DISCLAIMER This Is a Neutral and Objective Verbatim Critical Analysis of Feminist Frequency’S Tropes Vs

DISCLAIMER This is a neutral and objective verbatim critical analysis of Feminist Frequency’s Tropes vs. Women in Video Games video series on YouTube. The purpose of this thesis is to show the accuracy of the facts and the strength of the arguments presented in the given video. The wording of the content presented in the video being critiqued has not been altered in any way, and is as originally intended. Conflicting evidence that has been released after the date of the given video (August 25, 2014) has not been included to debunk any arguments or facts presented, as that would be unfair. Sources and overall statistics are included at the end of this thesis.

This is not a personal attack or libelous attempt towards Anita Sarkeesian, her team, her supporters, or feminism in general, nor is it condoned. Everyone has the right to voice their thoughts, opinions, and feelings on any given subject matter, regardless of how true or popular it may be. Words, sentences, statements, or video footage EXAMPLE Statements that precede a green check with red outlines involve criticisms. Each one mark are factually correct and supported with All criticisms in this thesis about the video being critiqued are given will be debunked and explained in a separate evidence in the video and/or in the description. as fair, neutral, and objective as possible. Any criticisms or corrections section, following a solid red line. Writings Note that while a statement may be factually towards this presentation is both welcome and encouraged. However, and criticisms that continue elsewhere are correct, it may also be biased or faulty informa- I ask that it be constructive and respectful, without the use of any followed by a dashed line. tion or contain logical fallacies. disrespectful, degrading, or objectionable comments and language.

Thank you, EXAMPLE1,2,3 Any criticisms that have a numerical annotation EXAMPLE O Statements that precede a green O are ob- are backed up with the source(s) to the corre- jective. Note that while a statement may be sponding number(s). Click on the annotation objective, it may also be a research error or number to go to the source. contain logical fallacies. Brent Cherry THE CRITICISMS EXPLAINED

The criticisms and recognitions in this presenta- an absurd one, by taking them to extremes. FALSE CAUSALITY: A citation or conclusion that PREJUDICIAL LANGUAGE: The use of loaded which a new or currently-existing term is given tion fall under 4 categories: Honesty, research, ARGUMENT FROM IGNORANCE: The assump- sequential events is clear evidence that the first or emotive terms to emphasize value or morali- a specific meaning for the purposes of the logic, and objectivity. The following criticisms tion of a conclusion or fact based on either caused the second or more. ty to a subjective statement. argument or discussion in a given context.

are what is found in this specific analysis. The lack of evidence to the contrary or when such INCOMPLETE ARGUMENT: An argument that REIFICATION: When an abstract belief or subcategories of each one follows afterward. is arbitrarily deemed inadequate. is introduced without some sort of resolution or hypothetical construct is treated as if it were a HONESTY BIASED SAMPLE FALLACY: Drawing a con- conclusion. Also known as an enthymeme. concrete, real event or physical entity. Dishonesty occurs when a statement or evidence LOGIC clusion based on a sample that is biased, or LOADED QUESTION: A question that contains REPETITION: Repeating an argument, state- is intentionally given with only part or none of A logical fallacy is an incorrect argument in chosen in order to make something appear on a controversial, unjustified assumption, or an ment, or premise over and over again in place the whole truth. The context of any evidence logic and rhetoric which results in a lack of average different than it actually is. unproven basis. of better supporting evidence. displayed or references provided are assumed

validity, or more generally, a lack of soundness. CONFIRMATION BIAS: The tendency to search MIND PROJECTION: A belief with certainty SELF-CONTRADICTION: A statement that direct- to be fully acknowledged before presented. While a fallacy may have multiple names for, interpret, prefer, or recall information in a that one perception is the one objective truth, ly or indirectly opposes a previous statement.

and belong in certain subcategories, such as way that confirms one’s beliefs or hypotheses regardless of other possible points of view. SHOEHORNING: The process of forcing an MISREPRESENTATION: Evidence that has been formal and informal, with even more subcate- while giving less attention to information or MOVING THE GOALPOST: An argument in irrelevant topic into the discussion at hand. altered and/or presented to intentionally give a gories within those, the focus is to describe the possibilities that can or does contradict such. which a standard is arbitrarily changed once a SLIPPERY SLOPE: An assertion that some event false or misleading idea of the original material.

properties of a specific one. DISTINCTION WITHOUT A DIFFERENCE: An previously introduced problem or argument has must inevitably follow from another without any MISSING CONTEXT: A statement or argument attempt to describe a distinction between two been resolved completely or in some major way. rational argument or demonstrable mechanism that intentionally leaves out conflicting informa-

AD HOMINEM: A dismissal or attack on an ar- things where no difference exists. NON SEQUITUR: A conclusion that does not for the inevitability of the event in question. tion in order to seem valid or true.

gument, individual, or subject presented based DOUBLE STANDARD: A set of principles that ap- follow from the premises established. SPECIAL PLEADING: An application of stan- WILLFUL LIE: Reporting that intentionally contra- on personal bias on the matter or a completely plies differently and sometimes more rigorously OPINION: A personal view, attitude, or apprais- dards, principles, and/or rules to other people or dicts evidence provided or autobiographical irrelevant point, rather than objectively or fairly to one group or circumstances than to another. al that is presented as fact. circumstances, while making oneself or certain accounts that observable and concrete

criticizing the argument or subject matter itself. FALSE ANALOGY: A supposed similarity that is OVERGENERALIZATION: A statement which is circumstances exempt from the same critical means can prove otherwise. APPEAL TO EXTREMES: An erroneous attempt used to prove or disprove an argument, but is too general to support a single, solid conclu- criteria, without providing adequate justification.

to turn a reasonable argument or situation into too different to be effective. sion about the subject. STIPULATIVE DEFINITION: A type of definition in Continued on next page THE CRITICISMS (CONTINUED)

RESEARCH ered and presented to support only the given Research errors are mistakes made in gather- argument or statement when conflicting ing evidence to support a given argument or evidence exists.

statement. What separates these from dishon- FACTUAL ERROR: Presented information that is est statements is that the integrity is not clear, not factually correct.

and could possibly be due to unawareness FAULTY SOURCE: Using irrelevant, unqualified, or assumptions. Either way, this is a great hin- unidentified, biased, or fabricated source in drance to the overall credibility towards being support of an argument. a reliable source of information. The responsibil- ity to provide concrete and observable evi- OBJECTIVITY dence supporting a claim or statement always Objective analyses are arguments and state- relies on the individual making such, regardless ments that are fueled by solid facts and logic, of how common knowledge may be on any as opposed to personal belief or bias. This is the given topic. absolute cornerstone to the overall credibility towards being a reliable source of information.

ANECDOTAL EVIDENCE: An assertion or information that is passed along either without CORRECT FACT: Information that is factually or not based upon observable confirmation. correct and supported with evidence in the

ASSUMPTION: A statement or claim that is video and/or in the description. made without providing concrete and observ- OBJECTIVE STATEMENT: Statements or argu- able evidence either within the video or links to ments that do not stem from bias or personal external resources. belief on a certain subject matter.

CHERRY-PICKING: Information that is gath- “Grab a whore and have a good time. [Laughs]” In our last video, we discussed the concept of sexual Welcome to the second part of our mini-series exam- objectification, and looked at a specific subset of ining the women as background decoration trope in non-essential female characters which I classify as video games. “non-playable sex objects”.

In this episode, we will expand our discussion of the women as background decoration trope to examine how sexualized female bodies often occupy a dual role as both sexual playthings and the perpetual victims of male violence.

I need to stress that this video comes with a content warning and is not recommended for children. The game footage I’ll be showcasing will be particularly graphic, and include scenes of extreme violence against women.

I define the women as background decoration trope as…

FALSE CAUSALITY “the subset of largely “Are you here for the whore?” Just because a particular method is used does not automatically mean it is insignificant non-play- targeted for a specific demographic. able female characters whose sexuality or OPINION x4 victimhood is exploited What is considered to be 1. “insignificant”, 2. “edgy”, 3. “gritty”, or 4. “racy” is as a way to infuse subjective and debatable. edgy, gritty, or racy flavoring into game STIPULATIVE DEFINITION x8 worlds. These sexually Limiting the definition of “women as background decoration” to 1. insignificant objectified female characters, 2. sexual exploitation, 3. victimhood exploitation, 4. infusing edgy, bodies are designed 5. gritty, 6. racy flavoring, 7. sexual objectification, and 8. appealing to hetero- to function as environ- sexual males prevents the possibility of variations to the trope. mental texture while titillating presumed straight male players.” “Aiutatemi! (Help me!)” “I have your money.”

“Well, if it isn’t long, lost Andrew Ryan. Mmmm- mmmm-mmmm! Come here tiger.”

“Let her go.”

“I thought you had forgotten about poor Jasmine, but “No! Take it up with Cesare.” I’m so glad you didn’t.”

[Laughing]

BIASED SAMPLE FALLACY x4 Based on the examples presented, it is concluded that the use of 1. sexual and 2. domestic violence as a form of scaffolding to prop up 3. dark and 4. edgy environments has become a pervasive pattern in modern gaming. “I’m sorry, Mr. Ryan. I didn’t know. I didn’t know Fontaine had something to do with it. I… Wh-what are you FALSE ANALOGY x2 doing?! No! No, don’t! Please! I loved you. Don’t! Don’t! 1. Sexual violence is any sexual act through physical violence or coercion against Please, no! NOOO!” consent. 2. Domestic violence is any act through physical violence or coercion against consent by either a family member or within a household. Simply killing a woman is not enough to fulfill the criteria for either of these definitions.1,2 INCOMPLETE ARGUMENT x5 No explanation why the use of 1. domestic or 2. sexual violence as a form of The use of sexual or domestic violence as a form of scaffolding to prop up 3. dark and 4. edgy environments or 5. having such be scaffolding to prop up dark and edgy environments pervasive in modern gaming is negative or more of an issue than other variations. has become a pervasive pattern in modern gaming. [Screaming] If we compare the Hitman ads featuring female victims to those featuring assassinated men, we immediately notice that male characters are not displayed in sexualized clothing or positions.

The marketing blitz surrounding the release of the 2006 game Hitman: Blood Money featured several advertisements depicting the murdered bodies of sexualized women with captions like “beautifully executed”.

Maimed female bodies on the other hand are often CHERRY-PICKING fetishized and sexually objectified. Neurological science has concluded that human male sexuality is heavily linked to visual stimulation.3-6 The 1940’s pulp-novel-inspired L.A. Noire used INCOMPLETE ARGUMENT x2 similar images in some No explanation why using 1. fetishizing or 2. sexually objectifying dead female promotional materials bodies is negative or more of an issue than other types of characters. displaying the sexualized dead bodies of murdered CHERRY-PICKING women as a selling point L.A. Noire (2011) involves situations that are both inspired and based off of real ARGUMENT FROM IGNORANCE for the game. crimes committed in 1940s Los Angeles. Therefore, the advertisements for the Due to the absence of evidence to the contrary, it is assumed that the ads for game are a reflection of real history.7-10 Hitman: Blood Money (2006) were designed to sexually arouse straight male viewers. INCOMPLETE ARGUMENT CHERRY-PICKING No explanation why using dead bodies of murdered women for promotional Neurological science has concluded that human male sexuality is heavily linked materials is negative or more of an issue than other variations. to visual stimulation.3-6 MISREPRESENTATION FALSE CAUSALITY Rockstar Games used various images as promotional materials to advertise Just because a concept is presented in a particular manner does not automati- L.A. Noire (2011), some of which include dead bodies of males. Therefore, this cally mean it was designed for a specific demographic. description is misleading and dishonest.11

INCOMPLETE ARGUMENT Even in death, these lingerie-clad women are posed No explanation why posing dead women in a provocative way to sexually arouse provocatively in a way designed to sexually arouse straight male viewers is negative or more of an issue than other variations. straight male viewers. INCOMPLETE ARGUMENT x6 This “drop-dead gorgeous” trope, No explanation why using 1. dead female bodies or 2. bodies of female prosti- as it’s called, is commonly used tutes as indicators for harsh, 3-4. cruel, or 5-6. unforgiving game worlds is nega- in other forms of mass media, tive or more of an issue than other variations. especially in fashion advertising. It CHERRY-PICKING is the collusion of violence done to MISSING CONTEXT x25 Neurological science has concluded that human male sexuality is heavily linked women’s bodies and the fact that it Developers regularly utilize the brutalization of wom- Every single game that has been referenced so far utilizes the brutalization of to visual stimulation.3-6 is often sexualized. The idea being en’s bodies, and especially the bodies of female both male and female bodies to establish a ludonarrative atmosphere. Female that a dead woman is still inherently prostitutes, as an indicator of just how harsh, cruel, characters are no exception.13-38 FACTUAL ERROR x3 beautiful, even if her body has and unforgiving their game worlds are. 1. The drop dead gorgeous trope is simply presenting a dead body as beautiful. been maimed. Her life stolen from INCOMPLETE ARGUMENT x6 While the trope is significantly more common for women, it is entirely possible to her. Something arousing still remains No explanation why using 1. dead or 2. mutilated female bodies to decorate apply to men as well.12 available for male consumption. virtual game environments, 3-4. invoke a sexually charged mood, or 5-6. invoke 2. While commonly a theme, violence and murder are not necessary elements an edgy atmosphere is negative or more of an issue than other variations. for the drop dead gorgeous trope to be in effect.12 3. While commonly presented as a heterosexual desire for men, the drop dead MISSING CONTEXT x25 gorgeous trope is not exclusive to that specific demographic.12 Every single game that has been referenced so far utilizes the brutalization of both male and female bodies to establish a ludonarrative atmosphere. Female FALSE CAUSALITY In some of the most pernicious examples, dead or characters are no exception.13-38 Just because a concept is presented in a particular manner does not automati- mutilated female bodies are used to decorate virtual cally mean it was designed for a specific demographic. game environments as a way to invoke a sexually OPINION x3 charged creepy mood or edgy atmosphere. What is considered to be 1. “pernicious”, 2. “creepy”, or 3. “edgy” is subjective INCOMPLETE ARGUMENT x3 and debatable. No explanation why 1. sexualizing violence done to women’s bodies or 2. present- Mafia II: Joe’s Adventures includes a gun battle which ing dead women as beautiful or 3. arousing for male consumption is negative or takes place over the dead body of an exotic dancer… PREJUDICIAL LANGUAGE x4 more of an issue than other variations. The word “pernicious” is used to place an emphasis on the position that using “Well, that’s one less elf breeder in the world.” 1. dead or 2. mutilated female bodies to decorate virtual game environments as a way to invoke a 3. sexually charged creepy mood or 4. edgy atmosphere is negative. INCOMPLETE ARGUMENT x2 No explanation why having 1. gameplay occur over the dead body of a female exotic dancer or 2. a female exotic dancer perform a routine for the player is negative or more of an issue than other variations. MISREPRESENTATION x4 In Mafia II: Joe’s Adventures (2010), 1. the scene presented takes place over the bodies of multiple male and female NPCs. 2. The exotic dancer that was killed “Fuck! This was my favorite fuckin’ whorehouse too…” in this scene never performs a routine for the player prior to the shootout. 3. The game overall includes many situations that take place over bodies of any char- “A shame though, nice body on that one.” …who moments earlier was performing a routine for acter or NPC, regardless of gender. Therefore, both this clip and 4. description are “She’s still warm. How picky are you, anyway?” the player. misleading and dishonest.39.40 Darkness II.

MISSING CONTEXT A grisly example can be found in Bioshock 2, where The Pink Pearl area in BioShock 2 (2010) is a brothel, and is the only level where mutilated eroticized female bodies are seen scattered most of the female bodies are prostitutes. Therefore, the eroticized females have throughout The Pink Pearl bordello area in Siren Alley. a backstory that fit the context displayed.17,41 OPINION What is considered to be “grisly” is subjective and debatable. “Hiya Jackie. Remember us from the Candy Club? Well, INCOMPLETE ARGUMENT do you?” No explanation why using sexualization in the presentation of female corpses is “Sure he does.” negative or more of an issue than other variations. FALSE ANALOGY The opening scene features two women flirting with Although the women portrayed in the opening sequence of The Darkness II MISREPRESENTATION x3 the player in first person, before they are both slaugh- (2012) are killed, their bodies are not emphasized or sexualized afterwards. Not all female corpses are sexualized in that area. Some are displayed in the tered in front of you. Therefore, this does not meet the criteria for the drop-dead gorgeous trope exact same fashion as the male corpses. Therefore, both 1-2. these clips and mentioned earlier.44 3. description are misleading and dishonest.41 INCOMPLETE ARGUMENT MISSING CONTEXT No explanation why using graphic violence on female characters is negative or The Pink Pearl area in BioShock 2 (2010) is a brothel, and is the only level where more of a problem than with male characters. most of the female bodies are prostitutes. Therefore, the eroticized females have a backstory that fit the context displayed.17,41 MISREPRESENTATION x2 [Screaming] The Darkness II (2012) involves sequences with either similar levels of or more OPINION x3 “Oh, shit! Jackie! Get down!” graphic violence towards other NPCs, regardless of gender. Some sequences What is considered to be 1. horrific, 2. disgusting, or 3. arousing is subjective Again, we can compare the way the murdered male even require the player to actively participate in. Therefore, both this clip and and debatable. bodies are displayed and notice the distinct lack of During one mission in Far Cry 3, players watch from description are misleading and dishonest.35 sexualization in their presentation. The male corpses the sidelines as a pimp beats up a female prostitute may be designed to evoke a sense of horrorO or of color in a shanty town. FALSE ANALOGY x2 disgust,O but it’s not coupled with elements of sexual 1. To “beat up” means “to strike violently or forcefully and repeatedly”. Since titillation in the same way that female bodies are. the female prostitute was only struck once by the pimp, this does not meet the criteria for the action described.45,46 CHERRY-PICKING While playing, gamers are routinely forced to witness 2. Although the woman portrayed in the mission in Far Cry 3 (2012) is a prostitute, There are countless games that treat male NPCs or playable characters the graphic scenes of violence against female NPCs her sexuality is not emphasized, nor does she die. Therefore, this does not meet exact same way as mandatory game progression.42 as these acts are committed in real time by other the criteria for the drop-dead gorgeous trope mentioned earlier.46 game characters. INCOMPLETE ARGUMENT INCOMPLETE ARGUMENT No explanation why forcing players to witness graphic violence against female No explanation why portraying violence on female characters of colour is characters is negative or more of a problem than other characters. negative or more of an issue than with other types. MISREPRESENTATION x3 FALSE ANALOGY In Far Cry 3 (2012), 1. the scenario portrayed occurs in the mission “Bad Side of Although the woman portrayed in the opening sequence of Prototype (2009) “Where’s my fucking money, bitch?” Town”, in which the player is required to follow another NPC undetected. Not only dies, her body is not emphasized or sexualized afterwards. Therefore, this does “I don’t feel good.” is this scene completely optional to watch, but the player will be penalized for not meet the criteria for the drop-dead gorgeous trope mentioned earlier.43 The opening sequence in Prototype, for instance, de- “I’ve got your medicine.” straying too far from the target if they decide to see this scenario play out. 2. The picts the execution of a nameless crying woman, her “Please don’t!” game overall involves sequences with either similar levels of or more graphic vi- INCOMPLETE ARGUMENT dress ripped suggestively to reveal her garter belt. “Take it, you little shit!” olence towards other NPCs, regardless of gender. Some sequences even require No explanation why suggestively showing a woman’s garter belt is negative or “No money? What’s this, huh? You worthless whore, your the player to actively participate in. Therefore, both this clip and 3. description more of an issue than other variations. A similar technique is used to set the mood in The fuckin’ pathetic. You’re lucky I don’t kill you.” are misleading and dishonest.29,46 ASSUMPTION The women who fulfill this trope in gaming universes No evidence provided to support the claim that females who fulfill the drop are sometimes designed to occupy minor narrative dead gorgeous trope are often “hollow shells”. roles, but more often than not, they’re just hollow shells. Empty representations with little to no personali- CHERRY-PICKING ty or individuality to speak of. The entire purpose of a NPC of any kind is to be a supporting element to either help or challenge the player progression in a video game world, whether it be as a plot device, assistance, or gameplay mechanic. Murdering female characters is no exception.47-49 DISTINCTION WITHOUT A DIFFERENCE If a character shows any resemblance of emotion or personality, then they are not “hollow shells”. “Excuse me, gringo.” “Stop hitting the girl.” INCOMPLETE ARGUMENT x5 No explanation why portraying females who fit the drop dead gorgeous trope 1. as hollow shells, 2. with little or 3. no personality or 4-5. individuality is negative or more of an issue than with male characters.

ASSUMPTION Red Dead Redemption includes multiple depictions of No evidence provided to support the claim that Red Dead Redemption (2010) assaulted female prostitutes. includes multiple depictions of assaulted female prostitutes. INCOMPLETE ARGUMENT No explanation why portraying assault of female prostitutes is negative or more of an issue than other variations. “Ugnh!” “There, you happy now?”

ASSUMPTION No evidence provided to support the claim that Eva gets killed by her assailant anyway in Red Dead Redemption (2010). In the stranger side-mission “Eva in Peril”, the protagonist happens upon a Mexican prostitute being beaten. FALSE ANALOGY Although Eva in Red Dead Redemption (2010) is killed, her body is not emphasized or sexualized afterwards. Therefore, this does not meet the criteria for the The player can choose to “buy her” from her abuser drop-dead gorgeous trope mentioned earlier.50 for $200 to stop the attack, though she is later murdered by her assailant anyway. INCOMPLETE ARGUMENT x2 No explanation why 1. using bribery as a form of altruism or 2. having a female character be killed anyways is negative or more of an issue than other variations. MISSING CONTEXT x2 1. Although Eva dies, the game rewards the player with positive honour and fame upon successful completion of the mission.51 2. Red Dead Redemption (2010) contains another stranger side-mission “The “You like her? You can have her. Yeah, she’s pretty Wronged Woman”, in which the player is required to kill and rob a man in order “Si, tú eres puta.” clean and pretty dirty also. She’s yours for 200 Ameri- to provide for a pregnant woman Clara. Once the mission is completed, it is “Hey amigo, give it a rest. Enough.” can dollars.” revealed to be a scam, and the man to be innocent.52 main storyline, but are instead designed to seem FACTUAL ERROR like random chance encounters. They are meant to Not only are scripted events usually part of a main storyline, they are commonly make the game world appear more alive or unpre- a necessity for game progression.54 dictable, and therefore, more believable. OVERGENERALIZATION Countless games with established stories and plots use scripted events as part “Mario, you are evil.” of a game’s storyline, regardless if they are designed to seem like random “No, Eva. I’m just a cow herd who can no longer afford chance encounters.55 the cattle.”

INCOMPLETE ARGUMENT x4 Rape and sexual assault are also frequently used No explanation why frequently using 1. rape or 2. sexual assault to 3. raise as a sort of narrative currency to try and raise the emotional stakes or 4. heighten dramatic tension is negative or more of an issue emotional stakes and heighten the dramatic tension than other variations. for gamers. MISREPRESENTATION While this scenario portrayed in Metro: Last Light (2013) occurs, the player has the option to intervene both before and after the enemy knocks out the woman. Therefore, this clip is misleading and dishonest.53

“Come on, mama, come on! Spread them legs!” In Grand Theft Auto V, one such chance encounter MISREPRESENTATION x2 “Oh please! Don’t! Noooo!” features a scene evocative of sexual assault in which The random event “Rogue Altruists” in Grand Theft Auto V (2013) does not involve “Korova, what, you think you’re too good for us?!” a young woman is being attacked and held down by sexual assault. If the player saves the victim, it is revealed that they are members “No! Please! Please, he-e-e-lp! Raaaaaaah-a-a-aah!” two men on the side of the road. of “The Altruists” cult, which is comprised entirely of old men from the baby boomer “Quiet, bitch! Shut! The fuck! Up!” generation that believe all other generations after them are the cause of all problems in the world, and have a distain for technology. If the player does INCOMPLETE ARGUMENT x3 These brutal scenes often occur as scripted events, not save the victim, they will simply kidnap her. Therefore, both 1. this clip and No explanation why 1. using rape or 2. sexual assault as scripted events or triggered when the player enters particular areas. 2. description are misleading and dishonest.56,57 3. having such occur at certain stages of progression is negative or more of an issue than other variations.

INCOMPLETE ARGUMENT No explanation why allowing the player the choice to either rescue a female character or letting the situation play out is negative or more of an issue than “Get off of me you old pervert!” other variations. “Walk away! Don’t make this your problem.” CHERRY-PICKING The player can rescue her by killing her assailants, or There are countless games that use themes such as extreme violence and rape “I’ve got plans for you!” simply watch the scene play out in front of them. as major plot points.58,59 “Unhand me at once” “This is going to be fun.” These vignettes are not major plot points. Instead, INCOMPLETE ARGUMENT x2 “You can’t do this! HELP!” violence against women is essentially used as a set No explanation why using violence against women as a set piece to 1. establish piece to establish or punctuate the seedy atmo- or 2. punctuate the seedy atmosphere of crime-and-chaos-ridden fictional Scripted events are typically not part of the game’s sphere of crime-and-chaos-ridden fictional universes. universes is negative or more of an issue than other variations. (Cries) “So – Messer Ezio - Let’s see just how talented you are. “D’you like that? That feel good? Fuck!” After him!”

CHERRY-PICKING It’s meant to paint the gaming environment with a During this sequence, the killer will run and take a There are countless games that use extreme violence to set a ruthless narrative harsh brush, but it ends up doing so on the backs of courtesan hostage. tone for the story.58 women’s bodies, casually sacrificing female characters in the name of setting a ruthless narrative tone. INCOMPLETE ARGUMENT x3 INCOMPLETE ARGUMENT x3 No explanation why 1. taking a female courtesan hostage, 2. killing them, or No explanation why using 1. violence against women, 2. dead female bodies, or It’s worth noting that there are striking tonal and 3. continuing on multiple ones is negative or more of an issue than other variations. 3. casually sacrificing such to set a harsh narrative tone is negative or more of an thematic similarities between female victims used issue than other variations. as background decoration and other tropes we’ve MISREPRESENTATION x5 discussed in previous episodes. 1. The mission “Damsels in Distress” in Assassin’s Creed II (2009) was designed to OPINION encourage completion of the mission with minimal casualties. It is possible to What is considered to be worth noting is subjective and debatable. The second installment in the Assassin’s complete the mission without sacrificing any additional NPCs. 2. The game also Creed series, for instance, features features similar treatment of other characters, regardless of gender. Therefore, a sequence called “Damsels in 3-5. these clips and description are misleading and dishonest.34,60 Distress”, in which the player must hunt down a man who has murdered a female prostitute. “Don’t come any closer, or I’ll carve up another one.”

If the player gets too close, the assailant will slit her throat and run to the next nameless courtesan, take her hostage, murder her…

“Come. Join us, Ezio! Have a drink, meet the ladies.” [Screaming]

“It wasn’t my fault. She laughed at me! She made me do it.”

…then grab another, murder her, grab another, and another, until the player manages to shoot and kill “Murderer! Butcher! He sliced Lucia and stole her money!” the perpetrator from a sufficient distance. ASSUMPTION x5 The Witcher games include a variety No evidence provided to support the claim that The Witcher 2: Assassins of Kings of side missions involving the player (2011) includes 1. a variety of side missions or 2. side missions that require the character attempting to rescue or player to rescue or 3. protect non-playable sex objects from 4. assault or 5. rape. protect non-playable sex objects from assault or rape by thugs. INCOMPLETE ARGUMENT x4 No explanation why having side missions the require the player to 1. rescue or 2. protect non-playable sex objects from assault or 3-4. rape is negative or more of an issue than other variations. WILLFUL LIE x2 1. The Witcher (2007) only offers two side missions that require the player to rescue ASSUMPTION or protect characters from assault or rape, those being “She’s No Early Bird” and “MARIO!” No evidence provided to support the claim that female characters which fall “Working Girls”. 2. The Witcher 2: Assassins of Kings (2011) does not offer any such side under the background decoration trope do not usually rise to the level of impor- missions. Therefore, this description is intentionally misleading and dishonest.16,61,62 tance necessary to be pawns in another person’s game. FALSE ANALOGY CHERRY-PICKING While the player can seduce Vesna Hood, she is a waitress and merchant NPC, 1. The entire purpose of any NPC is to be a supporting element in either helping or not specifically designed to be a decorative virtual “sex class”. Therefore, this “Will you help me? I fear the dogs and thugs, but I challenging the player progression in a video game world, whether it be as a plot character does not meet the criteria for the “non-playable sex object” definition need to get home.” device, assistance, or gameplay mechanic. Female characters are no exception.47-49 described in the previous episode.61 2. The entire purpose of a plot-driven video game is to provide a narrative that serves as motivation to complete the task provided. This cannot be accomplished without placing a crucial emphasis on the human-to-computer interaction that the player is required to partake in.65 INCOMPLETE ARGUMENT No explanation why having female characters that fall under the background decoration trope be left in a state of unimportance is negative or more of an issue than other variations. ASSUMPTION x2 REPETITION No evidence provided to support the claim that damseled characters traditionally I explained that in the game of patriarchy, women are The “game of patriarchy” argument was used in the first episode “Damsel in become the central 1. object or 2. goal in a competition between men. not the opposing team. They are actually the ball. Distress – Part 1”, and is mentioned again, in place of evidence. “Some men are troubling my girls. Take care of it and Female characters that fall under the background CHERRY-PICKING we’ll compensate you… generously.” decoration trope, however, usually don’t even rise to the WILLFUL LIE Objectification is the absolute cornerstone in the human-computer interaction level of importance necessary to be pawns in some- Every single game that has been referenced so far involves secondary or of the video game world, as well as all the elements that are a part of it. Female one else’s game. background female characters that become a crucial part of the main story. characters are no exception.63 Therefore, this description is intentionally misleading and dishonest.13-38,66 INCOMPLETE ARGUMENT x2 CHERRY-PICKING No explanation why having a damseled female character be 1. an object or 2. a The entire purpose of any NPC is to be a supporting element in either helping or goal between male characters is negative or more of an issue than other variations. challenging the player progression in a video game world, whether it be as a plot device, assistance, or gameplay mechanic. Female characters are no exception.47-49 OVERGENERALIZATION Not all traditional stories about damseled characters are a compe- INCOMPLETE ARGUMENT x3 tition between males. In L. Frank Baum’s The Wonderful Wizard of Oz No explanation why presenting female characters 1. for the express purpose of (1900), Dorothy gets captured by the Wicked Witch of the West, even being victimized in front of the player, 2. as having their dead bodies be unim- though the male characters Scarecrow, Tin-Man, and Cowardly Lion portant, or 3. never be an important element afterwards is negative or more of end up saving her.64 an issue than other variations. Instead, these women are brought on stage for the REPETITION In our first episode, I described the damsel in distress express purpose of being victimized in front of the MISSING CONTEXT x25 The “damsel in distress trope is a form of objectification” argument was used in trope as playing into a form of objectification, be- player, after which their battered bodies are whisked With the exception of Super Mario Galaxy 2 (2010), every game that has been the first episode “Damsel in Distress – Part 1”, and is mentioned again, in place cause traditionally, damseled characters become the away, swept back behind the curtain, never to be referenced so far features exact same scenarios with NPCs of both genders and of evidence. central object or goal in a competition between men. heard from again. of equal importance. Eroticized female characters are no exception.13-38 in video game design. Scenes depicting assault are no exception.67 FALSE ANALOGY Animatronics within amusement rides do not involve the audience interacting with the attractions, making the comparison to the mechanics of an interactive medium such as video games a false equivalence.68 INCOMPLETE ARGUMENT No explanation why presenting assault of female characters similar to that of animatronics in amusement parts is negative or more of an issue than other variations. If the player sticks around long enough, or leaves and then re-enters the same location, the scene will BIASED SAMPLE FALLACY x2 eventually repeat itself again and again, very much Based on the footage presented, it is concluded that the scenes featuring vio- like the animatronic vignettes in the Pirates of the lence against women are designed to 1. elicit a shocking reaction or 2. precede Caribbean ride at Disneyland. another event. INCOMPLETE ARGUMENT No explanation why eliciting a shocking emotion in optional side missions featuring female characters is negative or more of a problem than other variations. MISREPRESENTATION x2 1. While the player has the option to intervene, the overall narrative and game mechanics in Red Dead Redemption (2010) encourage the player to do good deeds. 2. The game also features similar situations of murder and assault to many NPCs, regardless of gender. Therefore, both this clip and description are misleading and dishonest.19 OPINION Returning to Rockstar’s Red Dead Redemption. In What is considered to be shocking is subjective and debatable. INCOMPLETE ARGUMENT x2 most settlement areas, players are treated to random- No explanation why 1. portraying female characters being assaulted, 2. mur- ly triggered events, in which female prostitutes are CHERRY-PICKING dered, or 3. using misogynistic slurs on such is negative or more of an issue than assaulted and murdered by johns, amid a torrent of Saving characters from criminals is a very common activity in video games, and other variations. misogynistic slurs. can apply to multiple types of NPCs and genders, especially in open-world style titles. Therefore, this is not exclusive to women.69 MISSING CONTEXT Players are presented with the choice to either inter- Red Dead Redemption (2010) features similar situations of murder and assault vene and save the woman for a small cash reward, CONFIRMATION BIAS x2 of many NPCs, regardless of gender.19 or simply watch the attack play out in front of them as Portraying female characters as either 1. helpless damsels or 2. dead victims is part of the entertainment. considered to be regressive, despite it being entirely subjective to interpretation. INCOMPLETE ARGUMENT x2 No explanation why allowing the player to 1. save the woman for a reward or INCOMPLETE ARGUMENT x3 2. watch an attack play out for entertainment is negative or more of an issue No explanation why portraying women 1. in a regressive manner, 2. as “helpless than other variations. damsels”, or 3. as “dead victims” is negative or more of an issue than with other types of NPCs. MISREPRESENTATION x2 “Stickin’ whore! I’m gonna cut you a new hole!” 1. While the player has the option to intervene, the overall narrative and game “You think I’m a joke? Go on then, laugh, bitch, LAUGH!” MISSING CONTEXT mechanics in Red Dead Redemption (2010) encourage the player to do good Red Dead Redemption (2010) features many missions that feature helpless or deeds. 2. The game also features similar situations of murder and assault to The audience is meant to briefly gasp at these acts of dead NPCs in similar or identical situations, regardless of gender.19 many NPCs, regardless of gender. Therefore, both this clip and description are brutality, before their attention is directed elsewhere, to- misleading and dishonest.19 wards the next event or set of enemies to be dispatched. OPINION What is considered to be “regressive” is subjective and debatable. Regardless of the player’s actions in these type of situ- “Help! Someone!” ations, the result always paints women in a regressive PREJUDICIAL LANGUAGE x2 CHERRY-PICKING “Stickin’ whore! I’m gonna cut you a new hole!” light, as they will end up as either “helpless damsels” The word “regressive” is used to place an emphasis on the position that portraying Both spawning and looping of characters and scenarios is an essential concept ”You think I’m a joke? Go on then, laugh, bitch, LAUGH!” or “dead victims”. female characters as either 1. helpless damsels or 2. dead victims is negative. CHERRY-PICKING Both spawning and looping of characters and scenarios is an essential concept in video game design. Scenes depicting assault are no exception.67 MISREPRESENTATION x3 Watch Dogs (2014) features similar situations of murder and assault to many NPCs, regardless of gender. Therefore, both 1-2. these clips and 3. description are misleading and dishonest.18

“So you think you can just leave me?” “Jesus, you need to stop following me!” “Come on babe, don’t be like that.” “I’ve had it with you, you’re nuts!”

ASSUMPTION x16 No evidence provided to support the claim that the overall narratives in the games referenced are never about the abused women in question. On a shallow-surface level, these vignettes seem to contextualize violence against women in a negative INCOMPLETE ARGUMENT light. However, these narratives are never really about No explanation why having the overall narrative be something other than an the abused women in question. “That’s it, I’ve had it with your lip!” abused woman is negative. “Don’t!” Instead, depictions of female pain and victimhood “I’ll teach you!” CHERRY-PICKING x2 are flippantly summoned to serve as sideshow attrac- 1. The entire purpose of a plot-driven video game is to provide a narrative that tions in storylines about other things altogether. These scenes are programmed to repeat themselves serves as motivation to complete the task provided. This cannot be accom- randomly dozens of times during gameplay. plished without placing a crucial emphasis on the human-to-computer interaction that the player is required to partake in.65 2. Countless video games use depictions of violence in real time as a theme in many major and minor narratives, regardless of a victimized NPC’s gender. Therefore, this scenario is not exclusive to women.70 INCOMPLETE ARGUMENT x2 No explanation why using depictions of 1. pain or 2. victimhood of female characters as side missions or sub-narratives is negative or more of an issue than other types of characters. MOVING THE GOALPOST When violence against women is presented in a negative light, it is considered to be insufficient, due to it being presented as a sub-narrative within a larger story, “You think you’re leaving me? Huh?” arbitrarily changing the standard. “Jesus, you need to stop following me!” In Ubisoft’s Watch Dogs, scripted crime events ran- “I’m not done with you, not yet.” CHERRY-PICKING domly generate throughout the game’s open world “You need to get out of here right now!” Both spawning and looping of characters and scenarios is an essential concept environment, some of which graphically depict “I’ll fucking kill you goddammit!” in video game design. Scenes depicting assault are no exception.67 incidents of domestic violence. “No, don’t!” MISREPRESENTATION x4 If the player 1. While the player has the option to kill the abuser in Watch Dogs (2014), it is not reaches a required action. Non-lethal neutralization will not only resolve the conflict, but the victim award more reputation points to the player. 2. The game also features similar within the situations of murder and assault to many NPCs, regardless of gender. 3. As both 10-second displayed clips of the discussed scenario have shown, the game highly en- intervention courages the player to intervene within the allowed timeframe and prevent the window, the crime from becoming a murder. Therefore, both this clip and 4. description are woman can misleading and dishonest.18 be rescued by killing her abuser. However, if the player doesn’t reach her in time, The only options available are to wait until the assault INCOMPLETE ARGUMENT x2 she is murdered, is in progress, then either take out the perpetrator No explanation why having to either 1. wait to take out the perpetrator during the and the during the assault, or take him down after the assault assault or 2. after it has occurred be the only options to complete the mission is perpetrator has happened. negative or more of an issue than other variations. will flee… MISREPRESENTATION x2 1. As all displayed clips of the discussed scenario in Watch Dogs (2014) have shown, the game highly encourages the player to intervene within the allowed timeframe and prevent the crime from becoming a murder. 2. The game also features similar situations of murder and assault to many NPCs, regardless of gender. Therefore, this clip is misleading and dishonest.18

“Hey, we need to talk.” “There’s nothing to talk about! We’re done, deal with it!” …providing gamers the opportunity to hunt him down. “You’re so fucking wrong. I’m not done yet.” “Get away!” Tellingly, if the player gets too close to the assault “I gotta stop him now.” before it occurs, the abuser will be scared off, and “I’ll scream!” the player will fail the mission… “Oh I’ll teach you! We’re not done, we are not done!”

“Hey, we need to talk.” [Screams] “I’ll fucking kill you!” …gaining no experience points, and no boost to his “Ungh! (Cries)” “reputation” meter. Plot devices that capitalize on female trauma for shock value function in much the same way as the hitting a childO or kicking the dog tropes do.O

CHERRY-PICKING The entire purpose of any NPC is to be a supporting element in either helping or challenging the player progression in a video game world, whether it be as a plot device, assistance, or gameplay mechanic. Female characters are no exception.47-49 MISREPRESENTATION As all displayed clips of the discussed scenario in Watch Dogs (2014) have shown, No game mechanics are provided to call an EMT, the game highly encourages the player to intervene within the allowed time- administer first aid, or check in on the victim, mean- frame and prevent the crime from becoming a murder. Therefore, this descrip- ing that these female characters exist to be assaulted tion is misleading and dishonest.18 in order to give the player something to do. A reason “Raaah! No one defies Thag the Impatient!” to chase down the bad guy, exact vigilante justice MISSING CONTEXT x2 on him, and gain the allotted experience points, 1. Watch Dogs (2014) features similar situations of murder and assault to many after which the women are casually discarded, NPCs, regardless of gender. 2. Nearly all characters that are involved in every forgotten by the game and its characters. side mission regardless of gender are irrelevant to the overall narrative of the game’s story.18 Of course, there also exists scripted events involving male NPCs, but those encounters are framed in DISTINCTION WITHOUT A DIFFERENCE distinctly different ways. The scenario depicted in this clip from Watch Dogs (2014) involving male victims plays out and ends the exact same way as the female ones. Therefore, it is no different than the ones involving male on female domestic violence. DOUBLE STANDARD x3 When female characters are victimized, it becomes an issue, but when male charac- “There, you happy now?” ters are victimized, it becomes a lesser issue, due to the absence of 1. sexual objectification, 2. sexual, or 3. domestic violence. It’s casual cruelty, implemented as an easy way to CHERRY-PICKING deliver a quick emotional punch to the player by pre- Female trauma can be presented in the form of slapstick comedy, named the INCOMPLETE ARGUMENT x4 senting attacks on characters specifically designed to “slapstick knows no gender” trope.71 No explanation why 1. the absence of sexual objectification, 2. sexual, or 3. domes- appear pitifully vulnerable. tic violence or 4. depicting male characters as active aggressors instead of passive BIASED SAMPLE FALLACY victims is negative or more of an issue than other variations. Based on the examples presented, it is concluded that scenes which capitalize “This is the place. If this guy is going to act, it’ll be nearby.” on female trauma serve no real purpose in the plot other than to let the audi- MISSING CONTEXT x10 “You’ve got some serious shit to sort out with the boys.” ence know that the perpetrators are truly deplorable monsters. 1. The Witcher 2: Assassins of Kings (2011), 2. BioShock 2 (2010), 3. Deus Ex: Human “Aw man, someone’s playin’ you man!” Revolution (2011), 4. The Witcher (2007), 5. Hitman: Blood Money (2006), 6. Hitman: ”Ugnh!” CHERRY-PICKING Absolution (2012), 7. BioShock (2007), 8. God of War III (2010), 9. Dead Island (2011), “You never fucking learn…” Female trauma can be presented for other reasons, such as to add more char- and 10. No More Heroes 2: Desperate Struggle (2010) all feature female enemies acter depth to an already likeable or neutral character, or to associate with a as active aggressors.14,16,17,22-24,32,33,36,38 When the victims are men, situation at hand, such as with the “would hit a girl” trope.72 sexual objectification and sex- MOVING THE GOALPOST x3 ual or domestic violence are CONFIRMATION BIAS When a similar scenario involving victimized male characters is introduced, the almost never ingredients in the Scenes which depict casual cruelty on vulnerable female characters is consid- lack of 1. sexual objectification, 2. sexual, and 3. domestic violence become scenario. Even the countless ered to only be useful in portraying deplorable villains, despite it being entirely relevant differences, arbitrarily changing the standard. male thugs and henchmen subjective to interpretation. the player mows down in these These scenes serve no real purpose in the plot, other WILLFUL LIE games are depicted as active than to let the audience know that the perpetrators OPINION x2 Every game referenced contains scenarios in which males are characterized as pas- aggressors, not characterized are truly deplorable monsters. What is considered to be 1. a “real purpose” or 2. “deplorable” is subjective sive victims. Therefore, this description is intentionally misleading and dishonest.13-38 as passive victims. and debatable. “Never speak of my mother like that again, you WHORE!” “Ugnh!”

“Let go of me! Stop, please!” “It’s a party, isn’t it? Grab a whore and have a good time.” “Think yourself a hero, do you? Sail away and I’ll burn [Laughs] “Savor the hunt, boys.” these sluts alive!”

“Wanna check out the dental plan, bitch?”

AD HOMINEM x2 Dismissing such portrayals as 1. “cheap” and 2. “one-note character develop- “She was just a God dang whore, man. A God dang ment” based on personal bias. filthy whore.” AD HOMINEM x3 CHERRY-PICKING Dismissing such portrayals as simply 1. a lazy shorthand for evil, 2. further moti- Female trauma can be presented for other reasons, such as to add more char- vation for the protagonist to take down a villain, and 3. justification for violence is acter depth to an already likeable or neutral character, or situation at hand, based on personal bias. such as with the “would hit a girl” trope.72 CONFIRMATION BIAS x3 CONFIRMATION BIAS x2 Plot devices that capitalize on female trauma for shock value are considered to Using sexualized violence against female characters is considered to be a “Un besíto. Besíto. Don’t be so conventional!” be 1. a lazy shorthand for evil, 2. further motivation for the protagonist to take 1. cheap and 2. one-note way of character development for bad guys, despite [Laughs] “Ah, look at that ass… magnificent. I’ll save her down a villain, and 3. justification for violence, despite it being entirely subjective it being entirely subjective to interpretation. for later. Or I’ll kill her and all her family. They’re probably to interpretation. rebels anyway.” FALSE ANALOGY FALSE ANALOGY “Sexualize” is to make something sexual in character. Therefore, unless an act of harm So, in addition to helping paint a gritty picture for the If defeating an enemy requires a specific method, then it cannot be excessive. is portrayed to be sexually arousing, it does not qualify as “sexualized violence”.73 rest of the game experience, this kind of sexualized violence against inessential female characters is It’s a lazy shorthand for “evil”, meant to further motivate OPINION x3 OPINION x2 exploited by developers as a sort of cheap, one-note the protagonist to take the villain down and help justify the What is considered to be 1. “lazy”, 2. a worthwhile motivation, or 3. justification What is considered to be 1. “cheap” or 2. “one-note” is subjective and debatable. character development for the “bad guys”. excessive violence committed by the player in these games. for the use of violence is subjective and debatable. Sexual Violence Survey 2010 Summary Report by the Centers INCOMPLETE ARGUMENT x2 for Disease Control and Prevention (CDC) released in 2011. This No explanation why 1. feeling justified or 2. taking pleasure in murdering villains who study has a small sample size, low response rate, and relies on attack helpless women is negative or more of an issue than other types of characters. poorly-contructed and vaguely-worded questions, making it an unreliable source of information.77,78 OPINION 2. The “one in four” sexual assault statistic has been proven What is considered to be an adequate justification for the use of violence is false in chapter 10 of the 1994 book Who Stole Feminism? How subjective and debatable. Women Have Betrayed Women by Christina Hoff Sommers.79,80 SLIPPERY SLOPE x2 INCOMPLETE ARGUMENT While it may be possible for the player to 1. feel justified or 2. take pleasure in No explanation why having women in prostitution be seen as vessels to be used by murdering villains who attack helpless women, it is not an absolute guarantee. others instead of fully human is negative or more of an issue than other variations. AD HOMINEM SHOEHORNING x2 Dismissing the sacrificing of female characters as not qualified to be mature The topics of 1. sexual and 2. domestic violence in the real world are forced into themes based on personal bias. the discussion of portraying violence against women in video games, which are completely separate topics altogether. ASSUMPTION x3 No evidence is provided to support the claim that 1. violence against women ASSUMPTION x2 affects large percentages of women outside of the United States, or 2. evoking These women and their bodies are sacrificed in No evidence provided to support the claim that gendered violence being 1. abnor- shades of female trauma in video games normalizes and 3. trivializes the experi- After all, if the random thugs or villains are so heartless the name of infusing “mature themes” into gaming mal or 2. a cruelty only committed by the most transparently evil strangers are ences of real-world victims. and vile they attack helpless women, then the player stories. But there is nothing “mature” about flippantly popular misconceptions. can feel completely justifiedO and even take pleasure evoking shades of female trauma. It ends up sen- MIND PROJECTION in murdering them in ever more gruesome ways.O sationalizing an issue which is painfully familiar to a FACTUAL ERROR Evoking shades of female trauma is declared as unqualified to be “mature large percentage of women on this planet, while also As of the release of this video, the latest study by the Bureau of Justice Statistics themes”, despite it being entirely subjective to interpretation. normalizing and trivializing their experiences. on female victims of sexual violence states that the overall rate of rape and sexual assault from 1995 to 2010 declined 58%, from 5.0 victimizations per 1,000 females MISSING CONTEXT x16 Sexual and domestic violence is at epidemic levels age 12 or older to 2.1 per 1,000. Therefore, the rate of sexual violence against Every game referenced includes scenarios evoking shades of trauma involving in the real world. One out of every five women in the females is miniscule, making it a statistical abnormality.75 male characters. This is not exclusive to female characters.13,16-19,24,25,27-29,31,33-35,37,74 United States will be raped in their lifetimes. One in four will be sexually assaulted. And women involved FALSE ANALOGY OPINION in prostitution are at a much higher risk of violence “Sexualization” is to make something sexual in character or quality, or to be- What is considered to be “painful” is subjective and debatable. because they are seen as vessels to be used by come aware of sexuality. Therefore, unless an act of violence is portrayed to be others, rather than as fully human. sexually arousing, it does not qualify as “sexualized violence”.73 PREJUDICIAL LANGUAGE x2 The word “painfully” is used to place an emphasis on the position that evoking FALSE CAUSALITY shades of female trauma in video games is familiar to the real-world issues of Just because a concept is presented in a particular manner does not automati- 1. sexual and 2. domestic violence against women. “Where’s your respect?” cally mean that specific idea is definitively established. “Reloading!” ASSUMPTION MIND PROJECTION x2 No evidence provided to support the claim that prostitutes are at higher risk of Casually using sexualized violence as a ham-fisted form of character develop- violence because of being seen as vessels to be used instead of fully human. ment for villains in video games is declared to be reinforcing the notion that gendered violence is 1. abnormal and 2. a cruelty is only committed by the most FACTUAL ERROR x2 transparently evil strangers, despite it being entirely subjective to interpretation. 1. While sexual and domestic violence are serious issues, many levels deemed as “epidemic” have been overblown.74 OPINION 2. As of the release of this video, the latest study by the Bureau of Justice Statistics Whatever notion is conveyed through using sexualized violence in a fictional on female victims of sexual violence states that the overall rate of rape and sexual manner is subjective and debatable. assault from 1995 to 2010 declined 58%, from 5.0 victimizations per 1,000 females So when games casually use sexualized violence age 12 or older to 2.1 per 1,000. Therefore, this does not qualify as epidemic as a ham-fisted form of character development for SLIPPERY SLOPE x2 status, which requires an event to increase rapidly over a short period of time.75,76 the “bad guys”, it reinforces a popular misconception While it may be possible that casually using sexualized violence as a ham-fisted about gendered violence by framing it as something form of character development for villains can reinforce notions about gendered FAULTY SOURCE x2 “Thank God. That was so awful. Did you hear what they abnormal, as a cruelty only committed by the most violence being 1. abnormal or 2. a cruelty only committed by the most transpar- 1. The “one in five” rape statistic is based on the National Intimate Partner and were saying to me?” transparently evil strangers. ently evil strangers, it is not an absolute guarantee. ASSUMPTION x24 In reality, however, violence against women, and No evidence provided to support the claim that 1. violence against women sexual violence in particular, is a common, everyday or 2. sexual violence are common, 3-4. everyday occurrences, 5-6. often perpe- occurrence, often perpetrated by “normal men” known trated by ones known and 7-8. trusted by those targeted, 9-10. the vast majority and trusted by those targeted. The truth is that the vast of cases are often committed by friends, 11-12. colleagues, or 13-14. relatives, majority of cases are committed by friends, colleagues, 15-16. are deep-seated, 17-18. are cultural problems, 19-20. are present in relatives, and intimate partners. The gendered violence homes, 21-22. communities, or 23-24. workplaces around the world. epidemic is a deep-seated cultural problem present in the homes, communities, and workplaces of many FACTUAL ERROR x4 millions of women all over the world. 1. While sexual and domestic violence are serious issues, many levels deemed as “epidemic” have been overblown.74 2. While not as common as male perpetrators, female offenders of sexual violence has occurred and currently exists.82-84 3. While sexual violence may be more common among female victims, it is not a gendered issue.82-85 4. As of the release of this video, the latest study by the Bureau of Justice Statistics reports that the rate of serious intimate partner violence in the United States declined 72% for females from 1994 to 2011. Therefore, sexual violence is not an epidemic.86 “This must be Karma. Travis Touchdown.” SHOEHORNING x2 “Spare me the mystic crap. I came here to fight.” The topics of 1. sexual violence and 2. violence against women in the real world are forced into the discussion of portraying such in video games, which are completely separate topics altogether. It is not something that mostly happens in dark alleys WILLFUL LIE at the hands of cartoon villains twisting nefarious-look- While the sources provided use unreliable references and statistics, they report ing mustaches. that men are also victims of sexual violence. Therefore, this is not a gendered issue, making this statement intentionally misleading and dishonest.87,88 [Screaming] APPEAL TO EXTREMES x2 The concepts of 1. violence against women and 2. sexual violence are taken to absurd degrees by introducing the idea of it occurring in dark alleys by cartoon villains twisting nefarious-looking mustaches. ASSUMPTION x2 No evidence provided to support the claim that 1. violence against women or “Magnificent… Travis, The Crownless King.” 2. sexual violence do not commonly occur in dark alleys by over-the-top criminals. ASSUMPTION No evidence provided to support the claim that games with anti-hero narratives have dramatically increased over the past decade. CHERRY-PICKING Although not nearly as common as males, there are numerous female characters in video games within the past decade who are portrayed as anti-heroes.89,90 “Who did this?” APPEAL TO EXTREMES x2 “That monster, Malfatto!” FALSE ANALOGY The concepts of solving 1. violence against women and 2. sexual violence are “Did you see him?” While an anti-hero may lack qualities that make up a traditional hero, they do taken to absurd degrees by introducing the idea of finding all the bad, evil men “That way!” not have enough evil or flawed qualities to be a villain. Therefore, an anti-hero is and killing them all. “I see the rumors were true.” not a “bad guy”.91 I should also note that the problem cannot be solved ASSUMPTION x2 by simply finding the bad, evil men and killing them Over the past decade or so, we have seen a dramat- INCOMPLETE ARGUMENT No evidence provided to support the claim that 1. violence against women or all, as these game narratives invariably imply again ic rise in angry male anti-hero narratives, in which the No explanation why having the player take on the role of a “bad guy” is negative 2. sexual violence cannot be solved by finding all the criminals and killing them. and again. player character is ostensibly a “bad guy”. or more of an issue than other variations. FALSE ANALOGY In some of these games, violence against women is FALSE ANALOGY The United Nations defines violence against women then used as character development for the protagonist. The United Nations defines violence against women as “any act of gender-based violence that results as “any act of gender-based violence that results in, in, or is likely to result in, physical, sexual or mental or is likely to result in, physical, sexual or mental harm harm or suffering to women, including threats of or suffering to women, including threats of such acts, such acts, coercion or arbitrary deprivation of coercion or arbitrary deprivation of liberty, whether liberty, whether occurring in public or in private life.” occurring in public or in private life.” Simply assaulting Simply assaulting a woman is not enough to fulfill a woman to unconsciousness is not enough to fulfill the definition of “violence against women”.92 the definition of “violence against women”.92 MISREPRESENTATION x3 In the “I’ll Take Her” mission in Grand Theft Auto IV (2008), both Niko and Gracie “Stop this thing you slimebag.” fight with each other (which has been edited out in these clips) until Niko knocks “Stop being such a fucking bitch.” her unconscious with one hit. Therefore, he does not “beat her unconscious”, ”Calm the fuck down or little birdies will be eating your making 1-2. both these clips and 3. description misleading and dishonest.93 “You wouldn’t!” brains off the dashboard tomorrow morning.” MISSING CONTEXT During this mission, the protagonist character insults The playable protagonist in Grand Theft Auto IV (2008) Niko Bellic is portrayed as her and beats her unconscious. a morally ambiguous criminal that resorts to questionable measures in order to complete his tasks. Assaulting women is no exception.21

“You’re fucking with the wrong girl, asshole. I’m Gracie Ancellotti, and I…” “Shut up. Peace at last.” “That’s enough!” Later, the game instructs players to smack her in the FALSE ANALOGY face before taking a ransom photo. The United Nations defines violence against women as “any act of gender-based violence that results in, or is likely to result in, physical, sexual or mental harm or suffering to women, including threats of such acts, coercion or arbitrary deprivation of liberty, whether occurring in public or in private life.” Simply assaulting a woman is not enough to fulfill the definition of “violence against women”.92 MISSING CONTEXT The playable protagonist in Grand Theft Auto IV (2008) Niko Bellic is portrayed as a morally ambiguous criminal that resorts to questionable measures in order to “Whoa! She’s all limp. I didn’t even hit her that hard.” complete his tasks. Assaulting women is no exception.21 MISSING CONTEXT “Just makes our job easier.” The playable protagonist in Grand Theft Auto IV (2008) Niko Bellic is portrayed as “Come on Gracie, I want you looking pretty for the photo.” a morally ambiguous criminal that resorts to questionable measures in order to Grand Theft Auto IV requires the player to kidnap (Sobs) complete his tasks. Kidnapping women is no exception.21 a woman. to her body and look at her mangled corpse, at which CHERRY-PICKING point a trophy will pop up. This achievement is called The God of War franchise includes other segments in which NPCs “I didn’t do it… But I wish I did!”. require sacrificing to proceed through a level, such as God of War (2005), where Kratos must burn a male prisoner alive. In the PS3 version of this game, a trophy named “Totally Baked” is unlocked for accomplishing this task. Therefore, this situation is not exclusive “Lord Kratos! No, please! Please, leave me be! I beg of to women in the franchise.94 you! Show mercy!” INCOMPLETE ARGUMENT No explanation why the name of the trophy is negative or more of an issue than other variations. MISREPRESENTATION x2 The “I didn’t do it… But I wish I did!” trophy is unlocked by simply killing the Poseidon Princess, not by looking at her mangled corpse. Therefore, both 1. this clip and 2. description are misleading and dishonest.95

All of this is designed to convey that the protagonist MISSING CONTEXT is a ruthless, unfeeling, morally corrupt character, The playable protagonist in God of War III (2010) is portrayed as a morally who is capable of anything. Again, we see female ambiguous character that resorts to questionable measures in order to complete bodies sacrificed as a way to justify the ever more his task. Killing women is no exception.33 “Hold your tongue.” gruesome and extreme violence the player must commit throughout the game. MISSING CONTEXT x7 God of War III includes a segment where Kratos pushes In 1. Grand Theft Auto IV (2008) and a half-naked princess through a level. 2-7. all of the God of War games to date (2005-2013), NPCs of both genders are killed by the protagonist in each game and in similar fashion. This is not exclusive to female characters.21,33,96-100

“Move!” “Please don’t kill me!”

FALSE ANALOGY The protagonist then uses her body to jam open a The United Nations defines violence against women gate to the next area as she whimpers in protest. Some games that capitalize on scenes of sexual FALSE ANALOGY x7 as “any act of gender-based violence that results in, violence do so gleefully… Sexual violence is a sexual act that or is likely to result in, physical, sexual or mental harm inflicts harm, not violence based or suffering to women, including threats of such acts, on a character being female. coercion or arbitrary deprivation of liberty, whether Neither 1. Grand Theft Auto V occurring in public or in private life.” Simply killing (2013) nor 2-7. any of the God of a woman is not enough to fulfill the definition of War games to date (2005-2013) “violence against women”.92 have ever used sexual violence at any point in either game.1,27,33,96-100 MISSING CONTEXT The playable protagonist in God of War III (2010) is portrayed as a morally ambiguous character that resorts to questionable measures in order to complete his task. Killing women is no exception.33

“Lord Kratos! Do not leave me!” [Screams] …while other titles may attempt to frame it as something After she is crushed to death, the player can then return inexorably tragic. …and does nothing to challenge patterns of perpetu- FALSE CAUSALITY al victimhood. Just because a concept is presented in a particular manner does not automatically mean that specific idea is definitively established. OPINION What is considered to be challenging patterns is subjective and debatable. MIND PROJECTION Reproduction of a subject matter alone is declared to not be critical commentary, despite it being entirely subjective to interpretation. OPINION “When she was 10, her mother traded her for a bottle What is considered to be critical commentary is subjective and debatable. of wine. Few enter this line of work by choice.” FACTUAL ERROR “Final call. Sold.” A critique is simply an analysis of something that is compared to a set of standards established by either the one(s) providing the criticism or rules to which one(s) may abide to. The standards to which something is compared to vary considerably.102 MIND PROJECTION x7 A worthy critique is declared to be 1. centring on characters, 2. exploration, 3. challenging, 4. changing, and 5. struggling with 6. oppressive, and 7. social systems, despite it being entirely subjective to interpretation. OPINION What is considered to be a worthy critique is subjective and debatable.

“They thought they would be working in a factory. By There is a clear difference between replicating STIPULATIVE DEFINITION x7 the time they arrived, it’s much too late.” something and critiquing it. It’s not enough to simply Limiting the boundaries of a “critique” to 1. centring on characters, 2. explo- present misery as miserable and exploitation as ration, 3. challenging, 4. changing, 5. struggling, 6. oppressive, and 7. social exploitative. Reproduction is not, in and of itself, a systems prevents the possibility of the concept being applied elsewhere. critical commentary. DISTINCTION WITHOUT A DIFFERENCE x5 A critique must actually center on characters exploring, If a game portrays a woman in peril, such as the many of the examples shown in challenging, changing, or struggling with oppressive this video, then the context of that situation is entirely focused on their 1. strug- social systems. gles, 2. perseverance, and 3. survival in the face of oppression. 4. If a story frames violence against women as “something inexorably tragic”, FALSE ANALOGY x3 But simply presenting depictions of women being such as Dishonored (2012) and Watch Dogs (2014), then it is entirely exploring the If a depiction of a person being 1. abused, 2. despondent, or 3. suicidal is not pre- abused, despondent, or suicidal does nothing to emotional ramifications of such on a cultural and 5. interpersonal level. sented in or interpreted as a sexual manner, then it is not sexual objectification.101 make them less sexually objectified… INCOMPLETE ARGUMENT x7 No explanation why having stories be about something other than 1. women’s struggles, 2. perseverance, or 3. survival in the face of oppression, 4. offer serious critical analyses or 5. exploring emotional ramifications of violence against women on either cultural or 6-7. interpersonal levels is negative or more of an issue than other themes.

But the game stories we’ve been discussing in this MISSING CONTEXT (28x7) episode do not center or focus on women’s struggles, While the overall stories of the games discussed in this episode so far may not women’s perseverance, or women’s survival in the centre entirely on 1. women’s struggles, 2. perseverance, or 3. survival in the face CONFIRMATION BIAS x3 face of oppression, nor are these narratives seriously of oppression, 4. offer serious critical analyses, or 5. explore emotional ramifica- Presenting depictions of women being 1. abused, 2. despondent, or 3. suicidal interested in any sort of critical analysis or exploration tions of violence against women on either 6. cultural or 7. interpersonal levels, is not considered to be challenging patterns of perpetual victimhood, despite it of the emotional ramifications of violence against many large and important sections in each story do so, as have been shown in being entirely subjective to interpretation. “Final call.” women on either a cultural or an interpersonal level. the video clips of such.13-38,40,74,103 CONFIRMATION BIAS x25 respectfully deals with the very serious issue of alco- The portrayals of violence against women in each game referenced is consid- holism and domestic violence against children. ered to be comfortably consumable towards the audience, despite it being entirely subjective to interpretation. INCOMPLETE ARGUMENT x2 No explanation why having stories 1. not expose a gritty reality to women’s lives or 2. women’s sexual trauma is negative or more of an issue than other themes. OPINION What is considered to be “comfortably consumable” is subjective and debatable. WILLFUL LIE x3 Every single game that is referenced 1. all feature women in peril in many large and important sections in each story, 2. has never sanitized the issues of violence against any character, and 3. explicitly exposes and explores “gritty realities” of abused women in sections of each campaign. Therefore, this description is The game does so by telling its story from the point of DOUBLE STANDARD intentionally misleading and dishonest.13-38 view of a protagonist directly affected by the trauma When games portray trauma from abuse from the perspective of another of abuse, not someone on the outside coming to character from the outside coming to the rescue, it is considered to be an issue, INCOMPLETE ARGUMENT x6 their rescue. whereas from the victim is not. No explanation why portrayals of 1. domestic or 2. sexual violence deserve more subtlety, 3-4. gravity, or 5-6. respect than other subject matters. The truth is that these games do not “expose” some kind of “gritty reality” of women’s lives, or sexual trauma, OPINION x3 but instead, sanitize violence against women and make What is considered to be worthy of 1. subtlety, 2. gravity, 3. respect is subjective it comfortably consumable. and debatable. Now, to be clear, I’m certainly not saying stories serious- SELF-CONTRADICTION ly examining the issues surrounding domestic or sexual Previously criticized games for “casually sacrificing female characters in the violence are off limits for interactive media. However, if name of setting a ruthless narrative tone” and reinforcing misconceptions about game makers do attempt to address these themes, violence against women in the real world for using such. Now says seriously they need to approach the topic with the subtlety, gravity, examining such issues are not off limits for interactive media. This position and and respect that the subject deserves. previous arguments made directly oppose each other.

SPECIAL PLEADING x6 It focuses on the journey of a figure who is struggling DOUBLE STANDARD x2 Due to the supposed seriousness of 1. domestic and 2. sexual violence in the through a traumatic situation and attempting to deal When games portray 1. the struggle from trauma and 2. attempts to deal with real world, it is expected that such themes are to be addressed with subtlety, with the repercussions of violence. repercussions of violence from the perspective of another character from the 3-4. gravity, and 5-6. respect. outside, it is considered to be an issue, whereas from the protagonist is not. ASSUMPTION No evidence provided to support the claim that Papo & Yo (2012) is an indie title. MIND PROJECTION x4 Papo & Yo (2012) is declared to be an example of a game that respectfully deals with the issues of 1. alcoholism and 2. domestic violence against children, and that 3-4. such are serious issues, despite it being entirely subjective to interpretation. MISSING CONTEXT Although the game Papo & Yo (2012) is mainly about the alcohol abuse and domestic violence by Quico’s father, one of the consequences of such results in the female character Alejanrda being killed, which qualifies as abuse of women.104 DOUBLE STANDARD x2 It makes that struggle to cope and survive central to When games portray 1. the struggle to cope and 2. survive abuse from the OPINION x2 Though not about the abuse of women, the 2012 both the narrative and gameplay, not peripheral set perspective of another character from the outside, it is considered to be an What is considered to be 1. “respectful” or 2. “serious” is subjective and debatable. indie title Papo & Yo is an example of a game that dressing to a story about something else. issue, whereas from the protagonist is not. DOUBLE STANDARD x2 2. vulnerable, or 3. perpetually victimized by male violence, nor 4. that such When games use 1. sensationalized or 2. exploitative depictions of abuse, it is myth exists. considered to be an issue, whereas using metaphoric imagery is not. CHERRY-PICKING x3 MISREPRESENTATION x2 1. Perpetrators involved in violence against women may also be female. This Near the end of the game, the symbolism of many objects take form in statues ex- issue is not exclusive to male perpetrators.82-85 plicitly depicting alcohol and domestic abuse, beating Quico, and killing Alejanrda. 2. Due to many biological, cultural, and evolutionary factors, female human Therefore, both 1. this clip and 2. description are misleading and dishonest.105 sexuality has, and continues to be, an extremely valuable resource.114-116 3. As long as people live in a free society in the real world, the issues of crime, OPINION discrimination, and conflict of any kind will always be a possibility.117 What is considered to be “powerful” is subjective and debatable. INCOMPLETE ARGUMENT x6 ASSUMPTION x2 No explanation why having framing 1. misogyny or 2. sexual exploitation of No evidence provided to support the claim that Papo & Yo (2012) does not 1. women as and everlasting facts of life, 3-4. inescapable, or 5-6. unchangeable sugar-coat or 2. glamorize violence. Well, the pattern of utilizing women as background is negative or more of an issue than other types. decoration works to reinforce the myth that women CONFIRMATION BIAS x4 are naturally fated to be objectified, vulnerable, MISSING CONTEXT (29x3) The game Papo & Yo (2012) is considered to be an 1. intense, 2. occasionally and perpetually victimized by male violence. These While the games that have been referenced in this video have framed both gut-wrenching, 3. honest, and 4. emotionally resonant experience, despite it games also tend to frame misogyny and sexual 1. misogyny and 2. sexual exploitation as everlasting facts of life within the context being entirely subjective to interpretation. And critically, the game employs powerful metaphor- exploitation as an everlasting fact of life, as some- of each story, they have also framed certain scenarios that can be resolved by the ic imagery to make its point, instead of relying solely thing inescapable and unchangeable. player in sections of each campaign. 3. They have also framed other issues such MISSING CONTEXT on sensationalized or exploitative depictions of the as death, corruption, and crime as facts of life as well. Female-related issues are At the end of Papo & Yo (2012), Quico is required to use simulacra of the dead fe- abuse itself. This dominant narrative surrounding the inevitability of fe- not the only ones addressed.13-38,40,74,103,118 male character Alejanrda to bait a trap for Monster, whereas the previous episode male objectification and victimhood is so powerful that “Women as Background Decoration – Part 1” criticized Hitman: Absolution (2012) it not only defines our concepts of reality, but it even sets OPINION for allowing players to use the body of a dead stripper to distract guards.106 the parameters for how we think about entirely fictional Whatever notion is perceived by using women as background decoration is worlds, even those taking place in the realms of fantasy subjective and debatable. OPINION x4 and science fiction. It’s so normalized that when these What is considered to be 1. “intense”, 2. “gut-wrenching”, 3. “honest”, or 4. “emo- elements are critiqued, the knee-jerk response I hear SLIPPERY SLOPE x9 tionally resonant” is subjective and debatable. most often is that if these stories did not include the While it may be possible to reinforce the notion that 1. women are naturally fated exploitation of women, then the game worlds would feel to be objectified, 2. vulnerable, or 3. perpetually victimized by male violence, or SELF-CONTRADICTION x4 “too unrealistic” or “not historically accurate”. 4. misogyny and 5. sexual exploitation are everlasting facts of life, 6-7. inescap- Previously criticized many games for depicting violence, regardless of moral able, or 8-9. unchangeable, it is not an absolute guarantee. stance. Now praises the game Papo & Yo (2012) for not 1. sugar-coating or 2. glamorizing violence as an 3. honest and 4. emotionally resonant experience. ASSUMPTION x6 No evidence provided to support the claim that the narrative of the inevitability ASSUMPTION x3 of 1. female objectification and 2. victimhood is dominant, 3-4. so powerful that No evidence provided to support the claim that 1. games do not just entertain, it defines Western concepts of reality, and 5-6. parameters about fictional worlds. 2. always express a set of values, or 3. always present the audience with concepts of normalcy. ANECDOTAL EVIDENCE x4 Claiming that the knee-jerk response most often heard to criticisms of stories FALSE CAUSALITY involving 1. female objectification and 2. victimhood is that they would be Just because a concept is presented in a particular manner does not automati- 3. “too unrealistic” or 4. “not historically accurate” without such is a biographical cally mean that specific idea is definitively established. Papo & Yo is an intense and at times gut-wrenching account that is not supported with observable means, and therefore does not game that doesn’t sugar-coat or glamorize violence. qualify as credible or legitimate evidence. LOADED QUESTION In this way, it’s an honest and emotionally resonant Asking how games that casually rely on depictions of female victimization place experience for players. OPINION x2 women in the society of the real-world is based on the assumption that media Whatever notion is perceived by 1. the concept of reality or 2. parameters influences the behaviours and attitudes of people outside of the said medium, We must remember that games don’t just entertain. established by a fictional world is subjective and debatable. which is a controversial topic that has yielded various results over the years.107-113 Intentional or not, they always express a set of values, and present us with concepts of normalcy. So what SLIPPERY SLOPE x8 ASSUMPTION x4 do games that casually rely on depictions of female While it may be possible to 1. define concepts of reality, or 2. parameters about No evidence provided to support the claim that utilizing women as background victimhood tell us about women, vis-a-vis their place fictional worlds through narratives about the inevitability of 3-4. female objectifi- decoration works to reinforce that 1. women are naturally fated to be objectified, in society? What does it say about our culture when games routinely cation or 5-6. victimhood, it is not an absolute guarantee.

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ASSUMPTION x10 bend or break the laws of physics and no one bats an MIND PROJECTION x2 No evidence provided to support the claim that 1. no one objects when games eye? When dragons, ogres, and magic are inserted 1. Objectification and 2. sexual violence are declared to be elements that do routinely bend or 2. break laws of physics, 3. insert dragons, 4. ogres, or 5. magic into historically-influenced settings without objection? not have to be accepted as a necessary cultural backdrops in Western media into historically-influenced settings, 6. people are willing to suspend their disbelief We are perfectly willing to suspend our disbelief when stories, despite it being entirely subjective to interpretation. when games utilize multiple lives, 7. superpowers, 8. health regeneration, or 9. the it comes to multiple lives,superpowers, health regener- ability to carry dozens of weapons or 10. items in massive invisible backpacks. ation, and the ability to carry dozens of weapons and NON SEQUITUR x12 items in a massive invisible backpack. But somehow, Claiming that the system of patriarchy has not existed for 1. all of history, 2. across CHERRY-PICKING the idea of a world without sexual violence and all time, and 3. all cultures does not follow or support the premise of objectifi- The philosophy of art imitating and reflecting real-life phenomena has been exploitation is deemed too strange and too bizarre to cation or 4-6. sexual violence being normal, nor 7-12. inevitable, making the theorized and practiced for thousands of years.119 be believable. argument invalid.

FACTUAL ERROR The truth is that objectification and sexual violence OPINION As of the release of this video, various of sources from Western culture that have crit- are neither normal, nor inevitable. We do not have to What is considered to be a required narrative element is subjective and debatable. icized and defended both realistic and unrealistic elements in video games.120-133 accept them as some kind of necessary cultural back- drop in our media stories. Contrary to popular belief, SELF-CONTRADICTION FALSE ANALOGY the system of patriarchy has not existed for all of history, Previously stated that sexual violence is at “epidemic levels” in the real world. Elements that are designed to benefit the human-to-computer interactivity are across all time, and all cultures, and as such, it can Now it is argued that sexual violence is not normal. Both statements cannot be completely different from those designed to establish a fictional universe.65 be changed. It is possible to imagine fictional worlds, simultaneously true. even of the dark,O twisted dystopian variety,O where the LOADED QUESTION x5 oppressionO and exploitation of women is not framed Asking how Western culture is reflected when video games from such 1. routinely as something expectedO and inevitable.O bend or 2. break the laws of physics, or 3. insert dragons, 4. ogres, and 5. magic into historically-influenced settings is based on the assumption that no one objects When we see fictional universes challenging or even ASSUMPTION x6 to fantastic elements in interactive media, which has yielded various results.120-133 transcending systemic gender oppression, it subverts No evidence provided to support the claim that 1. systemic gender oppression the dominant paradigm within our collective con- is a dominant paradigm, nor 2. challenging or 3. transcending such in fictional OPINION x3 sciousness, and helps make a more just society feel universes subverts it in Western society’s collective consciousness, or 4. helps to What is considered to be 1. strange”, 2. “bizarre”, or 3. “believable” is subjective possible, tangible, and within reach. make a more just society feel possible, 5. tangible, and 6. within reach. and debatable. FALSE CAUSALITY REIFICATION Just because a concept is presented in a particular manner does not automati- Fiction is the classification for any story, object, or world that is created in the cally mean that specific idea is definitively established. imagination. While parallels can be drawn to the real world, enforcing realism in fiction is an entirely subjective criticism.134 OPINION x4 What is considered to be 1. “just”, 2. “possible”, 3. “tangible”, or 4. “within reach” is ASSUMPTION x12 subjective and debatable. No evidence provided to support the claim that 1. objectification or 2. sexual violence are not normal nor 3-4. inevitable, 5. the patriarchy has not existed REIFICATION for all history, 6. time, or 7. cultures, 8. can be changed, 9. is responsible for Fiction is the classification for any story, object, or world that is created in the framing oppression and 10. exploitation of women as something to be 11. ex- imagination. While parallels can be drawn to the real world, enforcing realism pected or 12. inevitable. in fiction is an entirely subjective criticism.133 CHERRY-PICKING SLIPPERY SLOPE x5 The philosophy of art imitating and reflecting real-life phenomena has been While 1. challenging or 2. transcending systemic gender oppression may end theorized and practiced for thousands of years.119 up subverting such in Western society’s collective consciousness, or 3. help make a more just society feel possible, 4. tangible, or 5. within reach, it is not FACTUAL ERROR x3 an absolute guarantee. 1. Objectification is the absolute cornerstone in the human-computer interaction of the video game world, as well as all the elements that are a part of it. It is not possible to participate without objectifying elements that are made up from such.65 2. As long as people live in a free society in the real world, the issues of crime, discrimination, and conflict of any kind will always be a possibility.117 3. While historical research to date has not yet found a definitive date of establish- ment, the concept of fatherhood that rooted the beginning of patriarchy has existed for thousands of years, estimated to have an initiating date of 4000 BCE.135,136 168 TRUTHFUL POINTS 52 CASES OF MISREPRESENTATION 375 LOGICAL FALLACIES 406 CASES OF MISSING CONTEXT 466 CASES OF DISHONESTY 8 CASES OF WILLFUL LIE 167 RESEARCH ERRORS SOURCES 1176 TOTAL 1. [Elements of Crimes, Article 7(1)(g)-6 Crimes against humanity of 52 CASES OF MISREPRESENTATION sexual violence, Elements, 1: 406 CASE OF MISSING CONTEXT https://web.archive.org/web/20130618080357/http://www.icc-cpi. 8 CASES OF WILLFUL LIE int/NR/rdonlyres/336923D8-A6AD-40EC-AD7B-45BF9DE73D56/0/ ElementsOfCrimesEng.pdf 466 DISHONEST STATEMENTS 2. Domestic violence, definition: http://legal-dictionary.thefreedictionary.com/Domestic+Violence 3. Medscape – Gender Difference in Brain Activation to Audio- Visual Sexual Stimulation: 4 CASES OF ANECDOTAL EVIDENCE 116 CASES OF ASSUMPTION http://www.medscape.com/viewarticle/808430 29 CASES OF CHERRY-PICKING 16 CASES OF FACTUAL ERROR 4. Psychology Today – The Triggers of Sexual Desire: Men vs. Women: 2 CASES OF FAULTY SOURCE https://www.psychologytoday.com/blog/evolution-the-self/201205/ the-triggers-sexual-desire-men-vs-women 5. Rupp, H. A., & Wallen, K. (2008). Sex Differences in Response to 14.2%14.3% 4 CASES OF ANECDOTAL EVIDENCE Visual Sexual Stimuli: A Review. Archives of Sexual Behavior, 37(2), 116 CASES OF ASSUMPTION 206–218: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2739403/ 29 CASES OF CHERRY-PICKING 6. Miss Annabelle – Visual Stimulation. How Men and Women See 16 CASES OF FACTUAL ERROR Things Differently!: 2 CASES OF FAULTY SOURCE http://easy1001.com/miss-annabelle-visual-stimulation-how-men- and-women-see-things-differently/ 167 RESEARCH ERRORS 7. Los Angeles Times | Rockstar Games Presents: L.A. Noire: http://www.latimesinteractive.com/Standard/landing _ pages/lanoire/ 157 CASES OF CORRECT FACTS 8. L.A. Noire Brings Real Life Crime Map for 1947’s Los Angeles: 11 OBJECTIVE STATEMENTS http://news.softpedia.com/news/L-A-Noire-Brings-Real-Life-Crime- Map-for-1947-s-Los-Angeles-199085.shtml 9. “The Red Lipstick Murder”: Real Crime Stories of 1947 Los Angeles that Inspired L.A. Noire Cases: http://www.rockstargames.com/newswire/article/14351/the-red- lipstick-murder-real-crime-stories-of-1947-los-angeles-t.html 157 CORRECT FACTS 10. The Real Crimes Behind L.A. Noire Cases: “A Marriage Made 6 CASES OF AD HOMINEM 4 CASES OF APPEAL TO EXTREMES 11 OBJECTIVE STATEMENTS in Heaven”: 31.9 % 1 CASE OF ARGUMENT FROM IGNORANCE 7 CASES OF BIASED SAMPLE FALLACY 40 CASES OF CONFIRMATION BIAS http://www.rockstargames.com/newswire/article/15501/the-real- 39.6% 7 CASES OF DISTINCTION WITHOUT A DIFFERENCE 10 CASES OF DOUBLE STANDARD 168 TRUTHFUL FACTS AND crimes-behind-la-noire-cases-a-marriage-made-in-heaven.html 28 CASES OF FALSE ANALOGY 7 CASES OF FALSE CAUSALITY 110 CASES OF INCOMPLETE ARGUMENT 11. L.A. Noire official website: http://www.rockstargames.com/lanoire/ 6 CASES OF LOADED QUESTION 17 CASES OF MIND PROJECTION 12. TV Tropes – Drop Dead Gorgeous Trope: 4 CASES OF MOVING THE GOALPOST OBJECTIVE STATEMENTS 12 CASES OF NON-SEQUITUR 49 CASES OF OPINION http://tvtropes.org/pmwiki/pmwiki.php/Main/DropDeadGorgeous 2 CASES OF OVERGENERALIZATION 8 CASES OF PREJUDICIAL LANGUAGE 2 CASES OF REIFICATION 13. Assassin’s Creed: Brotherhood, entire game: 2 CASES OF REPETITION 6 CASES OF SELF-CONTRADICTION 6 CASES OF AD HOMINEM 17 CASES OF MIND PROJECTION http://www.youtube.com/playlist?list=PLihL86qFbHcwK9qbTdmZRSE 4 CASES OF SHOEHORNING 22 CASES OF SLIPPERY SLOPE 6 CASES OF SPECIAL PLEADING 4 CASES OF APPEAL TO EXTREMES 4 CASES OF MOVING THE GOALPOST obBnsSLHPW 15 CASES OF STIPULATIVE DEFINITION 1 CASE OF ARGUMENT FROM 12 CASES OF NON SEQUITUR 14. BioShock, entire game: IGNORANCE 49 CASES OF OPINION http://www.youtube.com/playlist?list=PL3d-5REb9KLz4xPLiQHDVm 7 CASES OF BIASED SAMPLE FALLACY 2 CASES OF OVERGENERALIZATION 6-4TslLbxwS 40 CASES OF CONFIRMATION BIAS 8 CASES OF PREJUDICIAL LANGUAGE 15. Dragon Age: Origins, entire game: 7 CASES OF DISTINCTION WITHOUT 2 CASES OF REIFICATION https://www.youtube.com/playlist?list=PLtfUi-YTCI8Bd3rqp1Yv7pyX0 A DIFFERENCE 2 CASES OF REPETITION ZcvRxqyD 10 CASES OF DOUBLE STANDARD 6 CASES OF SELF-CONTRADICTION 16. The Witcher 2: Assassins of Kings, entire game: 28 CASES OF FALSE ANALOGY 4 CASES OF SHOEHORNING https://www.youtube.com/playlist?list=PL73A6556E30264489 (Roche), 7 CASES OF FALSE CAUSALITY 22 CASES OF SLIPPERY SLOPE https://www.youtube.com/playlist?list=PL8D58F5731E43E7E6 (Iorveth) 110 CASES OF INCOMPLETE ARGUMENT 6 CASES OF SPECIAL PLEADING 17. BioShock 2, entire game: 6 CASES OF LOADED QUESTION 15 CASES OF STIPULATIVE DEFINITION http://www.youtube.com/playlist?list=PL3d-5REb9KLzq3jvaEM1cjL dRuuGJH4sU 375 LOGICAL FALLACIES Continued on next page SOURCES (CONTINUED) 46. Far Cry 3, Bad Side of Town mission: 76. Bureau of Justice Statistics - Female Victims of Sexual Violence, 1994-2010: https://www.youtube.com/watch?v=L5wlIdlVxTI http://www.bjs.gov/index.cfm?ty=pbdetail&iid=4594 18. Watch Dogs, entire game: 47. Academia – Character-Driven Game Design: Characters, Conflict, and Gameplay: 77. Epidemic, definition: http://www.merriam-webster.com/dictionary/epidemic http://www.youtube.com/playlist?list=PLdwkMtod9hJLjpyNur1jo17odULJFcTl4 http://www.academia.edu/175264/Character-Driven _ Game _ Design _ Characters _ 78. Factual Feminist, Sexual assault in America: Do we know the true numbers?: 19. Red Dead Redemption, entire game: Conflict _ and _ Gameplay https://youtu.be/lNsJ1DhqQ-s http://www.youtube.com/playlist?list=PLEWrGpO _ ChKVOxI-C649ZWpmgTnLsM1wN 48. Aalto ARTS Books – Character-Driven Game Design by Petri Lankoski: 79. Sex assault surveys not the answer: Column: 20. Shellshock: Nam ‘67, entire game: https://shop.aalto.fi/media/attachments/939f9/Lankoski.pdf http://www.usatoday.com/story/opinion/2014/08/10/sexual-assault-rape-survey-college- https://www.youtube.com/playlist?list=PLpIsWP7aexyU _ acXflPuaUAdqn2r3MMj1 49. Techopedia – What is a Non-Player Character (NPC)? campus-column/13864551/ 21. Grand Theft Auto IV, entire game: https://www.techopedia.com/definition/1920/non-player-character-npc 80. One in Four? Rape myths do injustice, too.: http://www.youtube.com/playlist?list=PLYK9lNJdMJU6XicAjKnhFbsGUObYtyfvt 50. Red Dead Redemption, Eva in Peril cinematics: https://youtu.be/Ci8Y6zupivM http://www.iwf.org/news/2432517/One-in-Four-Rape-myths-do-injustice-too 22. Deus Ex: Human Revolution, entire game: 51. Red Dead Wiki – Eva in Peril mission: http://reddead.wikia.com/wiki/Eva _ in _ Peril 81. Who Stole Feminism? How Women Have Betrayed Women by Christina Hoff Sommers: http://www.youtube.com/playlist?list=PL2E35D30B7A751177 52. Red Dead Wiki – The Wronged Woman mission: https://books.google.ca/books?id=EIUtJziqIqAC&lpg=PP1&pg=PA20 23. The Witcher, entire game: http://reddead.wikia.com/wiki/The _ Wronged _ Woman 82. Bureau of Justice Statistics – Women Offenders: http://www.youtube.com/playlist?list=PLj _ Goi54wf0f2NXPeIvJqtLBSG9 _ nBTMM 53. Metro: Last Light, sexual assault scene: https://youtu.be/TNprsXCDGJ4?t=2m50s http://www.bjs.gov/index.cfm?ty=pbdetail&iid=568 24. Hitman: Blood Money, entire game: 54. Game Design: Theory and Practice, Second Edition by Richard Rouse III: 83. Bader, Shannon M.; Welsh, Robert; Scalora, Mario J. (2010). “Recidivism Among Female Child https://www.youtube.com/playlist?list=PL0xx6kIJy _ vetkTWFLLqgNZQqDUiCaBNs https://books.google.ca/books?id=tGePP1Nu _ P8C&pg=PA402 Molesters”. Violence and Victims 25 (3): 349–62: http://dx.doi.org/10.1891/0886-6708.25.3.349 25. Prototype, entire game: 55. Giant Bomb – Scripted Events (concept): 84. Saradjian, J. (2010) Understanding the Prevalence of Female-Perpetrated Sexual Abuse https://www.youtube.com/playlist?list=PL _ HkB-0qkyYgpa4WvBCIlRetzpj5GFrUM http://www.giantbomb.com/scripted-events/3015-2039/ and the Impact of That Abuse on Victims, in Female Sexual Offenders: Theory, Assessment 26. Call of Juarez: The Cartel, entire game: 56. Grand Theft Auto V, Rogue Altruists: https://youtu.be/6 _ _ V9CWyI8w and Treatment (eds T. A. Gannon and F. Cortoni), John Wiley & Sons, Ltd, Chichester, UK: https://www.youtube.com/playlist?list=PL6zNqSnoLmqgq4kp4-9jzDClmzxY _ 0PUm 57. GTA Wiki – Altruist Cult Victim: http://gta.wikia.com/wiki/Altruist _ Cult _ Victim https://dx.doi.org/10.1002%2F9780470666715.ch2 27. Grand Theft Auto V, entire game: 58. Giant Bomb – Extreme Violence (concept): 85. Hate Crimes: Causes, Controls, and Controversies by Phyllis B. Gerstenfeld: http://www.youtube.com/playlist?list=PLyxwW-5Ey5n7Mi2BkYvMYWRZWq7Lg47xd http://web.archive.org/web/20140626111647/http://www.giantbomb.com/extreme-violence/ https://books.google.ca/books?id=DiBIZcx1nPcC&pg=PA58 28. Mafia II, entire game: 3015-1042/ 86. Bureau of Justice Statistics – Intimate Partner Violence: Attributes of Victimization, 1993– https://www.youtube.com/playlist?list=PL36pGI-dnUYFbpawFpuPE0t2VPuSg3U9a 59. Giant Bomb – Rape (concept): 2 011: http://www.bjs.gov/index.cfm?ty=pbdetail&iid=4801 29. Far Cry 3, entire game: http://web.archive.org/web/20140727072220/http://www.giantbomb.com/rape/3015-2992/ 87. Sexual Violence Statistics from the Center for Disease Control and Prevention: https://www.youtube.com/playlist?list=PLD46F1k38wkY7NwDOgy2pphOJsWeUjqN2 60. Assassin’s Creed II, Damsels in Distress mission: https://www.youtube.com/watch?v=q6Xrr0Hc7LE http://www.cdc.gov/violenceprevention/pdf/sv-datasheet-a.pdf 30. Saints Row, entire game: 61. The Witcher, She’s No Early Bird quest: https://youtu.be/ZGODSVnHwHs 88. Nearly 1 in 5 Women in U.S. Survey Say They Have Been Sexually Assaulted by Roni Caryn Rabin: https://www.youtube.com/playlist?list=PLyxwW-5Ey5n5tblnsiKLTEkpbNDu4VqO- 62. The Witcher, Working Girls quest: http://witcher.wikia.com/wiki/Working _ Girls http://www.nytimes.com/2011/12/15/health/nearly-1-in-5-women-in-us-survey-report-sexual- 31. Thief, entire game: 63. Video Game Values: Play as Human-Computer Interaction by P Barr: assault.html? _ r=2& https://www.youtube.com/playlist?list=PLD46F1k38wkY02bhVy06ERY1uQDaX-xhG http://www.pippinbarr.com/academic/Pippin _ Barr _ PhD _ Thesis.pdf 89. TV Tropes – Anti-Hero/Video Games: http://tvtropes.org/pmwiki/pmwiki.php/AntiHero/VideoGames 32. Hitman: Absolution, entire game: 64. L. Frank Baum, The Wonderful Wizard of Oz: 90. Giant Bomb – Anti-Hero characters: http://www.giantbomb.com/anti-hero/3015-424/characters/ https://www.youtube.com/playlist?list=PLC _ GisvNDYCCDf6w3Zm9p6h-V6Zt9Cxlz http://www.literature.org/authors/baum-l-frank/the-wonderful-wizard-of-oz/ 91. Giant Bomb – Anti-Hero (concept): http://www.giantbomb.com/anti-hero/3015-424/ 33. God of War III, entire game: http://www.youtube.com/playlist?list=PL90D6E7C4DE68E49E 65. Video Game Values: Play as Human-Computer Interaction by P Barr: 92. United Nations General Assembly – Declaration on the Elimination of Violence Against, 20 34. Assassin’s Creed II, entire game: http://www.pippinbarr.com/academic/Pippin _ Barr _ PhD _ Thesis.pdf December 1993: http://www.un.org/documents/ga/res/48/a48r104.htm http://www.youtube.com/playlist?list=PLihL86qFbHcx1-Em-u3uPE1HL7J2qb0hY 66. Super Mario Galaxy 2, entire game: 93. Grand Theft Auto IV, I’ll Take Her mission: 35. The Darkness II, entire game: http://www.youtube.com/playlist?list=PL062948A65389CA66 https://www.youtube.com/playlist?list=PLYpDU5ElRBfnHZsura3J7-lBEUPFYKlcU http://ca.ign.com/wikis/grand-theft-auto-4/I’ll _ Take _ Her... 36. Dead Island, entire game: 67. Game Development Essentials: Game Interface Design by Kevin Saunders, Jeannie 94. God of War HD Collection, Totally Baked: http://youtu.be/lxXE8Q6Erb4 https://www.youtube.com/playlist?list=PL _ HkB-0qkyYgl3jGKCVmv4P5ZzSn3vOW2 Novak: https://books.google.ca/books?id=dFFuCgAAQBAJ&pg=PRfrontcover 95. God of War III, Poseidon Princess: http://youtu.be/Hfsk3QDK--Q 37. Metro: Last Light, entire game: 68. HowStuffWorks – How Animatronics Works: 96. God of War, entire game: https://www.youtube.com/playlist?list=PL9MoLfABC7y616b6AqYmejl9EQ3eC2oRJ http://entertainment.howstuffworks.com/animatronic.htm http://www.youtube.com/playlist?list=PLCS-ZOZIqa4hLiGyZo5iybeo1AJFN _ eIN 38. No More Heroes 2: Desperate Struggle, entire game: 69. Giant Bomb - Sandbox (concept): 97. God of War II, entire game: https://www.youtube.com/playlist?list=PLACE47BF95483AA60 http://web.archive.org/web/20140529073758/http://www.giantbomb.com/sandbox/3015- http://www.youtube.com/playlist?list=PLB9gBnRieShjutGWTPJe2Pf3piO _ ZBeWY 39. Mafia II: Joe’s Adventures, final chapter: https://youtu.be/X-OvaGZ5Nns?t=1m55s 453/games 98. God of War: Chains of Olympus, entire game: 40. Mafia II: Joe’s Adventures, entire game: 70. Giant Bomb - Real-Time Combat (concept): http://www.youtube.com/playlist?list=PLq3VjGzRjkm3OGaciKzmj1MBoRY3NqUdG http://www.youtube.com/playlist?list=PLaeeeGr1m63QTKGrUH-FwRAK3DRgwq _ z1 http://web.archive.org/web/20140720033635/http://www.giantbomb.com/real-time- 99. God of War Ghost of Sparta, entire game: 41. BioShock 2, Siren Alley level: combat/3015-2332/ http://www.youtube.com/playlist?list=PLEzTTIdcnCW0gtZ4DQRskHeLB52XcBq5O https://www.youtube.com/watch?v=AyZk3YpKIoE&index=14&list=PL3d-5REb9KLzq3jva 71. TV Tropes – Slapstick Knows No Gender trope: 100. God of War: Ascension, entire game: EM1cjLdRuuGJH4sU http://tvtropes.org/pmwiki/pmwiki.php/Main/SlapstickKnowsNoGender http://www.youtube.com/playlist?list=PLSrhSY11mSeRIryReqfSzuzE7pP _ OYUvJ 42. Giant Bomb - Blood Splatter (concept): 72. TV Tropes – Would Hit a Girl trope: http://tvtropes.org/pmwiki/pmwiki.php/Main/WouldHitAGirl 101. Sociological Images – Sexual Objectification (Part 1): What is It?: http://web.archive.org/web/20140720084706/http://www.giantbomb.com/blood-splatter/ 73. Sexualization, definition: http://www.collinsdictionary.com/dictionary/english/sexualize http://thesocietypages.org/socimages/2012/07/02/sexual-objectification-part-1-what-is-it/ 3015-2644/ 74. Dishonored, entire game: 102. The Honor of Thinking: Critique, Theory, Philosophy by Rodolphe Gasché: 43. Prototype, opening cutscene: http://youtu.be/7xqyqHurTCI http://www.youtube.com/playlist?list=PLHR3LrZaPrh7jA8LHcbJDa6UlDl9NzmVK http://books.google.ca/books?id= _ CZVDv6bdXIC&pg=PA12 44. The Darkness II, introduction: https://youtu.be/vHPWfeEaeCk?t=4m58s 75. Rape Culture is a ‘Panic Where Paranoia, Censorship, and False Accusations Flourish’: 45. Beating, definition: http://dictionary.reference.com/browse/beating http://time.com/100091/campus-sexual-assault-christina-hoff-sommers/ Continued on next page SOURCES (CONTINUED) 127. 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