‘Inspiration, connection, and empowerment for women in gaming’: Apply for She Got Game

Although being a growing market, the gaming industry scene faces very different realities around the globe. 

In the Arab region, for instance, ‘it is in its early stages but growing’, says Egyptian Nada Ahmad. ‘There’s a lot of untapped potential and enthusiasm from indie developers, but resources and support can be limited.’ 

For South African Avuzwa Ntshongwana, the country’s gaming scene has grown a lot, ‘but we still need more women making games. Also, developers don’t work together much, it’s like everyone is on their own.’ 

A small community is also what Bolivian Rommy Barriga describes in her country, which she better understood after studying and working abroad. ‘Before, I had no idea how the video game industry works. I think we have a lot of capacity in Latin America, but sometimes we lack confidence and support. The challenge here is to turn good ideas into products.’ 

In Brazil, says Thays Pantuza, a political and economic movement is helping the production of indie games. ‘But for those who are active in the market here, it’s sometimes difficult to compete with triple A productions.’ 

This scenario is changing more rapidly in regions like South Asia. ‘Over the past few years, we’ve seen a significant shift in how gaming is perceived. We’re also witnessing an increase in indie game development, with creators exploring unique cultural narratives and innovative gameplay mechanics that resonate both locally and globally. Many developers come from varied backgrounds, so there’s a lot of cross-disciplinary teamwork,’ recounts Vanshika Bansal, from India. 

As for China, Qiao Wang explains, ‘it boasts a vast gaming market with immense potential. According to a 2023 report by Niko Partners, a gaming data analysis firm, 37% of gamers in Asia are women. The growth rate of new female players is double that of men.’ 

Also, the country is home to specific formats. ‘There’s a unique category in China called mini-games, available on WeChat mini-programmes,’ says Qing Qin. ‘Most of them feature simple mechanics. If a mini-game becomes a viral hit, the financial rewards can be significant, attracting many small game developers and entrepreneurs to give it a shot.’ On the other hand, she adds, ‘independent game development is generally perceived as a challenging endeavour. From what I’ve observed, many rely on their personal savings to fund their projects.’ 

When talking about gender equality, participants point out that the industry, traditionally a male-dominated area, has been changing, but there is still a long way to go. 

‘People are making an effort to empower women in many areas of the industry,’ says South African Cassie Simpson. ‘I have been lucky to receive a lot of support from the industry because of these efforts.’ 

‘We know that in the most powerful positions [we women] are few, but those who are arriving are trying to bring the others along too, and this is very important,’ adds Thays Pantuza. 

According to Vanishka Bansal, more women are entering the industry, both as developers and players. ‘This is encouraging. However, challenges remain, including gender biases and a lack of representation at higher levels of the industry.’ 

‘As the organiser of Women Game Jam Johannesburg, I am learning that women often work alone or in silence and don’t share their finished projects,’ says Avuzwa Ntshongwana. ‘They often struggle to find networking opportunities because of how the industry is.’ 

This is why Peruvian Pilar Milla created, alongside her partner and another female associate, Rainbow Cat Studio, an indie and queer studio based in Lima. ‘We realised that the industry is very small and there need to be more studios in the country; and that the studios currently have very few women.’  

Other than that, the industry does not always consider female users when creating products. ‘China acknowledges the significant role female consumers play. However, games specifically tailored to female audiences do not cater to all women,’ explains Qing Qin. ‘Due to gender biases, even in the latest games marketed as “for general audience,” the player experience for women may not match that of men.’ 

Bianca do Nascimento, from Brazil, considers that creating balance also means allowing women to feel comfortable. ‘Women, or people who were assigned female at birth, are much more sensitive to motion sickness. It’s something I often bring to projects. I know that only I or other women will understand it well when creating a game.’ 

The selected group of game designers participate in a six-month online programme. After an initial exchange, they are assigned a mentor, an industry expert with whom they have one-on-one meetings. The idea is to work on their game projects, looking not only into developing them, but also understanding the industry, how to present projects to potential investors and make connections. 

‘We would also discuss a lot of topics outside of the prototype development – opportunities in the industry, how to navigate certain professional situations, or just general life advice,’ recalls Cassie Simpson. ‘It was inspiring to connect with someone who understands the nature of such a small presence of the games industry around you.’  

Pilar Milla remarks that she and her team (her partners at Rainbow Cat Studios) didn’t have much knowledge of production before the programme. ‘Our mentor taught us a lot about that. She was giving us ideas, resources to read, watch, documentation that we had to do. Besides, she helped us get a meeting with someone from the US, she helped us with pitching for funding.’ 

‘I think my mentor gave me a much broader vision, both personally and with a lot of professional support. We studied a lot about pitching, about how I should approach potential investors,’ says Thays Pantuza, who presented her project at the Gamescom fair. ‘I made a press kit; I came somewhat prepared. It was my first attempt, so I didn’t leave with a publisher. But I left with a lot of contacts, a lot of open possibilities for the project.’ 

Alaa Darwish also was offered to have the opportunity to showcase her work at Gamescom. ‘The She Got Game programme motivated me to complete my playable prototype, which significantly enhanced my game through testing and iterative development.’ 

For Rommy Barriga, the mentorship gave her an important insight into the market. ‘I had a great help with the business side, especially to check professional standards, because here in Bolivia there are no standards as such.’ 

‘She Got Game has inspired me to strategise around marketing and other issues that once seemed impossible to solve,’ remarks Qiao Wang. ‘And most importantly, it endowed me with the courage to face adversity.’ 

Besides the individual encounters with the mentors, the programme offered a series of lectures with experts. ‘They featured speakers sharing first-hand experiences (of production, management, creativity, narrative, legal affairs, etc.) and feasible solutions. Through case studies, they offered a lot of valuable insights, which are extremely helpful for indie game teams and those who want to work for major studios,’ says Ruixuan Li. 

In Vanshika Bansal’s view, ‘the programme was well-structured, offering a mix of technical training, industry insights, and personal development, which helped me grow both as a developer and as a person. One of the most valuable lessons was understanding how to navigate the gaming industry as a woman. Being part of a community that champions diversity and inclusion was inspiring, and it motivated me to push the boundaries of my work.’ 

Throughout the programme, participants would also use a group chat on Discord to exchange ideas and experiences. ‘I really appreciate the inclusiveness and curiosity of this community, as well as the kindness and wonderful insights among female developers. They’ve made it easier to express more freely, which I believe will also empower me in future industry exchanges and presentations,’ adds Qing Qin. 

According to Bianca do Nascimento, it is also ‘a safe space, where you can experiment, try and make mistakes, do things and feel more confident about setting foot in the industry, which can be a bit daunting. Surrounding yourself with other people with similar goals, you see how the industry works in those countries, you create connections. It gave me a direction and a breath of fresh air that I needed to keep going.’ 

Avuzwa Ntshongwana describes her experience as ‘arguably the most empowering space I’ve been in for years. I firmly believe that this programme is a beacon of hope for women in the industry who are working tirelessly to create inclusive spaces for others to enter the world of game development.’ 

‘It’s not just a mentorship programme, it’s a platform for inspiration, connection, and empowerment for women in gaming,’ concludes Nada Ahmad.