Misogyny (adv.); Hatred of women
Last week brought us the release of Suda 51’s new video game, Killer is Dead. Like clockwork, it also brought out a spike in tired, predictable games press pandering.
Like so much vermin emerging from rotting wood, the frauds came out of their holes to decry Suda’s latest as misogynistic, stopping just short of deigning it an atrocity on par with female circumcision.
Trouble is, Killer is Dead is not a “misogynistic” game. Because words have meaning.
Killer is Dead is a hyperstylized action game where you cut up demons and look like a total badass doing it. It has its flaws — it is a bit unpolished in some areas, is rather short, and has a few embarassing technical issues. Killer is Dead has its problems. Misogyny — the hatred of women — is not one of them.
Dullards continue to take up the soapbox in extreme outrage.
The side missions in Killer is Dead are what have caused dullards like this asshole to take up the soapbox in extreme outrage. Every now and again, you’ll have these optional side missions where you go on a date with a woman. These missions take the form of extremely simple dating simulators where you alternate between looking at said woman’s face and boobs. The main idea is to not look at her boobs while she’s looking at you. In a world where every hipster asshole with a pair of stupid, oversized black glasses has decided every game requires deeper meaning, perhaps don’t stare at a woman’s boobs while she’s looking at you is a fine message. Maybe Suda is attempting to teach as well as entertain.
Hipster assholes continue to demand every game have a deeper meaning. Perhaps Suda means to teach us gawking at a strange woman’s boobs is not okay.
When you’ve looked at a woman’s boobs and face enough, you can give her a present. If you give her enough presents, she’ll sleep with you. This sexual content, derided by the frauds with every pejorative in their lib arts word bank, takes the form of the screen fading to white as your character, Mondo, shouts “YEAHHHHHH!” like he’s auditioning for the opening credits of CSI. After Mondo does his best Roger Daltrey impression, he gets a new subweapon for use in the main game. That’s all, that’s it. That’s about all it takes to stoke the fires of outrage in the games-is-sociology-now crowd.
These side missions are fairly categorized as silly, even pointless. And yet, nothing about Killer is Dead implies a “hatred of women.” Nothing about Killer is Dead is misogynistic. A “misogynistic” game would be, say, Custer’s Revenge, an unlicensed 1982 Atari game where the goal is to rape bound native american women under the pretenses of erotica. A more recent example of a “misogynistic” “game” would be Rapelay, a not-really-game/visual novel where you stalk and rape a mother and her two daughters.
The frauds are boys who cry wolf (for clicks). They dilute the word “misogyny.”
When the games press clutches the pearls because a (evil, male) game designer draws an exaggerated woman for purposes of sex appeal, or because an eccentric Japanese man throws in a handful of bare-bones, optional dating segments to pad out his action game, they dilute the very word misogyny. They become boys who cried wolf for clicks.
And about Rapelay/Custer’s Revenge — those two titles have something in common: If you don’t follow video games very closely, or if you haven’t made it your business to be familiar with the ins and outs of the medium’s history, you’ve probably never heard of either of them. There’s a reason for this — both titles are outliers, stupid and regrettable footnotes in a vast and wide sea of wonderful stuff.
Titles with an actual hateful attitude toward women do exist. You’ve likely never heard of them. There’s a reason for that.
Rapelay and Custer’s Revenge aren’t worth your time or money. Killer is Dead very much is, if you’re into the sort of experience it delivers. Do not be deterred by the perpetual neighing of paid journalists who literally do not know what words mean before they use them. Do not give credence to the words of frauds.