By Brian Boyko
Contributing Writer, GAS
and Editor of Network Performance Daily
You may not remember the name Wafaa Bilal, but you probably remember the Iraqi-American who locked himself in a room with a paintball gun controlled by random individuals on the Internet for thirty days – that was him, and it’s now nine months later and he’s unable to sleep at night without medicine. Now Bilal has a new controversial art piece that has caused the Rensselaer Polytechnic Institute’s College Republicans to call the college’s Arts department a “terrorist safehaven” for exhibiting it.
In 2003, a forgettable budget first-person shooter game called “Quest for Saddam” was released by a programmer using the Duke Nukem 3D engine. “Quest for Saddam” featured ethnic stereotypes, crude ethnic slurs, and “humor” characteristic of those who find Ann Coulter funny. The developer, Jesse Petrilla went on to found the “United American Committee,” which is most famous for hanging Osama bin Laden in effigy outside a mosque in Culver City, California.
This game should have faded into obscurity, except that a group called the “Global Islamic Media Front” transformed “Quest for Saddam” into “Quest for Bush” by replacing all the textures. Press coverage immediately slammed “Quest for Bush” as an Al Qaeda recruiting tool, while generally ignoring the content of the original “Quest for Saddam.”
Gameology has more information in a well researched article on both “Quest for Saddam” and “Quest for Bush,” as well as this line:
“Creating a game that repeatedly portrays the killing of a specific individual or ideology and then distributing that game in a context that sincerely advocates the killing of that individual or ideology precludes any claims about that game’s facetiousness.”
That line should be plastered above the door of every FPS shooter game development company as a litmus test.
Bilal’s new art installation takes the game and hacks it to create “The Night of Bush Capturing: A Virtual Jihadi.” Through the game, which will be revealed this Wednesday night, March 5th, 2008 at Rensselaer, Bilal casts himself as a suicide-bomber.
Here’s a description, from RPI’s Arts Department:
After learning of the real-life death of his brother in the war, he is recruited by Al Qaeda to join the hunt for Bush. This work is meant to bring attention to the vulnerability of Iraqi civilians to the travesties of the current war and racist generalizations and stereotypes as exhibited in games such as Quest for Saddam; along with vulnerability to recruitment by violent groups like Al Qaeda because of the U.S.’s failed strategy in securing Iraq. The work also aims to shed light on groups that traffic in crass and hateful stereotypes of Arab culture with games like Quest for Saddam and other media.
I’ll admit that even I wasn’t comfortable with the medium and thought that the message might be lost in the controversy over Bilal casting himself as would-be assassin in work of interactive fiction. Still, I sat down for a phone interview with Wafaa Bilal about the project – and its decidedly controversial nature.
I’m still not sure if I’m comfortable with the work, but at least I know more about the thought process that went into it.
You can find that interview below.