Some developers are pushing back against violent video games - Gratuitous bloodshed and the rise of female gamers have contributed to a backlash

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Atamil mother, recently immigrated to Canada, stirs biryani. Her young son looks on, sniffing the delectable aromas. This is a scene in Venba, a recently released video game attracting attention. Through a series of cooking puzzles—in which players learn to prepare ingredients in the correct order or work out the various items missing from recipes—it offers an emotionally intense family saga, serving up topics like immigration and identity, alongside Tamil food.
Unlike the noisy, big-budget productions that dominate gaming and its public image, Venba is peaceful and gentle. It cost less than $1m to make but quickly managed to break into the top-sellers on Steam, a pc gaming hub, sitting alongside rivals that cost as much as $100m. It might not get the recognition or nearly as many users as “Call of Duty” and “Assassin’s Creed” do. But Venba is important, because it is part of a growing trend of non-violent games attracting both game developers and players.
Recently Steam held a sale, offering nearly 250 “wholesome” games that do not feature any violence. Such a notion would have been impossible until the recent past: there were just so few games that did not involve bloodlust. “The Best Non-Violent Video Games”, a new book by James Batchelor, a gaming expert, celebrates 300 peaceful games from the past 50 years, all the way back to Pong (an early game that features a ball and two paddles, like a virtual game of tennis). More than half of them came out in the past ten years.
Two factors are contributing to the rise of kinder, gentler games. One is a backlash by those who design games. Many independent developers, who can choose their own projects (versus those who work for larger firms), do not want to spend their careers designing games about killing, says Mr Batchelor. Job Stauffer, a game-industry veteran, contributed to violent productions such as the “Grand Theft Auto” series, but has started refusing to work on brutal or murderous ones. “We see media reports of mass shootings and wars day after day,” he explains. “I decided that I didn’t want to be a part of the problem, creating entertainment that involves firing rockets into buses,” he adds.
Chris Chancey, a Canadian game developer, was in the midst of making a combat and adventure game when he learned that four-fifths of the games demonstrated at a leading gaming convention involved violence. This prompted him to change course and design something that cut against the trend. In the resulting game, “Rainbow Billy: The Curse of the Leviathan”, players speak instead of kill each other. It is popular with parents. “I get a lot of messages from parents who want to play games with their kids, but who don’t want to expose them to gore and violence,” he says.
As gaming becomes a pastime for the entire family, it is becoming more diverse, and this is fuelling demand for titles that do not involve pixelated machine guns or swords. When people think about gamers, they often picture them as male and on the cusp of puberty. Some are. But in reality, the average age of people who regularly play games is around 33, and about half are female. Wren Brier, developer of the popular narrative puzzle game “Unpacking”, says the tastes and preferences of women gamers have started to influence developers; many are looking for play where caring and friendship are on display, instead of shooting and domination.
Just like real life, however, peaceful experiences can exist alongside conflict and bloodshed. The most lavish productions and biggest commercial successes in gaming still usually include slaughter. (Many of the biggest Hollywood films do too, although they are not seeing the same backlash from film-industry folk or viewers—at least not yet.) “As soon as we attach a certain dollar amount to a project, it’s like violence becomes as understood a feature as having graphics,” says Laralyn McWilliams, a game developer. She hopes this will change in the future, as more developers and gamers choose a side. But of the 20 top-selling premium games so far this year, 15 feature combat.

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Go home gamer girl! Go fuck off Canada! Especially fuck poo immigration from India.
 
Developers started making more non-violent games because there's more market demand for them. Next you'll tell me OPEC is pushing back against climate change because they cut oil production due to low prices.

It's okay to make products people want and sell them for a profit, you don't need to make up BS altruistic excuses for why you're doing it.
 
I'll say this: it's easier than ever to make a game. So, if you're upset about violence in games, and you actually go out and make a non-violent game, rather than just bitching and moaning about games that do have violence, then good. Be the change you wish to see, or whatever.
At the same time, most of these "uwu wholesome 100" games fucking suck ass. So most of the big name titles coming out in a given year, and most of the profitable games, being ones that feature violence isn't a real shock. The whole "actually, most gamers are middle-aged women!" statistic is always driven by some data that counts whatever the contemporaneous version of Farmville/Candy Crush is, which isn't the demographic that these violent games are appealing to. They're marketed towards young guys, because young guys want to play a game where they can go swing swords around or shoot guns. Writing about this desire being a "problem" that needs to be addressed just feels like fearmongering and vilification.
 
Man, imagine being a journalist and needing to write nonsense like this.
You've got nothing to actually say because games journalists have been obsolete for years, so you've got to make up stories to report on, then come up with ways to spin them to seem progressive.

At some point you'd think they might take up a more dignified profession like letting people pay to piss in their mouth.
 
Job Stauffer, a game-industry veteran, contributed to violent productions such as the “Grand Theft Auto” series, but has started refusing to work on brutal or murderous ones. “We see media reports of mass shootings and wars day after day,” he explains. “I decided that I didn’t want to be a part of the problem, creating entertainment that involves firing rockets into buses,” he adds.
Job Stauffer:
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Faggot.
 
Huh. This is a stealth ad for that "Venba" game. That game is clearly being astroturfed. I posted about it in the flat art thread when it was new, because it looks corporate and globohomo to the extreme.

The day it launched, it already had plenty of glowing reviews. Here's an archive capture showing that. There was no deep discount sale, nor any promotions from the usual venues. And now we've got an article promoting it a month later?

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I swear, it seems like there's a coalition of people from India who are dead set on moving to America and destroying anything and everything tech and entertainment-related they can, and nobody's talking about it.
 
Most games are about combat (not violence, combat), because combat is pretty much the easiest thing you can gamify and also have a large audience for.

What else is easy to gamify? Military strategy (ie, combat on a map) and business management, and we have a shit ton of those.

You can make games about other stuff, and people are fascinated when someone does it (even when it's not all that good); see Papers, Please. But it's not as easy.
 
I have a decent memory for games from the 8-bit era onwards and there were always plenty of non-violent games to choose from so this article is about as "fresh" as the usual "Bang! Pow! Wham! Comics aren't just for kids anymore!" articles that you get in the local newspaper any time that a comic book convention is in town.

Then again, the definition of "violent" games will vary according to people. Sure, there are the ultraviolent bloodbath games that everyone can agree, whether they like those sorts of games or not, are violent, but I think there are still pearl-clutchers out there who define things as simple as "Mario jumping on turtles" as "violent".
 
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