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Detroit: Become Human as Seen from the Right

4,353 words

Detroit: Become Human is one of the most brazen examples of anti-white Communist propaganda that the video game industry has ever vomited onto an unsuspecting public. It’s the work of the ostensibly French David Cage (whose real name is David De Gruttola), the physical embodiment of the frustrated filmmaker turned game director. He and his company, Quantic Dream, are primarily known for Choose Your Own Adventure-style games that can best be described as interactive films.

Detroit has sold a million copies on the Playstation 4 alone, and millions more have been exposed to its subversive imagery through YouTube, including PewDiePie’s channel. It is now available to an even wider audience on PC. Few have taken the time to critically analyze and expose its messages, which is the focus of this essay. Naturally, there be spoilers ahead.

This particular genre may bring to mind the abominable “mixed media” ventures from the early 1990s, but to its credit, Quantic Dream’s games are much more involved. Rather than simply stringing together video clips, we can control an avatar, like most other video games. And the company has improved the look of its digital characters considerably over the years, scanning performances by actors like Ellen Page and Willem Dafoe in Beyond: Two Souls.

Android immigrant slave holocaust

Set sometime in the future, when androids are becoming ubiquitous in society, Detroit‘s drama stems from the human-android (master-slave) relationship and what happens when the androids achieve human-like sentience. It’s a great concept, but sadly, Detroit‘s writers preoccupied themselves with cramming as many anti-white characterizations and as much white guilt into their story as possible. Ham-fisted allusions to slavery in America and the Holocaust abound, with the writers forgetting along the way that science fiction is supposed to be intelligent.

The androids are mechanical in nature, but they blend in perfectly with humans, which makes them an excellent cipher for Jews living among Gentiles. This is slipped under the rug, as androids come in a variety of races (because black women are so marketable!). To avoid being confused with humans, each one has a glowing circle embedded in its face, and they wear uniforms with armbands designating them as fake people, evoking the yellow stars worn by Jews oppressed by the Third Reich.

The writers get plenty of mileage out of androids as black slaves, too, but mainly portrays their condition as analogous to blacks living under Segregation. Within minutes of starting the game, we’re reminded of Rosa Parks, learning that androids must stand at the back of the bus to ensure only meatbags get a seat.

Most humans in Detroit have good reason to hate androids: priced cheaper than a car, they’re driving a lot of people out of work. Picketers out in the streets demanding no more DREAMers of electric sheep clearly represent anti-immigrant activists, physically harassing our pacifist mulatto android protagonist. This fleeting moment does a good job of paving over the very real suffering and social disruption being caused by androids, as we’re distracted by how “bigoted” the white male protesters are. But Detroit has gotten things backwards: it’s patriotic Trump supporters that have been attacked by bigoted pro-invasion Leftists far more than the other way around.

Android Lives Matter

One of our protagonists (the scenario is divided into three groups) is a mulatto android with blueish eyes named Markus (Jesse Williams), likely named after Marcus Garvey. He’ll serve as android Moses, setting his “people” free (which is odd considering Garvey wasn’t a big fan of the Jews).

You may remember Jesse Williams for his Black Lives Matter (BLM) speech at the Black Entertainment Television awards show in 2016, in which he threatened that blacks would “restructure” the racist police that, according to him and everyone in the audience, never shoots or kills unarmed white people because they’re too busy murdering innocent blacks who dindu nuffin.

Markus is the manservant and nurse of Carl (Lance Henriksen, famous for playing the android Bishop in Aliens), a rich wheelchair-bound artist and philanthropist who treats Markus like a second son. Carl is notably one of the few sympathetic white men in the story, and Markus seems perfectly content as house negro. Then, one day Carl’s drug-addled son breaks in to steal some artwork, presumably for drug money. Markus calls the cops, and when Carl tells his son to take a hike, he attacks Markus out of jealousy.

This is what causes Markus to become a “deviant” (sentient): We see him mentally tear down the programming rules forbidding him to fight back, and, pushing Carl’s entitled white son, causes him to fall and break his neck. Now, Markus is doomed to be scrapped with the police arriving on the scene.

In what is arguably Detroit‘s best moment, Markus awakens in a place resembling Hell: a mudsoaked landfill strewn with the broken bodies of “dead” androids. Here he crawls among the debris and lost souls, looking for spare parts that can be used to rebuild himself. A half-alive android tells him there is a place called “Jericho” where androids can be safe. With the statue of an angel watching up above, and fully operational once more, Markus climbs out of the pit as if being reborn.

Following coded graffiti dotted throughout the city, Markus finds Jericho, an obvious reference to Jerusalem or Israel. It’s an abandoned cargo ship where free androids have begun to gather out of human sight. After doing the rounds, in which Markus bemoans their lazy and defeatist attitude, he meets a blind oracle in the shape of a damaged black female android. She’s the archetypal “magical negro” who tells him he is special.We’ll pick up his thread a little later.

Wifebeater Todd loves Red Ice

Our next protagonist is Kara (Valorie Curry), an android resembling an attractive young white woman who has just been purchased by Todd, a greasy, middle-aged white guy who lives in a small house with his young daughter, Alice. Todd’s a wretched piece of crap who’s presumably out of work because androids stole his job, and whose wife left him for an accountant (which is dumb, given that human accountants would be obsolete in this timeline). He spends his days getting drunk and high on a meth-like substance called “Red Ice.”

Given Detroit‘s progressive politics, this certainly seems like an underhanded dig at Henrik Palmgren and Lana Lokteff’s dissident outlet, right? Perhaps not: More than a dozen whistleblowers from Quantic Dream complained of a sexist and racist work environment in early 2018, alleging that employees let off steam by creating and sharing more than six hundred politically incorrect photoshops of the staff and management. In one hilarious incident, in which staff gathered around to watch a surveillance video of a burglary, director David Cage allegedly turned to a non-white employee to ask, “Is that a cousin of yours?” If the allegations are true, either Quantic Dreams is throwing stones in a glass house, or somebody’s a fan of Red Ice TV and slipped it in under the radar.

After Alice has done the cleaning, during which time she may learn that Todd “killed” her in a previous incident (she was repaired and had her memory wiped), Todd smokes some Red Ice and takes out his frustrations on her and the kid. When he goes ballistic, Kara breaks her programming to defy Todd’s orders in order to protect Alice. It’s possible to kill Todd with his own gun in this encounter (guns aren’t so bad when they’re used to kill abusive white men, right, gun grabbers?).

Fleeing the scene, she and Alice are now wanted by the police. Todd’s situation is all too real and emblematic of the androids’ (and immigrants’) negative impact on society – but the writers don’t want us to sympathize or think too hard about it, because he’s a mean, old white dude.

Dr. Mengele & his gentle giant Uncle Tom

Kara and Alice spend the night in a motel, an abandoned car, or a derelict building (in the latter, they’re held hostage at knifepoint by a mentally disturbed white male android). They’re advised by a random android that a man named Zlatko can help them, so they make their way to his place. Arriving in the middle of the night, Zlatko is revealed to be a disheveled, chubby white man in his forties or fifties. He hesitates, but lets them in.

After a short chat in which his humongous black android bodyguard Luther looms nearby, we’re led downstairs to a lab under the pretense of removing Kara’s tracking device. With Kara tied up to the machine, Zlatko reveals his true colors: he intends to wipe her memory, and will deal with Alice later. He, Luther, and Alice then leave so that Kara can make her escape.

Confused by her corrupted memory, Kara stumbles into one of the side chambers in the basement to discover Zlatko’s collection of android prisoners. They’ve all been subjected to what can charitably be described as the shoddy workmanship and tinkering of an amateur hobbyist, with one explaining, “He likes to play with us. Creating monsters for his amusement . . . But who’s the real monster?” It’s a line that goes over about as well as a wet fart.

Moving upstairs, Kara reassembles her memory and finds Alice locked in a room. As Zlatko busies himself with whatever he was doing before their arrival, they set fire to the building and run downstairs, pursued by Luther and then Zlatko. They’re stopped at gunpoint when the imposing Luther turncoats, protecting our heroines. As our new multiracial family escape, Zlatko is surrounded and presumably murdered by his former prisoners, who had been freed by Kara.

If we stop and consider for a moment, android enthusaists like Zlatko are probably common in the world of Detroit. You’d expect someone who is passionate about androids to be fascinated by the sentient ones, and not necessarily in Zlatko’s cold, calculated way. If anything, such a person would be an androids’ best friend, but here Zlatko is shown to be just another evil white male. Incidentally, Zlatko’s horrific dungeon is a dead ringer for another villainous white male encountered in David Cage’s earlier game, Heavy Rain.

Buddy RoboCop

Next up, we meet the two best characters in the game, beginning with Connor (Bryan Dechart). Likely named in honor of the Terminator films, Connor’s an awkward android sent to help the police investigate a recent spate of android-related incidents. He’s assigned to work with Hank (Clancy Brown), a white detective nearing retirement who despises androids. Hank’s the other decent white guy in the story, and his odd couple relationship with Connor is both entertaining and endearing.

Here, Connor has an uncomfortable run-in with a minor character, a human detective named Gavin who plays the racist asshole stereotype. He hates androids and isn’t shy about it. Currently (the real) Detroit is said to be appromixately eight percent white and eighty-two percent black, but Gavin is a white guy. The police chief, though? He’s black, of course.

Later, while investigating the brutal stabbing death of a man, Connor uses his superhuman senses to locate the killer hiding in the attic, earning him some brownie points with Hank. It’s a black android who was the victim of regular beatings and cigarette torture who lost it and killed his master. I guess his obese abuser bought himself an ugly black male android just for the fun of beating it rather than indulging in a model like Kara’s. Hey, whatever floats your boat.

Hank and Connor continue their investigation into deviants with a murder at an android brothel. One of the human customers, a white man (of course), has been found murdered. A badly-injured android prostitute dies before revealing much, but she’s not the killer. Jacking into the memories of the android sex workers in the lobby, Connor reconstructs the path taken by a white female android fleeing the murder scene.

He and Hank find her in a backroom warehouse, where she and her lesbian lover (an android co-worker) fight back. After the girls have been subdued, she explains that she killed the customer because he was strangling her to death, as white men are wont to do (or so the writers would have us believe). He, along with characters like Todd, contrast with the black, hyper-masculine Luther, who is always depicted as a kind and caring husband and father figure to Kara and Alice, as is de rigeur in so many Hollywood films, television shows, and commercials.

The joke of a pro-goyim mainstream media

Markus decides that a simple public statement of demands (“Let my people go!”) will solve the androids’ dilemma with the oppressive defecators (my word, not his). Surely, the humans will respect androids as equals once they know the androids are sentient! Rather than simply uploading a selfie to the Internet anonymously (which would no doubt go viral), or arranging a clandestine meeting with a reporter, he and the others hatch a plot to violently hijack the nightly news from a local corporate broadcast tower. They may be superhuman, but super smart they are not.

The premise is ridiculous on its face: What reporter wouldn’t jump at the chance to interview the world’s first sentient androids and convey their plight in a sympathetic manner? That shit’s Pulitzer bait! Moreover, the actual, Jewish-dominated media has made it clear it’s not on the side of America’s white majority, so why should we believe it’d side with goyim over a shiny new oppressed minority group? A more accurate depiction of the media in Detroit‘s timeline would be anchordroids spouting pro-android anti-human propaganda 24/7, interspersed with commercials subtly normalizing human-canine romance.

Android Moses begins a revolution

Realizing there’s strength in numbers, Markus heads into the city to steal some troops from a “Cyber-Life” store. Breaking in, he awakens the androids’ sentience with a messianic touch and gives a short, uninspired speech. Commanding them to join him, they vandalize the surrounding buildings in a much more civilized manner than any black race riot in American history. Here, the player can hack storefront displays and project holographic propaganda onto buildings with symbols and icons of their choosing, among them the raised fist popular with Communists and antifa. The player can also write slogans, such as Martin Luther King, Jr.’s famous line, “I have a dream,” which might seem disrespectful if we didn’t know that MLK was a degenerate Communist plagiarist.

When police sirens sound in the background, the androids scatter, with Markus following close behind when he’s interupted by gunshots. Turning the street corner, he finds several androids shot dead by a pair of human officers (one of whom is black, at least), who’ve been disarmed and taken hostage by his followers. In the racially-tinged scene, Markus takes control of the situation, giving the player the choice to let the officers go or execute them in cold blood, before he and the androids escape. Whenever you choose the less extreme route, Markus’ love interest and followers tend to lose respect for him.

This is an incredibly deceptive piece of anti-cop propaganda. Outnumbered police officers do not respond to a mob by drawing their weapons or immediately opening fire: they get out of the way to observe and call for back-up from the riot squad. Thus, we can assume that the police officers in Detroit opened fire because the androids attacked them, justifying their use of force. By not showing us what led to the shooting, and placing us in the shoes of Markus arriving late on the scene, we’re led to identify and empathize with the androids instead of the police officers.

As despicable as this is, Detroit somewhat makes up for it by discouraging violence with a ticker that tracks public opinion of the android freedom movement. More violence results in less support, and achieving overwhelming support is essential to obtaining a good ending for Kara and company. By setting up this dynamic, the designers are cleverly setting the player on one of two roads, which can then be reversed on a second playthrough to see an alternate ending.

With the message out, the next thing to do is lead an android street protest for publicity. It is here that Markus enters full messianic mode. As he marches down the middle of the street, repeating firmly the androids’ demands to be free, he gathers throngs of androids to him: first by physically touching them, then by merely beckoning towards them, then by simply looking at them. It’s one of the game’s most compelling scenes, with humans standing on the sidelines, looking on in a mixture of wonder and terror.

Arriving at a major intersection, the androids are met by a large, militarized police force that seems to have been expecting them. A weasely (white, of course) FBI agent informs them that if they march any further, his officers will open fire. If the player has Markus persist, he will be shot and killed on the spot, with his android love interest assuming leadership of Jericho.

With this scene, the writers of Detroit are communicating that peaceful activism such as marches will accomplish nothing if there is too strong a divide between the oppressed and the oppressor. In Detroit, it’s humans versus androids, but the implication is that movements like BLM will have to resort to violence to get what they want. In one of the later faux news reports, an anchor even describes the events as an “exodus.”

The neo-Underground Railroad

Canada has no slaver–, uh, android laws, so it becomes Kara and company’s destination. Unable to just waltz across the border, Kara seeks out the help of an obese black woman named Rose who lives out in the boonies. She agrees to help them, and leaves to make arrangements.

Here, we get a tense scene where a (you guessed it, white) police officer comes knocking out of the blue to ask if they’ve seen any androids in the area. If Kara doesn’t hide the evidence of the androids in the house before answering the door, they’ll be discovered, and Luther will automatically murder the officer. At one point, the officer even hears some noises coming from upstairs, but Kara explains that her daughter (Alice) is up there, and if you play your cards right, he will leave.

It’s a great little piece of Leftist propaganda that evokes both the plight of blacks hiding from slave-catchers and the Jews hiding from the Nazis. White lives don’t matter if they’re on the wrong side of history.

Rose turns out to be a lot less helpful than the real white people who organized the actual Underground Railroad, dropping Kara and the others off in her car on the wrong side of the border! Apparently, they’ll need forged documents that can be supplied by the androids at Jericho. This echoes the efforts of Adolfo Kaminsky, who became an expert at forging documents for “Jews, spies, and freedom fighters” during the Second World War.

If Canada is great, then Russia is the opposite. Faux news segments à la RoboCop report rising tensions between Russia and the United States, and by the end of the game, it’s implied that a full-blown war between the countries is imminent. I’m sure this detail has absolutely nothing to do with the establishment media’s obsession with demonizing Russia, but whatever, let’s get back to fighting the establishment as an android.

The Romans sack Jerusalem

Kara, Alice, and Luther are milling about inside Jericho. Kara wanders off to meet with Markus to obtain the forged passports, and along the way, she finds an exact duplicate of Alice. Alice, whom she has been caring for as if she were a human child, is actually an android. This revelation is stupid for a variety of reasons not worth getting into, but within the context of androids as Jewish ciphers, she’s now fully become the Anne Frank of the story.

Simultaneously, Connor has infiltrated Jericho and confronts Markus. Markus sees that Connor is an android and chastizes him for being a traitor, but extends an invitation to join the movement. Here the player can choose to either join the android revolution or arrest Markus, with the latter ending in a stalemate as Jericho comes under seige by a large counter-terrorism unit led by the snotty FBI agent from the street protest.

Masked (dehumanized) soldiers storm the ship, firing at any android that crosses their paths, and all of our android protagonists try to escape. Several can perish along the way, including Luther. Markus sets off an explosive, sinking the ship. This is allegorical of the Siege of Jerusalem in 70 CE, and here, androids use every means at their disposal to take as many enemies down with them as possible. Incidentally, there’s an even more bald-faced metaphor for Israel’s “Samson Option” that can come into play in the finale: if Markus’ revolution fails, one of the possible choices is to level the city with a dirty bomb as a final act of revenge against the goyi–, er, humans.

Impromptu android extermination camps

Having escaped Jericho, Kara and company play dead until the soldiers are summoned away and then make their escape. Failing that, they’re arrested and sent to a makeshift extermination camp, where the game dollops on a hefty helping of Holocaust guilt.

Let’s talk about android hair for a moment. Here, for no reason at all, every single android is not only naked, but has deactivated their outer skin and hair. The only explanation is that the androids can retract their hair into their skulls at will, and have been forced to do so by the guards. Yet in an earlier scene where Kara changes her clothes and hair to disguise herself, she physically trims her hair with a pair of scissors! So which is it, Detroit? Is android hair something that has to be cut and shaved, or can it be mechanically shortened on demand? Obviously, the only reason the androids are bald is to evoke the Jewish concentration camp prisoners we’ve all seen (to prevent lice, because the Nazis [being extra super evil] didn’t want them to die of typhus; they wanted to save them in order to gas them instead!). It doesn’t matter if it makes sense; the androids have to be bald.

This scene also clumsily misaligns with the official Holocaust narrative, potentially causing some cognitive dissonance. In the Holocaust narrative, the shower rooms were meant to distract a large group of Jews from revolting against the guards – but they’re missing from Detroit. Here, however, the androids know they’re about to be destroyed, but they don’t even attempt a revolt! They vastly outnumber the armed guards, and given their superior planning capabilities (which the player uses throughout the game, including in combat situations), it would be easy for them to disarm the guards and take control of the camp. Instead, they’re shown simply going along with it like a bunch of robots.

Of course, it’s also possible to get a good ending for Kara, Alice, and Luther, but there’s not much to discuss. In that version of events, public support for the android movement is the key to success. If the android revolution has been too violent, everything can still go wrong.

Detroit’s economy doesn’t make sense

It’s really unclear what’s going on with Detroit‘s economy. The androids are priced so cheaply that you’d think they’d put humans out of all low-skilled work, but there’s a couple of black humans manning the convenience store and motel counters for what I would imagine to be a thirty dollar minimum wage. Wouldn’t it be more cost effective for management to invest in androids that can work around the clock, sans breaks, sick days, and colored people’s time? I mean, that’s what they’re there for.

This exemplifies a problem that runs straight through Detroit (and all bad science fiction), which is that the writers couldn’t be bothered to make their vision internally consistent. I could write pages about this issue and Detroit‘s many missed opportunities, the point being that even if you ignore all of the annoying Cultural Marxist propaganda in Detroit, it’s difficult to enjoy it as a science fiction story. And would there really be a market for black androids? I thought we had to desegregate schools because black children had “internalized hate” (and thus preferred white dolls)?

Conclusion

Ironically, video game narratives are mostly linear. A player-driven narrative with multiple outcomes, each carefully crafted to be as satisfying as possible, is how video games ought to be. Since most writers outright reject this form of storytelling, Quantic Dream’s modus operandi is commendable. The thought that the audience might skip entire character arcs and subnarratives (by allowing two of the three main protagonists to perish at various points) would be difficult for any author to stomach. However, these fears are mostly unfounded, given that most players will rewind and uncover all the choices, mentally cobbling together what they feel is the “true” narrative.

It’s a challenging genre that lives and dies on its plot, with earlier Quantic Dream titles like Heavy Rain being infamously bad. In that respect, Detroit is easily Quantic Dream’s best game, barring its incessant anti-white messages. Even if David Cage got into this line of work to personally interact with attractive young actresses and celebrities, he spins an entertaining yarn with some likeable characters and great action sequences. With a total running time of eight to ten hours, it seems unfair to call Detroit anything less than an “interactive mini-series.”

It’s a wake-up call to the Dissident Right to pay closer attention to video games, which are now rivaling films in production budgets and propaganda value. It’s pretty disgusting to think of the sheer number of man-hours, let alone the tens of millions of dollars that were spent, on crafting what is a very thinly-veiled anti-white fable made by and for white people. If you’re interested, you can easily find complete playthroughs on YouTube to see just how thick the propaganda is for yourself, some of which has gone unnoted here.

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6 Comments

  1. Wanred
    Posted April 26, 2019 at 1:23 am | Permalink

    Interesting review. I have noticed an increase in black player characters in videogames and they make the games very uninteresting to me because I am not black and I do not want to play as a black man (or a white woman for that matter). I can understand that there are players who wish to play as their own race and gender but if the story is so obviously anti-white or anti-male (Detroit sounds more like a movie to me) I’d find it hard to get through.

    When a videogame does feature blacks, they are often anachronistically speaking out of place or just put there to meet some kind of make-believe diversity quota and often put in high positions and it simply feels really forced. Dishonored 2 had a black assassin who was simply black for the sake of being a powerful, black woman. There was no explanation as to how a black person got into a predominantly white society. She just seemed to be there for the sake of having a black female. The minority quota annoyed me.

    Bioshock 2 actually made the Rapture of Bioshock 1 more black (as far as I could tell, Bioshock 1 had no blacks) and also made a point to reference to Rapture as an inclusive place that judged you based on merit and not race. We all know how that turned out.

    Tip of the iceberg was how Bioshock Ultimate leads to the destruction of an otherwise peaceful white civilization at the hands of black slaves (who were there for the silliest reason: cheap labour, despite having robots and poor whites: the Irish) and an outsider. First we learn that the black rebellion leader is a spiteful woman who murders children but later on, in the DLC, this is corrected and we learn that she in fact was forced to kill the child by a high power because how else could you portray a black woman but a victim of white interest?

    I thought it was ironic that the injection of Black culture into the Bioshock games carried the unintended message that eventually, white societies will fall because of it.

    It seems like we’re going to need game development companies who simply focus on white people and offer white people the escapism that they seek. Ironic of course because it is actually this escapism that distracts from the real reasons behind the negrification of videogames …

    Also note how modern media often portrays the idea that we somehow need to be sympathetic with robots. Robots have no feelings, no matter how much they look like (black) humans. I’d say that stories like these aren’t merely anti-white, they are also anti-human by depicting people of flesh and blood as oppressors and things made of steel as more human. Whereas the 80’s depicted robots as evil machines that would one day take control (Terminator) we nowadays like to depict them as the oppressed and unappreciated, as beings that will one day join our great multicultural democracies as members who can decide their own genders and maybe mate with humans at some point (Binary Domain. Really cool game, though) to further muddle our DNA.

    I’m not sure which future I find more disturbing.

    Love these game reviews, keep them coming.

  2. K
    Posted April 25, 2019 at 10:29 pm | Permalink

    Games have been subversive trash for quite some time. Ubisoft’s Assassin’s Creed series made a game glorifying the slaughter of the French in Haiti and recently brought extreme historical revisionism to Ancient Greece making everybody bisexual and sexually degenerate, but even worse, they made ancient Greece seem like some multicultural utopia with a bunch of brown people. Gamergate as a movement completely failed to stop developers from putting their antiwhite and anti male politics into videogames.

  3. The real John Smith
    Posted April 25, 2019 at 8:01 pm | Permalink

    An alternative characterisation of the game is the blindness of a country that brings in a huge workforce of slave workers so the middle and upper classes can live like eloi.

    This degenerate population apparently never considers the potential consequences of their actions in having a subjected – yet sentient – population as a vast pre-revolutionary mass in their presence.

    Even though the robot rebellion is intended as peaceful, it immediately brings the entire country to its knees.

    Does any of this have a potential real world lesson?

    One of the problems is that the game tries to present defeating the robots as a genocide, what else would be possible in a situation like that? Perhaps live in peace with the hypercompetent androids until they’re numerous enough to displace the human race outright, Matrix style?
    And whether of not it’s intentional that’s the menacing implication constantly given by the androids throughout the game.

  4. Rogerio Andrade
    Posted April 25, 2019 at 6:26 pm | Permalink

    Man, you’re just looking too much into this. Detroit is just a fictional story, a videogame. It never intended to resemble neither real life occurances nor political issues as stated by David Cage and other QD producers several times. So much that most political themes in this game are portraited lightly and sometimes even in a silly way.

    • K
      Posted April 27, 2019 at 12:43 am | Permalink

      This is always the kind of response leftist gamers give to justify developers blatantly inserting anti-white or anti-male themes into videogames. QD is lying like a rug and anybody with eyes can see that.

  5. Rob Bottom
    Posted April 25, 2019 at 5:16 pm | Permalink

    This game was published by Sony, a Japanese corporation. I wonder if a Korean or Chinese equivalent of Quantic Dream approached them with a story clearly based on Imperial Japan’s activities in their neck of the woods if they’d give them the millions it took to make this game? Something tells me the answer is no.

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