A. What are your thoughts on the fine line between a unique, functional identity and unabashed stereotyping? I suppose it heavily depends on context, but in general would you find it an issue for developers (or "Have you found it an issue") that work with non-standard main characters to handle properly.
For example, where the developer may see a gay male main attending a gay nightclub as a fair acknowledgement of their character within the demographic, someone playing the game may consider it an insensitive, if not, unnecessary reinforcement of the character's sexuality. In my observation, it'd take more than a sensitivity course to master that level of characterization over the whole market.
I think it boils down to a basis of understanding. Let's look at GTA:SA again. Most of that game is little more than a parody of early 90's black empowerment films such as "Do the Right Thing", "Boyz in the Hood", "Clockers", "School Daze" etc etc etc, and the first 4 hours don't feel real. They feel like a rap video, and for good reason. It's until that mold is broken and the rest of that world starts to open up that GTA:SA starts to shine because it doesn't feel like an imitation of a very known form of entertainment. Using stereotyping and profiling as means of characterization can be very dangerous, but It can also serve to help characters existing with these confines realize how skewed their views on what they thought they knew truly are. It's why CJ is, almost accidentally, the most interesting GTA character written to date.
Now, that being said, you still have to know what you're talking about. Experience goes a long way to help write a scenario that you might not be terribly familiar with. I would urge everyone who wants to write a scene involving a gay man going to a gay bar to actually GO to a gay bar. The results may surprise you. I remember a few years back, a lesbian roommate of mine took me to the local lesbian bar for a poetry night. I had no idea what to expect, or what kind of people I'd find and I didn't really want to make assumptions, but what I found was that it was just filled with a lot of people, gay, straight, different races and social creeds, just there to have a good time. Now I tell that story to bring up another example, "My exboyfriend the space tyrant". I'll admit, I haven't played much of the game, I probably won't play much more of it, and I don't know the mindset of the people behind it, but if you were to ask me what a game written by a straight man for gay men would entail, it's that. Just mired in heavy, limp wristed, booty-short wearing, stereotypical behavior. It feels like leisure suit larry for gay people. It's not smart about it, it's not witty about it, it's not clever about it, it's just...splayed out there. And in my opinion, it doesn't work.
B. Again, open to context (and it's not your role to do the developer's job by any means, of course). How best do you find marketing a game that does have a lead or major characters far separated from white heterosexual male? Should it be rightfully spotlighted or does that potentially undermine the impact such a difference has in comparison to the "standard" landscape?
Alright, so I work in marketing. I think this is the perfect ad for a video game.
https://www.youtube.com/watch?v=w1AenlOEXao
The protagonist at the end after 20 seconds of pure hyping, could be anything. Black, white, male, female, orc, nord, elf, argonian, etc etc etc. It doesn't matter, everyone is hooked by the time they show up. If your worried that your character isn't strong enough to draw people in, you already have a problem, but if you truly believe that, you make people fall in love with the world and the conflict before they even get to know the character. Everything Nintendo has been doing for the new Xenoblade Chronicles title has been very good and it focuses on no one single person. It's a lot of flash and pomp and space opera and THAT'S what's going to bring people who know nothing about the game to the table.
For the last two years, I've gone to Boston Comic-Con with my niece, a con that is basically a giant dealer's room with not much else going on. And there is always someone trying very hard to push the idea of a new black super hero on the independent scene. And when they're doing their table pitch, inviting us to read the comic and tell our opinions, it's never about the merits of the super hero himself, it's about how he's black, and how he provides a different view from other traditional super heroes, and how his origin story is different because he grew up impoverished or he had to earn his super powers instead of being granted them.
And their books are never very good.
If your pitch is, "THIS WOMAN WILL DO THINGS FOR 8 HOURS BECAUSE SHE IS A WOMAN AND THAT'S DIFFERENT!" you have already failed. There are ways of making the fact that your character is a woman or poor or black or handicapped important to the plot, to how they deal with other characters and how they deal with the mission they are tasked with. But there has never been anything that's been successful because he, she, it was "___". I think this is something that marvel and DC are starting to come to grips with and are having a lot of growing pains as a result.
You have so much time in your game to show who your protagonist is, to express how they're interesting and why we should care about them. Why we want them to be happy when their sad, to be get mad when they're struck down, to be victorious when they're on the brink of defeat. So leading with monikers that show what their social standing is rarely makes much sense. You can MAKE it important as you create and explain to the player the rules of the world, but having your character be "___" for the sake of being "___" makes so little sense if you're not going to give that "___" meaning.
I know neither of these are the newest conversation pieces at all. Heck, many of us have actively critiqued and witnessed them (Good and Ugly) for years now. But I honestly want to read your takes on them!
We're in a very interesting time now. We can do so much with this medium, and while I don't think games that don't spend time on telling you everything about the main character need to go away, I think it's time that games start making us care about the urgency of characters a lot more.
Megaman X4 basically took a very simple premise and turned it into a very (sometimes overly) dramatic scenario, and there's nothing wrong with that. Knowing why X and Zero have to defeat 8 robot masters and eventually fight sigma for the fate of the world is a good thing.