Anita Sarkeesian's new video explores "dark and edgy" abuse of women, gets pulled from YouTube

The Men Who Get Unbelievably Angry At A Woman Critically Analysing Videogames just will not let up.

Anita Sarkeesian, the videogame critic whose Kickstarter project to analyse the role of women in games was responded to with an online hate campaign including a game about beating her up (as Helen says, "I like writing it like that, to emphasise the madness of it"), has released the second video in her "Tropes vs Women" series.

The video, part two of three examining the idea of the damsel in distress, delves deeper into the expression that trope has when combined with the "grim and gritty" aesthetic used in modern games. She explores ideas like comics author Gail Simone's concept of "women in refrigerators", which refers to the frequency with which a female character will be "killed, maimed or depowered", nearly always to provide a motivation to a male character rather than as part of her own character arc. She also explores related tropes, again usually gendered in their application, like the "mercy killing" and the gleeful depiction of violence against women. Through the magic of the internet, the whole thing is embedded below. If you want to watch part one, it can be found here.

Of course, where there's a woman with an opinion, there are hateful people trying to silence her. The first video in the series rapidly saw its YouTube comments become a cesspool – more than usual, I mean – such that Sarkeesian had to turn them off, saying "If you'd like to comment constructively on this video, please share on your own social networks." This time, with the comments off by default, the men who get unbelievably angry at a woman critically analysing videogames (MWGUAAAWCAV, for short) resorted to "flagging" the video on YouTube, which marks it as having content inappropriate for the site – usually reserved for explicit sex or violence, not clips of AAA video games.

Enough of them flagged the video for it to get temporarily pulled for review. Then, somewhat concerningly, YouTube's (human) review team confirmed that it violated "community guidelines", removed the video, and put a strike on Sarkeesian's account. The video was reinstated after an appeal 45 minutes later, but it raises the question of what, exactly, YouTube's review team are doing if they can't tell the difference between clearly malicious flagging and actually obscene content.

Still, it's back up, and Sarkeesian has a lot more videos in her - the extraordinary success of the original Kickstarter means that rather than the five planned, she'll now be making 13. Regardless of what the MWGUAAAWCAV seem to believe, that can only be good for videogames in general: the bizarre crossover between people who demand that games be viewed as art and people who say "they're only games" when problematic elements are pointed out cannot last for long. The medium is only made stronger by everyone like Anita Sarkeesian. And Tropes v Women is damn good watching, to boot.

Anita Sarkeesian thanking her Kickstarter backers.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Shell-shock symphony: Berg’s Wozzeck – opera’s take on post-traumatic stress disorder

Begun in 1914 and premiered in 1925, Wozzeck has class struggle, poverty and mental health problems as its principal subjects.

When I was 12 years old, I made a devastating discovery. The arias from my favourite operas – Rigoletto, Turandot, The Barber of Seville – which I played over and over again, winding and rewinding the cassettes ­until they ceased to work, did not ­necessarily have words that matched the beauty of the music. Intense study of a book I had received for Christmas called Stories from Opera taught me that although some of the soaring melodies I adored carried words about love, death, horror and tragedy, other lyrics, in translation, proved to be people agreeing where to meet later, or misremembering each other’s names.

This crushing disappointment came to mind again recently while I was listening to an edition of Radio 3’s Building a Library, a segment of its regular Saturday-morning CD review, in which new releases are compared and contrasted with archive recordings to find the best listening experience. The reviewer Gillian Moore was surveying the available recordings of Alban Berg’s Wozzeck. She gave credit to several English-language recordings for the clarity they offer newcomers to this work, but eventually concluded that she must recommend a version using the original German, because there were crucial aural elements that could not be reproduced without it.

Moore, now director of music at the Southbank Centre, chose to kick off a series of semi-staged concert performances of operas with Wozzeck. Although undoubtedly an opera, it was a far cry from the fairy stories and doomed romances that filled my pre-teen ears, but it worked surprisingly well stripped of scenery, costumes and other theatrical accoutrements.

Zurich Opera’s presentation placed importance on the orchestral score above all else, allowing its jagged and insistent lines to remind us that this is music born of the dark years between the world wars. Begun in 1914, but delayed while Berg served in the Austro-Hungarian army (it premiered in 1925), it has class struggle, poverty and mental health problems as its principal subjects. The score owes much to Berg’s fellow Viennese composers Gustav Mahler and Arnold Schoenberg (Mahler’s widow put up the money for the initial publication of the score). At times in this production, the orchestra was so utterly central that it felt like a symphony with singing, rather than vocal melodies with accompaniment.

The Wozzeck of the title is a poor soldier, flawed and dogged by madness and visions we would probably now see as signs of post-traumatic stress disorder. He scrapes a living for his girlfriend, Marie, and their son by humiliating himself before his military and class superiors (the Captain, the Doctor, the Drum Major) and by participating in degrading medical “experiments”. The star of the show, the German baritone Christian Gerhaher, had to withdraw at the last minute for health reasons, so the British singer Leigh Melrose stepped in to reprise his Wozzeck from the widely acclaimed 2013 ENO production. Despite performing from behind a music stand, Melrose acquitted himself well, handling the transitions between Berg’s three singing styles: “half-singing”, Sprechgesang (or “spoken singing”) and full vocalisation to great effect.

Gun-Brit Barkmin, with a severe Twenties bob and a flowing scarlet dress, was a superb Marie – alternately harsh and soft as the music demanded it, flirting destructively with the Drum Major while conveying how little choice she had in the matter. Of the ensemble, Lars Woldt’s Doctor particularly stood out, using the German libretto to drag every ounce of black comedy out of his character’s fascination with Wozzeck’s bodily functions. The high vocal standard proved Moore’s point about the necessity of the original German libretto – it is a difficult language to sing, because of all the harsh consonants and modified vowels, but when used expertly can be unendingly expressive. We hear this in the way the double “zz” of the title character’s name becomes a derisory bitten-off “tz” in the mouth of the Captain; and Wozzeck’s exclamation in Act I that “Du, der Platz ist verflucht!” sounds so much more accursed and deranged with all those consonants in such close proximity.

The German sociologist Theodor Adorno once called Berg “the foreign minister of the land of his dreams”, much to the composer’s amusement; but, hearing the score for Wozzeck laid so bare, you understand what Adorno meant. The incredible double crescendo on a single B from the orchestra after Wozzeck murders Marie – raised by the conductor Fabio Luisi in this performance to an unbearable volume before being allowed to die away – feels like music from an other-worldly nightmare. Yet, for the war-battered men who inspired Wozzeck, his tragic half-life was all too real.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis