Violence And Video Games

Criticism from religious organizations

See also: Censorship by organized religion

Video games have received criticism from religious sources. A large percentage of criticism of video games originates from religious sources,[citation needed] often in similar response to claims of violence, crime, sexuality, nudity, rebelliousness, materialism, occultism, and offensive references to religion in these games.[citation needed]

Such content found in video games are often criticized by religious groups of specific denominations. Games such as Breath of Fire II, Xenogears and Xenosaga, Final Fantasy Tactics, Final Fantasy X, Castlevania, [3] Tales of Symphonia, and Grandia II contain religious themes that some might find offensive. Often, RPGs in particular make use of a corrupt and powerful church as the game's antagonist. It should be noted the corrupt and powerful church is a common story element in all entertainment mediums, including literature (such as novels by the popular fantasy author David Eddings and sci-fi author Frank Herbert).

In response to potential criticism, religious content has been censored in some Western releases of Japanese-origin video games. Nintendo in particular censored many of its US releases back in the NES and SNES era. Castlevania, Dragon Quest, Final Fantasy and other games containing such references as crosses, the words holy, monk, and names of Biblical figures were censored for their US release. The game Terranigma was never released in North America, one of the stronger reasons being its religion-influenced plot. One trophy in Super Smash Bros. Melee, Tamagon, was locked out of the US release of the game, possibly due to religious reference and the title of the game he originally appeared in (Devil World).

In 2002, the Xbox fighting game Kakuto Chojin offended many Muslims with the use of religious chanting in background music. The Saudi Arabian government made a formal protest, and Microsoft pulled the game internationally in early 2003.[4]

[edit] Criticisms of the gameplay in and of itself

Some criticisms of both gamers and non-gamers alike are directed at the gameplay in and of itself. This primarily is focused towards RPGs, especially MMORPGs, whose gameplay, critics feel, causes obsession or addiction. This is often joked about and admitted in the MMORPG communities[citation needed]. Another criticized aspect of RPGs is the immersion factor, or virtual reality, which is seen by critics as escapist[citation needed]. Finally, as most RPG leveling mechanics allow for getting stronger by repetitive fighting of weaker enemies for a long time, this is seen as discouraging risk taking or instilling a fear of losing in the gamer. In fact, many games like World of Warcraft place a level range requirement for getting experience points, in which the lower the enemy's level is relative to the player's, the less experience is gained (until it reaches zero).

The addiction factor of MMORPGs has led to horrifying stories of people who starve to death while playing games like Everquest or the father who locks his children in the closet so they do not bother him while he plays the game.[citation needed] Or the man that designed a chair with a built in toilet so he could play without having to get up. Some versions of the story have the children starving to death in the closets. Almost all, however, are urban legends.[citation needed]

[edit] Uninteresting and uncreative games

Some critics of film and literature look down on video gaming as an inferior form of entertainment.[5] The majority of criticism of video games from within the video-gaming community also relates to quality. This is probably because of the impression that earlier video games had either simple, linear story structures with very little plot, or essentially no story whatsoever. A frequent counterargument is that this is like complaining that a game of football does not contain much plot or character development, and that although most video games contain a narrative, it serves only to propel the player's actions in and against a virtual world, which is not primarily based upon passively seeing and hearing. Another point of view compares video games to the movies, which during the silent era were also considered mere entertainment.

Other criticisms include unrealistic aspects of graphics or gameplay, games that are simply not fun to play, a perceived lack of games that appeal to women and girls, and a strong and increasing tendency of video game publishers to avoid risks and originality by only funding games which have very clear promise to succeed financially. For example, the use of violence in games is seen as a crutch for creativity; it is alleged that if a developer cannot invent an original, fun activity for the player, he'll end up giving the player the time-honored task of shooting a monster, usually in a violent manner. In particular, there has been a perceived increase in:

sequels to, prequels to, and enhanced remakes of previously successful games.

games which use a licensed intellectual property (in the sense of a copyright and trademark portfolio related to a specific brand) from some other medium, often movies, comic books, television shows, or books;

games whose game play is more or less copied directly from previously published games that were successful. It is generally agreed that in the early days of video games there seemed to be an explosion of creativity with genuinely new types of game play appearing in some new game every month, and now a new type of game play is seen only a couple of times per year. The Grand Theft Auto series is one of the most notorious for having copy-cat