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

Stephen Hawking's enthusiasm for colonising space makes him almost as bad as Trump

The physicist's inistence on mankind's expansion risks making him a handmaiden of inequality.

“Spreading out may be the only thing that saves us from ourselves,” Stephen Hawking has warned. And he’s not just talking about surviving the UK's recent run of record breaking heat. If humanity doesn’t start sending people to Mars soon, then in a few hundred years he says we can all expect to be kaput; there just isn’t enough space for us all.

The theoretical physicist gave his address to the glittering Starmus Festival of science and arts in Norway. According to the BBC, he argued that climate change and the depletion of natural resources help make space travel essential. With this in mind, he would like to see a mission to Mars by 2025 and a new lunar base within 30 years.

He even took a swipe at Donald Trump: “I am not denying the importance of fighting climate change and global warming, unlike Donald Trump, who may just have taken the most serious, and wrong, decision on climate change this world has seen.”

Yet there are striking similarities between Hawking's statement and the President's bombast. For one thing there was the context in which it was made - an address to a festival dripping with conspicuous consumption, where 18 carat gold OMEGA watches were dished out as prizes.

More importantly there's the inescapable reality that space colonisation is an inherently elitist affair: under Trump you may be able to pay your way out of earthly catastrophe, while for Elon Musk, brawn could be a deciding advantage, given he wants his early settlers on Mars to be able to dredge up buried ice.

Whichever way you divide it up, it is unlikely that everyone will be able to RightMove their way to a less crowded galaxy. Hell, most people can’t even make it to Starmus itself (€800  for a full price ticket), where the line-up of speakers is overwhelmingly white and male.

So while this obsession with space travel has a certain nobility, it also risks elevating earthly inequalities to an interplanetary scale.

And although Hawking is right to call out Trump on climate change, the concern that space travel diverts money from saving earth's ecosystems still stands. 

In a context where the American government is upping NASA’s budget for manned space flights at the same time as it cuts funds for critical work observing the changes on earth, it is imperative that the wider science community stands up against this worrying trend.

Hawking's enthusiasm for colonising the solar system risks playing into the hands of the those who share the President destructive views on the climate, at the expense of the planet underneath us.

India Bourke is an environment writer and editorial assistant at the New Statesman.

0800 7318496