Cyberpunk and videogames in the Culture War

 

 

Picture source: https://www.justnerd.it/2019/06/10/cyberpunk-2077-keanu-reeves-compare-nel-nuovo-trailer/

 

Fight for Freedom: CyberPunk 2079 and what it means in the Culture

 

For the past few weeks, E3 was the buzz of all gamers, and while this review is late, this is not essentially about E3, but a certain game that raised a few heads, including my own. E3 took place in Vegas, where most of the AAA publishers would show off their games and talk about the new headlines. Gears 5, Doom Eternal, and even the coveted Final Fantasy 7 remake would come to gain and attract new customers and fans from around the world. The game that did peak everyone’s interest, even though my own was not so focused on that, did attract a major audience. Cyberpunk 2077.

Cyberpunk 2020 has been around since the early 1980’s, created by Mike Pondsmith, a graphic designer, who saw that video games, in its infancy could not create the game he wanted. Graduating from UCLA in the 80’s, Mike Pondsmith found the popular card game Dungeons and Dragon’s, and realized his game was to be a table top RPG (Role Playing Game) and has come to be accepted as a mastodon of table top form. Currently, it is unavailable to buy from the company website. The gist of the game is that corporations have taken over the world, and many parts of civilizations are cornered off into their own sections, with the Corporations controlling what we know about modern society. Cyberpunk 2077, which is coming out on XBOX, PC, and PS4, and developed by CD Projekt Red is a continuation of the table top game, linking together after scenario of the 4thCorporation War in the original tabletop game.

The game allows the player to build the world around them, as in many table top RPG games, but considering that the cult around Cyberpunk 2020 has gained notoriety for predicting the future we now live in. In the games section describing the culture and diversity section, it details in no small way, that culture and me first attitude would swallow the world, and cause riots, causing the country to collapse. Being that I have never heard of this game before E3, and after seeing a demo of it, I had not concerned myself with it at all. So, it’s a shock to the writer as well.

Concern about it didn’t raise any interest, but when Keanu Reeves stepped on the stage, announcing that he would be the main anti-hero confronting the character after he was left for dead in a junkyard, where he proclaims, “Get up. We have a city to burn.” Certain memes were made after this, and have not since stopped.

Considering that the article is late, the controversy surrounding it is not the subject, but the surrounding edifice to talk about. The fact was that a game like this, developed by CD Projekt Red, who was famous for the Witcher Series, certainly raised attention to a game that has already seen much growth over the last month. The game’s collector’s edition has sold out across platforms, except for PC, as of writing this.

After delving into the history of Cyberpunk, the outrage mobs are always on high alert if something offends them. The controversy that the game has created is notwithstanding. If the transgendered community, who could take offense over an attractive trans girl who is selling a product, is a conceit over how the media are trying to co-opt trans crowds to sell products. This is quite the effect CD Projekt Red picked up on. When was the last time we saw a trans person trying to sell a product that might cause controversy? In the world of the game, this is nothing new.

When thinking about this article, and after taking a break from heavily writing novels, the article still came back to me. The world of video games has been hit hard by the likes of Anita Sarkesian, who think they could make developers more gamer friendly, when all around, it makes the work worse, in comparison. With the news of her company shutting down, many youtubers unite in the destruction of a company that didn’t even give a progress report on the money donated to the website.

It has now become a podcast, but even Ms. Sarkeesian, knows that going woke can only make a company progress so far. Entertainment, even philosophical ones, have to bend the rules of polite society in order to make something enjoyable. Making safe spaces for games is not where most video game companies should go. It encroaches on the player’s right to enjoy a video game and if you are going to be philosophical in a video game, make it wrap within the subject matter. Aesthetics is what is important with most art. Ideology vs Aesthetics is the name of the Culture War today.

It can bankroll a company or shut it down. When video games, the last bastion of freedom of speech, are connected to the way people create, it becomes an issue when people like Ms. Sarkeesian want to destroy the rights of all creators. How can a woke society seem to make up of culturally ignorant people who have no idea what people truly represent. Sometimes promoting safety of one, doesn’t mean they really believe in it to begin with. The left only care about being woke for the sake of status and culture, not for genuine art. If they did, they would be selling games and making money.

Yes, video games require money and appeal, not just substance. The substance is the overall impression one has to make sure they have in common with the player. If Id’s motto is “lead not follow” the woke gaming culture is hip to people who don’t buy games, and wanting to keep their status clean so they are not attacked for being too “edgy.” If competent designers, like Ms. Sarkeesian, were interested in making games, and not pontificating on the “safe spaces” of female players, which who do not buy her bullshit propaganda in the first place, we are definitely ready to see gaming culture die, by the hands of people who don’t care about art in the first place.

If we see what CD Projekt Red does, and learn from them, they care mostly about the player. The woke community of gamers don’t care about art or having fun. They want to destroy the rights of players without hurting people, but they are in fact infringing on the creativity of designers and publishers when they have to meet the insane demands of leftists who screech loudly and try to get people fired for just making a fun game.

But it’s weirder than that. They see themselves as holding a torch for humanity, in a barren wasteland, trying to restore law and order, when they, the cult of woke clown world, are the villains trying to shape history into their demented form. The fact is woke gamers don’t play games but bitch all day about it online. It’s developers who are in control of the product, but keeping gamers in mind is a business strategy that all creative people can learn.

While some of my novels are for women, most of the work I have created is geared towards men, and getting men to read, is a difficult job. Games do have some purpose, but should only be used as a right after work is over to express their rage. In an age where masculinity is shamed, video games and art should be about expression of the violence and the anger that men all feel. Subduing manliness is a crime no man should have to bear. If women are indeed lonely, they only have themselves to blame. Not CD Project Red, or the issues they have with games, in general.

CyberPunk has now become the dog whistle to all of men who need to find themselves when lost to the culture of woke dopamine, when they have found their essence destroyed by female game players who can’t seem to take a joke. However, it has confirmed whatever traction one might express, but conforming to ideology over aesthetics, is the bane of all creative people’s existence. The reason as to why woke culture is not helping them find men, embrace female standards of beauty, or retain good steady income.

It won’t take a jar of piss to help you find equality in your income, or your bathwater either. I digress, but concerning Cyberpunk, it is now the call to arms that most men have responded to. Cyberpunk is essentially the game that will divide most woke gamers, but with the embrace of the trailer, and the word of mouth spreading, it will only lead to its inevitable success.

But to add the cherry on the top, when the creator, Mike Pondsmith, who has to defend his own game of supposed “racism” it has now become a battle for the ages. Mike Pondsmith is the new sage after Philip K. Dick. He saw Philip’s world of “Do Androids Dream of Electric Sheep” and kept extrapolating the world of Science Fiction. Science Fiction has to make its stance of creativity and pushing borders, not moving into safe spaces. When he has to defend himself over the Internet, it has now turned into the Battle Royale of Consumers Vs. Corporations. The very world that Mike Pondsmith predicted has now come true. The heir to Phillip K. Dick is Mike Pondsmith. All hail Cyberpunk!

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