I love you video games, so why do you keep doing this?

Sexy, sexy sexism in the <i>Hitman: Absolution</i> trailer.

 

Gamers get really, really angry when you characterise them as mouth-breathing adolescent boys who’ve never kissed a real-life girl. And rightly so: according to Jane McGonigal, one in four gamers is over 50, and 40 per cent are women. Three of the big games of last winter – Gears of War 3, Uncharted 3 and Deus Ex: Human Revolution – were written by women

And then along comes something like this. I don't mind the Hitman games, although they've come in for a lot of flak in the past for their high levels of violence (remember, only 5 per cent of games get an 18 rating). But it now seems that 12 years after the start of the franchise, it's not just Agent 47 who's looking tired.

The new trailer for Hitman: Absolution, released this week, could be used as a teaching aid if anyone were to give a class on "Boring, Lazy, Stereotypes about Women in Video Games" (it would be a very long class).  

The plot of the trailer, such as it is, runs like this. Hitman is hiding out in a motel. The world's least successfully disguised troupe of assassins come for him and he vanquishes them with his chiselled, yet emotionally repressed, combat moves.

First, there's the whole nun thing. Is this Grand Theft Auto: Ann Summers? Surely the whole point of being a troupe of deadly assassins is that you blend in with your surroundings? You wouldn't catch Ezio Auditore prancing round medieval Italy in a gimp suit. Do these women specialise in contract killings on hen nights?

Then there's the shot selection. Chapter 2 in my mythical games class on this trailer would be headed "The Male Gaze". I could have storyboarded this trailer just from the words "sexy nuns". So, first shot: Nuns. Second shot: Suggestion that these AREN'T REAL NUNS, GUYS. (Done by showing a close-up of a very, very high heeled boot. Because, you know, assassins never worry about practicality over style.) Third shot: taking off the nun robes. Fourth shot: what I am going to christen Walking Bottom. There it is, at 42 seconds, the absolutely cast-iron signifier of a game developer working one-handed. 

If I had a pound for every game I've seen where the female characters walks in, and the camera follows her gently wobbling buttocks into shot, rather than her face, I'd have at least 23 quid. Maybe 24.

From then on, it's all squeaky pleather and violent shooting, as the Hitman despatches the flock of faux-nuns. Did you know it was possible to die in a sexy way? These ladies try their hardest. 

By the end of the trailer, I was feeling utterly depressed that once again the games industry was perpetuating the idea that men are doers, and women are for looking pretty. The only thing that cheered me up was imagining how this trailer would look with the genders reversed. Seriously, try to imagine it. Then you'll realise how ridiculous this sort of thing is.

Walking Bottom: Please stop doing this shot, videogame developers.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

Photo: Getty
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Scotland's vast deficit remains an obstacle to independence

Though the country's financial position has improved, independence would still risk severe austerity. 

For the SNP, the annual Scottish public spending figures bring good and bad news. The good news, such as it is, is that Scotland's deficit fell by £1.3bn in 2016/17. The bad news is that it remains £13.3bn or 8.3 per cent of GDP – three times the UK figure of 2.4 per cent (£46.2bn) and vastly higher than the white paper's worst case scenario of £5.5bn. 

These figures, it's important to note, include Scotland's geographic share of North Sea oil and gas revenue. The "oil bonus" that the SNP once boasted of has withered since the collapse in commodity prices. Though revenue rose from £56m the previous year to £208m, this remains a fraction of the £8bn recorded in 2011/12. Total public sector revenue was £312 per person below the UK average, while expenditure was £1,437 higher. Though the SNP is playing down the figures as "a snapshot", the white paper unambiguously stated: "GERS [Government Expenditure and Revenue Scotland] is the authoritative publication on Scotland’s public finances". 

As before, Nicola Sturgeon has warned of the threat posed by Brexit to the Scottish economy. But the country's black hole means the risks of independence remain immense. As a new state, Scotland would be forced to pay a premium on its debt, resulting in an even greater fiscal gap. Were it to use the pound without permission, with no independent central bank and no lender of last resort, borrowing costs would rise still further. To offset a Greek-style crisis, Scotland would be forced to impose dramatic austerity. 

Sturgeon is undoubtedly right to warn of the risks of Brexit (particularly of the "hard" variety). But for a large number of Scots, this is merely cause to avoid the added turmoil of independence. Though eventual EU membership would benefit Scotland, its UK trade is worth four times as much as that with Europe. 

Of course, for a true nationalist, economics is irrelevant. Independence is a good in itself and sovereignty always trumps prosperity (a point on which Scottish nationalists align with English Brexiteers). But if Scotland is to ever depart the UK, the SNP will need to win over pragmatists, too. In that quest, Scotland's deficit remains a vast obstacle. 

George Eaton is political editor of the New Statesman.