In a 2016 interview, Escape from Tarkov says designer Pavel Dyatlov women were not in the game because they "can't cope with that pressure." Following a renewal of comments last week, Studio Fightstate's studios took to Twitter to distance Dyatlov's statements. They noted that the "lore game" and the extra production needed to achieve women was the reason that prevented them from doing so. Media companies were listed to indicate skepticism. The Verge he called for an excuse "It's bad." Forbes pointed statistics regarding women's registries.
In a 2014 interview, Coalition of Assassins & # 39; s City says creative director Alex Amancio women were not in cooperative play mode because they would be "double pictures, double words, all double and tangible goods." It can be expensive, it takes time. Media channels reach the list show doubt. An go inside PC Gamer she cried “the sad idea ”that women were free. Time he called the situation "It's particularly disappointing." Even the experts at Ubisoft weren't sure; the former Cassassin & # 39; s Creed 3 Director of animation Jonathan Cooper suggested the size of the work was not as large as it was supposed to be.
On the face of it, this discussion does not mean that they are women you should representation. That is not common sense. The answer is yes. But instead of addressing the question of whether sports you should varied and reacted accordingly, people continue to find ways to rephrase it as a question of whether can steal, reduce their own sensitivity. And so the gaming culture revolves around the drain and repeats the same conversations.
We had a discussion about installation, one way or the other. We're reaching some kind of "awareness," or something. But then the conversation is repeated. There will always be another Tarkov, another Battlefield V, another Excessively high. There will always be new fears: cost, saturation, "accuracy." deposition of female soldiers in Battlefield V resulted in historical commentators losing their minds on the idea that a woman could do more during the war than failing from the onset of the "hoops." block conversation on topic "historical accuracy."
I've been working on games – I'm very sorry for the fact that developers need time to add new features. True! But after years of similar issues of the same issues previously observed, it is clear that these conversations do not happen at all in good faith. Projects can and do not get caught up in the flow of the feature. Understanding your rating is important; no one is complaining to developers of making sure they don't use them to sin. (Except, maybe, if you haven't added all the Pokémon to your game.) Anyway, Tarkov & # 39; s developers are muddying the waters when they say "sad reasons" that keep them from doing more. They create a load! They can break if they want.
It's a reminder to ask why so many games are organized without women in the first place. What are the basics, and which players are considered to be the default? I tend to disagree Most commonly womenThe method of gender criticism — it's not novel or bold to ask, * gasp, * if a princess can save herself — but their annual breakdown of people's interpretation of new games helps. For example, 41 percent games at E3 2016 it includes only male protesters. Three percent include women only, and 49 percent allow players to customize their character. There has been a change since then. Women protagonists accounted for 9 percent of the games last year at E3, and 66 percent allow players to customize their character. That development reflects a shift in the way the industry views demographics, a willingness to allocate resources to reflect. But still we often see developers designing some automation. Tarkov he is a punishing military soldier. Obviously men are wrong, aren't they? If more women are playing now, online packs would be surprised that War Games has rebelled against social justice warriors and even women who don't even play Tarkov. Unless we play games as Tarkov and Player Battlefields Unknown and Insurance. Some of us work well.
Either way, there will always be the endless question: Women, are they capable of doing things? What are their options? As long as we continue to allow people to pretend that you have not been answered, they will always treat you as an unresolved issue.
In the & # 39; 40s and 80s, video games have been classified as toys and store games. This has not changed much in the 1990s, when marketers took two very important things: games were about kids, and those kids were boys. Those considerations helped to form the basis for the ownership of the gaming system. It was a place of bliss, a place of escape from reality, and that space was for men. You can be cool games to play, even if those instruments made in the lunchroom or the playground are incompatible. You can have your name unfinished at the highest levels of the arcade cab; you could beat The castlegumi and brag about it to your friends. Technology, hero.
But marketing focused on first-day toys works very well. The captains and books talked about how to play so many games rot your brain and turn you into violent. Thus began the age of cultural intolerance in sport. Games and its players began to desire more than their space to exist. Games were not toys; they become art! The longing for power acknowledgment continued for decades, passing Zelda History: Ocarina of Time, a game whose large scale reflects true art; through Half life, who pioneered a new and effective form of storytelling; through Morrowind, a myth that conveys contradictions in terms of novels.
The cultural conflict started at Roger Ebert & # 39; s “Video Games Will Never Be Art, ”A piece of writing that continues to be used in the outrageous rage to this day. In the essay, Ebert combined art as a deliberate product of individual creators and wondered if games could fit that frame. Players, who can interact with games in unexpected ways, incorporate this artistic meaning. He couldn't find any serious lovers like Fear particularly impressive. As Red Redemption and Major Outcome 2 came in 2010, the same year that Ebert wrote-on budgets to match any film, it felt like people just didn't understand the games, god knows.
During the days of Jack Thompson or poorly organized FOX News angry for at Great Outcome sex scenes, that feeling made little sense. Moral fears were real; games have been an indicator. But now, more people than ever play games. Video industry revenue in 2019 were started to reach $ 152.1 billion, much higher than that of the films. Portable gaming, a space sometimes mocked by hard-working helpers, is so clever that you can just call a random person's hand on a train and find some kind of game on it. People understand sports, because they live with sports every day. They buy games and play games, and the usual places they write about games. Some of those stores started it all verticals specifically mentioned sports. But as “traditional” players find themselves becoming more and more populous – people of color, women – there is a cultural conflict between those who want to recreate a particular gaming idea and those who want to redefine what sports are and how they should be discussed. At the moment, it doesn't seem to matter that there is nothing left to prove when it comes to the power of sports as a cultural center.
Opening the conversation in line with the art world makes it easy for people to use "historical accuracy" and "facts" as a cudgel to dispel further criticism about image placement in video games. Take the year of 2018 Kingdom Come: Deliverance. It was popular with Steam but drew criticism for it a statement from director Daniel Vávra that “there were no black people in ancient Bohemia. Time. It was intended to apologize for the lack of color in the game, and although the statement was made in 2015, the game was followed by its release. But that argument has already been proven to be unreasonable of 2015 Polygon piece by critic Tauriq Moosa. In “Colorblind: On Author 3, Rust, and the Problem of Racism, "he used Postman 3: The Wild Hunt to talk about the uneven appearance of races in sport. Almost everyone in this game was white, except for monsters. Moosa didn't ignore the context of the game—Witch it is a Polish product Tradition-but concluded that “Things are not equal. We are not in the space depicting the majority of Indian men, Chinese women, or those focusing on issues from Africa. We are part of an industry that often deals with the stories of white people and white stars. This was met with the kind of anger you can imagine, but it was a strange thing. It is still there today.
If games are art, we should treat it that way. An important part of that is to break the cycle talk, to dispel today's issues and to emphasize the content of the new media. Audience spread means accounting for changing taste and mood. This means acknowledging the growing concerns of queer players, people with disabilities, people of color and other names that were not heard in the traditional days. Did you really beat the game? Should we even care about “papers”? Do we have ours? Citizen Kane? Stop, please. We don't have to keep asking "it's the art of the game" until we all die in the upcoming Resource Wars.
The Internet has a short memory. We will find ourselves rehearsing from time to time, but repetition abounds with every “new” fandom or stadium debate. Media members start issues, sometimes complying with soundtrack and pulling rates. That emphasis comes from just the right place – usually the desire to get back into speaking and the process of integrated language – but only after discussing if Sec Politically (it is), we need to ask this question every time Tom Clancy's property is released? Of course not. We have been there and done that, and we don't need to change that shit. Slowing down old conversations, whether on social media or in organizations, simply reinforces the idea that these are the only conversations you should have. The job is done, Rambo.
Some of these are simply demographics. Most high profile people who make games and are full of platforms talking about them are still white men. I am there written about this before; part of the solution is to simply give different people more control over the creative processes. (Please note that this article has some dates, starting in 2016.) But one reason this debate is repeated and ongoing is because video games are a place where the conflicting notion of "debate" is rife. The current concept of civil debate leaves a lot of room for misconceptors – people who ask for information, find it and submit scams. Influenced by the online chat culture and toothless journalist of "bothsidesism," people are taking bail because they think they can convince these people. It turns out that it was impossible.
The Groundhog Day Many discussions of game culture are not limited to political orientation or representation. Last year Sekiro: Shadows Die Twice give a talk about simple methods and complex slides containing random classifications such as dialogues. An ordinary painter appeared: Why should an engineer be forced to do anything? (This is bad faith question arises in discussions of diversity and.) The challenge is important in informing the game, and holding on to the best players can be a great betrayal to those who overcome those challenges, those professionals, those heroes. These discussions contain the same line of thought: that critics proposing the introduction of these methods want them to be included, as if they had a gun to the developer's head and would pull the trigger unless things were made easier.
The changing reality of people and the reality of gaming demands a change that is in line with how we talk about video games itself. Games are everywhere, and our language needs to be balanced. That means killing specific pieces of jargon or at least embracing other means that reach a wider audience. Our definition of "game" requires fear in order to be included in all forms of play and not just those that are considered strong and acceptable. It was I'm home the game? Certainly, as it were Candy crush and The mountain or what may be the focus of our activities in sport has changed; what people want from games varies. Traveling by bus for old conversations, shutting yourself down after days-long terminology, is another way to tie up the development. Sports have grown. The way we play, and the way we talk, also needs to be done.
