Games * Design * Art * Culture

Thursday, January 11, 2007

Super Columbine Massacre: The Case for the Prosecution

A friend writes with a lengthy rebuttal to my previous defense of Super Columbine Massacre that I feel is well argued enough to post:

Greg:

I read your post on Super Columbine Massacre RPG! with interest and unease (to give it its orthographically correct title btw--you delete the "RPG" and the exclamation point, but they're part of the actual title and, I think, reinforce its unnecessarily sensational nature).

I think you're so off base on this one that you need to be rebutted, in detail. As you know, I agree with you that games can be art, and that it's reasonable for them to address complex issue. This game, however, and the circumstances of its creation, are so flawed that they do not deserve defense. I don't really have a position on whether or not the Slamdance people were right in kicking it out of the competition--but I do think it's so bad a game that it should never have been included in the first place.

I'm not going to argue that it's bad because the Columbine massacre was horrible, and any game based on it is inherently in bad taste; you're right that this is a straw horse, and in fact, I'd agree with you that any game that was about the massacre but also "insightful, somber, and respectful of its material" would have merit. But to claim that Super Columbine Massacre RPG! is "insightful, somber, and respectful" is either ingenuous or stupid.

In fact, Super Columbine Massacre RPG! seems to have been created specificially to glamorize the murderers, sensationalize and trivialize the tragedy, and create a controversy to promote the designer. In versions of his website that are now available only through web.archive.org, he earlier said:

"CONTENTS: A FREE Role Playing Game (RPG) for your PC devoid of malware, spyware or other junk not related to 'killing as many fuckheads as possible!'"

Somber and respectful, yes? And later:

"FINALLY, remember Reb's ['Reb' was Harris's online handle] words: 'Don't follow your dreams or goals or any of that shit, follow your fucking animal instincts: if it moves kill it, if it doesn't, burn it. Kein Mitleid!'

In other words, it's pretty obvious that the designer is among the sick crew who do indeed view Harris and Klebold as martyrs, in some twisted sense, rather than the psychopathic slaughterers of innnocents that they obviously were.

Later on, he seems to have adopted the defense that the game is intended to raise questions and focus attention on both the proximate tragedy and the ultimate failings of American culture, and is thereby some kind of serious work of art--but my guess is he went this route only after he got some traction in that area from dupes like Ian Bogost and you.

Let's look at the very title: "Super Columbine Massacre RPG!" Yes, I'm sure you'd defend this as a satirical attack on videogames "qua" videogames, but it's also well designed to spur controversy among people who aren't gamers; yes, for us gamers, "Super" conjures "Super Mario Brothers", and the use in connection with "Columbine Massacre" may strike us as satirical, but for the general public, the title as a whole immediately says "offensive disgusting game." Again, there's a clear attempt to court controversy and to sensationalize the material; "somber and respectful" is no where in the picture.

But let's leave aside the developer's own words, and turn, as you do, to specific analysis of the game itself--which I think is the right approach, although my analysis of the "text" (if you can call it such) is very much at variance with yours.

You apparently felt a feeling of nausea at having to kill so many defenseless children while playing the game, and felt that this was one of the points the designer wished to make; I would suggest that this says something about your sensibilities, and not the designer's. "Killing as many fuckheads as possible," remember? Reading posts on the game's forums, I was struck by one that asked why the game didn't record the number of kills you made--typical game-think (more is better), but perhaps a better representation of the game's aesthetic. One of the lessons to be learned from the actual history, by the way, is that Harris and Klebold were not only murderous assholes, but they were incompetent murderous assholes--if the cafeteria bombs had gone off as they'd planned, they would have killed hundreds, and if they'd been more relentless in their actions, they could have killed far more, even without that. We should be grateful, of course, that they were morons, even if murderous morons. Still, it's not at all clear to me that the designer thinks it bad to rack up the highest possible death count; indeed, his statements suggests otherwise.

You also suggest that the RPG conventions to which the game adhere are themselves some kind of purposeful, artistic criticism of the basic conventions of the RPG (killing monsters to gain EP and items). I think otherwise; this is the default for RPG Maker, the application in which the game was built. I would guess the designer didn't bother to make any modifications from the default, because he was more interested in posters of Marilyn Manson (about more which later). In other words, there's no clever artistic criticism of game conventions here; it's simply a use of the existing features of the environment in which the game was designed, with no particular thought given to their implications or impact.

I also wonder how you reconcile the textual description of Harris and Kebold as "brave boys", after each murder, with the notion that this game is "somber and respectful."

The images of the dead and grieving after Harris and Klebold's death, of which you make a great deal, strike me as calculated precisely as a means of deterring criticism--not, as you apparently do, as a partial justification for the gleeful enactment of the massacre that precedes it.

And, as Rampant Coyote says, the very existence of the Hell levels pretty much kicks out the legs under any defense of Super Columbine Massacre RPG!. Maybe if the game had ended with their suicide, you could make the case that this was some kind of tortuous re-enactment with artistic intent; but the Hell levels pretty much make clear that Harris and Klebold are indeed viewed as heroes, in some sense--and their ultimate embrace by Satan as some kind of apotheosis. By the way--what is Jon Benet doing in Hell? The circumstances of her death may have been damnable, but presumably she was an innocent.

Finally, let us turn to what you term "considerable research." Harris and Klebold are, in victory text after combat, repeatedly congratulated for "Another victory for the Trench Coat Mafia." Actually, Harris never wore a trenchcoat until the date of the massacre, when he wore it to hide his weapons; and while there was apparently a clique called the "the trench coat mafia" at the school, the members thereof had graduated years previously. Harris, depicted in an early scene in the game as having a Marilyn Manson poster in his room, claimed to hate rock in preference to techno, Ramstein and Prodigy being favorites; in his room, selecting the stereo starts Nirvana playing, which presumably was also not among his preferred music. In general, the designer seems to like grunge, but Harris and Klebold in fact did not. Then there's the "bullying" cut-scene with Harris; this is another myth. Bullying may or may not have happened at Littleton, but the proponderance of evidence is that Harris was a psychopath and not motivated by any specific grudge.

In other words: Considerable research? Not really.

And as for actual gameplay itself: This game sucks. You yourself allude to the "boring and repetitive" nature of "Final Fantasy-esque combat"; this is understating the case. In the massacre sequence, unarmed children pose no real opposition, and in the Hell levels, the swarms of demons are mere obstacles between you and reaching the end sequence. It's all basically plain-vanilla RPG Maker, with nothing you could characterize as remotely like clever level design--as you might expect from a game designed with shock value, rather than actual gameplay, primarily in mind. Let's not even talk about the repetitiveness of the combat interface, which requires you to select a weapon for each of your characters, every combat round, before resolution.

In short, it's clear to me that your defense of this game is entirely wrong-headed. It's not an "insightful, somber, and respectful" look at the Columbine massacre; it's a sensationalized attempt by a mediocre creator attempting to garner attention. It's not a "game that approaches the status of art;" in fact, as a game qua, it pretty damn bad. And while someday there might be a game of Columbine that does not "trivialize a tragedy," this ain't it.

posted by Greg at 2:41 AM 28 comments

28 Comments:

So ... his argument essentially boils down to "I don't like it, and I don't agree with it, so it's not art?" Because if that's the measure, then half the Louvre is out this week, thankfully.

In the context of "is it a good game?" there's a whole passel of good reasons it's not, many of them argued eloquently here. But is that sufficient reason to remove the issue of "art?" Lots of "Outsider art" is crappy painting and talentless hacking at innocent bits of wood. "Killing as many fuckheads as possible" seems positively understated promotion compared to the sheer mind-rending horror of how lousy as actual constructs much of "Outsider art" is ... but it's still considered art.

"This game sucks" is fairly valid. It's a lousy, badly-designed game. But on the issue of whether it's ART, I think the point is largely lost. Slamdance's panel itself must consider it so to even pass it as far as they did, and having done so, you'd think they'd have the testicular fortitude to try and support their position for even bad art.

But they didn't. And more's the pity.

By Alexander "SquidLord" Williams, at 3:48 AM

Picking one point of many:
"I also wonder how you reconcile the textual description of Harris and Kebold as "brave boys", after each murder, with the notion that this game is "somber and respectful.""

Irony. They're not in any danger in any of the fights. There's nothing brave in what they're doing whatsoever.

Its compounded irony upon irony upon irony is one of the game's many weaknesses, of course, but it's deliberate and hits its points. I disagree with Greg on that it's "respectful" - but it *does* take the events (and games) seriously, and has things it wants to say about it.

(The trenchcoat mafia comment comes under the same thing: picking up on stuff that simply wasn't true. Same as Manson - alternating between mocking what people "knew" about the event and talking about what really happened)

The research is interesting, because it really *is* researched. Where it fails is actually where it cheats with the actual facts more insidiously to overtly romanticise the pair, such as the whole section involving how nothing was ever the same again after that confessional phonecall to the older woman revealing his true age. The implication is that if that had turned out better, maybe he'd have been fine. Except they were planning the actual attack 6 months before that.

It's not a great game or a great work of art, but it is art and worth a bit more consideration than most have given it.

KG

By Kieron, at 7:20 AM

This is the second time I've seen this particular passage quoted by someone attacking the game:

"CONTENTS: A FREE Role Playing Game (RPG) for your PC devoid of malware, spyware or other junk not related to 'killing as many fuckheads as possible!'"

I note the inclusion of the internal quotation marks; presumably the full quote comes from the original site, and the the internal quotation marks were present on the original site.

Not having done any research myself on Columbine, I don't know for sure, but it seems likely in context that the quoted words belong to either Harris or Klebold. But neither attack against SCMRPG! that mentioned this quote seems to have considered this property of it (as far as I can tell they're reading them as "sign-maker" quotes--emphatic). And they take it as self-explanatory that the full quote is evidence of exploitation. But if it is a quote, then if you strip it out you're left with an entirely inoffensive frame. Yes, the text as a whole seems tasteless if you ignore this aspect of it, but I think there's something much subtler going on if you don't (and if, indeed, it is a quote like I'm guessing it is).

And so, let's just suppose, perhaps he meant it as a serious study of Columbine all along, but based on feedback realized that people were taking that text the wrong way and so replaced it with something less likely to be misinterpreted.

And poof, that whole part of the argument is gone. (Similar analysis seems to apply to the rest of it.)

I mean, of course I could be wrong, and his goal could secretly just be exploit exploit exploit, but I just don't see the supposed evidence.

By Sean B, at 10:53 AM

All this does is steer the conversation away from the slamdance festival. Regardless of what you think about the game, what happened here trivializes game developers contributions.

Is the attempt of the site to talk more about the game and less about the competition an attempt to keep the PR link up for commercial purposes? It seems then that Manifesto has decided that they would rather support the press machine than the talent.

Why is that the case?

By Anonymous, at 11:58 AM

Let's assume for the sake of argument that Greg's friend is correct in every possible way. It doesn't change anything about the Slamdance situation. The Slamdance situation is far more important that SCMRPG itself. SCMRPG is old news. Slamdance chickening out is the real topic. If the game is so terrible on every possible level, surely it will fail miserably in the competition. But the game isn't being given that opportunity. It's dishonest and cowardly.

By Anonymous, at 12:25 PM

"So ... his argument essentially boils down to "I don't like it, and I don't agree with it, so it's not art?""

I don't think that was the argument at all. The point I got out of it is that this game, in his view, is more hate / violence literature than it is art.

Are we really so insecure about having games recognized as "art" that we're unwilling to hear a discussion on whether or not a game's artistic merit falls short of justifying its offensiveness?

(Disclaimer: Haven't played the game, not commenting on it, just on the debate that's ensuing around it.)

- josh g.

By josh giesbrecht, at 12:27 PM

It does seem fairly clear-cut:
1. The judges found it worthy of inclusion.
2. The festival chose not to include the game anyway.

Whether the judges made a mistake is somewhat orthogonal to whether the festival made a bad move.

By starwed, at 12:35 PM

Excellent reading Kieron.

I think the significance of the game lies in its exploration of an entire dimension and domain of design that has been largely underexplored by both indies and industry - even though its design as such is minimally interactive and unpolished.

By Patrick, at 3:49 PM

"I don't think that was the argument at all. The point I got out of it is that this game, in his view, is more hate / violence literature than it is art.

Are we really so insecure about having games recognized as "art" that we're unwilling to hear a discussion on whether or not a game's artistic merit falls short of justifying its offensiveness?"

So, the question becomes whether or not something is offensive defines whether or not it's art? Offensiveness has to be justified?

If something you call hate / violence literature is NOT art, then there's something inherent to the state of offense that makes things that would otherwise be thought of as art into non-art? Are there works of literature which aren't art? If so, do we make that decision on the grounds of offensiveness ...

... or even quality?

Most of the things on the WB are pretty much crap, in my opinion, but I'm sure there are creators, writers, graphic artists on those shows that think of what they do as art. (For some of them, I might even agree it's not craft.) But judging the artistic state of their efforts based on whether I like it seems to be the very issue that folks are upset about as regards Slamdance.

Is SCMRPG an example of bas CRAFT? Very likely, certainly debatably. Is SCMRPG an example of bad art? Possibly, certainly debatably. But is it not art at all? Can you really say that with a straight face?

As Anonymous says: "The Slamdance situation is far more important that SCMRPG itself. SCMRPG is old news. Slamdance chickening out is the real topic. If the game is so terrible on every possible level, surely it will fail miserably in the competition. But the game isn't being given that opportunity. It's dishonest and cowardly."

I think that really goes to the heart of the matter.

By Alexander "SquidLord" Williams, at 6:11 PM

I think *some* games can be art, just as *some* tv shows reach that category. You can even say that *all* games and TV are art if you wish. I won't join you in that view myself, but you can defend it without much of a problem.

The question is: If we aceeot it *is* art, should *everything* then be up for an award, or are there some versions of art that are so morally compromised in their intent and execution that whatever merit they possess is made virtually worthless, and thus shouldn't receive recognition? From both pieces I've read on this site about SCM it seems to be a clear-cut case of being in the second category.

It's not about whether it deserves a shot to win an award or not, it's morally unacceptable to give it any recognition at all as a nominee, as it seems to have been conceived as a lazy excuse to poke fun at Columbine at best, and an attempt to sympathise with the psycopathic killers at worst. I love games, I play several hours a day if I can, but this makes me feel slightly unclean.

Chris, UK

By Anonymous, at 5:23 AM

"If we aceeot it *is* art, should *everything* then be up for an award, or are there some versions of art that are so morally compromised in their intent and execution that whatever merit they possess is made virtually worthless, and thus shouldn't receive recognition? From both pieces I've read on this site about SCM it seems to be a clear-cut case of being in the second category."

And who makes that decision? You? Me? Who gets to make that call today? Tomorrow? Are you willing to accept the ultimate responsibility for that decision?

As such, yes, I think we pretty much have to consider it "art," because any other choice is moral suicide, turning over the decision today or tomorrow to someone we're pretty much guaranteed to disagree with about some of the moral or ethical underpinnings of society. Moreover, it deserves to be CONSIDERED for any award with any pretense of covering games-as-art, just like any award that considers literature-as-art has to consider Mein Kampf, no matter its content.

That doesn't demand or even recommend that they WIN, but it does demand they be considered for the simple awareness that what you or I might LIKE we would prefer be in the running and not eliminated just because someone else decided that it was non-art. Simple self-preservation, really.

I feel unclean when I watch what passes for journalism in this country. I don't recommend as a result journalism not be considered an art. (I'd far prefer it if the creators of it considered it a worthy craft, mind.)

By Alexander "SquidLord" Williams, at 5:32 AM

From the original post:
I think otherwise; this is the default for RPG Maker, the application in which the game was built.

Yes, but the choice to use RPG Maker was made. Admittedly, it could be that RPG Maker made it easier to put together a game on a limited budget with a team of one. But, this a game with this theme could be made using an FPS engine as well. The developer didn't, yet a choice was made. I think it's poor criticism to complain that the developer didn't rewrite the engine.

Josh Giesbrecht wrote:
The point I got out of it is that this game, in his view, is more hate / violence literature than it is art.

Perhaps, but that doesn't mean it's not art. Take a book like Lord of the Flies, for example; what is this book all about? It's about boys acting violent when not in the company of adults. It's about kids fighting and killing each other. What's the message? "Boys can be cruel to each other?" I don't need a book to tell me that. So, really, the book is essentially violence fantasy literature. At the extreme, you could claim that it even encourages certain behaviors; as a pudgy kid with glasses in school, I got quite a bit of Piggy-themed teasing after the class read that book.

Yet, this book is celebrated as classical literature even though, on the surface, the book has little of redeeming value. Yet, if you dig a bit deeper (as "dupes" like Greg and Ian Bogost have done for the Columbine game), you can find quite a bit of insight. If you judge a book by its cover (which seems what most critics are doing), it can be hard to find the artistic merit. Yes, it'd be easier of the game were better made and more consistent, but we don't have that luxury here.

My thoughts,

By Psychochild, at 10:07 PM

It's an interesting parallel to consider the potential restriction of free speach rights in light of the various game related flaps and the restrictions on 2nd amendment rights in light of the various firearm related incidents.

I think in both cases we have to admit that our rights are not absolute and taking academic excursions into areas that stretch the envelope just might redefine the limits of acceptability and lead to further restrictions.

By Anonymous, at 2:32 PM

Man. If the lame defenses of this game are the best that Indy gaming thought has to offer, then I'll be happy to stick with commercial games. EU3 demo is out today, and that sounds great.

1. The question of "not art" vs "totally craptastic offensive, dont touch it with a ten foot pole art" is academic. When "art" is so bad, it may still be "art" but is not entitled to any of the privileges that "art" is sometimes given. If you dont think "art" deserves any privileges, thats fine. But if you do, like the privilege to be taken seriously, then totally craptastic art is not "art" for that purpose.
2. If the New Yorker had published an article as crappy as this game sounds, that would have been junk too.
3. Other art forms, after they had moved from being "just fun" or whatever to being privileged, and before they moved to being iconoclastic, had standards of taste. Duchamps was possible BECAUSE of the Renaissance, because of the Romantic cult of the artist, etc, etc. "Art" in painting was already established before the modernists assaulted it with irony (And im talking about good ironists, not purveyors of pure tasteless junk) IF games are going to be established as art, they need a period of being serious first, before the irony starts. Maybe its too late for new art forms. I would suggest this afflicts video, performance art, and other new art forms. They had the misfortune to be born too late, when criteria for taste and quality could no longer be established, and thus could not be torn down.

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