Let me start by saying I have yet to pick up a copy of The Walking Dead comic, though I hear it is good. However I have watched the television show since the first episode. So I was anxious to download the first episode of The Walking Dead game. Perhaps thirty minutes or so after I started I began to notice that this particular game examines social hegemony and identity in different ways than most video games. I thought that was worth exploring. So I thought I would briefly write about a new hegemony (perhaps) that I see emerging within this game world. Warning: spoilers follow.
This is a character-driven game, and as such, it is the player who has agency to help shape the protagonist Lee. We learn through our choices that he cares for people and is sad when he cannot help them. In addition we know he has a tragic past. Finally we realize he will lie not because he is trying to get away with something, but just because he thinks telling the truth will make things worse.
Now one might think because he is black that race might play some factor in how we view him or how the other characters react to him. Not so. This is good and bad.
Good because it seems that the outbreak of the virus and the resulting zombie infestation has rewritten the social hierarchy so now the remaining social groups are simplified. You have the living and the dead. As a result, ethnicity is not so important. Most of the survivors Lee and Clementine encounter assume they are father and daughter. After a while Lee stops telling them otherwise. Even when people, including Clementine, discover Lee’s crime, they simply accept it. The struggle for survival has cast aside the previous social hegemony.
However the series Walking Dead did not shy away from race. Viewers got a strong taste of racial hatred from characters early on in the series. Perhaps the game will too, which would be refreshing. Too many times gamers do not get to see how the world changes when the character is a woman or a minority. Hordes of zombies will not change that, so why should the game avoid it?
Perhaps it is the case that you cannot have both. There must either be a real-world racial reaction or a new social order based on humans vs. walkers. Of course, and as I wrote earlier, I am still playing through the first chapter. My opinion may change. It may not. It will be interesting to see if my view holds through all the remaining chapters.
When I first read John Sutter’s CNN article detailing how Anders Behring Breivik used Modern Warfare 2 to train himself to kill 77 people in Norway last year I thought “here we go again.” We could now lump this with countless other reports and studies linking video games to violence. As a game scholar, I know that the results of previous studies on game violence and its effects on players have been very mixed. As a former soldier, I know that shooting a weapon in a game in no way prepares you for firing the real thing. By the time I finished the article and read some of the comments, I had already filed it into the nonsense folder.
But then I realized the article missed something.
This is not about how to fire a weapon. That involves aiming, breathing, and trigger squeeze. Neither a mouse nor a controller can teach you to do any of those. Nor can a game in any way provide the feel of actually killing another person. But what it can do in a superficial way is simulate a sense of control when killing many people. In this case, only Modern Warfare 2 could do that. Had the news report mentioned any other game, I would not have given it a second thought. But MW2 is unique among modern shooters for one reason: “No Russian.”
Modern Warfare 2 is one of the games I used in my dissertation. Specifically I used the now infamous “No Russian” scene where your character is deep undercover and forced to participate in the massacre at a Russian airport and I used it because it caused so much controversy. I spent a lot of time analyzing that scene and what I found is that if nothing else, those few minutes allow the player to listen to the panic of “people” fleeing for their lives. In “No Russian” you can gun down dozens of people in a few short minutes. You can even watch the wounded crawl away. Some cower in fear in various corners while others lie dead in pools of blood. MW2 is the only game I know of where your character enters a closed environment with scores of people and systematically guns them down as they try to run, help wounded bystanders, and try to hide behind shelves and columns.
So I ask you: if you planned to commit a massacre, what better game and scene to use? Not Grand Theft Auto. The NPCs in that game can get away as they have open streets to run through. However the airport is a closed space. The people can only run so far. And they never, ever get away. Worse still, another CNN article states that Breivik planned to film the killings on his iPhone. Had he done that, it would have been from a first person perspective, just like MW2.
Of course I don’t know the motivation behind his thinking, but I can imagine him playing that one scene time and again and listening to the screams of people trying to live. Now most of the people in my study dismissed the terror of the “massacre” as simply graphic fiction, something that had no bearing at all on their feelings about violence or their sense of identity. However there were some gamers who would not play that scene because it felt real. And this is the catch: if games are not real and the people we “kill” are not real, then why are some of us bothered by what we do in the game world?
Perhaps to Breivik the idea of cornering helpless people in an enclosed space and killing all of them was the ideal preparation for the real thing as he methodically killed 77 people. I can’t say, but it troubles me to think about him comparing the deaths of game characters to real people. What I do know is that it is a mistake to dismiss violent games because they are games. Obviously most gamers can play shooters and function perfectly in the real world. Other realize that games do affect them and stay away from the violent ones. However there is the third group, small in number, who we should pay attention to when they demonstrate that violent games influence them.
Not that any of this is the fault of Infinity Ward or Activision, the makers of MW2. Ultimately how we use and react to our media is up to us. There is a reason Infinity Ward gave players the option to skip “No Russian.” However I doubt MW2 was the only reason Anders Behring Breivik committed mass murder. I do think, however, that the airport scene allowed him visualize how his real-life victims might react.
This is certainly not the end of the video game violence debate. Our medium has the unique distinction of allowing consumers to interact with the virtual environment and because of that many think the influence is greater than the passive media of television and film. What the research has revealed is that still more research is needed. Yet this case and this particular game show us that we should pay closer attention to the most graphic examples of violence that while extreme, should not define our medium to those who do not play video games.