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.

Show Hide image

It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.