Narrative Warfare: Videogames Are Part of the Narrative Warfare Battleground

This weekend saw the beginning of the annual E3 showcase series. Major and minor publishers and development studios make presentations at this conference, which this year is entirely online. Videogames are a multi-billion dollar segment of the global entertainment industry, and as such they have attracted the attention of those seeking to shape the thoughts, opinions, and beliefs of the masses in as many ways as they can get away with. This is a Narrative Warfare battleground.

While there is increasing sensitivity to obvious SJW Death Cult propaganda in videogames, what is often lost is more subtle corruption by Empire's Thralls. Chief among these is the deliberate muddling of language, and in this we are talking about the very definition of what a game is. For those coming in late, this is what makes a game:

• The player has a Win condition.
• The player has a Loss contition.
• The player struggles over a point of contention.

All of the classic games meet these criteria: Chess, Go, Poker, Baccarat, RISK, Diplomacy, etc. So do all sports, since you are literally competing against active opposition (other players) or passive ones (a hostile environment, natural or not) to determine the result of a challenge. All wargames are games, obviously, but a lot of videogames made after Cultural Ground Zero (1997) are not and most of them are made by folks we now call "SJWs" or "Death Cultists" because the Thralls of Empire rely on the rabbit end of r/K Psychology to win and rabbits are conflict-avoidant and reality-denying in their psychology. ("Muh Subjective Reality!")

You can see how it is advantageous for Empire and its Thralls to redefine what a game is to promote the concept that simple amusement without achievement is a good thing. Once you go that far--to accept toys as games--then it's easy to take it further warp the definitions to insist on including a strong narrative focus and degrade actual gameplay more and more until it is a vesitgial legacy put in to avoid being reclassified to something else.

In short, fraud. They promote fraud, because they are lying about the goods and services offered to customers.

This is how you get obvious propaganda like Life Is Strange. It is also through the development of technology like motion-capture that allows Hollywood to transplant their entire production methodology--including all of its bloated budgets and disguised money-laundering and other abuses--into videogame production, as seen this year with products like Far Cry 6 (being promoted nigh-exclusively as if it were a movie). Now you have interactive movies, not real games, and all of the SJW Death Cult propaganda already extant in Hollywood and OldPub can just walk right into videogames (and has) without missing a beat.

This, by the by, is one of the avenues that Seattle-based SJWs used to move from tabletop gaming to videogames and Seattle-based writers are pozzed Death Cultists using tabletop as both launching pad and fallback position- just look as the trainwreck that is Jessica Price.

While non-pozzed countries like Japan remain resistant in their comics and film/TV media, because videogaming is global it is one of the prime vectors for SJW infection and spreading thereof into heretofore clean cultures. Figures like Hideo Kojima would not be open to being assimilated into the Death Cult if it weren't for Konami's reliance upon a global financial and technical infrastrucutre to get its (former) videogame productions into the hands of customers outside of Japan, and it is through videogames that the Death Cult can perform entryism into outgroup organizations and converge them into the Cult's control; Nintendo is an example of (at present) failure, while Sony is one of success at doing just this.

Watch as Eastern European studios get converged--RIP CD Projekt Red--and turned into poz vectors. Watch as Russian studios will be pressured to drink the demon's blood or get frozen out of the global market, a market the Death Cult dominates if not controls. Being independent is no sign of cleanliness; plenty of SJW bullshit to be found here, but as it is now it's pretty obvious which ones are pozzed as the signs are usually obvious. Only a ruthless and hostile opposition can guarantee staying clean of the poz.

For that to happen, the masses must be lead into being in opposition, and that's not as hard as it looks. SJW videogames usually suck harder than a black hole, so most of the work is in simply identifying the bad product out there and shitting on it until it is shameful to be seen or heard with it.

After that, it's in being militant on what is actually a game. The three points above are true and reliable. You don't need a narrative at all--Pac Man doesn't, and people still play it--so keep the arcade classics availabe, up to and including pirate ROMs, to keep what games really are available to future generations and show them what you actually need and what you don't. Story and narrative is a luxury in gaming, and one to be purged as soon as they get in the way of gameplay because they are not necessary.

No narrative means no means of spreading pernicious ideas and concepts upon an unsuspecting audience, and it means reducing budgets and team sizes down to only what is actually needed to get the product done and shipped, killing the backdoors into the business- and with it, the posuers and griftersleave as there's no status to suck out of this scene.

Empire can be driven out. Empire falls.