Tag Archives: videogames

Over at Patheos: Progressive Brands, Sexism & DudeBro Politics: #CloseGamerGate

Link to original post: here

Because this was now being handled in public, I was fortunate to receive the support of hundreds of people on Twitter – as well as attacks from others. I always expect some form of trolling, but I did not expect one of the attackers to be an editor at Salon, Elias Isquith, who questioned what my potential rape meant for “hashtags” and “brands”. “– Sarah Kendzior, On Being A Thing

Encountering the Emergent Church Brand

For a span of 2 years, my final semester of undergrad up until my second year in seminary,I tried and miserably failed to fit myself in the white Calvinist evangelical mold. As a black man in his early twenties, I didn’t fit in anywhere in predominantly white Christian educational settings. Some of my first friends in seminary were a group of white Christians who were well read with Emergent Christian literature: Tony Jones, Doug Paggit, Rob Bell, and Brian McLaren will all names that were dropped during our weekly Tuesday night taco dinners.  I would eventually leave the Neo-Calvinist movement on my own terms and started to see some freedom in the Emergent Church movement. Two of the more influential books on my journey were Scot McKnight’s The Jesus Creed and Donald Miller’s Blue Like Jazz. My Calvinist friends (who had not read these book/authors) were calling me a heretic for even reading these books, and as I look back then seven years ago, I can laugh.

I once preached a sermon on the Emergent church as the future of Christian tradition, and I even taught a Sunday School class on Black theology and Emergence Christianity.  However, I began to experience disaffection with the Emergent Church. All of the topics and controversies that the EC leadership wrote about/spoke about still made Whiteness as the center. Believers from marginated contexts were welcome to the table as long as they tacitly submitted to the ways of the dominant culture. In essence,  Emergence Christianities have become more about personal brands and the platforms of their recognized overwhelmingly White male leaders rather than being about the “future of Christianity.” You see, since we only live in the here and now, all talks of the “future of Christianity” are speculative. Yet, there is much money to be made when small groups of people decide to severe the multiracial Kingdom of God from any notion of the future. The “future” winds up looking very much like the status quo, and defenses (yes, even “progressive ones”) of the status quo are quite profitable.

Liberationist Killjoys And DudeBro Christianity

At Killjoy Prophets, there is a two-fold mission: first, we desire to center the experiences of Women of Color in Christianity, and secondly, we work to end DudeBro Christianity. Now, we often get asked, “what is DudeBro Christianity?” First of all, DudeBro is a descriptor of character traits; it is a politics in which any person of any gender, sexual orientation, or ethnic background can embody.  DudeBro Christianity is the passive embodiment of dominant cultural norms that conceal commitments to White supremacist and male supremacist narratives as defaults. The bodies of women and People of Color are made to be objects of contempt. The practice of DudeBro Politics includes someone who insists that all social encounters occur on their terms.  The future of Christianity is their private property (“post-Christendom”); like the plantation oligarchs, People of Color and the bodies of women are to be supervised by DudeBro Christian leaders.

Emergent Christian leaders often make excuses such as, well many PoC and women just do not have a big enough platform to draw a big enough crowd for conferences. In other words, profit is the driving force behind abstract discussions of “the future” rather than the Kingdom of God, which is justice, and peace, and joy in the Holy Spirit.  DudeBro Politics is the anti-Christ, posing as an angelic voice of progressive Enlightenment in order to deny faithful victory over the sins of White Supremacy, rape culture, and economic exploitation. DudeBro politics can play out in non-liberating events such as a White Cisgender queer male informing me that I use too strong of language when describing economic policies as anti-black racism. DudeBro Christianity is when for the sake of inclusion in the United Methodist Church, a White CisHet man uses his privilege to compare the General Conference to date rape. In order to build her brand as a magenta politics leftist, one political theologian dismissed Sarah Kendzior’s claims to being threatened with rape. Jason is right: in order for DudeBro Politics to remain the pre-eminent regime in this kyriarchal, White Supremacist economy, men have to control the bodies of women and PoC.

“but I think it’s pathetic for some [recognized Emergent Church leaders] to stand around and comment on the failings [of Mark Driscoll/Mars Hill Church], while cowardly never admitting your own sh*& (which is strikingly familiar!!) misogyny, mental and emotional abuse all hidden behind a new found liberalism and feminism because the times they are a changin’, jumping on the same sex marriage band wagon because its the hot new ride in town, and you just might get to be relevant again…these people are very cunning and smart and they will use anything (theology, controversy, sensationalism) and anyone to get ahead. it’s a clinical diagnosis and a pathology that looks like this kind of carnage, and they ALWAYS leave bodies in their wake. soliciting white male leaders of the emergent church willing to cover it all up for their crony. wipe out evidence on organizations website. lies and betrayal.”– Julie McMahon, comment, Tony Jones On Mark Driscoll, What Came First, The Thug or The Theology?

On Ending DudeBro Christianity, #GamerGate, & #NotYourShield

Emergence Christianities and their leadership has unfortunately found itself more often than not on imperialist quests for fame and fortune rather than being in solidarity with the least of these. In the process, as Julie McMahon pointed out, brand-creation and marketing leave the bodies of the marginalized in its wake: objectification, emotional, physical and mental abuse, gaslighting, racist microaggressions, and “post-modern” defenses of White Supremacy. Progressive spaces such as Emergence Christianity have made it okay for others to promote themselves at the expense of others (women mostly). For example, the whole #GamerGate #NotYourShield movement is a whole group of gamer dudes violently backlashing against women gamers who have spoken up versus misogyny. Last week, my friend Drew Hart discovered that a #NotYourShield sock puppet had been using a picture of his to advance the racist*, sexist agenda of #NotYourShield / #GamerGate.

#GamerGate is more than a few Internet trolls. They harass their critics, take down their blogsites, spread vicious rumors, and send emails promising gun violence and sexual assaults towards women who dare speak out. It’s time for progressives to find new ways to brand themselves, and this should start by rejecting DudeBro Politics. It means living by the preferential option for the marginalized (women & People of Color), preferring to choose human life and people over profiteering and brand-making.  Such a rejection also means a public rebuke of #GamerGate / #NotYourShield.    #CloseGamerGate #CloseGamerGate #CloseGamerGate

“[…] upon this rock I will build my church; the gates of hell will not prevail against it.”- Matthew 16:18 KJV

Buffy the Vampire Slayer "The Gift"; gif found on Tumblr

Buffy the Vampire Slayer “The Gift”; gif found on Tumblr

* I refer to #GamerGate/ #NotYourShield as racist because of #1, the persistent blackface sock puppeteering that they do, and #2, their reliance on negative stereotypes of Blacks as thuggish, criminal, and culturally “backwards”/homophobic.

Videogames as Story-telling: Protagonist Love Interests & Race

Well, last time we saw how racist myths can be kept afloat in videogames, even through anthropomorphic means. This post will be different , but yet the same, in that the central issue uniting all these problematics in these virtual narratives is one that sets that which is white as “default” and admirable.

There are myriad videogames one could choose to illustrate any of this. However, I’m going to stick with my experience and what I know.  As with the last post, I mentioned playing a lot of Sonic the Hedgehog games, in this post, I’ll feature a game whose narrative had a great impact on me and that I greatly enjoyed – Custom Robo!

I’ve always been into the battling robots  concept for as long as I can remember. Whether it was Gundam, Power Ranger’s MegaZords ( they looked like robots) , Medabots (which more people need to know about!), I seemed to have always been enamored with the concept of commanding/controlling a mecha-robo to engage in futuristic combat. Perhaps I’ll save what I think the significance of the mecha-robo combat is for another post…

Continuing with my interest in robot-combat fiction/games, I first played Custom Robo around Middle-School and it didn’t disappoint. I loved the futuristic aesthetic in the graphics and the music and character designs, etc. The story ( which, again I may cover in another post because it has significance) was captivating and I still remember it all so vividly. But what I also remember vividly, was the main character , called ‘Hero’ by default, looking like this:

He’s supposed to be the archetype of the honest-eyed, bon-homme (good-natured boy) – and he also happens to be a jolly white boy. And so being the honest, impressionable, and oft-naive bonhomme your main character is made to be, you naturally will need aside-kick, who may need to be a bit more worldy to round him out. Enter, Harry:

Yup. This is Harry (*sigh*..) Now we can go and deliberate all day as to what his race/ethnicity actually is because of his blond hair, but if we’re honest with ourselves, we know the motif of blackness being a side-kick to whiteness- Custom Robo isn’t the only place we see it.

Now, in Custom Robo, he serves as more of a guide/mentor to the hero joining the local Custom Robo mercenary squad. He’s a charismatic, entertaining character to interact with,although he is portrayed as a wily, sloppy, lazy, womanizing guy. You know, like many black man side-kicks we see….

His character actually doesn’t bother me as much as another one… or rather what seems to be the game’s disposition towards her.. Harry’s sister, Mira

She’s the head commander of the Police Squad in this game and she’s a black female. And much like her bro, Harry, she’s got a sweet funky hair color! Anyways, in some ways her character makes me happy- it’s good to see a strong , black female who’s actually reverred and respected in the story. What I don’t like, however, is the message her character sends about black females being perceived as beautiful and objects of male affection- esp. when they have natural hair styles.

Throughout the game, these are the women that the womanizing Harry and all the other gentlemen of the game are gawking over are the white, flowy-haired women, wearing more effeminate clothing. It’s almost as if to say that black women , with their natural hair texture, cannot possibly be seen as effeminate and desirable to men. I find it interesting that virtually every other female in this game wins the affection of a guy except Mira. And before someone would like to wrestle me concerning the colonialistic gaze on black natural hair and beauty, perhaps I should remind you (or bring to your attention) Meteorologist Rhonda Lee :

 

If you’d like to check out some of the game’s lunacy for yourself, with good commentary, I recommend you follow the youtube user who actually inspired me to do this post, Black Preon:

Until next time!

Videogames as Story-Telling: Anthrpomorphism as projections of race

Howdy! As promised in my last post on Videogames as Storytelling, this post  is going to be a further examination of these intersections. In this installment, I’ll be  a bit more specific.

So, last post I explained the case for videogames as a mode of narrative and story-telling and how even they can (and often do) take on white supremacist characteristics and reinforce the privileding of whiteness as “default”.  Additionally, I mentioned a fancy term , “anthropomorphism” – simply the case of giving -human-like form (upright-walking,bi-pedal, two arms and a head, neck and maybe even clothing) to animals or maybe even objects. My point in the last post, that I hope to make clearer in this post, is that racist, stereotypical tropes can sometimes be “sheathed” in anthropomorphism. Exhibit A? – Sega’s  Sonic the Hedgehog franchise.

(There are points during this post, that I understand may come across as silly. And perhaps there is an air of humor to some extent, but ultimately, we must realize that these are highly problematic, racist projections of racist myths.)

Everyone loves Sega’s blue hedgehog who can zip through levels, through flying through loops and bouncing off of launch pads, to defeat Eggman (Dr. Robotnik) in record speeds! My main interaction with Sonic franchise was through Sega Dreamcast in playing games like Sonic Adventure and Sonic Shuffle (like Sonic’s mario party). I then went on to play Sonic Adventure Battle 2 for GameCube and then Sonic Heroes – two of GC’s most successful titles!

It wasn’t until really paying close attention to the music (character themes) in Sonic that I really started to realize some racialized themes going on. So, while we know there’s Sonic, there’s also Tails ( the cheery, intelligent side-kick fox) and Knuckles (the strong, ‘defender of the Master Emerald). Knuckles was always a fan favorite for his immense strength and brawny personality. But if we go with the theory that Sonic, as the main character , on some level, represents some aspect of “default whiteness”, then it should come as no surprise, that Knuckles, is relegated to be the “other” rival. When compared witht he more “even-tempered”, yet heroic (white)Sonic, Knuckles(who I believe is supposed to be the “black man” of the series, has many descriptions as being “heroic, yet stubborn and hot-headed”

Additionally, Knuckles, (supposedly an echidna- whatever that is) has what I guess is supposed to be its “pins” styled in a way that resemble dread-locks- I mean just look at his Rastafarian color-scheme (red, gree, and yellow!)

Now, one way that a character’s “motif” may be rounded out is through music. One especially memorable component of Sonic Adventure that many fans will recall is that characters had a “theme”-song, music that was supposed to “fit” the character. Just take a listen at Knuckles’:

It’s not about how “good it sounds” or even that white guys can’t participate in rap. But the fact that Knuckles ( whom I have already began to make the case is an anthropomorhpised black man) is the only character with a music score characteristic of black musical genre( originating from black musical traditions/culture) with the rapping, jazzy saxophone, harmonies,and urban beats. It is tough ot ignore that Knuckles the Echidna has a clear motif of “the brawny black man”

He actually has more themes, for the different stages where the player must play as him, and in everyone one, we hear the same rap/hip-hop jazzy themes and the “swagged-out” male voice:

You get the picture.

And, it doesn’t really stop there. Meet Rouge the Bat:

Rouge, is a morally ambiguous character who is commonly ‘grouped’ with the villainous antagonists like Shadow the Hedgehog ,etc. This seductress is also supposed to be Knuckle’s love interest. WHat’s interesting is her character is a very smooth-talking, seductive, diva-like, Jezebel – which all happen to be racist tropes versus black women. So while we have the morally questionable Jezebel Rouge, guess what the “leading lady” of the Sonic franchise is like?:

A bubbly, much-less busty Amy Rose – who appears closer to what we’d identify as an “innocent white girl”. And furthermore, we have the , once again, the character theme further the motif of Rouge the Bat:

A latin, Bossa-jazz style theme typical of what you’d expect from a black/minority female. And listening to the theme’s lyrics sounds like the Jezebel motif is furthered.

 

Until next time! 😉