The Arma question: is it easier to kill a man than a woman in a videogame?

We find ourselves trapped between realism and reverence.

Sometimes questions of equality do not give easy answers. Sometimes they do not give the answers that feel right. And sometimes your belief that everybody is equal and your sense of right and wrong find themselves at opposite ends of the same track, travelling towards each other at equal speeds, doomed to collide in the middle like a maths puzzle gone awry.

What brings about this sort of moral dilemma for the gamer? Not the knockabout fun of a Saints Row dildo clubbing rampage, nor firing a bunch of birds head first into some oblivious pigs. No, it’s the games that create a world that feels real with characters that look and act in realistic ways; these are the ones that can be a test.

The debate as to whether the Arma series of military simulators should include female characters not just as civilians but as actual soldiers is one that has been bubbling along in the background of the series development for years. With the sudden popularity of the Day Z zombie mod for the game which brought with it female playable characters, and of course more female players, the debate about whether female characters should be allowed to fight in Arma 3 appeared to really take off.

Arma games have included women in the past, of course, and you could even play as one. However, there was the caveat that all female characters were civilians and they could not pick up or use weapons, at all. For all intents and purposes they served the role of the decoy target in the firing range that you’re not ever meant to shoot at. In some ways this is actually the worst way to put female characters into a game, mimicking the standard story tropes of women as damsels in distress, victims to be avenged and other completely powerless entities.

From a realism perspective of course this position is indefensible and has been getting less defensible year on year. Women now make up a large proportion of the armed forces of most countries and while very few countries use women in a front line infantry role the front lines are notoriously difficult to define these days. To be realistic a game should include female soldiers, even if only in supporting roles. This is something that the newly released Company of Heroes 2 has done, featuring women in the roles of snipers, aircraft pilots and tank crew for the Soviet forces. Arma 3 could do it easily too and really that should be the end to it.

However a second trend has appeared in the debate regarding female soldiers in Arma and it is the question not of whether people want to play as female characters, but whether they are happy to kill female characters.

At first this might sound strange, but on reflection there is some merit to this argument.

There is a degree of intelligence required with a game like Arma 3, a degree of engagement that you do not find with a cartoon style game like Saints Row 3 or even something fantastical like Skyrim. The Arma games require calculation and consideration almost more than they require reflexes or other traditional game playing skills. The game demands that you make the right decisions, often under pressure. The ability to shoot in a straight line, always a bonus, is usually a secondary consideration because if your decisions are wrong you’ll probably be dead before you can shoot anybody. The beaches of Day Z were littered for months with the still twitching corpses of Call of Duty and CounterStrike players who didn’t really appreciate what they were walking into until they’d been gunned down and had their beans robbed off them many times over by more experienced players.

Bearing that in mind, and also bearing in mind just how one-sided a properly planned engagement in an Arma game should be, this does bring certain ethical concerns into play. It is one thing to gun down other men in a game and sure it may not be sporting to do so while they have their backs turned or otherwise oblivious to them, but that’s just how it has to be, otherwise you get killed. But to do that to a woman? That may well require your blood to be a little bit colder. Unlike most reflex-based games, in Arma you will often find yourself watching your target, choosing your moment. A well-executed plan in an Arma game is more a series of murders than a fight. Inflicting that sort of calculated carnage on female characters isn’t necessarily going to sit as comfortably with players as shooting men would.

It is notable that even Saints Row 3, that most heartless of harlequins, did not feature female police officers or soldiers. Women remain in two of the gangs you fight against, but make up part of the rank and file of only one of them, appearing as bosses for the second. When even a game as ostensibly tasteless and disrespectful as that is willing to recognise some degree of chivalry in its enemy selection it seems apparent this is something designers are aware of. It can be hard to see the lines that Saints Row is not willing to cross, just due to the size of the truck they cheerfully drive over the lines they will cross, but they are there.

And so the ethical train wreck occurs. Women should be on the battlefield in a realistic game, but it doesn’t feel entirely kosher to be killing them because, particularly for a man, violent acts directed towards women are considered morally worse than those directed towards other men. We could say the same about other groups too. For example, what if the Arma series set a campaign in a civil war with one faction employing child soldiers? Would players go near a game where your opponents are horrifically exploited tweens? Not likely.

But then here’s the thing. If we’re going to get into this sort of discussion, what makes one digital representation of one demographic more ideologically safe to murder than another? Why is it so much easier for people to shoot a male avatar rather than one of a woman, or a child? It is pixels and polygons, it shouldn’t matter. But it does matter, even when we can clearly differentiate between what is a game and what is real our human empathy will kick in. We all know Bambi’s mother is a huge pile of pictures of a deer shown in rapid succession to create the illusion of movement, she’s not real, we know this, we understand this, but we’re still sad when she dies. This is because we’re sensitive creatures and it is completely understandable that a lot of us will be less comfortable killing a digital woman than we would a man, at least for the first few times, until we’ve become suitably desensitised.

So here we are, trapped between realism and reverence. Arma 3 will almost certainly feature women in combat roles, this is 2013 after all, but we should not discount all of the protests as simple misogyny. People will have to accept that women are not delicate flowers to be stepped over while those of us equipped with Y chromosomes handle the rougher aspects of life, whether it is considered to be for their own good or not. For some people that acceptance will not come easily and it might require some adjustment, but nobody said the Twenty-First Century wasn’t going to be complicated.

The Arma games require calculation and consideration almost more than they require reflexes or other traditional game playing skills.

Phil Hartup is a freelance journalist with an interest in video gaming and culture

Photo: NRK
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Skam, interrupted: why is the phenomenally popular teen drama ending before its peak?

The show has been building towards high school graduation – but now it’s ending before its lead characters finish school.

“Have you heard they started their bus already?”
“No!”
“One month into high school – and they started their bus.”

This Skype conversation between Eva and Isak comes early in the first episode of Skam. The phenomenally internationally successful series follows teenagers at a high school in Oslo. The “bus” they're discussing is a key plot point and concern of the students' lives. That’s because, in Norway, graduating high school students participate in “russefeiring” – it’s a rite of passage into adulthood, a celebration of completing high school, and a farewell to friends departing for university or jobs around the country.

Students gather into groups, give their gang a name, wear matching coloured overalls, rent a big car or a van, and spend late April to mid May (17 May – Norwegian Constitution Day) continuously partying. They call it the “three week binge”. It’s a big fucking deal. 

Skam, with its focus on teens in high school, has therefore spent a lot of time thinking about “russ”. The show, which is set at the exact same time it airs, has followed its four main characters Eva, Noora, Isak and Sana (who each have a season of the show written from their perspective, a la Skins), as well as all their friends, from their first few weeks at school in September 2015. In other words, preparations take years, and we’ve heard a lot about the plans for their russ bus.

In season one, Eva has fallen out with her best friend, and is hurt when she hears she is moving on and has formed a new bus, with new friends, called Pepsi Max.

We meet one of the show’s most prominent characters, Vilde, when we see her trying to get a bus of girls together. The show’s five main girl characters, Eva, Noora, Vilde, Chris and Sana, become friends because of her efforts: they bond during their “bus meetings” and fundraising attempts. They flirt with a group of boys on a bus calling themselves “The Penetrators”.

The latest season follows Sana’s struggles to ensure the bus doesn’t fall apart, and an attempt to join buses with rivals Pepsi Max. The joyful climax of season four comes when they finally buy their own bus and stop social-climbing, naming themselves “Los Losers”. Bus drama is the glue that keeps the show together.

But now, in June 2017, a whole year before the characters graduate, Skam is ending. The architect of the girls’ bus, Vilde, has never had her own season, unlike most of her friends. Many assumed that Vilde would have had her own season during her final year at school. Fans insist the show’s creator Julie Andem planned nine seasons in total, yet Skam is ending after just four.

The news that Skam would stop after season four came during the announcement that Sana, a Muslim member of the “girl squad”, would be the next main character. The show’s intense fandom were delighted by the character choice, but devastated at the news that there would only be one more season. “I can’t accept that this is the last season,” one wrote on Reddit.

“I'm so shocked and sad. It’s honestly just...weird. It doesn’t make sense, and it’s not fair. It’s not fair that we’re not getting a Vilde season. Most importantly, it’s not fair that we’ll never get to see them on their russ, see them graduating, nothing. It seems like such an abrupt decision. It doesn’t serve the storyline at all.”

No one has given a concrete reason about why the show ended prematurely. Ina, who plays Chris, said in an interview that “we all need a break”.

Some fans went into denial, starting petitions to encourage Andem to continue with the show, while rumours abound suggesting it will return. 

Many speculated that the show simply became too popular to continue. “I think that the show would have had six seasons and a Vilde season if the show didn’t become popular outside of Scandinavia,” one wrote. “I think the pressure and the large amount of cringy fans (not saying that some Scandinavian fans aren’t cringy) has made making the show less enjoyable for the actors and creators.”

Andem has stayed mostly quiet on her reasons for ending the show, except for a statement made via her Instagram. She recalls how very early on, during a season one shoot, someone first asked her how long the show would last:

“We were standing in the schoolyard at Nissen High School, a small, low-budget production crew, one photographer, the sound engineer and me. ‘Who knows, but I think we should aim for world domination,’ I said. We all laughed, ‘cause I was obviously joking. None of us understood then how big Skam would turn out to be. This experience has been completely unreal, and a joy to be a part of.”

Skam has been a 24/7 job,” she continues. “We recently decided that we won’t be making a new season this fall. I know many of you out there will be upset and disappointed to hear this, but I’m confident this is the right decision.”

Many fans feel that season four has struggled under the burden of ending the show – and divisions and cracks have appeared in the fandom as a result.

Some feel that Sana’s season has been overshadowed by other characters and plotlines, something that is particularly frustrating for those who were keen to see greater Muslim representation in the show. Of a moment in season four involving Noora, the main character from season two, one fan account wrote, “I LOVE season tw- I mean four. That’s Noora’s season right? No wait, is it Willhell’s season??? What’s a Sana.”

Others feel that the subject of Islam hasn’t been tackled well in this season. Some viewers felt one scene, which sees Sana and her white, non-Muslim friend, Isak, discuss Islamophobia, was whitesplainy. 

One popular translation account, that provides a version of the show with English subtitles, wrote of the scene: “A lot of you guys have been disappointed by the latest clip and you’re not the only ones. We do want to finish this project for the fans but we are disappointed with how this season has gone.” They announced they would be translating less as a result.

The final week of the show has been light on Sana. Instead, each character who never received a full season has had a few minutes devoted to their perspective. These are the other girls from the girl squad, Vilde and Chris, and the boyfriends of each main character: Eva’s ex Jonas, Isak’s boyfriend Even, Eva’s current fling “Penetrator Chris” and Noora’s on-off boyfriend William.

It’s understandable to want to cover key perspectives in the show’s final week, but it can feel teasing – we get a short glimpse into characters' home lives, like Vilde struggling to care for her depressed mother, but the scene ends before we can really get into it. And, of course, it takes precious time away from Sana in the show’s final minutes.

Some were frustrated by the characters focused on. “Penetrator Chris” is a particularly minor character – one fan account wrote of his scene: “This is absolutely irrelevant. 1) It sidelines Sana 2) It asks more questions 3) It doesn’t answer shit. This isn’t even Sana’s season anymore and that’s absolutely disgusting. She didn’t even get closure or ten episodes or anything.

“Sana has been disrespected and disregarded and erased and sidelined and that is fucking gross. She deserved better. Yet here we are watching a Penetrator Chris clip. How ironic that it’s not even called just “Christopher” because that’s all he is. “Penetrator Chris”.

It’s been a dramatic close for a usually warm and tight-knit fan community. Of course, many fans are delighted with the final season: their only sadness is there won’t be more. One of the largest fan accounts tried to keep things positive. “I know people have mixed feelings about Skam and who deserves what in terms of screentime this season (etc),” they wrote, “which I totally understand.

"However, everything has already been filmed, so there is nothing we can do about it. I think this last week of Skam will be much more enjoyable for everyone if we focus on the positives in the clips ahead. Skam isn’t perfect. People are allowed to disagree. But let’s go into this week being grateful for everything Skam has given us.”

Some fans choose to look to what the future holds for the show – an American remake. It will keep the same characters and plotlines as the original, and Andem may be involved.

Few think it will be a patch on the current show, but some are excited to have the chance to watch it teasingly as a group regardless. It seems unlikely that the US remake will compare in terms of quality – not least because the original was so heavily researched and tied to Norwegian culture. But for fans struggling to let go of Skam, it can’t come soon enough.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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