Nick: Isn’t spazmatoid an offensive term?
Juliet: To who?
Nick: ...to spazmatoids—like your sister.
—Lollipop Chainsaw (Warner Bros., 2012)
“Beat on the Brat” is a song that gleefully celebrates violence against a child. Of course, the Ramones would also turn a Nazi assault tactic into a catchy pop tune with “Blitzkrieg Bop.” Joy Division embraced the dark irony of their own name borrowed from Nazi brothels run in concentration camps. And, of course, Johnny Rotten infamously declared that he was “an antichrist.” This is the language of provocation. This is the language of punk.
Suda51 and Grasshopper Manufacture, leading as always with their motto and declaration of their own aesthetic, “Punk’s Not Dead,” has once again embraced the role of the provocateur with the release of the developer’s latest, Lollipop Chainsaw. The game speaks the language of misogyny, is gorier than any game since at least MadWorld, and is equal parts rude and profane. If you have any sort of decency, you should hate it—which is exactly the point.