Flapping at Windmills

So today’s internet explosion of quasi-idiotic behavior has sent me running back to my feminist soapbox, lance firmly in hand and plumed helmet fastened. Today’s rant is brought to you by Flappy Bird and unmitigated internet rage.

I remember seeing the first tweet that Kotaku sent out about their article on how Flappy Bird is imitating Mario art. The original headline said “ripped-off” art, specifically, and has since been updated to say ”Mario-like art” instead, along with a couple of updates on Dong Nguyen’s (the creator) tweeted response and their own later apology to him. In short, someone at Kotaku noticed the striking similarities between Nguyen’s pipes and bird and the pipes and creatures from Mario in terms of appearance, as well as the nearly-identical sounds in both games. Their point was not only that Nguyen had “ripped off” these sprites and sounds from Mario, but that there was something inherently unfair that he was able to make $50,000 a day from ad revenue on the game.

The internet subsequently exploded, cataloged on a page entitled “Flappy Birders not Happy.” This has prompted a few other things to happen. First, speculation that the subsequent removal of Flappy Bird from the App Store is the product of legal action (it isn’t), embarrassment over being called-out for “ripping off” Nintendo, and/or the result of harassment from internet trolls, as on Eurogamer and the EscapistSecond, this has set off a series of pro- and anti-Flappy Bird blog posts, including one from Robert Yang, called “An Alternate History of Flappy Bird.”

There are several things about this whole fiasco that bother me. First and foremost, it’s never acceptable to threaten a game developer with death, dismemberment, or other bodily harm whether or not their work is derivative. Not cool, should not have happened.

Second, it irritates me to no end that there is so much coverage of Nguyen’s harassment and comparatively little about that leveled at female designers. Bryce Mainville makes this point on twitter:

Yes, the comments leveled at Nguyen are inappropriate and should not have happened, but he is not the only developer (not even the only male developer) to be so targeted by rabid fans and anti-fans. But it’s frustrating to see the kind of attention that this case receives when comments aimed at women online (developers or not) are just as bad or worse.

Second, I’m unconvinced by Yang’s argument that this has exploded primarily because Nguyen is Vietnamese:

Dong Nguyen committed the crime of being from Vietnam, where Electronic Arts or Valve or Nintendo do not have a development office. The reasoning is that no one “outside of games” can become so successful, except through deceit. The derivative nature of Flappy Bird’s assets and mechanics was taken as confirmation that technologically-backward Southeast Asians were “at it again” — stealing and cloning hard-won “innovation in games” invented by more-beloved developers.

None of the articles I read and most of the hate-filled tweets mentioned Nguyen’s ethnicity as a point of contention. Nor do I think that, as Yang suggests, “if Nguyen were a white American, this would’ve been the story of a scrappy indie who managed to best Zynga with his loving homage to Nintendo’s apparent patent on green pixel pipes and the classic ‘helicopter cave’ game genre.” I think that perhaps some of the comments he received would not have borne a racial tenor, but I do think that they would have been just as vitriolic.

Why?

Because my final point is that his game’s graphics and sounds are far too close to Mario‘s to be anything but intentionally derivative. If the same percentage of similarity were present in a student’s paper in comparison to Spark Notes as Nguyen’s graphics are to Nintendo’s, I’d haul them in front of the Honor Council for plagiarism. Do I think that Nguyen’s act merits his harassment? No, of course not. But neither do I see any merit in defending his “artistic choices” when those choices reflect artistic laziness rather than originality. Flappy Bird‘s green pipes and style are about as original as Ms. Pacman.

Nguyen made an app that used the background style of Mario. He didn’t copy it directly, but used the earlier images as the basis for his own. It’s lazy, but it isn’t worthy of death threats. However, responses like Yang’s suggests that there is a certain level of martyrdom that accompanies being the target of trolling. Yang seems to go out of his way to find a socially acceptable reason for Nguyen to become a poster-child for internet harassment victims (because he’s not white) in order to legitimize the reaction against said harassment and the removal of Flappy Bird from the App Store.

Here’s the thing, though. Even if the harassment aimed at Nguyen has no racial valence whatsoever, it’s inappropriate and unacceptable. Even if Nguyen did directly copy the pipes – he didn’t directly copy them, a point he makes on his own twitter

- he wouldn’t deserve the anger directed at him, first for imitating Mario and second for taking down his game. There doesn’t have to be an ulterior racial element to the harassment to “justify” reacting against it. It’s unconscionable no matter what.

Ultimately, though, I think that what bothers me the most about this is that Nguyen is being valorized as a heroic champion of indie developers, and I find that highly problematic (not as problematic as the harassment he’s faced, but I’ve said plenty about that before). My concern is not that he’s male and therefore in the “dominant” majority of developers, but that he’s being held up as a paragon of “scrappiness” for what is, ultimately, “ripped-off” in the sense of “derived from” or “based on” (not copied directly). The art in Flappy Bird is unoriginal and relies entirely upon Mario-esque nostalgia for its attractiveness. It isn’t just that the game has pipes - Pipe Dream has pipes, too, but they don’t look almost identical to those in Mario. The pipes in Flappy Bird do, so much so that when I saw a student playing it before class on her phone, I thought it was Mario.

The gameplay may be addictive and the overall concept unique enough to say that Flappy Bird is an original game – and it probably is (I haven’t played it). But the artistic concept just isn’t. It’s derivative and lazy from an artistic perspective. Does that mean it shouldn’t exist? Of course that’s not what it means. But it does mean that journalists, critics, and gaming sites should fully be able to criticize it because of that. I’d hate to think that the reaction of ill-behaved trolls might result in the fear of critical voices to speak out about games that are derivative or ill-made in some way because they don’t want to be included in the bridge-dwelling label. I’m afraid that now, because Nguyen is being lifted up (by some) as a “scrappy” hero, other developers will feel justified in similar artistic laziness. I’m also afraid that genuine criticism will be lumped in with trollish rage and dismissed.

Ultimately, though, I’m concerned about our inability as members of the gaming community to keep our discussions civil. I’m concerned that instead of saying “Hey, guys, this is derivative and that doesn’t seem fair,” we have to over-hyperbolize our headlines and incite one another to death threats. I’m concerned that anyone considers death threats to be an appropriate response to pretty much anything. And I’m concerned that we’ll allow ourselves to degrade a burgeoning art form in the name of making quick money.

I don’t have a solution. I wish I did.

Flashbacks and Archetypes

I recently started playing Dead Space (the first one, which I’d never gotten around to playing, despite being interested in doing so), and it’s created a fun kind of nostalgia in addition to telling me a lot of things about how rapidly games have progressed as a cultural medium.

I’m not all that far into the game yet, given that I currently lead the busy life of an academic-slash-circus-performer, but thus far Dead Space has been summoning fond memories I have of cooperatively playing through System Shock 2, first with my husband, and then with the “usual” crowd (with whom I also play Gears and other things). In terms of the surprisingly abandoned ship; the creepy zombie-like-converted-human-things who appear to be suffering from a bizarre genetic virus that’s somehow connected to a religious cult-like-thing; the empty labs and hallways with artful blood spatters on the walls; even the spontaneous “surprise” victims getting eviscerated through a window that I can’t possibly break and have to watch their screaming deaths… It brings back fond memories of System Shock 2.

So here’s the thing. Despite just having given a full catalog of all the reasons why Dead Space should be derivative, none of that bothers me at all. In fact, I like the idea that videogames are as capable as literature of creating homages to the earlier games and stories that shaped the developers’ awareness of the medium in which they work. There are differences, too, to Dead Space, certainly in terms of graphics and technological innovation; the weaponry is different; there are other NPCs for me (Isaac) to talk to; there’s (sadly) no multiplayer… It isn’t that Dead Space is just a remake, because it isn’t. It’s that videogames now have a canon of older, innovative and expressive games - like System Shock 2 – upon which to draw in order to enrich the experience of play for those who recognize the allusions.

All that said, I’ve been finding that Dead Space is itself dated, not because of graphics, but because of its lack of complexity. This may in part be due to the kinds of games I typically play, but in comparison to Bioshock Infinite, Dishonored, Mass Effect, Dragon Age, and even Tomb RaiderDead Space seems almost two-dimensional. Perhaps this is because I haven’t actually progressed very far (I’m in chapter two) or because it feels so reminiscent of System Shock 2, so I’m willing to say that I may end up changing my mind, but Isaac feels more like a hollow shell than he does an actual character. The NPCs (Kendra and Hammond) recite bit dialogue that is formulaic and archetypal (and these are the full NPCs, not random mooks or Dishonored‘s guards), and which appears to be deliberately leading me to a particular conclusion (that Hammond is crazy and is going to kill her), and which is making me think that the opposite is likely true (that she’s the crazy one and she’s going to kill him).

The point is that while I am enjoying Dead Space, the game isn’t actually all that complex, particularly in terms of its narrative and plot devices. And, honestly, I’m okay with a plot that’s fundamentally an homage or a standard sci fi trope (this is obviously both), I like my games to have more depth than what I’ve seen in Dead Space so far. But we’ll see where it takes me.

Industrial Silence

I want to begin by clarifying that I don’t work in the game industry as a developer, just in case anyone had the thought. I have never worked with or for a development company, and I don’t make videogames. I am an academic, a cultural critic whose job is to analyze and present criticism (both positive and negative) of popular media. I happen to work in two genres: early modern drama (think Shakespeare) and videogames. Yes, these two things may seem disparate, but both are the popular culture artifacts of their respective generations.

In that sense, I work “in the industry” because what the game industry produces, does, and says are of immediate relevance to my profession and my productivity. I am lucky enough, however, to have the buffer of academe between me and the people who make life hell for women in the industry in the traditional, blood-sweat-and-tears sense. I’m also a bit saddened that the academy, with its own problems with misogyny and bias, is an infinitely more pleasant place to be a professional female than the game industry.

Western society as a whole has a huge problem with latent misogyny, linked to the pervasiveness of rape culture, most often manifest in casual comments, presumption, and paternalism. Just this week I’ve witnessed or heard anecdotes about men defaulting to diminutive nicknames for women without asking, men assuming that women are secretaries rather than managers, men assuming that women know nothing about technology, and men assuming that women are not in positions of authority.

Women everywhere in the US have to deal with this on a minor scale, often so culturally ingrained that they dismiss it or even fail to notice it when it happens at the store or on the train. But women in technology and in the game industry, whether as journalists or developers, may as well be the modern-day equivalent of the women in the 1950s who dared to make a living outside the home.

This story from Kotaku by Rachel Edidin, “She Was Harassed By a Games Reporter. Now She’s Speaking Out” highlights a lot of the problems faced by women in the game industry. (This is also why I’m trying to put together a panel on this for NWSA.) As upsetting and depressing as this story is, it pales in comparison to some of the harassment and threats received by other women in the industry.

However, I’ve talked about this before, and I want to take this opportunity to talk specifically about the kinds of things said by Josh Mattingly to “Alice Mercier” (not her real name). Mattingly didn’t threaten “Mercier.” He didn’t suggest that she needed to be raped or assaulted or murdered. He did offer to give her “My penis. For your vagina,” in what was presumably meant to be a consensual act.

So, to play the troll’s advocate for a second, what’s the problem? If Mattingly wasn’t threatening her, why did this exchange warrant a lengthy apology (which he did make on his blog, although not directly to her)? As one of the first commenters, penenasty, remarks,

Who wants to take bets on how many posters who are probably white males, say “this isn’t a problem” and bonus points for “why didn’t she just tell him to stop”

As “Mercier” explains, she was taken aback by the nature of Mattingly’s comments and tried to ignore them so that he would stop. It didn’t work, but her instinct was to not reward his sexual comments by giving them attention (much like one might ignore a child’s tantrum to not reinforce the behavior). Should she have spoken up? She certainly would have been justified in doing so, but she shouldn’t have to even think about whether or not to have to make that choice – he shouldn’t have said any of it in the first place.

The problem as I see it is that our culture permits men to “hit on” women without censure so long as the “hitting on” doesn’t take a violent tone. But unwanted advances are just as unwanted whether they are violent or not – and Mattingly’s comments are not only unwanted, but wildly inappropriate to a business discussion (which is what it was originally meant to be).

But – the troll might say – why do advances have to be curtailed? What if the speaker is genuinely attempting to initiate a romantic conversation? Are men not allowed to say anything “nice” anymore?

The simple truth is that if someone ignores your first advance – especially when it’s of such an unsubtle nature as “I will kiss you on the vagina if you do,” which has all the subtlety of an armored rhino with bells on – then it isn’t wanted. Cease and desist. Immediately.

Secondly, there is a difference between a polite “Hey, do you want to go for coffee?” and what Mattingly suggested. I have offered to take a colleague out for beer or pastry for doing me a favor with no nefarious intentions. Those things are normal exchanges for professional favors. Mattingly’s suggestion would not be considered an acceptable business exchange anywhere outside of prostitution.

But the real problem isn’t that Mattingly did it (although that is a problem), it’s that he works in an industry where the culture enables him to think – even drunk – that such an exchange would be appropriate. It’s symptomatic of a larger problem not of misogyny, per se, but of androcentrism that suggests that (straight cis) male desires are the default and take primacy. At its heart, it’s the same problem that gave rise to the demand for a “sexuality toggle” in BioWare games and the same problem that permits trolls to demand sandwiches in online forums. And it will continue so long as we shake our heads and say that “boys will be boys” or tell victims that they should “get over it,” or, worse, that they “had it coming.”

No Need to Hide

So today Gameranx is apparently feeling like messing with my (perhaps excessive) emotional attachment to the Dragon Age series. First, they post that

I have a small, private freakout because that’s one of my favorite components of BioWare games, click on the link, and discover that the story was clearly the result of misinformation, as Gameranx had already updated it with a tweet from Mike Laidlaw assuring fans that romances would still be included (and optional) in the game.

The next tweet from Gameranx reads as follows:

I go to this link with a good deal more annoyance than fear, not at BioWare, but at the idea that this is even somehow remotely newsworthy. The article begins, “Dragon Age: Inquisition lead writer David Gaider won’t hide the game’s homosexual options behind some sort of sexuality toggle.” Yes, sexuality toggle. Because players shouldn’t have to be subjected – apparently – to unwanted advances from a person of the same/opposite gender. Because that never happens in real life.

Of course, what the request really means is “Please create a toggle so that I can continue to live my privileged straight male existence without ever having to be hit on by a man.” Gaider responded with this:

“when it comes to content options like the so-called ‘gay toggle’ …my question would be ‘why?’ We don’t allow the player to de-select other sorts of content. A ‘violence’ toggle? A ‘mention of slavery’ toggle? A ‘sexual situations’ toggle? Why would we have a ‘gay’ toggle? Even if that was just to set the player’s personal preference, and we didn’t think that was incredibly on-the-nose to put up front, would de-selecting the ‘gay’ toggle mean a player should expect to encounter no gay characters? Ever? You don’t think there are those who would interpret it as exactly that?”

The point of including certain experiences in the game is to allow players choice, not privilege. In fact, the whole of the Dragon Age experience is largely about confronting privilege and persecution, teaching players how to negotiate persecution of either themselves or their family/friends (especially in Dragon Age II, where the player must either play as a mage or have a sibling who is a mage, an oppressed class in Kirkwall). The game forces its player to confront these things, so why would Gaider’s team allow players to deliberately avoid something that might make them uncomfortable and force them to broaden their perspective?

And that’s not even addressing the bigotry that a demand to “un-gay” a game actually demonstrates.

Good on BioWare for taking the high road here and supporting diversity in games and the gaming community, despite the fussing of certain privileged fans. Good on them for being willing to take the risk of alienating their supposed demographic of the 20-30something straight white male by forcing “him” to experience the possibly unwanted advances of male digital characters. Good on them for being unwilling to compromise their ethic just to cater to the supposed image of what a videogame should be – and good on them for creating a precedent that future games will hopefully follow.

TLF: Free is Never Free

Although I know the title makes it sound like I’m about to start spouting platitudes about freedom and serving one’s country, this post over at TLF is actually about free-to-play games and why I find them so infuriating and problematic.

I am curious, though, about those of you who not only play free-to-play (as I do, too), but who pay for the upgrades. At what point do you “cave in” and give them money? What’s worth paying for and what isn’t? I’m also horribly nosy and want to know how much you’ve ended up paying for them, but I know that’s probably more personal than most people want to share on some random person’s blog.

Threat of Followers

So today Anita Sarkeesian tweeted about an article by Pacific Standard journalist Amanda Hess, “Why Women Aren’t Welcome on the Internet.” Although I usually reserve this blog for posts about games and the gaming community, there’s something significant about Hess’s work, and about the way Sarkeesian framed it:

Every woman I know in games writing has been viciously attacked for her work. We can’t ignore these epidemic levels of sexist harassment. Feminist Frequency (@femfreq) January 6, 2014

Let’s take a moment to think about that: every woman I know in games writing has been viciously attacked for her work. That list includes Hess, Julie Larson-Green, Alyssa Royse, Carolyn Petit, Jennifer Hepler, Kathy Sierra, Maddy Myers, Lindy West, Zoya Street, Dina Abou Karam, Mattie Brice, Catherine Mayer, Sarkeesian herself, and many others. In fact, these days, women’s voices in games criticism are noted not for what those women say, but for what is said to them.

In short, it has become a horrific badge of credibility of a female game developer or games writer has been threatened, verbally abused, harassed, or otherwise “attacked” (online or off) by members of the online and/or gaming community. If a woman isn’t being harassed by the body of trolls that comprises a portion of gaming fandom, she isn’t a significant voice – or so the trope seems to go.

One of the dangers of this – in addition to the dangers that come part and parcel with the threats themselves, including actual physical danger, emotional scarring, PTSD, depression, and general discomfort in one’s own skin – is that these acts of harassment will come to be dismissed as a “sign of making it”: if you haven’t gained someone’s hatred, then you aren’t making enough waves.

This has been an historical problem in any rights movement throughout history – racial, religious, cultural, sexual. Part of the issue is that there is some truth to it; any change to the status quo rocks the proverbial boat and upsets those among the privileged who want things to remain unchanged. So yes, a challenge to the way things are does tend to create hostility, but (and this is a very large BUT) that doesn’t mean that 1) it should, or, 2) and more importantly, that it should become permissible that harassment is simply “part of the game.”

The attitude of “that’s what you get for…” is one that has justified bigotry and violence against women, racial, ethnic, and religious minorities, and LGBTQ folk for decades, even centuries. “That’s what you get for being drunk.” “That’s what you get for dressing like that.” “That’s what you get for going into that neighborhood.” “That’s what you get for going out with a white man.” “That’s what you get for crossing the line,” in which the line could be miscegenation, the proverbial “tracks,” sexual promiscuity, flirtation, social mores, or any number of other things.

Harassment is not “what you get for” posting online. It is not a necessary rite of passage that should be undergone by any vocal minority speaking out against silencing or bigotry. It is not simply to be tolerated or shoved under the rug.

It is also not “no big deal,” as Hess’s account suggests. Nor should it be dismissed out of hand by the law simply because it exists in the ether of “online.” Our laws have yet to catch up to Twitter and Facebook and LinkedIn, as victims have very little recourse or defense against online harassment, which can and does end lives, whether because the online harasser is mentally disturbed enough to follow through on the threats or because the weight of them becomes so much that it drives its victims to suicide.

It’s important to acknowledge the power of online actions – to recognize that there are real dangers in anonymous tweets and posts, and to attempt to ensure that there is an avenue to which victims of harassment can go when they feel threatened. It is also important that those of us online who are not direct victims remember to support those who are, in whatever way(s) we feel we can.

CFP: Gender and Gaming

I’m posting this call for proposals here so that it can easily be found and revisited. If you see it and are interested, please feel free to submit a proposal.

Call for Papers: “Technological Futures” at the National Women’s Studies Association Conference (November 13-16, 2014 in Puerto Rico)

Abstracts due 2/1/2014

The relationship between feminism and technology is a fraught one, whether we are discussing the dearth of women in technology-related fields, the treatment of women in online forums, or the representation of women in video games. A series of recent events have drawn both critical and media attention to the persistence of misogyny in and around video gaming: the online harassment of Anita Sarkeesian for her “Tropes vs. Women in Video Games” feminist video series; the public backlash against the appointment of Julie Larson-Green as head of Microsoft’s XBox division;protests mounted against female game developers Jennifer Hepler and Dina Abou Karam (among others); and the hypersexualized digital representations of female characters and avatars in popular games like World of Warcraft and Grand Theft Auto. These examples all reflect the extent to which a highly vocal segment within the gaming community has been resistant not only to feminist analysis and criticism, but to the presence of women – both real and digital – within that community.

Whether a cause or a product of this vocal resistance, women are under- and often mis-represented both in the industry and in games themselves. While women make up approximately 45% of the consumer gaming market and 70% of women aged 12 to 24 play video games according to Entertainment Software Association, they represent only 11% of designers and only 3% of programmers in the game industry. Despite the significant presence of female consumers, however, only 15% of video game characters are female, and even fewer are protagonists.

Drawing on NWSA conference sub-theme “Technologizing Futures,” this session invites papers focused on the role of women in video games and the gaming community more broadly. We welcome papers from a range of disciplines that analyze the role of women (and/or trans*women) in games and gaming culture, including both humanities and social science methodologies. Potential topics for analysis might include, but are not limited to:

*analysis of the relationship between individual games and the institutionalized (and often unintentional) misogynist culture of the industry

*critical challenges to the culture of video game misogyny, including online activism

*feminist narrative and/or ludic analysis of individual video games

*feminist interventions in and alternatives to mainstream gaming culture

*narrative and/or ludic analysis of recent feminist “indie” games and production companies

*intersectionality and gaming culture, including resistance to marginalized identities and/or the development of intersectional “indie” games (such as Dys4ia)

*feminist pedagogy and the place of video games in the women’s studies classroom

Please send a one page abstract accompanied by a 100 word truncated abstract (an NWSA requirement) to both Dr. Kristin Bezio (kbezio@richmond.edu) and Dr. Jennifer L. Airey (jennifer-airey@utulsa.edu) by February 1, 2014. Each panelist will speak for approximately 15 minutes with time for Q&A after the fact.

 

TLF: Girl-Game of the Year

By “Girl-Game,” I do not mean “game designed for girls”; I mean “game featuring a female protagonist which I’m calling ‘girl-game’ for the sake of alliteration.” I was asked to make a year-in-review post for The Learned Fangirl – so here it is.

Originally, I wanted to make it a top ten list. But then I discovered that I couldn’t find ten major releases with female protagonists. In fact, several of the games that make most lists of “female-protag” games don’t actually have female protagonists as the game’s central hero; they have females as secondary protagonists, such as Ellie from The Last of Us (which won Gamesradar’s Game of the Year this year) or Elizabeth from Bioshock Infinite. It turned into a top five – but, really, the competition wasn’t that intense.

I guess this leads us back to the fundamental problem of games that have female protagonists… they very often just aren’t that good, OR they’re so concerned with the fact that they are games about female protagonists – like Gone Home – that they lose something in the way of larger narrative and/or mechanics. This has led, I think, to the misperception on the part of fans and publishers alike that games with female leads don’t sell. It isn’t that games with female leads don’t sell, it’s that weak games don’t sell, and many games with female leads are weak games. It’s correlation, not causation – after all, Metroid and Tomb Raider games sell and are good games. It just so happens that most games have male protagonists, so the percentage of good games with male protagonists is higher (because the percentage of GAMES with male protagonists is higher).

What I’d like to see in 2014 are good games that happen to have female leads, not games that force female leads just for the sake of feminism. I’d also like to see more games that allow for gender-choice, like Skyrim, Mass Effect, Dragon Age, Saints Row, Fable, and Fallout, but I would also like more stories that feature women as heroes, as well as men. Really, I’d like to see a wider variety of stories, period, which (theoretically) would yield a wider variety of protagonists of all genders, ethnicities, ages, and cultures. Heroes that really reflect the vast diversity of the people who play them.

SJWs and Mega-Women Warriors

So Gameranx tweeted today about yet another feminism-related gaming Kickstarter debacle, this one concerning Mighty No. 9, a reboot of the apparently beloved Mega Man series. Interestingly, Ian Miles Cheong’s piece begins with the phrase “Be respectful and considerate,” because, apparently, commenters on the Kickstarter have been anything but.

Cheong presents the “issue” as the consequence of a posted piece of fan art made by a new community manager named Dina which depicts Mega Man as a female character. Said character – as we can see – is not wearing ludicrous armor, is carrying a large wrench, and has tastefully applied eyeliner and lipgloss with wispy red waves. (Note: she is not wearing a bow.) This is clearly a piece of fan art, a genre that depicts fan preferences rather than (necessarily) original content from the work in question. Quite a bit of fan art alters the original work – for instance, a representation of the Mass Effect crew in Dragon Age gear (with Joker riding a dragon). Not in the original.

No one gets horribly bent out of shape when fan art alters the setting, time period, or even species of many characters (MLP Doctor Who, anyone?). But apparently swapping up genders of videogame characters is an act that is beyond even the fan art pale. One fan, as Cheong notes, complains that “it’s Mega Man, not Mega Woman!” as though the existence of fan art would cause us all to forget.

However, the comments themselves, while beyond irritating, are not where this story goes into horribly wrong places. Cheong reports the following:

Finding fault with her presentation, these persons decided to pry into Dina’s personal life by combing through her Twitter account for other transgressions against the human race, and found that she had written tweets supportive of feminism and linked to one of Anita Sarkeesian’s videos. In a similar case, her being initially hired as a community manager and artist became tantamount to BioWare’s employment of Jennifer Hepler as a writer for the Dragon Age games—sometimes dubbed as the “cancer that is killing BioWare” by particularly well informed readers.

These vocal individuals went so far as to produce a video “calling out” Dina’s past with “dirt” on her—because sympathising with the feminist cause is indeed enough to demonize someone according to these people. The vocal, well informed fans have since been calling for her resignation from the developer. At this point, these individuals have flooded the game’s development forums, and are trying to hold the game hostage by asking for refunds.

One user, a Mr. Nicholas Day, wrote: “This is a bad idea guys. I don’t want any anita sarkeesian feminism all up in my megaman reboot. I don’t want a sjw [social justice warrior] monitoring the forum, deciding who has good opinions and who has bad ones.”

In essence, the response to women speaking out in the industry – whether as critics, fans, or employees – is apparently grounds for their termination by the Men’s Rights powers-that-be. It is unconscionable that women should voice their opinions about games – like Carolyn Petit’s review of GTAV or a more recent review of CoD:Ghosts by Patricia Hernandez on Kotaku that has garnered hysterics by commenters.

Those of you who read this blog or TLF regularly know that I’m not Anita Sarkeesian’s biggest fan in terms of agreeing with what she says, but you also know that I will, to quote an oft-misattributed quote, “fight to the death for [her] right to say it.” (Note: that quote is usually attributed to Voltaire but in fact comes from his biographer, Evelyn Beatrice Hall, a woman.) And while I also believe that the commenters have the right to dislike Dina’s female Mega Man, they do not have the right to demand either its removal or hers.

I think that, ultimately, this sort of behavior is symptomatic not of internet or gaming culture, but an increasing insistence across the US (and perhaps elsewhere) that we have the right to not see anything that disagrees with us, and, if we do, that we have the right to demand its removal. Increasingly I see people insist that they have the right not just to publish or produce offensive material, but that they also have the right to be free from criticism when they do. Both of these are anathema to the concept of free speech; free speech means that someone can post something controversial, but it also means that others have the right to criticize it.

But this leads me to one more place, the place where Cheong starts his article: “Be respectful and considerate.” As human beings, people have the right to not be brutally attacked, online or off, for expressing their opinions. People do not have the right to abuse one another, online or off, for being or believing different than the status quo. Commenters should have the right to state their disapproval of Dina’s art, but they do not have the right to attack her, demand her firing, or be rude and cruel about their disapproval (especially because Kickstarter is not a public forum – it has regulations and rules which participants have to follow).

In short, as a culture we have become both too sensitive and not sensitive enough; we demand that everything we see and hear conform to our beliefs and opinions, and yet we express our own views with absolutely no respect or consideration for the feelings or situations of others. It seems to me that this is one of our severest failings as a society; we have lost the ability – or inclination – to respect others while disagreeing with them.

TLF: Shadow Game

My review of Compulsion’s new game Contrast is up over at TLF!

Short version – worth playing, even if it is a bit short. Available on PSN, XBL Arcade, and Steam (probably most worth buying on Steam, honestly, but if you’re an achievement-monger go ahead and get it for XBox, but only 360).

Contrast not only has cool mechanics – you can be a person or a shadow! – but is a rare example of a game that features not one, but two! female protagonists who aren’t damseled in any way, shape, or form. In fact, they’re the absolute antithesis of damsels, which is pretty rare, and pretty darn cool.