The angry fundamentalists of the church of gaming

Why are gamers such an angry bunch?

I like the idea that the hate storm surrounding Anita Sarkeesian is a surprise to some people. It pleases me that there are still people in the world who possess that level of innocence, that people can still be outraged by the viciousness and ignorance that so many people take for granted when using the Internet.

Sarkeesian you see broke two rules of online communication, the first, which I don’t want to dwell on, is that she forgot to be male. If you want to express any sort of opinion without a penis to give you credibility then you are going to get a certain type of abuse from men, almost regardless of topic.

The second rule she broke however is that she poked the sacred cow, video games.

Gamers are an incredibly diverse bunch as I’m sure we all know, but like with any broad church there are going to be some people in there who are, for want of a better word, fundamentalists.

Gaming is no exception to this and in many ways gaming culture mirrors the structure of an established religion. The younger gamers are often more radical, more extreme in their views and how they express them, the fanboys and the fanatics. The games industry is itself the church, delivering the games which are to be worshipped and revered by the masses. The older generation of gamers tend to view this church with more suspicion, but most, at heart, are still believers.

The big element which links gaming culture to a religion however is just how conservative it is. A lot of gamers do not like change, they will wait like hungry dogs for the next game in a series, but they don’t want it to be too different. Just like the faithful going to church they are expecting to hear what they want to hear, nothing radical, nothing too different, but not word for word what was said last week. It is no coincidence or surprise that so many of the most successful games in recent years are sequels, giving the public more of the same.

You can see evidence of this gaming conservatism if you look at the kind of language that gamers often use to describe new games. New games are jumped upon and embraced of course, but at the same time they are often resented by the faithful. Many games, even successful ones like Skyrim and Battlefield 3, are seen as toned down and casual shadows of the tougher, less forgiving and less accessible games that we cut our teeth on. 

In the face of this orthodoxy the arrival of women on the scene, carrying with them an agenda of change, it is inevitably greeted with vitriol and anger by gamers who perceive their precious stream of the same thing as last year to be under threat. Worse it is not just the women who openly have an agenda who face this wrath; female gamers are also abused merely for the crime of being female. Female gamers are seen as harbingers of some sort of oestrogen induced end of days for gaming, a spoilt little sister who has climbed the rope ladder to our clubhouse and is intending to paint it pink.

It is this conservatism that Sarkeesian’s project confronted, a desire of many gamers to not see things changed. While it only takes a small minority to unleash the torrent of abuse she was subjected to the views held by those who abused her are not that rare, as evidenced by how often they are encountered by female gamers themselves.

This mind set is of course not common to all gamers and gaming does see radical ideas breaking out into the world on a regular basis, but it is something of a concern for anybody wanting to see the medium progress that the biggest titles are always the hardy perennials, Call of Duty, Halo, FIFA, the same Malibu Stacy as last year with a new hat.

To an extent change is already happening, Lara Croft being transformed from a heavily armed blow up doll into a relatable teenage girl wielding a bow is a laudable if clumsy step in the right direction. Of course it could also be seen as an attempt to cash in on The Hunger Games, but even that in itself shows a change in the focus of marketing. Meanwhile recent games like Duke Nukem Forever and Postal 3 which have used their misogyny and crassness as a selling point have been total failures.

Games and gaming are growing up fast and no amount of hostility and rage from the hard line gamers is going to change that.

A gamer of yesteryear. This dying breed will defend its turf to the death.

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

Getty
Show Hide image

How Dame Vera Lynn was told to “posh her accent up”

Radio 2’s 100th-birthday tribute reveals how Lynn was forced to change her voice.

“I remember seeing her near an elephant, and this elephant rolled over a bit and she had to get out of the way . . .” Vic Knibb, the vice-chairman of the veterans’ group the Burma Star Association, was one of the thousands of British soldiers serving in the Far East during the Second World War who came across Vera Lynn in the jungle, singing from the back of a Jeep, accompanied by an out-of-tune piano.

Speaking in Radio 2’s celebration of the singer’s 100th birthday, Vera Lynn: the Sweetheart of the United Kingdom (Sunday 19 March, 8pm), Knibb and others recalled what it meant to them that Lynn travelled so far to perform for the so-called Forgotten Army in Burma. Unlike other entertainers, who stayed in Europe or visited only military hospitals in the UK, she deliberately went where few others did – where she felt she was needed by “the boys”.

The programme, which featured a rare interview with Lynn herself, was dominated by clips of her recordings from the Thirties and Forties. We heard frequent extracts from “The White Cliffs of Dover”, “We’ll Meet Again” and “A Nightingale Sang in Berkeley Square”. The contrast between these two voices, separated by more than six decades, was the most arresting thing this otherwise pedestrian documentary had to offer. The now gravelly-voiced centenarian sang, in her youth, with a smooth, effortless-sounding tone and crystal-clear diction. But how did the cockney daughter of a plumber from East Ham end up singing with received pronunciation?

The answer, as ever in Britain, is class. Lynn had no formal musical training, and as she had been performing in working men’s clubs from the age of seven, she was considered closer to a musical-hall crooner than a “proper” singer. But with her small vocal range and flawless self-taught technique, she chose her own songs to suit her voice. The BBC, for which she made her hugely popular radio show Sincerely Yours, requested that she take elocution lessons to “posh her accent up” and even at one point took her show off air for 18 months. “Every­body’s Sweetheart” wasn’t immune from snobbishness, it seems. 

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution