist Francis York Morgan talking to an imaginary character, Zach. What starts off as a curious subplot turns into a fascinating exploration of mental health.

·         The Joker, ace pilot of Mass Effect’s SS Normandy, suffers from Vrolik syndrome (brittleness of the bones), while Lester, the sardonic sidekick in Grand Theft Auto V, has an unnamed wasting disease. Yet both men are fiercely independent in spite of the challenges they face and are not defined by their disabilities.

LGBTQ+ themes are being explored more in gaming narratives

LGBTQ+ themes are rarely explored in games, and that’s especially true of the biggest titles.

This being said, things are improving. Some of the biggest games to tackle homosexuality with grace in the last 20 years include:

·         Assassin’s Creed Odyssey (2018) and The Sims (2000) with both allowing you to enter a relationship with anyone you please

·         The Last of Us (2013) boasting an expansion pack that portrays Ellie in a relationship with another girl,

·         Fallout 3 that features a romanceable gay character, and

·         Life is Strange (2015) that explores a number of well-written gay characters.

“Dream Daddy: A Dad Dating Simulator lets players be either a cis or trans man and captures a reality of the gay community I haven’t seen before in a game. Not every game can be Dream Daddy – and not every game has to be.” Alayna M. Cole, MD of Queerly Represent Me.

·         Only 11% of GOTY nominees and E3 winners offer up significant LGBTQ+ storylines.

·         From 2009-2018, there’s been a 300% rise in games featuring proper representation when compared to the preceding ten years (1999-2008).

Ultimately, things are getting better. Since 2012, nearly half of all games have featured diverse casts, LGBTQ+ themes or characters of colour – as opposed to 26% pre- 2012. Plus, The Last of Us II, one of the biggest PS4 games coming out in the next year, is set to feature a female LGBTQ+ lead. With time, here’s hoping that the enduring (and inaccurate) stereotype – that only young, white men play games – will fizzle out.

[1] https://en.wikipedia.org/wiki/Women_and_video_games


Source: Latest News on European Gaming Media Network
This is a Syndicated News piece. Photo credits or photo sources can be found on the source article: New scoring system that ranks games based on their representation of race, gender and disabilities reveals there’s still a long way to go to accurately represent the diverse communities playing them

George Miller (Gyorgy Molnar) started his career in content marketing and has started working as an Editor/Content Manager for our company in 2016. George has acquired many experiences when it comes to interviews and newsworthy content becoming Head of Content in 2017. He is responsible for the news being shared on multiple websites that are part of the European Gaming Media Network.

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1xBet Becomes the First Official Betting Partner of MIBR’s VALORANT Team

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1xBet has signed a partnership with the VALORANT roster of esports powerhouse MIBR, becoming the first-ever official betting partner in the Riot Games ecosystem.

Under this partnership, 1xBet and MIBR will focus on creating a new, immersive fan experience, strengthening the team’s global fanbase, and boosting overall engagement with VALORANT.

MIBR’s VALORANT roster currently includes players from the United States and Brazil. Over the past few years, the team has been a regular competitor in VCT Americas, and in 2025 they qualified for VALORANT Masters Toronto — the only Latin American team to do so. Later that year, MIBR also earned a spot at VALORANT Champions 2025, finishing in the Top 5 worldwide.

Beyond their esports success, MIBR continues to expand its media presence through collaborations with leading Brazilian influencers such as Sacy, producing original entertainment content, and hosting watch parties during major tournaments — all helping the organization remain one of the most talked-about and fan-favorite names on the regional scene.

Among the team’s stars is Erick ‘Aspas’ Santos, widely regarded as a VALORANT legend in Latin America. In 2025, he set the VCT Americas record for the most kills in a BO3 series and became the first player in VALORANT Champions history to surpass 1,000 kills across tournaments (2022–2024). Outside of competition, Aspas is a three-time Prêmio eSports Brasil “Athlete of the Year” winner and a massive fan favorite — during VCT Americas 2024 Kickoff, he became the most-mentioned player on Twitch chats, with over 11,300 mentions.

1xBet is one of the most recognized brands in esports betting, regularly supporting major global tournaments and sponsoring top-tier teams around the world.

Simon Westbury, Strategic Advisor at 1xBet: “This is a historic step for 1xBet — becoming the first official betting partner of an esports team within the Riot Games ecosystem. MIBR features some of the most talented and visible players in Latin America, and together we aim to strengthen VALORANT’s presence across the LATAM region, elevate its appeal internationally, and deliver a unique fan experience for audiences around the globe.”

Raphael Castanheira, MIBR’s Director of Marketing and Partnerships:  “Being the first organization in the entire Riot ecosystem to obtain approval for a betting sponsorship is a direct result of how MIBR operates today, as an organized company with robust governance, clear processes, and protected by policies that put competitive integrity at the forefront. ”

 

The post 1xBet Becomes the First Official Betting Partner of MIBR’s VALORANT Team appeared first on European Gaming Industry News.

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ComeOn Group climbs to 21st place in the EGR Global Power 50 following a year of strategic growth

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Leading iGaming operator ComeOn Group has secured the 21st position in the 2025 EGR Power 50 rankings, reflecting a year defined by expansion, product innovation, and strengthened regulatory presence across Europe.

In 2025, the Group broadened its footprint in the regulated European markets with the launch of its casino-first brand Casinostuen in Denmark. The Group also advanced its activities in the Netherlands through the operation of Evoke’s 888 brand within the regulated Dutch market.

ComeOn Group continues to benefit from its strategic focus on locally regulated jurisdictions, which is powered by its own technology platform including an in-house sportsbook platform, proprietary games studio SpinOn, and unique, innovative jackpot products have been key contributors to differentiation and growing market share in core territories.

Juergen Reutter, Chief Executive Officer, said: “Our proprietary technology is powering our products and services, giving us a strong competitive edge in highly dynamic and regulated markets. This foundation allows us to innovate faster, deliver differentiated experiences, and scale with confidence.

At the same time, artificial intelligence is transforming how competitive we can operate. We’ve equipped our teams with the tools and governance to experiment boldly and apply AI where it creates the most value. At ComeOn Group, we want to learn faster than our competition, because speed, agility, and innovation are essential to staying ahead in this industry.”

The Group closed the period with strong financial performance, demonstrating consistent growth across all key indicators for the 12 months ending 30 June 2025. Combined with the company’s increased market reach and accelerated innovation initiatives, ComeOn Group enters the coming year with robust momentum and a strengthened market position.

 

The post ComeOn Group climbs to 21st place in the EGR Global Power 50 following a year of strategic growth appeared first on European Gaming Industry News.

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From Vision to Execution. Inside Game Creation: Interview with Will and Ray at DreamPlay

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In recent years, the iGaming industry has been evolving at an exceptional pace, driven by technological advancements, innovative mechanics, and a deeper understanding of player psychology. Behind every successful slot or casual title stands a team of specialists who transform concepts into polished, engaging experiences enjoyed by players worldwide.

To shed light on how this creative and highly technical process unfolds within DreamPlay, we spoke with Game Producer Ray and Game Designer Will. They shared their insights into modern game development, the principles that guide their decisions, and the factors that shape the creation of new titles in a rapidly changing market.

Q1. Core Elements of Player Perception

Which elements of game design — from mathematical logic to gameplay pace — most often have a decisive influence on a player’s perception of the game?

Will:

It’s all important. The rhythm and potential in the Math balance, the way mechanics are designed and interact with each other, symbols looking and animating in an appealing way, to both avoiding there being repetitive sounds that annoy Players and sounds that celebrate their highs. They all contribute to the overall Player experience.

As a Game Designer, the biggest priority I have is the Player experience, and to achieve that we make sure everyone who contributes to the game is working toward the same goal and supporting every element regardless of the department; for example, ensuring the sound design hypes up the big moments in the Math model or making sure the art and animation properly communicate how the mechanics function.

Q2. Differentiating Similar Slots

In your experience, what makes the difference in production dynamics between slots with similar mechanics? Which development parameters are most critical for the final result?

Ray:

Even when two slots share similar features or math models, the theme, the way the gameplay is presented, and the pacing make a huge difference in how the final product feels. Players can sense a well-balanced math model without needing to understand the technical details — they just feel rewarded for playing, and they understand what the game is trying to offer them.

For us, creating a great player experience is the real differentiator. It’s what separates our games from competitors, even when the mechanics look similar on paper.

Q3. Emotional Triggers in Game Design

In your experience, what design choices have the strongest impact on players’ emotional responses, and how do you approach creating them?

Will:

Some of the strongest emotional responses come from when the Player makes an assumption about the way a feature works, then gets that confirmed with a big win or progression towards something big — the whole potential of the game opens up to them. That’s when the imagination takes over with questions like “What if this mechanic works with that one? That could be huge.” It cements that desire to fully explore the game and everything it has to offer.

Q4. Late-Stage Adjustments in Development

When you have to tweak a game in the later stages of development, what factors usually cause the changes?

Will:

Usually, it’s a complex UI element for an equally complex mechanic; elements like that often need many iterations to make sure we’re communicating to the Player in a way that makes sense to them. One of the biggest barriers preventing Players from enjoying the game is their understanding of it, so effective communication is incredibly important.

It’s never a waste of time to break down that barrier as much as possible so the games can be experienced in their full form.

Q5. Underrated Stages of Slot Development

In your opinion, which stage of slot creation is most often underestimated, even though it affects the integrity of the final product?

Ray:

I think the most underestimated stage is actually the final stretch — the polish and QA phase. This is where we identify small improvements that make the game feel tight, consistent, and enjoyable, and it’s also where we make sure everything meets our quality standards and jurisdictional requirements.

It’s easy to overlook how important this stage is, but it’s often what determines whether the final product feels truly finished.

Q6. A Benchmark Project for the Team

Which project in your practice has become a benchmark for you in production, and what has it taught the team in terms of development efficiency and quality?

Ray:

DreamPlay is still a new company, and we’re all learning how to work together and build our own production rhythm. One project that really stands out for us is Moon Joker. It came together in a way that showed what we’re capable of when every department is aligned.

We had a strong concept; we kept things simple and classic, but we still found room to innovate. Art, design, math, audio, and engineering all pushed in the same direction, and you’ll be able to see that in the final product. It’s a great example of what our team can achieve when everything clicks.

Discover more from DreamPlay:

Instagram | LinkedIn | Website

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