Social Justice vs Games: Sarkeesian on E3 …

Well, when I introduced my “Social Justice vs Games” category, it was pretty much certain that eventually one of those posts would talk about Anita Sarkeesian, and her post discussing the games showcased at a recent E3 is a pretty good example how Social Justice concerns and gaming concerns can clash.

Let me start with probably the mildest example:

These numbers also reflect the fact that a purely binary understanding of gender was on display in the games featured at E3, with no options featured that might allow players to pick from a wider spectrum of gender identities or presentations.

Presumably, this is asking for consideration of trans* issues. The problem is that the estimates of trans* people is something like 1 – 2%, from what I’ve seen around. So, at best, you’re looking at an audience of 1 – 2% at base for these sorts of options. Now, there may be other players who might want to take those options — after all, my DA:O and Mass Effect characters are, in fact, homosexual females, despite my not being one — but it’s still likely to be a pretty low percentage of the audience that would want that, and so it’s not likely to be a big selling point (at least female protagonists can claim to appeal to a large base audience). And in the fact that, again, people who are trans* are going to be exceptionally rare in the video game design world — and not because of discrimination — and it’s going to be hard to pull this off in a convincing and reasonable way that doesn’t feel like mockery. So what the game designers are being asked to add is an option that only appeals to a small percentage of their potential audience, is hard to implement properly, and one that if they get it wrong they will receive far worse criticism than leaving it out. What reason could they have for even doing it? So it seems to me that, given this, it’s perfectly reasonable for game developers to continue to ignore these options and instead focus their time and effort on things that will improve the game for more potential players … and given the way games are these days, there are plenty.

Sarkeesian also, in a post that’s entitled “Gender Breakdown of Games Showcased at E3 2015”, talks about violence:

Rather, these numbers are presented here only to demonstrate how prevalent violence as a mechanic is in all sorts of games, because it is worth considering how, in relying so heavily on violence as a core component of game design, developers and publishers are not exploring opportunities to tell other kinds of stories and create other kinds of games. When game narratives consistently take place in inescapably hostile antagonistic environments, it severely limits the kinds of stories that can be told.

The medium has near-limitless potential, and in indie games like Tacoma, Firewatch and Beyond Eyes, we get a glimpse of what’s possible when games approach human experience through a lens of empathy rather than one of violence. Games have only begun to scratch the surface of what can be done, the stories that can be told and the experiences that can be illuminated when combat isn’t employed as a lynchpin of game design. Fully realizing this potential requires that game creators continue exploring the possibilities, investing in innovative mechanics and storytelling techniques to push the medium forward.

Really? What specifically are the “stories” that can’t be told with a combat mechanism inside of their gameplay? Why can’t you have empathy and combat? Now, I’m all for variations in gameplay — one of the things I liked about Catherine was it’s unique twist on the traditional RPG dungeon gameplay (I wonder if Sarkeesian would consider it “violent”) — and I accept that there might be stories that work better with a non-violent overall mechanic, I don’t see this as being as critical as Sarkeesian says. Taking even the examples she gives, “Beyond Eyes” is probably the only game whose story is hard to tell with a combat mechanic, but mostly, in my opinion, because it would be far too hard to do, or else in lowering the difficulty you’d lose the ability to understand how hard being blind in the world can be. But “Tacoma” seems to be built around a similar exploration mechanism to “System Shock 2”, which had combat out the wazoo. And “Firewatch” could easily have combat as well, like, say, Silent Hill 2 does, to fill in the spaces around the exploration. What she thinks is key in those two games, it seems — the interaction between the lead and Odin, and the interaction between Henry and Delilah — could be done in a game with combat mechanisms. Now, I’m not saying that it would be better; suspense based games, for example, can be done better with less combat. Fatal Frame is an example where the meat is the exploration and the combat is mostly there to establish that Miku’s life is in danger. But there is no reason for her to count the number of games that use combat mechanisms, say that it’s only 15 or 24% (depending on whether you count sports games or not), and say that that’s a bad thing because having a combat mechanism means that it simply can’t tell a specific story that she, well, gives no examples of.

Again, from a gaming perspective unique and creative forms of gameplay are, in fact, good things. But Sarkeesian here comes across as being more anti-violence than pro-creative gameplay.

And, finally, we turn to the heart of the issue here: representation of women:

There were 7 games with exclusively playable female protagonists or 9% of a total 76 titles

There were 24 games with exclusively playable male protagonists or 32% of a total 76 titles

There were also 35 games in which players appear to be able to choose either a man or a woman. It’s always great to see more games with gender choice and this year we saw a few blockbuster franchises like FIFA and Call of Duty finally add playable women. Still, of those 35, titles only Dishonored 2 used its marketing and promotional space at E3 to predominantly focus on the female character option.

To start, let me highlight how very, very important that last sentence is. Note that it doesn’t distinguish between which games featured the male character option predominantly and games where they were given roughly equal presentation. No, for Sarkeesian it is important that the female character dominate. So, no, not equality, but dominance. She couldn’t do a better job arguing that feminism is really about female dominance if she tried.

Am I reading too much into this? Well, let’s look at the numbers above not in terms of “male dominant vs female dominant”, but instead in terms of “Can play as a male vs can play as a female”. For “Can play as a male”, we have 78%. For “Can play as a female”, we have 55%. I’d personally like that number to be higher, because from a gameplay perspective having more control over your character is generally a good thing. But over half of the games showcased allowing you to play as a female protagonist is pretty good, I’d think. And yet Sarkeesian, while saying that it’s great, mostly gripes about the marketing and then goes on to say this about it:

Some may ask why it is important that there be games led exclusively by women, and why we make a distinction between those games in which the sole protagonist is a woman (such as Mirror’s Edge) and those games in which you have the option to play as either a male or female character (such as Fallout 4).

One reason why we need more games that are fronted exclusively by female characters is that it works to counter the long-established, long-reinforced cultural notion that heroes are male by default. By and large girls and women are expected to project themselves onto male characters, but boys and men are not encouraged to project themselves onto or identify with female characters.

When players are given the opportunity to see a game universe exclusively through the eyes of a female character with her own unique story, it helps challenge the idea that men can’t or shouldn’t identify with women, their lives, and their struggles.

As long as games continue to give us significantly more stories centered on men than on women, they will continue to reinforce the idea that female experiences are secondary to male ones. Stories have the power to influence our understanding of the world around us and when we can virtually embody the lives and experiences of people different from ourselves it opens up greater possibilities for empathy and understanding.

Translation: Society is screwed, so we want games to fix that for us by forcing the choice of gender onto gamers playing the games instead of doing what is generally better for games and giving the choice and allowing the player to customize their character to their liking. It’s “Rust” all over again.

This is also a move that is likely to backfire on game designers because in order to achieve what Sarkeesian wants, they have to do more than simply stick a female avatar onto a game whose story was designed with a male protagonist in mind. So, they’d have to write stories from the female perspective. “And what’s wrong with that?” Sarkeesian will cry. You mean, aside from the fact that there isn’t really a female perspective? Well, the fact that any such attempt with either make a big deal about the character being female, rely on stereotypes, or end up reducing her to a generic character where they could just as easily have given the choice because there’s no character to project onto. The problems with the last one have already been given and the problems with the second option should be obvious, at least from the Social Justice perspective. The problem with the first one is that unless it’s done right it can be seen as insulting and patronizing, where the game goes out of its way to say “Look at me! I’m doing a female-centric story!”. To those who weren’t really interested in that sort of story, that will get annoying very quickly, and to those who were it can in fact ruin the story by how hard it’s trying to be that sort of story.

Thus, the right approach from a gaming perspective is this: if the story works best with a defined male protagonist, make one. If it works best with a defined female protagonist — I personally think survival horror games work best with a female protagonist — then make one. If you need a defined protagonist but neither gender is better for the role, flip a coin. Otherwise, give the choice. This achieves everything that Sarkeesian could want … except for changing society by forcing identification. But it’s not the job of video games to change society, even if they can have an impact on it.

Sarkeesian is less interested, it seems, in making good games than in making games that will help her achieve her Social Justice goals. But when the needs of the games and the needs of Social Justice clash, it’s perfectly reasonable to suggest that gamers ought to consider the needs of games first. Games are not the only way to promote Social Justice and don’t need to turn themselves completely over to that movement to be legitimate, or art, or fun, or valuable, or even not harmful. Let games be games, not necessarily treatises.


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