Leni Riefenstahl (1902 – 2003) is remembered in particular for two films: “The triumph of the will” of 1935 and “Olympia” of 1938. The first tells of the congress of the Nazi party held in Nuremberg in 1934, while the second is a documentary on the Berlin Olympics of 1936.
Both films were worthy of Nazi propaganda, but both were sublime from the stylistic point of view , to the point of creating a big short-circuit in critics and directors of her contemporaries or later.
Many still today try to reduce the weight of his political choices in his works. It is probably a way to fight the sense of guilt in having to admit that many of the cinematographic forms invented by Riefenstahl are still used today because they are very effective, especially for propaganda purposes (but not only).
In short, his films were “beautiful” from a technical / stylistic point of view, despite the ideology that they were dragging behind. Obviously the Riefenstahl, dancer first, then actress, then director, had a personal vision of the world to support her, due to studies and knowledge. From this came the rhetorical force of his films, certainly not from Nazism, which is a consequence, rather than a condition.
Why mention it at the beginning of the review of a title put as Feminazi: The Triggering? Perhaps to make people understand, even before describing the game, that it is important to have cultural means that support what we want to express, regardless of the ideology that is the background.But let us pause for a moment to examine the title: “Feminazi” is a neologism created to describe some extreme forms of feminism. In the Urban Dictionary it is well explained,
precisely in opposition to feminism itself: “a feminazi is not a feminist Feminists believe in equal rights for all, while feminists just want to make us look stupid”. Certain web environments have however made this differentiation decay and many simple minds use the term as an offense for feminists tout court. Soon the word took a strictly political value and was assumed by environments that belong to the extreme right.
The Triggering instead, is literally “trigger”, and is a term frequently associated with feminizations, that figuratively they get inflamed immediately when they see something that does not suit him. Already from this you should have understood that Feminazi: The Triggering is a mixture of clichés from forums, especially 4Chan and derivatives, where anti-feminist rhetoric is very strong. But how was this kind of ideology translated into video games?
Feminazi: The Triggering makes us realize how difficult it is to translate idiocy into videogames
FEMINAZI: THE TRIGGERING
It is obvious that hyperboreanGames and Svarog Studios have forgotten to be working on a videogame when they thought Feminazi: The Triggering. That is, they had the various jokes on the internet about feminists, but they did not know what to do with it. So they created a 2D action with a bird’s eye view in which,
in the role of a feminazi, you go around a tiny map to, in order: accuse white men of every possible wickedness, attacking women with children as a result of their social conformity and to show benevolence towards the blacks, who are all indiscriminately refugees. Each of the actions described is linked to a key.
If you press the right key when you are close to one of the categories listed above, you get Triggering points or Tolerance points, represented by two bars placed in the upper right part of the screen, which are added to the feminism points, that is to that is the overall score.The goal of the feminazi is not to reduce the two bars to zero (it has no real enemies if not inactivity).
