Videogames, Fuck Off – Part 2

I said I was done. But I’m going to keep playing games, and I’m going to keep writing about games. Because I love the medium, and because there are things out there that give me a glimmer of hope for the future. So I don’t mean that I’m done with games. I’m just done being an apologist for them.

But I’m also done hoping that the games industry is going in the right direction, because I haven’t got a single reason to believe that to be the case. And I’m done hoping that the ‘indie scene’ will address these problems and rescue the medium, because it hasn’t and it clearly isn’t interested in doing so any time soon. That doesn’t mean that everybody’s part of the problem, it just means that too few of us are part of the solution.

Things might get better eventually, but it’s not looking good right now.

If you think I’m wrong please let me know. And if you have something you think will restore my hopes in games, and the culture surrounding them, please let me know. I really want to be wrong on this.

So what can we do to improve the situation – if things aren’t going in the right direction how can we fix things ourselves? I really don’t know. But the following plan is as good as any: Don’t Stop Talking About It.

It’s so easy to ignore this stuff, because it’s everywhere. And it’s exhausting to make a fuss every time we see it happening. But we can’t just ignore it, because nothing will change that way.

If you see a marketing campaign focusing in on women’s tits or legs or slow, corseted deaths then complain about it to the people responsible. If you read an article that’s problematic, call them out in the comments thread. If your friends are calling someone a faggot then call them the fuck out on it. If a game is really egregious in some important way, don’t buy it, and don’t do it silently.

A lot of fuss has been made recently about how you should ‘vote with your wallet’, but that’s only half the battle. The other half is explaining why someone’s lost your sale.

Make sure the people who made that game know why you didn’t buy it. If you’ve already bought a game and it’s really problematic then complain to the developers. I think this is useful for two main reasons. One, without direct input from their customers, companies are often very bad at pinning down just why one of their products is a success or a failure. And two, lots of people don’t really realise that stuff like this is a problem, and by explaining that it is a problem you might convince them to change the way they operate.

If you’re a journalist: keep asking difficult questions. If a marketing campaign is bullshit then say that to the developers when you interview them, even if they’re not responsible for marketing the game. If a game is stupid, crass, or offensive in some way then write about that. Mention it in the review, the preview, the interview, whatever.

On my part, I’m going to try my best to challenge bullshit when I see it. On this blog and elsewhere. I’m not deluded, though – I know I’ll have little to no effect, because I’m just one person. But I still feel it’s worth doing, and if enough of us keep talking about these issues then who knows – maybe things will eventually start to change.

You may think this kind of behaviour is obnoxious, but we’re not making a fuss over nothing here. This isn’t about EA shutting off servers for its old titles, or Ubisoft delaying a game when we don’t want them to – this is about treating people as human beings,and addressing very real problems both in our culture, and in society as a whole.

So maybe it’s obnoxious. Maybe it’s inconvenient, and maybe it’s confrontational. But if anything in these two posts has rung true, then you need to ask yourself two questions – do you want things to get better, and are you willing to fight to make that happen?

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Videogames, Fuck Off

I’ve been dragging this out for so long now – thinking I could ignore it, thinking I might be overreacting, thinking you might change. But I’m finally fed up. It’s not one specific thing that set me off, it’s just that I’m so tired. I’m tired of trying to convince people that they’ve just seen you on a bad day, or in a bad light. I’m tired of arguing that the bad is outweighed by the good. I’m tired of defending you. So that’s it, I’m done. I’m done. Fuck off, videogames. We’re through.

I don’t want to be part of your toxic culture anymore. It’s not worth it. I know there are lots of decent, regular people who play games – I like to think that I’m one of those people, after all – but the good is simply outweighed, outweighed on a grand scale, by the bad.  The culture is just too influenced by the endless stream of hateful and vicious and wilfully cruel people, and by their hateful, vicious, cruel behaviour.

There are good communities out there, and I’m thankful for that. But even then, whenever these communities start talking about important, difficult topics they’re flooded with the hateful people from the outside. People who heard that someone, somewhere was talking about sexism in games – people who can’t abide with that.

I’m tired of how games treat and look at and talk about women.

I’m tired of how, when I count the number of women protagonists in games, I finish counting and I’m still counting on my fingers.

I’m tired of how, when I try to count the number of women in games that are treated as human beings – as individuals and not just tits or damsels or harridans – I barely get much higher.

I’m tired of how even great games, well-written games struggle with basic aspects of their portrayal of women.

I’m tired of how most of the indie scene, supposedly so revolutionary and forward-thinking, is barely any better than the mainstream games industry at this kind of stuff.

I’m tired of marketing cycles that sexualise women over and over and over again. I’m tired of marketing that can’t decide whether it wants you to want to Fuck The Women or Shoot The Women, and that therefore sexualises violence against women.

I’m tired of all the publishers and the developers that are fine with that.

I’m tired of how women game developers, women game journalists, or women who just like games and have something to say about them are so often ignored and berated and treated as nothing more than objects to be used for sex, violence and unholy unions of the two.

I’m tired of how, when a woman games journalist makes a mistake she’s a stupid cunt.

I’m tired of people who say “That’s the internet. That’s how it is.”

I’m tired of the way women are sometimes treated at games press and community events. Of all the stories of women games journalists getting talked to like they can’t possibly know what they’re doing. Of all the stories of women gamers at fighting game tournaments or LAN events, or whatever, getting insulted and harrassed and sexually fucking assaulted. Of all the women who go to industry expos because they love games, and are then faced with companies whose only significant interaction with women takes the form of hiring booth babes.

I’m tired of the not-insignificant number of people who defend this kind of behaviour, and the huge number of people who just don’t really care either way.

I’m tired of how few women there are working in the games industry.

I’m tired of people responding with “More women should try to join the games industry, then.”

I’m tired of people claiming that the lack of women in the games industry isn’t anything to do with systematic misogyny in the games industry, or the huge institutional barriers in place that stop so many women from getting into tech in the first place – in school, in university, and elsewhere.

I’m tired of people refusing to recognise that these institutional barriers exist, even when there is direct, incontrovertible evidence for their existence.

I’m tired of how, when game-making tools like Twine come along and enable countless new people to make games without overcoming imposing, financially-prohibitive, and often arbitrary barriers, people start frantically trying to tighten our definition of ‘game’ in order to de-legitimise these new creators.

I’m tired of people who claim this debate of “but is it a game?” isn’t about de-legitimising these creators and the things they make. Because while the definition of ‘game’ is of purely academic interest to some, the topic is almost always raised in an attempt to wall off games culture from these new, unfamiliar games, made by new, unfamiliar people.

I’m tired of how the culture treats LGBT+ people. How I could swap out ‘woman’ for ‘gay’, ‘trans’, or ‘queer’ in all the points I’ve made above.

I’m tired of how people use hate speech and then become furious when they’re called out on it – arguing that of course ‘faggot’ isn’t used to refer to gay men any more, and so it shouldn’t be seen as offensive.

I’m tired of how so many groups are sidelined in our culture – a culture that I always thought would be especially accepting and understanding of others, considering how many of us know something about being sidelined and ignored.

I’m tired of all the people in our culture who don’t take a single moment to try to imagine what kind of effects their words and actions may have on other people.

I’m tired of Men’s Rights Activists appearing in their legion every time an article mentions sexism.

I’m tired of how so few prominent games sites talk about any of these issues. And I’m tired of how, when a prominent site actually does write about these issues – sites like Rock Paper Shotgun and the awesome John Walker in particular, they’re met with a of torrent furious responses in the comments section.

I’m tired of how, when these articles about sexism and homophobia are posted they’re also met with a wall of people shouting that they “just want to read about games”, as if these problems aren’t some of the most fundamentally important issues currently facing the medium, the industry, and the culture of games.T

I’m tired of people thinking that, because they’re not A Racist or A Sexist or A Transphobe, they can never have an opinion, or express a statement that is racist or sexist or transphobic.

I’m tired of “sex sells” and “Men want to look at hot women – that’s just nature” and “There’s nothing wrong with an attractive woman.”

I’m tired of “If women want games to be more respectful of them then they should make their own game”, and “Developers and publishers don’t pander to women because women don’t buy games”, and “Having a woman protagonist in our game would be too much of a risk” despite there being no actual evidence that the gender of a game’s protagonist influences sales.

I’m tired of people with the money and the influence to affect what the market will buy claiming that the market simply won’t accept anything other than the status quo.

I’m tired of how so few people know who Emily Short is.

I’m tired of how so few people know who Anna Anthropy is.

I’m tired of how so few people know who Deirdra Kiai, or Porpentine, or Robert Yang, or Patricia Hernandez, or Mattie Brice, or Stephen Lavelle, or Merritt Kopas, or Christine Love are.

I’m tired of how, whenever a woman talks about these kinds of things they’re called a jealous, fat bitch, or a feminazi, or just a stupid cunt.

I’m tired of how, whenever a man talks about these kinds of things they’re called a white knight, rather than just, y’know, a regular fucking human being getting angry because of all the bullshit they see.

I’m tired of so many things that I’d be here for hours if I didn’t force myself to stop.

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David Cage, Play Some Goddamn Videogames

David_Cage_Is_Happy

The other day Sony held a press conference to reveal their new console – the PS4. A lot of people thought it was pretty good. I don’t get those people – they are alien to me. The whole event left me shouting at my screen with a level of fervour I usually reserve for The Big Questions, or one of those adverts where somebody keeps pouring orange juice into an obviously-overflowing glass.

If I had to give a single-sentence summary of the night it might be: “The advanced technology in the PS4 allowed us to make absolutely anything, so we made a first-person shooter.” If I had to be even pithier it’d be: “Videogames: The Press Conference”. 

Sure, it wasn’t exactly what I’ve come to expect from videogame press conferences – i.e. a string of tech-speak platitudes followed by a shotgun blast to the prefrontal cortex. It even had some elements of originality. For instance: there were far fewer than expected trailers featuring a game’s protagonist stabbing another man square in the neck (I counted one). And the show didn’t even open with a slightly uncomfortable musical performance from a jet-lagged Usher, Rihanna, or Pusha-T. 

But disregarding the woeful paucity of knife violence, things were mostly business as usual. There was still empty talk of innovation, still talk of Olympian new technological heights, and still talk about how everything is now social (read: ‘social’). There was still the faintly ridiculous names, like DriveClub and inFAMOUS: Second Son. And there was even an all-too familiar moment where a prominent game developer explained at length how his studio’s new game would be an exploration of certain complex ethical and political questions, before showing a trailer where people shot at each other for five minutes straight.

Killzone-Shadowfall-32

There was also David Cage, who popped up for the inevitable part of the press conference where Sony talks about how it’s getting down with the indies and the arthouse developers to push the medium forward, rather than simply pushing out franchise after franchise after franchise.

Now, it’s important for the purposes of tu quoque to establish that David Cage is the creator of both Fahrenheit and Omikron: The Nomad Soul, the former of which features a fistfight with the internet, and the latter of which led to a Wikipedia synopsis that actually features the sentence “The Nomad Soul learns afterwards that what is going on in Omikron is merely an extension of a thousands-of-years-old battle between mankind and demons led by the powerful Astaroth.” With that prejudice-inducing knowledge in hand, I’ll let you watch his  presentation:

Now, far be it from me to criticise a man with ‘diverse intense subtle’ flashing on a giant screen behind him, but Cage’s presentation was by far the most frustrating bit of the show. Partly because, once again, here he is perpetuating the weird, backwards notion that better technology is required for better storytelling in games. And partly because he has the temerity to tell people how the big problems of storytelling should be tackled when everything he touches turns into Stephen King fan fiction.

But mostly it’s because he’s been saying the same thing for years now: Games are immature – they’re all power fantasies revolving around nothing but guns and ultraviolence. Games can’t deal with complex ideas and emotions. Games are bad at telling stories. Games are bad at getting players emotionally involved.

And it’s not just David Cage. Jonathan Blow, the creator of Braid, has been going on for the last five years about how immature the medium is. And now Master of Dreck Hideo Kojima is hyping up his new ‘Nanomachines and Exposition’ game by saying things like “Video games as a medium haven’t matured very much at all in the last 25 years” and “It’s always about killing aliens and zombies. Not that I don’t like those kinds of games… they are fun, but I think games have a long way to go before they can mature.”

David Cage - Unimpressed

They’ve been making the same points for years now. And do you know what, David Cage? You know what, Jonathan Blow and Hideo Goddamn Kojima? While you’ve been busy calling games immature, they’ve been busy growing up. There have been huge advances throughout the medium, especially in terms of storytelling. And it’s no thanks to you. And David Cage you better not be about to tell me it’s because of advances in graphics technology, because I swear I will just lose it.

Maybe videogames were really immature when they started complaining. Maybe they were dominated by violent, repetitive mechanics, and shlocky action movie stories. But time passed and the medium moved on. The increasing accessibility of the internet allowed new markets to emerge, away from the noise of the mainstream games industry.  And approachable development tools, some cheap, others free, became more numerous and more prominent, thus giving countless new people the ability to make games without having to overcome intimidating, arbitrary barriers.

The medium was pushed forward by a flood of new people. They had the creative freedom that 100+ person development teams didn’t, and they had the talent and the drive to explore new ideas. And now, years after Blow and Cage and Kojima started speaking out against the immaturity of the medium, we have a vibrant, mature medium – one that’s still growing and learning and changing. But yet they won’t shut up. Instead of  actually exposing themselves to the flood of new games, they prefer to sit back and endlessly repeat the claim that everything is still hopelessly immature. Well, you know what David Cage? Go play some goddamn videogames, and then we can talk.

Pathologic - Executioner

We have games like Pathologic and The Void. Games like Cart Life. Games like Gravitation. Games like Norrland, Home, The Terrible Whiteness of Appalachian Nights, To the Moon, Dys4ia, Lim, The Walking Dead, Howling Dogs, and Unmanned. We have creators like Stephen Lavelle, Deirdra Kiai, Emily Short, Cactus, Anna Anthropy, Terry Cavanagh, Porpentine, and Brendon Chung. And we have sites like http://www.freeindiegam.es, which link to more clever, challenging, inventive games than you could possibly keep up with.

We’ve got long form and short form masterpieces. We’ve got games that ask questions and games that force the player to ask questions. Games with poignant narratives, games that deal with complex ideas, and games featuring characters you’ll come to care about deeply. God, we’ve got games for everything nowadays.

The medium has moved forward, and it’s continuing to move forward with each passing day. So when David Cage gets up on stage at the PS4 press conference and says that the medium is immature all it shows is that he no longer understand the medium. When Jonathan Blow and Hideo Kojima and all these other prominent game developers lament that nobody is making games that push the medium forward, all it shows is that their opinions haven’t been updated in half a decade. Or perhaps that they’re just willfully blind to anything outside the mainstream games industry- anything but big-budget console shooters, compulsive social games, and throwaway iPhone titles like Angry Birds, and whatever else it is the kids are into nowadays with their iPhones.

Lim - Merritt Kopas

Here’s a terribly simile for you: People like David Cage and Jonathan Blow are like blindfolded men stumbling around at the beach. They’ve tentatively shuffled a few steps into ankle-deep water, and they can’t see the ocean out there in front of them (the ocean represents the ocean of videogames). But instead of testing the waters further they stay put, safe in the knowledge that there’s nothing more to see – that this is as deep as it gets (METAPHOR).

I can forgive lots of people for thinking that all games are like Angry Birds and Halo. I can forgive people who don’t play videogames at all and aren’t entirely sure what they are – the kind of people who may refer to them as ‘computer games’ or ‘those computer games’. I can forgive people with a passing interest in games – like the woman on the bus who can’t be bothered to read, or the forty year old man waiting for the vastness of oblivion to come and claim him. And I can forgive people who play games avidly but who don’t really want anything more than FIFA and Halo (I can especially forgive Soulja Boy for that, considering he gave us this gem).

But people like David Cage have no excuse. They talk about the medium as if they’re experts, but they haven’t even bothered to take a glancing look at all the amazing shit that’s actually on offer. Games are still growing up, and they’ve got a long way to go yet. But when David Cage argues that we haven’t made monumental strides, that we haven’t made a load of genuinely great games, all I can think about is how limited and myopic his knowledge of the medium must be.

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