Two months on and GamerGate is still going on, with every attempt to shut it down merely fanning the flames. But we are starting to see some rejection of the manicheanism and lack of nuance that’s a big part of the problem.
For example, this rant on Popehat that takes no prisoners. But while most of it is aimed at supporters of GamerGate, pointing out how ridiculous the majority of their claims are, he also takes some well-aimed shots at their opponents. In particular the proponents of knee-jerk outrage-driven call-out culture who are shocked to find their own tactics used against them.
If you cultivate a culture in which people react disproportionately to stupid or offensive jokes, sooner or later someone else is going to be freaking out — sincerely or cynically — over someone “on your side” telling a stupid joke.
If you cultivate a culture in which the internet lands on someone like a ton of bricks for being an asshole, sooner or later some segment of the internet is going to decide that you are the asshole, and pile on you.
It is pointed out that the enemy of your enemy is not necessarily your friend:
Look, if you see #GamerGate as a vehicle to advance cultural conservative messages that you believe in, more power to you. That’s free speech. But if you are genuinely someone who only cares about journalistic integrity, and you promote Breitbart and Yiannopoulos, aren’t you being a useful idiot?
And both sides are guilty of that:
Yiannopoulos is by no means the only example. There’s also the feculent two-faced pack of scribblers at Gawker Media. Gawker Media, through Kotaku and Gawker and Jezebel, is consistently outraged at the misogyny of #GamerGate, and has retreated into pearl-clutching couch-fainting at the attacks it has recently endured on its own work. But Gawker Media loves feminism like a glutton loves his lunch.
Slate’s David Auerbach notes that there are all sorts of people for or against GamerGate, including feminists supporting it as a proxy war in a long-running feud between different generations of feminism. But it’s all reached the point where the human cost is just too high. It has to stop.
Whatever a troll does under the cover of Gamergate—such as doxxing actress Felicia Day or offering free game codes to accounts that send death threats—is guaranteed to get a lot of attention (far more than typical Internet harassment) and to be blamed not on the individual but on Gamergate collectively. For a troll, this is a perfect setup: maximum effect, minimal exposure. I could dox any woman in gaming, and Gamergate would get blamed. So as long as Gamergate drags on, trolls who care less about games than about causing chaos will wreak havoc
But he also makes the point that GamerGate, despite all the attendant toxicity, is going to continue for as long as the gaming media continues to use the highly visible misogyny and harassement to deflect attention away from things the media doesn’t want to talk about. His conclusion is that in order for GamerGate to come to an end, there has to be some sort of truce with those supporters who aren’t reactionary trolls. Parts of the media do need to clean up their acts, and he’s another to point an accusing finger at Gawker Media, who have not exactly been covering themselves in glory.
I’ve mentioned parallels with the culture wars across music a generation ago before. Back in those days entire genres of music had to fight for their right to exist. In a dishonest hit piece so notorious it’s remembered decades later, Rush and their fanbase were slandered as Nazis. We were told that guitar solos were misogynistic because the guitar was a phallic symbol. Well, perhaps not in those exact words, but that was surely the subtext behind Paul Morley’s ridiculous “Anti-Rockist” movement.
But all that was years ago, and it was really the growing pains of a far more diverse music scene that was rapidly fragmenting into multiple overlapping subcultures. Nowadays genres of music whose audiences are overwhelmingly white and male such as metal or progressive rock are allowed to exist without constantly having to defend themselves against charges of racism and sexism for that reason alone. And because the relative merits of different styles of music is largely divorced from identity politics we can have discussions about homophobia in the metal scene without getting derailed by “You should all be listening to dance-pop instead”.
Music’s bitter culture wars took place in a very different media environment, where a limited number of gatekeepers have far more power, and agenda-driven music journalists really did have the ability to make or break careers. It was far more of a zero-sum game in the days before the internet and the diversification of distribution channels.
Only the other hand, perhaps we’re lucky there was no Twitter during the Punk Wars.