Today’s blog takes you on a fresh dive into the evolving gaming industry, guided by two expert voices with firsthand experience.
First, we introduce Professor Morgan Read-Davidson, Assistant Professor of Instruction at Chapman University and Director of Undergraduate Writing Programs. A recipient of the prestigious Nicholl Fellowship in Screenwriting from the Academy of Motion Picture Arts and Sciences, Professor Read-Davidson brings deep expertise in rhetoric, community writing, posthuman rhetorics, and ludonarratology—the fascinating space where gameplay meets narrative. As an accomplished writer, he has contributed to feature films, TV pilots, short stories, and historical novels, making him a dynamic presence in both academic and creative fields.
In his ENG 328: Writing for Video Games course, which is also a CCI elective, Professor Read-Davidson explores how inclusivity is reshaping gaming, empowering students to make meaningful changes in the industry.
Also featured is Chapman alumna Rebecca Rost, a Creative Writing major with a Video Game Development minor who studied under Professor Read-Davidson. Now active in the gaming field, Rebecca shares her experiences tackling real-world challenges, observing industry shifts, and leveraging lessons from her Chapman journey to navigate her career.
Ready to discover a new side of gaming? Dive in!
Let’s start with Professor Read-Davidson. How has inclusivity in gaming evolved, and do you believe the industry is more inclusive now than it was a few years ago?
MD: The gaming industry has long been known for its misogynistic "gamer bro" culture, often reflected in the unrealistic and stereotypical portrayal of women in character designs. However, progress toward inclusivity has slowly been taking shape. In recent years, a wider range of identities—spanning gender, ethnicity, disability, and more—are being represented in games. Indie developers have been at the forefront of this shift, though mainstream titles are also becoming more inclusive. So, is gaming more inclusive than it was a few years ago? Yes, but there’s still plenty of room for improvement.
In terms of video game marketing, particularly within the entertainment industry, do you think there has been a shift toward better inclusion of women?
MD: On the topic of representation in gaming, there has been a noticeable shift. Take The Last of Us series as an example. In the first game, you primarily play as Joel, an older white man, though you do get to control Ellie briefly while Joel is injured. However, in the second game, you play as Joel only for a short time before taking on the roles of Ellie and Abby. Abby, in particular, presents a character who defies the stereotypical representations of women in games. In addition, there are characters who represent non-binary and queer identities. It's not perfect, written as it is by heterosexual white men, but it's a step toward inclusivity. Representation is becoming more prominent, especially in the indie market, where many main characters are nonbinary, women, or people of color. RPGs (role-playing games) are also embracing inclusivity, allowing players to choose different genders. In Baldur's Gate 3, players can create nonbinary characters and explore a wide range of identities, making it a standout example of inclusivity. From a marketing perspective, developers are realizing that their audience isn’t just men and boys, but a diverse community of players. While we're seeing more inclusivity, that doesn’t mean the industry is completely free of traditional tropes. When you open platforms like the PlayStation Store, Xbox Store, or Steam, there are still plenty of games heavily marketed toward young men, using familiar visual tropes. Nonetheless, the shift is happening, and it's opening doors for more diverse representation in gaming.
What topics are you teaching, and what steps do you take to incorporate them into your classes? How do you ensure that students leave your classroom at the end of the year prepared to work in the gaming industry and leave it better than they found it?
MD: In my video game class, we bridge theory and practice by exploring interactive narratives. One impactful game we play is Before I Forget, which centers on an Indian woman with early-onset dementia. Developed by women of color and informed by experts in disability studies, the game authentically portrays the experience of dementia, showcasing how video games can offer diverse perspectives similar to novels and films. Games have the potential to expose us to diverse perspectives and different life experiences. The gaming industry has evolved to recognize this potential, demonstrating a commitment to exploring meaningful narratives that reflect a wider range of human experiences. When discussing game writing, we emphasize the importance of avoiding patriarchal storytelling and stereotypical choices. Students critically analyze character development, tropes, and archetypes, questioning their relevance and seeking ways to subvert outdated narratives. We also invite industry professionals to share insights on navigating challenges related to inclusivity, particularly for individuals from marginalized identities. These discussions provide students with practical advice and prepare them for real-world challenges in the gaming industry.
Now, let’s shift gears to speak with former Chapman student Rebecca Rost—a true trailblazer in a field that hasn’t always welcomed women with open arms. Rebecca has already made her mark at major studios like SEGA/Atlus Games and Amazon Studios, and she’s now thriving at Firaxis Games, where she envisions a bright future. Her enthusiasm is contagious; when she talks about her work, her joy for the company shines through. For Rebecca, gaming boils down to one powerful word: create. This industry fuels her creativity and passion, and every project she designs is filled with that same love for her craft.
Curious to learn more? Keep reading!
To start off, could you tell me a bit about yourself?
RR: I’m a quest designer in the video game industry, where I get to combine storytelling with game design. Funny enough, for the first 17 years of my life, I thought I’d be an actress where I learned how to “sell myself” and embrace creative expression. But when I turned 18 and moved to California to attend Chapman University, my focus shifted. I majored in Creative Writing, minored in Video Game Development, and over that summer, made my first game using RPG Maker. I was hooked. My video game journey officially started with an internship at Bad Juju, where I got my first taste of studio life—creative freedom, casual dress, and more. Since then, I’ve worked with Amazon Game Studios and Firaxis, where the laid-back, results-driven culture continues. I recently moved to Maryland to join my team in-office after working remotely in LA. Most days have check-in meetings, where we share updates, set goals, and troubleshoot. My role mainly involves “paper design”—brainstorming, building systems, and translating ideas into reality through XML coding, narrative development, and close collaboration with my team. Together, we keep the game’s vision clear, consistent, and fun to play.
What changes have you observed in the gaming industry recently regarding inclusivity?
RR: Inclusivity is becoming a central focus, especially for larger game studios. Partly, it's a PR strategy to create welcoming spaces, but it’s also driving real progress in the art of game development. When I first started out a decade ago at a now-closed company called Bad Juju, the environment was far from inclusive. Sexism was pervasive—while I loved creating games, I often faced unprofessional behavior from men, which was discouraging. Since then, I’ve been lucky to work at studios like SEGA/Atlus, Amazon Games, and now Firaxis, where I feel much more respected. While sexism isn’t entirely gone, there’s been a noticeable shift in how I’m treated, especially in my current role. Breaking into the industry was challenging, especially as an 18-year-old woman fresh out of high school, facing biases about both my gender and my age. Now, with years of experience, I’ve earned that respect—but I want to see it extended to younger women entering the field, too. Thankfully, the industry is evolving. Programs like Girls Who Code and initiatives supporting women in STEM are helping change the landscape. The game industry is unique—it blends art, storytelling, and technical skill. Game design requires a strong sense of narrative and aesthetics, plus coding knowledge, and it's a challenging industry where women are often less encouraged to pursue technical skills. But progress is real, and I’m hopeful for the future.
Have you noticed a shift in player demand for more inclusive games? If so, how has that influenced your design approach?
RR: In my social circles, I often encounter people eager to see themselves reflected in media—something I believe is essential. When representation is lacking, it feels like being a vampire, unable to see your own reflection. I even wrote a poem about this, exploring how vampires perceive themselves as monsters due to their invisibility. Similarly, if you don’t see people like you succeeding, it can feel impossible to envision your own success. I’m passionate about lifting others up, reaching back to colleges and communities, and recognizing when to pass the microphone. As a white woman, I understand that representation isn’t always about me. There’s been a significant shift in player demand for authentic representation. Following the push for diversity in TV and film, gamers now seek characters who are interesting, flawed, and complex—not just tired stereotypes. Games have a mixed history of both harmful and progressive portrayals, but at Firaxis, we focus on creating fun, engaging gameplay while ensuring our narratives reflect the rich diversity of the world around us.
What was your experience like in Professor Read-Davidson’s class, and what key messages did you gain from it?
RR: I learned a lot, especially through paper design exercises where we created various campaigns and systems for D&D. As a huge D&D nerd, I loved the thrill of dice rolls determining success or failure. The randomness keeps it exciting, but you can still strategize to your advantage. The class taught me how to turn ideas into tangible designs through a process of iteration—creating a game, identifying what didn’t work, and refining it repeatedly to achieve the desired experience. Professional game development follows the same path: you start with a draft and progress through multiple versions until you reach your original vision.
What advice would you offer to new game designers who want to focus on inclusivity and representation, or who are simply looking to enter the gaming industry?
RR: Build. Your. Portfolio. Include everything you do, even if it’s not directly related to games. This demonstrates that you’ve completed projects and gained valuable experience. I even included my scene work in mine. I had so many random pieces that I thought, “Why not showcase them?” I get that the job market can feel overwhelming, especially with so few openings out there. But if you're trying to break into the industry, your biggest asset is your uniqueness. Additionally, developing your professional social skills is crucial. While many people can code, which is fantastic, if you can’t effectively communicate your creations and explain your logic, you may struggle. While anyone can learn to code, collaborating in a team environment is often more challenging. You need to manage your own emotions and those of others, especially when everyone is working toward the same goal. It helps to have a positive mindset and learn how to engage with your teammates, not just on projects but as people. Being able to express your ideas clearly and concisely is key to making it in this field.
That wraps it up for today! We explored a powerful student-teacher perspective from two individuals who are actively working in the industry. This post marks the second installment in our gaming blog series. If you read Leveling the Playing Field: How Inclusivity is Shaping the Future of Gaming, you’ll know this blog continues that story—with a fresh twist. We’d love to hear your thoughts on today’s post! And if you’d like to be featured, feel free to reach out to our social media coordinator Estefania Rosas at erosas@chapman.edu
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