Replik auf Facebook. Zu Vice-Artikel (via VDVC-Forum): ‚If the BPjM also considers this game to be some sort of child or youth pornography, no one in Germany should own or stockpile it. And German gamers should stay away from any imports of this title, but I still doubt the BPjM will do such a thing.
The USK is part of an institution called Freiwillige Selbstkontrolle in Germany, which stands between the interests of electronic media content producers, and the state. Similiar to film, video, television (Freiwillige Selbstkontrolle Fernsehen) and arcade machines (Automaten Selbst-Kontrolle), they can not decide whether or not some content is an actual offence, or is restricted by criminal law – likewise regarded as criminal conduct. And this explanation looks very muddled to me: it’s some kind of a mixed bag between characters considered to be underage, sexual violence, and gender misrepresentation. The latter issues are both usually regarded to be (just) violent content, especially considering “Duke Nukem 3D” in 1996.
As always by Patrick Klepek, this article is very well written and researched. Yet at the moment, it still just seems impossible to clarify things here.
Incorporating usual accusations of sexualization, more likely to be associated with opinions of the press, the estranged Chibi aesthetics of this sequel seem to be at the heart and center of things. Those aesthetics tend to portray all characters in a certain child-like way, without being necessarily marketed to pedophiles. It’s therefore not obivious, and a clichéd stereotype, to think that flat-chested female characters of rather small body proportions are actually meant to be underage, or even prepubescent children. Even their child-like voices more often than not can then rather be explained by those aesthetics.
Then, again, this seems to be a perfect example of censorship gone wrong. As I see it, there are two major problems regarding this title: first and foremost the publisher seems to have forgotten declaring an appropriate age for at least some of the main characters. To me, this is very strange indeed. Second and last, the estranged Chibi aesthetics offer a visual problem: while for most of the game the aesthetics stay intact, incorporating realistic proportions in some scenes contradict the rest of it. In my experience, Chibi aesthetics are sometimes even used to tone-down sexual representation – like in the “Hatsune Miku Mirai” series for example – and are therefore rather welcomed by those who usually reject sexual content as unnecessary sexualization, also in the German press.‘