Father Time said:
There could be no shock factor if it wasn't treated with gravity and/or respect.
So you would consider that the torture porn genre and the diverse horror exploitation films represent a take on violence and death that is full of gravity and respect? Because I don't consider "Oh, we need something shocking in this part of the game. Uh... just slice open a girl and call it a day" to be respectful at all.
Shock is not a synonym of respect. I can jump out of a closet to shock you, or I can say the world's longest string of profanity. Neither imply any degree of respect or gravity whatsoever. To shock, something must be very sudden and very vulgar. It has to be violence, death, sex, profanity, things that are shocking because they are not commonly spoken of in public (and whose overuse leads to desensitisation). The essence of shock is the portrayal of the vulgar in an unexpectedly crude manner.
Father Time said:
I fail to see how a game acting like it's a big deal makes it trivialized. In fact it should make it seem like a bigger deal if everyone is saying it is. It worked with 'war is hell' when everyone kept hammering it home.
The game isn't acting like it's a big deal for the woman. It acts like it's a big deal to the male protagonist. Anita makes an excellent point when she says that the games frame the context of violence against women not as a terrible thing unto itself, but as an attack on the player's sense of masculinity, due to the patriarchal ideas of "men as the protector" that are still clinging in most people's heads. The violence inflicted against the woman is treated as a terrible thing
for the male protagonist, not for the woman. Whatever the woman feels or does in response to this violence is given a token representation, depending on the game, and then you're supposed to fill in the blanks on your own; while the male hero gets to monologue about his manpain to a greater or lesser extent.
The reason it's trivialised is because it's thrown in as a go-to way to give the male hero a motivation, some emotional resonance, and player empathy. The women (and the violence/death inflicted upon them) become tools that serve the male hero and his presumably male player (which is why we rarely see a male character trying to save his friend/brother/father, unless the friend/brother is very young and can fit under the "under my protection" umbrella, much like sons).
There is very much a problem with the game industry's archaic and formulaic storytelling, and this is one of them.