The following is the text of a Honey Badger Brigade discussion of a rape game created by a feminist entitled “The Day the Laughter Stopped.”
The laughter did stop that day.
Typhon: Anyone want to take a stab at tearing that apart?
James Huff: Oh my god…that game is fucking sick.
James Huff: I mean sick in a bad way.
James Huff: The game literally removes your agency by presenting you with certain choices and only letting you pick the worst of them.
James Huff: This is more than a one person job. I will need to explore all the decision trees to see if any there is a possibility of avoiding being raped..but so far there is NOT.
Typhon: it’s glorifying victimhood
James Huff: There are few things in this world that can make me push a plate of food away. I have an unusually strong stomach. This just killed my appetite.
Typhon: it’s like rape is a black hole of no escape… like looking into the black pit of the feminist mind
James Huff: Holy fuck….in order to even start over you have to clear your browser cache.
James Huff: Or find the .SOL file associated with the game and delete it manually.
James Huff: Which means when you try to start over or “continue” you get the message: There is no starting over, this happened.
Hannah Wallen: Did you read the “trigger warning?”
James Huff: Yes.
Typhon: “there is no starting over, this happened”
Typhon: so that’s it, huh? A person is utterly defined by being raped
Hannah Wallen: This game is basically designed to tell girls that we’re not capable of making our own decisions.
James Huff: Alright folks..I’m gonna track down the SOL file.
Typhon: The only hope we have is to appeal to men’s better natures, when feminism essentially says men don’t have better natures
James Huff: Then I’m going to recreate the decision tree and the ensuing events.
Rachel Edwards: I love how they disabled buttons. Fucking sickos.
Typhon: feminism objectifies women down to rape victims
Typhon: I’m tweeting that
Hannah Wallen: The worst part to me is that they chose to have the character in their story so simultaneously lucid and idiotic.
Hannah Wallen: Each of the parts that appear intended as red flags were ignored, then she didn’t even tell the guy she was averse to what he was doing. They treated his interest as if just by its existence, it was predatory and damaging, yet the character never decides to refuse him.
Hannah Wallen: Not even when she has easy outs.
Hannah Wallen: I was making fun of that idea when I wrote “The brutal rape of poor, innocent Mr. Creosote.”
Rachel Edwards: I picked the choice to ignore him the whole game and it forced me to pick a situation where the character was cornered and could not escape. As if the whole thing was unavoidable. Then I could not pick the choice to tell my family what had happened. WTF?
James Huff: Goddamn it!! FUCK! I can’t find the .SOL
Hannah Wallen: The thing is, she WASN’T cornered. There’s every reason why she could have escaped.
Typhon: ALL ROADS LEAD TO RAPE
Rachel Edwards: Yep.. there were like 20 chances to report him to the cops.
Rachel Edwards: or tell a parent
Hannah Wallen: She could have told him no to begin with. The story steers the reader to believe that his actions were rape, but if she didn’t even communicate her refusal to him, and had accompanied him to that location after demonstrating (by similarly not responding with refusal) that she wasn’t averse to his advances, were they? What did the story offer the reader to communicate that the guy knowingly and deliberately contravened the girl’s right to refuse?
Hannah Wallen: Seriously, did I miss a paragraph or something?
James Huff: Gonna have to clean my system of .SOL files then visit the page and record the changes to my computer in order to find the damn thing.
James Huff: This fucking game is horrible…you can’t win. I just took all the negatory actions I could possibly take and it still happens.
James Huff: This is NOT a game. This is a fucking RAPE SIMULATOR.
Hannah Wallen: Yes, that’s the point of the game – to convince the reader that women have no choice.
Hannah Wallen: Or rather, that women’s choices and their feelings about not making any choices can define a man’s actions as rape.
Rachel Edwards: Yep..and like I said, they disabled the other options.
James Huff: “Feminists tout Rape Simulator as a Game, Teaches Women to be Passive Victims to Their Attackers”
Typhon: Teaches women that their choices and actions are meaningless
Typhon: recognizing women’s agency is “victim blaming” after all
Hannah Wallen: This is not a rape simulator.
Hannah Wallen: This is a story designed to teach the reader to treat awkward teenage sex as rape based on writing the girl character as helpless and uncommunicative.
Hannah Wallen: And the guy character as a clod.
Hannah Wallen: Reread the text without listening to the background dirge.
Hannah Wallen: Seriously, the story is not a rape story.
James Huff: Holy fuck. I need a break. clear all you cookies if you want to replay the thing. I’m going to take a break and cool down.
Hannah Wallen: There is only once in the story where the girl character gives the guy character an indication that his behavior is unacceptable to her – the first kiss.
Hannah Wallen: After that, she goes along with everything he does like she’s cool with it.
Typhon: It’s an advertisement for “enthusiastic consent”
James Huff: Holy crap..after re-reading it…you guys are right.
Hannah Wallen: It’s an advisory to girls “If you want to call yourself a victim, get close to some guy, make friends with him, let him become attached to you to the point where he says you’re the best thing that ever happened to him, let him fuck you, and then complain that you’ve been raped.”
Typhon: Where is the expectation that she clearly inform him what sex act he’s engaging in?
Hannah Wallen: Jesus, this makes me want to make a video “I don’t wanna eat this cake!”
James Huff: Let’s be real dicks here. [I got] the results of a play through taking all the choices in the negative I could (at least until the damn thing took them away from me).
Hannah Wallen: Get someone else to stuff bites of chocolate cake in my mouth, be silent the whole time, look like I’m enjoying it, open my mouth for each bite, then play a voiceover of how awful it is, how much I don’t want another bite, why can’t he just see that I’m not hungry, etc. and put it on YouTube.
James Huff: Now let’s see what happens if I chose all the choices leading him on.
Typhon: What I mean is this… most men would not consent to rape play much less rape. Want to test this theory? Say to a man “you’re raping me” in the middle of sex and see how fast the ardor dissipates. She’s failing to clearly inform him what sex act he’s engaging in, thus sexually assaulting him.
Rachel Edwards: I re-read the story without the dramatic music. She never once told the guy she was upset or that she didn’t like being around him. She just stayed quiet and acted passive.
:: I don’t want any cake::
om nom nom
::This cake is terrible::
om nom nom
::Please, not another bite::
ommmm nommmmm nommmmmmmmmmm
::DEAR GOD MAKE IT STOP::
OMMM NOMM NOMMMMM
Typhon: I’m telling you this girl is a rapist. She just lets a guy engage in a sex act he did not consent to because she can’t be arsed to care about her sexual partner’s well-being.
Hannah Wallen: Yep she is. And feminists would have you believe she’s the victim.
Typhon: So the sinister music is actually referencing her and her creepy behaviour
Typhon: Of course it always ends in rape because SHE’S the rapist
Typhon: TWIST ENDING!
James Huff: Wait minute…even when I answer in the affirmative to not stop him, it automatically assumes the female character is ashamed and nervous…..so even when I engage in acts that encourage him, the internal description of the character is always Shy, Shameful, Unsure, Embarrassed, etc.
James Huff: Look at both versions….you will see what I mean.
Hannah Wallen: Yes, I have them both up side by side. The text only has subtle differences.
James Huff: Yep..the decision points are marked with a ***
Hannah Wallen: Turning the guy down does not result in a refusal from the girl, and not turning him down does not result in text that demonstrates willingness from the girl.
Hannah Wallen: Her choices mean nothing, and her intentions/interests don’t affect them.
Hannah Wallen: The melodrama of this…
Hannah Wallen: “I just lay there, still and unmoving, as hours, days, years went by.”
Hannah Wallen: ::faint::
Typhon: So the meta-rape is raping women’s choices of any consequence; essentially framing women as being solely acted upon rape objects
James Huff: When asked to meet him behind the school: She reacts similarly in BOTH INSTANCES:
James Huff: Then he kissed me.
James Huff: I was in shock. Before I knew what was happening, he had pushed his tongue into my mouth. It tasted bitter and salty, and saliva was running down his tongue onto mine. My stomach turned and I tried to pull away, but my back was against the wall. He was pressed against me and I felt something strange on my leg.
James Huff: NOTE THE: I felt something strange on my leg
Hannah Wallen: yes – and it presumes that only men can be guilty of it. It treats his straightforward behaviour as rapey, and her refusal to communicate as normal.
Typhon: Also it’s anomalizing female sluts… if it’s assuming a lack of consent on her part as innate to being female
James Huff: What 14-year-old girl describes a dick as “something strange on my leg”
James Huff: What 14-year-old girl isn’t educated enough to KNOW what the hell it is.
Hannah Wallen: Yeah, that does make her sound like a much younger kid.
Typhon: Why would it be “something strange” anyway?
James Huff: Exactly
James Huff: Why.
James Huff: To make it seem “icky”…to Other it.
Hannah Wallen: Because if the writer admits that a 14-year-old girl is possessed of a sexuality, too, it ruins the illusion of helpless victimhood.
James Huff: Strange=Unnatural=scary.
Typhon: A pressure, something hard, etc.
Typhon: that would make more sense as a descriptor
Hannah Wallen: She has to be childlike in order to support the narrative.
Hannah Wallen: * the “I-can’t” narrative.
James Huff: You guys are going to have so much fun with this one.
Typhon: Fainting Couch Feminism
James Huff: Gimme a few, and I will resend the POS/NEG files with the choice trees added, okay?
Hannah Wallen: :: OMG I WISH HE WOULD STOP FEEDING ME THIS FUCKING CAKE! ::
Hannah Wallen: OOOOOMMMMMMMM NNNNNNNOOOOOOOOOMMMMMMMMM!
James Huff: Okay…there we go…so you can easily see the differences between them.
James Huff: Pay attention to the emotional and action signifiers in each section and notice they are all the same regardless of how you choose. The entire character of the 14-year-old girl is at all times one-sided.
James Huff: This is very important. This “game” is a trainer to instill guilt in men and feelings of helplessness in women.
James Huff: It creates a one-sided emotional and action system regardless of the action you take….it’s as if all emotion is divorced from action….and only the emotion matters….I guess much like Hannah was saying with the NOMNOM cake stuff.
James Huff: There were ample opportunities to extricate oneself from any of these situations, even at the very end the choices were purposely unhelpful.
James Huff: The Author wanted to remove agency from the player and instill helplessness in those who play.
Typhon: Yes, the woman has absolute knowledge of the situation, thus greater agency than the man, but this isn’t recognized
James Huff: Like I said…..this is not a game.
James Huff: It’s a trainer on how to prepare yourself to give up…..
Typhon: Just be a brain in a box
Typhon: Just a reaction
Typhon: That’s it. That’s all you are, a reaction to events
Typhon: It’s the traditional female role dialed up to OVER 9000.
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