Q.


Have you noticed any changes in the industry’s approach to diversity and inclusion over the last couple of years? What improvements have you seen?


Vikki Neale: Since I joined the industry nearly eight years ago, I have seen the industry make some notable strides in its approach to diversity and inclusion. Initiatives such as Empower Up have really been able to help organisations  sits, but also some simple and easy steps and guides to understand how you can make these strides forward.  improvements in the industry’s approach to diversity and inclusion as each year goes by. Studios are talking about it, making policies and commitments to encourage diversity, are actively trying to improve, and are celebrating advancements in a way that never happened going back ten or twenty years


Lauren Kaye: I feel like studios are starting to listen - it just takes time. I see more studios  panels but also just have women IN their regular panels which is such an important evolution. I’ve seen quite a few internal diversity groups at bigger studios working hard to bring change in their workplaces like changing the way studios handle menopause policies and parental leave. It is, however, disappointing to see some brands letting go of their DEI departments. They do really make an impact.


“Remote work options have played an important role in helping recruit talent that would otherwise be out of reach”


May Wong, INTERIOR/NIGHT


May Wong: A positive change for me is the  of two, being able to work from home when  to manage my work and family commitments without having to choose one over the other.


Remote work options have played an important  helping recruit talent that would otherwise be out of reach. These changes have made the industry more inclusive and supportive for individuals with diverse circumstances.


Vikki Neale: Of course, we all talk about what we can do in our studios to increase diversity, but it’s also about what we can do in our in- game representation that reaches the masses and has the power to change perceptions and biases. It’s a continuous circle: the more diversity you have in the business, the more likely you are to create characters and worlds with greater diversity as you can draw on the  in the business.


Tara Mustapha: There is a growing awareness   the last few years, there had been a noticeable shift towards a more inclusive approach. More companies had been implementing inclusion training, establishing employee resource groups, and actively recruiting from a more diverse talent pool. I am optimistic that these programs have become the operational norm and that the progress in awareness made over the last few  This progress in understanding is a reason for optimism about the industry’s future.


August/September 2024 MCV/DEVELOP | 27


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