Daily Stormer The Most Censored Publication in History
At the Game Awards last week, several upcoming shitfests were revealed, including the new game by The Last of Us developer Naughty Dog, action-adventure game Intergalactic: The Heretic Prophet.
The developer, a subsidiary of Sony, is run by the Israeli Jew Neil Druckmann.
The first TLOU game, a story-driven zombie game released in 2013, was appreciated by gamers. However, the 2020 sequel started out with the first games “damsel in distress” beating the male protagonist to death with a golf club, and going on to become the star of the game.
While trend in video games is generally for sequels of popular games to do better than their predecessors, TLOU2 sold 8 million fewer copies (44% less) than the first game.
While killing the protagonist of the first game could be considered bold, given that it was so shocking to fans, the Intergalactic trailer was almost like a parody of out of touch woke “punishment media.” Punishment media is entertainment media created and distributed for the purpose of punishing the consumer, and virtually all Western devs (and several Japanese ones) have begun producing this material in recent years, in line with the BLM/Virus/Ukraine/etc. agenda.
Woke is now retreating, however, so it is somewhat bizarre to see this sort of thing in the current year.
The “teaser” trailer for Intergalactic features a Mexican lesbian, the apparent protagonist of the upcoming game, in a 1980s-themed retro future.
The overwhelming majority of gamers who play this type of game are white and Asian men, and there is no evidence to believe they fantasize about being brown lesbians. In fact, Naughty Dog’s own massive failure with TLOU2 shows that his own customers do not have an interest in his Jewish political agenda.
What is notable about woke is that it doesn’t care about losing money, and prioritizes punishing its customers over making a profit.
These games are forced on people. Yes, it is a person’s choice whether they play the game, and many choose not to. But many people, particularly those with lower intelligence, will respond to advertising and simply buy whatever the thing that is pushed as popular is, and therefore will end up with this manipulative Jewish trash media.
What I found notable about the trailer was that it called on 1980s nostalgia, while Druckmann is so out of touch he has no basic understanding of what drives this particular type of nostalgia.
The color scheme, fashion, and the retro-style electronics on the spaceship featured in the trailer were enough to tell you that this is a nostalgia game, and if that wasn’t enough, our latinx hero plays the Pet Shop Boys on an 80s style jukebox (yes, a compact disc jukebox was released in the late 1980s).
Firstly, it should be noted that this kind of 80s aesthetic peaked around 2017, with the release of Stranger Things 2, and is not really considered very hip at this point. That is the first point about Druckmann’s attempt to invoke this nostalgia being completely detached from basic cultural realities.
More importantly, attaching a Mexican lesbian to this kind of aesthetic misses the entire point of why it was so appealing in the first place: this was a time when America and the West was overwhelmingly white. The 80s aesthetic was a kind of “nerd cool,” which celebrated things being less apocalyptic and grotesque when America still had a white supermajority. The trend was meant to appeal to millennials, born in the 1980s and early 1990s, who knew “things were better when we were kids,” but likely wouldn’t want to say “it’s because things were whiter.”
The Pet Shops Boys are about the whitest thing you can imagine, and this is the case for most of the popular music of the era, certainly the type that is featured in nostalgia media. Stranger Things had an almost entirely white cast, featuring one token black kid (which is itself an 80s trope).
The “nerd cool” element of 1980s nostalgia means that it really only appeals to white people. You will not actually find Mexican lesbians who listen to The Pet Shop Boys, and you’re not going to find many nonwhite fans of Stranger Things. The 80s nostalgia movement of the 20-teens was clearly a response to the emergence of wokery and the continuous attacks on white people. The 1980s represented a kind of safety for white people, and the nostalgia media gave them the ability to engage with something fundamentally white in nature without having to admit it to themselves.
The trailer got a huge backlash. No one other than the usual suspects stated any excitement about the game.
There is a major clash between the theme of the game and the protagonist, and this actually makes it less sellable. A post-apocalyptic setting, it would make more sense to have a brown lesbian, and would probably result in less backlash. The backlash against this game has a kind of “how dare you?” tone, and I would assert that is because, consciously or not, white men understand 1980s nostalgia as a “safe place.”
Video games are meant to be a fantasy and an escape from reality, so it is plainly offensive to have this space invaded by something that feels like a personal attack and a violation of one’s own identity.
I can predict right now that Intergalactic will be another Concord for Sony. Whereas some woke media is capable of making some money, even if it is much less than it would make if it had simply appealed to the audience, Concord, Sony’s attempt at a Fortnite style live service shooter game, lost hundreds of millions of dollars. The studio claimed that this was because of an “oversaturated market” for these kinds of games, but the release of China’s massively successful Marvel Comics shooter (which does not feature trannies, fat people, ugly women, homosexuals, cartoonish “diversity,” or anything else that was included in Concord) proved that to be completely false.
It’s very obvious that if Intergalactic had featured a normal white male protagonist, as was the standard for video games up until the day Donald Trump won the 2016 election, the response would be overwhelmingly positive. In fact, if it had simply been an attractive woman, the response might not have been as good but they would not be facing this avalanche of hatred they are facing now.
These companies all know this, and they hire Jewish perverts like Druckmann to push this stuff anyway.
While Disney has made a move to pull back on “woke” in order to make money, as evidenced by their decision to contract the Chinese to make their shooter game, some of these. companies appear heavily committed to it and will go bankrupt before giving the public what it wants.
It is a little bit scary when you think of supposedly profit-drive corporations being willing to sacrifice hundreds of millions of dollars in order to push a social engineering agenda. Although the popular explanation is that this has something to do with BlackRock owning such large percentages of the stock in these companies, that explanation has not ever fully made sense to me, given that unless they owned a majority of the stock, the rest of the shareholders would be pushing back against this agenda.
Corporations sacrificing profits in order to emotionally and psychologically abuse the public is certainly much worse than any of the “out of control capitalism” dystopias portrayed in science fiction. In fact, we are presently in a kind of dystopia that was never predicted by science fiction authors.
