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

Getty.
Show Hide image

What Brussels can learn from the Italian referendum

Matteo Renzi's proposed reforms would have made it easier for eurosceptic forces within Italy to gain power in upcoming elections in 2018.

The Austrian presidential elections can justifiably be claimed as a victory for supporters of the European Union. But the Italian referendum is not the triumph for euroscepticism some have claimed.

In Austria, the victorious candidate Alexander van der Bellen ruthlessly put the EU centre stage in his campaign. “From the beginning I fought and argued for a pro-European Austria,” he said after a campaign that saw posters warning against “Öxit”.

Austrians have traditionally been eurosceptic, only joining the bloc in 1995, but Brexit changed all that.  Austrian voters saw the instability in the UK and support for EU membership soared. An overwhelming majority now back continued membership.

Van der Bellen’s opponent Norbert Hofer was at an immediate disadvantage. His far right Freedom Party has long pushed for an Öxit referendum.

The Freedom Party has claimed to have undergone a Damascene conversion but voters were not fooled.  They even blamed Nigel Farage for harming their chances with an interview he gave to Fox News claiming that the party would push to leave the EU.

The European Commission, as one would expect, hailed the result. “Europe was central in the campaign that led to the election of a new president and the final result speaks for itself,” chief spokesman Margaritis Schinas said today in Brussels.

“We think the referendum in Italy was about a change to the Italian constitution and not about Europe,” Schinas added.

Brussels has a history of sticking its head in the sand when it gets political results it doesn’t like.

When asked what lessons the Commission could learn from Brexit, Schinas had said the lessons to be learnt were for the government that called the referendum.

But in this case, the commission is right. The EU was a peripheral issue compared to domestic politics in the Italian referendum.

Alberto Alemanno is Jean Monnet Professor of EU Law and an Italian. He said the reforms would have been vital to modernise Italy but rejected any idea it would lead to an Italian Brexit.

“While anti-establishment and eurosceptic actors are likely to emerge emboldened from the vote, interpreting the outcome of the Italian referendum as the next stage of Europe’s populist, anti-establishment movement – as many mainstream journalists have done – is not only factually wrong, but also far-fetched.”

Renzi was very popular in Brussels after coming to power in a palace coup in February 2014. He was a pro-EU reformer, who seemed keen to engage in European politics.

After the Brexit vote, he was photographed with Merkel and Hollande on the Italian island of Ventotene, where a landmark manifesto by the EU’s founding fathers was written.

This staged communion with the past was swiftly forgotten as Renzi indulged in increasingly virulent Brussels-bashing over EU budget flexibility in a bid to shore up his plummeting popularity. 

Commission President Jean-Claude Juncker even publicly reprimanded Renzi for demonising the EU.

Renzi’s vow to resign personalised the referendum. He gave voters a chance to give him a bloody nose when his popularity was at an all-time low.

Some of the reforms he wanted were marked “to be confirmed”.  The referendum question was astonishingly verbose and complex. He was asking for a blank cheque from the voters.

Ironically Renzi’s reforms to the constitution and senate would have made it easier for the eurosceptic Five Star Movement to gain power in upcoming elections in 2018.

For reasons best known to themselves, they campaigned against the changes to their own disadvantage.

Thanks to the reforms, a Five Star government would have found it far easier to push through a “Quitaly” referendum, which now seems very distant.  

As things stand, Five Star has said it would push for an advisory vote on membership of the euro but not necessarily the EU.

The Italian constitution bans the overruling of international treaties by popular vote, so Five Star would need to amend the constitution. That would require a two thirds majority in both houses of parliament and then another referendum on euro membership. Even that could be blocked by one of the country’s supreme courts.

The Italian referendum was closely watched in Brussels. It was hailed as another triumph for euroscepticism by the likes of Farage and Marine Le Pen. But Italians are far more likely to be concerned about the possibility of financial turbulence, which has so far been mildly volatile, than any prospect of leaving the EU in the near future.

James Crisp is the news editor at EurActiv.com.