Are Video Games Similar to Pornography? | Looking Back 10 Years

The video game industry is constantly evolving, with new developments emerging every day. However, it's essential to learn from the past to understand the present and future. This monthly feature highlights significant events in the gaming industry from exactly a decade ago. Ten years ago, Trip Hawkins began his 2014 DICE Summit presentation with a bold and attention-grabbing question: "Do you ever feel like what we're really doing is too much like pornography?" Although this question was meant to provoke a reaction, Hawkins didn't engage with the concept seriously, and it seemed like a cheap trick to grab the audience's attention. For those expecting a serious discussion about the comparison between video games and pornography, it's essential to note that this article will focus on the hype surrounding educational video games instead. The rest of the discussion will delve into the idea that the video game industry has been perceived as a social ill, with many people believing that it has caused more harm than good to society. Hawkins pointed out that the industry has been criticized by the public, government, and teachers, who view it as a negative influence. He also stated that games have become an integral part of the lives of digital natives, potentially causing problems and side effects. However, instead of addressing the question he raised, Hawkins went on a tangent about the need to approach game development with a scientific mindset, making dubious claims about the success of mobile studios in Finland and comparing Candy Crush to pornography. Halfway through his presentation, Hawkins finally addressed the main point: games are seen as a social ill because children are too obsessed with them, which has ruined their ability to learn. He claimed that the traditional classroom model, where students pay attention to the teacher and do supplemental reading, no longer works because kids are too distracted by their smartphones. Hawkins proposed a solution to this problem, suggesting that the industry could create a new market segment by developing educational games that meet government curriculum standards, focusing on social and emotional learning. He cited the poem "If" by Rudyard Kipling as an example of a guiding principle for this type of learning, which emphasizes perseverance and steadfastness. However, it's essential to note that the idea of social and emotional learning is not a return to traditional values but rather an attempt to correct harmful norms and teach children healthier ways of understanding themselves and others. This concept has been met with resistance, particularly from some politicians who view it as an attempt to promote specific ideologies. In the end, Hawkins' startup, If You Can, disappeared from view, but the idea of using video games as a solution to fix the educational system has persisted. Other industry leaders, such as Nolan Bushnell, have also attempted to use games to "fix" public schools, with mixed results. The article concludes by highlighting other significant events from 2014, including the rise and fall of Flappy Bird, the controversies surrounding Electronic Arts' Dungeon Keeper, and the emergence of new business models in the gaming industry. Ultimately, the article suggests that the tech industry's bold claims and promises should be viewed with skepticism, and it's crucial to separate substance from spectacle.