[Ideologia fod*ndo a industria ocidental news] BRs criam curadoria para identificar jogos com participação de consultoria woke

[Bloodstained]

Nintendo Legend Masahiro Sakurai Pushes Back Against Western Gaming Trends, Claims Japanese Developers Should Avoid Appealing to Western Tastes​

Japanese gaming icon Masahiro Sakurai, creator of Super Smash Bros. and Kirby has made headlines for his sharp insights on the state of the gaming industry and the Western trends currently dragging it down. Sakurai was recently honored with Japan’s prestigious Art Encouragement Prize from the Agency for Cultural Affairs, recognizing his outstanding contributions to the gaming industry through his Masahiro Sakurai on Creating Games YouTube channel. Following this achievement, Sakurai participated in an interview with Entax where he addressed a growing trend plaguing the gaming world: the prioritization of Western tastes over authentic, homegrown creativity.

Sakurai stressed that Japanese developers should focus on making games with domestic appeal, rather than chasing what they believe Western audiences want. He plainly stated, “I think Japanese people should keep pursuing the things that Japanese people like.” This simple yet powerful statement carries major weight in today’s climate where many developers—both in Japan and the West—are bending over backwards to accommodate Western sensibilities, often at the cost of creativity and uniqueness.

Sakurai’s perspective isn’t just relevant—it’s a necessary reality check. The Western gaming industry has found itself stuck in a creative rut, obsessed with forcing social agendas, token characters, and politically correct narratives into its titles rather than focusing on delivering engaging, well-crafted experiences. This misguided focus has come at a steep cost, not just creatively but financially. Audiences are turning away in droves, disillusioned by the pandering and lack of substance.

The most telling part of Sakurai’s comments? He doesn’t believe that Western gamers are even asking for these so-called “Americanized works.” Instead, he suggests they are drawn to Japanese games precisely because of their distinctive charm, unfiltered storytelling, and unapologetic design choices. This sentiment by Sakurai is one that’s been echoed across fanbases tired of Western gaming studios injecting overt political agendas and social narratives into what used to be straightforward entertainment.

This perspective arrives at an opportune moment. Silent Hill fans recently saw producer Motoi Okamoto express a similar view, explaining that the upcoming Silent Hill f will return to its Japanese roots after years of Western influence watered down the franchise’s core identity. Okamoto openly admitted, “As [Silent Hill] was based in the West for the longest time, it felt like the Japanese influence was fading.” That candid recognition speaks volumes about how far off-track even beloved franchises can veer when trying to cater to ideologies outside their original vision.

Meanwhile, the Western gaming industry is struggling to understand why its once-loyal audiences are walking away. Massive projects like Star Wars Outlaws and Dragon Age: The Veilguard have faced harsh criticism and backlash for prioritizing diversity checklists, shallow characters, and forced messaging over compelling gameplay and storytelling. Both games were once part of legendary franchises, but now fans see them as mere hollow shells, pumped out by studios more interested in Twitter approval than crafting unforgettable worlds.

Star Wars Outlaws, in particular, has drawn flak for abandoning the feel of classic Star Wars adventure in favor of inserting generic modern sensibilities, alienating longtime fans. Similarly, Dragon Age: The Veilguard faced instant mockery after its reveal, with its cast of caricatures and sanitized designs that seem more concerned with meeting DEI standards and pushing gender politics than offering the gritty, morally complex fantasy storytelling the series was once known for.

Gamers aren’t interested in lectures—they’re looking for fun, immersion, and originality, the very things Japanese developers excel at when left to their own devices. Sakurai’s comments shine a light on why studios like Nintendo, Capcom, FromSoftware, and others continue to thrive. They focus on delivering polished, unique, culturally authentic games that stand apart from the homogenized offerings flooding the Western market.

Mr. Sakurai’s approach is a breath of fresh air. Rather than chasing fleeting trends, he advocates for staying true to what made Japanese games beloved in the first place. It’s a lesson Western studios might want to consider as they continue to churn out formulaic titles that prioritize ideology over entertainment. Gamers have spoken with their wallets—and the message is clear.

Japanese developers are poised to thrive by doing what they’ve always done best—focusing on creativity, craftsmanship, and cultural authenticity. Sakurai’s comments, and the resurgence of titles like Silent Hill f, make it clear: the future of gaming belongs to those bold enough to resist homogenization.


Fonte
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[Bloodstained]

Sweet Baby Inc. Boss Kim Belair Thinks AI Should Prioritize ‘Empathy and Inclusion’ Over Profit in Gaming as Her Games Keep Flopping​

Just when you thought Sweet Baby Inc. couldn’t get any more ridiculous, their CEO Kim Belair has once again proven that there is no bottom to the progressive virtue-signaling rabbit hole. During GDC 2025, as pointed out on X by MasterOfTheTDS of Gothic Therapy (often first to the plate when it comes to reporting on Belair and SBI), Belair delivered this doozy of a statement:

“There is, unfortunately, a lot of prioritization of shareholders and of money over the employees who make the games. We want to use AI to expand access and bring in more diverse voices, not replace them. Our focus is on storytelling, empathy, and inclusion, and AI should serve those goals, not undermine them.”

​

Yes, you heard that right. Kim Belair, a woman who once appeared to admit on a podcast to having a physical attraction to Nintendo’s Bowser, genuinely thinks the big issue plaguing the gaming industry—an industry drowning in layoffs, canceled projects, and collapsing profits—is that there’s too much focus on, well, profits. And her magic solution? Empathy-focused AI.

Sweet Baby Inc.: Where Good Games Go to Die​

Let’s pause a second and reflect on Kim Belair’s track record, which offers all the credibility of a dumpster fire.

Goodbye Volcano High: Remember this gem? A game so cringeworthy and aggressively political that gamers mocked it relentlessly before it even had a chance to flop. Its greatest contribution to gaming history was being laughed at in YouTube reaction compilations.

“Suicide Squad: Kill the Justice League”: Belair’s involvement here arguably helped doom one of the most anticipated superhero games in recent memory. Constant delays, narrative disasters, and community backlash sent “Kill the Justice League” spiraling into development hell, alienating even hardcore DC fans who genuinely wanted to like it. As a follow up to the beloved Batman Arkham series, the game grossly disrespected classic DC heroes, including having Batman die in an alley at the hands of Harley Quinn in what was one of iconic voice actor Kevin Conroy’s final performances as the Dark Knight. SBI was given a full page in the game’s credits.

Unknown 9: Awakening: Ever heard of this title? Probably not, because despite Belair’s touted expertise, the game descended into obscurity shortly after its hyped reveal. Once again, Sweet Baby Inc.’s fingerprints correlated with a total failure to capture gamer interest.

At this point, Sweet Baby Inc.’s involvement in a project practically guarantees that game’s doom—yet here’s Belair doubling down, suggesting developers use artificial intelligence not to craft better gameplay, compelling stories, or immersive worlds, but to “expand access and inclusion.” Exactly the type of vague, nonsensical buzzwords that landed her company’s previous efforts squarely in the trash heap of gaming failures.

What Exactly Does Kim Belair Want from AI?​

Belair’s statement isn’t merely tone-deaf—it’s genuinely confusing. She says Sweet Baby Inc.’s goal is to use AI to “expand access” and “bring in more diverse voices,” ensuring AI serves “storytelling, empathy, and inclusion.” But what does that even mean in practical terms?

Is Belair envisioning a future where AI-generated scripts are forced through ideological filters, where games must fulfill quotas for character diversity dictated by algorithms? Is the goal to replace creative freedom with a sanitized process that prioritizes “inclusive storytelling” over engaging gameplay?

Her statement isn’t just bizarre; it exposes a fundamental misunderstanding—or worse, a deliberate misrepresentation—of what artificial intelligence actually does. AI isn’t inherently empathetic or inclusive; it’s simply a tool designed to perform tasks according to human-set criteria.

Demanding that AI prioritize ideological agendas rather than quality, entertainment, or (God forbid!) profit is precisely the kind of thinking that’s turned her company’s portfolio into a graveyard of failed projects.

Belair isn’t calling for empathetic machines—she’s advocating for ideological compliance enforced by algorithms. And as Sweet Baby Inc.’s track record shows, that approach leads only to one thing: financial failure and audience rejection.

The Belair Bottom Line​

Belair’s latest GDC statement perfectly encapsulates why studios associated with her continue to fail spectacularly. Prioritizing vague “empathy and inclusion” at the expense of fun, compelling gameplay and narrative integrity isn’t just bad for business—it’s toxic for the entire gaming community.

Sweet Baby Inc. can keep peddling ideological platitudes all they want, but gamers vote with their wallets. And based on Belair’s track record, her games are headed exactly where they belong: forgotten, mocked, and left collecting digital dust.


Fonte

 

[SithLord]

Sweet Baby Inc. Boss Kim Belair Thinks AI Should Prioritize ‘Empathy and Inclusion’ Over Profit in Gaming as Her Games Keep Flopping​

Just when you thought Sweet Baby Inc. couldn’t get any more ridiculous, their CEO Kim Belair has once again proven that there is no bottom to the progressive virtue-signaling rabbit hole. During GDC 2025, as pointed out on X by MasterOfTheTDS of Gothic Therapy (often first to the plate when it comes to reporting on Belair and SBI), Belair delivered this doozy of a statement:

“There is, unfortunately, a lot of prioritization of shareholders and of money over the employees who make the games. We want to use AI to expand access and bring in more diverse voices, not replace them. Our focus is on storytelling, empathy, and inclusion, and AI should serve those goals, not undermine them.”

​

Yes, you heard that right. Kim Belair, a woman who once appeared to admit on a podcast to having a physical attraction to Nintendo’s Bowser, genuinely thinks the big issue plaguing the gaming industry—an industry drowning in layoffs, canceled projects, and collapsing profits—is that there’s too much focus on, well, profits. And her magic solution? Empathy-focused AI.

Sweet Baby Inc.: Where Good Games Go to Die​

Let’s pause a second and reflect on Kim Belair’s track record, which offers all the credibility of a dumpster fire.

Goodbye Volcano High: Remember this gem? A game so cringeworthy and aggressively political that gamers mocked it relentlessly before it even had a chance to flop. Its greatest contribution to gaming history was being laughed at in YouTube reaction compilations.

“Suicide Squad: Kill the Justice League”: Belair’s involvement here arguably helped doom one of the most anticipated superhero games in recent memory. Constant delays, narrative disasters, and community backlash sent “Kill the Justice League” spiraling into development hell, alienating even hardcore DC fans who genuinely wanted to like it. As a follow up to the beloved Batman Arkham series, the game grossly disrespected classic DC heroes, including having Batman die in an alley at the hands of Harley Quinn in what was one of iconic voice actor Kevin Conroy’s final performances as the Dark Knight. SBI was given a full page in the game’s credits.

Unknown 9: Awakening: Ever heard of this title? Probably not, because despite Belair’s touted expertise, the game descended into obscurity shortly after its hyped reveal. Once again, Sweet Baby Inc.’s fingerprints correlated with a total failure to capture gamer interest.

At this point, Sweet Baby Inc.’s involvement in a project practically guarantees that game’s doom—yet here’s Belair doubling down, suggesting developers use artificial intelligence not to craft better gameplay, compelling stories, or immersive worlds, but to “expand access and inclusion.” Exactly the type of vague, nonsensical buzzwords that landed her company’s previous efforts squarely in the trash heap of gaming failures.

What Exactly Does Kim Belair Want from AI?​

Belair’s statement isn’t merely tone-deaf—it’s genuinely confusing. She says Sweet Baby Inc.’s goal is to use AI to “expand access” and “bring in more diverse voices,” ensuring AI serves “storytelling, empathy, and inclusion.” But what does that even mean in practical terms?

Is Belair envisioning a future where AI-generated scripts are forced through ideological filters, where games must fulfill quotas for character diversity dictated by algorithms? Is the goal to replace creative freedom with a sanitized process that prioritizes “inclusive storytelling” over engaging gameplay?

Her statement isn’t just bizarre; it exposes a fundamental misunderstanding—or worse, a deliberate misrepresentation—of what artificial intelligence actually does. AI isn’t inherently empathetic or inclusive; it’s simply a tool designed to perform tasks according to human-set criteria.

Demanding that AI prioritize ideological agendas rather than quality, entertainment, or (God forbid!) profit is precisely the kind of thinking that’s turned her company’s portfolio into a graveyard of failed projects.

Belair isn’t calling for empathetic machines—she’s advocating for ideological compliance enforced by algorithms. And as Sweet Baby Inc.’s track record shows, that approach leads only to one thing: financial failure and audience rejection.

The Belair Bottom Line​

Belair’s latest GDC statement perfectly encapsulates why studios associated with her continue to fail spectacularly. Prioritizing vague “empathy and inclusion” at the expense of fun, compelling gameplay and narrative integrity isn’t just bad for business—it’s toxic for the entire gaming community.

Sweet Baby Inc. can keep peddling ideological platitudes all they want, but gamers vote with their wallets. And based on Belair’s track record, her games are headed exactly where they belong: forgotten, mocked, and left collecting digital dust.


Fonte

Eu até concordaria…. Se essa visão deturpada e retardada de “empatia e inclusão” não significasse excluir, demonizar e avacalhar quem é hétero, cristão ou branco…

E também não inclui pessoas realmente deixadas à margem, como surdos e cegos.

Então… no fim é papo pra boi dormir.

 

[Bloodstained]

Sweet Baby-Connected Devs Appear to Approve Taxpayer Funded Grants for Themselves in Government Game Funding Expose​

A new bombshell investigation by YouTube channel Gothic Therapy, hosted by MasterofTheTDS and Writing Raven, has revealed what they describe as a “closed circle” of game development elites in France funneling millions in taxpayer-fueled government game funding to studios they themselves operate or are closely affiliated with.

​

This latest exposé builds on the channel’s previous reports into Wings Interactive, the indie game fund tied to Landfall Games and Sweet Baby Inc. (SBI), but it dramatically widens the scope of alleged influence and self-dealing within the European gaming industry.

The Pattern Begins with Wings​

The first cracks in the narrative appeared when Gothic Therapy exposed Wings Interactive as what appeared to be a front for Landfall Games, despite public claims of independence. The fund, which promoted itself as a champion of “diverse developers,” shared staff, office space, and funding ties with the very studio it was supposedly separate from. Gothic Therapy also highlighted connections to Sweet Baby Inc., a controversial progressive narrative consulting firm whose CEO, Kim Belair, sat on Wings’ selection board.

The diversity page from Wings Interactive – YouTube, GothicTherapy​

The revelations led to Wings Interactive scrubbing its online presence, deleting its X account, removing board member listings, and erasing past game projects from its website. But according to MasterofTheTDS, that wasn’t the end of the story. It was just the beginning.

“Wings may have disappeared, but the money trail didn’t,” he said.

A French Government-Backed Gaming Grant Network?​

The deeper Gothic Therapy dug, the more troubling the pattern became. At the heart of the issue is France’s Centre National du Cinéma et de L’image Animée (CNC), a government agency that funds film, animation, and video games with millions of euros annually. Decisions about how this government game funding is distributed are heavily influenced by the Syndicat National du Jeu Vidéo (SNJV), an industry board composed of top game developers and executives.

About Us Page for the CNC – YouTube, Gothic Therapy​

According to the report, the SNJV operates as a kind of gatekeeper, and many of its board members have received CNC grants either directly or through the studios they oversee. Gothic Therapy tracked more than €3.8 million in public funds flowing to companies connected to SNJV board members, many while they were actively serving on the board that helps decide who gets government game funding straight from the tax payers.

Names, Grants, and Overlapping Roles​

Gothic Therapy presented a detailed list of board members and the grants their studios received.

• Audrey Leprince (Wings Interactive, Game Bakers): Received 10 grants, 5 while serving on the board, including for Women in Games France and her own projects.
• Marine Lemaitre Freland (Piece of Cake Studios): Received 4 grants, 3 during board tenure.
• Hervé Sohm (Old Skull Games): Received 6 grants total, including 1 during his confirmed board tenure.
• David Rabineau (Homo Ludens): Received 2 grants, both received after joining the board.
• Benjamin Charbit (Darewise Entertainment): Received 1 grant in 2017 while on the board.
• Lévan Sardjeveladze (Celsius Online): Received 2 grants, one during his long presidency of the SNJV.
• Anne Devouassoux (Spiders): Received 1 confirmed grant before joining, but also a co-founder of Women in Games France, maintaining the same circle of influence. Current president of SNJV.
• Gregory Carreau (Asobo Studio): Received 3 grants before his COO role, board membership timeline unclear.

Only two of the entire board were confirmed to have not received grants during their tenure. Gothic Therapy concludes that the frequency of overlap between board membership and grant approval is no coincidence.

“If the people deciding who gets the money are also the ones getting it, how is anyone on the outside supposed to compete?” he asked.

The Hidden Wings Connection​

Although Gothic Therapy could not find direct CNC payments to Wings Interactive, they discovered that at least one Wings-funded studio, The Moon Pirates, received €90,000 in CNC money for their game Don’t Forget Me. The studio had previously been listed on Wings’ now-erased website.

In other words, even if Wings didn’t take the grants themselves, their network did.

A page showing Petter Henriksson, Vice CEO of Wings and Co-Founder of Landfall Games – YouTube, Gothic Therapy​

This adds further weight to the growing suspicion that Wings Interactive was not an indie charity, but part of a broader effort to reshape the indie game landscape through ideological influence and self-serving funding mechanisms.

Ideology and Gatekeeping in Gaming​

The report also revisits earlier comments from Audrey Leprince, who tied Wings’ mission to GamerGate and expressed a goal of building a more “socially fair and just” gaming community. Gothic Therapy interprets this as a deliberate ideological slant, claiming that grants and support are selectively offered to projects that align with specific activist frameworks, potentially at the cost of merit or player interest.

This would explain why some of this government game funding is going to, in the hosts’ words, “games with no players, companies with no teams.”

A Broader Question: Is This Happening Elsewhere?​

While this exposé focuses on France, Gothic Therapy leaves viewers with a chilling question:

“If this is happening in the French government, who’s to say it isn’t happening elsewhere?”

The implication is clear: the same model of narrative-driven gatekeeping and internal funding networks could easily be replicated in other countries, especially where the industry intersects with government game funding and public institutions.

With Sweet Baby Inc. already operating across international studios and appearing repeatedly in these funding spheres, the overlap between ideology, influence, and funding may be far wider than previously imagined.

A System Funding Itself?​

Gothic Therapy stops short of accusing anyone of outright fraud, but they argue the conflict of interest is systemic. If board members are allowed to approve grants to their own companies or those of close collaborators, the industry becomes a self-reinforcing echo chamber, locking out independent voices and favoring connected insiders.

Their investigation raises serious concerns about how government game funding is allocated, who gets to create games, and whether diversity-driven missions are genuine or just PR veneers for deeper control.

As Gothic Therapy continues their investigations, they call on viewers with insider knowledge to speak up. With millions of taxpayer dollars in question, this story appears to be far from over.


Fonte
===============================================================================================
Apenas a extorsão dos estúdios não é o bastante. Os ativistas que parasitam a indústria ocidental de games tem sido vorazes em devorar recursos públicos provenientes de impostos em vários países. A infestação é sistêmica e, infelizmente, não será possível se livrar dela a menos que essa indústria colapse e seja reconstruída da forma correta.

 

[Mestre Viril]

Sweet Baby-Connected Devs Appear to Approve Taxpayer Funded Grants for Themselves in Government Game Funding Expose​

A new bombshell investigation by YouTube channel Gothic Therapy, hosted by MasterofTheTDS and Writing Raven, has revealed what they describe as a “closed circle” of game development elites in France funneling millions in taxpayer-fueled government game funding to studios they themselves operate or are closely affiliated with.

​

This latest exposé builds on the channel’s previous reports into Wings Interactive, the indie game fund tied to Landfall Games and Sweet Baby Inc. (SBI), but it dramatically widens the scope of alleged influence and self-dealing within the European gaming industry.

The Pattern Begins with Wings​

The first cracks in the narrative appeared when Gothic Therapy exposed Wings Interactive as what appeared to be a front for Landfall Games, despite public claims of independence. The fund, which promoted itself as a champion of “diverse developers,” shared staff, office space, and funding ties with the very studio it was supposedly separate from. Gothic Therapy also highlighted connections to Sweet Baby Inc., a controversial progressive narrative consulting firm whose CEO, Kim Belair, sat on Wings’ selection board.

The diversity page from Wings Interactive – YouTube, GothicTherapy​

The revelations led to Wings Interactive scrubbing its online presence, deleting its X account, removing board member listings, and erasing past game projects from its website. But according to MasterofTheTDS, that wasn’t the end of the story. It was just the beginning.

“Wings may have disappeared, but the money trail didn’t,” he said.

A French Government-Backed Gaming Grant Network?​

The deeper Gothic Therapy dug, the more troubling the pattern became. At the heart of the issue is France’s Centre National du Cinéma et de L’image Animée (CNC), a government agency that funds film, animation, and video games with millions of euros annually. Decisions about how this government game funding is distributed are heavily influenced by the Syndicat National du Jeu Vidéo (SNJV), an industry board composed of top game developers and executives.

About Us Page for the CNC – YouTube, Gothic Therapy​

According to the report, the SNJV operates as a kind of gatekeeper, and many of its board members have received CNC grants either directly or through the studios they oversee. Gothic Therapy tracked more than €3.8 million in public funds flowing to companies connected to SNJV board members, many while they were actively serving on the board that helps decide who gets government game funding straight from the tax payers.

Names, Grants, and Overlapping Roles​

Gothic Therapy presented a detailed list of board members and the grants their studios received.

• Audrey Leprince (Wings Interactive, Game Bakers): Received 10 grants, 5 while serving on the board, including for Women in Games France and her own projects.
• Marine Lemaitre Freland (Piece of Cake Studios): Received 4 grants, 3 during board tenure.
• Hervé Sohm (Old Skull Games): Received 6 grants total, including 1 during his confirmed board tenure.
• David Rabineau (Homo Ludens): Received 2 grants, both received after joining the board.
• Benjamin Charbit (Darewise Entertainment): Received 1 grant in 2017 while on the board.
• Lévan Sardjeveladze (Celsius Online): Received 2 grants, one during his long presidency of the SNJV.
• Anne Devouassoux (Spiders): Received 1 confirmed grant before joining, but also a co-founder of Women in Games France, maintaining the same circle of influence. Current president of SNJV.
• Gregory Carreau (Asobo Studio): Received 3 grants before his COO role, board membership timeline unclear.

Only two of the entire board were confirmed to have not received grants during their tenure. Gothic Therapy concludes that the frequency of overlap between board membership and grant approval is no coincidence.

“If the people deciding who gets the money are also the ones getting it, how is anyone on the outside supposed to compete?” he asked.

The Hidden Wings Connection​

Although Gothic Therapy could not find direct CNC payments to Wings Interactive, they discovered that at least one Wings-funded studio, The Moon Pirates, received €90,000 in CNC money for their game Don’t Forget Me. The studio had previously been listed on Wings’ now-erased website.

In other words, even if Wings didn’t take the grants themselves, their network did.

A page showing Petter Henriksson, Vice CEO of Wings and Co-Founder of Landfall Games – YouTube, Gothic Therapy​

This adds further weight to the growing suspicion that Wings Interactive was not an indie charity, but part of a broader effort to reshape the indie game landscape through ideological influence and self-serving funding mechanisms.

Ideology and Gatekeeping in Gaming​

The report also revisits earlier comments from Audrey Leprince, who tied Wings’ mission to GamerGate and expressed a goal of building a more “socially fair and just” gaming community. Gothic Therapy interprets this as a deliberate ideological slant, claiming that grants and support are selectively offered to projects that align with specific activist frameworks, potentially at the cost of merit or player interest.

This would explain why some of this government game funding is going to, in the hosts’ words, “games with no players, companies with no teams.”

A Broader Question: Is This Happening Elsewhere?​

While this exposé focuses on France, Gothic Therapy leaves viewers with a chilling question:

“If this is happening in the French government, who’s to say it isn’t happening elsewhere?”

The implication is clear: the same model of narrative-driven gatekeeping and internal funding networks could easily be replicated in other countries, especially where the industry intersects with government game funding and public institutions.

With Sweet Baby Inc. already operating across international studios and appearing repeatedly in these funding spheres, the overlap between ideology, influence, and funding may be far wider than previously imagined.

A System Funding Itself?​

Gothic Therapy stops short of accusing anyone of outright fraud, but they argue the conflict of interest is systemic. If board members are allowed to approve grants to their own companies or those of close collaborators, the industry becomes a self-reinforcing echo chamber, locking out independent voices and favoring connected insiders.

Their investigation raises serious concerns about how government game funding is allocated, who gets to create games, and whether diversity-driven missions are genuine or just PR veneers for deeper control.

As Gothic Therapy continues their investigations, they call on viewers with insider knowledge to speak up. With millions of taxpayer dollars in question, this story appears to be far from over.


Fonte
===============================================================================================
Apenas a extorsão dos estúdios não é o bastante. Os ativistas que parasitam a indústria ocidental de games tem sido vorazes em devorar recursos públicos provenientes de impostos em vários países. A infestação é sistêmica e, infelizmente, não será possível se livrar dela a menos que essa indústria colapse e seja reconstruída da forma correta.

Aquela aberração lacradora do Dustborn foi financiado com dinheiro do governo Norueguês.

Não é a toa que essa cambada de arrombado não se importa com vendas, é fácil gozar com o pau dos outros.

 

[Astrus Maximus]

Aquela aberração lacradora do Dustborn foi financiado com dinheiro do governo Norueguês.

Não é a toa que essa cambada de arrombado não se importa com vendas, é fácil gozar com o pau dos outros.

Tipo a Rouanet do Brasil.

Aliás, falando em lei Rouanet, Jurandir fez um ótimo trabalho aqui e é um crime não compartilhar.



Sério, até minha namorada/esposa - que começou a virar progressista e estou tentando tirar deste caminho - viu, entendeu tudinho e concordou com todos os argumentos dele.

Vale muito a pena ler, o cara fala bem, usa bons argumentos e se baseia em dados. Assista nem que seja para ele (e o Youtube) verem que tem público para tais ideias.

Depois disto ameaçaram até de morte o cara.

 

[Bloodstained]

Sweet Baby Inc Reportedly Dropped by Sony as Gaming Giant Cancels Several Projects With SBI Involvement​

It’s been a long time coming, but it looks like the industry may finally be waking up. According to a verified insider speaking with the Gothic Therapy YouTube channel, Sony has allegedly begun cancelling contracts specifically involving controversial narrative consulting firm Sweet Baby Inc.

The insider, who has provided accurate information to Gothic Therapy hosts MasterofTheTDS and WritingRaven in the past, claims these weren’t random cuts — they were deliberate, targeted terminations of in-development projects that had Sweet Baby Inc embedded in them. Check out the full video expose in the player below.

​

If true, this could mark a significant turning point in what has become known online as GamerGate 2 — the rising backlash against forced narratives, identity politics in game development, and the shadowy consultants who reshape beloved franchises to serve political messaging.

Sweet Baby Inc’s Grip on Gaming May Be Slipping​

Over the past year, Sweet Baby Inc has come under increasing scrutiny for its behind-the-scenes role in some of the most divisive projects in recent gaming history. From “Suicide Squad: Kill the Justice League” to Spider-Man 2, their fingerprints have been all over scripts, character arcs, and tone.

They’ve proudly boasted about centering “marginalized voices,” but gamers have repeatedly pointed out that what they’re really doing is homogenizing content — gutting it of risk, edge, or authenticity in favor of bland moral lectures and identity checklists. Kim Belair even told a story about starting Sweet Baby Inc. because she was upset that gamers had a choice in their protagonist in titles like Mass Effect 2, citing a desire to have everyone experience her specific choices.

She noted that her Black female Commander Shepherd (the game’s customizable protagonist) first interacted with Jacob Taylor, another Black character. She was so moved by the representation she was experiencing but soon realized it wasn’t what everyone else was going to see. She then decided to try and change that…

“The general idea was holy moly, representation is cool. But in my Mass Effect experience this is almost an accidental form of representation because it’s something that’s a possibility. It’s not guaranteed for any player depending on the kind of character and the Commander Shepherd you make,” Belair said during a speech in 2019. “So I thought wouldn’t it be amazing if this wasn’t an accident, but it was actually the intention of the game designers?”

This narrative-first controlling forced diversity approach has become a lightning rod for criticism, especially as games under their influence repeatedly underperform, get mocked, or fail to resonate with audiences.

The GamerGate 2 Movement Gains Momentum​

This backlash has evolved into what many now call GamerGate 2 — not a revival of the original controversy, but a broader cultural pushback against activist consulting firms, DEI mandates, and corporate interference in creative storytelling.

Sweet Baby Inc has become the face of that movement — not because they’re the only ones doing it, but because they’ve been the most vocal about their goals. In turn, gamers have been just as vocal about rejecting their methods.

Now, with the latest leak pointing to Sony, this movement may be achieving its first real industry victory.

SBI “God of War” Project Reportedly Among the Cancellations​

According to the Gothic Therapy insider, one of the projects canceled may have been a follow-up to “God of War: Ragnarok.” The source couldn’t confirm whether it was DLC, a spin-off, or a full sequel focused on Atreus/Loki — only that it had Sweet Baby Inc attached, and that Sony may have pulled the plug.

This is significant not only because of the franchise’s importance to Sony, but because Sweet Baby Inc had already publicly acknowledged involvement in Ragnarok. If the sequel was similarly influenced, its cancellation would be a major blow — and possibly a clear sign that Sony no longer sees narrative consulting from activist firms as a value-add. SBI’s involvement in “God of War” led to race swapped religious figures from Norse Pagan mythology and a whole lot of Kratos sitting around reflecting on his toxic behavior.

Similarly, SBI consulted on Spider-Man 2, a game that leaned heavily into social justice causes and identity politics, much of which focused on cultural appropriation, teen sexual preference, and an entire mission where you played as a Black deaf girl…in a Spider-Man game.

​

There were even cringe inducing lines like Harry Osborn proudly stating that he “installed a diverse board to keep us on the right track.”

The end result was Spider-Man 2 selling 50% less than the original PlayStation Spider-Man game on the PlayStation 4.

Studios May Be Quietly Cutting the Cord​

Sony has reportedly canceled multiple in-development games in recent months, with no official explanation. The idea that some or all of these projects involved Sweet Baby Inc lends credibility to the insider’s claim.

This also raises the question: if Sony is cutting ties quietly, how many other studios are preparing to do the same?

GDC appearances and virtue-signaling speeches aside, the bottom line still matters. If working with SBI means alienating players and tanking franchises, studios may decide the “inclusion” optics simply aren’t worth it anymore. Curator tools like Kabrutus’s “Sweet Baby Inc. Detected” have been created so players can actively avoid games that have Belair’s fingerprints on them.

A Warning Shot the Industry Can’t Ignore​

Kim Belair’s recent statement at GDC that AI should be used for “empathy and inclusion, not profit” was already mocked by many online. But if this Sony rumor proves true, it may be more than a punchline — it could mark the beginning of the end for Sweet Baby Inc’s unchecked influence.

It’s too early to declare the company finished. But if this rumor proves true, it means the tide is turning, and players are making their voices heard. If major studios are starting to pull back from narrative consultants who prioritize ideology over storytelling, the message is clear: rewrite the games, and gamers will rewrite your future.


Fonte
===============================================================================================
Muita calma nessa hora. Por enquanto, consiste apenas num rumor. Recomendo ficarmos atentos às cenas dos próximos episódios para confirmar se há alguma verdade por trás desse rumor.

 

[Bloodstained]

Sweet Baby Inc. Infected 'South Of Midnight' Hits Steam Early Access, Player Counts Are Abysmal​

Compulsion Games’ latest game South of Midnight, which has been infected by Kim Belair and her Sweet Baby Inc. consulting company recently went into Early Access on Steam and the player counts are not good.

According to Compulsion Games, South of Midnight is an action-adventure game that allows players to explore the mythos and confront mysterious creatures of the Deep South in a modern folktale while learning to weave an ancient power to surmount obstacles and unravel your family’s hidden past. The game puts players in control of Hazel who is “called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and - if she's lucky - find her way to a place that feels like home.”

The game went in to Early Access on Steam earlier today and put out a new launch trailer.

​

Early player counts for the game do not look good. SteamDB reports the game hit a peak concurrent player count of 479 and has already dropped below the peak. However, it is likely to continue to increase throughout the afternoon and into the evening as people get home from school and get off from work throughout the United States.

However, these early numbers look really bad. On top of a lack of players, the game only has 19,591 followers and is ranked 108th in wishlists. It is currently just 126th in top sellers on Steam as well.

The poor player counts are not at all surprising for a game that has Sweet Baby Inc. attached to it. Other recent releases that Sweet Baby Inc. worked on turned into commercial failures. For example, Flintlock: The Siege of Dawn only hit 648 peak concurrent players after it was released in June 2024. Similarly, Unknown 9: Awakening only hit a peak concurrent player count of just 285 after it released in October 2024.

Maybe the biggest commercial disaster Sweet Baby Inc. was associated with was Suicide Squad: Kill the Justice League. The game only hit a peak concurrent player count of just 13,459 back in February 2024 and Warner Bros. Discovery had to take a $200 million impairment charge on the game.

Not only does South of Midnight have Sweet Baby Inc. going against it, but the company itself made headlines last year when its Community Manager Katie Robinson declared she hates gamers after previously stating that “white male gamers were a mistake.”

Back in February 2024, Robinson, who uses the handle @PikaChulita posted, “Honestly? I hate gamers.”

Back in an interview with Refinery29 in 2022, Robinson also admitted to posting to social media, “white male gamers were a mistake.”

She told the outlet, “You’re not going to tickle some people’s fancy being outspoken or tweeting things like I do when I say, ‘White male gamers were a mistake.'”

“I like to think that my kind of presence acts as a way to kind of show people like, ‘Hey, you can be outspoken. You can have a backbone and stand for something and still be successful,'” she informed Refinery 29.

Furthermore, the company applauded Crystal Dynamics for including a trigger warning in front of the Tomb Raider I-III Remastered Starring Lara Croft games.

It wrote on X, “Many video games are a product of the times they were created in. As we look to recreate & remaster these stories for modern audiences, it’s important to consider the implications of these harmful portrayals and do our part to rewrite new history, not repeat it.”

The developer added, “We applaud our peers at Crystal Dynamics for their reflections and corrections.”

​

Fonte

 

[ZerOne]

Sweet Baby Inc. Infected 'South Of Midnight' Hits Steam Early Access, Player Counts Are Abysmal​

Compulsion Games’ latest game South of Midnight, which has been infected by Kim Belair and her Sweet Baby Inc. consulting company recently went into Early Access on Steam and the player counts are not good.

According to Compulsion Games, South of Midnight is an action-adventure game that allows players to explore the mythos and confront mysterious creatures of the Deep South in a modern folktale while learning to weave an ancient power to surmount obstacles and unravel your family’s hidden past. The game puts players in control of Hazel who is “called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and - if she's lucky - find her way to a place that feels like home.”

The game went in to Early Access on Steam earlier today and put out a new launch trailer.

​

Early player counts for the game do not look good. SteamDB reports the game hit a peak concurrent player count of 479 and has already dropped below the peak. However, it is likely to continue to increase throughout the afternoon and into the evening as people get home from school and get off from work throughout the United States.

However, these early numbers look really bad. On top of a lack of players, the game only has 19,591 followers and is ranked 108th in wishlists. It is currently just 126th in top sellers on Steam as well.

The poor player counts are not at all surprising for a game that has Sweet Baby Inc. attached to it. Other recent releases that Sweet Baby Inc. worked on turned into commercial failures. For example, Flintlock: The Siege of Dawn only hit 648 peak concurrent players after it was released in June 2024. Similarly, Unknown 9: Awakening only hit a peak concurrent player count of just 285 after it released in October 2024.

Maybe the biggest commercial disaster Sweet Baby Inc. was associated with was Suicide Squad: Kill the Justice League. The game only hit a peak concurrent player count of just 13,459 back in February 2024 and Warner Bros. Discovery had to take a $200 million impairment charge on the game.

Not only does South of Midnight have Sweet Baby Inc. going against it, but the company itself made headlines last year when its Community Manager Katie Robinson declared she hates gamers after previously stating that “white male gamers were a mistake.”

Back in February 2024, Robinson, who uses the handle @PikaChulita posted, “Honestly? I hate gamers.”

Back in an interview with Refinery29 in 2022, Robinson also admitted to posting to social media, “white male gamers were a mistake.”

She told the outlet, “You’re not going to tickle some people’s fancy being outspoken or tweeting things like I do when I say, ‘White male gamers were a mistake.'”

“I like to think that my kind of presence acts as a way to kind of show people like, ‘Hey, you can be outspoken. You can have a backbone and stand for something and still be successful,'” she informed Refinery 29.

Furthermore, the company applauded Crystal Dynamics for including a trigger warning in front of the Tomb Raider I-III Remastered Starring Lara Croft games.

It wrote on X, “Many video games are a product of the times they were created in. As we look to recreate & remaster these stories for modern audiences, it’s important to consider the implications of these harmful portrayals and do our part to rewrite new history, not repeat it.”

The developer added, “We applaud our peers at Crystal Dynamics for their reflections and corrections.”

​

Fonte

Esse game tem uma história rasa, sem um viés emocional sólido. Olhando gameplay de outros não da nem vontade de testar.

 

[Hazard]

PlayStation | Relatório indica que Sony rompeu parceria com a Sweet Baby Inc • Portal Viciados

A Sony PlayStation supostamente rompeu com a Sweet Baby Inc. e cancelou vários projetos, incluindo um possível novo God of War!

viciados.net

 

[Astrus Maximus]

Visualizar anexo 443304

PlayStation | Relatório indica que Sony rompeu parceria com a Sweet Baby Inc • Portal Viciados

A Sony PlayStation supostamente rompeu com a Sweet Baby Inc. e cancelou vários projetos, incluindo um possível novo God of War!

viciados.net

Só vou acreditar quando ver jogos bons me fazendo religar meu console.

Ainda no Skyrim / Civilization VI e sem previsão de jogos novos (apesar de ter gostado de Returnal).

 

[S0P0R]

Visualizar anexo 443304

PlayStation | Relatório indica que Sony rompeu parceria com a Sweet Baby Inc • Portal Viciados

A Sony PlayStation supostamente rompeu com a Sweet Baby Inc. e cancelou vários projetos, incluindo um possível novo God of War!

viciados.net

 

[Senhor do nada]

Esse game tem uma história rasa, sem um viés emocional sólido. Olhando gameplay de outros não da nem vontade de testar.

E não é assim em todo jogo woke?
Basta dizer que o personagem é gay ou trans que já é a estória.

 

[Astrus Maximus]

Ainda assisto o Nautilus...

Basicamente estão adorando o jogo, mas só vejo quando interessa e este nem liguei de assistir.

 

[Bloodstained]

 

[Ero_Seenin]

 

[Bloodstained]

Sweet Baby Inc Game South of Midnight Flops Hard—Another SBI Project Crashes on Launch​

It’s another brutal blow for Sweet Baby Inc and its embattled CEO Kim Belair. The company’s latest narrative endeavor, South of Midnight, has officially launched—and the results are nothing short of disastrous.

What was meant to be a first-party Xbox Game Pass showcase has turned into yet another cautionary tale of what happens when identity politics take precedence over actual gameplay.

Disastrous Launch Numbers Speak Volumes​

While some defenders tried to soften expectations by pointing to Game Pass availability, the raw data tells the real story. On Steam—still one of the most reliable barometers of public interest—South of Midnight has barely cracked 1,000 concurrent players on launch day. SmashJT, one of the most vocal independent gaming critics, noted that even a paltry 2,500 players would have been embarrassing. This game didn’t even come close.

The concurrent players for South of Midnight at 4:22 pm on launch day – Steam​

Let that sink in: a Microsoft-owned studio released a new title, promoted at major showcases, and it barely attracted a four-digit player count on the biggest PC gaming platform in the world.

Narrative Over Gameplay—The Sweet Baby Inc Formula​

Why such an abysmal showing? The answer may lie in the fingerprints Sweet Baby Inc left all over the project.

Long known for their identity-driven “narrative consulting,” Sweet Baby Inc has increasingly become the face of forced ideological storytelling in games. From character archetypes to dialogue tone, gamers have spotted a clear pattern: the gameplay takes a backseat to social agendas. And South of Midnight fits that pattern perfectly.

A now-viral post from @HubBandar on X summed up the player sentiment:

​

“#SouthofMidnight’s writer. No wonder the characters and story are trash.” The video in question features a long speech about the importance of inclusion and representation in gaming.

The creative team’s public affiliations have only poured fuel on the fire. The studio’s community manager, known online as Pikachulita, has a history of divisive rhetoric that’s been well-documented by independent critics like SmashJT.

Her front-facing role in the game’s promotion only reinforced the idea that this project was built for clout, not for players.

7.5 Hours of Boredom? Critics Slam the Content​

As if the player count weren’t bad enough, the content of the game itself is being widely mocked. Full playthroughs on YouTube clock in at around 7.5 hours, which would be short even for a budget indie title—let alone a supposed AA showcase from a first-party studio.

Steam user reviews echo the disillusionment.

One user, Xani, wrote: “Looks kinda cool. No DEI-rot in the game so far. The main problem is the gameplay, it’s so boring… after 1.5 hours I asked myself, ‘Do I want to continue?’ And the answer is no.”

That’s not just a bad review—it’s a death sentence. When players are bailing before they’ve even reached the halfway point, you’ve failed at the most fundamental level of game design.

Compulsion Games Blocking Critics?​

Making matters worse is Compulsion Games’ baffling public behavior.

According to SmashJT, not only did the studio decline a review code, but they also untagged themselves from his coverage on X and eventually blocked him altogether. That’s not just unprofessional—it reeks of insecurity.

If you’re proud of your work, you welcome feedback. But if you know you’ve built a lemon, you hide from it. And right now, Compulsion Games is in full retreat.

Sony May Have Already Pulled the Plug on Sweet Baby Inc​

The collapse of South of Midnight couldn’t come at a worse time for Sweet Baby Inc, especially with new rumors swirling that Sony has already begun severing ties with the controversial consulting firm.

As previously reported, Gothic Therapy revealed that a verified insider claimed PlayStation has started cancelling projects with SBI attached—a potentially massive shift from one of the industry’s biggest players.

According to the leak, these weren’t isolated decisions either. They were described as targeted, deliberate cancellations—a sign that Sweet Baby Inc’s involvement was seen as a liability, not an asset.

While still unconfirmed, the timing lines up with reports that Sony quietly shelved multiple in-development titles earlier this year. If even one of those had SBI’s narrative fingerprints on it, the message is clear: studios are finally rethinking the cost of prioritizing ideology over gameplay.

Now, with South of Midnight officially flopping, that decision may look more justified than ever.

Another Loss for Kim Belair’s Empire​

While the gaming press won’t say it out loud, players already have: Sweet Baby Inc is becoming a liability.

The pattern is too obvious to ignore—every game they touch turns into an underperforming, over-politicized mess. If South of Midnight was meant to be a turning point, it backfired spectacularly.

And as the industry quietly begins to question the role of narrative consultants, one thing is clear: Sweet Baby Inc isn’t just losing influence—they’re losing the audience.


Fonte

 

[Tarvos]

Olha o que o movimento Woke promove:

https://forum.outerspace.com.br/ind...ra-br-troca-sexo-da-filha-de-sete-anos.604625

 

[Bloodstained]

Explosive Leaked Clip Confirms Sweet Baby Inc. Pressured Developers to Submit to Narrative Demands​

In a revelation that confirms years of speculation, a leaked clip from a Sweet Baby Inc. internal discussion has surfaced, showing narrative designer Camerin Wild describing how a development studio was repeatedly pressured into changing the identity of its characters until it relented. The footage, exposed by MasterOfTheTDS and Writing Raven of Gothic Therapy, provides the clearest evidence yet that Sweet Baby Inc.’s narrative consulting process involves far more than creative guidance for developers—it involves calculated emotional and ideological pressure.

​

This latest development adds significant weight to growing concerns that Sweet Baby Inc. is not merely a consulting firm, but a gatekeeping mechanism steering game development toward rigid ideological outcomes, even against the will of studios.

“Again, and Again, and Again”​

In the leaked clip, Wild recounts an interaction with a developer that resisted suggestions about character identity. Rather than collaborating toward a creative solution, Wild describes pressing the studio repeatedly until it gave in.

“Being met with a less than optimal response to that and then having to say it again and then again and again,” Wild noted in the clip.

The SBI narrative designer also reflected on leveraging personal emotion to make the argument more compelling, admitting that vulnerability was deployed not for mutual understanding but as a pressure tactic. The intent, according to Wild, was not to inform or advise, but to instill enough emotional weight to force compliance.

This admission aligns with previously circulated clips of Sweet Baby Inc. CEO Kim Belair encouraging teams to apply fear tactics to get narrative demands through.

“Go have a coffee with your marketing team and just terrify them with the possibility of what’s going to happen if they don’t give you what you want,” Belair said in a now infamous clip.

“If I can’t sell them on ‘Hey, don’t do that,’ I can instill fear by suggesting that once it gets past us, someone else will take them down for this,” Belair bragged at a separate event.

These statements were once waved off as tongue-in-cheek. But now, paired with Wild’s blunt confessional, they appear far more deliberate—a method, not a joke. Something Gothic Therapy described as “narrative domination.”

A Pattern, Not a One-Off​

While Belair’s earlier quotes were often dismissed as flippant or out-of-context, this leaked moment with Wild seems to expose the core strategy behind how Sweet Baby Inc. operates with developers. The exchange wasn’t taken out of context, nor was it hyperbole—it was a deliberate reflection on a successful campaign to wear a development team down so that Wild and SBI could get what they wanted.

Gothic Therapy points out that the language used in the clip shows no remorse or reflection about the pressure applied. Instead, Wild expresses frustration that emotional vulnerability was even necessary to reach the outcome.

“I wish I had been a little less vulnerable,” Wild said in the clip.

According to Gothic Therapy, the message is clear: Sweet Baby Inc. is less concerned with collaborative creativity and more invested in ensuring studios adopt approved identity frameworks, whether they want to or not.

A Documented Ideology​

Wild’s philosophy is not hidden. In a public presentation at the Game Developers of Color Expo, the SBI narrative designer included a slide opening stating the goal of “burning the games industry to the ground.”

Camerin Wild via Game Devs of Color Expo YouTube​

During that talk, Wild emphasized that game stories must center identity, that discomfort is necessary for effective storytelling, and that traditional creators—particularly White developers—should relinquish creative authority over narratives involving Black characters.

“Unless you’re willing to step out of the limelight as a White person, you aren’t equipped to tell a story about a Black experience,” Wild said.

Wild has also criticized creators like Quentin Tarantino, stating that Django Unchained should not have existed, and praised Blazing Saddles for offending the “right people.”

Camerin Wild via Game Devs of Color Expo YouTube​

The ideology laid out in that talk matches the behavior now confirmed in the leaked footage: narrative control is the goal, and discomfort is a tool to achieve it.

Belair, too, has left a trail of quotes that reflect an activist approach to narrative consulting. In past speeches and appearances, Belair has:

• Compared White male gamers to “picky babies”
• Claimed that Sweet Baby Inc. wants to “take over the video game industry”
• Laughed off the idea of neutrality in storytelling, emphasizing the need to disrupt traditional frameworks

Camerin Wild via Game Devs of Color Expo YouTube​

When taken together, these statements show that Sweet Baby Inc. operates less like a creative partner and more like an ideological enforcement agency embedded within major studios.

More Than Consulting​

With these revelations, the industry must grapple with the reality that Sweet Baby Inc.’s influence extends far beyond feedback. The firm has embedded itself in major franchises, including GOW: Ragnarök, Alan Wake II, and Spider-Man 2.

In light of this, developers and publishers must ask a difficult question: are you telling your own story, or Sweet Baby Inc’s?

Camerin Wild via Game Devs of Color Expo YouTube​

Gothic Therapy closes their exposé by asserting that this isn’t just about one consultant or one studio. It’s about a culture of silence that allows emotional coercion to masquerade as creative consulting, and about an industry increasingly shaped by firms with stated goals of ideological transformation.

The leaked clip proves what critics have long suspected: when Sweet Baby Inc. doesn’t get what it wants, it doesn’t walk away. It leans in. Again. And again. And again.


Fonte
===============================================================================================

 

[Samaritano]

"sweet baby", olha o nome dos canalhas, deve ser um bando de pedófilos cagadores de regras

"Reggie, é um bando e pedófilos. São pedófilos!" - Kray, Ronald

 

[Bloodstained]

WB Games Revenue Plummets 48% in Q1 as Fallout from Sweet Baby Inc. Failure Continues — Monolith Closed, Executives Ousted, and No New Games in Sight​

The crisis inside Warner Bros. Games has reached new depths. In its Q1 2025 financial report, Warner Bros. Discovery confirmed a staggering 48% decline in revenue from WB Games, citing a lack of new releases and the long shadow of last year’s disastrous Sweet Baby Inc. collab “Suicide Squad: Kill The Justice League.” What began as a major gamble on a live-service superhero title has now rippled across the entire company—costing executives their jobs, shuttering long-standing studios, and calling into question the company’s future in gaming.

A Collapse Years in the Making​

SSKTJL, the failed live-service game from Rocksteady Studios, continues to drag Warner Bros. down. The WB games and Rocksteady title reportedly lost the company $200 million, and with narrative direction steered heavily by Sweet Baby Inc. (SBI), it was widely panned by fans and critics alike for its weak gameplay, divisive storytelling, and baffling treatment of iconic DC heroes.

Sweet Baby Inc., known for its narrative consulting services, has become a lightning rod in the industry. Projects influenced by SBI—such as Unknown 9: Awakening, South of Midnight, and more —have seen commercial failures and widespread backlash. Sweet Baby Inc. involvement in SSKTJL is increasingly viewed as a critical mistake by WB Games leadership, and one that continues to haunt the studio’s reputation and bottom line.

The Wonder Woman Game That Never Was​

In response to mounting losses, WB Games implemented a sweeping restructuring plan earlier this year. The fallout included the cancellation of the highly anticipated Wonder Woman game and the permanent closure of Monolith Productions—the beloved studio behind the Middle-Earth series and WB’s patented Nemesis System.

Wonder Woman was slated to be a groundbreaking open-world title featuring procedurally generated storytelling through the Nemesis System. With visuals that impressed early fans and hopes of exploring the mythos of Diana Prince’s world in depth, the project represented one of the few bright spots on WB Games’ future slate. Its cancellation, along with Monolith’s shuttering, was seen by many as an act of desperation—cutting potential greatness to stop the bleeding.

Of course Rocksteady, the company responsible for bringing Sweet Baby Inc. to WB Games, continues on and is reportedly working on a new Batman title.

No New Releases, No Revenue​

The company reported no major game releases in Q1 2025, which further amplified the damage. With no new content to offset the previous year’s losses, Warner Bros.’ gaming division was left floundering. While titles like Hogwarts Legacy and Mortal Kombat 1 continue to generate some revenue, they weren’t enough to sustain the division’s financial needs.

The result? A 48% drop in quarterly games revenue and a 16% decline across the entire Studios segment, with Warner Bros. overall reporting $9 billion in total Q1 revenue, down 9% year-over-year.

Studio Shutdowns and Executive Shakeups​

Earlier this year, WB shut down Player First Games (developer of MultiVersus), Monolith Productions, and WB Games San Diego, all while removing the head of the gaming division, David Haddad. The decision to close Monolith, while Rocksteady remains intact, continues to frustrate fans—particularly given the former’s history of quality and innovation versus the latter’s role in one of gaming’s most costly misfires.

Rocksteady is reportedly still in operation and rumored to be developing a new Batman game, though fans remain skeptical given the studio’s handling of SSKTJL. The optics of shuttering successful studios while allowing the creators of the failed title to press forward has done little to rebuild trust.

The Path Forward: Fewer Bets, Bigger Brands​

Warner Bros. now says it will focus on its four tentpole franchises:

• Harry Potter
• Game of Thrones
• Mortal Kombat
• DC (with emphasis on Batman and “top-tier characters”)

The company claims these IPs have each generated over $1 billion in past consumer sales and hopes to use them as anchors for future projects. However, with a rapidly shrinking stable of internal studios and creative talent, it’s unclear how sustainable this strategy will be.

A Gaming Division in Freefall​

From a $200 million Sweet Baby Inc. failure and canceled flagship projects to mass layoffs and executive turnover, the past year has been devastating for WB. Games. What was once a promising arm of the entertainment giant is now in full retreat—scaling back ambition, shuttering innovation, and struggling to maintain fan trust.

The full damage caused by SSKTJL and its collaborators like Sweet Baby Inc. continues to unfold, but one thing is clear: the cost of chasing trends instead of quality has never been higher.


Fonte

 

[Bloodstained]

Sweet Baby Inc Exposed? YouTuber Uncovers Shocking Alleged Origin Story and Hidden Founder Erased from History​

A new exposé from YouTube channel Gothic Therapy, hosted by MasterOfTheTDS and Writing Raven, has exploded across gaming circles, pulling back the curtain on the origin of one of the most controversial narrative consultancies in the industry: Sweet Baby Inc. Long positioned as a boutique firm dedicated to uplifting marginalized voices through storytelling, the company now faces devastating allegations that its very foundation is a fabricated cover story—and that it may have government roots.

​

The video, ominously titled The End of The Sweet Baby Lie, goes far beyond the typical criticism of DEI influence in gaming. It claims to uncover a buried founder, falsified company records, and what could be deep ties to the Canadian government. If what’s alleged in the video is true, Sweet Baby Inc’s rise in the gaming industry was not organic—but orchestrated.

The Sweet Baby Myth Falls Apart​

Sweet Baby Inc. claims it was founded in 2018 by Kim Belair, Dave Bedard, and Ariadne MacGillivray—three friends with a dream of reforming game narratives. The press-friendly origin story of Sweet Baby Inc. has been repeated in interviews, panels, and keynotes for years.

But Gothic Therapy dug into Canadian government filings and discovered that the real story begins with someone else entirely.

A man named Terrance Jason Huberts.

According to incorporation records, Terrance Jason Huberts was listed on day one as a Vice President, Director, and Shareholder. His name appears as one of the actual founding members of the company in 2018, alongside Kim Belair and Ariadne MacGillivray. But there’s a twist: Huberts’ name was quietly scrubbed from the record a year later in a corporate correction. His shares were retroactively reassigned to Belair, effectively rewriting the past and removing him from history.

Bedard was only brought into the company in 2020 as COO—years after the company’s incorporation—yet he has frequently been referred to as a co-founder. This timeline simply doesn’t add up. And that’s just the beginning.

The Montreal Condo and the Dead Shell Company​

On May 21, 2018, from a single Montreal condo unit (1414 rue Chomedey, Apt 101), two companies were incorporated by Terrance Jason Huberts. One was a numbered company, 10792357 Canada Inc, which quietly dissolved in 2021. The other? Sweet Baby Inc.

Same man. Same condo. Same day. One was discarded. The other grew into a media darling—helping shape AAA games under the guise of narrative justice. Yet the man who started it all? Completely gone. No website mention. No interviews. No social presence. No credit.

Gothic Therapy calls it what it appears to be: erasure.

The Vanishing Man​

The deeper Gothic Therapy dug into Terrance Jason Huberts, the stranger things became. There’s no LinkedIn, no public records, no explanation for why a co-founder would be wiped from existence. But then came a potential clue.

In the late 1980s, a man named Terry Huberts served as a Member of British Columbia’s Legislative Assembly and Minister of Parks. In his sparse interviews from that time, he publicly mentioned having a son—named Jason.

That name match isn’t trivial. Neither is what came next.

Gothic Therapy uncovered that one of Terrance Jason Huberts’ companies listed a business address at 475 Elgin Street in Ottawa, while Terry Huberts, years later, operated a veterinary clinic at 475 Broadmead Village in Victoria—two entirely different cities, but the same sweet number: 475.

According to the channel, the statistical odds of these overlapping names, family connections, and address numbers aligning by pure coincidence is 1 in 100 million.

The Framework That Changes Everything​

In 1989, as Minister of Parks, Terry Huberts authored a government policy framework that outlined how private contractors could be embedded within public systems—quietly, efficiently, and without public scrutiny.

If Terrence Jason Huberts is the same man—or the son of that man—then Gothic Therapy alleges Sweet Baby Inc. may have been structured from the beginning to operate similarly as an embedded narrative force within gaming companies. A consultancy with a mission not just to tell stories, but to control them.

“If this is the same man, then Sweet Baby Inc. wasn’t built to tell stories,” MasterOfTheTDS said in the video. “It was created by the Canadian government from day one, structured by an insider disguised as a consultancy used to control the narrative.”

The Government Response That Raises More Questions​

Following the video’s release, Gothic Therapy sent a formal request to the British Columbia Legislative Assembly asking for Terry Huberts’ full legal name. The response?

They couldn’t confirm it.

Because candidates are not required to use their legal names on ballots or in parliamentary documents, the Assembly could neither confirm nor deny whether “Terry Huberts” was short for Terrance Jason Huberts.

In the words of Gothic Therapy: “The truth was never meant to be found. But we found it anyway.”

The Alias That Wasn’t Supposed to Be Found​

Even more chilling, Gothic Therapy discovered that Sweet Baby Inc. registered a second business alias—Design Sweet Baby—on the exact same day as the original filing. It has no public use, no branding, and no clear purpose.

The theory? It was a lifeboat identity—a backup plan in case the first brand faced collapse.

What is the True Origin of Sweet Baby Inc.?​

If what Gothic Therapy revealed is accurate, Sweet Baby Inc. is not the grassroots, justice-driven narrative firm it claims to be. It’s a company with a falsified origin, a buried founder, and possible ties to Canadian government operations.

The erasure of Terrance Jason Huberts, the rewriting of company filings, the statistical overlap with a government official, the second secret alias—all of it paints a potential picture not of idealism, but of orchestration.

“People have speculated that Sweet Baby Inc might be receiving government funding,” MasterOfTheTDS said. “But if this connection is real, then the company wasn’t just funded by the Canadian government. It was built by a former government official from the very beginning. And when that truth threatened the image, they rewrote it. Not because it didn’t matter,” Writing Raven added. “But because it mattered too much to let you see.”

If gaming companies are still working with Sweet Baby Inc… they might want to ask who really founded this company? What’s the origin of Sweet Baby Inc.? And what exactly are you letting them write?


Fonte

 

[Bloodstained]

Black Panther Game Canceled by EA, Team Included Former Sweet Baby Inc. Dev Who Bragged About Not Hiring White People​

Electronic Arts has officially canceled its Black Panther video game and shut down Cliffhanger Games, the studio created to develop the project.

Announced in 2023 as part of EA’s multi-game deal with Marvel, the title had been in early development with no gameplay footage ever released. Its cancellation comes amid escalating controversy surrounding members of the development team and wider corporate restructuring within EA.

The move adds to a growing list of licensed games being abandoned as major publishers rethink their strategies—and in this case, may have also been influenced by reputational concerns.

EA Confirms Shutdown of Cliffhanger Games​

In a memo to staff obtained by IGN, EA President of Entertainment & Technology Laura Miele announced the studio’s closure, which resulted in mass layoffs as the entire Cliffhanger Games team was let go.

“We are making these changes to sharpen our focus and put our creative energy behind the most significant growth opportunities,” she said. Miele acknowledged the human cost of the layoffs and said the company would work to place affected developers into other roles within EA.

Cliffhanger Games was led by Kevin Stephens, formerly of Monolith Productions, and included veterans from “God of War,” Call of Duty, and Halo. The game was described as a “definitive and authentic” Black Panther experience, but development was reportedly still in the early stages.

Hiring Controversy: Former Sweet Baby Inc. Employee Sparks Backlash​

Public scrutiny around the project intensified following the hiring of Dani Lalonders, an associate narrative designer and former Sweet Baby Inc. contributor. In a resurfaced 2021 panel discussion from the Game Devs of Color Expo, Lalonders bragged about having no White developers working on her indy game ValiDate.

“ValiDate has a team of all people of color,” she said. “We have no white people on our team. I did that because I wanted to create a safe environment.”

​

She further explained that her decision stemmed from concerns over potential “microaggressions” and workplace conflict. Critics pointed to these comments as discriminatory, and attention on Lalonders grew after she appeared to double down on similar views in recent social media posts.

In one archived exchange on X, Lalonders responded to a critic by admitting to being prejudiced and defiantly asking “so now what?” She later claimed that comment was somehow taken out of context, but it can be seen in the image below.

Dani Lalonders on X​

Lalonders clarified that her position on Black Panther was junior-level and that she held no hiring authority at Cliffhanger Games. However, the controversy surrounding her statements and her association with Sweet Baby Inc. continued to raise questions about the studio’s internal culture and public messaging.

Senior Writer Endorsed Post Dismissing Gamers​

The backlash grew further when Alexa Ray Corriea, a Senior Writer on the game, appeared to endorse a viral post by former Kotaku Senior Editor Alyssa Mercante that read, “I don’t support all gamers most of you are bigots.”

Corriea replied, “need this on a shirt.”

The post was quickly captured and circulated by users before being deleted and can be seen below.

Mozerlam on X​

Though Mercante later claimed her statement was a meme, Corriea’s public endorsement added to the perception that Cliffhanger’s narrative team was staffed with figures who held openly dismissive views toward the broader gaming audience.

EA’s Broader Shakeup After Veilguard Losses​

The cancellation of Black Panther follows a difficult year for EA financially, particularly after the underperformance of Dragon Age: The Veilguard, a game that leaned heavily into progressive themes surrounding gender ideology. The game, which suffered from weak early reception and tepid player interest, failed to meet expectations despite years of investment and a prolonged development cycle.

EA has since downsized BioWare, the studio behind Veilguard, and scaled back its scope as it quietly shifts focus to the next installment in the Mass Effect franchise. Internal reports suggest Mass Effect is now seen as a safer bet (and some surmise a last chance) for revitalizing the company’s RPG lineup.

While EA has not explicitly linked the Black Panther cancellation to the fallout from Veilguard, the timing of both events suggests a broader strategy to limit exposure to projects with unstable development cycles or controversial creative direction.

Marvel Deal Shrinking as EA Retreats from Risk​

With Cliffhanger Games shut down and Black Panther shelved, the only remaining active title from EA’s Marvel deal is an Iron Man game, currently in development at Motive Studio. EA’s long-term commitment to licensed IP remains unclear, with executives previously signaling that future projects would need to justify their costs and reach a broad audience.

Marvel is at something of a low point, with theatrical returns for the once rock solid Marvel Cinematic Universe reaching extreme lows. Recent box office failures like Captain America: Brave New World, The Marvels, and Thunderbolts have proven that the Marvel brand is no longer the sure thing it once was.

EA has laid off more than 1,000 staff over the past two years, with cuts affecting not only game studios but also central support and mobile divisions. The cancellation of a planned Titanfall project in April further illustrated EA’s intent to consolidate around proven franchises and scalable products.

Conclusion: A High-Profile Flameout​

Originally pitched as a bold new entry in Marvel’s gaming universe, EA’s Black Panther game ultimately never made it to market. And while the studio’s shutdown has been attributed to internal refocusing, the controversy surrounding key developers cast a long shadow over the project’s public reception.

Between Lalonders’ widely circulated remarks, Corriea’s social media endorsement of inflammatory commentary, and EA’s broader financial and reputational pressures, the Black Panther project became emblematic of a wider disconnect between developers pushing political messaging and the audiences they hope to reach.

In the end, EA appears to have made its choice—not just to cut a game, but to distance itself from a direction that has proven more costly than compelling.


Fonte
===============================================================================================
Está sendo engraçado ver as empresas fugindo das contratações via DEI, que elas endossavam efusivamente até seis meses atrás.

 

[Ero_Seenin]

já ia postar isso.

A lazarenta diz em alto e claro tom que não contratava pessoas brancas no estúdio por questões de segurança, e você fica pensando que m**** esse povo tem na cabeça e como podem ser tão hipócritas assim.

Qualquer estúdio que fizesse isso em relação a pessoas negras iria ser queimado até o inferno e atacado 360 graus 24 horas por dias, iriam criminalizar essa fala até falir o estúdio e se possível mandar o sujeito para a prisão. Mas esses nojentos fazem suas declarações abertamente racistas, desde que seja contra brancos, e fica por isso mesmo.

Claro, como esse é um estúdio que não contrata por competência e sim por idelogia, já dá pra imaginar a b*sta que era a equipe de desenvolvimento e o lixo que esse jogo iria ficar. Pra completar o estrume, ainda teve essa outra aí que trabalha na indústria de jogos, mas dizendo abertamente que NÃO SUPORTA os gamers, e chama a maioria deles de intolerantes. Mas ainda assim achou que seria um boa ideia entrar para essa indústria.

A EA deve ter visto que isso estava ficando pior que Veilguard e já cortou o lixo antes de desperdiçar mais dinheiro.

 

[Bloodstained]

Enquanto algumas empresas estão fugindo do DEI, outras estão apenas tentando disfarçá-lo.

GTA 6 Publisher Drops DEI From Annual Report, Replaces With Questionable ‘Diversity of Thought’ Shift​

In a quietly significant shift that’s making waves in the gaming world, Take-Two Interactive, the publisher of the upcoming Grand Theft Auto VI (GTA 6), has removed all references to traditional DEI (diversity, equity, and inclusion) initiatives from its latest 10-K annual report.

The change, first reported by Game File and later picked up by WIRED, has sparked intense debate as the video game industry finds itself increasingly entangled in broader cultural battles over the concept of DEI in games—especially with a project as explosive and massive as GTA 6 on the horizon.

A Sharp Departure From 2024​

In 2024, Take-Two’s annual report explicitly championed progressive causes, saying the company supported organizations that aimed to “eradicate social injustice,” supported Pride rights, funded scholarships for minority game design students, and “celebrated cultural differences” through employee groups. That entire section is gone.

In its place, the 2025 report includes just a single statement on the subject of diversity:

“We firmly believe that diversity of thought drives the innovation that is integral to our success.”

The report adds, “We aim to provide an inclusive workplace in which everyone feels respected, heard, and safe.”

But noticeably missing are the specifics—no mention of social justice causes, minority student scholarships, or identity-based hiring initiatives. This marks a significant rollback in DEI language and commitments.

When WIRED reached out to Take-Two for comment, the company declined to respond. However, its corporate website still hosts a statement affirming that it believes “more diverse teams are more valuable and effective. Diversity is key to our success.”

What Is Diversity of Thought?​

In corporate settings, “diversity of thought” typically refers to encouraging a variety of perspectives, cognitive styles, and problem-solving approaches. The idea is that innovation improves when organizations include people with different life experiences, ways of thinking, and ideological viewpoints. Companies like Meta and now Take-Two have recently adopted this phrasing in place of identity-based DEI language.

Critics of this shift argue that the term is often used as a loophole—a way to signal commitment to inclusion without engaging in more visible or quantifiable DEI practices such as demographic-based hiring goals or targeted scholarships. In practice, “diversity of thought” is difficult to define, measure, or enforce, which has led some observers to view it as a rhetorical placeholder rather than a policy.

Daniel Oppong, founder of The Courage Collective is one of those people, apparently.

“When organizational cultures are largely homogenous, they’ll often cite ‘diversity of thought’ as a means to indicate some element of distinctiveness,” he said. “If ‘diversity of thought’ is deemed necessary (and acceptable), then diversity of identities (aka: diverse teams) should be an imperative as well.”

Oppong further claimed that the broader DEI framework is often misrepresented.

“What was meant to be a robust, interdisciplinary practice designed to create cultures where people thrive, is often misrepresented as ‘wokeism’ and reduced to polarizing buzzwords that do not accurately portray the essence and impact of effective DEI,” he noted.

However, this view is not universally accepted. While many companies promoted DEI policies between 2020 and 2022, their actual effects remain a subject of ongoing debate.

Oppong, however, asserts that DEI, when properly executed, benefits all employees—not just those from marginalized groups.

“One of the biggest misnomers about DEI is the notion that it only benefits people from historically marginalized groups,” he said. “The truth is, when implemented effectively, DEI benefits everyone.”

Yet critics have pointed out that this claim often lacks broad-based evidence. Opponents argue that certain DEI initiatives—such as hiring targets, segregated employee resource groups, or identity-based mentorship programs—may offer tangible benefits to select identity groups while creating uncertainty or resentment among other employees who do not qualify for those programs.

Some studies have found mixed or inconclusive results on the impact of corporate DEI initiatives on company performance, retention, or morale. Meanwhile, opponents of DEI argue that emphasis on immutable traits can sometimes lead to division or unintended exclusion, rather than unity or equity.

Ultimately, the debate over “diversity of thought” versus identity-based diversity hinges on a deeper question: should companies focus on who people are, or how they think? And when it comes to accountability, which approach offers clearer, measurable outcomes?

Take-Two’s decision to remove explicit DEI language from its annual report—while maintaining a general commitment to “diversity of thought”—places it squarely in the middle of that ongoing discussion.

The Broader Backlash​

Take-Two’s pivot comes amid a growing trend of companies walking back DEI efforts across tech, entertainment, and retail—especially under pressure from President Donald Trump’s renewed focus on removing DEI from government and public-private partnerships.

In the gaming world, the rollback has been particularly sharp. Rockstar Games, owned by Take-Two, previously drew criticism from fans when it edited out jokes from Grand Theft Auto V in the next-gen re-release, reportedly in an effort to align with modern sensitivities.

While those edits were not officially explained, the move was widely seen as a sign that Rockstar was abandoning its legacy of punching in every direction. Many fans worried that this meant GTA 6—the next game in a franchise infamous for its irreverence and boundary-pushing satire—might end up another toothless DEI title.

Those fears grew after several key members of Rockstar’s old creative team left the company, including Dan Houser, the longtime lead writer and co-founder of Rockstar, known for crafting the biting tone of the franchise.

Combine that with Take-Two’s scrubbed DEI language and a politically loaded atmosphere, and GTA 6 finds itself in the crosshairs before the game even drops.

The one confirmed detail about GTA 6? It will feature a Latina female protagonist—something already triggering accusations of “wokeness” from some corners of the gaming community.

Where This Goes​

As Take-Two distances itself from DEI in public filings, it’s hard not to see this as a strategic repositioning in the face of political, fan, and shareholder pressure. But whether it’s a calculated retreat or just optics, the message is loud and clear: identity-based DEI is no longer the hill many corporations are willing to die on.

“People want to support and work for brands that align with their values,” Oppong claimed. “Given the shifting demographics of the U.S., it’s imperative that organizations consider the unique needs and values of different identity groups—particularly if they want to remain relevant and resonant with employers and consumers alike.”

While this perspective is common among DEI advocates, real-world data from the entertainment and gaming industries paints a more complex picture. Numerous high-profile projects that prioritized identity-focused marketing—such as The Marvels, Forspoken, The Acolyte, Dragon Age: The Veilguard, and Rings of Power—saw significant commercial underperformance or critical backlash, despite aligning with progressive messaging.

These outcomes suggest that while some consumers may appreciate ideological alignment, audiences tend to reward compelling storytelling, immersive gameplay, and authentic creative direction over messaging perceived as performative or agenda-driven. In fact, several companies that leaned heavily into DEI branding in recent years, including Ubisoft and Warner Bros. Games, have since scaled back such efforts amid disappointing financial results and shifting public sentiment.

With Grand Theft Auto VI expected to become one of the biggest entertainment releases in history, Take-Two’s cultural choices will be under a microscope. And now, its annual report has ensured that battle lines are already drawn.


Fonte

 

[Astrus Maximus]

Enquanto algumas empresas estão fugindo do DEI, outras estão apenas tentando disfarçá-lo.

GTA 6 Publisher Drops DEI From Annual Report, Replaces With Questionable ‘Diversity of Thought’ Shift​

In a quietly significant shift that’s making waves in the gaming world, Take-Two Interactive, the publisher of the upcoming Grand Theft Auto VI (GTA 6), has removed all references to traditional DEI (diversity, equity, and inclusion) initiatives from its latest 10-K annual report.

The change, first reported by Game File and later picked up by WIRED, has sparked intense debate as the video game industry finds itself increasingly entangled in broader cultural battles over the concept of DEI in games—especially with a project as explosive and massive as GTA 6 on the horizon.

A Sharp Departure From 2024​

In 2024, Take-Two’s annual report explicitly championed progressive causes, saying the company supported organizations that aimed to “eradicate social injustice,” supported Pride rights, funded scholarships for minority game design students, and “celebrated cultural differences” through employee groups. That entire section is gone.

In its place, the 2025 report includes just a single statement on the subject of diversity:



The report adds, “We aim to provide an inclusive workplace in which everyone feels respected, heard, and safe.”

But noticeably missing are the specifics—no mention of social justice causes, minority student scholarships, or identity-based hiring initiatives. This marks a significant rollback in DEI language and commitments.

When WIRED reached out to Take-Two for comment, the company declined to respond. However, its corporate website still hosts a statement affirming that it believes “more diverse teams are more valuable and effective. Diversity is key to our success.”

What Is Diversity of Thought?​

In corporate settings, “diversity of thought” typically refers to encouraging a variety of perspectives, cognitive styles, and problem-solving approaches. The idea is that innovation improves when organizations include people with different life experiences, ways of thinking, and ideological viewpoints. Companies like Meta and now Take-Two have recently adopted this phrasing in place of identity-based DEI language.

Critics of this shift argue that the term is often used as a loophole—a way to signal commitment to inclusion without engaging in more visible or quantifiable DEI practices such as demographic-based hiring goals or targeted scholarships. In practice, “diversity of thought” is difficult to define, measure, or enforce, which has led some observers to view it as a rhetorical placeholder rather than a policy.

Daniel Oppong, founder of The Courage Collective is one of those people, apparently.

“When organizational cultures are largely homogenous, they’ll often cite ‘diversity of thought’ as a means to indicate some element of distinctiveness,” he said. “If ‘diversity of thought’ is deemed necessary (and acceptable), then diversity of identities (aka: diverse teams) should be an imperative as well.”

Oppong further claimed that the broader DEI framework is often misrepresented.

“What was meant to be a robust, interdisciplinary practice designed to create cultures where people thrive, is often misrepresented as ‘wokeism’ and reduced to polarizing buzzwords that do not accurately portray the essence and impact of effective DEI,” he noted.

However, this view is not universally accepted. While many companies promoted DEI policies between 2020 and 2022, their actual effects remain a subject of ongoing debate.

Oppong, however, asserts that DEI, when properly executed, benefits all employees—not just those from marginalized groups.

“One of the biggest misnomers about DEI is the notion that it only benefits people from historically marginalized groups,” he said. “The truth is, when implemented effectively, DEI benefits everyone.”

Yet critics have pointed out that this claim often lacks broad-based evidence. Opponents argue that certain DEI initiatives—such as hiring targets, segregated employee resource groups, or identity-based mentorship programs—may offer tangible benefits to select identity groups while creating uncertainty or resentment among other employees who do not qualify for those programs.

Some studies have found mixed or inconclusive results on the impact of corporate DEI initiatives on company performance, retention, or morale. Meanwhile, opponents of DEI argue that emphasis on immutable traits can sometimes lead to division or unintended exclusion, rather than unity or equity.

Ultimately, the debate over “diversity of thought” versus identity-based diversity hinges on a deeper question: should companies focus on who people are, or how they think? And when it comes to accountability, which approach offers clearer, measurable outcomes?

Take-Two’s decision to remove explicit DEI language from its annual report—while maintaining a general commitment to “diversity of thought”—places it squarely in the middle of that ongoing discussion.

The Broader Backlash​

Take-Two’s pivot comes amid a growing trend of companies walking back DEI efforts across tech, entertainment, and retail—especially under pressure from President Donald Trump’s renewed focus on removing DEI from government and public-private partnerships.

In the gaming world, the rollback has been particularly sharp. Rockstar Games, owned by Take-Two, previously drew criticism from fans when it edited out jokes from Grand Theft Auto V in the next-gen re-release, reportedly in an effort to align with modern sensitivities.

While those edits were not officially explained, the move was widely seen as a sign that Rockstar was abandoning its legacy of punching in every direction. Many fans worried that this meant GTA 6—the next game in a franchise infamous for its irreverence and boundary-pushing satire—might end up another toothless DEI title.

Those fears grew after several key members of Rockstar’s old creative team left the company, including Dan Houser, the longtime lead writer and co-founder of Rockstar, known for crafting the biting tone of the franchise.

Combine that with Take-Two’s scrubbed DEI language and a politically loaded atmosphere, and GTA 6 finds itself in the crosshairs before the game even drops.

The one confirmed detail about GTA 6? It will feature a Latina female protagonist—something already triggering accusations of “wokeness” from some corners of the gaming community.

Where This Goes​

As Take-Two distances itself from DEI in public filings, it’s hard not to see this as a strategic repositioning in the face of political, fan, and shareholder pressure. But whether it’s a calculated retreat or just optics, the message is loud and clear: identity-based DEI is no longer the hill many corporations are willing to die on.

“People want to support and work for brands that align with their values,” Oppong claimed. “Given the shifting demographics of the U.S., it’s imperative that organizations consider the unique needs and values of different identity groups—particularly if they want to remain relevant and resonant with employers and consumers alike.”

While this perspective is common among DEI advocates, real-world data from the entertainment and gaming industries paints a more complex picture. Numerous high-profile projects that prioritized identity-focused marketing—such as The Marvels, Forspoken, The Acolyte, Dragon Age: The Veilguard, and Rings of Power—saw significant commercial underperformance or critical backlash, despite aligning with progressive messaging.

These outcomes suggest that while some consumers may appreciate ideological alignment, audiences tend to reward compelling storytelling, immersive gameplay, and authentic creative direction over messaging perceived as performative or agenda-driven. In fact, several companies that leaned heavily into DEI branding in recent years, including Ubisoft and Warner Bros. Games, have since scaled back such efforts amid disappointing financial results and shifting public sentiment.

With Grand Theft Auto VI expected to become one of the biggest entertainment releases in history, Take-Two’s cultural choices will be under a microscope. And now, its annual report has ensured that battle lines are already drawn.


Fonte

Diversity of Thought é uma forma de fingir ter diversidade sendo que não tem (tanta)... Não acho que seja uma forma de esconder DEI, pelo contrário, é como dizer para quem odeia DEI que não é DEI mais.

Obviamente se você enfiou gente por cota em montes de cargos-base, vai ser difícil se livrar de tudo - inclusive gente boicotando o produto com ideias DEI - sem também perder prazos, projetos já no meio e, nisto, perder mais dinheiro do que vale a pena.

Vamos aguardar a empresa que ficou famosa e é querida por jogos politicamente incorretos ao extremo mostrar o resultado.

Eu não compro o jogo Day One mais e acho que muita gente, principalmente lá fora, não o faz. Então eles vão ter que rever o jogo e tirar o que for mais gritante para não perderem todo o investimento.

 

[Bloodstained]

Diversity of Thought é uma forma de fingir ter diversidade sendo que não tem (tanta)... Não acho que seja uma forma de esconder DEI, pelo contrário, é como dizer para quem odeia DEI que não é DEI mais.

Obviamente se você enfiou gente por cota em montes de cargos-base, vai ser difícil se livrar de tudo - inclusive gente boicotando o produto com ideias DEI - sem também perder prazos, projetos já no meio e, nisto, perder mais dinheiro do que vale a pena.

Vamos aguardar a empresa que ficou famosa e é querida por jogos politicamente incorretos ao extremo mostrar o resultado.

Eu não compro o jogo Day One mais e acho que muita gente, principalmente lá fora, não o faz. Então eles vão ter que rever o jogo e tirar o que for mais gritante para não perderem todo o investimento.

Bom, torço pelo melhor já esperando pelo pior.

Chega a ser irônico ver as empresas se amparando no termo "diversidade de pensamento", sendo que essa é justamente a única forma de diversidade que o culto progressista não tolera, sob nenhuma hipótese.

Após apinharem tantas contratações "diversificadas" em todos os setores possíveis, vai mesmo ser extremamente complexo para essas empresas fazerem um limpa. Mesmo com esforços ativos nesse sentido, acho que essas empresas vão levar anos para se desintoxicarem ideologicamente por completo.

Infelizmente, não acho que o próximo GTA será tão politicamente incorreto quanto seus antecessores... Também espero que ele não degringole de forma absoluta em direção à demência progressista. Acho que vão tentar jogar no meio de campo da melhor forma possível, visando maximizar o retorno financeiro.

 

[Astrus Maximus]

Bom, torço pelo melhor já esperando pelo pior.

Chega a ser irônico ver as empresas se amparando no termo "diversidade de pensamento", sendo que essa é justamente a única forma de diversidade que o culto progressista não tolera, sob nenhuma hipótese.

Após apinharem tantas contratações "diversificadas" em todos os setores possíveis, vai mesmo ser extremamente complexo para essas empresas fazerem um limpa. Mesmo com esforços ativos nesse sentido, acho que essas empresas vão levar anos para se desintoxicarem ideologicamente por completo.

Infelizmente, não acho que o próximo GTA será tão politicamente incorreto quanto seus antecessores... Também espero que ele não degringole de forma absoluta em direção à demência progressista. Acho que vão tentar jogar no meio de campo da melhor forma possível, visando maximizar o retorno financeiro.

Sim, concordo que é mais inteligente agir assim.

Torcer para vir o melhor mas esperar que o pior aconteça até para não se decepecionar tanto.

 

[M.Shadows]

Sempre estou olhando a lista para ver qual é o lixo da vez.

 

[Madrux]

Sempre estou olhando a lista para ver qual é o lixo da vez.

Calma que esse ano tem Intergalactic ainda.

 

[Madrux]

Aproveitando, queria perguntar aos colegas se alguém conhece...

Até pensei em perguntar na seção de games, mas preferi jogar no seguro e perguntar aqui mesmo já que não sei bem onde perguntar...

Alguns dos colegas conhece sites de notícias e reviews, canais ou podcasts focados em RPG eletrônico e que não seja lacrador? Pode ser conteúdo BR ou gringo, até para conhecer o trampo do pessoal. Se alguém souber, vou agradecer.

 

[Bloodstained]

​

 

[Bloodstained]

​

A sujeira do pântano chamado USAID ainda está longe de acabar... Não será nenhuma surpresa se a indústria ocidental de games e suas "consultorias" acabarem envolvidas no que ainda está por vir. A bem da verdade, acredito que é até esperado que isso aconteça.

 

[YSolaire]

​

Interessante que eles pegaram o "esquema" de nomes de jogos chineses, koreanos. WO Long, Black Myth: WUkong, WUchang,

Não duvido que eles usaram esse esquema de nome para pegar pessoas desprevenidas.

 

[barbitúrico]

Interessante que eles pegaram o "esquema" de nomes de jogos chineses, koreanos. WO Long, Black Myth: WUkong, WUchang,

Não duvido que eles usaram esse esquema de nome para pegar pessoas desprevenidas.

O jogo é baseado em um grupo de rap antigo, Wu Tang Clan. Eles tem outros jogos.

Wu-Tang: Shaolin Style - Wikipedia

en.m.wikipedia.org

Não sei se eles sabem ou não do envolvimento desse pessoal da Sweet baby.