She’d suffocate if she wore clothes.” Replied the nerdy, reliable expository scientist. “Why is that lady wearing only her underwear?” Asked the gruff, cool man from Konami’s Metal Gear Solid 5. For instance, ‘Quiet’ from Metal Gear Solid 5 (2015) When someone argues a plot excuse for how a character is presented, their argument tends to fall under the first category of ignorance of framing in general. The main problem with a lot of the arguments I’ve seen against Bayonetta being sexist is that they either grossly misinterpret how framing works, or ignore it altogether. Like how I’m supposed to feel patriotic about Captain America defending freedom, being a Cool Guy, and, I assume, winning the world championships in Ultimate Frisbee against a gang of hippies - again, I haven’t seen the film. Essentially, the canonical side of a text refers to what exists on the metaphorical ‘page,’ while the framing is how we feel about what’s on the page - or more accurately, it’s how we’re supposed to feel. Luke blows up the Death Star because it is the climax of his hero’s journey, and he must finally save the galaxy from the antagonistic Empire. The next side of a work which we must consider is how it is framed. Luke can blow up the Death Star because there is an exhaust pipe leading straight to the main reactor. It’s the in-universe explanation of events. So, considering that messaging can often be subtle, how do we parse the ultimate meaning of a work? Well, we need to establish some dimensions of fiction which may be useful to consider.įirst and most obviously is the canonical side of a text (‘text’ meaning any creative work.) This is essentially What Happens In The Story. The framing in propaganda is amplified, and it’s a lot easier to identify than in most media. They frame subjects in a certain light, just as any other film would (00:08:22-00:08:28) - they just tend to crank the dial up to eleven, instead of the usual two or three. As Dan Olson of Folding Ideas discusses in his video titled Triumph of the Will and the Cinematic Language of Propaganda, propaganda films use the same grammar as any other film. Okay, obviously these are pretty stretched examples (I mean, patriotic after Captain America ? Come on.) But propaganda exists for a reason: it works. I obviously haven’t watched that one either, because I don’t want to be a Nazi, which is 100% what I would turn into if I watched that movie. And how would you feel after watching Triumph of the Will ? You would definitely be a Nazi by the end.
#Bayonetta sexy movie#
Think about it: when you watch a movie like Captain America, how do you walk away feeling about America? I wouldn’t know, because I haven’t watched the film - but I would imagine that you’d be feeling pretty patriotic. Which is a shame, because framing can fundamentally shift the meaning of a work, and consequently, the audience’s feelings on an issue. It is also one which often goes overlooked. It is a mistake, though, and to understand where these Real Gamerz went wrong, we need to explore how fictional characters are framed in media.įraming is a vital aspect of storytelling. And it’s one that a lot of feminists have, in my opinion, also made. And that’s okay, because your mistake is an easy one to make. How could Bayonetta (the character) be objectified when she is so powerful? Just because a female character is sexy automatically means that the game is misogynistic now? Does that make me misogynistic for liking the game? No! Bayonetta can’t be sexist! I’m not a sexist! I’m a Good Person™!
Real Gamerz™ saw that this was, of course, ridiculous. The franchise met a backlash upon its debut for what some femiNAZIs saw as ‘objectification’ - whatever that means. Both games follow a hypersexualized protagonist - who is also named Bayonetta. The games were designed by Hideki Kamiya and published by Nintendo and Sega. Every fiber of her being as a narrative device is dedicated to objectification - in other words, she has no meaningful agency.īayonetta, and its sequel, aptly titled Bayonetta 2, were two games released in 20 respectively. This is because though Bayonetta - the character - is certainly canonically powerful, she is in no way empowered. Bayonetta is completely, absolutely sexist, and anybody who says otherwise is wrong. So now, in a time of darkness, we tackle the age-old question: is Bayonetta sexist? Yes. An ancient battle on the issue erupted between feminists and Real Gamerz™ - a battle which continues to rage on to this day. Many have reached varying conclusions upon this ponderance - conclusions which would soon clash.
Since the beginning of time, one question has plagued the minds of gamers.