Payned reactions.

Lord knows, you can love a work and yet find it immensely problematic. Though I enjoyed Max Payne 3, Rockstar’s latest release in the Max Payne franchise, I have to admit that concerning matters of race, I find the work unsettling. A white hero slaughters endless waves of black and Latino men, his only allies a fair-weather friend who is on the take and a cop who is too cowardly to effect any change in a society he admits is riddled with corruption. He asks Max to act in his stead, essentially begging a white man to do his work for him.

As I said, problematic.

Of course, we do not expect Raul Passos to save the day in a game titled Max Payne 3. However, I think the work provides a classic example of a larger problem in video games and in geek culture in general where race is concerned. For the most part, men and women of color are sidekicks, not heroes. And yet in regards to villainy? That is the moment when it seems all too easy to include us in droves—as zombies, as faceless military grunts, as gang members, as savages.

Balance is needed. I am reluctant to set aside Max Payne 3 as an example of the problem when Rockstar Games has done such a credible job in the past of bringing racial balance to its selection of heroes—Luis Lopez, Carl “C. J.” Johnson, Huang Lee. Though, to be fair, I have just listed a selection of criminals, criminals placed in a positive light, but criminals nonetheless.

Other companies, such as Ubisoft and Valve, have followed Rockstar’s lead and should be commended. However, I generally identify Rockstar as a trailblazer in regards to race due to their selection of lead characters that cannot, by any stretch of the imagination, be identified or classified as white. For even when protagonists of color are presented to fandom, skin colors are lightened and features are often “softened” to ease race past more bigoted consumers. Yet the problem does not merely reside with the maker of the game but with the player as well. I clearly remember fan requests for “white” player skins in order to cloak the blackness that racist players apparently felt was too offensive or jarring to endure while playing Grand Theft Auto: San Andreas.

And yet I see no demands for brown or tan skins for Max Payne.

Perhaps the “shock and awe” method enacted by Rockstar is the best method to push change? “Here’s our lead. He’s black. Deal with it.” Of course, making said change is a lot easier when done from the safe cocoon of a lucrative franchise. It’s something to think about—not only in blogs, but in boardrooms as well.


Auto motives.

For those who bemoan the fact that characters from the Grand Theft Auto III era have not and will not appear in Grand Theft Auto IV and Grand Theft Auto V, I present to you the fact that they have appeared and will appear—simply in different incarnations. Rockstar Games has once again presented to its fans the world it built during the Grand Theft Auto III era. Yes, there is a new engine. Yes, the graphics have improved. However, the stories? The stories are the same.

This is far from a complaint. I was lamenting the lack of a female protagonist when I realized why we were not provided with one. Adding a lead character of a different gender would be a deviation from the pattern previously set forth. Rockstar Games has done an astounding job of updating the stories we all once gravitated to for this new era. And technology has advanced enough that providing an old story in a new way makes the story itself seem novel as well.

However, we still have a hard, quiet man of action struggling to make sense of the big, Northeastern American city. Claude’s story is Niko’s story—that of a young newcomer wading through the refuse of Liberty City’s underworld. We see them both form friendships that cross cultures, discover rich patrons, and bounce back from the duplicitous actions of former tentative allies—all in all, the immigrant’s rise to riches, the outsider made good.

Grand Theft Auto V brings us newer versions of Tommy Vercetti and Carl Johnson. The names and decades have changed; however, the premise remains the same. C.J. and Franklin are both young black men living in Los Santos and engaged in small-time criminal activity. They will both likely provide a bridge connecting the worlds of inner-city poverty and wealthy celebrity. Finally, Tommy and Michael are both men who were deeply enmeshed in the world of organized crime and had to take drastic measures to sever ties. Both were successful and managed to benefit financially afterwards.

The characters even resemble each other physically to the point where fans questioned if they were actually seeing a return of the characters they once loved.

For the most part? They are.