Post in evidenza

Supreme Court of India Orders To Block Rape Videos

In a very welcome move, the Supreme Court of India is acting against the publication and dissemination of rape videos

lunedì 21 novembre 2016

VIRTUAL RAPE CULTURE 3: NUDE MOD




La cultura del nudo all'interno dei videogiochi riflette la pornocultura imperante in ogni ambito del virtuale - pubblicità, TV, videomusica, Internet - una rappresentazione della donna come prostituta, come oggetto sessuale, tutta incentrata sul corpo. Le porno creature virtuali fagocitano la realtà trasformandola in porno realtà.



WATCH DOGS






L'utente Goron2000 dopo aver "accidentalmente" ucciso una prostituta facendo esplodere una tubatura del gas, si è avvicinato al corpo della malcapitata, notando un render particolarmente realistico degli organi femminili. 

Da qui la brillante idea di scattare uno screenshot e pubblicarlo su Twitter attraverso il sistema di sharing interno al Playstation Network.



La reazione di Sony, a questo punto, non si è fatta attendere, ed ha inflitto a Goron2000 un ban di sette giorni a causa di una violazione del codice di condotta stipulato con l'accettazione dell'EULA (accordo di licenza con l'utente finale). 


Che vi piaccia o meno, infatti, quando usufruite dei servizi del Playstation Network dovete necessariamente aver accettato alcune regole che Sony impone: regolamentazioni stabilite dal buon senso, nella maggioranza dei casi, come l'impossibilità di rendere pubblici contenuti particolarmente volgari.






A questo punto, l'utenza indignata ha iniziato a cercare situazioni provocanti all'interno di Watch Dogs 2 e a diffonderne gli screen in rete. Nel titolo Ubisoft, infatti, una simile tipologia di contenuti non è certo una rarità, e in men che non si dica Youtube e Twitter sono stati inondati di filmati in cui hippie con il pene al vento urinano sui muri e donne completamente nude giocano con l'hula-hop.


Da qui in poi lo stesso pubblico di internet si è spaccato in due: da una parte c'è chi critica Sony per aver chiuso temporaneamente un account di un giocatore "senza colpe", e dall'altra chi ovviamente non accetta la volgarità gratuita del titolo Ubisoft. 



Watch Dogs 2 è un prodotto con classificazione 18+. Al suo interno, quindi, possono essere presenti i contenuti più disparati: dalle uccisioni gratuite, alle scene di nudo e alla volgarità più spinta



In The Witcher, nudità, volgarità e maschilismo sono sempre sulla cresta dell'onda, perfettamente mescolati in un mondo di gioco credibile e coeso, che sfrutta questi elementi a suo favore senza aver alcuna paura di esporli.


Watch Dogs 2 è ricolmo di battute sconce, di dialoghi e situazioni che non sono certo indirizzati verso utenti più giovani, tra cui, ad esempio, NPC che propongono rapporti orali in cambio di importanti informazioni. Ognuno di questi suddetti elementi rischia di ledere l'emotività dei giocatori più impressionabili, ma non per questo merita di essere modificato, nascosto, censurato: perché fa parte di una creazione coerente, di un mondo virtuale che possiede quei connotati specifici. 

Un mondo violento, maschilista, disumano, specchio della cruda realtà?

WATCH DOGS 2: SCATTA LA FOTO A UNA DONNA SENZA MUTANDE E VIENE BANNATO DAL PSN Davide Leoni


La censura si è abbattuta anche sul quindicesimo capitolo della serie Final Fantasy.
Secondo le severe regole della Cina alcuni personaggi all'interno del gioco sarebbero eccessivamente svestiti e quindi sottoposti a un restyling grafico che ne renda consono l'aspetto per il mercato cinese.
Nell'esempio riportato nel tweet dell'utente si mettono a confronto la versione cinese e quella giapponese del personaggio di Shiva all'interno del gioco, rendendo evidente il "cambiamento".

Final Fantasy XV censurato in Cina  Massimo De Marco Giglio 


The analyst and insider ZhugeEX published a tweet that shows a censorship applied to the Chinese version of Final Fantasy XV: some characters were considered too provocative, and for this reason it was necessary for upgrades in order to cover certain parts of the body in plain sight.
In the specific case, ZhugeEX shows the changes made to the character of Shiva in the Chinese version of the game, which is very different from previously issued for the Japanese market, precisely because of restrictive rules of the Chinese government about the nudity in entertainment products.
As you can see in the above image, the breasts of Shiva, the powerful evocation in the game, were massively covered.

nude mod CULTURE


Hideo Kojima is like the James Cameron of video gaming: he’s a writer-director control freak with a passion for pushing the limits of technology. But unlike James Cameron, he’s got a big problem creating strong female characters.
Video games have a well-documented problem with sexualizing and marginalizing female characters, and being downright hostile to anyone who points it out. Overthinking It has been banging this drum for years. In 2013, Perich took on the ultra-busty sorceress character from Dragon’s Crown. In 2011, Fenzel fumed about Starcraft 2.
What I don’t say in the video is that Kojima also came under fire for what happened to the one female character in Metal Gear Solid V: Ground Zeroes, which was sort of an elaborate demo slash cash grab. In that game, the character of Paz is captured, and at one point you have to listen to an audiotape of her being raped. (Actually, it’s worse than that: you are rewarded with an audio tape of her being raped if you complete an optional objective.) At the end of the game, she’s killed by a bomb that’s been shoved up her vagina or anus. It’s not exactly clear which.
People have defended this brutality by saying the game has a right to be dark and gritty, and nasty things certainly happen in war. Okay, fine. Except that the bad guy who is doing these nasty things is named Skull Face. So here’s the deal: either the series should be judged as gritty and realistic, in which case Quiet and Skull Face are ridiculous. Or it should be judged as a cartoonish fantasy, in which case what happens to Paz is grossly gratuitous.

Everyone’s afraid of Quiet. When she arrives on Mother Base in the early parts of Metal Gear Solid V: The Phantom Pain, soldiers glare at her unfamiliar face, suspecting the sniper who’d tried to kill their leader shouldn’t be trusted. And she is different, nearly naked in ripped nylons, a thong, bikini top, and burdened with a giant sniper rifle. In nearly every scene she’s in, the camera roams over her torso, breasts, and buttocks before its operator remembers she has a face.
As often happens with jarringly anatomical women in videogames, Quiet’s sexualization doesn’t seem to be acknowledged by anyone in the game world. She has no expressed libido, nor do any of the game’s bumblingly inelegant men. The closest thing to erotics come in the small gestures of homoerotic kink that appear between Big Boss and his conscripts. When you approach one from behind and put him in a chokehold for interrogation, he might thank you and ask to be choked harder.
In 2013, Hideo Kojima said he designed Quiet “as an antithesis to the [way] women characters appeared in the past fighting game who are excessively exposed.” He argued Quiet fits into the game’s larger theme about “misunderstanding, prejudice, hatred, conflict caused by the difference of language, race, custom, culture, and preference.” In the best light, Kojima has consciously chosen to make Quiet a symbol of sexuality, even as she doesn’t seem to have any of her own. All as a way of showing how superficial people’s response’s to hollow signifiers can be, jumping at the sight of potentially offensive material and using it as a sawhorse for negating both the work and the person who made it.
Quiet seems to have been designed to both provoke and deny negational criticism, leaving Kojima in a paradoxical position of essentially agreeing with his critics even as he defies them, reproducing the anatomical clichés of female sexuality not as a vehicle for male desire but as one for male shame.

La verità è che il nudo vende, e tanto anche. La cultura del nudo all'interno dei videogiochi riflette la pornocultura imperante in ogni ambito del virtuale - pubblicità, TV, videomusica, Internet - una rappresentazione della donna come prostituta, come oggetto sessuale, tutta incentrata sul corpo, cardine del porno-intrattenimento..  

Le porno creature virtuali fagocitano la realtà trasformandola in porno realtà.


PORN ENTERTAINMENT

For a long time now, the topic of the flaunting of women's assets in video game content has been on the minds of many people, both inside the gaming industry and outside, and some recent announcements are adding ripples to the waves.
In recent years, video games have started to shift the focus towards women in addition to the men. Many games and game franchises feature female protagonists who fight on the front lines just as much as men do. However, one burning topic that has arisen from this shift is how the women are being depicted -- specifically: is the way they are being depicted offensive?

Capcom announced that Rainbow Mika would be returning in its most recent addition to the "Street Fighter" series, "Street Fighter V." However, this return of the popular -- and sexy and well-endowed -- fighter came at a price. "One of Rainbow's colorful moves involves her tauntingly slapping herself on the butt, but last month Capcom changed this. While the motion still happens, the camera moves so that the player cannot see it happening," Gamnesia reported.

Capcom Explains Why They Censored Rainbow Mika’s Butt Slap in Street Fighter V December 10 2015

Yoshinoro Ono, producer of the game series, previously stated that "We can't have something in the game that makes people think, 'This is not acceptable,'" according to NeoGAF. While he stressed that the decision was internal and for the purpose of keeping objectionable content within reasonable limits, it was met with its share of opposition. In his most recent YouTube video, released only hours ago, vlogger AlphaOmegaSin shared his thoughts on the development, and the title of the video says it all: "Street Fighter V Censored - Another Company Caves in to Extremists." He claims that censorship has no place in (porn) entertainment, and that while the move regarding Mika seems shallow, one must go deeper to look at the big picture -- in other words, it's a domino effect.

When Team Ninja's "Dead or Alive Xtreme 3" was announced in August for the Playstation 4 and Playstation Vita, hopeful players in the West were shocked to find that it was to be "exclusively for Japan and Asian market," according to a DOA Facebook post. In response to a concerned user's post, the company's social media team claim that they do not want to talk about such issues, but it has taken a year or two of thought to come to this decision.
While not wanting to add fuel to one fire is certainly admirable, it can definitely add fuel to another fire. While it is doubtful that these decisions were the result of "extremists" pressing the topic, it is very evident that authorities in these gaming companies take very seriously the plights of those who do not want women to be oversexualized. On the other hand, some companies are pushing forward with their efforts to fight against censorship.
One important factor to take into account is the business side of things. Of course, when addressing this factor, one must remember the saying: "Sex sells." Whether this is true or not is open for debate, but when decisions are made to censor based on fear of rebuke from certain people and organizations, it can seriously impact a company's business plan.
Also of note is the upcoming release of XSEED's "Senran Kagura: Estival Versus." As the name suggests, it is a fighting game, but recent developments reveal more than just that, as is expected with Senran Kagura. This is certainly on the other side of the spectrum in regards to the debate over women's roles. The source material depicts these young girls as strong, as well as sexy, but cut scenes from the game do seem to be more on the scandalous side

VIRTUAL RAPE CULTURE 2 31 AGOSTO 2016


NUDE RAIDER

The uproar against sexual violence in two popular videogame franchises—Hitman and the historic Tomb Raider—has brought the question to the forefront.
First, a troubling new trailer for Hitman: Absolution shows the iconic protagonist (the pale, taciturn, seemingly asexual Agent 47) assaulting an entire gang of female assassins clad in skin-tight black leather—apparently the only outfit women can find that fits in videogames today.
Hitman struck an understandable nerve, but the fame of the franchise pales in comparison to that of Tomb Raider. Depending on whom you ask, the original Tomb Raider either revolutionized the videogame industry in brilliant, nearly incalculable ways, or it doomed the entire medium to a puerile cultural morass of adolescent and androcentric cultural fantasies it still hasn’t recovered from.
The crux of this entire debate rests on the shoulders of the franchise’s central character, Lara Croft. If you’ve played any of the original games spanning from the Quake-era original 1996 release to 2008’s Underworld, the trailer for the upcoming reboot that premiered last week at E3 probably brought one thing immediately to mind: Lara Croft’s body. Her famously inhuman proportions have been adjusted from their dubiously sexist grandiosity to something that actually resembles a human being.
Like developers and PR folks always do when selling a sequel, Crystal Dynamics promised that this new Tomb Raider would be darker, edgier, and more badass than anything ever seen before. And they did so by touting Lara’s newfound sexual vulnerability as the key to the player’s empathy.
Crystal Dynamics responded in a statement issued Wednesday explaining that, despite several journalists reporting that Rosenberg explicitly used the word “rape” to describe Lara’s experience, “sexual assault of any kind is categorically not a theme that we cover in this game.” “While there is a threatening undertone in the sequence and surrounding drama,” the statement added, “it never goes any further than the scenes that we have already shown publicly.”
The question of whether or not Lara Croft is “explicitly” raped seems incidental considering the fact that, as a form of virtual reality or digital artwork (take your pick), any form of sexual violence in Tomb Raider necessarily functions on an abstract, rhetorical level.
In the original “Crossroads” trailer that sparked this controversy, Lara Croft only becomes legitimately empowered against her aggressors when she picks up a gun and begins brutalizing them herself—just like the bride in “Kill Bill,” Lisbeth Salander in “The Girl With the Dragon Tattoo,” and any number of other female protagonists granted the use of force only after it’s forced upon them by their male aggressors.
Sexual attacks require more of a response in their depiction than just more violence. Will videogames ever be able to crawl out of their footing in the “rape and revenge” tradition? 


The game's use of a hard-edged, female heroine has been both hailed as revolutionary (breaking away from the male perspective of game playing) and undergone multi-factorial, critiques that either consider Lara’s portrayal to be a positive, visual metaphor of sexual empowerment, or objectifying and sexist.[47] Nevertheless, Lara caused a sensation in the gaming world and catapulted her to cyber celebrity status both in and out of the video game community. Aside from game appearances, Lara was featured on covers of magazines, in comic books and movies.[48] The amount of media coverage Lara received at the time was previously unheard of, with many magazines even outside the video game industry printing articles on her.[7] Several large corporations, such as Timberland,[7] and Lucozade wanted to use her as their spokesperson. The image of Lara Croft was used by U2 in their PopMart Tour.[9]
An infamous footnote in Lara's history is the so-called Nude Raider patch. This patch was created externally and was never housed on the Eidos or Core websites. The patch, when added to an existing Tomb Raider game (PC-based versions only), caused Lara to appear naked. Contrary to rumour, there is no nude code in any console version of the game. In 1999, Core Design considered taking legal action against websites, which hosted nude pictures of Lara Croft, stating that "we have a large number of young fans and we don't want them stumbling across the pictures when they do a general search for Tomb Raider".[49] In April 2004, it was falsely alleged that an insider from Eidos reported to a Tomb Raider electronic mailing list that Eidos had begun suing gamers using the Nude Raider patches. Eidos sent cease and desist letters to the owners of nuderaider.com who were hosting the Nude Raider patch, enforcing their copyright of Tomb Raider. Sites depicting nude images of Lara Croft have been sent cease and desist notices and shut down,[50] and Eidos Interactive was awarded the rights to the domain name nuderaider.com.[51] As of December 2010, the nuderaider domain is registered to Netcorp of Glendale, California and points to a generic adult-themed search engine page.

Tomb Raider (1996 video game) From Wikipedia

Lara Croft è di fatto entrata nel porno-mito sospinta dai porno-mass-media. Ulteriore prova della avvenuta fusione tra porno virtuale e reale.


È indubbio che gran parte del successo del gioco e del film “Tomb Raider” sia dovuto alle forme avvenenti della protagonista, Lara Croft. 
Nel tempo sono circolate in rete diverse voci di corridoio che spiegavano il perché di questa scelta stilistica da parte dei programmatori. Alcune affermano che il disegnatore aveva erroneamente allungato i poligoni costituenti il seno di Lara e successivamente aveva scelto di non correggere l'errore.
Sulla rete è diventata molto famosa la patch per PC “Nude Raider “che permette di giocare con Lara completamente nuda.
Con le sue lunghe gambe, le spalle strette, la faccia da bambola e soprattutto il seno abbondante, corrisponde al già familiare schema delle bambole Barbie incessantemente propagatosi dagli anni Sessanta dall’industria dell’intrattenimento e dai mass media del mondo occidentale come l’immagine della “donna ideale” fornita delle “misure ideali”
Nel caso di Lara Croft, l’artificialità della costruzione è ancora più evidente: domina una identità femminile piuttosto stabile ed uniforme, modellata secondo un gusto tipicamente maschilista, che contraddice la definizione della Haraway secondo cui Lara Croft sarebbe un “cyborg post-gender” con cui si possono identificare i giocatori di entrambi i sessi. 
In realtà,. Lara Croft è una porno-cyborg, una creatura dell’industria culturale digitale assoggettata ai dettami del porno impero.
«La vita di Lara è tutta improntata alla rigidità, alla coerenza, alla realizzazione della sua vera missione; il suo comportamento è prevedibile e si ripete permanentemente; la sua over-sessualizzazione suggerisce una femminilità inerente».


Il fatto che Lara non sia mai mostrata completamente nuda e che mai intraprende delle relazioni con altri personaggi che potrebbero suggerire una relazione sessuale fa pensare ad una prospettiva “eteronormativa” così come il fatto che tutte le sue azioni sono guidate da giocatori che non si trovano direttamente nel corpo di Lara ma che lo controllano. In realtà, anche se la “ipersessualità” di Lara non è mai trasferita in atti sessuali all’interno del gioco, quasi preservata in una sorta di castità verginale, funziona da stimolo per la curiosità e il desiderio dei giocatori voyeurs. 
Non a caso esistono su Internet innumerevoli siti di fan in cui Lara posa completamente nuda o come starlet soft-porno. Ci sono poi diverse “patches” in cui Lara si spoglia oltre a quella più famosa, conosciuta come "Nude Raider", per giocare con Laura completamente nuda. 
Creazioni che mostrano come Lara sia percepita come un oggetto sessuale di desiderio, come una bambola animata, come una porno-cyborg. 

Media Art Net | Cyborg Bodies | Mythical Bodies II


PORNO CYBORG 3 19 OTTOBRE 2009


In GTA V, a gamer can purchase a woman (or is she a girl?) to perform a menu of different sexual acts that he experiences in first personAfter purchasing the woman/girl, the gamer can choose to kill her — and actually is incentivized to kill her to get his money back.  GTA V is one of the most popular and money making video games.
If Cambodia, India, or Nigeria produced such a video game, there would be global outrage. It would serve as unequivocal evidence of their misogynistic cultures in which women and girls are systemically raped and murdered with impunity. We would critique the ways in which their cultures and values are organized around the normalization of gendered violence.
Interestingly, there has been little to none such backlash against the American made and marketed GTA V in the U.S. The release of GTA V has been met with a very muted response. Any criticisms are reduced to being mere moral panics. Free speech advocates, GTA V fans, and other supporters insist that GTA V is simply a game, a victimless form of entertainment.
GTA V is certainly not the only video game, or only iteration, of celebrated violence against women. Nor can GTA V be faulted for actually causing gendered violence. But GTA V’s new standard for ramped-up, graphic violence against women comfortably exists in our rape culture, and reifies the distinct ways in which women and girls are propertied, humiliated, and abused.
Violence against women — and our acceptance of that violence — is why GTA V’s assault on women can be framed as unapologetically entertaining. The abuse played out in the game is not really outside of our cultural norms. Here, in this country, one in four woman will experience some form of sexual violence by the time she turns 18. One in five young women on college campuses will experience sexual assault. One out of every three American women has been beaten, sexually coerced or otherwise abused in her lifetime. Overall, domestic violence is the leading cause of injury to women in the U.S.
It therefore makes sense, against this backdrop of tolerated violence against women, that victims rarely report the crimes committed against them. The Justice Department estimates that fewer than 5 percent of completed and attempted rapes of college women are reported to law enforcement officials. In general, 60 percent of sexual assaults are not reported to the police and 97 percent of rapists will never spend a day in jail. When rape and other forms of violence are normalized, victims are silenced, disbelieved, and ridiculed—and perpetrators are rarely held accountable.
And that is precisely why we must speak out against Grand Theft Auto V. In it’s first three days, GTA V grossed $1 billion, setting industry records. It is legitimizing, and significantly profiting off of, America’s rape and gender-based violence culture that we must be seeking to end, and not expand or further entrench.
Target Australia pulled GTA V off its shelves after three survivors of sexual violence started a change.org petition for the game’s removal. In the petition, the survivors wrote to Target: “to see this violence that we lived through turned into a form of entertainment is sickening...” Nearly 50,000 Australians signed the petition. Wal-Mart Australia pulled the game shortly after Target’s announcement.
In a matter of weeks, parents will be wrapping gifts for our children. If we want more for our daughters — and our sons — then there is no reason to purchase GTA V, and be complicit with the many ways in which violence against women and girls has become the comfortable norm. We must call out the very practices that bind our daughters to a culture of violence. Even when those practices include a popular, profit-busting video game that our kids, or other family members, want for the holidays.

More and more game writers seem to be relying on sexual violence as a narrative tool. They use it for character backstories, to move the plot along, as justification for revenge and sometimes simply as shock value. Rarely is it ever treated with the seriousness and gravity it deserves. 

This isn’t a problem exclusive to video games – we see it television and film all the time. But when the gaming industry is already facing harsh criticisms about its inclusion and portrayal of women, why are we continuing to depict them in such violent situations? And better yet, why are we trivializing and exploiting such serious subject matter?
It’s not like there’s a demand for this kind of violence – if anything gamers are rejecting it. Remember the outrage Crystal Dynamics’ Ron Rosenberg sparked when he spoke about Lara Croft’s near rape in the Tomb Raider reboot? Hotline Miami 2 faced similar backlash when an implied sexual assault was included in the game’s demo.
There is no question that gaming is a male-oriented scene. Those who fault the videogame industry for shortchanging female consumers cite a 2013 report showing that 45 percent of Americans who play videogames are female; but others counter that this includes people who play casual games such as Angry Birds or Candy Crush on their smartphones, and that the market for PC and console games does skew heavily male. In a recent survey of incoming college freshmen, nearly 13 percent of the young men said they had usually spent over 15 hours a week playing video or computer games in their senior year of high school; only two percent of the women did. Other data show more female participation in gaming, though nowhere near parity: in a recent study by Flurry Analytics, women accounted for a quarter of “first person shooter” players and more than a third of those who play role-playing action games.

There are many anecdotal tales of female players encountering hostility and harassment in online gaming communities—from explicitly sexist putdowns of their skills to lewd comments or even threats. This is supported by a 2012 survey by blogger Emily Matthew, distributed through gaming sites and the social media and answered by 499 men and 356 women. Nearly two-thirds of the women—63 percent—reported having experienced “sex-based taunting, harassment, or threats while playing video games online”; fewer than 16 percent of the men did.  (In the general population, women are only slightly more likely than men to report sexual harassment online.)
The other issue cited by critics of sexism in videogames—representation of women as characters—is even more complex and rife with incomplete and misleading information. For instance, a recent BBC News story on sexism in videogames says that only one of the top 25 best-selling videogames of 2013 had a female protagonist (Tomb Raider’s Lara Croft); a 2013 Guardian article cites a study by the videogame market research firm EEDAR showing that only 24 of 669 titles released in 2012 featured an exclusively female lead. Technically, both these claims are accurate, and they seem to paint a picture of a video landscape populated almost entirely by male heroes and passive female characters who are there to be rescued and romanced.  
But “technically accurate” doesn’t always mean “true.” What’s left out is that many of the 2013 best-sellers, such as Saints Row IV, allow players to customize the lead character as male or female; others, such as Assassin’s Creed IV and Lego Marvel Super-Heroes, have multiple playable characters of both sexes, while Minecraft features a genderless Lego-like player figure. In the EEDAR sample, nearly half of the games had a female-protagonist option. Highly popular game franchises with an optional female lead include SkyrimFalloutand Mass Effect; in the latter, even male gamers often chose the female-protagonist option, apparently due to the female voice actor’s impressive performance.  
Studying sexism with Skyrim 2012-01-17 Sophie Prell

The real hot-button issue in feminist videogame criticism is not the shortage of female protagonists but the sexual objectification of female characters who, critics say, are routinely treated as eye candy for the “male gaze.” Videogame journalist Georgina Young, who leans pro-GamerGate and is skeptical of the feminist critiques, agrees that “you only have to look at the breast mechanics in Team Ninja’s Dead or Alive Extreme Beach Volleyball 2 trailer to realize that no woman had any hand in its developing or marketing process” and that many games that could appeal to women have visuals designed with men in mind.

Bayonetta, featuring an over-the-top, deliberately hypersexualized female super-fighter, has been slammed as exploitative by critics including Sarkeesian. Yet in a 2012 article on ThinkProgress.org, left-wing feminist Alyssa Rosenberg defended the game as an exercise in exuberant girl-power and wrote that its detractors were “wrapped up in a confining vision of the liberated female: one where sex needn’t define any part of a woman, and flaunted sexuality is inherently a concession to the male gaze.”
While such critiques often have a strong undercurrent of hostility to male sexual desire, they can also come across as attacks on women who don’t toe the line. In 2011, after the designer of Skullgirls, a fighting with miniskirted, busty anime-style heroines, objected to charges of sexism and noted that the lead animator was female, a feminist “geek culture” site, The Mary Sue, mocked him in a post suggesting that “this unnamed animator” was either non-existent or not allowed to speak for herself. A quick check could have revealed that she is a successful videogame artist, Mariel Cartwright, who had blogged about her work on Skullgirls on the game’s website. More recently, actress Erin Fitzgerald, who voices “the Sorceress,” one of the playable leads in a game called Dragon’s Crown, posted a scathing response to those who were attacking the game as sexist because of her powerful character’s large, undulating breasts. (All the Dragon’s Crown characters have stylized, exaggerated physiques.)
When gamers complain about too much feminist criticism of sexism and misogyny in videogames, it’s easy to jump to the conclusion that they themselves harbor misogynist attitudes. But another explanation is that much of this criticism relies on manufactured outrage and cherry-picked, distorted, or out-of-context information.  
For instance: three years ago, there was a major outcry over alleged misogyny in Batman: Arkham City, particularly the portions in which the player character is Catwoman. The cause of this outrage was that Catwoman is repeatedly called “bitch” and supposedly threatened with rape by various anonymous thugs.
In actuality, the “rape threats” consist of a couple of sexualized taunts such as “Nice suit! Now take it off!” and the line, “You’re mine”—which is also directed at Batman elsewhere in the game. (The entire Catwoman play-through can be seen in two YouTube videos.) Both these comments and the word “bitch” are mostly spoken just before Catwoman pummels her enemies into the ground—prompting one author on Kotaku, a gaming site sympathetic to “social justice” causes, to speculate that the writers “aren't comfortable portraying fearsome female characters without having the male characters attempt to belittle them.” But surely it’s at least as plausible that these impotent attempts to belittle her underscore Catwoman’s power. Incidentally, no one made much of the fact that in one of Batman’s fights, a thug taunts, “I’m gonna make you my bitch, Wayne”—which is probably closer to a “rape threat” than any of the remarks to Catwoman.
Perhaps most ironically, when the next Batman videogame, Arkham Origins, toned down the language to remove the B-word, one feminist blogger crowed victory—despite admitting that the game also took away the option of playing as a female character (“You win some, you lose some”). As they say, this is why we cannot have nice things.
Sarkeesian’s Tropes vs. Women videos, which feature prominently in the debate about videogames, feminism and sexism, are full of selective and skewed analysis—one that neglects positive female images, ignores examples of male characters getting the same treatment she considers sexist for women, and attacks games for encouraging deadly violence toward female characters when killing those characters is actually the “bad” option that causes player to lose points. (A fairly detailed three-part discussion of the flaws in Sarkeesian’s critique was posted a few weeks ago on Gamesided.com; for upfront disclosure, the first part quotes from an old column of mine criticizing radical anti-sex feminist Andrea Dworkin, on whose theories Sarkeesian sometimes relies.) It should go without saying that the biased shoddiness of Sarkeesian’s arguments does not in any way excuse the online harassment toward her, let alone violent threats. But the harassment should not preclude a critical examination of her critique—instead of the largely unquestioning adulation it has received from the elite gaming media.

Another problem is that in its current form, feminist gaming criticism tolerates no disagreement. In 2012, Brendan Keogh, a journalist who writes for leading gaming media including Gamasutra and Polygon, posted a rant on his personal blog denouncing the controversial trailer for the game Hitman: Absolution, in which the lead character battles and kills a group of female assassins who arrive disguised as nuns, then strip off their robes to reveal tight neoprene outfits. “Infuriated” and “upset” by the fact that not everyone found the trailer offensive, Keogh asserted that it its combination of sexual titillation and violence was a classic example of “rape culture”—“the means by which our society keeps women subservient to men by constantly reminding them that if they step out of line…men will rape them  and put them back in their place.” When some commenters questioned the existence of a “rape culture” in America, Keogh promptly deleted their posts, announcing that he refused to tolerate “denialism.” (Recently, he compared GamerGate supporters to 9/11 “Truthers.”)
Hitman trailer sparks outrage over graphic violence and sexualisation of women  31 MAY 2012
A couple of days later, the online videogame magazine Kill Screen posted a short essay by writer Michael Thomsen titled “What Is Rape Culture, and Do Videogames Have One?”, disputing Keogh’s thesis and defending the right to create scandalous art. After a firestorm in the comments and in the social media, the editors of Kill Screen not only amended the title of the article “for insensitivity,” changing it to “On the Messy Morality of Hitman: Absolution,” but also posted this note at the top:
“We've since apologized for this piece. We can't retract because this is an opinion, not news, which is part of problem. Also, we believe that we should keep our mistakes live. Please accept our deepest apologies.”
In this kind of atmosphere, it’s not surprising that many people aren’t very keen on having discussions of gender and sexism. Sabrina Harris, the British tech writer and longtime gamer who supports GamerGate, told me in an email:
Many gaming publications have, over the past few years, demonised any attempt to evaluate the arguments of women involved in gaming criticism, no matter how idiotic or demonstrably false the things they say can be. If you’re a man criticising a woman, you’re sexist. If you’re a woman criticising a woman, you have internalised misogyny. There is no allowing for discussion with the kind of people writing these articles: you agree with their worldview or you are a bigot. Personally, I feel #GamerGate is a result of this shameful attitude being pushed by those in the gaming media with positions of power for a prolonged period of time.
While it is commonly argued that feminist criticism seeks only to examine “problematic” media, not to deny anyone the right to enjoy them, the language employed by the critics often suggests otherwise. Sarkeesian says that refers to videogames depictions of women being “harmful,” “dangerously irresponsible,” and related to real-life negative attitudes toward women and possibly even violence. A feminist videogame designer says that sexualized depictions of women in videogames are “unacceptable.”  In a recent blogpost chastising gamers who dislike “social justice warriors,” writer and comedian Joseph Scrimshaw offers a condescending explanation of their anger as motivated by “fear”: “If you admit some of the videogames you like are objectifying women, you might have to stop playing them.” Even more condescendingly, he goes on to speculate that the people who harbor this fear are worried that they will also have to treat women as equals in real life.
“I do think such issues as sexism exist in gaming,” Harris, who considers herself a feminist of the pro-equality kind, told me in our email exchange, “as they do in most other areas of life. Unfortunately, much of the discussion is framed in a very black and white way, i.e. ‘this is sexist, and if you don’t agree you are a sexist.’ This type of discussion is very unproductive and creates polarisation between groups that can actually have middle ground on the issue. I feel that with more reasoned, less hysterical discussion, we could contribute to making games more progressive where they need to be.”
Any backlash against radical feminism is likely to serve as a magnet for people who are genuine misogynists, such as pro-GamerGate lawyer Mike Cernovich whose numerous vile tweets were exposed by GamerGate opponent Matt Binder. But after following the #GamerGate tag closely for several weeks, I see no evidence that people like Cernovich—of whom I had never heard until I saw Binder’s post—are influential in the movement. This is an anti-authoritarian rebellion, not an antiwoman backlash.

Gamergate: rape and death threats to Anita Sarkeesian JANUARY 15, 2015


                               Virtual Rape Culture


Feminist scholars have long debated the existence of a ‘rape culture’ (Brownmiller, 1976; Buchwald et al., 1993; Burt, 1980; Clark & Lewis, 1977). It is argued that a rape culture implicitly and explicitly condones, excuses, tolerates, normalises and fetishises sexual violence against women. A minority, however, have questioned the prevalence of these attitudes and beliefs, the commonly cited statistics on victimisation (Sommers, 1994), or the ‘theatrics’ of feminist rage and ‘hysteria’ surrounding rape (Paglia, 1991). Other scholars have problematised the fixation on sexual violence in light of the general ‘culture of violence’ that already exists (hooks, 2000). It has also been argued that there is a problematic representation and reinforcement of the sexed female as the inevitable target for rape (Smart, 1989 – as passive, vulnerable and inherently ‘rapeable’ (Marcus, 1992), or as the racially marked ‘other’ that operates to re-inscribe a cultural, postcolonial hierarchy (Gupta, 2013). 

We support the notion that a rape culture exists within a transcultural, global context that is not restricted to male as opposed to female members of society. We argue that the contours of a global rape culture have become more prominent or visible in the era of the user-generated content and social networking sites typical of Web 2.0. In other words, we argue that new technologies provide a new medium for the perpetration of sexual violence, with the effect being to unveil the existence and prevalence of a rape culture in the postmodern world. We maintain that these behaviours take place within a preexisting and mutually reinforcing culture that both implicitly and explicitly supports rape – a culture that predates the internet and mobile phone. 


Virtual or cyber rape is yet another disturbing phenomenon that has emerged over the last few decades. This has been made possible with the many-tomany connectivity in online communities and virtual worlds. Virtual rape is where a person’s avatar is subjected to simulated sexual violence (Boyd, 2009; Dibbell, 1993). While the first widely publicised virtual rape occurred in a text-based MultiUser Dungeon (MUD) LambdaMOO (see Dibbell, 1993), more recent examples have emerged in three-dimensional game worlds such as Second Life (Warren & Palmer, 2010; Young & Whitty, 2010). Indeed in 2006, it was reported that a software add-on for Second Life had been developed that players could purchase to simulate rapes of other players’ avatars in the game (Mohney, 2006; Young & Whitty, 2010). Such cases further illustrate the omnipresence of a rape culture in the technosocial world.


Anti-Rape Protest 6 12 NOVEMBRE 2016

Student details brutal american rape culture 8 NOVEMBRE 2016

"Project Xan": Rape Culture On Stage 9 NOVEMBRE 2016

Life After Rape 4 8 NOVEMBRE 2016

Gang-Rape Party 3 8 novembre 2016




Bill Cosby and the rape culture 1 DICEMBRE 2014

"Noi stuprate da Bill Cosby" 28 LUGLIO 2015



The Rise of Rape Culture 10 SETTEMBRE 2015

RAPE CULTURE CULTURA DELLO STUPRO 3 DICEMBRE 2014



Sir Jimmy Savile, Donald Trump and The Power of Celebrity 17 OTTOBRE 2016

Violence Against Women Is a Global Pandemic 6 DICEMBRE 2011


SOFT PORN CULTURE 12 NOVEMBRE 2016



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