This essay first appeared in U.S. News & World Report on May 3, 1999.

1

Marching through a large building using various bombs and guns to pick off victims is a conventional video-game scenario. In the Colorado massacre, Dylan Klebold and Eric Harris used pistol-grip shotguns, as in some video-arcade games. The pools of blood, screams of agony, and pleas for mercy must have been familiar—they are featured in some of the newer and more realistic kill-for-kicks games. “With each kill,” the Los Angeles Times reported, “the teens cackled and shouted as though playing one of the morbid video games they loved.” And they ended their spree by shooting themselves in the head, the final act in the game Postal, and, in fact, the only way to end it.

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2

Did the sensibilities created by the modern, video kill games play a role in the Littleton massacre? Apparently so. Note the cool and casual cruelty, the outlandish arsenal of weapons, the cheering and laughing while hunting down victims one by one. All of this seems to reflect the style and feel of the video killing games they played so often.

3

No, there isn’t any direct connection between most murderous games and most murders. And yes, the primary responsibility for protecting children from dangerous games lies with their parents, many of whom like to blame the entertainment industry for their own failings.

4

But there is a cultural problem here: We are now a society in which the chief form of play for millions of youngsters is making large numbers of people die. Hurting and maiming others is the central fun activity in video games played so addictively by the young. A widely cited survey of 900 fourth- through eighth-grade students found that almost half of the children said their favorite electronic games involve violence. Can it be that all this constant training in make-believe killing has no social effects?

5

Dress rehearsal. The conventional argument is that this is a harmless activity among children who know the difference between fantasy and reality. But the games are often played by unstable youngsters unsure about the difference. Many of these have been maltreated or rejected and left alone most of the time (a precondition for playing the games obsessively). Adolescent feelings of resentment, powerlessness, and revenge pour into the killing games. In these children, the games can become a dress rehearsal for the real thing.

6

Psychologist David Grossman of Arkansas State University, a retired Army officer, thinks “point and shoot” video games have the same effect as military strategies used to break down a soldier’s aversion to killing. During World War II, only 15 to 20 percent of all American soldiers fired their weapon in battle. Shooting games in which the target is a man-shaped outline, the Army found, made recruits more willing to “make killing a reflex action.”

7

Video games are much more powerful versions of the military’s primitive discovery about overcoming the reluctance to shoot. Grossman says Michael Carneal, the schoolboy shooter in Paducah, Ky., showed the effects of video-game lessons in killing. Carneal coolly shot nine times, hitting eight people, five of them in the head or neck. Head shots pay a bonus in many video games. Now the Marine Corps is adapting a version of Doom, the hyperviolent game played by one of the Littleton killers, for its own training purposes.

8

More realistic touches in video games help blur the boundary between fantasy and reality—guns carefully modeled on real ones, accurate-looking wounds, screams, and other sound effects, even the recoil of a heavy rifle. Some newer games seem intent on erasing children’s empathy and concern for others. Once the intended victims of video slaughter were mostly gangsters or aliens. Now some games invite players to blow away ordinary people who have done nothing wrong—pedestrians, marching bands, an elderly woman with a walker. In these games, the shooter is not a hero, just a violent sociopath. One ad for a Sony game says: “Get in touch with your gun-toting, testosterone-pumping, cold-blooded murdering side.”

70

9

These killings are supposed to be taken as harmless over-the-top jokes. But the bottom line is that the young are being invited to enjoy the killing of vulnerable people picked at random. This looks like the final lesson in a course to eliminate any lingering resistance to killing.

10

SWAT teams and cops now turn up as the intended victims of some video-game killings. This has the effect of exploiting resentments toward law enforcement and making real-life shooting of cops more likely. This sensibility turns up in the hit movie Matrix: world-saving hero Keanu Reeves, in a mandatory Goth-style, long black coat packed with countless heavy-duty guns, is forced to blow away huge numbers of uniformed law-enforcement people.

11

“We have to start worrying about what we are putting into the minds of our young,” says Grossman. “Pilots train on flight simulators, drivers on driving simulators, and now we have our children on murder simulators.” If we want to avoid more Littleton-style massacres, we will begin taking the social effects of the killing games more seriously.

Look carefully at Katherine Choi’s highlighting of John Leo’s essay above. How would your own highlighting of this essay be similar to or different from hers?

Reread “Violent Media Is Good for Kids.” As you read, highlight the essay, using different colors for different important points, and writing question marks and comments beside references that need further explanation, or to connect related ideas.

Questions for Annotating

This essay first appeared in U.S. News & World Report on May 3, 1999.

1

Marching through a large building using various bombs and guns to pick off victims is a conventional video-game scenario. In the Colorado massacre, Dylan Klebold and Eric Harris used pistol-grip shotguns, as in some video-arcade games. The pools of blood, screams of agony, and pleas for mercy must have been familiar—they are featured in some of the newer and more realistic kill-for-kicks games. “With each kill,” the Los Angeles Times reported, “the teens cackled and shouted as though playing one of the morbid video games they loved.” And they ended their spree by shooting themselves in the head, the final act in the game Postal, and, in fact, the only way to end it.

72

2

Did the sensibilities created by the modern, video kill games play a role in the Littleton massacre? Apparently so. Note the cool and casual cruelty, the outlandish arsenal of weapons, the cheering and laughing while hunting down victims one by one. All of this seems to reflect the style and feel of the video killing games they played so often.

3

No, there isn’t any direct connection between most murderous games and most murders. And yes, the primary responsibility for protecting children from dangerous games lies with their parents, many of whom like to blame the entertainment industry for their own failings.

4

But there is a cultural problem here: We are now a society in which the chief form of play for millions of youngsters is making large numbers of people die. Hurting and maiming others is the central fun activity in video games played so addictively by the young. A widely cited survey of 900 fourth- through eighth-grade students found that almost half of the children said their favorite electronic games involve violence. Can it be that all this constant training in make-believe killing has no social effects?

5

Dress rehearsal. The conventional argument is that this is a harmless activity among children who know the difference between fantasy and reality. But the games are often played by unstable youngsters unsure about the difference. Many of these have been maltreated or rejected and left alone most of the time (a precondition for playing the games obsessively). Adolescent feelings of resentment, powerlessness, and revenge pour into the killing games. In these children, the games can become a dress rehearsal for the real thing.

6

Psychologist David Grossman of Arkansas State University, a retired Army officer, thinks “point and shoot” video games have the same effect as military strategies used to break down a soldier’s aversion to killing. During World War II, only 15 to 20 percent of all American soldiers fired their weapon in battle. Shooting games in which the target is a man-shaped outline, the Army found, made recruits more willing to “make killing a reflex action.”

7

Video games are much more powerful versions of the military’s primitive discovery about overcoming the reluctance to shoot. Grossman says Michael Carneal, the schoolboy shooter in Paducah, Ky., showed the effects of video-game lessons in killing. Carneal coolly shot nine times, hitting eight people, five of them in the head or neck. Head shots pay a bonus in many video games. Now the Marine Corps is adapting a version of Doom, the hyperviolent game played by one of the Littleton killers, for its own training purposes.

8

More realistic touches in video games help blur the boundary between fantasy and reality—guns carefully modeled on real ones, accurate-looking wounds, screams, and other sound effects, even the recoil of a heavy rifle. Some newer games seem intent on erasing children’s empathy and concern for others. Once the intended victims of video slaughter were mostly gangsters or aliens. Now some games invite players to blow away ordinary people who have done nothing wrong—pedestrians, marching bands, an elderly woman with a walker. In these games, the shooter is not a hero, just a violent sociopath. One ad for a Sony game says: “Get in touch with your gun-toting, testosterone-pumping, cold-blooded murdering side.”

73

9

These killings are supposed to be taken as harmless over-the-top jokes. But the bottom line is that the young are being invited to enjoy the killing of vulnerable people picked at random. This looks like the final lesson in a course to eliminate any lingering resistance to killing.

10

SWAT teams and cops now turn up as the intended victims of some video-game killings. This has the effect of exploiting resentments toward law enforcement and making real-life shooting of cops more likely. This sensibility turns up in the hit movie Matrix: world-saving hero Keanu Reeves, in a mandatory Goth-style, long black coat packed with countless heavy-duty guns, is forced to blow away huge numbers of uniformed law-enforcement people.

11

“We have to start worrying about what we are putting into the minds of our young,” says Grossman. “Pilots train on flight simulators, drivers on driving simulators, and now we have our children on murder simulators.” If we want to avoid more Littleton-style massacres, we will begin taking the social effects of the killing games more seriously.

Reread Gerard Jones’s “Violent Media Is Good for Kids.” As you read, refer to the “Questions for Annotating” checklist and use them as a guide as you write your own reactions and questions in the margins of Jones’s essay. In your annotations, note where you agree or disagree with Jones, and briefly explain why. Quickly summarize any points that you think are particularly important. Look up any unfamiliar words or references you have identified, and write down brief definitions or explanations. Think about these annotations as you prepare to discuss the Jones essay in class (and, eventually, to write about it).

Exchange books or share computer screens with another student, and read his or her highlighting and annotating. How are your written responses similar to the other student’s? How are they different? Do your classmate’s responses help you to see anything new about Jones’s essay?