Skip to content
Author
PUBLISHED: | UPDATED:
Getting your Trinity Audio player ready...

(Repeats for wider subscribers)

By Malathi Nayak

SAN FRANCISCO, May 7 (Reuters) – In the midst of the bitter

national debate on gun violence, gun manufacturers and videogame

makers are delicately navigating one of the more peculiar

relationships in American business.

Violent “first-person shooter” games such as “Call of Duty”

are the bread and butter of leading video game publishers, and

authenticity all but requires that they feature brand-name

weapons.

Electronic Arts licensed weapons from companies like

McMillan Group International as part of a marketing

collaboration for “Medal of Honor: Warfighter.” Activision

Blizzard gives “special thanks” to Colt, Barrett and

Remington in the credits for its “Call of Duty” titles.

Rifles by Bushmaster, which made the gun used in the

Newtown, Connecticut school shooting last December, have

appeared in the hugely popular “Call of Duty.”

Yet, in the wake of the Newtown shooting, the biggest

advocate for gun ownership, the National Rifle Association, took

aim at videogames to explain gun violence. One week after 20

schoolchildren and six adults were killed in the shooting, NRA

chief executive Wayne LaPierre called the videogame industry “a

callous, corrupt and corrupting shadow industry that sells, and

sows, violence against its own people.”

Now at least one game maker, the second largest by revenue

in the United States, is publicly distancing itself from the gun

industry, even as it finds ways to keep the branded guns in the

games. Electronic Arts says it is severing its licensing

ties to gun manufacturers – and simultaneously asserting that it

has the right, and the intention, to continue to feature branded

guns without a license.

For the gunmakers, having their products in games is “free

marketing, just like having Coca-Cola” in a movie, said Roxanne

Christ, a partner at Latham & Watkins LLP in Los Angeles, who

works with video game companies on licensing, but has not

personally done a gun deal.

Yet it is also a virtual double-edged sword. “It gives

publicity to the particular brand of gun being used in the video

game,” said Brad J. Bushman, a professor at Ohio State

University who has studied video game violence. “On the other

hand, it’s linking that gun with violent and aggressive

behavior.”

Gun makers, including the Freedom Group that owns

brands like Remington and Bushmaster, and the NRA, did not

respond to repeated requests for comment from Reuters.

‘ENHANCED AUTHENTICITY’

First-person shooter games let players blast their way

through battlefields while looking down the barrel of a virtual

gun, taking aim with the flick of a controller.

Some of those guns – like the Colt M1911 pistol in “Call of

Duty” – turn sideways to face the screen during reloading,

revealing the brand name. Games also offer lists of branded

weapons to choose from.

Licensed images of weapons in “Medal of Honor: Warfighter” –

a game that simulates military missions like fighting pirates in

Somalia – offer what EA spokesman Jeff Brown calls “enhanced

authenticity.”

Back in the late 90’s, video game makers initially

approached gun companies for licenses to inoculate themselves

from potential lawsuits, video game industry lawyers say. Over

the years, legal clearances were granted for little or no money

by gunmakers, these lawyers said.

Yet overt signs of cooperation between the video game and

gun industries had begun to draw criticism even before the

December school shooting in Connecticut.

In August, game fans and some video game news outlets

vehemently objected to EA putting links to weapons companies

like the McMillan Group and gun magazine maker Magpul, where

gamers could check out real versions of weapons featured in the

game, on its “Medal of Honor: Warfighter” game website.

“What kind of message is a video game publisher like EA

sending when it encourages its players to buy weapons?” asked

Laura Parker, the associate editor of gaming site GameSpot

Australia in a post in August.

EA immediately removed the links and dropped the marketing

tie-up, which it said was part of a charity project to raise

money for military veterans. The company said it received no

money from its gun company partners.

“We won’t do that again,” said Brown. “The action games we

will release this year will not include licensed images of

weapons.”

EA said politics and NRA comments critical of game makers

had nothing to do with its decision. “The response from our

audience was pretty clear: they feel the comments from the NRA

were a simple attempt to change the subject,” Brown said.

EA also says video game makers can have branded guns in

their games without getting licenses, meaning the industry could

drop the gun companies and keep their guns.

Activision, the industry leader, declined to comment on

whether it licenses gun designs from gun manufacturers or if it

would stop doing so. Branded guns have consistently been

featured in its blockbuster shooter games like the decade-old

“Call of Duty.”

“We’re telling a story and we have a point of view,” EA’s

President of Labels Frank Gibeau, who leads product development

of EA’s biggest franchises, said in an interview. “A book

doesn’t pay for saying the word ‘Colt,’ for example.”

Put another way, EA is asserting a constitutional free

speech right to use trademarks without permission in its

ever-more-realistic games.

Legal experts say there isn’t a single case so far where gun

companies have sued video game companies for using branded guns

without a license.

But EA’s legal theory is now being tested in court. Aircraft

maker Bell Helicopter, a unit of Textron Inc, has argued

that Electronic Arts’ depiction of its helicopters in

“Battlefield” was beyond fair use and amounted to a trademark

infringement. EA preemptively went to court, suing Bell

Helicopter to settle the issue.

The U.S. District Court, Northern District of California,

has set a jury trial for the case in June.

(Reporting By Malathi Nayak, Editing by Peter Henderson,

Jonathan Weber, Mary Milliken and Tim Dobbyn)