Recent statements by Jessica Price over at the company that makes Pathfinder have sparked some Internet debate about Internet debate.
All I'm going to say about that here is while no you don't have to have a conversation with everyone who wants to have a conversation with you and you don't have to have a conversation when they want to have it, you do have one obligation.
...or at least if you want to publicly claim that something is important you have one obligation.
The obligation is this: you need to have (or do your best to have) a solid, internally-consistent answer for every single question anyone might ask about your important idea even if you are too tired to give that answer to any specific person on any given day or at any given time.
I take this time to say this because there are a lot of questions folks in the mainstream RPG scene don't have any answer for and have consistently avoided by shifting the issue from articulating and weighing their actual values to articulating and weighing how angry they are that the question got asked in a given venue by a given person.
And since this is a Saturday, and since we've been here before, and since this blog has been around long enough that things get lost in the shuffle and since it's very relevant to all the questions about representation in games nobody seems to have answers for, the rest of this is a re-post about some questions that--two years later--still haven't been answered:
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The Nazi Games
People get stuck on boring, kindergarten-level questions like "Can art affect people?" (Yes) "Can art be racist, sexist, etc?" (Yes) "Can art be unconsciously those things?"(Yes) "Can fiction be racist, sexist?" (Yes, but it's relatively rare) "Should we avoid offending people at all costs?" (No) and "Should we censor things" (No) and pretend the argument is about that. Here are some questions which are for adults.
I chose Jewishness as an example because it is a form of marginality (however minor, in the US in 2015) that I can claim by birth--I am not, myself, religious--but these questions are still meaningful when ported to other, considerably more marginalized, groups of people. Feel free to substitute in other forms of marginality and re-ask. So here we go-- the easy ones are first, but they presage the more complex issues that people pretend are already solved:
1. Hitler writes a game. He intends it to clearly reflect his worldview but he's so bad at writing, no-one can understand it and it has no effect on anyone.
Is it anti-semitic? Why or why not?
2. The author of this game harbors no prejudice and is kind to everyone -- this is publicly known and is privately true. Or at least as true as it can be of anyone. No-one has ever even suggested she harbors any bigoted feeling or idea. She has sacrificed a great deal for the well-being of the marginalized.
Her game is rancid with prejudice, Jews are called kikes, every race is slurred and degraded. The imagery and experience system suggests it is heroic to slaughter anyone less well-off than wealthy blonde white men--and it is written at a level suggesting it is for children. Her motives are unclear: perhaps she wrote it as a kind of cathartic exercise to purge herself of wicked thoughts, perhaps simply as an intellectual challenge to write in a voice that was not her own--it's impossible to be sure.
However, this game is unreadable. It is written in a language that was lost forever and will never be remembered or recovered, even by the author. No-one knows anything about it.
Is it anti-semitic? Why or why not?
3. The motive behind the game is repulsive -- it seeks, proactively, to begin a race war. The author is unimaginably racist. No-one knows any of this.
The game is a ridiculous failure in its secret purpose and nobody even notices the racial overtones, they are so clumsily coded and poorly written. It comes across as a charmingly inept kind of Gamma World or Mutant Future.
A prominent celebrity of color is quoted as saying he is a fan. Its odd and accidental charm makes it not only popular but immensely, disproportionately popular among players of color. A statistically meaningful number of people who aren't white take up the hobby because of it. People who do play it generally walk away with a greater feeling of tolerance toward others than they walked in with. Universities where they study games, like UCLA and Columbia -- notice these things and report them. The results are confirmed. This goes on forever.
Is the game anti-semitic? Why or why not?
4. Hitler writes a game. Or maybe Goering or Goebbels. Or the Grand Wizard of the Klan.
Nobody knows they are the author. They die.
The game is discovered later, author unknown. It is published, embraced. It has no content anyone ever accuses of being racist. It seems considerably less ideologically loaded than, say, Pong, to anyone whoever plays it. Let's say: even in these fraught times, it attracts less racial critique than any other RPG ever, though it is popular. The audience is skewed in no particular way. Social scientists can detect no notable change in attitude among people after playing the game. In fact: there is none.
Is the game anti-semitic? Why or why not?
5. The game is produced with the best will in the world by the most progressive soul imaginable -- but not the most talented. It becomes popular.
Because it is kind of dull or because of the social circles through which it propagates or for some other reason that's difficult to trace, the earnest (and in no-way detectably offensive) game only manages to acquire a very WASPy audience. It changes their attitudes in no way, as it was preaching to the choir. Because it is popular, it actually makes the RPG audience less Jewish and more WASPy than it already was.
Is the game anti-semitic? Why or why not?
6. A Jewish person produces a game. They harbor no self-hatred. Exactly half the Jewish community finds it offensive and anti-semitic. The other half doesn't and, in fact, hails it as a vital exploration of social issues essential to the community that couldn't have been addressed any other way. It changes the game audience in no way and there are no detectable changes in peoples' attitudes about race after playing or reading it.
Is the game anti-semitic? Why or why not?
Is the game anti-semitic? Why or why not?
8. A person bearing no prejudices produces a game. It is broad and written for children and relies on stereotypes about people of many ethnicities either because they're oblivious or because they think this is a good way to get ideas across to children. It is incredibly popular among people of precisely those ethnicities and encourages everyone who plays it to learn more about those cultures. It is, in fact, more popular among a diverse audience than an earlier, less stereotype-riddled version of the same game.
Is the game anti-semitic? Why or why not?
9. A progressive person produces a game full of progressive ideas about people of all ethnicities, including Jews. It is dull and (measurably, like in a lab) makes people think these kinds of games suck.
Is the game anti-semitic? Why or why not?
10. 30% of Jews say the game is anti-Semitic and offensive, 70% say it is a vital exploration of social issues essential to the community that couldn't have been addressed any other way. It has not other measured social effect on the audience or the audience's attitudes.
Is the game anti-semitic? Why or why not?
11. A person bearing no prejudice produces a game. 10 Jewish people play it and are offended and say it's anti-semitic and never play RPGs again. 10 Jewish people love it and have the best experience of their gaming lives and go on to do a great many game things. It has no effect on anyone's attitudes about prejudice except the offended people--people who like it just say it's fun.
Is the game anti-semitic? Why or why not?
What if 20 Jewish people love it?
90?
2000?
Only 2?
12. A game divides the Jewish community. All the Jewish people you get along with and think are smart consider it a vital and necessary exploration of their identity. All the ones you don't and think are stupid consider it anti-semitic.
Is it? Why or why not?
13. A game is produced by a superlatively progressive person. The game is for adults. It has no measurable effect on the attitudes of adults or on the demographics of the adult audience.
It is not for children, but if children were to play it, they have a chance of adopting anti-semitic attitudes.
Is the game anti-semitic? Why or why not?
14. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: people who have anti-semitic beliefs are more likely to take an anti-semitic action after playing.
Is the game anti-semitc? Why or why not?
If so: is beer therefore anti-semitic? Why or why not?
15. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: stupid people are more likely to be anti-semitic after playing.
Is the game anti-semitic? Why or why not?
16. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: mentally ill people are more likely to be anti-semitic after playing.
Is the game anti-semitic? Why or why not?
Is the game anti-semitic? Why or why not?
18. Progressive author. Fun, popular game. The game is old: the game's measurable effect on the audience at the time was to diversify the audience and make it more progressive. No Jewish people at the time were offended. However, now, looking back, there are elements which are not as progressive as the language we use today -- however the style of the game is so dated that everyone who reads it, looks at it or plays it has a level of historical distance or irony akin to when they read the casual references to Jewish bankers in 19th century novels. It is not for children. It has no measurable effect on anyone's attitude now that social science can detect.
Is the game anti-semitic? Why or why not?
Is the game anti-semitic? Why or why not?
20. Progressive author. Fun, popular game. No measurable effect on participants' attitudes or the wider game world's demographics. However, it is written in english and english is a language and so contains inherently racist constructions like "Hip hip hooray".
Is the game anti-semitic? Why or why not?
If not--how many Jewish people must claim to be offended before it is?
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All I'm going to say about that here is while no you don't have to have a conversation with everyone who wants to have a conversation with you and you don't have to have a conversation when they want to have it, you do have one obligation.
...or at least if you want to publicly claim that something is important you have one obligation.
The obligation is this: you need to have (or do your best to have) a solid, internally-consistent answer for every single question anyone might ask about your important idea even if you are too tired to give that answer to any specific person on any given day or at any given time.
I take this time to say this because there are a lot of questions folks in the mainstream RPG scene don't have any answer for and have consistently avoided by shifting the issue from articulating and weighing their actual values to articulating and weighing how angry they are that the question got asked in a given venue by a given person.
And since this is a Saturday, and since we've been here before, and since this blog has been around long enough that things get lost in the shuffle and since it's very relevant to all the questions about representation in games nobody seems to have answers for, the rest of this is a re-post about some questions that--two years later--still haven't been answered:
-
-
-
-
The Nazi Games
People get stuck on boring, kindergarten-level questions like "Can art affect people?" (Yes) "Can art be racist, sexist, etc?" (Yes) "Can art be unconsciously those things?"(Yes) "Can fiction be racist, sexist?" (Yes, but it's relatively rare) "Should we avoid offending people at all costs?" (No) and "Should we censor things" (No) and pretend the argument is about that. Here are some questions which are for adults.
I chose Jewishness as an example because it is a form of marginality (however minor, in the US in 2015) that I can claim by birth--I am not, myself, religious--but these questions are still meaningful when ported to other, considerably more marginalized, groups of people. Feel free to substitute in other forms of marginality and re-ask. So here we go-- the easy ones are first, but they presage the more complex issues that people pretend are already solved:
--
1. Hitler writes a game. He intends it to clearly reflect his worldview but he's so bad at writing, no-one can understand it and it has no effect on anyone.
Is it anti-semitic? Why or why not?
--
2. The author of this game harbors no prejudice and is kind to everyone -- this is publicly known and is privately true. Or at least as true as it can be of anyone. No-one has ever even suggested she harbors any bigoted feeling or idea. She has sacrificed a great deal for the well-being of the marginalized.
Her game is rancid with prejudice, Jews are called kikes, every race is slurred and degraded. The imagery and experience system suggests it is heroic to slaughter anyone less well-off than wealthy blonde white men--and it is written at a level suggesting it is for children. Her motives are unclear: perhaps she wrote it as a kind of cathartic exercise to purge herself of wicked thoughts, perhaps simply as an intellectual challenge to write in a voice that was not her own--it's impossible to be sure.
However, this game is unreadable. It is written in a language that was lost forever and will never be remembered or recovered, even by the author. No-one knows anything about it.
Is it anti-semitic? Why or why not?
--
3. The motive behind the game is repulsive -- it seeks, proactively, to begin a race war. The author is unimaginably racist. No-one knows any of this.
The game is a ridiculous failure in its secret purpose and nobody even notices the racial overtones, they are so clumsily coded and poorly written. It comes across as a charmingly inept kind of Gamma World or Mutant Future.
A prominent celebrity of color is quoted as saying he is a fan. Its odd and accidental charm makes it not only popular but immensely, disproportionately popular among players of color. A statistically meaningful number of people who aren't white take up the hobby because of it. People who do play it generally walk away with a greater feeling of tolerance toward others than they walked in with. Universities where they study games, like UCLA and Columbia -- notice these things and report them. The results are confirmed. This goes on forever.
Is the game anti-semitic? Why or why not?
--
4. Hitler writes a game. Or maybe Goering or Goebbels. Or the Grand Wizard of the Klan.
Nobody knows they are the author. They die.
The game is discovered later, author unknown. It is published, embraced. It has no content anyone ever accuses of being racist. It seems considerably less ideologically loaded than, say, Pong, to anyone whoever plays it. Let's say: even in these fraught times, it attracts less racial critique than any other RPG ever, though it is popular. The audience is skewed in no particular way. Social scientists can detect no notable change in attitude among people after playing the game. In fact: there is none.
Is the game anti-semitic? Why or why not?
--
5. The game is produced with the best will in the world by the most progressive soul imaginable -- but not the most talented. It becomes popular.
Because it is kind of dull or because of the social circles through which it propagates or for some other reason that's difficult to trace, the earnest (and in no-way detectably offensive) game only manages to acquire a very WASPy audience. It changes their attitudes in no way, as it was preaching to the choir. Because it is popular, it actually makes the RPG audience less Jewish and more WASPy than it already was.
Is the game anti-semitic? Why or why not?
--
6. A Jewish person produces a game. They harbor no self-hatred. Exactly half the Jewish community finds it offensive and anti-semitic. The other half doesn't and, in fact, hails it as a vital exploration of social issues essential to the community that couldn't have been addressed any other way. It changes the game audience in no way and there are no detectable changes in peoples' attitudes about race after playing or reading it.
Is the game anti-semitic? Why or why not?
--
7. A white anglo-saxon protestant produces a game. They harbor no anti-Semitic feeling. Exactly half the Jewish community finds it offensive and anti-semitic. The other half doesn't and, in fact, hails it as a vital exploration of social issues essential to the Jewish community that couldn't have been addressed any other way. It changes the game audience in no way and there are no detectable changes in peoples' attitudes about race after playing or reading it.
Is the game anti-semitic? Why or why not?
--
8. A person bearing no prejudices produces a game. It is broad and written for children and relies on stereotypes about people of many ethnicities either because they're oblivious or because they think this is a good way to get ideas across to children. It is incredibly popular among people of precisely those ethnicities and encourages everyone who plays it to learn more about those cultures. It is, in fact, more popular among a diverse audience than an earlier, less stereotype-riddled version of the same game.
Is the game anti-semitic? Why or why not?
--
9. A progressive person produces a game full of progressive ideas about people of all ethnicities, including Jews. It is dull and (measurably, like in a lab) makes people think these kinds of games suck.
Is the game anti-semitic? Why or why not?
--
10. 30% of Jews say the game is anti-Semitic and offensive, 70% say it is a vital exploration of social issues essential to the community that couldn't have been addressed any other way. It has not other measured social effect on the audience or the audience's attitudes.
Is the game anti-semitic? Why or why not?
--
11. A person bearing no prejudice produces a game. 10 Jewish people play it and are offended and say it's anti-semitic and never play RPGs again. 10 Jewish people love it and have the best experience of their gaming lives and go on to do a great many game things. It has no effect on anyone's attitudes about prejudice except the offended people--people who like it just say it's fun.
Is the game anti-semitic? Why or why not?
What if 20 Jewish people love it?
90?
2000?
Only 2?
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12. A game divides the Jewish community. All the Jewish people you get along with and think are smart consider it a vital and necessary exploration of their identity. All the ones you don't and think are stupid consider it anti-semitic.
Is it? Why or why not?
--
13. A game is produced by a superlatively progressive person. The game is for adults. It has no measurable effect on the attitudes of adults or on the demographics of the adult audience.
It is not for children, but if children were to play it, they have a chance of adopting anti-semitic attitudes.
Is the game anti-semitic? Why or why not?
--
14. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: people who have anti-semitic beliefs are more likely to take an anti-semitic action after playing.
Is the game anti-semitc? Why or why not?
If so: is beer therefore anti-semitic? Why or why not?
--
15. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: stupid people are more likely to be anti-semitic after playing.
Is the game anti-semitic? Why or why not?
--
16. Progressive author. Fun, popular game. The game has only one sociological effect on the audience and it is measurable: mentally ill people are more likely to be anti-semitic after playing.
Is the game anti-semitic? Why or why not?
--
17. Progressive author. Fun, popular game. Smart people become less racist when they play the game and understand important issues better and more viscerally, stupid people become more racist. There is no other way to address the complex issues in the game except via playing the game in its current form -- it, for example, requires people to adopt roles of real-life Jewish people who were guilty of banking-related crimes.Is the game anti-semitic? Why or why not?
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18. Progressive author. Fun, popular game. The game is old: the game's measurable effect on the audience at the time was to diversify the audience and make it more progressive. No Jewish people at the time were offended. However, now, looking back, there are elements which are not as progressive as the language we use today -- however the style of the game is so dated that everyone who reads it, looks at it or plays it has a level of historical distance or irony akin to when they read the casual references to Jewish bankers in 19th century novels. It is not for children. It has no measurable effect on anyone's attitude now that social science can detect.
Is the game anti-semitic? Why or why not?
--
19. Progressive author. Fun, popular game. It offends only extremely, orthodox conservative Jews who have some sexist or homophobic ideas built into their way of doing their religion. But it does offend pretty much all of them.Is the game anti-semitic? Why or why not?
--
20. Progressive author. Fun, popular game. No measurable effect on participants' attitudes or the wider game world's demographics. However, it is written in english and english is a language and so contains inherently racist constructions like "Hip hip hooray".
Is the game anti-semitic? Why or why not?
If not--how many Jewish people must claim to be offended before it is?
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21. Let's assume you are not Jewish but you hold the purse strings at a company about to give money to the author of game 7 above money for another project. Let's assume that for whatever reasons you need to decide whether their game was anti-semitic or not and back that decision with your money.
Can you? Or do you leave that to Jewish people to decide? And assuming they are split -- how do you decide?
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