Games

The Hipsters of Gaming

The new role of the hardcore gamer in their own subculture.

From gamespot.com

The release and poor sales of SEGA’s Madworld is just another notch in what is becoming a very real gap between the different groups of people who play video games. Often blamed directly on Nintendo’s Wii, the poor sales of a highly rated game by mainstream gaming websites is just another indication that the people buying Wii Fit are not going to be following up that purchase with Call of Duty 5. Even articles making the claim that video games are responsible for torture, violence, the housing bust, traffic, bad breath, etc. are now qualifying their criticisms with statements like, “While I happen to enjoy the 'G' rated Wii…” Despite the fact that there are games for stalking and murdering people on the Wii, it is consistently seen as something safe for children or as something okay for the everyday person to claim they enjoy but not for that “other” stuff. The question is…what does that make all of these hardcore gamers?

From www.latfh.com

Part of the problem with the hardcore gamer is that the meaning of "hardcore" is such a nebulous concept to begin with. You can’t exactly claim that it revolves around playing games excessively because people regardless of gender or social background do this. The person who plays Bejeweled 2 for hours is, despite the fact that they’re both playing video games, not considered the same animal as someone who plays Halo 3 for hours. The definition doesn’t exactly revolve around violence or subject matter either because the hardcore demographic will readily enjoy The Sims or Super Mario Brothers despite the cute graphics and low amounts of violence. It doesn’t revolve around game design depth or quality because there are numerous challenging games with complex systems labeled as casual. At the core of either group is that same problem with people thinking the Wii only has casual games on it: perception. The company creating the game has to start marketing it towards one group or the other from the very beginning. Tom Endo over at The Escapist wrote that the division is so intense that games that appeal to either groups are no longer possible, “The business models and the audiences for the two gaming segments are so fundamentally different that attempting to force the two under one roof just doesn't make sense. While it's already started, the bifurcation in the largest publishers between business units devoted solely to core and casual game interests will only grow more distinct in the future.” In this way, the division of the hardcore gamer from the casual player mostly becomes an exercise in what they are not: they are not whatever casual gamers are.

From gamespot.com

The practice of being counter-culture, to actively define yourself by what you are not, is only fairly new to video games. Absent a political agenda or purpose like other counter-culture movements, there is a comparison to the division that exists between casual gamers and hardcore gamers that seems a bit more apt. They are the cultural equivalent of hipsters.

From www.xoryst.com

Like the hardcore gamer, the hipster is a nebulous concept to define. These are the people wearing random thriftstore shirts, engaging with the latest indie band, or perhaps just carrying with them a pervasive sense of the ironic. One of the strongest articles on the subject is by Adbusters, which defines hipsters as indicative of the death of culture. The article opines, “Less a subculture, the hipster is a consumer group -- using their capital to purchase empty authenticity and rebellion. But the moment a trend, band, sound, style or feeling gains too much exposure, it is suddenly looked upon with disdain. Hipsters cannot afford to maintain any cultural loyalties or affiliations for fear they will lose relevance.” The article goes on to explain that they are a mirror of the shallowness of mainstream society, a failed youth movement that doesn’t even challenge the decadence of their elders. Instead, the hipster is just a counter-point to Gen-X, an identity based on meaninglessness instead of brand names. Rob Horning here at the Popmatters blog Marginal Utility has done excellent coverage of the topic drawing in a wide variety of opinions. In one piece he provides an excellent quote from Dara Lind who wonders why a generation of typically privileged people with opportunity are ending up in such a cultural state of zombification. In the post "The Death of the Hipster", he points out, “The problem with hipsters seems to me the way in which they reduce the particularity of anything you might be curious about or invested in into the same dreary common denominator of how “cool” it is perceived to be. Everything becomes just another signifier of personal identity.”

From www.current.com

On the surface, these two groups could not be more alien. A post by PixelVixen707 discussing the comparison points out many of the flaws in the analogy. She writes, “Gamers accumulate knowledge; hipsters move through it, consuming and relinquishing it daily. Gamers accumulate years’ worth of garbage and trivia, and never let it go. They are still making Portal jokes. A hipster is judged by what’s now; gamers, by what they were playing in 1993.” Easily the most popular critics of video games is Penny Arcade, and as she points out, they accomplish this through a sense of inclusiveness. But past these social difference, they are technically performing the same cultural activity. Both identities are self-created and enforced by the community’s own tastes.

Consider how a game becomes “high art” in gamer culture. The means by which we judge which ten year old game is significant is mostly artificial. Critics just choose games that they will then discuss in a more complex fashion. Using Shadow of the Colossus as an example, a blogger named Vanderblade explains how gaming websites elevated the game’s status. He comments, “Whether or not a videogame is highbrow depends largely on if the gaming community positions it and defines it as such. In the case of Shadow of the Colossus, the discourse surrounding the game clearly identifies it as culturally superior to most other games.” Although that specific example deals with the vagaries of highbrow video games, it also explores the same mechanism by which gamers select whether something is casual or hardcore. We just make it up.

From www.latfh.com

Video games have very recently attained their moment in the mainstream spotlight and the reaction is just starting to turn hostile. An example of a typical hardcore rant against casual games at Good Gear Guide places the blame squarely on Nintendo and the Wii for the downfall of video games. The author rants, “Call it a fad or a gimmick if you will, but this is exactly what the masses want — and they’re gatecrashing the party in their millions. Nintendo’s “come one, come all” approach to gaming has revolutionized our once-insular industry, with grannies, girlfriends and non-gamers all getting in on the action.” The hipster tone begins to set in once the article defines anything as hardcore that is not a “casual/party” game or put more colloquially, whatever is not mainstream. The symptoms of this do not just relate to Nintendo games either. The Halo 3 backlash is taking on somewhat mythic proportions as posters and message boards continue to complain that the game is not worthy of its popularity. Whatever your opinion on the game, a title doesn’t host over one billion multiplayer matches because it’s doing something wrong. Ultimately, the hardcore gamer will probably fall into the same cultural cycle as the hipster as it repudiates what is mainstream for the sake of remaining against such a culture. As Horning at PopMatters dryly jokes, “One can’t be against hipsters. Hipsterism consists of its own repudiation. Recognizing the existence of hipsters to a certain degree makes one a hipster.” One could easily say the same about hardcore gamers.

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Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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