Now we have Miller. How she is playing flanker is redefining the role on the rugby field.
We’ve been moving towards this for a while. It started with the Crusaders, who gained tremendous success with the use of the 2-4-2 split of their forwards. Gone were the days of pistons, where you used a one-two punch to grind the ball up the paddock. Now going wide wasn’t something you earned, it was something you set up for.
The 2-4-2 led to a 1-3-3-1 and then further iterations on how you might split the pack. All of which meant a further spread of your forwards to cause trouble. Embracing a rugby league style attack with not one, but two, backlines.
Crucial to the success and adoption of all of this was the ticker of another famous No 7, Richie McCaw. His relentlessness helped make the shape stick and soon everyone, from school kids up, had adopted the style of play. No longer were hookers and loose forwards only found on the edge during lineouts. They now owned the outside channel alongside their backs.
The power of these carries out wide allowed for more mismatches in defence. If double tackles were required to pull these forwards down, then more space opened up.
When they weren’t crashing the ball they were securing it. Their physicality again here allowed for overlaps. They were able to secure rucks alone, freeing up the backs to have fun. There were, of course, forwards who have displayed an aptitude for the edge. The pace of Dane Coles ending up on many a highlight reel and freedom underpinning Ardie Savea’s rise to the top.
What Miller offers, though, is the next step up. When she announced her intention to pursue inclusion in the Black Ferns World Cup squad, the comments section lit up. Fullback, flanker, centre or wing? The fans debated the merits of her playing each position. For Miller though, it was only ever going to be flanker. And with that choice, she’s changed the game.
Now the edge forward in the shape we deploy won’t just crash and secure, she will create. Miller’s footwork, pace, ball skills and all-important x-factor make her not just a loose forward but a loose back as well.
We have been moving towards this moment. The evolution of forwards into the backline leading to the blurring of lines between the role of forwards and backs. But never has there been a player with such a complete skillset to merge the two. Jorja Miller is that player. The embodiment of where rugby is going next. It only looks like more fun from here.
Alice Soper is a sports columnist for the Herald on Sunday. A former provincial rugby player and current club coach, she has a particular interest in telling stories of the emerging world of women’s sports.
The way we meet this moment will be the rising action. Rugby at large must learn how to truly welcome their women as we enter the second act.
World Rugby knows this and just this week has released a 78-page report they are naming a Blueprint for Growth. The findings are echoes of the five-year plan for growth that was written in the wake of the 1998 World Cup.
The challenges and opportunities hinge on the same reckoning: rugby needs to get serious about the women’s game.
Black Ferns legend Portia Woodman-Wickliffe scores against Wales at the last Rugby World Cup. Photo Photosport
The report backs up what we have long known as women’s rugby fans. That we are a unique demographic which is currently underserved within the wider rugby audience. About half of us may have come over from the men’s game but we do not carry with us the same type of tribal allegiances.
This report has found that 41% of women’s rugby fans are club-agnostic. They support the game, not teams, and those that do are likely to support more than one.
This is not a weakness, rather an opportunity for rugby teams to grow their fanbase beyond geographic ties. I am one data point but I am living proof of this research.
On the opening weekend, I’m travelling to Sunderland, Manchester and York. To witness the spectacle of the opening match between England and the USA, and the rivalry of Wales and Scotland; to cheer on not just our Black Ferns but also our neighbours, Australia and Samoa. Like the 47% of respondents in the World Rugby research, that’s because my reason for attending is tied to showing support of not just women’s rugby but women’s sport as a whole.
As the women’s game enters its second act, this is what rugby must reckon with. This tournament will be the catalyst for many fans to join. Bridges must be built beyond this moment, to enable these newbies to follow their favourite players back to their domestic competitions.
The women at the centre of the action are doing everything they can. Alongside the physical prep, they are flooding our timelines with behind-the-scenes action to connect in the exact way this report recommends.
It’s rugby administrators who need to step up. The game itself needs to gain a higher sense of who we are and what we are capable of if we are ever to transition to act three. If we are to reach any type of resolution, we need to not be surprised when the upcoming wave hits. The ticket sales alone should be the tsunami warning.
Meanwhile, I will keep my seatbelt fastened, ensure my seat is upright and the tray table is folded away, ready for this reckoning to land.
Alice Soper is a sports columnist for the Herald on Sunday. A former provincial rugby player and current club coach, she has a particular interest in telling stories of the emerging world of women’s sports.
ful. Health’s New App Harnesses Innovation, Data and Technology to Deliver Affordable, Easy-to-Use Healthcare Solutions for Part-Time Workers
DUBUQUE, Iowa, September 19, 2024 (Newswire.com)
– ful. Health is excited to announce the launch of ful. CashPay, a groundbreaking healthcare solution specifically designed for part-time employees, gig workers, association members, and the uninsured. As a non-insurance alternative, ful. CashPay empowers employers and organizations to provide essential healthcare benefits, helping their uninsured workers access convenient care and achieve significant savings.
This solution is particularly critical for the 42% of the U.S. population living below the ALICE (Asset Limited, Income Constrained, Employed) threshold. These individuals often work but struggle to afford basic necessities, including healthcare. ful. CashPay provides an affordable way to address the healthcare gap, ensuring that part-time and uninsured workers can receive care without financial strain.
Healthcare access helps employers create a more stable, productive, and loyal workforce while controlling costs and maintaining a competitive edge in the job market. Brokers, captives, and TPAs now have a powerful tool to help clients support and retain their part-time workforce.
With ful. CashPay, organizations can offer uninsured team members a clear, actionable healthcare solution. ful. CashPay features bundled cash pricing for complete episodes of care, eliminating surprise billing. It provides unlimited, no-cost virtual care for employees and their families, including dependents up to age 26 — and more, all for about $6 per part-time employee per month.
“At ful. Health, we are committed to giving people the freedom to make their best personal choices for care,” said Dr. Bernie Saks, founder and CEO of ful. Health. “ful. CashPay simplifies access to quality care by combining smart shopping tools and education, creating a comprehensive resource for healthcare savings.”
ful. CashPay offers more than just benefits — it creates a cash-pay healthcare ecosystem, leveraging partnerships with industry leaders to provide part-time uninsured employees with:
Free, unlimited virtual care: Powered by CirrusMD, employees can connect within 60 seconds with licensed physicians at no additional cost.
Cash pricing marketplace: Through Tendo, users can access actionable cash prices for complete episodes of care, eliminating billing surprises.
Interactive healthcare education: Quizzify’s engaging quizzes and tools help users make informed healthcare decisions and avoid costly ER visits.
Local Cash Discount Pharmacy: MedOne provides in-app search for local pharmacy cash discount pricing and digital pharmacy discount cards.
“Tendo is excited to partner with ful. Health. They have carefully architected a member experience that focuses on ease of access, education, and simplification. Together we are helping employers with dynamic workforces solve for the healthcare needs of their members by making care shoppable with affordability and convenience baked in,” said Ben Maisano, SVP Head of Strategy for Tendo.
ful. CashPay doesn’t just provide access to care — it equips users to navigate the system with confidence. With Quizzify’s Doctor Visit PrepKits addressing 200+ healthcare scenarios, users can prepare for their virtual or in-person visits to ensure the greatest value. Through Goodbill, users can also save money on hospital bills through discounts, expert bill reviews, and negotiation support.
ful. Health’s commitment to healthcare innovation is transforming how U.S. employers support their uninsured and underinsured team members by providing a comprehensive, tech-driven solution that simplifies access to care and lowers healthcare costs. ful. CashPay’s ecosystem of tools empowers users to make informed decisions, control healthcare spending, and improve their overall health and financial well-being.
To learn more about how ful. CashPay can enhance an organization’s benefits offerings and improve employee retention, visit ful-health.com.
About ful. Health
ful. Health is a leader in healthcare navigation solutions, empowering individuals to make smarter, more informed decisions about their healthcare. Through cutting-edge technology, data-driven insights, and personalized guidance, ful. Health provides easy-to-use platforms that simplify healthcare choices for both the insured and uninsured. The company plans a new release update in the fourth quarter of this year to add Transparency in Coverage alongside cash pricing and savings tools to their apps for insured plan members. Learn more at ful-health.com.
Earlier today, players noticed that Spec Ops: The Linewas no longer available to purchase on Steam, leading many to fear that the acclaimed third-person shooter had been quietly delisted without warning. Sadly, 2K has since confirmed that is the case, and the publisher has also explained why it pulled the landmark shooter.
How Alan Wake 2 Builds Upon The ‘Remedy-Verse’
Developed by Yager and released back in 2012, Spec Ops: The Linewas a reboot of the lesser-known Spec Ops franchise. Like those past games, The Line was a third-person military shooter. However, the 2012 reboot garnered critical acclaim at launch thanks to its narrative which depicted a solider in the deserts of Dubai slowly losing his grip on reality, offering a meta-critical take on the way some military shooters glorify the horrors of war. While it didn’t sell as many copies as 2K would have liked, the game has gone on to become a cult favorite among shooter fans. And now, it’s no longer on Steam.
On January 29, folks began to notice that Spec Ops: The Line had been removed from Steam and other storefronts, like Fanatical. People wondered if 2K had delisted the game, possibly due to expiring licensing rights on some music featured in it. And that seems to be the case, according to a 2K spokesperson.
“Spec Ops: The Line will no longer be available on online storefronts, as several partnership licenses related to the game are expiring,” explained 2K in a statement sent over to Kotaku. No specific licenses were named, but among the noteworthy music tracks included in the game are Jimi Hendrix’s performance of “The Star-Spangled Banner” and “Rooster” by Alice in Chains.
The publisher assured players that owners of the game will still be able to download and replay Spec Ops: The Line “uninterrupted” but it will no longer be easy to buy a digital copy moving forward. Currently, the game is still for sale on GoG, but the above statement seems to indicate that will change soon.
“2K would like to thank our community of players who have supported the game, and we look forward to bringing you more offerings from our label throughout this year and beyond,” said 2K in its statement.
While there had been talks of a sequel for years, it seems 2K isn’t even willing to tease that and instead is just letting Spec Ops: The Line fade away like a mirage in the desert. It’s just one more game—on an ever-growing list—that will be harder to play as the years go by.
Wish, the 62nd film released by Walt Disney Animation Studios, is a bad movie. The film is meant to celebrate the studio’s 100th anniversary, but instead, its incoherent story and reliance on millennial cliches for cheap jokes come off like it was fed into an AI generator and spat out onto the big screen. And the music, always a staple in Disney films, has some really lovely parts that are sadly weighed down by terrible lyrics.
The Most Sought After Elden Ring Sword Has A Storied History
Overall, Wish is a hot mess, but for Kingdom Hearts fans, its core premise could have significant implications for Square Enix’s Disney and Final Fantasy crossover—that is, if Tetsuya Nomura and friends decide to incorporate it into future Kingdom Hearts games.
What is Wish about?
Wish is set in the kingdom of Rosas, where King Magnifico, a sorcerer with the power to grant wishes given to him by the common folk, hoards wishes as magical orbs and refuses to grant ones he doesn’t believe will be good for the kingdom. When a citizen turns 18, they give Magnifico their wish for “safekeeping” in his study until the day he decides to grant it. While he might believe himself righteous, as protagonist Asha points out, Magnifico has created a system in which he controls the fate of everyone in Rosas, rendering the townsfolk hopeless as they wait for their wishes to be granted. As the film progresses, the king’s true nature as an egomaniacal bastard becomes apparent and Asha leads a rebellion against his tyranny.
But what does this have to do with Kingdom Hearts? As Asha learns more about the wishes in Magnifico’s clutches, it becomes clear that some of these wishes have to do with events that lead into various Disney movies. One Rosas civilian wants to fly, wears a green tunic, and is named Peter like Peter Pan. Valentino, Asha’s pet goat who gains the ability to speak because of magical shenanigans, wishes for a place where all mammals live equally, referencing the idyllic vision of 2016’s Zootopia. Asha herself becomes a Fairy Godmother and dons a cloak similar to the character from Cinderella.
Disney
There are other references, like Asha’s group of friends all dressing and acting similarly to the seven dwarves from Snow White. And when Magnifico is defeated, he’s trapped in a mirror, basically becoming the Magic Mirror from the same movie. There’s even a split-second frame in which his face is outlined to look like the mask that inhabits the mirror in the 1937 film.
What does Wish mean for Kingdom Hearts’ Disney universe?
All of this (and the 90 minutes of other Disney movie references) is part of the purpose of Wish—to celebrate Disney’s history—but there’s a larger implication here: Rosas is the center of a connected Disney universe. According to co-directors Chris Buck and Fawn Veerasunthorn, as well as co-writer Jennifer Lee, Wish isn’t hardwired as a multiverse launch pad, but it does imply characters like Peter Pan, places like Zootopia, and songs like “When You Wish Upon A Star” are the dreams of the citizens of Rosas. Prior to this, Disney has featured the occasional crossover detail before, like Frozen featuring characters from Tangled in a crowd shot, which Disney has mostly acknowledged as cute nods. But Wish makes an entire plot point out of Disney’s most beloved characters and worlds having an inception within its kingdom.
This raises questions as to how that world would function in a potential Kingdom Hearts’ crossover. Will Kingdom Hearts play with the abstract ideas Wish hints at? In Square Enix’s RPG series, protagonist Sora and his friends Donald and Goofy travel to various Disney worlds on a spaceship. But before these worlds were separated, they originated from Scala ad Caelum, which featured heavily in Kingdom Hearts Union χ and in the final section of Kingdom Hearts III.
Image: Square Enix / Kingdom Hearts wiki
Incorporating Wish and Rosas into Kingdom Hearts’ world would require a great deal of retconning, as Square Enix has already been building out its own connected lore for 20 years. It’s unclear if it will even have to reckon with it anytime soon given Kingdom Hearts IV has been in development concurrently alongside the movie, and Disney began work on Wish in 2018, a year before Kingdom Hearts III launched. While we don’t know what Disney worlds will appear in the next game, we can reasonably assume Disney and Square have been talking about Kingdom Hearts IV while Wish was in production.
Kingdom Hearts has released plenty of prequels and midquels in between its numbered entries that help recontextualize story beats or fill in gaps, but Scala ad Caelum’s place as the root of Kingdom Hearts’ Disney crossover is pretty well-established. So it might just be easier for Square Enix to ignore Rosas and Wish’s Disney cinematic universe entirely. However, the series is no stranger to tweaking characters, worlds, and relationships to fit its own narrative. On top of weaving the existence of the shadow-like enemy Heartless into Disney movie plots, Kingdom Hearts has continued to fold new movies into its storytelling.
The first game made the Seven Princesses of Heart (which included Alice, Snow White, Jasmine, Belle, Cinderella, and Aurora) into a unified, magical force that affected the entire known Kingdom Hearts universe. Kingdom Hearts III made sure to add newcomers Rapunzel, Anna, and Elsa as part of the New Seven Hearts meant to take up the mantle. So Rosas could realistically be molded to fit the needs of a new story arc—perhaps it could be the origin point of the new worlds Sora will explore in Kingdom Hearts IV, further explaining the expanding lore without stepping on the toes of the story the series told before.
Image: Disney
Wish attempts what Kingdom Hearts pulled off over 20 years ago
Kingdom Hearts’ interconnected Disney universe was a pretty novel idea back in 2002 when the first game was released. But nowadays, crossovers are so common they’re having diminishing returns. Take a look at recent Marvel Cinematic Universe box office numbers and you’ll see people are less infatuated with the concept of everything they watch and play weaving into one another. A shared Disney universe is a core theme in newer games like Disney Dreamlight Valleyand Disney Mirrorverse, but Kingdom Hearts is one of the few examples where those worlds feel cleverly woven into each other, rather than thrown together in a disconnected pocket dimension. Now that Wish is at least toying with the idea of Rosas as the source of characters and ideas seen in previous Disney films, Kingdom Hearts is in an interesting position. It has to either reckon with one of the movies it may feature eating its lunch—albeit with its hands instead of a perfectly good fork and knife and just generally making a mess of the table—or find a way to wiggle out of the bind it’s put the series in.
I do wonder if, given Wish’s middling reception and box office performance, Square Enix might opt not to touch the movie or its characters at all, as it would complicate things in ways that are probably not worth the trouble. But Kingdom Hearts has put some mid-ass Disney movies in its games in one way or another, so who knows? Yes, I’m looking at you, Chicken Little. In the meantime, let’s hope whatever Disney is cooking for 2024 doesn’t read like it was written by ChatGPT.
I started regularly playing competitive online games in 2007, with the launch of Halo 3. Back then, participating in in-game voice chat was harrowing for a 17-year-old girl whose voice betrayed her gender and her youth. I was subjected to such frequent and horrific hostility (rape threats, misogynistic remarks, sexually inappropriate comments, you name it) that I eventually started screaming back, a behavior my parents still bring up today. And yet, voice chat is essential in competitive online games, especially modern ones like Call of Duty: Warzone, Apex Legends, Fortnite, Valorant, and Overwatch.
All of these popular games require extensive amounts of teamwork to succeed, which is bolstered by being able to chat with your teammates. But in-game voice chat remains a scary, toxic place—especially for women.
Unfortunately, despite efforts from developers to crack down on toxicity in voice and text chat, it still feels, at times, like I’m stuck in the same world as that 17-year-old girl just trying to compete in peace. And I’m not alone in that feeling. I spoke to several women about their voice chat experiences, as well as reps from some of today’s biggest online games, to get a better understanding of the current landscape.
A 17-year-old me playing Halo 3 circa 2007.Photo: Alyssa Mercante / Kotaku
Voice-chatting as a woman
Competitive online games are intense, but doubly so if you’re identifiable as outside the industry’s so-called core playerbase for the last 35 years: white, straight, and male. “Marginalized users, especially women, non-binary people, and trans folks, are more likely to experience harassment in voice and video chats,” game researcher PS Berge told Kotaku’s Ashley Bardhan last year.
The moment a woman or woman-presenting person speaks in voice chat, they run the risk of being identified as an “other” and thus deserving of ridicule, ire, or sexual harassment. For many, that fear of being othered and how it could (and often does) lead to harassment directly affects their willingness to speak in competitive game settings.
“I usually wait for someone else to speak first so I know what the vibe will be,” video game level designer Nat Clayton, who regularly plays Apex Legends, told Kotaku via email. “Though I feel more comfortable chatting in Apex than I do going back to older PC games like Team Fortress 2 or Counter-Strike—games where the expectation of bigotry seems absolutely set in stone, where you feel like you cannot turn on voice chat without immediately experiencing a flood of slurs.” Both Team Fortress 2 and Counter-Strike came out in the early 2000s and still attract an older, male-leaning playerbase, many of whom can be hostile to women.
This problem has been long-standing, but companies are doing more to dissuade people from being toxic or abusive in in-game voice and text chat now than they were 10 years ago—though it often doesn’t feel like it.
Microsoft recently announced a new voice reporting feature that will let players save and submit a clip of someone violating the Xbox Community Standards, which a team will then review to determine the next course of action. “Reactive voice reporting on Xbox is designed to be quick and easy to use with minimal impact to gameplay,” reads the press release announcing the new feature. This means that Xbox players can report toxic voice chat no matter what game they’re playing, which adds another layer of protection on top of the ones set up by individual developers.
Those protections include ones laid out In the uber-popular battle royale game Fortnite. If a player is found in violation of Epic’s community rules (which have guidelines against hate speech, inappropriate content, harassment, and discrimination), they could lose access to in-game voice chat—a newer approach to punishment that the company introduced in 2022—or have their account permanently banned. Epic wouldn’t share specific numbers on bans, but did tell Kotaku that its team is “planning to introduce a new feature for voice chat soon.”
But Fortnite “[relies] on player reports to address violations of our voice and text chats,” which places the onus squarely on those who are on the receiving end of such violations. And for games that don’t record or store voice and text chat, reports can feel especially useless. When asked if she has reported people in Apex Legends, Clatyon replied, “Many, and often, but unfortunately the current Apex reporting system doesn’t monitor/record voice interactions and so doesn’t take action based on voice chat.”
Image: Microsoft
New ways games are combatting toxicity
Companies don’t always rely on players, though. Activision, Blizzard, and Riot Games all use a mix of automation and human moderation for multiplayer modes in Call of Duty, Overwatch 2,and Valorant.
As detailed in an official Call of Duty blog post from last year, an automated filtering system flags inappropriate gamertags, while human moderation of text chat helps identify bad actors. The aforementioned post (which is from September 13, 2022) boasts 500,000 accounts banned and 300,000 renamed thanks to enforcement and anti-toxicity teams. We don’t have more recent data from the Call of Duty publisher.
After the launch of Overwatch 2, Blizzard announced its Defense Matrix Initiative which includes a “machine-learning algorithms to transcribe and identify disruptive voice chat in-game.” Though Blizzard did say what it considers “disruptive voice chat” or what the algorithms entail, the company did say the team is “happy with the results of this new tech” and has plans to deploy it to more regions and in more languages.
But women still often find themselves deploying strategies to deal with the toxicity that isn’t caught by these systems. Anna, a UI/UX researcher who regularly plays competitive games like Overwatch 2 and CS:GO, told Kotaku over email that she also waits to see what the vibe of the chat is before diving in. She’s “more inclined to speak up if I hear another woman too because there’s potentially more safety in numbers then,” she explained. Others, myself included, play solely with friends or offer to group up with women they meet in matches to avoid encountering agitated players.
Toxicity persists, which is likely why companies continue to try new methods and approaches. When Kotaku reached out to Riot Games for details on its efforts combating disruptive behavior and toxicity in Valorant, executive producer Anna Donlon said via email that:
In addition to the player reporting tools, automatic detection system, and our Muted Words List, we’re currently beta testing our voice moderation system in North America, enabling Riot to record and evaluate in-game voice comms. Riot’s fully-dedicated Central Player Dynamics team is leveraging brand new moderation technology, training multi-language models to collect and record evidence-based violations of our behavioral policies.
While companies struggle to find a solution to an admittedly complicated problem, some women have been discouraged from trying altogether. Felicia, a PhD candidate at the University of Montana and full-time content creator, told Kotaku that she used to say hello at the start of every game (she mainly plays Fortnite and Apex Legends) but that willingness eventually “turned into waiting to speak, then not speaking at all.” The shift came as a direct result of her experience using Overwatch’s in-game voice chat function. “It got so bad I’d only talk in Xbox parties,” she said of the feature which allows you to group up and voice chat with friends.
Jessica Wells, group editor at Network N Media, speaks up in her CS:GO matches despite the threat of toxicity. “I say hello, give information, and see how it goes. If my team is toxic to me, I’ll either mute individuals or mute all using the command,” she said via email. “I used to fight it—and I mean really fight the toxicity online—but I find toxicity breeds more toxicity and the game goes to shit as a result.”
Image: Blizzard
Toxicity persists and worsens in highly competitive games
If you’ve played ranked matches in games like Overwatch or Valorant, you’ve experienced this direct correlation: Verbal harassment increases when competition levels increase. And no one experiences this phenomenon more acutely than women.
Alice, a former Grandmaster Overwatch1 player, told Kotaku over email that her experience with the original game “changed how [she] interacted with online multiplayer.” She was ranked higher than her friends, so would have to queue for competitive matches alone, and said she’d get “the usual ‘go make me a sandwich’” remarks or requests to “let your boyfriend back on” in more than half of her games.
Overwatch is a curious case when it comes to harassment and toxicity. Despite a cartoonish visual design that suggests a more approachable game and a diverse cast of characters, competition is at the heart of the team shooter’s identity. Over time, patches and updates have focused on balancing competitive play, and its popular esports league encourages highly competitive gameplay. Overwatch players who regularly watch Overwatch League may be more prone to “backseating” (telling other players what to do) or be more judgmental of the way people play certain characters. And the more extreme ire is often directed towards women—especially those who play support or the few playing Overwatch at a professional level.
“Sometimes someone else on the team would stick up for me, but most of the time the other players would stay silent or join in.” Alice’s experience may not be surprising when you consider the one study that tracked over 20,000 players and found that men played more aggressively when their opponents or their characters were women. “Through our research, we found that women did perform better when they actively concealed their gender identities in online video games,” the study said.
Me, likely playing Call of Duty: Black Ops or Modern Warfare III circa 2011.Photo: Alyssa Mercante / Kotaku
Because of her consistently negative experiences in Overwatch voice chat, Alice plays Valorant now—just not ranked. She chooses not to play at a higher level because competitive Valorant (which also has its own, uber popular esports league) is a cesspool of toxic masculinity.
Anna, who regularly plays Riot Games’ 5v5 hero shooter, told Kotaku over email that she’s “encountered increasing amounts of toxicity in Valorant…which can include anything from sexual assault threats, threats of general violence or death threats, to social media stalking.” Male players have told her to “get on [her] knees and beg for gun drops, and proceed to use their character to teabag or simulate a blowjob.”
Anna says she changed her Riot ID to a “common household object” to try and prevent harassment from male players.
Stacy, a full-time streamer, told Kotaku via email that the harassment has bled into the real world, too. “Threats of DDOS, stalking, assault, murder and other crimes – a lot of which ended up on my live stream…I’ve had people ask me for my personal connections and accounts like Snapchat…as well as my phone number, and have even had people use my PSN account name to find me on social media like Instagram for non-gaming related reasons. [They even found] my email address to try to either harass me, send me unsolicited photos or attempt to bully and berate me beyond the console.”
The future of competitive games for women
It’s clear that even with automated moderation systems, extensive reporting options, and loud declarations against toxicity from publishers and developers, women who play competitive online shooters still regularly experience harassment.
“I have reported people in the past and it was an easy report button but with all the toxicity I encountered it made it feel like reporting them wouldn’t make a difference,” Felicia said. “I stopped reporting for the most part unless they come into my stream or in my comment section being toxic.”
Overwatch has a feature that will show you a pop-up upon login if the team has taken action against someone you’ve reported, but many players rarely (if ever) see that login. I’ve only ever seen it once.
Jessica finds that reporting players in CS:GO is virtually useless. “I can’t think of a single case where it felt like Valve directly took action,” she said.
Image: Alpha Intel / Respawn
The same can be said for Valorant, which has a similar reporting feature as Overwatch. “I think I’ve only seen [the report was actioned on] screen three or four times since it was implemented,” Anna said.
And though the process of reporting is simple, it requires women to retread traumatic territory. “With the particularly nasty people, it always feels gross having to recount the words someone used to explain how they’d like to assault me, or typing (partly censored) slurs that I’d never dream of using myself, but it feels like if my report is not water-tight, it won’t get dealt with,” said Anna.
Unfortunately, eliminating toxic game chat, like so many other problematic things in the gaming industry, requires changing the perspectives of people perpetuating the problem. We need a holistic approach, not one that’s centered solely on automated monitoring or the reports of victims.
“I think more than anything it is a cultural problem,” said Alice. “FPS games are ‘for boys’ and until we change that perception, I think people will continue to be rude in them, especially when there are minimal consequences.”
Game studios can and should center more women and marginalized creators, players, and developers in marketing materials, streams, and esports events—and they should make it explicitly clear that a toxic culture has no place in their games. Instead of shying away from providing details on banned or otherwise penalized players as a result of toxic behavior, studios should wear them like a badge of honor, presenting them proudly as a way of saying “you have no place here.”
FPS games like Splatoon 3 are a great example of how competitive games can be less toxic. Nintendo’s ink-based shooter has minimal communication tools and a diverse character creator that allows for some more gender fluidity, allowing it to feel less like a “boys game.” The perceived casual nature of a Switch player stands in stark contrast to the console warriors and PC try-hards, which begs the question: Can competitive games exist without toxicity?
Nat Clayton has some suggestions: “You need to visibly and publicly create a culture where this kind of behavior isn’t tolerated, to make your community aware that being a hateful wee shit to other players has consequences.”
Update 07/24/23 at 12:00 p.m. EST: The original story included a Jessica Wells quote about Overwatch, but Wells was referring to CS:GO’s reporting system, which is calledOverwatch. The quote has been adjusted to reflect that.
“Back in 2013, my ex-husband and I played a game called TERA. He became obsessed with it, to the point where he brought my gaming laptop to the hospital so that he could play TERA while I recovered from giving birth (including during one of the first pictures he took with our son).
“A couple weeks after our son’s birth, he found a girl named Athena from Greece, and they started spending a lot of time together. At first, I encouraged it, but, eventually, I came to find out that he was buying her in-game stuff (using his real money). When they weren’t gaming, they were messaging constantly on Skype, even to the point that he altered his sleeping habits for her.
“I stopped playing this game because…well, I got into it for my ex-husband, and now the game was ruined. I was watching the destruction of my marriage.
“The day before Christmas Eve, he told me he was moving back to his mom’s house. On Christmas Eve, Athena sends him pictures, and he officially leaves for his mom’s house. On Christmas Day, he tells me he wants a divorce.
“Since then, I haven’t been able to play TERA. [I also now feel like Christmas is] a pointless holiday that I only celebrate and make special for my son.
“But unfortunately for me, I didn’t [immediately] learn my lesson, and it took another eight years before I was finally strong enough to leave him and never look back. I am thriving now and am being treated like I should be.
“But will never touch that fucking game again.” – Silfy, 31
Are there any games that you’ll never play because you associate them with an ex? Are there some games that are simply too good to give up? Can you ever truly recover from heartbreak? Give me all your answers in the comments.
Over one million working households in the state live above the poverty line but still don’t earn enough for necessities
Press Release –
updated: Mar 4, 2020
SPRINGFIELD, Ill., March 4, 2020 (Newswire.com)
– Thirty-six percent of Illinois households have incomes below the state’s cost of living, according to new data from the report “ALICE in Illinois: A Financial Hardship Study.” The report was funded by the United Way of Illinois and led by Dr. Stephanie Hoopes, Director of the ALICE project, a national research initiative.
ALICE, an acronym for Asset Limited, Income Constrained, Employed, are households that earn more than the Federal Poverty Level, but less than the basic cost of living for the state (the ALICE Threshold). Of Illinois’ 4,817,547 households, 12 percent earn below the Federal Poverty Level and another 24 percent are ALICE households.
“People living below the ALICE Threshold live and work in our communities, but struggle to stay afloat financially,” said Sue Grey, Board Chair of United Way of Illinois and President and CEO of United Way of Champaign County. “Low wages, the need to string together multiple part-time or contract jobs to get sufficient working hours, and the high cost of living in our state mean that many working people, from cashiers to cleaners, aren’t making enough to get by. This impacts all of us, as people living below the ALICE Threshold do not have the disposable income to support and drive the state economy.”
A mismatch between wages and cost of living contributes to the problem. Statewide, the Household Survival Budget for two adults and two young children requires one full-time income at an hourly wage of $28.57, but 56 percent of jobs in Illinois pay less than $20 per hour.
Despite the documented economic recovery, the share of Illinois households living below the ALICE Threshold increased between 2007 and 2017, the latest year for which data is available. In 2007, 31 percent of Illinois households were below the ALICE Threshold. By 2017, that number had climbed to 36 percent. In Chicago, 43 percent of households are below the ALICE Threshold.
“The United Way’s critical report on the hardship facing so many Chicagoans fills an important data gap on the working families throughout our city struggling to make ends meet every day,” said Chicago Mayor Lori E. Lightfoot. “Their challenge is our City’s challenge, and my team will partner with United Way’s leadership to advance our shared agenda to end economic hardship and grow and strengthen the middle class in Chicago.”
ALICE households exist throughout all parts of Illinois and include people of all ages, races and ethnicities, and educational levels. However, Black and Hispanic households are more likely than White and Asian households to be below the ALICE threshold.
“This problem can’t be solved with one change, because the high cost of living is driven by many factors,” Grey said. “Government agencies, nonprofits, communities and businesses need to work together to create change that improves the quality of life for the ALICE population and our communities across Illinois as a whole.”
For the full report, including a county-by-county breakdown of the data, as well as information on the largest cities and towns in Illinois and specific Chicago neighborhoods, visit unitedwayillinois.org/ALICE. For sources and comments, contact Walker Post at 312-955-0921 or walker@prosper-strategies.com.
United Way of Illinois (UWI) is a statewide association of local United Way organizations representing communities across Illinois. UWI fights to create lasting community change by helping children and youth succeed in school, promoting financial stability and family independence and improving the health of all Illinois residents.
United For ALICE is a driver of innovation, shining a light on the challenges ALICE households face and seeking collaborative solutions. Through a standardized methodology that assesses the cost of living in every county, this project provides a comprehensive look at financial hardship across the United States.