1144: A Life Without Nerd-Rage

I haven’t even contemplated going back to Twitter yet, but not because I have no desire to run into the scumbuckets who drove me off it in the first place. No, my lack of desire to go back to Twitter stems from my dislike of irrational table-thumping arguments on the most ridiculous of subjects, usually video game-related.

Mr Craig Bamford said it best back in February:

CAN WE PLEASE STOP TRYING TO HAVE SERIOUS DEBATES ON TWITTER OF ALL THINGS?

See title.

No, really. See title. I’m enormously, impossibly tired of how everybody who writes about games seems to think that the best-or-only way to have debates on serious, often wrenchingly-personal issues is on Twitter.

Yes, I’m guilty of this myself. I know. But every single time it happens, I feel like I’ve made a mistake. I’m just reminded of how Twitter is an incredibly dumb way to handle these things. The posts are too short, there’s no proper threading, you can’t follow the discussion properly unless you follow everybody involved, expanding the size of the group makes it even worse, you can barely mention people without drawing them in…

…it’s just a gigantic dog’s breakfast that makes absolutely everybody involved look bad.

Worse, it elevates bad arguments. It seems custom-tailored for dumb appeals to authority/popularity and thrashing of strawmen and misquotation and pretty much everything OTHER than an actual grownup  discussion of issues. It’s absolutely one-hundred-percent boosting the arguments that are “simple, straightforward, and wrong”, as the saying goes. That likely has a lot to do with why everybody seems to rush to the most extreme interpretation of arguments and positions. Extreme arguments tend to be straightforward ones.

Sure, there’s worse. Facebook, for example. But every day I’m more and more convinced that Twitter should really be used to link to  arguments, instead of make arguments. It’s not working. So, please, stop.

I agree with him entirely. Too many times over the last year in particular have we seen game journalists and critics with disproportionately loud online “voices” telling us what to think. Usually these loudmouths are attempting to address the issues of sexism and misogyny in the industry — a noble goal, for sure, as few can deny that women still get treated like shit at times through no fault of their own — but more often than not they get so embroiled in beating their fists on their desk that they lose all track of their arguments and end up coming across as… well, a bit childish really. Often these rants come about when the full information on a given situation isn’t available, either — they’re a kneejerk response to things which often aren’t the “problem” they appear to be at first glance.

Let’s take the recently-released Tomb Raider reboot as an example. I haven’t played it yet, but I’ve been discussing it with a friend who has this evening. He’s an intelligent sort of chap with a keen critical eye, and he has found himself very impressed with the depiction of the young Lara Croft as a vulnerable young woman caught up in a situation that she isn’t entirely comfortable with, and having to do things that she finds difficult or scary. The tale of Tomb Raider is as much one of Lara overcoming her own difficulties at dealing with particular things as it is about… whatever the overarching plot of the new game is. (I’m intending to “go in blind” when I eventually play it, so I have no idea what the actual story is about.) My friend compared it to the movie The Descent, with which it sounds like it shares many of its themes and much of its tone. This means that Lara is frequently put in various types of danger — from the environment, from wild animals, and from other people. This also means that there are times when the wet-behind-the-ears young Lara is absolutely fucking terrified of what is happening to her, and justifiably so.

Is this sexist? No, not really; it’s a perfectly human response to shit your pants (not literally… I don’t think) at the prospect of having various forms of unpleasantness inflicted upon you, regardless of whether you’re male or female. Likewise, as much as we would like to forget it happens, violence and sexual assaults do happen to women — and men too, for that matter — because there are certain portions of human society who are complete scumbags who have no regard for human life, male or female.

Lara happens to be female, which means that the situations she is put in over the course of Tomb Raider have been under a disproportionately greater amount of scrutiny than if she was a male hero — regardless of whether or not said male hero is a realistically-rendered character (as Lara is intended to be in this reboot) or a muscle-bound caricature. Lara is put into some difficult situations over the course of the game, including at least one scene where she appears to be at risk of sexual assault. Much was made of this scene when it was first revealed — particularly comments from the development team that it would make players “want to protect Lara”. This was immediately interpreted by the aforementioned loudmouths as being misogynistic and in a sense they’re correct to say that — the characters in the game are misogynists who don’t care about Lara’s wellbeing. But — and here’s the thing — this doesn’t mean that the developers share these attitudes just because they put these characters in the game. You have to have conflict and tension for something to be exciting. Did it have to be the implied threat of sexual assault? No, of course it didn’t, but equally that doesn’t mean we should shy away from such subjects in our entertainment — to do so can actually be pretty harmful, as it makes genuine victims of this sort of thing feel like their suffering is something to be ashamed of. It’s also just plain insulting to grown-ups who want their entertainment to acknowledge that Sometimes Bad Shit Happens to Good People.

I don’t want to get too bogged down in Tomb Raider because it’s just one example of this sort of thing going on. I happened to sneak a glance at Twitter earlier out of curiosity and it seemed that the latest controversy to hit the Intertubes related to Sony’s new God of War game, which features an automatically-attained story-related Trophy awarded to the player the moment after the lead character Kratos stomps on the face of a Fury following what, I assume, is one of the series lengthy combat sequences. The trophy is called “Bros Before Hos”, which is arguably somewhat in bad taste, but we’re talking about a series full of a muscle-bound man ripping the eyeballs out of mythological creatures the size of your average Ikea while shouting incoherently, so I think we can agree that subtlety went out of the window a long time ago.

Because a Fury is a woman, this scene (and by extension the Trophy) is now misogynistic. Again, it might well be in the context of the game — I haven’t played any of them so I don’t know what sort of person Kratos is (besides “the angriest man in Greece”) and what his attitudes towards women are — but in the case of the game’s development, God of War is based on established mythology (or an interpretation thereof, anyway) in which the Furies were (are?) female, and not very nice things to encounter to boot. If you had the opportunity and the means, you would probably want to stamp on their face too, and that’s nothing to do with the fact they are women — it is, however, everything to do with the fact that they are infernal goddesses of much unpleasantness. Do we now have to disregard established mythology because of concerns over violence against women? No, that’s ridiculous; that’s wrapping the world in cotton wool, which helps no-one.

Note that in all of these cases I am not advocating for people to be free to promote things that are harmful to society. I would feel deeply uncomfortable playing a game in which you were somehow rewarded for inflicting domestic violence on someone, for example — although if tackled with sensitivity and care (which many triple-A developers lack, but which many smaller-scale or indie developers have proven themselves to possess in abundance) it could be possible to create an interesting, if distressing sort of interactive story about domestic violence. (In fact, it has sort of been done at least once, to an extent anyway: for a fascinating and challenging exploration of an abusive relationship through the use of allegory, play the game Magical Diary — which was written by a woman — and pursue the romance with Damien.)

What I am instead saying is that getting outraged any time a female character (or, for that matter, a non-white, young, elderly, homosexual, trans or other “non-white twentysomething cis male” character) is placed in peril, regardless of the circumstances, is counter-productive. It diminishes the value of the arguments as a whole, and distracts attention from content that genuinely is a problem. After the controversy over the Hitman trailer with all its leather-clad nuns and other assorted ridiculousness dreamed up by the 14-year olds in Square Enix’s marketing department, I confess I found myself blocking most of the people involved in the “discussions” around the issue on Twitter not because I wanted to deny there was a problem, but because I couldn’t deal with the way people were arguing about it. There was no debate, no discussion — nothing but “I’m Right, You’re Wrong” for day after day. And as soon as one controversy subsided, another appeared. And so it continued for month after month after month. It made me stop caring completely, which is the complete opposite of what these people presumably intended.

Rage like this doesn’t even have to be directed at a sociological issue, though; just recently everyone has been getting extremely angry at EA because of SimCity’s online requirement, just like they did with Diablo III. Again, very few people are considering all the facts at play here, which I won’t get into now, and instead resorting to kneejerk rage which, if you disagree with, you’re somehow an asshole. There always has to be something to be angry about. And it’s exhausting.

So, in summary, I am very happy to have now, for the most part, taken a step back from the seething masses — and while said masses are still seething I have very little intention of heading back in a Twitterly direction unless absolutely necessary.

I’ll let Irina sum up how I feel about all this with the Understatement of the Century.

Quite.