Anita Sarkeesian and the gamification of misogyny

How internet communities encourage bad behaviour online.

Anita Sarkeesian, the videogame critic who attracted an online hate campaign - and a game about beating her up - after she launched a Kickstarter project (I like writing it like that, to emphasise the madness of it) spoke at a TEDx event organised by the Paley Center for Media.

You can watch the video here; it's around 10 minutes long:

I've taken screenshots of two of her points. The first is some of the harassment, because I think people need to know that when we talk about "trolling" or online abuse, we're often not just talking about a few tasteless comments. Special shoutout to James Anderson, who used his Facebook profile to LOL: "Wouldn't it be funny if five guys raped her right now :D". 

The second is what happened to her online presence. You can see the vandalisation of her Wikipedia page, the attacks on her website, the attempts to access her Twitter, Google and Formspring accounts and the attempt to have her social media profiles flagged as spam. In the top right is someone claiming to be from 4Chan offering up her phone, email and address, adding "this is going to be fun!"

But the most interesting aspect of her talk is the way that she interprets the harassment itself as a game. There is an enemy - her - who must be defeated - by getting her to stop making feminist videos. There are forums dedicated to the cause, where members slap each other on the back for each latest bit of bullying. And there are rewards - in the form of peer approval - for being the worst, most daring member of the group. 

As Sarkeesian put it: "This social aspect is a powerful motivating factor which provides incentives for players to participate and to escalate the attacks by earning the praise and approval of their peers. . . Players earn 'internet points' for increasingly brazen attacks. "

That echoes what I was told recently by Tom Postmes, a researcher studying "trolling" and online culture at the University of Groningen. He emphasised that although anonymity is often blamed for bad behaviour online, it's not as simple as that. He told me:

It is clear that there is a social dynamic amongst trollers. They like to show off their work. For example, if anonymity for them was vitally important they would not use a pseudonym consistently through time and have multiple identities. It’s very hard to know but research suggests that people with particular kinds of online identities tend to stick to them for very long times. These people, they bask in the effects of their online contributions.

They take some pride in their work and they obviously also think it’s quite funny to do these kinds of things. There’s some kind of pride they derive from it within their community. It’s a very loose community of course, it’s not a clearly defined group. They do not hang out in one place. Nevertheless, they do comment on each others’ work, they look out for it. They clearly identify with some kind of common style of interacting online.

In Sarkeesian's case, her abusers have effectively "gamified" trolling. It's like when a group of kids gather, and they talk about doing something stupid, and no one is really sure whether or not to do it, and then the most extreme member of the group does. (And then everybody looks up to them, and realises that even if they think it was a stupid thing to do, there are no points to be earned for being a square.) Except because of the connectivity of the internet, the size of the group is vastly larger, and so the extremity of behaviour is further from the centre. Terry Pratchett put the idea beautifully: "The IQ of a mob is the IQ of its dumbest member divided by the number of mobsters."

As Sarkeesian notes, to her abusers "it's a game"; to the victim, it's anything but. 

The first time I wrote about Sarkeesian, I noted that there were two outcomes to her Kickstarter launch: one horrific, the other wonderful. (She got abused; she got funded.) It's the same again now: in the video, she says that she had hoped to make five "Tropes vs Women" videos; thanks to the extra funding, she is making 13, plus a classroom curriculum that educators can use for free. 

And the horrific bit? Look under that YouTube video:

WHY ARE COMMENTS TURNED OFF? This talk comes from a woman who was targeted by an online hate campaign. Predictably, the same campaign has targeted this talk, so comments have been shut down. If you'd like to comment constructively on this video, please share on your own social networks.

Sigh.

Anita Sarkeesian.

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.

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.