Target And Kmart Pretending To Be Prudes In Australia Over A Vocal Anti-GTA5 Minority

from the windsocks dept

Update: We've just noticed that we originally named Walmart in this story when it should be Kmart. We've removed the instances of Walmart and deeply regret the error. Also, it should be noted that Kmart Australia and Target Australia are divisions of Wesfarmers Limited and not related to the US corporations with similar names.

As you may have heard if you follow gaming news, the next-gen console version of Grand Theft Auto 5 release in Australia hit a bit of snag this past week. Now, let's start this off by noting that it was only recently that the government of Australia finally agreed to treat its citizens like adults and allow the kind of video games we enjoy in the States to even be sold in the land down under. It came along with a strict ratings system, of course, but at least these games were finally available for purchase. It was a victory for speech and art.

And now, stupidly and cynically, retailers are pretending to be prudish, in the face of a petition by a vocal minority making almost purely emotional arguments, and have agreed to remove Grand Theft Auto 5 from their shelves. The focal impetus of this response by both Target and Kmart in Australia appears to be this Change.org petition, which is about as Change.org-petition-y as it gets.

It's a game that encourages players to murder women for entertainment. The incentive is to commit sexual violence against women, then abuse or kill them to proceed or get 'health' points.

As anyone who has played the game, as I have, can tell you, this is only half true. Or, actually, perhaps less than half, because all the same violence, sexual misanthropy, and cruelty applies at least to the men in the game as well, and I'm pretty sure I remember smacking around some wildlife during my foray into the game as well. The point of GTA5 isn't to demean women; it's to demean everyone and everything. The whole thing is a farce for violence and cruelty. That's its very point. But, to understand the plea of the petition, you have to understand who is issuing it.

We have firsthand experience of this kind of sexual violence. It haunts us, and we've been trying to rebuild our lives ever since. Just knowing that women are being portrayed as deserving to be sexually used by men and potentially murdered for sport and pleasure – to see this violence that we lived through turned into a form of entertainments is sickening and causes us great pain and harm.

Let's be clear about two things. The first is that any real life abuse of women, sexual or otherwise, is a horrific thing and should not be tolerated in any fashion anywhere. It's horrible and it breaks my heart knowing that survivors of such abuse must slog through life on a daily basis overcoming the abuse every step of the way. The second thing we must be absolutely clear on is that for anyone that values free speech, be it government or a corporate entity, the fact that these women issuing their petition are abuse survivors doesn't matter even a little bit. Free speech and artistic expression don't simply get to be limited just because some people may be emotionally hurt by it.

The two retailers, Target and Kmart, being private entities, can of course do as they please. But when they say the following in their press release:

"We've been speaking to many customers over recent days about the game, and there is a significant level of concern about the game's content," [Target's GM of Corporate Affairs] Mr Cooper said. "We've also had customer feedback in support of us selling the game, and we respect their perspective on the issue. However, we feel the decision to stop selling GTA5 is in line with the majority view of our customers."

then they must also explain why this decision over a forever-controversial gaming franchise is only coming upon the re-release of the game, which originally came out a year ago, and how they can also take the following stance.

Mr Cooper said Target would continue to sell other R-rated DVDs and games.

"While these products often contain imagery that some customers find offensive, in the vast majority of cases, we believe they are appropriate products for us to sell to adult customers.

Because the first quote from Mr. Cooper obviates his company's need to take such a stance. All he and Target must do, to remain consistent, is constantly follow the demands of whichever group is shouting the loudest. Because, given that we're talking about one of the best-selling videogames in the history of the medium, that line about Target listening to the majority of consumers is a big bucket of bullshit. And, of course, Target and Kmart will happily sell the game elsewhere in the world, and make gobs of money off of it, while the petitioners updated their petition with "Thank you Target/Kmart" posts.

Fails all around, so... well done everyone.

Filed Under: australia, games, grand theft auto 5, video games
Companies: target, walmart

Far Cry 4 Publishers Messing With Pirates By Getting Them To Admit They Are Pirates

from the okay-then dept

Ubisoft and DRM go back a long, long way. In nearly every case, it hasn't exactly gone well for the game company, either. Its uPlay launcher, for instance, sort of stripped all the DRM out of publisher's games, which didn't make them too happy. Then there was the time its DRM allowed for the remote hacking of its customer's computers. Yay. Yet, even these experiences never really deterred Ubisoft from trying to beat the pirates at their own game with different, but always annoying DRM strategies. My favorite, frankly, is still the vuvuzela DRM.

I have no idea how far this latest strategy of Ubisoft's will go or what it plans to do with their honeypot trap, but the company sure has done a nice job getting Far Cry 4 pirates to out themselves.

If your copy of Far Cry 4 on PC doesn't have FOV (Field Of View) options, and you complained about this on a forum, you might want to go and delete your comments. Because there's a very good chance you've just outed yourself as someone who pirated the game. Seems the option to adjust the FOV was added as part of an update that came along with the retail release of the game, so anyone who doesn't have it is most likely (a small handful of folks might have bought a disc version and never gone online, but then, how would you be complaining online?) in possession of a pirated copy.

Which, I mean, meh. In and of itself, getting those who pirated the game to unwittingly out themselves is kind of funny, kind of clever, and certainly isn't of any harm. If used in conjunction with a human approach and a little social shaming, it could actually be quite productive. Ubisoft's reputation would have to be overcome, but, hey, this is the land of second chances or whatever. If this is part of some plan for Ubisoft to bring out a legal hammer however, well, that ain't going to work as a matter of a long term business plan.

Which is what makes this seem simultaneously exhausting and futile. This arms race with pirates at best will never end and more likely will always be lost eventually, so what's the point?

Filed Under: admissions, drm, far cry 4, piracy, video games
Companies: ubisoft

Deer Hunter Vs. Killshot: Why Specific Expression Matters More Than Similar Shooter-Genre Staples

from the not-like-the-other dept

I imagine it must be very, very annoying to be the creator of a video game and to feel as though some other company came along, cloned your work, and is now making money off of that clone. It's this annoyance factor that likely leads to so many legal proceedings over game "clones", even if so many of them fail because the it's the expression that matters in copyright suits, not a general or generic idea. Unique expressions are what matter. Even in totally misguided legal attempts, those involved usually have the good sense to go after games that directly copy graphics and such, not the general ideas behind the games.

Which is simply not the case when it comes to Glu Mobile's lawsuit against Hothead Games over the latter's production of Kill Shot and its supposed straight cloning of Deer Hunter.

Glu Mobile is suing mobile game studio Hothead Games for copying it popular Deer Hunter 2014 mobile game. Hothead’s Kill Shot isn’t about hunting deer at all. Rather, you’re a sniper that hunts enemy soldiers. Nevertheless, Glu alleges in a federal lawsuit filed in San Francisco today that Hothead’s title violated copyright and trade infringement laws.

“Kill Shot is effectively a complete ripoff of our game Deer Hunter 2014,” said Chris Akhavan, the president of publishing at San Francisco-based Glu Mobile, in an interview with GamesBeat. “The only difference is that in Kill Shot, you are shooting humans. In our game, you are shooting deer and other animals.”

It's not the only difference, though. Let's get this started by saying that the games do indeed have similarities. They are both shooters undertaken from the first person perspective with realistic guns and aiming sights that are used to shoot living things. But those living things are different, the settings are different, the concepts and themes are different, and even the models of the guns, while both realistic, are different. This is straight copying only insofar as the copying is of common and generic shooter-game concepts. Even the image Glu Mobile hand-picked to include in their filing demonstrates this.

Yes, similar, but not the same, and even the similarities are of the basic shooter-game style variety. Yes, you can scope in on targets, but the scopes are different and scopes don't equal copyright. Yes, there's bullet time animations, but that doesn't equal copyright either, or else everyone owes the Max Payne franchise a pretty penny. While similar, these games aren't really any more similar than, say, Doom and Duke Nukem 3D. Or any other first person shooter from the 90's, for that matter. And this is from the image in their filing. Videos of the games in action show the differences more starkly.

Again, similar, but they're both shooters, so what did you expect? Generic genre similarities don't rise to copyright or trademark claims. The trade dress claim in particular seems misguided, since the themes involved are quite different and none of the names of the games or companies even come close to being similar. This should end up as yet another lesson that similar generic concepts, such as sniping and zooming, don't translate to cloning as far as copyright is concerned. And, while the filing accuses a lot of copying, the reader is left with the feeling that there isn't a whole lot of weight there.

Glu alleges that Hothead Games, based in Vancouver, Canada, copied things like Deer Hunter 2014’s marketing, tutorial, user interface, controls, virtual economy, pricing of items, and even some of its flaws. Akhavan noted, for instance, that a miscategorized assault rifle in Deer Hunter 2014 was also miscategorized in Kill Shot. Glu’s tutorial has 21 steps, of which Glu says Hothead copied 18. Many player reviewers mistake Glu Mobile as the publisher of Kill Shot because of the similarities, Akhavan said.

Again, similar, but not the same. It seems clear that Kill Shot was inspired by the type of game genre of which Deer Hunter is a part, but basic interface and control schemes are not creative expression of a protected kind, and pointing to similar mistakes within the games when it comes to whether a weapon qualifies as an assault rifle is a stretch (trust me, it's an easy mistake to make and get yelled at by gun activists for). I can see why Glu Mobile might be annoyed, but I think their time would be better spent building on the massive success of their gaming franchise than in court suing a competitor.

Filed Under: clones, copying, copyright, deer hunter, expression, first person shooter, idea, kill shot, mobile games, video games
Companies: glu mobile, hothead games

CD Projekt Red Goes All DLC For The Witcher 3...But It's Completely Free And Doesn't Require Pre-Order

from the doing-it-right dept

We've written about the CD Projekt team in the past, typically concerning something awesome it's done with one of its games. Often times this means bucking the trend on DRM in game after game, even as competitors insist that DRM is necessary. Even when the company has gone down the road of going after infringers, it has quickly reversed course in listening to fans. Most recently, CD Projekt is looking to buck the DLC trend that has so many gamers annoyed these days. It's not that Witcher 3 won't have DLC. It totally will, except that the DLC is going to be completely free and available to anyone for simply purchasing the game.

As CD PROJEKT RED, we strongly believe this is not the way it should work and, with The Witcher 3: Wild Hunt, we have decided to do it differently. Cutting to the chase, everyone who buys Wild Hunt will receive 16 specially prepared DLCs absolutely for free, regardless of platform. You don’t have to pre-order, you don’t have to buy any special edition to get them -- if you own a copy of Wild Hunt, they’re yours. This is our way of saying thank you for buying our game.”

What a shock, rather than taking the avenue of other game companies, such as Ubisoft and EA, CD Projekt treats their customers well, behaving in an awesome and human way and even connecting with gamers with a shared experience, and success is had. They listen, in other words, rather than simply try to dictate. As part of this announcement, the company is insisting that there will be no restrictions on getting the DLC. They even have a long Q&A below the blog post to reiterate that point.

Is this something of a gimmick? Undoubtedly. After all, the company could simply wait until all this DLC content is finished and include it in the final product. On the other hand, their competitors could do the same and include all the DLC they put out for free or raise the pricing of the game. The message CD Projekt is conveying is that it isn't going to attempt to nickle and dime its fans. Gimmick or not, it's a message that resonates in the days of paid DLC.

Filed Under: dlc, drm, free, video games, witcher 3
Companies: cd projekt

Latest EFF DMCA Exemption Requests Include The Right to Tinker With and Maintain Unsupported Video Games

from the game-not-over dept

As we've noted more than a few times, we live in an era where the products you think you own can be disabled, crippled or held hostage on a whim. That's been particularly apparent when it comes to video game consoles and software, with an increasing array of titles relying on server connectivity not only for multi-player content, but also for DRM authentication in order to play single player titles. The former was an issue earlier this year when Nintendo announced that the company would be killing online functionality for a wide variety of Wii and DS titles, some of which were only a year or two old. The latter was an issue with Blizzard's Diablo 3, EA's latest incarnation of SimCity, and a growing number of other games.

When these servers for older titles get shut down, often gaming communities are left trying to cobble together functionality with little to no support from the companies that made them, and/or with concern they'd be violating section 1201. In their latest list of six DMCA exemption requests, the Electronic Frontier Foundation includes the right to tinker with older games. Not just for the enjoyment of keeping these gaming communities afloat, argues the EFF, but because as games become an increasingly integral part of our culture as entertainment and art, they need to be preserved for historians. That's obviously something you can no longer do if the games are utterly unusable:

"The inability to play older games (because the necessary servers have been shut down) inhibits scholarship and research as well – it is much more difficult for game scholars to access older works due to a lack of playable archival copies, and archivists have less incentive to preserve games that are unplayable or only partially playable. Jerome McDonough, a professor who specializes in digital preservation, put it simply. “Digital media are inherently fragile and the ability to migrate games to new hardware/media is critical to any preservation activity we might take, whether through migration or emulation. [The] DMCA’s technological protection measure language takes the difficult case of software preservation and transforms it into a fundamentally impossible case." In the case of multi-player games, it can be impossible for scholars to replicate the experience of playing the game, since player communities often die when servers are deactivated.

As the petition notes, the exemption would not apply to persistent online worlds and MMORPGs, where online functionality is all there is. Among the EFF's five other DMCA exemption requests includes two governing the right to bypass automobile DRM for repair and testing, two protecting the remixing of DVD and various online video sources, as well as the renewal and expansion of cell phone and tablet unlocking exemptions. As usual, the EFF expresses justifiable disdain at having to jump through "burdensome and confusing" hoops every three years simply to defend common sense under the dysfunctional mess that is the U.S. Copyright Office's DMCA exemption request process.

Filed Under: copyright, dmca, exemptions, freedom to tinker, librarian of congress, triennial review, video games
Companies: eff

Once Again: The Sky Is Rising When It Comes To Creative Output

from the why-so-much-doom-and-gloom? dept

A few years ago, we released our Sky is Rising report, looking at the state of the global entertainment industry, in which we found that, contrary to the story of gloom and doom that was being spread by some special interests, the real story was quite exciting. What we found when we looked at the actual numbers was that we are in a true renaissance of creativity, with massively more content -- video, movies, books, music and video games -- being produced these days than ever before. Perhaps more importantly, we saw that the amount of money being spent on these things also continued to increase -- though it didn't always flow through the same channels as in the past. This combination of factors -- more content producers, many new channels -- often led some people to insist that the industry was collapsing, rather than the truth, that it was growing rapidly, just in more distributed ways. That represented certain challenges for many people in the creative industries -- but from a public policy standpoint, it certainly suggested that things were pretty good -- not deathly bad, as was often implied. Last year, we came out with a follow up report that focused on Europe -- noting a similar pattern in various European countries, though with some countries facing unique and interesting challenges. However, one interesting aspect of that report was that we saw a stronger pattern of success in those areas where innovation was allowed to thrive and flourish, rather than be held back.

Today we're launching the third report in this series, The Sky is Rising, 2014 Edition, focused on the United States in particular. And, once again, we see the same basic story. Lots of growth. Tons more content being produced. Lots of stories of new business models and artists connecting with their fans in new and unique ways. We're seeing new markets develop, along with new tools to help those markets. But the key story is the same as always: there is more content being produced today than ever before, and it's helped along by innovative technology, as the two often go hand in hand. More content than ever before is being produced, and content creators have more new and powerful ways to create, to distribute, to build a fan base, to connect and to build a business model -- and that's quite exciting.

At the same time, there's a push underway to reform our copyright laws -- something that we agree needs reform. And, yet, strangely, much of the rhetoric around reform has been based on the idea that the content world is suffering, or that there's some sort of "Hollywood vs. Silicon Valley" battle going on. The actual evidence suggests no such thing at all. Rather, it suggests that when innovation is allowed to flourish nearly everyone benefits. More content creators are able to do much more and create much more content. More fans are able to experience and consume much more content while supporting content creators in new and unique ways. From a public policy standpoint, it seems like things have been trending in the right way for a long time. If there's to be any sort of public policy change it should be to try to speed up that process, rather than to slow it down.

You can read the full report below. Once again, as with the previous editions of this report, we'd like to thank CCIA for sponsoring and publishing the paper.

Filed Under: books, copyright, copyright reform, culture, film, innovation, movies, music, sky is rising, tv, video, video games

Requiring YouTubers To Give Positive Reviews For Access To Games Can't Work As A Long Term Strategy

from the outta-the-bag dept

We've written before about the recent trend among video game publishers in trading access for YouTube personalities to their games and positive coverage. Nintendo had been the most notable example of this to date, but they certainly aren't alone. This most recent example concerns Warner Bros.' Middle-earth: Shadow of Mordor and the deals the publisher struck with YouTubers, which are far more restrictive than those we've seen previously.

"Videos will promote positive sentiment about the game. Videos must not show bugs or glitches that may exist. Maximize awareness for the Shadow of Mordor video game during the 'Week of Vengeance' through gameplay content, key brand messaging, and information and talent usage on Twitch channels. Persuade viewers to purchase game, catch the attention of casual and core gamers who already know and love Middle-earth. Requirements involve one livestream, one YouTube video, and one Facebook post/tweet in support of the videos. Videos will have a strong verbal call to action, a clickable link in the description box for the viewer to go to the game's website to learn more about the game [and] to learn how to register and play the game. Twitch stream videos will have five calls to action. Videos will be of sufficient length to feature gameplay and build excitement."

"Videos must include discussion of the Nemesis System. This really should take up the bulk of the focus, such as how different the orcs are, how vivid their personality and dialogue are, gathering intel and domination abilities, exploiting their strengths and weaknesses. Videos must include discussion of the action and combat that takes place within the game, such as brutal finishers, execution moves, and wraith powers. The company has final approval on the YouTube video… at least 48 hours before any video goes live."

Now, look, there's been a great deal of discussion as of late about the evils of the current gaming journalism scene, yet here's the shining example of corruption and nobody's up in arms. I can't quite figure that out. What these publishers are doing is creating a sub-section of the YouTuber ecosystem that will be first to market with reviews of gaming products but also in chorus with one another in heaping praise as a contractual obligation. Delightful. The Kotaku article says that this is an uncomfortable, systemic, and long-term problem. It isn't, and here's why: it can only work for a tiny period of time.

And that period of time is coming to an end. Now that these deals are coming into the light with more regular frequency, they are only serving to condition the public to one thing: not trusting positive reviews of games. It's the inevitable result of this sort of thing. If the gaming public knows that you have these deals, they'll almost certainly decide not to trust positive YouTuber reviews of games. The negative reviews, on the other hand, certainly will be trustworthy. So, in the end, gamers will only have negative reviews to base decisions on when it comes to the games they buy. That ain't no way to run an industry.

It's time the major publishers wised up to this sort of thing. Any short-term benefit is going to be far outweighed by the long-term distrust they're sowing.

Filed Under: only positive reviews, positive sentiment, reviews, shadow of mordor, video game reviews, video games

Pro Music Artists/Reps Force Shutdown Of Awesome Fan-Music Contest For Video Game

from the way-to-go,-guys dept

I've never hidden my perhaps strange fascination with video game music. Everything from soundtracks to fan-made remixes, it's something that I love. But, for some reason, video game music for many people isn't so much a lark as a point of major industry contention. Recently we discussed how one composer's union turned into his enemy when he was simply working on a video game. The latest example, however, details how apparently professional musicians and/or their representatives got a game developer to shut down a fan-music contest out of what seems to be pure spite.

Some background is in order. Several years ago, developer Red Thread Games produced two insanely good point-and-click adventure games, The Longest Journey and Dreamfall: The Longest Journey. For the third installment, the team decided to turn to Kickstarter for funding, asking for $850k to produce the game and instead getting over one and a half million dollars in funding from fans. It's everything you want out of a Kickstarter story, with a great team organizing their rabid fan-base to both make money and produce another awesome game. And, while Red Thread Games already had a music composer on staff to create the larger soundtrack composition, the team wanted to give a nod to their dedicated fans and set up a contest by which fans could compose background/ambient music for small sections of the game, with the winners of the contest having their compositions included in the eventual release.

And that's when everything went to hell.

Supposedly professionals within the music arena felt as if the contest was designed to exploit fans and get a hold of royalty-free music for the game, a similar argument that originally caused The Fine Young Capitalists campaign to get shutdown.An update on the official Kickstarter page for Dreamfall: Chapters The Longest Journey details that the contest had been cancelled due to the conflict surrounding the event. As noted on the update, the decision is final and the contest won't be returning.

“We do understand the different points of view and the reasons behind some of the backlash, even though we also feel our intentions were perhaps misrepresented and misunderstood. This was not an attempt on our part to commission free music for the game — we already have a fantastic score, a professional composer and some diegetic music — but rather a response to the community asking for a chance to get their music into the game. We felt this competition could benefit both the game and our fans.”

And so concludes the attempt by Red Thread Games to connect with their fans in possibly the most meaningful way: inclusion within the project. A fan contest for small amounts of music was done in by industry musicians with no skin in the game. The backlash in the comments on the project, as well as on Twitter and other social media, made the developers out to be greedy robber barons looking to avoid paying a professional musician, which is an interesting theory considering the game already has a professional composer on staff. This was all about letting the fans have some fun, but the industry shouted it down until the project was shut down.

The sad reality here is that someone who could have been thoroughly talented, and just needed an opportunity to get their music out there, had a potential avenue to a career in music cut short. This isn't to say that anyone who submitted music to the contest could have become the next Jesper Kyd or Marty O'Donnell, but killing these kind of opportunities to bridge the connection between developers and gamers only hurts game culture. Could you imagine if the same thing extended to the games arena and game jam contests came under the same fire? It's like killing off the potentiality of future artists before they even have a chance to shine.

That last bit is of extreme importance, because it's the correct rebuttal to anyone involved in blasting this contest who also says they were doing so to protect the music industry. No, you weren't. You were just being dicks. As a result, a great game is a little less fun and none of you are any more hired for the project today than you were yesterday. Bang up job all around.

Filed Under: context, creativity, crowdfunding, culture, dreamfall, fans, longest journey, music, musicians, video games

Konami Flip-Flops On Fan-Remake Of 'Metal Gear', Decides To Shut It Down

from the konami-for-president dept

Eventually, video game companies are going to have to come to terms with the fact that their biggest fans can also be immensely creative and that they often want to channel that creativity towards adding to the game franchises they love. Thus far, the vast majority of fan-driven projects having anything to do with video game franchises are met with stonewall takedowns and cease and desist letters. The most frustrating of these are when mixed signals are sent to the fans engaged in these projects, where the people doing the work are under the impression that their efforts have been cleared for takeoff only to be grounded late in development. To treat creative folks who can be amongst a company's greatest fans that way is to bite the hand that feeds them in a very real way.

And now it's happened again. A group of dedicated Metal Gear fans endeavoring to remake the original 1987 NES title in Valve's Source engine and had been in contact with a Konami rep the entire time. After month's of work, Konami apparently just informed them that they no longer had permission and forced them to shut it all down.

"The project has been shut down by Konami," an email sent to the site read. "Seems that they all couldn't agree on the project going ahead."

The mod team also revealed that David Hayter was on board to voice Snake, and had even recorded some lines for it. It posted a work-in-progress trailer showing a rough cut of scenes yet to be animated, complete with Hayter's dialogue.

In correspondence elsewhere, remake organizer Ian Ratcliffe indicated that he had been in regular contact with a Konami representative in the UK about the project and that he'd been given the all clear, with the stipulation that the game not be sold commercially. The carpet was then pulled out from underneath the team by Konami's legal department in Japan. Ratcliffe was far more understanding than many people might have been.

The agreement was made verbally, we first got approval a couple of months back after being told to take the moddb page down. Following that Jay Boor from Konami UK, told me that the agreement was getting written up by Japans legal team. (We were contacted by a couple of guys from Japan initially but since it's all been through Jay.) We were told to keep the page down as they wanted to make the announcement once E3 was out of the way. I'm not really sure what happened to be honest, we had a lot of back and forth with Jay and he was in full support of the project. It seems that the whole of Konami was divided on whether we should go ahead or not but I think ultimately it was Japans decision.

I totally understand their reason in doing so, not matter how disheartened the team is, we thank them from the bottom of our hearts for all that they've done, Jay especially. Not to forget the huge amount of support we got from the fans, to which we're more than grateful for. We got to work alongside industry professionals, it's been really inspiring and I feel privileged to have been a part of it. We aren't gonna be sour about the whole thing it's the experience that counts.

We're now in the planning stages of making our own IP, in the words of Liquid Snake - "It's not over yet!"

It's an amazingly gracious and politic reaction to what was essentially the dicking over of the effort of a dedicated group of fans by Konami's legal team. To spend months working on a title, organizing labor, getting some impressive voice talent on board, all in good faith under the notion that a Konami rep had given the green light, and to then have all that work torn away by the very company whose work you love so much must be a hell of a feeling. Sure, Ratcliffe's team should have gotten the correspondence and the 'okay' in writing, but there's still no reason for Konami to dump on their fans like this. There was no commercial interest here, just the love of the game, so to speak. All in the name of copyright.

Filed Under: fans, metal gear, remake, video games
Companies: konami

Creating Controversy: No, An Upcoming EA Game About Militarized Police Doesn't Need To React To Ferguson, MO

from the imitating-life dept

As the Ferguson, MO saga continues to unfold, there are certainly lessons to be learned. An overly-militarized police force coupled with the oppression of free speech and the press aren't good ways for managing an angry population, for instance. Conversely, a police force that actually connects and serves with the community they're tasked with policing produces far better results. And, of course, we're all forced to have yet another discussion about race-relations in this ostensibly free and equal country of ours. These are good conversations to have.

Strange calls to video game companies that will be releasing a long-produced game featuring militarized police, insinuating that they must somehow be cognizant of Ferguson now that it's happened, are not useful in any way. That link serves as the kind of Kotaku article that features the gaming website occasionally going completely off the rails and twisting itself into angsty-wrong for reasons unknown to this writer. The piece starts with some of the frightening images we've all seen from Ferguson and then tailspins into this:

Into a world where Ferguson has now happened, where people around the world are confused and outraged at this type of police appearance and presence, EA is going to release a video game about heavily-armed police blowin' shit up on the streets of the USA. Nathan wrote about people's concerns (and EA's responses) with Battlefield Hardline's subject matter earlier this year, but that was a piece inhabiting a vacant plot of the media and cultural landscape, where the only thing present were those concerns. Now, we have some reality to sit alongside them.

Ah, yes, fantastic point. The company that made a fictional game set in real-world American locales must now be concerned because said game features aggressive and militarized police and Ferguson just happened! Because prior to Ferguson, police were never militarized. Before Ferguson, a militarized police forces had never scared the shit out of everyone. That whole thing after the Boston Marathon bombing where the police shut down a major city and rolled SWAT tanks through the streets? Never happened, yo. Police brutalizing civilians wasn't a thing until Missouri.

Except that none of that is true. The game is a work of fictionalized entertainment and, just because the subject matter might somehow remind some folks of a police issue this country is facing, there isn't a whole lot to do from EA's standpoint. As this article admits, before then wishing upon a rainbow that somehow EA would treat their game product like not-a-game product.

So what are EA to do? Well, there's not much they can do, or to be honest anyone should ask them to with regards to Hardline. The game was announced months ago and is well on its way to being completed...What I'd hope EA do, however, and this goes for all video game publishers, is to take the subject matter a little more seriously next time they want to approach it. There's a deeply unsavory element to casting police as assault rifle-toting warriors, one that in the wake of Ferguson - and its inevitable successors - video game companies would do well to remember and be a little more careful with.

I mean, you can say that if you want, but then you had damned well better be calling for the same thing when it comes to the issue of crime in this country and Grand Theft Auto, the issue of war in this country and something like a third of the games ever produced, the issue of animal cruelty and trades-workers in this country and the Mario Bros. franchise. Or, instead, we could realize that slamming makers of entertainment and art for not flinch-reacting to the news of the day, even really important news, is probably a silly thing to do.

Filed Under: battlefield hardline, ferguson, militarized police, missouri, police, video games
Companies: ea