With e3 coming up, I thought I’d examine the state of the game industry. The audience for my channel is pretty much split 50/50 between young guys from 18 to 25 and then older guys 40 and up. I know some of the older guys might not be interested in gaming, but discussing how games have been infiltrated by feminists is related to the infiltration we’ve witnessed in all aspects of life that has been made apparent in recent years.
To sum up the controversy with the new Battlefield game, they not only have placed a woman on the front cover of a world war 2 shooter aimed at men, they have placed her on the frontlines with a mechanical hand.
Video games is one of the few topics I can talk to blue pill guys about, and the overwhelming response has been “It’s just a game, Hermit. If you don’t like it, don’t play it.” Part of that is response is right, but that lethargic attitude is exactly what allowed the infiltration of the sjws to happen in the first place.
I’m not even arguing that women shouldn’t be in video games. Overwatch is loaded with female characters in a cartoon setting that allows for a suspension of disbelief. Dota and other MOBAs have plenty of female characters in a fantasy setting with magical powers. Tomb Raider has a female protagonist that has a successful series of fun adventure games. It isn’t female characters in games that I have a problem with, it’s the rewriting of history and the denial of biological reality that I have a problem with.
Besides Battlefield, another game that embraces social justice over providing a cohesive product is Rainbow Six Siege. This game prides itself on its realism, incorporating cutting edge weaponry and technology to create a focused, tactical experience. And then they throw in female operators. On one hand, they want you to immerse yourself in the experience of coordinating with your teammates and checking corners, and then they want you to believe that a female operative can go toe to toe with the commandos from every nation. This wasn’t present in any other Rainbow Six game, back when girls didn’t care about video games and didn’t demand unearned representation. Just as Battlefield didn’t have this problem, and even Call of Duty. Juxtapose this with what females actually do in the field, and you get the idea of why this denial of reality is more harmful than empowering.
Take the last Battlefield game, for instance. The publisher feared that the youth of today didn’t know about world war 1, and so they were skeptical about giving it the green light. Revisionist history is in full effect at the moment, and plenty of kids plugged into the education system will believe that women actually engaged in combat roles outside of Russia after playing this new Battlefield game. Or worse yet, those that know they are being fed false history will be too afraid to bring it up in their social circles and risk being ostracized as the entire game industry rallies around the defense of the precious fictional female soldiers. Just like journalists in different industries, video game journalists are predominately leftist soy boys. With their support, the feminists were able to work their way into the games industry without their skills of creation, but instead their skills of manipulation. They have taken over the movie industry, television, music, and government, but in a twisted turn of events, they seem to have faced the most resistance when trying to take over the gaming industry. Reality is often stranger than fiction.
Gamergate was the first real organized pushback against the forced diversity and social justice politics that was slowly creeping into video games. And yet, as we have seen in every other ideological battle they engage in, they always double down. Their delusion is only matched by their hunger for power, and you can see their obsession with controlling and monitoring others in a new feminist program that failed earlier this year called Bullyhunters.
Gamers tend to fall into one of two camps: either they are digital nomads, well versed in many topics and self-educated, not always necessarily red-pilled but very logical, or they are completely blue pilled and use gaming as a comfort to escape their realities. Luckily, these kind of products, be it games or movies or tv shows, are being uncovered for what they really are: propaganda. It sucks to lose big franchises like Star Wars or Battlefield to social justice, but the silver lining is that even more youngsters are being woken up to the narrative that dominates their surroundings. I can’t even imagine what it must be like to be a 12 year old trying to play games or watch summer blockbusters in 2018. I’m not even that old, but when I was growing up the big games and movies didn’t have any overt narratives in them.
Women don’t even make up as large a percentage of the gaming industry as they want you to believe. All of the surveys and studies you can find online include mobile gaming as a category, so they have conflated girls playing Farmville and Candy Crush with girls playing shooters and role-playing games. The game industry makes more money than the movie and music industry combined, so of course the gold diggers and opportunists would set their sights on it. If I see a game that has clear feminist influences, I can already predict it will be of lower quality, not for the sake of its messaging, but for the fact that the intellectually lazy don’t produce worthwhile content. Look at the newest Mass Effect game, which was handed to a new studio full of diversity hires and unqualified people that proudly proclaimed their social justice views. It ended up being a broken mess, one of the buggiest games to launch in the last decade.
I’ve also noticed that like every other industry they’ve subverted, the feminists must always occupy an occupied space. They can’t make their own games, they have to taint and destroy something already established and successful. If the sjws had an original game, I would avoid it and move on. It’s when they take something that was the polar opposite and mutilate it beyond recognition that we see the extent of their capabilities. They can’t produce anything because their entire worldview relies on bringing everyone else down to their level. Their worldview can’t be manipulated and falsely represented because it’s already as ugly and delusional as possible. I honestly think it’s too late for the gaming industry.
The entryism tactics they have established are the same across every industry. For movies, they rely on going into popular movies and forcing a narrative where it doesn’t belong to lecture the audience, not persuade them because they have no positive points to present. For comics, they rely on taking control of famous characters and shaping them into how they see the world. For music, they rely on pressuring the artists into conformity. For education, they rely on taking control of the administration so that they can offer protection to their shock troops, the teachers, and indoctrinate the youth. This applies to how they have infiltrated government as well. For games, they face a unique dilemma. As we know, women in STEM are rare because they are not biologically designed for it. Female engineers, programmers and technicians are the exception, not the rule. With the other industries mentioned, women can easily adapt and gain access. You can learn the art of cinematography or storytelling, you can learn how to lecture or write legislation. For gaming, however, programming is almost 100% done by men. So if women can’t program their own games, they have to enter through different means, like writing or public relations or community management. A lot of the women who earned their place in the industry are artists, but the ones that cause the most trouble are the ones who have no place on the project. The most intolerant and ignorant leftists seem to be the ones that provide the least value to themselves, their surroundings and society in general.
Once gaming succumbs to the crushing weight of social justice, I don’t know what’s left for the feminists to conquer. It seems like mainstream gaming is slowly dividing itself into two parts, one that wants to emulate the conquered industries of mainstream society, and one that refuses to bend the knee. The excellent new God of War is about a masculine, patriarchal white man mentoring his white son in a violent and meaningful story of fatherhood. How that was released in 2018 is beyond me, but I loved it. The new Doom from last year embraced violence and gameplay over amateur storytelling and diversity quotas like the new Wolfenstein game from the same publisher.