Why video games need feminism and feminism needs video games."You play like a girl" it's meant to be an insult, accusing a player of subpar, un-fun playing. If you're a girl, and you grow up, do you "play like a woman"--whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Furthermore, she urges us to play video games like feminists. Playing like a feminist is empowering and disruptive; it exceeds the boundaries of gender yet still advocates for gender equality. Playing like a feminist offers a new way to think about how humans play --and also a new way to think about how feminists do their feministing. Chess argues that feminism need video games as much as video games need feminism. Video games, Chess tells us, are primed for change. Roughly half of all players identify as female, and Gamergate galvanized many of gaming's disenfranchised voices. Games themselves are in need of a creative platform-expanding, metaphysical explosion; feminism can make games better. Chess reflects on the importance of play, and playful protest, and how feminist video games can help us rethink the ways that we tell stories. She proposes "Women's Gaming Circles"--which would function like book clubs for gaming--as a way for feminists to take back play. (An appendix offers a blueprint for organizing a gaming circle.) Play and games can be powerful. Chess's goal is for all of us--regardless of gender orientation, ethnicity, ability, social class, or stance toward feminism--to spend more time playing as a tool of radical disruption.

Cultural stereotypes to the contrary, approximately half of all video game players are now women. A subculture once dominated by men, video games have become a form of entertainment composed of gender binaries. Supported by games such as Diner Dash, Mystery Case Files, Wii Fit, and Kim Kardashian: Hollywood—which are all specifically marketed toward women—the gamer industry is now a major part of imagining what femininity should look like.  In Ready Player Two, media critic Shira Chess uses the concept of “Player Two�—the industry idealization of the female gamer—to examine the assumptions implicit in video games designed for women and how they have impacted gaming culture and the larger society. With Player Two, the video game industry has designed specifically for the feminine ideal: she is white, middle class, heterosexual, cis-gendered, and abled. Drawing on categories from time management and caregiving to social networking, consumption, and bodies, Chess examines how games have been engineered to shape normative ideas about women and leisure. Ready Player Two presents important arguments about how gamers and game developers must change their thinking about both women and games to produce better games, better audiences, and better industry practices. Ultimately, this book offers vital prescriptions for how one of our most powerful entertainment industries must evolve its ideas of women.