"If you're familiar with Parasite Eve 1 or 2, you're no doubt familiar with Square's marketing campaign — the second one especially — pushing Aya to be more like Lara Croft. Well, forget all that. It's nothing compared to what they did to Aya in The 3rd Birthday. Here's◊ a popular image.
YA GET IT?!
IT'S SUPPOSED TO BE A DICK! YOU PROB'LY DIDN'T GET IT BECAUSE IT'S SO SUBTLE!"
Chris: Sonya has been full-on sexy bondaged and her hair has been teased to within an inch of its life. Ye cats, dude.
Matt: This is really bad. One of the things that you have to give fighting games as a genre is that they put men and women on equal footing, in terms of skills. Lots of them objectify women — looking in your direction, Fatal Fury's Mai Shiranui — but they’re just as tough as men. They aren’t damsels in distress. So this movie going that route is extra disappointing.
Chris: And it’s so lazy! She’s dressed in a weird leather cheerleader skirt and telling Shang Tsung “my friends will come for me!” She was clocking metalheads with a shotgun an hour ago!
Matt: It isn’t even true to this movie’s own version of Sonya. It was about 10 minutes ago that she was telling Johnny Cage to f**k off!
A recent film, The Hours, presents Woolf in a way surely her contemporaries would have marvelled at. She is the very image of a sensitive suffering lady novelist. Where is the malicious spiteful woman she in fact was? And dirty-mouthed, too, though with an upper-class accent. Posterity, it seems, has to soften and make respectable, smooth and polish, unable to see that the rough, the raw, the discordant, may be the source and nurse of creativity. (...) How do we love female victims; oh, how we do love them.
— Doris Lessing in her foreword to the Virginia Woolf anthology Carlyle’s House and Other Sketches