Why the Lara Croft backlash is bad for games

Hair-trigger outrage harms creativity.

Gender issues surrounding games are more controversial than ever. Add the word “rape” and they become incendiary. Following the Tomb Raider reboot’s executive producer Ron Rosenberg’s statement that Lara Croft will face the threat of rape from scavengers, as a narrative plot point engineered to show Lara’s vulnerability, the games community ignited in debate.

Rosenberg’s justification for why the threat of sexual violence is being used was somewhat ham-fisted, saying that “you start to root for her in a way that you might not root for a male character”.

Suggesting that a female character needed vulnerability to evoke empathy, where a male one wouldn’t, is a clear under estimation of an audience. There was a strong leaning to condemnation in the ensuing debate, with the media reacting quickly, although not all were focused on the motivation but instead the theme itself.

The game’s developer, Crystal Dynamics, studio head responded with a statement which said “sexual assault of any kind is categorically not a theme that we cover in this game”. This would be believable had they not already released a video in which Lara is beaten and groped by a male aggressor. Sexual assault, or at least its threat, was an intended theme.

The game’s art director Brian Horton told Edge, in an interview conducted before the statement, that the company wants “to create a story that is informed by real life”. Following that it “is completely integrated with what you learn about the scavengers and what this island is about, and we felt we could go there, even though we knew we were making a play that was a little controversial”.

This is the second outcry in recent weeks, with a similar reactions to a trailer in which Hitman’s protagonist, Agent 47, kills, rather gruesomely, a group of latex-clad nuns. Many commentators suggested that there was an implied link between the assassins seeming sexual availability and their violent deaths. An official apology followed.

Neither of these reactions arose from the complete, publicly available games themselves - yet both have forced the developer’s PR agencies, and those of developers around the world, to act. This is not a good result for creative freedom.

Games undoubtedly have long established problems with representation of gender, where females often occupy a space as trophies or ill proportioned backgrounds. However, the motivations of a character and the motivation to create a character are very different. Particularly in the case of Tomb Raider, I feel that the majority of the noise was specifically about the game daring to tackle the issue of sexual violence at all. Many seem to feel that there’s simply no room for it in the medium of games.

Sexual assault and rape openly receive discussion in literary circles, where authors such as JT Leroy make names for themselves with graphic depictions. The fictions of Leroy are not intended as comfortable reading, as the films and TV using the subject are not comfortable watching. They are unsettling, as sexual violence as a subject is and should be.

I know that games, having played titles such as Super Columbine Massacre RPG and Global Conflicts: Palestine, can be uncomfortable yet edifying experiences. However Crystal Dynamics’ treatment of a theme as emotive as sexual violence has been lost to us, due to ostensible self-censoring.

The comic book industry began to moderating itself in response to moral outrage in the 1950s. The Comic Code Authority forbade particular themes from being used, including drugs and sex. The major publishers stayed safe from legal meddling, but until recently comics existed as culturally stagnant, populated with spandex and cookie-cutter B-movie monsters.

If the developers chooses to place Lara in a situation in which she is a captive of a group of male mercenaries who live outside the law and our moral codes, a scenario not unfamiliar to the character, the threat of sexual violence is a challenging, but a believable narrative point that should be available for consideration.

We should give our creatives the credit that they can explore issues around women in a manner that is sensitive and interesting until we have clear evidence that they are not doing so with diligence. Otherwise we face a situation in which the artform becomes risk-adverse creatively, timid to tackle and represent real issues that impact real people. As someone wanting to use my art to invoke a full range of human emotions and provoke thought, that, to me, would be a real scandal.

Will Luton is creative director of the developers Mobile Pie. He tweets @will_luton

Lara Croft: the decision to have her beaten and sexually assaulted has provoked a backlash. Photo: Crystal Dynamics

Will Luton is creative director of Mobile Pie. He tweets: @will_luton

FERENC ISZA/AFP/Getty
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This is a refugee crisis, and it has always been a refugee crisis

If your country is in flames and your life is at risk, boarding a rickety, dangerous boat is a rational decision. We need to provide safer choices and better routes.

Even those of us all too familiar with the human cost of the present refugee crisis were stopped in our tracks by the profoundly disturbing images of the dead toddler washed up on a Turkish beach. Whatever our personal view about the ethics of displaying the photographs, one thing is clear: the refugee crisis on our doorstep can no longer be denied or ignored.

For far too long the political conversation in the UK has avoided facing up to the obvious conclusion that the UK must provide protection to more refugees in this country. Ministers have responded to calls to do more by talking about the aid we are providing to help refugees in the region, by blaming other European Governments who are hosting more refugees than we are, and also accusing refugees themselves by claiming the desperate people forced into boarding unsafe boats in the Mediterranean were chancers and adventurers, out for an easier life.

These latest images have blown all that away and revealed the shaming truth. This is a refugee crisis and has always been a refugee crisis. When the Refugee Council wrote to the prime minister in 2013 to call for the UK to lead on resettling Syrian refugees displaced by a war that was already two years old, it was a refugee crisis in the making.

Many people struggle to comprehend why refugees would pay smugglers large sums of money to be piled into a rickety boat in the hope of reaching the shores in Europe. The simple answer is that for these individuals, there is no other choice. If your country is in flames and your life is at risk, boarding that boat is a rational decision. There has been much vitriol aimed at smugglers who are trading in human misery, but European governments could put them out of business if they created alternative, legal routes for refugees to reach our shores.

There are clear steps that European governments, including our own, can take to help prevent people having to risk their lives. We need to offer more resettlement places so that people can be brought directly to countries of safety. We also need to make it easier for refugees to reunite with their relatives already living in safety in the UK. Under current rules, refugees are only allowed to bring their husband or wife and dependant children under the age of 18. Those that do qualify for family reunion often face long delays living apart, with usually the women and children surviving in desperate conditions while they wait for a decision on their application. Sometimes they are refused because they cannot provide the right documentation. If you had bombs raining down on your house, would you think to pick up your marriage certificate?

The time to act is well overdue, but the tide of public opinion seems to be turning – especially since the release of the photographs. We urgently need David Cameron to show political leadership and help us live up to the proud tradition of protecting refugees that he often refers to. That tradition is meaningless if people cannot reach us, if they are dying in the attempt. It is a shame that it had to take such a tragic image to shake people into calling for action, but for many it means that the crisis is no longer out of sight and out of mind.

Maurice Wren is the chief executive of the Refugee Council