Archive for Gamergate

Ghostbusters: Haunting the Comments Section

Posted in criticism, movies, stupidity, Uncategorized with tags , , , , , on July 11, 2016 by drayfish

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IMAGE: Ghostbusters (2016); An abomination unto God, apparently…

So anyway, two months ago I wrote an article about the strange furore surrounding the new Ghostbusters film, due out on July 15th.  About how odd it is that a group of people who call themselves fans have gotten so worked up about a film they haven’t even seen yet.  About how many of the arguments against the remake seem to be contradictory.  About how ultimately it’s probably just best if everyone waits to see what the film is like before they judge it.

Personally, I hope the film is good, because I like Ghostbusters and I like things that are good.

 Ghostbusters-658x370-9d2c228ca9577bff

COMMENTS

3786 Comments…

Anonymous says…

This is the most IGNORANT, OBNOXIOUS, FUCKING STUPID article I have ever read about this ‘film’!!!  How fucking DARE you write your opinion on the internet!  Fuck you!  Go die somewhere cold and unlit.

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DogWhistle says…

This article is obviously paid for by Sony.

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Truth Speaker says…

I’m a reasonable person, but it is no exaggeration to say that this film has ruined my childhood.  No, wait: raped my childhood.  Yeah.  This film raped my childhood.  That’s more accurate.  Or maybe it took an orphanage filled with children and ground them into a thin paste, and then sold that paste to elderly war veterans, and then burned all their houses to the ground.  Or what’s the plural for genocide?  Because that’s what this movie did.  To my childhood.

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Nonplussed says…

Yawn.  I don’t care about this film at all.

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Think of the Children says…

Harold Ramis would be spinning in his grave.  I feel comfortable speaking for the dead Mr Ramis because I saw a couple of his films a few years ago.  Show some respect!

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Anonymous says…

Everyone I talk to agrees this film will be crap.  And those that don’t at first usually change their minds after I organise a dog-piling campaign to spam them with rage, unsubstantiated accusations, and rape threats.  You know, healthy internet discussion.

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My Little Brony says…

My issue isn’t that they are women!  It’s that they’re not men.  Ghostbusters are MEN.  Women aren’t men.  That’s just science.

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Nonplussed says…

Seriously.  Why is anyone talking about this film?  Who cares?  I don’t.  I’m just writing this comment so that I can say how little I care.

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Nonplussed says…

YAWN!

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Anonymous says…

This film is trash.  I know because I saw a trailer and no trailer has ever lied to me before.  Phantom Menace forever!

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Break Timer says…

You are obviously a sad, pathetic dipshit who knows nothing about the original film.  You obviously poop your pants.  I have watched the original hundreds of times AND I DON’T WANT TO SEE THIS!  AND I DON’T CAPITALIZE LETTERS FLIPPANTLY!

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Anonymous says…

Fuck you.  Paid for by Sony.

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Sarah Lucy says…

As a woman (and definitely not a man posting under the name of two of my ex-girlfriends joined together) I am offended.  I hated the trailer so much it made my completely real ovaries fall off.  As a not-made-up woman I think that making a film with a squad of women is a bad idea.  As a woman.  And I told all of my girlfriends that while we were plaiting each others’ hair and having pillow fights.  And they agreed.  So there.

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Nonplussed says…

I’ve never cared less about anything in my entire life.  That’s why I read every article about this film and feel compulsively obligated to write about how I don’t care even a little bit about it.  Guys: yawn.  I said, yawn.  That’s how little I care.  Because I’m that bored by it.

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FromMyColdDeadHands says…

Obama is a Gay Muslim Unicorn who wants to turn your guns into communist healthcare.  Wake up sheeple!!!1!

Also: Paid for by Sony!

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Anonymous says…

Bill Murray would be spinning in his grave.

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A Wild And Crazy Guy says…

Look, my mother was a woman, and I have had at least one girlfriend, so I feel qualified to say: women aren’t funny.  They can look pretty, and they can clean my room, and they can go in the female Olympics, but they can’t do comedy.  That’s not sexist.  It’s just a fact.  None of them have ever made me laugh.  And I’m not a sexist or anything.

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Number 1 fan says…

You are not a fan of Ghostbusters.  A real fan would shut the fuck up and agree with me.  I’m a fan.  I love Ghostbusters so much I want to kick the shit out of you.  That’s what love is.  I will be laughing at all you fake-ass fans when this movie FAILS at the box office.

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Reasonable says…

What controversy?  What oversimplification and demonization of a fictionalised opponent?  The only angry comments I see are from pissed off Femi-Nazis who can’t handle that Melissa McCarthy isn’t funny.  Obviously you are one of those angry lesbian man-haters who wants to force all men to watch Gilmore Girls and burn all videogames.  You and your feminist cabal (I know you’re out there, I’ve been to Reddit) clearly want Ghostbusters to fail so that Hollyweird will be forced to only make Social Justice Warrior Wiccan dance party films like Frozen.

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Nonplussed says…

In theory I agree with most everything everyone is saying here.  But just like I keep saying in all the forums, I care so little about this film.  You can read the 42,000 word blog post I just wrote about how little I care: http//www.yawn.com

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Ladies Lover says…

I have no problem with women.  I just hate reboots, and feel passionately about protecting the integrity of the original movie.  Sure, Ocean’s Eleven was pretty cool.   And I went to see Robocop in theatre.  And Terminator.  And Conan.  And Spiderman.   And all the Batmans.  And Total Recall was okay.  And Star Trek ruled.  And Rise of the Planet of the Apes was amazing.  And Casino Royal was the best Bond film ever.  But Battlestar Galactica was lame.  Starbuck is meant to be a guy.  That’s why he flies in a cockpit.

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Anonymous says…

Slimer would be spinning in his grave.

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‘SHOW MORE COMMENTS’ DISABLED TO PREVENT  SOUL DEATH

 

 

VALE GameTrailers: Goodnight and Good Game.

Posted in Uncategorized, video games with tags , , , , , , , , , , , on February 15, 2016 by drayfish

GameTrailers logo

Last week the videogame media community was shocked by the surprise closure of GameTrailers.com.

And I do mean ‘surprise’.

Defy Media, owners of GameTrailers, ran the closure like an execution. The entire GameTrailers staff turned up to work, were unceremoniously told they were fired, and were to be out of the building all within the space of a handful of hours. There was no grace period, no warning. (One of their employees, Daniel Bloodworth, was on his honeymoon.) It was a shady, needlessly brutal final blow, seemingly the final ‘Screw You’ from Defy, who, having clearly never known what they wanted to do with the brand after purchasing it from Viacom two years previous, had systematically bled the site of funds, carved down their staff, and splintered their viewership.

For those who might be unaware, GameTrailers was a site that had been active for over thirteen years. It pioneered the early capture, discussion and critique of videogames on the web before sites like YouTube and Twitch oversaturated the market, and for over a decade it remained at the forefront of its medium. Its writers offered thorough and thoughtful (if, in the early days, a little overly-mechanical) reviews. It’s on-air talent, particularly in its last few years, consistently set an industry standard for their professionalism and content (a herculean achievement after numerous job losses had dwindled the staff to a small team of accomplished multitaskers), and it continually fostered new programming around the games medium.

In the early years it offered video podcasts that exhibited welcome variety, if not always high quality. This is just personal preferences, but for every Invisible Walls, hosted by Shane Satterfield but fleshed out with a charming, rotating guest panel from the staff, there was an inconsistent Annoyed Gamer helmed by Marcus Beer, or a redundant Pach Attach (why anyone would consider Michael Pachter’s opinion relevant to anything is mystifying).

But this willingness to give a platform to a diversity of voices payed dividends. Soon passionate, intelligent content creators were being invited to explore games from their unique perspectives. Michael Damiani was able to create programs like Pop Fiction that explored the quirks and myths in game design. Michael Huber’s unassailable enthusiasm for the medium radiated out from Huber Hype. Kyle Bosman, whose The Final Bosman was all wit and welcome, offered quirky commentary on games and the games media, revelling in absurdity and always defending the right to treasure games that no one else cares about. There was the lighthearted, thoughtful weekly podcast, GT Time, that dissected news of the day and topics of contention. There was the more surreal Mandatory Update (which started as an overt Weekend Update knockoff manned by Elyse Willems and Ian Hinck and morphed into a lovably shambolic chat show. There were retrospectives and countdowns and live streams, and always, throughout it all, a genuine sense of camaraderie and joy.

GameTrailers was a place in which games were not simply spruiked and slammed in an endless Sisyphean loop. Particularly the site of the past few years, under the guidance of editor-in-chief Brandon Jones and Daniel Bloodworth (although it is fair to also commend previous editors like Ryan Stevens* and Brad Winters for setting this course), never treated videogames as chum to stir a feeding frenzy of spoilers and snark.

Games were art objects worthy of discussion and debate – and not in a dry dialectic mode of pretentious waffle. Games were always something to be shared; to be experienced together or reminisced about after the fact. GameTrailers cultivated the welcoming, enthusiastic tenor of friends enjoying their play experiences together. That sense of community that countless bro-ho-hoing podcasts strive vainly to manufacture and that feeling of shared experience that has made a streamer like Pewdiepie a millionaire were baked organically into the site.

Seemingly without effort it evoked all those sensations that have become the sensory memory of gaming: those times as a kid when you would stay up all night with your siblings to beat M. Bison on Street Fighter II; when you poured over screenshots of upcoming titles in preview magazines, trying to riddle out their possibilities; when the Konami code was whispered like a sacred text; when you realised you could grieve for the loss of characters that were merely lines of computer code stirred to life with a controller input. GameTrailers knew, and celebrated the fact, that games were experimental, experiential spaces; singular and shared; ridiculous and marvellous at once.

GameTrailers farewell stream

IMAGE: The Farewell GameTrailers Live Stream

And so, on the day they ended, GameTrailers went out as they had lived, with one last impromptu Twitch live stream – a play through of Grand Theft Auto 3, the first game digitally captured by the site way back in 2002. And even here, with every reason to rage and moan, the combined staff showed their signature class and spent the hour laughing. They took comfort in each others’ company, nitpicked beloved films, remembered old friends, and thanked their audience, again and again, for the honour of sharing those years with them.

Rather than gnash their teeth, they reasserted the joy of community. They thanked everyone, from the bottoms of their hearts, for playing along.

In the past week many have waxed lyrical about the whys of GameTrailers‘ closing. Jim Sterling has called it the inevitable consequence of YouTube’s ubiquity and the inability of a corporate business model to adapt to a broadcasting service optimised for lone content producers. Those more predisposed to conspiracy theories have speculated that Defy wanted to funnel their viewership toward some of their other gaming venues like Smosh Games and The Escapist.

For my part, I just wanted to briefly pay respect to a community that right to the end was a source of heartening entertainment. I admired GameTrailers, and the philosophy it embraced. And given that the soul-deadening, hatemongering nightmare of ‘Gamergate’ seems to keep churning out its exclusionist, paranoid judgemental dictation of who is, and who is not allowed to be a ‘gamer’, it seems especially sad to farewell GameTrailers, a place in which everyone was welcome. Where games brought people together rather than splintered them apart. Where the questions of sexism in games, or the strip-mining of nostalgia, or the interplay of aesthetics and narrative and game play, could all be debated freely, amongst friend who respected one another’s opinions, without the whole thing descending into invective and name-calling. Where games were not solely product to be consumed, but could be appreciated as tests of skill and strategy, or journeys into narrative, or art objects and curios.

The closure of GameTrailers is worth lamenting not solely because a lot of good, talented people lost their jobs and were treated poorly in the process. It’s painful because of what the site represented, and what the videogame community can always use. A variety of unique opinions were valued at GameTrailers; individual voices were allowed to be heard. And in a games media being strangled between corporate interference and a desire to pander to consumers who merely want to hear their own opinions mirrored back at them, that was something spectacularly rare, and deserving of respect.

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IMAGE: The GameTrailers Crew

* Speaking of which, Ryan Stevens’ podcast Game is a Four Letter Word is a fantastic listen, and well worth seeking out.

‘Hashtag! We’re It’: 2014, A Retrospective (Part 1)

Posted in criticism with tags , , , , , , , , , , , , , on January 1, 2015 by drayfish

Firstly, my apologies for the long delay in posting. Life intrudes. Sometimes life intrudes in truly horrible ways.

Secondly, I’m sorry for the length of what I am about to inflict upon you all. I swear, this began as a two paragraph review of a movie (my ‘movie of the year’, as if anyone cared) then grew out into an overview of the year’s cinema (because how else would I cram in more pissy comments about Michael Bay?), and finally morphed into a whole rant about the year itself. The good, the bad, and the Flappy Bird.

I’m not even going to pretend that it’s worth reading. It’s long, and convoluted, and needlessly tangential (just look at this intro; seriously, what is wrong with me?) But if you can be bothered: this first post will be about the depressing stuff, a selection of some of the grim social gloom that’s hung over the year. The next one promises to be more upbeat.

But before we get to the fun, let’s get to ripping off that bandaid…

hashtag

2014: The Bad Stuff (A Misleadingly Small Selection)

So it’s that time again, a time when, as inevitable as the turning of this old world, self-righteous blowhards like myself decide to arbitrarily look back upon the previous twelve months and make grand, sweeping, laughably unsubstantiated declarations about the year that was. …And since this coming year is 2015, it will inevitably contain some kind of lazy Back to the Future reference.

You may recall that last year, with my complete lack of any power, I declared it the ‘Year of the Selfie’ – which basically meant that I presented a bunch of tortured connections between film, games, literature and the news, and tried to argue that society was in a burgeoning state of self assessment.

I argued that texts like Tomb Raider, Man of Steel, and whatever the hell Baz Luhrman was trying to say with a 3D Great Gatsby film, were evidence that, as a culture, we were all trying to reassess ourselves and our personal moral codes amidst a miasma of new social media, the knowledge that the government was actively and aggressively violating our privacy for the sake of security, the dread of continued racial injustices like the shooting of Treyvon Martin, and the arrogance of Microsoft’s decision to make the Xbone its own private NSA Elf on a Shelf, sitting in your house monitoring you incessantly. Whether you wanted it to or not.

But this past year, if I were presumptuous enough to bother making some more lazy generalisations (I am), I would argue that instead of singular selves, crying out into the cyber stratosphere to assert our existence, this year appeared to be more about forming social communities from out of the void. Rather than individuality, in 2014 we sought out like-minded souls, taking comfort in the confirmation of others. Social media was embraced, and sometimes weaponised, as a means to reach others, to voice concerns, to offer support, to plead for more.

The hashtag suddenly became a kind of social adhesive, indicating one’s contribution to worldwide conversations, signalling the subscription to a cause or particular beliefs, or to keep ironically hashtagging ‘#FirstWorldProblems’ so that people hate you. Indeed, the hashtag was so ubiquitous that in June it was added to the Oxford English Dictionary.

Sometimes this longing for community emerged in truly ugly circumstances, however, and perhaps the most regrettable example arose in the swirling Lovecraftian horror of Gamergate.

Colbert Report Gamergate

IMAGE: The Colbert Report (Comedy Central)

It’s a nightmare I’ve already addressed, but to summarise briefly: Gamergate was originally triggered by an hysterical, ex-boyfriend, Eron Gjoni who, in a spiteful act of vengeance, decided to try slut-shaming his ex-girlfriend, an independent games developer named Zoe Quinn, online. Gjoni published a rambling, slanderous rant in which he accused her (amongst most anything else he could) of sleeping with games journalists for good reviews – an accusation that has already proven untrue.

Gjoni’s private meltdown was soon fanned into a blaze by conspiracy theorists and angry misogynists like King of Pol (who has since had some troubling things to say both about the holocaust and his Gamergate brethren) and Sargod of Arkkad (who uses some highly suspect editing to bolster fatuous arguments, and who would very much like it if the women folk would quit complaining). But it really kicked into gear when it was shamelessly co-opted and exploited by cynical sociopaths like ‘journalist’ Milo Yiannopoulous, who dressed it up as the tip of an iceberg of corruption in the games media and assigned himself the status of messiah.

To digress for just a moment, Gamergate can probably be best understood by examining these two principle figureheads of the movement (if one sets aside Adam Baldwin, who appears to have gone insane). Because on closer inspection both Eron Gjoni and Milo Yiannopoulous prove to be paradoxical and problematically hypocritical figures.

Gjoni, although desperate to attract as much attention to himself as possible (eliciting sympathy to paint himself as a victim at the very moment he is using it as a weapon of revenge to destroy his ex-girlfriend’s life) is swift to erupt in rage as soon as it impacts him negatively in any way. Meanwhile, in his only interview he is unable to even explain the point of the maelstrom he knowingly stirred up. He ping pongs from regretting what he did to regretting absolutely nothing; being disgusted by the movement, to being immensely proud of it; wanting to apologise for numerous women harassed as a result of his false allegations, but not really because other people (anyone who’s not him apparently) need to be responsible for their actions… or something…

Yiannopoulous, on the other hand, was a guy who only a month previous to jumping on the Gamergate bandwagon, had dismissed anyone who played videogames as sad, lonely ‘weirdoes [in] yellowing underpants’ playing out fantasies of rape and murder, who ‘need therapy and their internet connections taken away by mum’. A year earlier he had declared the ‘teens and man-children addicted to these immersive video games’ who ‘support a multi-billion dollar video games industry’ to be ‘an awful lot of unemployed saddos living in their parents’ basements’.

And yet, having seen an opportunity to use this enraged mob as an army in his own hateful anti-feminist culture-war (a crusade that even a cursory glance back at his bibliography of vile screeds reveals he has been waging for years), he suddenly, miraculously, underwent a conversion. Overnight he embraced the videogame medium so devoutly that he was soon slandering Zoe Quinn as a mastermind of fraud and sleaze in an industry he now claimed to care deeply about – despite the fact that she was innocent of every charge he brought against her – and he felt justified belittling critic Anita Sarkessian’s right to express any views on the medium – despite the fact that she has been exploring games far longer than he has, and has never used anything like the denigrating language he repeatedly employed to sneer at the people who play them.

Indeed, Yiannopoulous’ bias and insincerity is so overt that often his work reads like broad farce. Within this article, a shambolic tirade of specious ‘facts’ and paranoid hyperbole, he literally describes Zoe Quinn as a soft core porn actress, a rapist and a murderer; calls Brianna Wu a lying, delusional, ‘dishevelled, psychologically unstable transsexual’; and accuses Anita Sarkeesian of being a ‘marketing scammer’ who knows little about games and who has exploited this situation for her own fame (remember, he’s talking about Sarkeesian here, not himself); all while imploring his fellow GamerGaters to not resort to ‘personal attacks’, and to only tell ‘basic truths’. The hypocrisy is so brazen it is breathtaking.

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IMAGE: Milo Yiannopoulous (Richard Saker/The Guardian)

Unsurprisingly, if you do bother looking up some ‘basic truths’ on Yiannopoulous they paint a rather unflattering picture, as he appears to be no stranger to corruption and exploiting people himself). To quote Yiannopoulous: ‘This is the pantheon of self-promoters, opportunists and oddballs who have made gamers’ lives a misery over these past few months.’ Presumably it was only by accident that he left himself off that list.

Anyhoo.

For a time, many people who weren’t prejudiced, self-serving lunatics also got caught up in Gamergate’s ‘ethics in games journalism’ rhetoric. This was because Gamergate was exploiting a genuine sense that there has been, and remain, issues of corruption in the games media that have gone unaddressed for years. Issues like: the influence of multimillion dollar publishers upon editorial policies; the seedy grey area of promotional consideration disguised as commentary; underhanded marketing practices like shipping unfinished products and preventing reviewers from warning customers away.

Unfortunately, it seems Gamergate never really was about combating such corruption – as has been shown by their lack of interest in any of the genuine instances of shady business practices in recent months (remember all the protests over Ubisoft embargoing reviews of Assassin’s Creed: Unity until after the game was already on sale? …yeah, didn’t think so). Meanwhile even further women in the industry continue to be targeted with threats and harassment (even though that supposedly was never the point…), and the leaders of Gamergate have descended into an internal death spiral of recrimination, intimidation and overt fraud. It turned out that ‘ethics in journalism’ really was just a catch cry used to deflect attention from the actual agenda of the movement, primarily the demonization and harassment of female programmers and critics, and anyone who could be slapped with the pejorative ‘Social Justice Warrior’ label.

And so, as the weeks have ticked by, support for the movement has steadily waned, with those who had employed the sister hashtag #NotYourShield – supporters who were often women and members of the LGBT community (the few who weren’t sock-puppet accounts of course) – coming to realise that they were ironically being used as a shield anyway, only this time for the zealots in Gamergate.

To many, myself included, Gamergate proved to be just an ugly, sorry con-job waste. For the miniscule positives that it achieved (scaring a couple of game websites into writing up a list of ethical practice guidelines), it was blithely destructive, self-serving, and responsible for actively misleading countless participants who believed they were agitating for a change to coercive advertising practices, not to serve the paranoid delusions of some fear mongering culture war. And it goes without saying (but is worth saying loudly anyway) that nothing can be said to justify the dehumanising abuse and threats of rape and murder that came to signify the movement.

But in a far kinder light than it ultimately deserves, what Gamergate proved is that people are willing to join together into likeminded communities if they feel that something they love is being threatened, or if they believe they can petition for change. It’s just as shame that those who may have really wanted to appeal for more ethical practice in games coverage were able to be exploited and shouted over by those pushing their own anti-feminist, anti-Social-Justice-Warrior, anti-criticism agenda.*

Elsewhere, hashtags were a means of reviving buried stories and compelling journalists to question the powerful.

Whatever the truth of the accusations, it is telling that after a decade of little to no attention being paid to claims that Bill Cosby had, over the course of his lengthy career, drugged and raped multiple women (it turns out in some cases this silence was directly engineered by Cosby himself), this was this year that the story finally exploded into the public’s consciousness. And social media, for better and worse, was directly responsible.

The match was lit by comedian Hannibal Buress on stage, with a routine that replied to Cosby’s history of condescendingly criticising younger black comedians with the line, ‘Yeah, but you rape women, Bill Cosby, so turn the crazy down a couple notches.’ There was more to Buress’ routine, and a clip of it soon went viral, with people willing to take up his invitation to Google the name ‘Bill Cosby’ and ‘rape’ and being shocked with what they found.

But bafflingly, at the exact worst moment in which this resurfaced news was circulating through Twitter, Cosby’s web media team decided to invite people to use a program on his site to turn him into a meme. The exact phrase was, ‘Go ahead, me meme!’ and to put it as mildly as it is possible to put anything, the results, shared across the globe as #CobyMeme, were surely not what they were expecting. The onslaught of references to pudding pops, hoagies and violent sexual assault were like a MadLib from hell, vomiting up a disturbingly representative manifestation of the colliding imagery any Cosby fan was now trying to process: America’s favourite dad perhaps being predatory serial rapist.

Cosby-Meme

IMAGE: #cosbymeme (one of the tame ones)

The whole continuing saga has exposed a number of troubling issues in society. Not the least of which is how much bias and ignorance women still face in society whenever rape is mentioned, and how, even after the story was forced back into the public consciousness, a campaign of scoffing and victim blaming soon followed.

Firstly, it’s perturbing that it took a male comedian to speak up in order for this decades-long saga to finally become an issue. Although multiple women have identified themselves as victims of Cosby over the years, the accusations had gone largely unremarked by the mass media – so much so, in fact, that Cosby’s biographer felt no qualms in completely omitting the civil court case of 2005, in which 13 women filed a class action sexual assault case against the comedian, from his exhaustive book.

Predictably, maniacs like Glenn Beck were swift to liken anyone in the media reporting on or questioning Cosby about such accusations as being rapists themselves, but even in more liberal circles, rape was revealed to be a problematical topic that many would rather just ignore. One could look at the tone-deaf, ugly message of Aaron Sorkin’s second-to-last episode of The Newsroom to see the way in which many, Sorkin apparently very much included, would prefer that victims of sexual assault keep quiet about the crime visited upon them rather than making everyone else uncomfortable about the thought that someone, somewhere, might get falsely accused.

And so, although social media became a place where people could openly voice their support for these women and lament at the frequently tin-eared coverage of some news outlets (including CNN reporter Don Lemon’s witless questioning of one alleged victim, in which he literally asked her why she didn’t just bite his penis off, responded to with #DomLemonReporting), it was also a place in which they were tarnished as gold diggers (despite the fact that most have not asked for any kind of money), hungry for fame (despite some of them already being famous and many actively trying to avoid the spotlight), or sexually promiscuous frauds. A disturbing recurring sentiment was that these women ‘knew what they were getting into’, despite the principle theme in each of their accounts being that they were drugged against their will after mistakenly believing they were with someone safe.

The flip side of this social media saturation is that now that the fantasy image of Bill Cosby has been eroded – the one inextricably entwined with loveable, learned, morally upstanding old Dr. Phil Huxtable – it has kicked open the doors on re-examining many other instances in which Cosby has behaved in mean-spirited, unsettling, coercive, or outright deceitful ways – all stories that have previously gone either unremarked, or seemingly kept hidden behind a wall of celebrity privilege.

A more thorough account of the numerous sexual assault allegations being brought against Cosby can be found here, and the full history of the story as it played out in social media can be found here, but whatever the truth of these accusations (although as the numbers of women sharing strikingly familiar horror stories keeps climbing and anecdotal evidence from Cosby’s former co-workers continues to mount, it doesn’t look good), the whole saga has been inextricably bound to social media.

Hashtags gave the story new life when the mainstream press had been willing to let it fade forgotten (a point emphatically expressed by reporter David Carr, who gave an account of his own impulse to ignore these details in the past, and his personal experience being chastised by Cosby); they have presented a window into the real-time damage that these details were wreaking on Cosby’s carefully cultivated wholesome image; and they have offered a venue for people to vent their spleen – whatever their perspective on the story – in a court of public opinion that is simultaneously empowering, therapeutic, and potentially ruinous.

Social media also became an essential space for people to voice their shock and concern over what appears to be continuing examples of entrenched racial injustices in the United States.

After the outrage sparked last year by the acquittal of George Zimmerman, a self-appointed neighbourhood watchman who stalked and gunned down an unarmed seventeen year old African American schoolboy named Treyvon Martin, one would have hoped that such racially motivated deaths would be a thing of the past. Instead, they seemed to have multiplied, with the number of fatal incidents between armed white police officers and young black civilians reaching a despairing crescendo.

Michael Brown Protest

IMAGE: Protest for Michael Brown (Scott Olson/Getty Images)

With an alarming regularity, this last year saw numerous news reports of unarmed black men being killed by armed officers, with the further shock of few, if any, charges being brought against those officers who chose to employ lethal force. To list only a handful of the many such instances in recent history…

August of this year saw eighteen year old Michael Brown shot dead in Fergusson by Officer Darren Wilson. The details of the altercation that led to Wilson unloading his firearm are disputed – Wilson insists that Brown was lunging at him through the window of his car when he first fired, and that he only shot in self defence; witnesses describe Brown being several feet away in the street with his arms raised in submission – but in the end, Wilson had fired twelve shots at the unarmed Brown, leaving him dead. A grand jury decided not to indict. As a result of this verdict, and the appearance of deliberate prosecutorial mishandling of the case, protests broke out across the country, in some instances marching peacefully for change, in others breaking out in violent frustration and met with a militarised police response.

There was also the death of John Crawford in August, shot dead in Walmart for carrying an unloaded BB gun that he was presumably thinking of purchasing. Even though the footage later released shows Officer Sean Williams discharging his weapon literally only seconds after arriving on scene – while Crawford was still talking on his cell phone – Williams was likewise not indicted by a jury. (And just in case the story wasn’t already awful enough, Crawford’s girlfriend was then harassed by police throughout an hostile hour and a half interrogation, during which they refused to tell her he was dead, threatened her with imprisonment, accused her of being on drugs, and tried to get her to say that he brought the gun to the store himself).

In November, Tamir Rice, a twelve year old African American boy playing with a toy pellet gun, was shot to death by a police officer who, once again, had opened fire only two seconds after driving up to him. After the shooting, the boy’s distraught, fourteen year old sister was handcuffed and put into the back of a police car, and his mother was threatened with arrest as she tried to reach where her son lay bleeding to death. And just in case the whole story wasn’t horrible enough, despite the officer who killed Rice, Tim Loehmann, being found unfit for duty two years previous, having a history of ‘dismal’ handgun performance, being overly emotional, and saying that he joined the Cleveland Police looking for ‘more action’, the president of the Cleveland Police Patrolman’s Association, Jeffrey Follmer, still felt the need to go on television and and tell everyone that the killing was ‘justified’. …Oh, and he also thought that a football player expressing his freedom of speech and wearing a t-shirt that asked for justice for Rice and Crawford was ‘pathetic’.

So he sounds like a great guy.

Back in April Dontre Hamilton, another young, unarmed black man was shot dead by Officer Christopher Manney . According to Manney, he and Hamilton got into a fist-fight after he confronted him, and despite being unarmed, was apparently so dangerous that Manney had to shoot him 14 times. Even given Manney’s non-proportional decision to take lethal action, the County District Attorney John Chisholm decided not to press charges.

But perhaps the most disturbing case for how gruesome this year was in the race relations of a supposedly enlightened western society, there was the death of Eric Garner in July. Garner was an unarmed black man who was choked to death by Officer Daniel Pantaleo while surrounded and outnumbered by several armed law enforcement officials.

Garner had just broken up a fight between two other men when he was stopped by two officers who began accusing him of selling illegal cigarettes – meanwhile letting the guys who had been fighting get away. Garner, offended by being accused of a crime immediately after preventing one, asked why he was being harassed, raised his hands, and asked not to be touched. Pantaleo responded by putting him in a headlock – a completely illegal form of restraint banned by police two decades ago – and then proceeded to choke him to the ground so violently that Garner died, literally pleading for help to anyone who would listen that he could not breathe.

And then here comes the really, really unsettling bit.

Because even though the entire thing was caught on videotape (by a local who had already captured footage of police brutality in that area just a week previous), even though Pantaleo had used an illegal, life threatening move on an unarmed man who had not been charged with anything yet and who was not even fighting back, even though the medical examiner had ruled it a homicide, and even though Pantaleo can clearly be seen administering the chokehold on Garner while several other officers assist, pushing his face into the cement footpath and kneeling on his head after he was down, a grand jury decided to not indict him.

He will face no charges.

Protester for Eric Garner

IMAGE: Protester at the ‘We Will Not Go Back March in Staten Island (Justin Lane/EPA)

As a consequence, Garner’s last words, ‘I can’t breathe’, have taken on a whole new meaning, becoming a catch-cry for those who believe that this kind of racial injustice is systemic in the US.

And it is easy, sadly, to see why. That sense of galling, unfathomable constriction, of being crushed by a system that seems engineered to value black lives less than white, where it appears that police are free to kill African American suspects on sight and be exonerated by the legal system after the fact, even in the face of extraordinarily damning evidence – that is a feeling that every African American living in the United States must have to wrestle with every day, and it would have to be choking.

It’s a dread that has been articulated by many this past year, and one hardly needs to search far to hear African American citizens admitting that they feel afraid for themselves and their loved ones in such a climate; but one of the most striking examples for me was Killer Mike of Run the Jewels, who, after the grand jury acquittal of the officer that killed Michael Brown in Ferguson, addressed a crowd before his performance with a stirring, heartbreaking account of how he now fears for the safety of his two sons in a world that doesn’t seem to value their lives as it does others.

It was a powerful, moving speech, that cut through the mainstream media’s usual white noise of sensationalism, where pundits were already busy describing Fergusson protestors as ‘racial arsonists’ or likening them to ISIS, or complaining that Obama was meant to have put an end to all ‘this’, whatever ‘this’ was at any given moment. Killer Mike instead spoke from the heart, as an individual who felt the pressure of that verdict as symbolic of what he had always feared (and which now seemed confirmed) for the future of his family. And not surprisingly, as that realisation washed over him, he sounded like he couldn’t breathe.

It was entirely fitting then that Killer Mike’s message should be disseminated by audience members recording it and sharing it through social media, because as this string of police shootings and brutality on unarmed black men has continued unabated, it has consistently been social media toward which people have turned to digest the horror unfolding in the news. Sharing videos and eyewitness accounts were often the only way in which to counter the narrative being presented by official channels; too frequently it was the only way in which such stories were heard at all.

Hashtags, once innocuous methods of organising fragments of conversation amidst the borderless sprawl of the internet suddenly became a means of showing solidarity and community in the face of the far more dehumanising forces of legal and moral apathy. They were a comfort; a protest; a reminder; a promise.

In a world that seems to be impregnably divided into distinct classes – fans and critics; men and women; celebrities and audiences; black and white; police and citizens – hashtags managed to forge bonds, share experiences, and remind us of the commonalities that unite us rather than the fears that drive us apart.

But it was in our pop culture entertainments that these bonds could be seen rendered in broad, colourful metaphor. So with 2015 looming, I’d like to travel down that road one last time in the next post…

What’s that, you say? The previous sentence just seemed like a really tortured way to cram the word ‘road’ into this cobbled together conclusion?

Well that’s because:

Roads? Where we’re going, we don’t need roads…**

Back to the Future To Be Continued

* I want to get off the topic of Gamergate now, because it truly is a horrid subject upon which to dwell, but before I do I want to recommend an article, ‘A Ship Sailed Into Port: On Bias, Controversy and My Friends’ Games’ by Maddy Myers, to anyone and everyone. It’s fantastically well-written and insightful anyway, but the fact that it manages to speak to the hateful, devastating impact of Gamergate, both on the industry and the individuals within it, and to give a nuanced, passionate account of what it is like to be a critic and someone who has had to suffer this pathetic, pointless harassment, makes it extraordinary, and more than just a little heartbreaking.)

** Actually, yes we probably still do need roads. For all the cars and stuff.

Gate Keeper Games: The Co-opt Option of GamerGate

Posted in art, criticism, video games with tags , , , , , , , , , , , , , , , , , , on October 18, 2014 by drayfish

angry-mob

Well isn’t this horrible?

The past several weeks there has been an eruption online unlike anything before seen in the gaming media. It has been vicious, hurtful, weirdly both organised and shambolic, and has devolved into petty name-calling and accusation on all sides.  It’s the kind of shocking issue that demands a response from every free-thinking, rational observer, and I know that people have been wanting me to weigh into the debate.*  So even though I’m neither a videogame ‘journalist’, nor one of the members of the enraged contingent of ‘gamers’ calling for action, I’m going to do add my thoroughly ill-informed voice to the fray.

That’s right. I’m going to talk about it:

Sonic the Hedgehog’s new scarf.

It looks idiotic.

There. Discussion concluded.  Huzzah!  Justice has been done!  Peace has been restored!  Everyone return to their homes!

Okay, so that didn’t work. Because no matter how stupid Sonic’s new scarf looks (and it does), obviously it is not what has been at the forefront of every discussion of videogames for the past couple of months.

No. Sadly – very, very, very, very sadly – I’m referring to ‘Gamergate’, the latest, and perhaps most extreme Rorschach test of gaming social media movements.  To some, it has been a call to arms for journalistic integrity in the videogames media; to others, it’s a reactionary, at times utterly psychotic territorial squabble with ‘No GRLZ ALLOWD’ scrawled in crayon on the door.

Whatever your perspective, though, it would be hard to argue that the whole thing isn’t a complete mess. With artists and critics having been driven from the field (and their homes!) in fear, with whole swaths of the videogame audience being tarnished as misogynists or terrorists, with some people arguing for more transparency and others literally just calling for critics they don’t like to shut up, it seems like the moment you scratch the surface of this thing, it all unspools into a labyrinth of contradictory agendas, counterarguments and inconsistency, with no two people seemingly arguing the same thing.  And this is all despite the misleading appearance of bipartisanship – the us against them trap; ‘gamer’ versus ‘journalist’ – that too many people on all sides of the argument seem to be willing to fall into; one that has frequently, misleadingly been reported in the mainstream press.

Indeed, to an outsider, superficially, the whole situation probably looks a little like being stuck at a nightmarish dinner party, where some long-time couple – the videogame media and the videogame audience – have just exploded in a horrible fight.

They’re one of those couples that have clearly had a fractious relationship for some time – everyone could see that, even if they refused to acknowledge it – but now, tonight, they’ve finally snapped and started screaming hateful abuse at one another in front of everyone.  Suddenly both of them are hurling every ugly, petty, spiteful (sometimes even knowingly inaccurate) accusation they can at one another, just so that it hurts.  Just so that it sticks.  Just so that they, and everyone else at the table, know that they’ve been feeling ignored and maligned for quite a while, that they’re not going to take it anymore.

The truth, of course, is far more complicated. Because not only is there some fact mixed in amongst all the hyperbolic hatred (lies work so much better that way), but there are more than just two opposed voices in the mix – and some of them are only too happy to have shamelessly coopted the discussion, making vicious comments under their breath to spur both ‘sides’ on, turning debate into division and delighting to watch the whole thing blow itself all to hell.

But for now, while the cutlery on the table is shaking with every pounding fist, and everyone looking on, feeling sick with shame, bows their heads into their wine glasses to avoid eye contact, what’s clear is that this couple – the players and the industry – is on a precipice. This is the moment in which it’s gotten so ugly, so overt, so undeniable, that something has to change.  Because this can’t go on.  Because yes the ones shouting the loudest are hurting, but the issues go deeper than the insults, and the damage is far more toxic than just words.

And so, as ill-advised as this may well be, I want to offer a few scattered thoughts on this chaos. Not because I think they’ll ‘help’.  Not because my utterly subjective opinions are by any means conclusive or inarguable or ‘right’.  And believe me: not because I am under the delusion that anyone actually gives a crap what I think.  Mostly just because I want to remind myself that there is some nuance amongst the angry confusion, that things can’t simply be boiled down – as some have unhelpfully tried to do – into an ‘us’ versus ‘them’ conflict, where one side is self-evidently ‘right’ and the other is unquestionably ‘wrong’.

After all, it’s precisely that kind of partisan, unbending mentality – with heroes and villains and easy stereotypes – that enables people to get whipped into such furious zealotry. It allows some to excuse fraud or hideous threatening behaviour to themselves , because, hey, they’re the ‘good guys’, right?  So who cares how they won?  Destroying your opponent is just a means to an end.  And those guys were ‘bad’ anyway, so who cares?

So instead of resorting to cheap generalisations and clichés, I’m going to try to speak to specific examples of people amongst the crowd. To offer my perspective as an observer, and to voice things that I think are worth repeating as many times as possible, particularly as the conversation (if it can be called that) gets even more crazed and unkind.  Again: these are just fragments of random thoughts, in most cases pure opinion, and are meant only as personal observations applicable to those I’m addressing, not to some faceless one-size-fits all mob.

The result is long. Too long.  Seriously too damn long.

So if you want the TLDR (or: Too Long Don’t Care) spoiler: when you boil it all down, I’m mostly just going to plead. To plead with each of them; all of them; ‘Gamers’, ‘Games Journalists’, and ‘Industry insiders’ alike.

I’m going to ask them to please stop.

Because there is an important and necessary discussion to be had here – several of them, to be honest –  but no one is going to get to any real debate if everyone is wilfully misrepresenting everyone else; if hate and abuse are being waved aside; and if naked contempt is the base level from which everyone speaks.

So here goes…

space-invaders

(Although, before we move off the topic entirely: Sega, do something about the scarf.**)

***

Firstly, to anyone, anywhere (but particularly in the mainstream press) who thinks this whole backlash against an art form is ‘unprecedented’:

It’s not.

As counterintuitive as it may at first seem, the first myth to unpack when approaching a discussion of everything that has unfolded recently, is the misconception that this is all somehow totally unprecedented. A lot of ink has been spilled (a lot of it online, but some even in the mainstream media) about how ‘Gamergate’ is entirely unique; an incomparable audience backlash against an Art form.  It’s actually an observation that’s been used (in both subtle and not-so-subtle ways) to imply that the videogame community, on all sides of the argument, must be filled with some rather immature people if they could overreact to their entertainment in such an extreme, unparalleled manner.

Now, you could perhaps say that it is one of the more personally ferocious – with threats of rape and severe injury being levelled at artists; with organised campaigns of harassment and slander being directed at critics – but frankly, dishearteningly, we humans have a long sad history of freaking the hell out and rising up in fury in response to our Art.

Sure, we like to tell ourselves that we’re past all that stuff now, that those were just the dark, unenlightened days. But with every generation we keep presenting new examples of Art being trashed as unworthy or offensive, and artists being persecuted as agitators – particularly so whenever a medium is in a state of growth or transition.

In the late 16th century Caravaggio was called the ‘antichrist’ of all painting (a bit harsh), supposedly threatening to lead all artists who might follow his style and technique into damnation. In the 1950s Charlie Chaplin and the pointed political satire of his films seemed a little too ‘communist’ for Red Scare era USA, so he was subject to a campaign of slander by conservative columnists and the FBI, labelled everything from a philanderer to a white slaver, having his films threatened out of theatres by conservative lobbyists, and eventually finding himself run out of the country in political exile.  In 1960 Penguin Books was prosecuted in the United Kingdom for publishing an uncensored version of D.H. Lawrence’s Lady Chatterly’s Lover, an over-three-decades-old book by one of the most celebrated writers of all time.  (Indeed, check out just a taster of some of the books the USA has banned over the years for being ‘inappropriate’ in a list compiled by the American Civil Liberties Union).  In 1989, a touring exhibition of photographs by Robert Mapplethorpe – which included images of BDSM acts and same sex couples embracing – led to several protests, threats to cut funding to associated galleries, and even charges of ‘pandering obscenity’ brought against museum directors.  And one need not even linger on the grotesquery of the Third Reich’s targeting of artists like Paul Klee and Max Ernst for creating ‘degenerate Art’.

Indeed, when I first heard of the ‘Gamergate’ controversy – and specifically the harassment some of its supporters had inflicted upon game developer Zoe Quinn and critic Anita Sarkeesian – my first thought was of two infamous moments in history in which audiences similarly went so irrationally, chaotically wild…

The first, on the 29th May 1913, was Stravinsky’s first performance of The Rite of Spring.  Listen to the piece now and you will be struck by just how impactful Stravinsky was upon all music that followed in the 20th century.  From it’s opening, impossibly high lilt on a bassoon, through its thunderous pageantry and discordance, it is a staggering work.  Indeed, even aside from the innumerable classical composers it clearly influenced, it’s hard to imagine the entire history of cinema without his sweeping sound design.  John Williams alone owes him such a debt that it’s almost criminal he doesn’t have a co-credit on the Jaws theme.  Seriously).

Rite of Spring Original Dancers and Costumes 1913

IMAGE: Original dancers in costume for The Rite of Spring (1913)

But if you’d attended its premiere performance, you would have heard nothing but boos. Because by all accounts – and to put it politely – that night his audience went completely f**king nuts.  Only moments after the curtains rose, a large portion of the crowd had already started hissing and jeering and swearing and stomping their feet.  As the show proceeded, they made so much noise that they drowned out the sound of a full, booming orchestra, preventing anyone else from hearing it too.  Stravinsky fled backstage in fear; someone kept switching the lights in the hall on and off (like you might do to distract children) trying and failing to calm things down; a splendidly attired woman in one of the private orchestra boxes leaned over to the next box to violently slap a man in the face.  And this was an orchestra crowd!  The genteel and upper class – out of their minds with fury.  It must have been like seeing the Monopoly guy pull a shiv.

The second example that sprang to mind was a notorious incident surrounding two performances of Shakespeare’s Macbeth in New York in 1849.  The two productions had been scheduled for the same evenings, one starring Edwin Forrest, the most renowned American actors of his age, and the other starring William Charles Macready, the most renowned English actor of his day, who was touring his production in the USA.  Fans of both actors became agitated that the other man had the temerity to try and play the same role, on the same nights, in the same city; and as the dates drew nearer, the hostility grew so heated that there were angry tirades written in the papers, propaganda spread amongst the populous, protests, vandalism and threats of violence at each man’s performances.

Then, after a few days of the shows running concurrently, on May 10th the two livid crowds met in Astor Place in a swarm of around ten thousand people, and in what was a surprise to no one at that point, the whole thing erupted in a full-blown street riot.

Literally.

There were bombardments of hurled stones. Brutal clashes with the police.  Windows smashed.  Bricks thrown.  The theatre was being physically torn apart, with people repeatedly trying to set fire to it – despite Macready and his audience still being trapped inside.  By the end of the night around thirty people were dead (many shot by police), and well over a hundred were injured.  Those who escaped the theatre alive described the performance as, ‘Still more enjoyable than watching Michael Bay’s Teenage Mutant Ninja Turtles.’

Astor-Place-Riot-1400

IMAGE: The Astor Place Riot

It seems crazy now that such a horrendous disregard for life, property, and public safety could have emerged from a squabble over who played the better version of Shakespeare’s scheming Scottish king – but of course, that’s only a fraction of the truth. In actuality, the hostilities between the two fan bases  were enflamed by anti-British protestors, who resented the thought of an Englishman drawing acclaim away from their home-grown American talent.  By stirring up the still-lingering resentment over English rule, these politically minded antagonists coopted a disagreement about aesthetic preference and mutated it into a racially intolerant fear campaign.  Add to that the fact that Macready and Forrest had spent the previous few years mired in a contest of petty personal antagonism – chasing each other around one another’s countries, egotistically competing for attention – and the whole thing becomes very foolish and unfortunate indeed.

Which brings me, finally, back to video games – a medium itself too often dismissed by those unfamiliar with the form as just violent, childish competitions; one that, in the past several weeks, has put on the mystifying, rancorous display that has led many people to conveniently forget about Astor Park, and Stravinsky’s frenzied crowd, and the persecution of the Little Tramp, all to label this the audience backlash without equal.

So again, to anyone who thinks this is unique: not so much.

That doesn’t make it ‘right’, and it certainly doesn’t excuse anything done in its name, but it is disingenuous to imply that ‘gamers’ are the first audience to ever overreact – even with violent, discriminatory, irrational rage – at a work of Art.

Oh, how nice it would be for civilisation if that were true…

***

Secondly, to anyone who doesn’t really know how all this got started:

Hey, a few weeks ago I was right there with you.

But no doubt like you, when the name ‘Gamergate’ first swam into my consciousness, I was mightily intrigued. Despite not being a member of the games media, and being nowhere near consequential enough for my jabs at EA or Microsoft’s underhanded business practices to land with anything but a wet flump, the medium of videogames, their perception and acceptance as an Art form, remains close to my heart.

And it’s not as if anyone paying attention can be blind to the many issues bubbling away under the surface of the industry…

I’ve spoken before about the perception of bias in the videogame media.  About how poorly it reflects on the medium that paid preview junkets and lavish advertising arrangements can be so commonplace between publishers and reviewers that they often go undisclosed.  About the way in which industry writers have, at times, unhelpfully reduced ‘gamers’ into clichéd mobs, devolving more nuanced conversations about potential problems in the industry and the review process by depicting anyone who might question the status quo as enraged, entitled, ‘vocal minorities’, too stupid to comprehend Art.

I’ve also spoken (only just recently) about how corrosive exclusionist language like ‘real gamers’ and ‘hardcore audiences’ can risk being on the legitimacy of this medium.  Rather than validating the ‘true’ fans, to me it often just alienates the whole form, making both videogames and their enthusiasts look closed off and territorial –  an unbefitting image for a medium all about experimentation and shared experiences and co-operative play.

And applying the suffix ‘gate’ to a controversy? Come on.  That implies some pretty huge revelations.  Big, empire-shaking truths.  It’s Watergate – the moment when the highest office in the most powerful land was called to account for its corruption and deceit.  It’s about the reclamation of legitimacy through thorough, reasoned truth telling.  That’s a big promise.

gamergate logo

So ‘Gamergate’ sounded like a compelling rallying cry. What kind of smoking gun must have been found to warrant a title like this?  I mean, this is an industry in which it is just accepted that swag and junkets are routinely lavished on ‘journalists’ in order to help sway their preview coverage of upcoming products.  One where Microsoft have clandestinely paid YouTubers to live stream their games and talk them up without disclosing that these are therefore the literal definition of advertisements.  One where several industry insiders have been fired for even raising questions about some of these murky practices.  One where Duke Nukem Forever was a thing.  An actual thing!

Who did Activision or Sony threaten to blackball this time to get favourable publicity for their game previews?  What kind of seedy, undisclosed, cross-promotional extortion could set the bar lower than inviting games journalists to tweet free ads for their game in order to win a Playstation 3?  Who did EA have killed that could trump getting a reviewer fired because he didn’t praise their game enough?  Did someone find Crash Bandicoot’s corpse in a basement torture pit?

From a cynical perspective, it’s hard to set the bar much lower on some sections of this industry – so whatever these ‘Gamergate’ people had their hands on must have been solid gold proof of corruption unlike anything ever seen before.

Hoo nelly. I was salivating.

And what did we get?

The gossipy smear of a jilted ex-lover trying to slut-shame his former girlfriend.

…No really.

It seemed that what kicked off all of the acrimony that followed was an accusation from a guy called Eron Gjoni claiming that his ex, a game developer called Zoe Quinn, had effectively tried to sleep her way to the ‘top’. (…The ‘top’ apparently being the promotion of a free browser game designed to bring awareness to the issues of chronic depression and suicide.  That lofty Xanadu.)

Suddenly the spectre of Nixon and wiped recordings receded and I was instead recalling words like ‘Bridge-Gate‘ and ‘Rosen-gate‘ and ‘Monica-Gate‘ and ‘Shoelace-Gate‘ and ‘Rodeo-Clown-Gate‘ and ‘Nipple-Gate‘ and ‘Gates-Gate‘.  They were all ‘gates’, sure, but less the kind that needed to be torn down, and more the kind that you step over because you’re too lazy to unhook the latch.  (…And seriously can we get a new damned suffix for scandals already?)

Where was the meat of this thing? Where was the substance?!  I wanted to believe, but why were people congregating around this specific ‘outrage’ – which at best seemed to be a sorry character assassination from a disgruntled ex spewing the word ‘liar’ and ‘sex’ as though it were an involuntary tic?  And why was an actor from two of my all-time favourite shows, Firefly and Chuck, going all Chris Brown on women in the videogame industry?

Adam Baldwin Gamergate tweet

It was weird. Confusing, ugly, and weird.

There had to be more to it.

It turns out there really wasn’t. At least not with the original story.  The pertinent charges in Gjoni’s rambling, hysterical outburst – in which he accuses Quinn of sleeping with …well, everyone,  including reviewers that gave her positive mentions of her game – turned out to be untrue.  The criticism and scores her work received were not written by anyone she was said to be dating, so this invasion into her personal life was not only slanderous, but irrelevant.

So then why all the rage? Why the outcry? Why the sudden mock surprise that game makers and game reviewers should know each other personally?  It’s been common knowledge for decades now that game publishers and developers hire from within the ranks of their media (to take but one solitary example: look at a list of previous Game Informer employees and track the places they have gone on to be employed); likewise designers can be (in some cases the most aggressive) critics of their competitor’s work.

And yet for some reason it triggered something. People started rallying around the story.  Quinn was suddenly the face of corruption in the industry.  Not some CEO, like a Don Mattrick or a John Riccitiello. Not someone running a major publisher or an industry-leading, taste-making journalist.  Not whichever thug in a suit threw their weight around to get Jeff Gertsmann fired for writing an unflattering review for Kane and Lynch 2.  No.  A small, indie developer.  Who it appears wasn’t involved in the corruption she was accused of, and whose primary ‘crime’ seems to have been ‘being a crappy girlfriend’ – at least according to the testimony of an emotional ex-boyfriend with an axe to grind.

Please tell me this wasn’t all just a good ol’ fashioned witch burning…

***

To anyone who thinks Quinn ‘deserves’ to be burned as a witch:

Are you nuts?!

Sorry. I broke my own rule there.  I wasn’t going to get judgemental or petty or insulting.  …But seriously.

Put aside that the accusations of ‘sleeping with writers for positive reviews’ were proved false; put aside the cowardice and illogic of blaming one woman for an industry lousy with misdeeds; no matter what you think of her, there is no way that what has been inflicted upon Quinn can be considered a fitting response.

Quinn was publically and privately harassed – attacked and intimidated on Twitter, pestered over the phone, menaced through email,  vilified, and threatened with physical and sexual attack – all by a disturbing amount of crusaders who somehow conflated threatening one woman into silence with tackling institutional corruption.  She was accused of fraud and manipulation; and because those railing against her believed that the media wasn’t making a big enough deal about the scandal, she was even accused both of stopping an entire industry from reporting on it (somehow), and of having forum moderators on numerous sites including 4chan and Reddit delete discussion threads (despite these threads being described as too slanderous, hostile, and potentially illegal by the mods themselves).  And always, throughout it all, that slur about her being ‘sexually promiscuous’ kept surfacing, again and again, revealing far more about her accusers than it did about her.

Zoe Quinn

IMAGE: Zoe Quinn

And yet the outrage was never proportional with any other shady industry dealings…

Even in this past week it was revealed that the biggest game of the year, Destiny, the first salvo in Bungie’s new uber-franchise, has on-disc DLC.  Material, already made and paid for has been discovered in the base game, withheld  behind a second exorbitant pay-wall  for future release in a game that already feels stripped of content.  And yet relatively few (if any) people are making a fuss.  One of the biggest, most over-hyped games in the history of the medium, participating in a glaringly underhanded business practice (one inherited from publishers like CAPCOM who have strived to perfect the procedure***), and yet far more angry screeds and protests have been offered about how dangerous Quinn’s behaviour apparently was, even though it’s been proved that she never actually did what got people so worked up in the first place.

It’s bizarre.

Now, to be clear: Quinn may be a bad girlfriend – I wouldn’t know. She might be personally unpleasant; she might be an utter delight.  She may speak twenty-seven different languages, cry marmalade tears, be part centaur.  My point is: it doesn’t matter.  It’s utterly irrelevant.  The original accusations of corruption brought against her were false, the slander of her character was immaterial, and the threats she has endured are inexcusable – even if every single thing that her detractors were saying was true.  Even if she was the one who cancelled Firefly.

…Wait – is that why Adam Baldwin is so mad?

And yet her demonization continues unabated, with many still keen to fashion her into an effigy – a symbol of the videogame media’s shame. And aside from being terrifyingly misguided, the greater irony is that this ends up being a massive distraction from the real issues that need to be addressed in the industry.  At the very moment Quinn is being decried as pure evil, a developer like Bungie is being shrugged off as doing what comes natural (‘Hey, they’re a big company trying to make a profit, man.  What do you expect?’)

Ultimately all it has proved is that – whatever else you think of her; Centaur or no – Quinn must have real guts to persist in spite of it all.

***

To anyone who thinks that women in gaming is a problem:

No.

Just, no.

I can’t bring myself to believe that the people who hold this belief make up a large portion of the gaming community – especially considering half the gaming community is made up of women – but I have read commenter s express this opinion – often in quite repugnant ways.  By their reasoning, games are really by men, for men, so women, both as creators and players, don’t really belong.

So to those people, those specific people who actually believe that kind of exclusionist, sexist, backward nonsense, I want to make this as clearly and as strenuously as I can:

There is no problem with women in gaming.

There just isn’t. That would be like saying that there is a problem with women in Art, or women using libraries, or women in politics, or women using the internet.  It’s asinine.  It’s indefensible.

Now, if you want to argue that women face greater struggles than men when breaking into the gaming industry (an undeniable fact of life when most every workforce leaves women proportionally underpaid), or that they have to fight a lot harder to be heard on creative teams that are still dominated by men (I’ve heard several stories expressing exactly that), or that there are still too many instances in which female players have been the targets of inexcusable sexual harassment, then, sadly, you will find a wealth of examples to prove your point.

But you cannot – you cannot – say that they have no right to be there.

Escapist Cover for Femal Game Journalists

IMAGE: Title slide of an exceptional collection of essays compiled by The Escapist

There is a reason that humanity looks back in shame on things like ‘Whites Only’ drinking fountains and job advertisements that say ‘No Irish’ – and trying and argue that half of the human population has no right to participate or be heard in the production and consumption of one of its most prominent Art forms is just as backward and vile.  Thinking that they don’t, trying to reduce an entire industry and medium down to some juvenile boys club, is just sad.

Particularly so because it has already had such a poisonous effect. Once Quinn was accused, several other female developers and critics in the field were attacked too.  Journalist Jenn Frank and critic Mattie Brice (who was also a game designer), both passionate advocates of the medium, have been tragically harangued and threatened out of the industry after they dared voice their disappointment with the situation.

And such instances reflect very poorly on the ‘Gamergate’ movement, because whatever its goals may be, thanks to this fringe of abusers it will always remain stained with a tone of sexism and vindictiveness. That’s not to say that ‘Gamergate’ at large doesn’t make some pertinent points (I’ll get to those momentarily) but since this whole mess began with an overt tone of misogyny (let’s all judge this slutty woman who used her slutty powers to do slutty things for sluttiness), and has been used as a cudgel to terrorise more women out of the industry (because they don’t belong there anyway, apparently), it completely hijacks the whole argument.  Who cares if a portion of what they are saying has merit if the rest of it is utterly reprehensible?

(Even Quinn’s ex-boyfriend realises this. His republished original blog post now carries a disclaimer distancing himself from all of the harassment being inflicted upon Quinn and ‘her friends’.  …Although he was also screen-capped in a 4chan forum encouraging the horror being inflicted upon her and everyone she knows, even scheming with several others to try and ‘destroy’ the lives of her boyfriend and other people in the games industry.  …So he may not be the most reliable, ethical voice in all this.  To say the least.)

***

To anyone who has said anything hostile or angry about Anita Sarkeesian:

Please, for the love of Metroid, stop.

Obviously things were heated at the time. Once the knives were out for Quinn, once accusations were being flung from all sides, in all directions, maybe it seemed like provocation that Anita Sarkeesian, a critic in the midst of an extended series of video essays about the representation of woman in videogames, would release her latest instalment.  But it wasn’t.  And even if it were, there’s still no excuse.

But because the new video was (as much of the series had been) critical of the way in which women have traditionally been depicted, it was seized upon by a segment of the ‘Gamergate’ supporters as evidence of some ‘feminist’ campaign to ruin all their stuff. And once again threats of rape and violence were hurled upon a woman who had nothing to do with whatever social injustices they believed they were suffering.  It soon became so heated that the police were involved, and she has even had to cancel speaking arrangements, such as at Utah College where some appallingly death threats included mention of unleashing pipe bombs, pistols, semi-automatic rifles, and writing a ‘manifesto in her spilled blood’:

‘This will be the deadliest school shooting in American history and I’m giving you a chance to stop it.’

Anita Sarkeesian

IMAGE: Anita Sarkeesian

So I want to make this very clear: there is nothing wrong with a critic like Anita Sarkeesian writing whatever she likes about videogames.

Literally nothing.

That is what criticism is. You may disagree with her process, you may take issue with her conclusions, you may believe that there are flaws in her process, but she has every single right in the world – both as a human being with the luxury of free speech, and as a contributor to the breadth of critical analysis – to pursue whatever inquiry she likes.

That does not mean you have to accept her conclusions. That does not mean that she is impervious to interrogation or rebuttal.  (I personally took many issues with Roger Ebert’s perspective on the videogame medium.)  But declaring that such criticism has no right to exist, that the person who posed those questions should die or be terrorised until they shut up, is so antithetical to a healthy, evolving discourse, that it beggars belief.  And in the case of Sarkeesian, her Kickstarter was such a success that clearly there is an audience eager to hear her thoughts, so sticking one’s fingers in one’s ears and yelling ‘I’m not listening!  You don’t exist!’ is extremely unhelpful.

A conversation doesn’t just end because one person has put a single point in print or made a video.  There’s no killscreen for debate.  And trying to troll people out of the argument is not a victory for anyone, it just condemns us all to stagnation.

If you take issue with Sarkeesian, then confront her theories, not the person herself. She may be right; she may be wrong.  But the only way to know is to raise those questions and cross-examine them head on.

***

To those in the community that have participated in the condemnation of Zoe Quinn, or Anita Sarkeesian, or who have tacitly perpetuated it by shrugging it off as no big deal:

Please stop.

I literally cannot believe I have to type this, but it is not okay to threaten anyone with violence if you disagree with them. Ever.  Under no circumstances is it okay to type the words ‘I hope you get raped or killed’, or publish someone’s address and contact information with the express purpose unleashing a campaign of harassment and hatred upon them.

Believe me, I know that not everyone in the ‘Gamergate’ community has done this, but some have, and they have done it in the name of the ‘Gamergate’ crusade. And allowing such behaviour, excusing it after the fact, or (as I have seen a disturbingly large contingent of people do) trying to downplay it by claiming that everyone gets threats on the internet, that Sarkeesian didn’t actually call the police, or that Zoe Quinn ‘deserved it’ because she wanted publicity or something, is just as contemptible.  A human being should not be threatened – in any way – because they have dared to express an opinion or publish a work of Art.

The thought that this could be how low public discourse has fallen for some people breaks my heart; and such behaviour should never be excused or tacitly allowed.

Gamergate threats excuse

IMAGE: Comment from Gamergate article by Jim Edwards at Business Insider

***

To any videogame journalists who have dismissed ‘Gamergate’ members as just a mob of entitled misogynists:

I know it’s tempting. Hell, I just listed a handful of disturbingly sexist, reactionary behaviour perpetrated in the name of ‘Gamergate’.  And I know that when the yelling gets loud it gets hard to tell who’s what – at a certain point the disparate voices seem so enraged that the cacophony drowns out all nuance and it becomes easy to just write the whole thing off as a petulant boy’s club tantrum.

Angry Gamer picture

IMAGE: That same damned picture that always gets used in articles like these…

But it’s wrong, and it’s not helpful.

‘Gamergate’ raised a myriad of issues. It is impossible to lock down any one agenda, and it is both a disservice and a mistake to try.  Sure, when ‘Gamergate’ started it was born out of a petty personal attack, and yes, the majority of the fallout seems to have reprehensibly fallen upon women in the industry, but that hashtag was also taken up by many people who genuinely wanted to call for more transparency in the games media.  (I’m going to put aside the anti-‘Social Justice Warrior’ crowd – I’ll speak to that momentarily.)

Because what many ‘Gamergate’ proponents wanted – after a whole seedy history of backroom dealings – was for reviewers and journalists to make it clear when they had financial or personal relationship with the subjects of their commentary. To be made aware of when they were reading critique, and when it was just an advertisement in disguise.  It’s no doubt why the whole movement gained such heat beyond just the lunatics threatening women’s lives.

And yet when some journalists responded to the protests they painted all ‘Gamergate’ members (indeed, some even went so far as to label all ‘gamers’) entitled misogynistic infants.  And that too is in no way helpful.

So games journalists: when you lump everyone who has a legitimate complaint about the industry into a reductive cliché you not only insult the entirety of your audience, you reduce all debate to the very petty name-calling you accuse your opponents of engaging in.  It blithely, and rather disingenuously excuses you from answering the more pressing questions that, amongst all the noise, lend ‘Gamegate’ substance.  And that appearance of obfuscation is precisely what those who have questions about the industry’s ethics do not need to hear.  Indeed, it merely adds fuel to the fire.

Because pretending that there is no relationship between games developers and press when any question about journalistic ethics are raised, but then blithely gloating that a developer told you something HUGE is gonna happen next week but you can’t say what, send, at best, mixed messages.  And when there is a history of shady business practices, when publishers regularly recruit from the games media, when non-disclosure agreements, publisher-paid junkets, and ‘integrated marketing’ are standard operation, it becomes utterly dishonest to ape confusion and offense that anyone could ever doubt the integrity of the industry.

Geoff Keighley Doritogate

IMAGE: ‘Dorito-gate’, because we need more words with ‘gate’ on them.

There’s a reason that the now infamous image of Geoff Keighley sitting beside a display stand of Doritos and Mountain Dew looking like his dog just died has weight. It has meaning, because it is symbolic of a road toward parroted product integration that the games industry risks sliding every day.  It doesn’t mean that you personally engage in those kinds of practices – thankfully there are many publications that make it clear when there is a conflict of interests or promotional consideration being paid – but pretending that it doesn’t and hasn’t happened at all, is knowingly hypocritical.

Similarly, there is a division between ‘gamers’ and ‘journalists’ – a not altogether healthy one.  To pretend that there isn’t – that ‘Hey, we’ve always just been gamers too, guys, we’re exactly like you’ – only exacerbates the problem.

Perhaps the clearest example of this divide (from my perspective, anyway) was in the wake of the Mass Effect 3 launch, when the industry largely rallied unquestioningly around Bioware, calling anyone who had any complaint about that game (whether it was about its buggy, unfinished state of release; it’s ethically repellent ending; its day-one DLC) merely a member of a spoiled, disgruntled ‘vocal minority’.  But it is a division that sadly recurs whenever games like SimCity or Diablo 3 or Battlefield 4 are released functionally broken, despite being lavished with great scores because the pre-release review copy worked swimmingly.  Or when an asinine fanatic like Colin Moriarty publishes some hypocritical Chicken Little diatribe attacking the mean audiences who don’t like his favourite games – because somehow (even though he gets his games for free and is paid to express his opinion) anyone else expressing their opinion in any way besides ‘voting with their wallet’ is going to totally ruin the industry forever! For real this time, you guys!!!

So please: please stop.  No more generalisations of ‘all gamers’.  No more feigned shock that anyone might not have absolute faith in the ‘journalistic’ process.

Yes, absolutely there are outrages with which to take issue, and for that you should be celebrated. Calling out the persecution of individuals, combating the spreading of misinformation, holding anyone to account who would engage in sexism, racism, or threats of violence – that is a profoundly worthy mandate.  But painting everyone who doesn’t have absolute faith in the industry with the same detrimental brush does far more damage than good.

***

To anyone who thinks there is a ‘Social Justice Warrior’ conspiracy:

You know what – who knows?

Again, I’m not part of the industry, so if there is some secret cabal where everyone gets together to eat kale chips and talk about using nouveau roman game design as a Trojan horse for social engineering, I’m not invited. But to be completely honest, I just don’t see it.  Not at all.  And I’ve really tried to understand where this perception is coming from.

It seems that when the ‘Gamergate’ hashtag started up, some saw it as an opportunity to voice their frustration at what they perceived to be a ‘liberal bias’ in the games media. The term ‘Social Justice Warrior’ was suddenly being directed at anyone (critic, designer, commentator) who, in their opinion, was trying to peddle a ‘liberal agenda’: celebrating female empowerment, exploring the LGBT experience, exhibiting racial diversity.  Somehow, these ‘warriors’ were attempting to ruin the videogame medium by turning everything into a political statement; stripping out the ‘fun’ (or, rather, whatever the person complaining believes ‘fun‘ to be at any given moment) in exchange for a judgemental lecture.

But truthfully, I just don’t see any evidence for this kind of a conspiracy theory – neither in the writings of the accused critics, nor the supposed impact upon the production of games.

Social Justice Warrior

IMAGE: Social Justice Warrior t-shirt by Olly Moss

Firstly, rather than thinking that these ‘Social Justice Warriors’ (the more I type that, the cooler it sounds, which is probably not what its critic intended) are proselytising some agenda, I think the answer is actually a lot simpler, and far more innocuous: I think they’re just excited.

To me, it’s not that shocking that reviewers – who probably spend ninety-five percent of their time stuck playing generic white male power fantasies in endless FPS and hack ‘n’ slash clones – might occasionally celebrate when a game comes along that explores an underrepresented human experience. Personally, I feel exactly the same – and I’m not the one stuck having to assign a score to Rambo: The Videogame.

When they see a game like The Stanley Parable or Dear Esther come along – something unpredictable, that shakes up their expectation or shows them something new – they get excited.  Not because the other stuff is all rubbish that should be destroyed, but because it reminds them that games can do many, many things – not just iterate upon the familiar, or perfect the ideal progression tree (neither of which am I suggesting are bad things).

Secondly, I really do not see how – even if there was some master plan behind it all – it has had any effect at all on the industry.  The most profitable and ubiquitous games being released every year continue to be things like Call of Duty, Grand Theft Auto, Street Fighter and Uncharted – games with countless sequels that can hardly be said to be plagued by moralistic handwringing, or a lack of unapologetic, bombastic fun.  With thousands of employees, multiple studios and a Smaug’s den of financing behind it, Assassin’s Creed: Unity couldn’t even be bothered to put a female character option in their co-op game because ‘reasons’.  So whatever clout these SJW’s are supposed to have, it seems pretty limited.

***

To anyone who thinks that indie games are part of a SJW agenda, and aren’t ‘real’ games anyway:

One of the weirdest results of the ‘Social Justice Warrior’ backlash in the ‘Gamergate’ movement has been people taking it upon themselves to slag off small, niche titles like Gone Home and To The Moon – passion projects keen to use the malleability of their form in unique and experimental ways – for not being real games.  Despite the fact that they in no conceivable way damage the profit of the more mainstream, popular, and ‘real’ games, they are condemned as somehow threatening what ‘real gamers’ want.

Again, I’m sorry, but try as I might to comprehend that it I just genuinely don’t even understand the reasoning.

Gone-Home-2

IMAGE: Gone Home (The Fullbright Company)

There are always going to be big, explosive, fun games; someone downloading Braid is not going to stop that.  Just like there will always be thumping action films and raucous comedy films and slashy horror films filling the cinemas, no matter how many Richard Linklater experiments, Charlie Kaufmann mindbenders and Sophia Coppola character studies are released.  Michael Bay’s deplorable oeuvre is devoid of anything resembling humanity yet his films will go on earning the revenue of whole nations (gods help humanity), no matter how much praise a film like Her receives.

And I say this as someone who has grown up in a country that struggled (and still struggles) for many years to even catch up with the rest of the world in seeing games as adult entertainments: no one is going to take anyone’s videogames away.**** Big-budget shooters and fantasy games and fighters and sports franchises and action adventures are always going to be around.  Appreciating a work like Journey does not invalidate God of War.  The experiential mechanics of Brothers: A Tale of Two Sons does not undo all the engagement and split-second precision to be mined from Devil May Cry.

Brothers a Tale of Two Sons

IMAGE: Brothers: A Tale of Two Sons (Starbreeze Studios)

That would be like saying that once you’ve read The Waste Land you have to chuck every Charles Dickens book on the fire.  If you like 2001: A Space Odyssey then you must hate Star Wars and want it erased from history.  Whistling a Taylor Swift song means the Rolling Stones have to be rounded up and shot.  It’s totally illogical.  One isn’t necessarily better than the other.  One doesn’t have to belittle the other.  And even if someone does come along wanting to disparage one in favour of another, so what?  It’s opinion.  We don’t have to be so petrified of other people not liking the things that we like that everyone starts marking their territory, snarling, and savaging each another like rabid dogs.

Frankly, the idea of anyone complaining that they are being ‘persecuted’ because, somewhere, a game that they don’t have to play is being produced for people who aren’t them, is kind of ludicrous. If someone doesn’t like a game – either its mechanics or what it is saying – then they should just not play it.  Being so self involved as to actively try to prevent others from experiencing something that has nothing to do with them is a whole other level of narcissism that I cannot comprehend.

Indeed, when I think about it – if the people who believe such things had their way, games like A Dark Room, The Walking Dead (the good one), and Gone Home would not only have never been discussed, they would never have even been made. So to get selfish for a moment: How dare they try to take away experiences that I personally have found unique, enlightening and rewarding.  I am never in my life going to master a fighting game or dominate a multiplayer shooter, but I would never wish one of those games unmade.  Why would I want to deprive someone else of something they enjoy?

It’s a pretty sad hypocrisy that the only people actually actively endorsing censorship are the one’s complaining about ‘Social Justice Warriors’ trying to take away their freedoms.

***

To anyone using the ‘Gamergate’ hashtag:

Okay, so this one is going to be tricky to explain, but here goes.

‘Gamergate’ is filled with good people; great people. It simply has to be.  It’s too broad, and too far-reaching to just be some enclave of sexist, abusive crackpots, no matter how many articles get written describing them that way.

But I think you might need to stop using the name.

I’m not saying stop demanding more journalistic integrity and transparency from the games media and publishers. If that is what you signed up to ‘Gamergate’ for, then I am right with you and couldn’t agree more.  But the truth is, that’s no longer what the name ‘Gamergate’ represents – if it ever did.

‘Gamergate’ is Hydra. Multi-headed.  Multiform.  It isn’t just about dude-bros saying sexist crap; just as it isn’t only about calling for full disclosure in reviews; or rooting out ‘Social Justice Warriors’; or preventing people from calling ‘narrative experiences’ like Gone Home ‘games’ – all of which, at various points, have been attributed to the movement by its diverse supporters.

And that’s a problem.

Earlier, I called ‘Gamergate’ a Rorschach test, but given its history, really, there’s a better analogy. Because when you peel back the layers, there are too many different agendas, too many different visions for it to all cohere into a oneness.  It’s more like the turducken of enraged twitter trends: a petty personal character assassination, wrapped in a call for journalistic ethics, jammed inside a territorial gender war, and seasoned with a reactionary screed against ‘Social Justice Warriors’.  There is some good stuff in there – some great stuff – but it’s too overloaded by all the other confusion to cohere.

It’s why good, well intentioned people have gotten caught up in the mudslinging, because there is a layer of truth in what is being said.  It’s also why some games journalists have made the mistake of lumping all ‘gamers’ into one catch-all category, seemingly writing off the whole audience of videogames because a movement such as this was allowed to get any traction at all.  On the macro scale, both sides are right – partially.  But it’s also why both sides are wrong.

And I do believe that there is value in what many of the people applauding this movement are asking for. There is a genuine discussion to be had here.  Real questions to be answered.  Real expectations of full-disclosure to demand.  When a reviewer has a personal relationship with the developers, that should be divulged.  When a critic has not done due diligence in their analysis, that should be questioned.  When a developer or publisher is funnelling wads of cash into intentionally misleading promotional consideration, that should absolutely be called to account.

But I don’t think ‘Gamergate’ can forward that message. ‘Gamergate already comes pre-packaged with too much vindictiveness and fear.  In the end it has become something else entirely.

chainsawsuit 20141015-theperfectcrime

IMAGE: chainsawsuit comic

Because when you’re calling for integrity, but have to first explain away the fact that your movement started with a guy trying to slander his ex girlfriend as an unfaithful slut – that’s a problem. When multiple people are running crusades of terror, using character assassination, literal threats of assassination and jokes about rape in your name, then it is hard to argue that some critic excited about an interactive novel has ‘gone too far’.  And when you are talking about not having your personal ‘freedoms’ impinged, it loses some impact when several writers and artists have been terrorised out of their jobs (and in some cases homes) because they tried to express themselves.

Again, it’s not about saying that everyone in ‘Gamergate’ is guilty of everyone else’s crimes, it’s just a reality. ‘Gamergate’ began, and continues to be co-opted by people more interested in silencing and frightening women out of the industry, so using the name, even to forward a more virtuous argument, means having to accept or excuse some reprehensible behaviour, ultimately undermining the entire message.

Personally, I’d suggest it’s much better to regroup and retitle. To gather around a new name that need never be muddied by anyone using terror to shut down debate, or becoming distracted with weird anti-women agendas.  Apparently at one point some people did try to set up another hashtag – ‘gamersethics’ – but it was prevented  from catching on because others thought it was better to keep the original title running, even in spite of its problematic history.  That’s  a shame, because I think it might have done far more good than the mixed, and at times outright terrifying messages coming from those signing their movement ‘Gamergate’.

***

To anyone and everyone:

Games are better than this.

They are bigger and more wonderful than all of this pitiful crap. They can be Fez and Battlefield and Mario Cart and Papers Please and Civilisation and Pac-Man and Chrono Trigger and Assassin’s Criminywe’vemadealotofthesenow and Cookie Clicker and Skyrim.  They can be Barbie’s Damned Horse Adventures (note: this was my harried mistyping; the horses, as I understand it, are not actually demonic).

They can be – and I mean this in the most hyperbolically romantic way possible – everything.

They have allowed us to imagine walking on distant planets; to craft gargantuan, elaborate structures fashioned entirely from scavenged resources; to build communities in fantastical worlds; to solve mysteries; to see through the eyes of an abused, frightened child trying to literally escape a magical realist vision of their village; to bend our brains inside three dimensional, spatial physics puzzles; to give up our plumber jobs, eat mushrooms, and wear a kinky raccoon suit in public. They offer the chance to test ourselves, to grow beyond our limitations by learning new skills, by inhabiting other lands, by empathising with other characters, and adopting new ways of thinking.

Skyrim Landscape

IMAGE: Skyrim (Bethesda)

But any time someone types the words ‘Well, Depression Quest is not a real game anyway’ or ‘You don’t have the right to talk because you’re just a casual gamer’ or ‘All gamers are just violent spoiled children’ or threatens someone – anyone – for simply expressing themselves or having an opinion, it reduces the whole medium.  All of it.  It makes games smaller.  Shallower.  Less able to reflect the grand miasma of human experience that, so far, they have been inexorably reaching toward.  You may as well anchor a boat off the Galapagos Islands and shout at the finches to quit evolving.

Because, like I said, videogames are bigger than this. They have to be bigger than this.  We’re long past the days in which figures like Jack Thompson were trying to strangle the medium through legislation and censorship down into the kiddie-pool of art.  They have eclipsed most every other entertainment industry in profit and cultural saturation.  When a Grand Theft Auto game premieres it is a phenomenon.  When a new Legend of Zelda appears we get a twang of nostalgia that can only arise from an Art form that transcends generations.

We all – all of us – have to grow up. Game publishers and journalists have to stop patronising their audiences like ignorant children and treat them with respect.  Players have to accept that part of legitimacy of their medium is allowing people with differing views to express themselves artistically, and to speak their minds critically.  Whoever put that scarf on Sonic the Hedgehog needs to check themself.

Videogames are not the first to go through these kinds of growing pains. Those people in Stravinsky’s audience were afraid of change.  They reacted furiously because they feared what they personally didn’t understand.  The people who coopted the Macbeth riots didn’t care.  They welcomed the carnage, believing it could serve their biased world view and rationalised away whoever got chewed up in the fallout.  But Stravinsky’s audience are now the butt of a joke; the Macbeth rioters are viewed as dangerous bigots.  The medium of videogames has legitimacy; but that doesn’t mean that those who would leap violently to its ‘defence’ do also.

‘Gamergate’, in a completely different circumstance, could have been – should have been – a force for positive change.  Perhaps once the fire dies down, once the sexism and murder threats recede and legitimate concerns can be heard above the din, perhaps then a healthy conversation can take place – the conversation that should have occurred the first time around.

After all, the beauty of games is that if you screw up, if it all goes wrong, you can start over again. Reload and do better next time.

journey

IMAGE: Journey (thatgamecompany)

That probably means little to people like Zoe Quinn and Anita Sarkeesian and Jenn Frank and Mattie Brice (and oh look, even as I have been typing these words another developer, Brianna Wu has just been threatened with rape and death and had her home address published online by her attacker. How nice).  But those women, and all the other so-called ‘Social Justice Warriors’ got into the games industry in the first place because they believed that it was capable of more, that it was expanding and saying more each and every day.

And if games, as I believe, are natural extensions of the way that we human beings interact with our world – if play and exploration and challenging ourselves is the way that we grow as a species – then thankfully, women, cultural diversity, criticism, experimentation and adaptation aren’t going anywhere. They and their influence will just grow exponentially as we see more and more of ourselves – the better parts of ourselves – in the Art that we create.

Stravinsky’s Rite of Spring outlived everyone who stomped their feet and wanted to drawn it out with their howling.  It persevered and it inspired, going on to indelibly impact the course of all music – of all Art – to this day.  That doesn’t mean that everyone has to like it, it in no way means that it is beyond criticism, but it has a right to exist, and with the acknowledgement of that simple truth, the discussion of its merits or otherwise can go on with respect.

***

To anyone who read this far:

No matter what you think of what I said: genuinely, I thank you. That was a long post (frankly too long), and it was a fairly disheartening one to write.  So you, like I, probably need a good lie down.

Thanks for seeing it to the end.

***

P.S. – To Adam Baldwin:

Come on, man. I love you.  I love your work.

Getting all panicked about women in the videogame industry? Belittling threats and acts of sexual harassment?  Pondering whether Obama secretly wants Ebola to sweep through the nation?

Adam Baldwin Ebola tweet

That’s bananas. You must know that’s bananas.

Please tell me Simon just drugged you with something. That things were just getting a little …bendy.  That for a moment you just went a little crazy and then fell asleep.

***

Sonic_Boom_Trailer_Sonic

IMAGE: A spinal injury waiting to happen

* As you can probably tell, I’m just building up to a gag, but I wanted to make it clear: I’m aware that this is completely untrue – no one cares what I think.

** No really: it does.  Because nothing says ‘breakneck speed’ like literally strangling yourself when your neckwear gets snagged on a tree branch at 90 miles an hour.  Also: he’s naked, but the neck is somehow his primary concern?  He’s leaving the house in the morning and his mental checklist is: ‘Keys?  Check.  Gloves?  Check.  Scarfy scarf scarf?  Checky check check.  Pants – so that I don’t get arrested again…?  Oh no!  Am I running late?  Better hold that thought and get going…’

*** Meanwhile, EA used the release of The Sims 4 to declare a bold new business model: slicing the base game apart to distribute later as paid content, like some deranged kidnapper sending a pinkie toe in the mail.

**** For decades Australia belligerently used a flawed ratings system to treat videogames like a toxic spore. Critics of the medium would spout the ‘conventional wisdom’ that videogames were for children, thus anything with adult themes and content was inappropriate.  Not ‘needed to be properly rated for adult audiences’, just banned and censored outright.  They ignored consumer demographics, countless petitions, and the entire rest of the world, and even after they were dragged kicking and screaming through one of the most farcical and protracted bureaucratic processes ever devised to introducing an R18 rating, we still have games like South Park: The Stick of Truth forcibly edited before release, protecting us, apparently from ourselves, and our ability to make our own decisions about the entertainment we consume.  Joy.

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