The return of GamerGate’s troubling online misogyny: Was it ever truly gone? | Gaming

a A few months ago, I wrote about the consulting firm Sweet Baby Inc., which was at the center of a conspiracy theory: disgruntled gamers on the Steam forums wrongly concluded that the small company was somehow mandating that its games include more diverse characters. The sad but predictable result was a massive amount of targeted harassment against the people who worked at Sweet Baby and all journalists (especially women) who wrote about the company. It was a disturbing echo of Gamergate, the online harassment campaign from a decade ago that initially began with the extreme accusations of a vengeful ex-boyfriend of a game developer.

The lingo has changed a bit over the past decade. Whereas before we were pissed off at “SJWs,” or social justice warriors, now we quibble over a different acronym: DEI (Diversity, Equality, and Inclusion), or just good old fashioned “woke.” But the sentiment of this group is the same: games are for us, and only us, and if you want games to change, or tell stories other than the simplistic male-centric power fantasies we grew up with, well, that’s not going to be allowed. We won’t tolerate it. In fact, we’ll actively harass you to try and kick you out of this space altogether.

Unfortunately, the anti-woke “campaign” has shown little to no let up in the months since. Led by the usual crew of charlatans, they have covered issues such as, in no particular order, the fact that Aphrodite, the goddess of love, isn’t attractive enough in Supergiant’s Hades II, the fact that all the female characters in recent game trailers have “square” jaws and “masculine” body types, and the fact that a journalist gave the recent PS5 game Stellar Blade (pictured below) a bad review because the female characters were not attractive. Too Hot (Note: It’s not, the game has
Metacritic Score
81) There are way too many games featuring the “DEI haircut” (fun to interpret) And Ubisoft for some reason
The dark forces of Awakening are trying to make the protagonist of the upcoming Assassin’s Creed game (pictured above) a black samurai.
Historical evidence
This last claim was backed up by the king of nasty posters himself, Elon Musk, who responded to a tweet about this manufactured outrage with, “DEI kills the arts.”

Assassin’s Creed: Shadows executive producer Marc-Alexis Côté spoke about Musk’s tweet in an interview.
Stephen Totilo from Game Files
Last week, Elon Musk tweeted, “Elon Musk is just stoking hatred. A bunch of 3-word replies came to mind. First thing I wanted to do was go back to the X I deleted and just tweet it back… What Elon is talking about is not the game we’re making. People need to play the game for themselves. And if you don’t agree with what we’re doing within the first 11 minutes and 47 seconds, debate.” Incidentally, the game’s depiction of Yasuke, a black samurai, has ample historical basis.

Shortly after the end of Summer Game Fest, anti-woke gamers found a new target.
IGN Report
has credibly and comprehensively uncovered the history of sexism at the development of Black Myth: Wukong, the upcoming Planet of the Apes-meets-Sekiro action game. Amazingly, the response has been to attack the woman who wrote the game and spark ridiculous conspiracy theories about IGN blackmailing the developer. You could immerse yourself in the astounding nastiness of any one of these manufactured controversies, but in my opinion, it’s just not worth it.

This reactionary underbelly of gaming enthusiast media, mostly based on X and YouTube, doesn’t actually have the slightest influence on how games are made, or what games are made. Look at GamerGate. What has it actually accomplished? There is more diversity in games than there was 10 years ago, not less. In the flurry of trailers and demos at this year’s Summer Game Fest, I saw more non-white male faces and characters than I’ve ever seen in the nearly 20 years I’ve covered games. But they can still make people’s online lives hell for a while. I know that much, because I’ve been there many times.

When Gamergate began, I was running Kotaku’s UK branch, so I had a front row seat to their harassment tactics, which included sending the most nasty threats imaginable through every online channel available to them, emailing game publishers and my bosses with a record of my professional misconduct and journalistic failures (i.e. writing about video games from a feminist perspective) in an attempt to get me fired, trying to find my and my colleagues’ real addresses, phone numbers and family (and, once found, posting the details on their subreddits), and creating insane Google docs that drew connections between “SJW” journalists and developers. One of these insane documents featured briefly in a recent Netflix documentary about 4chan, with a couple of friends texting me screenshots and asking if I knew I was some old “alt-right” conspiracy figure. Unfortunately, I did.

It’s happened several times since then, for a variety of reasons. Dealing with online mobs is unfortunately part of the job for many journalists these days, and for game developers too. As a woman covering video games, I’ve dealt with a variety of harassment over the years, and still wish I didn’t have to write about politics. But I know how awful it feels when they rally against you, especially if it’s the first time. They search Google Images for the most unflattering image of you, use it as a cutout for a YouTube thumbnail image, and rant for 10 minutes over screenshots of your article. They tweet big names in the games industry to get them to publicly discredit you. They turn their followers on you. You can’t help but respond to their manufactured anger with your own authentic anger.

It’s tempting to attack these people endlessly, but anger breeds anger, especially now that you can literally make money posting inflammatory nonsense on X or YouTube. If GamerGate has proven anything, it’s that you don’t have to pander to or listen to toxic gamers who stoke your anger. That said, I don’t think there has been enough public backlash against this online harassment over the past few months, even as major publishers in the gaming industry have been caught in an online storm over the consultancies they work with, the journalists and pundits who cover them, and even their own developers. Take my word for it, a voice goes a long way.

What to Play

Chinese Room, whose previous game, Everybody’s Gone to the Rapture, became a creepy British classic, is taking a more horror-thriller direction with their latest game. Awaken the Abyss (Pictured above.) It’s basically The Thing, but set on a creaky, dark, dank rig in the desolate waters of the North Sea, where a band of workers encounters something much worse while drilling for oil.

I’ve played the first few hours and the attention to detail in depicting life on a rig in 1970s Scotland is exceptional, right down to the faded tartan carpets and lived-in feel of the crew’s dormitories (one guy has National Front leaflets pinned to the wall), and I also love the delightfully authentic Scottish dialogue. that It’s scary, which to me is its advantage, but it’s atmospheric and incredibly well-made, so you really feel like you’re there – it’s worth playing just for that feeling of being there.

Available on: PC, Xbox Series S/X, PlayStation 5
Estimated play time: Six hours

What to Read

• Developer Tango Game Works Takeo Kido (the creator of Hi-Fi Rush pictured above)
  Very sad photo From the studio’s final day. It was acquired by Microsoft in March 2021 and closed down.

• 
  Really interesting long article
  
  Kotaku’s Kenneth Shepherd talks about the ongoing debate over how to portray it Romance in Video Games: Should characters be “playersexual” and do what the player wants? Or does depicting the queer experience in particular lead to two-dimensional characterization? There’s a lot more that could be said on this topic, but this article is pretty comprehensive, so be sure to read it.

• Yesterday’s big news Nintendo Direct It was the announcement of a new Zelda title that would actually let you play as Princess Zelda for the first time (no doubt to the delight of those aforementioned online crowds).
  Also announced There was the release of the Marvel vs. Capcom bundle, Mario Party Jamboree, the Romancing SaGa 2 remake, and Metroid Prime 4: Beyond, which is due for release in 2025.

What to click on

Question Block

Today’s question comes from reader Diana.

“When making a game, to what extent should developers listen to player feedback? People who paid for access to the pre-alpha version on Kickstarter can give their feedback. Should their feedback fundamentally change the game, or should it just improve the game as the developer intended?”

From what I’ve heard from developers working on Kickstarter and Early Access projects, where players are welcomed into the game long before it’s actually finished, their input is absolutely essential – as long as it’s in good faith. Developers can learn so much by seeing how people actually play – whether that’s finding out where people get stuck and smoothing out the difficulty curve, seeing which elements and ideas players respond most favorably to, or balancing online multiplayer gameplay. Sometimes, players just don’t get the idea.
do It changes the game, and usually for the better. Games like Kerbal Space Program, Subnautica (pictured above), and even Baldur’s Gate 3 have benefited greatly from releasing in Early Access.

But should developers change their games so much for the players that they compromise their original creative vision? Only if that vision doesn’t work in reality. Especially in games, where players never Really You won’t know if things are going well until quite late in development. Generally, if the developer is smart, the game is pretty finished by the time it enters Early Access or public alpha/beta testing. At that point, player data and feedback become an opportunity for the developer to better realize their vision.

If you have a question for Question Block, or anything else you’d like to say about the newsletter, please click “Reply” or email us at pushingbuttons@theguardian.com.