When LGBT sex and rape appear in the same list, it’s the sign we should be start worrying.īoth his games are available on itch.io, but no payment option is available. What is truly worrying is that this might send a negative message for the LGBT community. Yang’s works are placed in the same list along with RapeLay and Rape Battles, two games which feature gratuitous scenes of sexual assaults. Despite this, two of his games ( Cobra Club and Rinse and Repeat) have been banned from Twitch ( source) because their gameplay is heavily centred on nudity. Nudity is never gratuitous in his games, and plays a vital role for the delivery of his message. By exaggerating certain aspects of our society, Yang makes some very clever statements.
TUTORIAL RAPELAY GAME SERIES
In the past years Robert Yang has been bringing to light a series of experimental games which explore different aspects of being gay, often from an over-sexualised perspective. Our stand on what’s acceptable (and what isn’t) in games automatically reflects the scale of our moral values as a society. Exposure to consensual sexual scenery is perceived by most parents as more dangerous to children than violence. We are allowing young people to play games that are incredibly violent at the same time, shielding them from accessing sex-related contents. This is especially true with regards to sex, which is still one of the biggest taboo modern society is facing. Our stand on what’s acceptable in games (and what isn’t) automatically reflects the scale of our moral values as a society. The game features a less-controversial version in which all references to Nazism are removed. Whether it’s robots, aliens, Nazis or zombies. Game developer Dan Pearce exploited this with his game 10 Second Ninja, which exasperates the concept of enemy by including robot Nazis from space. The definition of “bad” varies, but it often orbits around the concept of xenophobia. Bad guys are bad: they deserve to be killed, and by doing so you’re making the world a better place. The way games often go around this is by exploiting “the good guy” cliché: the “ it’s not you, it’s me” reversed from the perspective of the enemy. Remember RAPTUS: if you want to progress, you have to kill.
And for the vast majority of them, there is no alternative. The progression in many games is simply based on morally questionable actions, such as killing and stealing. Like it happened to Carmageddon, it’s not the action itself that is condemned, but it’s context. Vlambeer about Luftrausers (full article here)īeing a Nazi (or not) doesn’t change the game in any way however, people still want to be reassured that the thousands of lives they are taking are for a higher good. When you create something, you leave certain implications of what you’re making.» The fact is that no interpretation of a game is ‘wrong’. «We do have to accept that our game could make some people uncomfortable. In a nutshell: killing people is fine, unless you’re a bad guy. In mid 2014 a controversy around the 2D dogfighting game Luftrausers exploded. Dutch studio Vlambeer has been accused of portraiting a “ edgy, stylized faux-Nazi aesthetic“. RAPTUS only contains five pixels of blood, but its message is powerful enough to be make them count. The fact that it is so well crafted is what makes it feel in appropriate.» «I’m afraid that the game is just not appropriate for us due to the focus on rape and murder The game was rejected from FGL with this message: What’s already bad is made worst by the fact that you are asked to do it yourself. A game that explores this very deeply is RAPTUS ( play it here), which forces unwilling players to take part in what is revealed to be a (spoiler ahead) murder Games requires you to make decisions and take actions, and by doing so they make you an involuntary accomplice. This goes deeper than the very naïve “violent games makes you violent”. Other gory games were in fact allowed at that time, raising questions about which aspect of Carmageddon deserved to be banned.
As a response, Stainless Games replaces human pedestrians with zombies and robots, changing the blood to green and black. This changed virtually nothing about its violent gameplay, but suddenly made it “acceptable”, highlighting a very faulty process. In 1997 the British Board of Film Censors de-facto banned Carmageddon, refusing to certify the game unless all blood and gore was removed ( source).
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