The Competitive Enterprise Institute released a report this
week entitled, “Politically Determined Entertainment Ratings and How to Avoid
Them” by Cord Blomquist and Eli Lehrer. The report examines the ratings systems for movies, comic books, music, television, radio, and video games. Its most basic conclusion is one I
agree with: we don’t need the government running ratings systems for
entertainment, whether for video games or some other medium. Their more
specific conclusions are somewhat problematic. They conclude that “the best
ratings systems have evolved in response to market forces.” The report doesn’t
offer much support for this conclusion. In part, there is a shortage of
examples of ratings systems that haven’t been influenced by the political
process and/or threats of government regulation. As best I can tell from the report,
satellite radio is the one complete exception where the government played no
role in the development of a ratings system. B&L at 18. Music ratings are only a partial exception, since
according to the report, several politicians’ wives prompted the creation of
music labels. B&L at 13. Blomquist and Lehrer also conclude that as
compared to other ratings systems, the one for video games is “the least
government-influenced of the lot.” B&L at 24. The report actually suggests otherwise. I'll offer some thoughts on the weaknesses of what is an otherwise interesting report.
To start, compare the comic book and video game rating
systems, i.e., the Comics Code and the Entertainment Software Ratings Board (ESRB) (the two systems I know best).
Blomquist and Lehrer do not mention the 1948 Comics Code and the associated
controversy that led to it. Instead, they start in 1954, claiming that “[t]he
battle over comic book content began with Frederic Wertham’s 1954 book Seduction of the Innocent.” B&L at
9. Cf. Amy Kiste Nyberg, Seal of Approval: The History of the Comics
Code 23-44 (University of Mississippi 1998) (discussing the controversy
over comic book content in the 1940s). Blomquist and Lehrer describe the 1954
Comics Code, which was later modified in 1971 and 1989, as a failure. B&L at 2, 11. But
they describe the ESRB’s system as one of the best ratings systems—perhaps the
best ratings system. B&L at 1, 24.
As mentioned above, the report concludes that government influence
impairs the development of rating systems. One was bad (the Comics
Code). One was good (the ESRB). To find out why, we need to be clear
about
how the two systems developed and the level of government involvement
in both.
There are, however, problems with the authors’ account of
the
history of these ratings systems.
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