If we deplore racism and sexism in videogames, how can we defend violence?

A culture of violence is something that normalises violence and makes it acceptable. Games don’t do that because they don’t feature real violence or anything that feels like it, argues Phil Hartup.

Mobile phone rings.

It’s Roman, the once funny, now tedious, cousin of our hero Nico.

A police cruiser pulls up at the lights.

A choice. Answer the phone, listen to Roman's comic inanity and partake of a rudimentary mini game. Or . . . do something else.

Not much of a choice, is it? Two seconds and two shotgun blasts through the windscreen of the police car later, and I’ve embarked on a rampage across Liberty City.

Soon, there's a trio of SWAT vans on my tail, assorted pedestrians splattered across the hood of my newly stolen truck, and a helicopter buzzing low overhead with the cops leaning out of it putting bullets through the roof of my truck with unerring accuracy. To evade the pursuers I cut through the park, scything through the crowded sidewalk, dropping a couple of grenades out of the window of the truck as I go.

It’s fun.

***

Back before games were ubiquitous, back when they were a minority hobby enjoyed only by the young and the geeky, they were a target. Opportunistic politicians and moral guardians in the media looked at games as being dangerous, as being a corrupter of young minds and tried to have them banned, censored and generally defanged. In some cases these attacks succeeded. Australia still bans games deemed too violent for the country that foisted Mel Gibson on an unsuspecting world.

Those days are mostly gone now, and when the head of the National Rifle Association recently tried to blame video games for the Newtown massacre in Connecticut he was rightly mocked for it. But the legacy of spending years with video games as a censorship battleground has not gone away. In those years violence in games was unquestioningly a good thing, if only because it was pissing off Keith Vaz. But that has led to a culture where we don’t question violence, we’re not surprised by it, we presume that a violent solution is the default that we’ll be offered in games. Games like Portal or Amnesia: The Dark Descent, which present themselves like first person shooters yet don’t feature any player-driven violence, are very rare.

We have started to see gaming culture acknowledge the often rampant sexism and racism within itself, both among gamers and developers, and this can only be a good thing. While not much has actually been done about those ills, calling developers out for their problematic products is the first step and it is likely that the criticism levelled at games of the 2012 vintage will pay dividends with future titles. Mr 47 may well have punched his last kinky nun and Borderlands may not see another "girlfriend mode".

But the question then arises, if we are going to address social ills like sexism and racism in gaming, does that mean that violence too should face the chop? Is violence not a social ill? If we believe that sexism and racism are damaging elements to our culture is the next step to limit the behaviour of characters in games?

I sincerely hope not.

The simple reason for this is that violence, in a fictional context, is fun. It is entertaining. Why? There are a number of reasons. The first is that violence in games gives players agency, power and the ability to influence the world. You can point and click and change the world in an immediate and often satisfying way. To a non-gamer this might sound like a trifling matter - so you’ve bested a pile of pixels, bully for you. However, if you’re invested in a game that sense of having an effect on the world it portrays carries emotional weight. Power, even little bits of it, even in a fictional world, feels good.

Of course this doesn’t have to come from an act of violence; it can come from something as harmless as scoring a goal in FIFA or sorting out the crippling personality disorders that you inflicted upon you character in The Sims when you didn’t know what the buttons did.

It is important to remember that as a gamer you are not passively watching acts of violence in the same way that the viewer of a movie is. You are making them happen. You are more than a viewer; even sometimes more than an actor, you are the author of the carnage. It is an important distinction because you are empowered and you are in control. Or at least you are if the game is any good. A weak game puts you in the role of the audience while a strong game lets you write the script. Skyrim, for instance, can be a game about an elf that lives on a mountain with his spouse and kids and who earns his money picking spuds or it can be a game about a big fuzzy cat person who murders everybody in the world and bats their severed heads around her cave all day.

The second thing that makes violence a staple of gaming is that opposition and destruction lead to conflict and chaos and these are inherently interesting things in a safe environment. Conflict gives us a challenge, a test of skill and strategy to be overcome. Chess is a violent game. Sure, you don’t see the pawns get clubbed down with maces, but it’s a simulation of conflict, and it’s great. Meanwhile chaos provides dynamism and a sense of the unpredictable, like a child knocking over their tower of building blocks and watching how the blocks tumble down the gamer gets to see the world react to what they are doing. The success of the Angry Birds series is a testament to the simple joys of knocking things over, watching them fall and squashing smug pigs.

The next reason that violence is entertaining in video games is that it’s liberating. Our avatars in video games don’t have to respect the same laws, be they legal or physical, they don’t have to fear death or pain and if they do die they can just reload from the last save point. This is not to say that gamers secretly desire to inflict massive violence upon the world and are only prevented from doing so by fear for their lives, but it is therapeutic to be able to play by a different set of rules every now and again. Most games still have rules, whether it’s GTA where you meant obey the laws of the land lest the police descend upon you or the Hitman series where you are supposed to avoid dropping bodies all over the place, but the rules are different to real life. Players, even of violent games, are not playing them like wild, uncontrolled beasts, they mostly still follow the rules and the change in what’s allowed and what isn’t provides a feeling of liberty similar to a holiday. Not a particularly exciting or gratifying holiday, granted, and if you try to show your friends your holiday snaps you’re going to find yourself either with fewer friends or at the centre of an intervention, but the principles are similar. You’re a different person, you’re allowed to do different things and nobody at home will find out unless one of your mates brings a camera out with him.

Lastly of course is the business of telling a story. A great story needs high drama and to get high drama in a game there really is nothing better than violence. Here is a bad guy, here is his army conveniently deployed in order of weakest to strongest, fill your boots. It would be great if this were not the case and if games could offer more diversity but some things games just can’t do. For example games have never been able to address the topic of love and sex in a meaningful way, few games have even attempted it barring some creepy Japanese imports, later GTAs and some Bioware RPGs. The subject is difficult to do right due to the fact that games are, naturally, gamey and this makes the process of wooing a character even more ridiculous than killing the ten rats in their basement or beating the hell out of them over the best of three roads. It’s easy to be carried along on a story where you want to bring down the evil overlord and liberate the people but it’s more difficult to create a bond between the player and an artificial significant other.

Often games focus on the accumulation of wealth, or the construction of great works, and this is fine if that’s what floats your boat, but the big two of human drama are sex and violence and we can’t blame games developers too much for largely operating within their comfort zone of explosions, shootings and car chases.

Some might argue that all these things that make games great, the drama, the agency and the challenge; they could all be included in a non-violent game. Perhaps they could, but it would make for a much less diverse art form. As a society we don’t seem to believe that cinema or literature needs to be non-violent. So this then begs the question why not have violence? When you’re killing fictional characters how does that hurt anybody?

When a game is sexist or racist then it can be said that it is a part of a culture of sexism or racism because the game itself is a part of our culture in the same way as a book or movie. Games often need to be called on their problematic content just as a film or book would be. But when a game depicts violence is it part of a culture of violence? No, it is a part of a culture of sitting on something comfy and looking at a screen for hours. A culture of violence is something that normalises violence, makes it acceptable, games don’t do that because they don’t feature real violence or anything that feels like it. A game could incite violence; you could have a game that tries to provoke people into killing one another through its message or content but the mere act of shooting characters on a screen isn’t going to do that in itself. It could be argued that something like Call of Duty or Medal Of Honour makes the slaughter of foreigners in the name of Uncle Sam seem palatable and noble, but it seems fairer to say that US culture in particular already sees officially sanctioned army killings as palatable and noble, and that the video games jingoistic tone is more a part of that culture than the game play.

Players do not see the violence as real, nor do they respond to it as such. It has been observed that the pilots of military drones can be susceptible to PTSD but this has never happened to a gamer and all tired Resident Evil sequels in the world won’t change that. Gamers can become addicted, they can drop dead from deep vein thrombosis, they can learn to hate everybody on Xbox Live, but they won’t ever think that the fake people they are murdering are real.

A screen shot from Grand Theft Auto V.

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

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The World Cup you’ve never heard of, where the teams have no state

At the Conifa world cup – this year hosted by the Autonomous Republic of Abkhazia – ethnic groups, diaspora communities and disputed territories will battle for footballing glory.

Football's European Championship and the Olympics are set to dominate the back pages over the next few months. How will Team GB fare in Rio? Will the zika virus stop the tournament even going ahead? Will the WAGS prove to be a distraction for the Three Lions? And can Roy Hodgson guide England to a long-awaited trophy?

But before the sprinters are in their blocks or a ball has been kicked, there's a world cup taking place.

Only this world cup is, well, a bit different. There's no Brazil, no damaged metatarsals to speak of, and no Germany to break hearts in a penalty shootout.  There’s been no sign of football’s rotten underbelly rearing its head at this world cup either. No murmurs of the ugly corruption which has plagued Fifa in recent years. Nor any suggestion that handbags have been exchanged for hosting rights.

This biennial, unsung world cup is not being overseen by Fifa however, but rather by Conifa (Confederation of Independent Football Associations), the governing body for those nations discredited by Fifa. Among its member nations are ethnic groups, diaspora communities or disputed territories with varying degrees of autonomy. Due to their contested status, many of the nations are unable to gain recognition from Fifa. As a consequence they cannot compete in tournaments sanctioned by the best-known footballing governing body, and that’s where Conifa provides a raison d’être.

“We give a voice to the unheard”, says Conifa’s General Secretary, Sascha Düerkop, whose world cup kicks off in the Autonomous Republic of Abkhazia at the end of this week.

“We are proud to give our members a forum where they can put themselves on the map.

“From that we hope to give back in the long run and invest in the football infrastructure in our member nations to help them grow.”

The two week footballing celebration starts with an opening ceremony before Kurdistan and Székely Land kick off the tournament. It follows on from 2014’s maiden competition which saw The County of Nice avenging a group stage defeat to Ellan Vannin from the Isle of Man, to take the spoils in the final via a penalty shoot-out.  There were some blowout scores of note however, with South Ossetia smashing Darfur 20-0 and Kurdistan beating the Tamils 9-0 at the event which took place in Östersund, Sweden. Neither of the finalists will be returning to the tournament – throwing down the gauntlet to another twelve teams. 

This, the second Conifa world cup, is testament to the ever-expanding global footprint of the tournament. Abkhazia will welcome sides from four continents – including Western Armenia, the Chagos Islands, United Koreans in Japan and Somaliland.

Despite the “minor” status of the countries taking part, a smattering of professional talent lends credibility to the event. Panjab can call on the experience of ex-Accrington Stanley man Rikki Bains at the heart of their defence, and the coaching savoir-faire of former Tranmere star Reuben Hazell from the dugout. Morten Gamst Pedersen, who turned out for Blackburn Rovers over 300 times and was once a Norwegian international, will lead the Sapmi people. The hosts complete the list of teams to aiming to get their hands on silverware along with Padania, Northern Cyprus, and Raetia.

A quick glance down said list, and it’s hard to ignore the fact that most of the nations competing have strong political associations – be that through war, genocide, displacement or discrimination. The Chagos Islands is one such example. An archipelago in the Indian Ocean, Chagos’ indigenous population was uprooted by the British government in the 1960s to make way for one of the United States' most strategically important military bases – Diego Garcia.

Ever since, they've been campaigning for the right to return. Their side, based in Crawley, has crowdfunded the trip to the tournament. Yet most of its members have never stepped foot on the islands they call home, and which they will now represent. Kurdistan’s efforts to establish an independent state have been well-highlighted, even more so given the last few years of conflict in the Middle East. The hosts too, broke away from Georgia in the 1990s and depend on the financial clout of Russia to prop up their government.

Despite that, Düerkop insists that the event is one which focuses on action on the pitch rather than off it. 

“Many of the nations are politically interested, but we are non-political,” he says. 

“Some of our members are less well-known in the modern world. They have been forgotten, excluded from the global community or simply are ‘unpopular’ for their political positions.

“We are humanitarians and the sides play football to show their existence – nothing more, nothing less.”

The unknown and almost novel status of the tournament flatters to deceive as Conifa’s world cup boasts a broadcast deal, two large stadiums and a plush opening ceremony. Its aim in the long run, however, is to develop into a global competition, and one which is content to sit below Fifa.

“We are happy to be the second biggest football organisation,” admits Düerkop.

“In the future we hope to have women’s and youth tournaments as well as futsal and beach soccer.”

“Our aim is to advertise the beauty and uniqueness of each nation.”

“But the most important purpose is to give those nations that are not members of the global football community a home.”

George Weah, the first African winner of Fifa World Player of the Year award remarked how “football gives a suffering people joy”.

And after speaking to Düerkop there’s certainly a feeling that for those on the game’s periphery, Conifa’s world cup has an allure which offers a shared sense of belonging.

It certainly seems light years away from the glitz and glamour of WAGs and corruption scandals. And that's because it is.

But maybe in a small way, this little-known tournament might restore some of beauty lost by the once “beautiful game”.