![]() results suggest that a traditional source of influence (religiosity) as well as new digital media may share some similar features on sexism.” This study, which made use of a random, stratified sample of 13,250 11-19 year olds from Grenoble and Lyon in France, claimed that it “showed for the first time in a large representative sample that video game exposure was related to sexism, controlling for television exposure, religiosity, and other relevant factors. Gentile, Clementine Bry and Sebastian Roché. Mystery Chronicle: One Way HeroicsĪ commonly cited piece of research in supposed support of this claim at the time of writing is the Frontiers in Psychology study from 2017 by Laurent Bègue, Elisa Sarda, Douglas A. ![]() To put it more simply, the assumption that video games are inextricably tied with sexist and/or homophobic attitudes. That these things are going on can’t be denied, but I can’t help but find myself thinking “what on earth does this have to do with video games?” It’s hard to know exactly what Lipschultz meant by games that “push the boundaries of ‘good taste'” because he refused to give specific examples on the grounds that he didn’t want to badmouth his competitors, but considering what he said and attempting to relate it to events such as Weinstein’s debauchery and #MeToo only really leads to one conclusion: the fallacious assumption that exposure to content that “objectifies” or makes a joke out of fictional characters will, in turn, lead to the lessening of respect towards real-life equivalents of those characters. The Twitter hashtag campaign #MeToo has also encouraged victims of rape and sexual harassment to come forward and tell their stories without fear - although, as with any sort of social media campaign like this, it’s always difficult to verify whose stories are genuine and whose are accusations that have been exaggerated, embellished or even outright fabricated. The accusations of sexual abuse and harassment from Hollywood are big news at the time of writing, with Miramax founder and film producer Harvey Weinstein being public enemy number one in this regard. And it’s really not a battle I WANT to fight – I’d rather just localize games that everybody can enjoy!” Ys Origin “Recently, however, with all the news that’s come out about systemic sexual harassment and abuse in Hollywood and elsewhere, as well as the issues being faced by the LGBTQ community in this modern political climate, it’s become much harder to justify maintaining a zero-tolerance approach – and with a lot of Japanese games starting to really push the boundaries of “good taste” more and more, the looming threat of censorship has become much larger and more imposing than ever, and certainly more of a beast to fight on multiple levels. The core of many Japanese game fans’ concerns stems from this extract of the interview, a comment from Lipschultz: ![]() ![]() Lipschultz in particular has been known up until the time of writing as someone who claims to hold a “zero-tolerance” policy towards content edits made during localisation of Japanese titles for Western audiences, but a number of his comments throughout the interview gave a few people pause.Īnd it’s worth talking about those points in detail, because some of what Lipschultz says unfortunately appears to demonstrate a fundamental misunderstanding of where his priorities should be as part of a successful and prolific localisation company that has brought a number of beloved franchises to the West. Yesterday, DRM-free digital distribution platform GOG.com posted a lengthy interview with localisation producer Tom Lipschultz and team leader Ken Berry from XSEED Games, whose most recent localisation project Zwei has recently been released on GOG’s storefront. ![]()
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