Games and Gamers: LGBT Culture in Video Games

As June marks the start of Pride Month, it’s important to acknowledge the progress and challenges that come with LGBT+ representation in video games. The gaming industry is one of the most influential sectors of contemporary culture, and it has long since ceased to be just entertainment. Through its characters, narratives, and the choices players make, video games have become a battleground for equality, visibility, and recognition. This article is an attempt not only to briefly reflect on the journey the industry has taken from a near-total absence of queer narratives to the creation of publications, communities, and specialized awards dedicated to LGBT gamers and characters, but also to emphasize the importance of continuing this journey.

Origins: invisibility and stereotypes

Until the early 2000s, LGBT characters in games were either completely invisible or presented through stereotypes, often as caricatures or objects of ridicule. They were rarely included in main storylines, and almost never considered as full-fledged characters. For example, Birdo from Mario World, who first appeared in Super Mario Bros. 2 (1988), is considered the first transgender character in games, but her gender identity has been constantly changed in localizations. Another example is Vivian from Paper Mario: The Thousand-Year Door (2004). In the Japanese version, she is a trans woman, but this trait was completely removed from the English-language release.

These early examples demonstrate a lack of deep understanding of queer identities, resulting in superficial representation or complete disregard for them. Games were largely shaped around heteronormative stereotypes, and even deep role-playing games offered only traditional relationships. Developers feared societal backlash and avoided sensitive topics to avoid hurting sales.

And yet, there were some exceptions. In the cult RPG Fallout 2, it was possible to enter into a gay marriage back in 1998, although this was not advertised. It is also worth mentioning the Sims series, which from the very beginning allowed romance between characters regardless of their gender. Let's recall that the first game, The Sims itself, was released in 2000. It was one of the first mass games that offered players freedom of expression in relationships, although without an explicit statement about the game's LGBT politics. Such moments became breakthroughs because they showed demand and acceptance from a part of the audience.

Since the early 2010s, there has been a rapid growth of the indie scene, giving a voice to those who previously had no voice in mainstream games. Projects like Gone Home (2013), Coming Out Simulator 2014, 2064: Read Only Memories (2015) have emerged, which have already directly explored themes of identity, coming out, homophobia and acceptance. These works were not afraid to be political and personal at the same time. And it was thanks to them that the industry took its first steps towards true representation.

So, despite a long period of invisibility, LGBT content in games had its roots. Its appearance was limited, often accidental or leveled localization, but it started a transformation - from jokes to important storylines and voiced characters.

Hidden queer heroes: characters who remained behind the scenes

Despite the dominance of the heteronormative paradigm in games of the past decades, some LGBT characters still appeared in them, although often disguised or not obvious to the players. Their identities could only be understood through subtext, dialogue, or later interpretations by the authors.

Among such characters, it is worth mentioning the character Poison from Final Fight (1989), who is described as a transwoman in Japanese sources. During the localization for the United States, her identity was either removed or presented ambiguously. Tony from EarthBound/Mother 2: Gīgu no Gyakushū (1994) is distinguished by a special affection for the hero Jeff - with romantic overtones, which were later confirmed by the game's author Shigesato Itoi. However, this is not explicitly stated in the game itself.

In Metal Gear Solid 2: Sons of Liberty (2001), the character Vamp is officially presented as bisexual, but this information has only appeared in out-of-game sources and comments by Kojima. Another notable character is Juhani from the role-playing game Star Wars: Knights of the Old Republic (2003). She is the first openly lesbian character in a Star Wars game, but her romance is only possible when playing as a female character and is presented very discreetly.

These instances weren’t overt statements about representation, but they became meaningful to players who saw their own stories in these characters. The concealment of queer identity in early games was often the result of fear of community backlash, censorship, or simply a lack of understanding. However, it was these “off-screen heroes” that became the first glimpses of future inclusivity in gaming.

Modernity: Recognition, Choice, and Representation

The last decade has been a watershed in LGBT+ representation in games. AAA-level games have increasingly included queer characters not as an add-on, but as an organic part of the plot. One of the most striking examples is The Last of Us Part II, where the main character Ellie is a lesbian, and her relationship with Dinah has become an important part of the narrative. At the same time, the game not only shows these relationships, but also develops them with emotional depth and respect.

In another major series, Ubisoft's Assassin's Creed, namely Odyssey, Valhalla, and Shadows, the player can choose romantic lines regardless of the gender of the protagonist or heroine. This opens up the possibility of queer identification in a large franchise aimed at a mainstream audience. Meanwhile, in the indie segment, projects are emerging that explore the subtler and more complex aspects of the LGBT experience: If Found... (2020) tells the story of a transgender woman in Ireland, and Boyfriend Dungeon (2021) combines a dating sim and a dungeon crawler with a choice of gender identity and romantic partners.

A special place here is occupied by Tell Me Why from Dontnod – the first major game with a trans man in the lead role, created in partnership with the GLAAD organization. In it, the character’s queer identity is not just a decorative detail – it shapes the plot, interaction with the environment and influences the decisions made by the player. Although in fact this game is not only about LGBT issues, but also about the eternal problem of communication between parents and children, about the hidden pain that each of us has and about the harm that secrets and indifference of the environment can cause. By the way, every year during Pride Month Tell Me Why can be picked up on Steam for free. Try it, it’s a really good narrative story. Such examples indicate a paradigm shift: games are no longer afraid of difficult topics and are ready to speak out loud about diversity.

Communities and Publications: Queer Gamers and Their Voice

One of the important stages in the development of queer gaming was the creation of its own media and communities. Gayming Magazine, founded in the UK in 2019, became the first online magazine dedicated entirely to LGBT+ in gaming culture. Its content includes industry news, interviews with developers, thematic collections, reviews and analytical materials.

Beyond media, building communities, both online and offline, is an important aspect. Discord has servers dedicated exclusively to queer gaming or hosting co-op nights. Reddit has subreddits like r/gaymers where members share experiences, hold AMAs with developers, and post memes related to queer gaming experiences. Twitch streamers from the LGBT community are creating spaces for safe viewing, and many of them are doing charity streams to support queer organizations.

These platforms have become a place of strength, especially for young players looking for support or role models to identify with. They are shaping a new culture where LGBT is not a taboo, but rather an open expression, a pride, and the foundation of new communities.

Special Awards: When representation becomes the standard

To celebrate achievements in LGBT+ representation in video games, special awards have been created, which are gaining more importance every year.

GLAAD, one of the most respected LGBTQ organizations in the United States, added a new category to its awards in 2019: GLAAD Outstanding Video Game. It was a milestone: the first time the gaming industry has received an award that focuses specifically on representation, rather than just technical or commercial aspects. Games are judged on how fully, responsibly, and compassionately they portray queer characters and themes.

Among the nominees and winners are The Outer Worlds (2019) for its inclusion of non-binary characters; the aforementioned Tell Me Why, in which a transgender protagonist plays a central role in the plot; Life is Strange: True Colors (2021), where the romance lines adapt to the player's choice regardless of gender; Horizon Forbidden West (2022), which introduces LGBT characters in side quests without exploiting this theme; Baldur's Gate III (2023) for its freedom in character creation, orientation, and the openly pansexual atmosphere of the entire game. These wins demonstrate that worthy representation can be both part of a big-budget project and the cornerstone of a creative idea. They also create a benchmark for other developers who have something to look forward to.

A special place in the industry is occupied by the Gayming Awards, launched in 2021 by the Gayming Magazine team. It is the world's first completely LGBT-focused awards ceremony in the video game industry. Unlike GLAAD, it covers a wider spectrum - from the games themselves to communities, streamers, cultural initiatives and activists.

In 2025, the nominees included both major studios and independent creators. For example: Stray Gods: The Roleplaying Musical – a project that allows you to choose romantic relationships regardless of gender, interweaving musical numbers with the personal stories of the characters; Thirsty Suitors – an eccentric dating/action about generational conflicts, migration, self-identity and awkward dates; Goodbye Volcano High – a game that touches on issues of non-binary identity and growing up in a world that is about to disappear; Lost Records: Bloom & Rage – a story that combines memory, trauma, female friendship and queer experiences without pathos or artificiality.

The Gayming Awards serve as an important platform for those previously on the fringes of the industry. It shows that inclusivity is not marketing, it is creativity, and it can be profound, bold, and vital for many gamers.

These awards not only celebrate best practices, but also create positive pressure on the industry to take LGBT audiences into account, as it's not about politics or an "agenda" but about real players who want to be seen in the worlds they immerse themselves in.

Conflicting organizations: between a facade of support and sabotage

At a time when trends and audience expectations demand that companies take an open stance on LGBT+ support, more and more brands and studios are trying to create the impression of inclusivity. However, behind this bright facade of support often lies a deep reluctance to make real change. In the gaming industry, this manifests itself in the form of symbolic gestures without deep foundations, and sometimes even outright sabotage from within.

Some companies add elements of LGBT symbolism just for Pride: they change logos to rainbow ones, launch advertising campaigns with general messages about diversity. But at the same time, they censor queer content in releases for countries with repressive laws, remove gay couples from trailers, or fire openly LGBT employees under the pretext of optimization.

For example, Blizzard was once criticized for reducing references to queer identity in Chinese versions of Overwatch, even as the studio actively promoted itself as an “ally” of the LGBT community in global markets. Electronic Arts, despite the positive image surrounding The Sims, has repeatedly faced criticism for its unclear position on the availability of queer content in some regions and weak protection of the development team from toxic players. Unity, after loud statements about the DEI policy, was caught in a scandal when it fired several openly LGBT employees during restructuring. And these are just the loud stories. How many more such manifestations of intolerance and inequality in large companies remained simple reports of dismissal is currently unknown.

Such situations don't just diminish the value of inclusion, they actually discredit the very idea of representation. When pride becomes just a "wrapper" for a brand, it causes quite justified cynicism among players. The appearance of support without substance contributes to the fact that the concept of LGBT presence in games is perceived as a commercial tool or PR campaign, rather than a sincere desire for change.

A separate problem has been attempts at organized pressure from the ultra-conservative part of the gaming community, which opposes any form of inclusivity in games, often labeling them as "woke propaganda." This term is used to discredit any manifestations of social justice, representation of minorities, or topics that do not fit into the traditional idea of game design.

In recent years, The Last of Us Part II, Hogwarts Legacy, Starfield, Dragon Age: The Veilguard, and other high-profile releases have been attacked by waves of negative reviews (review bombing) due to the inclusion of LGBT characters, the ability to choose pronouns, or the simple presence of transgender NPCs.

Some developers were subjected to blackmail: threats, mass complaints, organized campaigns from fake accounts. Often this was accompanied by hashtags like #GoWokeGoBroke. Companies that responded to the pressure and removed content made the situation worse: they lost the loyalty of the inclusive community and reinforced the narrative that LGBT content has no right to exist without scandal.

Paradoxically, these very campaigns, under the guise of "fighting politics in games," are themselves political acts aimed at excluding a segment of gamers from the cultural landscape. And as long as publishers continue to fear losing revenue in conflict with this segment of the audience, the LGBT presence in games remains vulnerable.

LGBT gamers and developers are increasingly demanding more than gestures, but consistent action: real employment, honest narrative, protection in the online environment, and a presence at all levels of decision-making. True inclusion is not about a logo, but about culture, games, and working conditions. And it is the false support, not the lack thereof, that has the worst impact on the perception of queer content in games.

Prospects

Despite the achievements, the industry still faces many challenges. Representation in major releases is still uneven, with some regional versions of games censoring queer narratives or removing relevant storylines entirely. For example, The Last of Us Part II or Dream Daddy: A Dad Dating Simulator (2017) were not officially released in some countries. Online gamers with LGBT identities still face toxicity, bullying, and hate speech in chat rooms and forums.

However, the general direction of development is encouraging. More and more studios are consulting with LGBT organizations during script development, and large publishers are not afraid to openly support pride initiatives. The number of game schools, incubators, and game jams specifically dedicated to queer developers is also growing. For example, the Queer Games Bundle on Steam brings together dozens of games from independent LGBT developers every year, providing them with a platform for implementation and profit.

Pride is not just about a rainbow on the cover. It is about a paradigm shift where every player can recognize themselves on the screen. And it is video games – an interactive, emotional, personal medium – that are able to do this with particular power. Therefore, the fight for equality in gaming is not a peripheral issue, but part of the overall movement towards an inclusive and just world.