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

[Senhor do nada]

DOOM??

DOOM???? como caralhos essa corja foi trabalhar em DOOM!?!!!

Basicamente colocaram td da Bethesda na lista.

 

[Bloodstained]

Sweet Baby Inc. Team Member Claims Cozy Games Like Farming Sims Promote Colonialism & Must Be Changed​

At the 2025 Game Devs of Color Expo, Sweet Baby Inc. team member Tristan J. Tarwater gave a talk called “Decolonizing Cozy Games.” What unfolded was a startling presentation where even farming, families, and the four seasons themselves were framed as symptoms of colonialism. This was uncovered by MasterOfTheTDS and Writing Raven of the Gothic Therapy YouTube channel.

​

One of the opening slides attempted to redefine the genre’s foundations.

“Decolonization: Often framed as an undoing of colonial influences and structures, it is also a creative process of imagining what cultures would look like if not disrupted by the exploitation of colonialism,” it said.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games – X, @MasterOfTheTDS​

“Decoloniality/Decolonialidad: The process/practice of rejecting Euro-centric ways of knowing and being. Coined by Aníbal Quijano, this concept acknowledges how different concepts of the cosmos influenced knowledge acquisition, information storage and transfer, and ideas of the self.”

​

In other words, the designers weren’t talking about just tweaking mechanics — they were questioning the very cultural foundations that cozy games typically draw from.

Cozy Games as “Colonial”​

One slide, bluntly titled “Colonialism? In Cozy Games? Where?” spelled out what Tarwater sees as problems in the genre.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games with a checklist that includes “So Many White People” – X, @MasterOfTheTDS​

The so-called “issues” include:

• “So Many White People”
• “The Outside Individual Who Saves the Day”
• “The Land is There for the Taking”
• “Corn and Wheat Make Number Go Up”
• “Nuclear Family/Two Gen Family”
• “Monochronic Structures, 4 Seasons, Gregorian Calendar”
• “Conveniently Ancient Civilizations”
• “Spirituality is Silly”
• “Straight Up Racism”

That’s right — even farming staples like corn and wheat, or the concept of a two-parent household where the parents are a man and a woman, were presented as vestiges of colonial influence and thus deemed a problematic element of Cozy games by Sweet Baby Inc.

The Push to “Decolonize”​

Another slide asked: “How can we decolonize cozy games?”

A slide presented by a Sweet Baby Inc. team member about how to decolonize Cozy games – X, @MasterOfTheTDS​

The proposed “solutions” boiled down to developers interrogating their own design choices:

• “What does safety mean for the audience we are trying to reach?”
• “What mechanics, rewards, cultural touchstones, and character (archetypes) will we implement that will resonate with them?”
• “What is the relationship of the player character to the NPC community and how can we handle this mechanically and narratively?”
• “How many generations of people are present at any time?”
• “How is time measured and how does this play out mechanically and narratively?”

Yes, even time itself — how a game measures seasons or years — was flagged as a potential area of colonial baggage. You really can’t make this stuff up…

Promoting Their Own Work​

The presentation closed with a slide titled “Games to Check Out.” Among the titles listed were Fields of Mistria and Saltsea Chronicles — but also Tales of the Shire, a game Sweet Baby Inc. directly worked on.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games where they recommend their own game – X, @MasterOfTheTDS​

By holding up their own contracted project as the model for “decolonized” cozy games, SBI’s talk doubled as a commercial — positioning themselves as the arbiters of what counts as “acceptable” design moving forward.

The Bigger Picture​

The session, uncovered by MasterOfTheTDS and Writing Raven of Gothic Therapy shows exactly how Sweet Baby Inc. is training the industry. They’re telling developers that cozy games filled with farming, families, and seasonal cycles are racist colonial relics that must be reworked. One slide literally reduced the issue to “So Many White People.”

It’s less about player escapism and more about ideological policing. And the recommended fix just so happens to run straight through games that Sweet Baby Inc. itself has a hand in shaping. This recommendation comes at a time in which Sweet Baby Inc. games like South of Midnight are tanking with gamers.

If this is the vision Sweet Baby Inc. is pushing, the future of cozy games may look far less cozy and far more like an exercise in box-checking.


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

 

[Madrux]

Square Enix aprontando de novo ao remover gênero no Final Fantasy Tactics remaster.



É inaceitável uma coisa dessas. Fizeram com Dragon Quest III HD-2D remake com aquele pavoroso "Tipo A e Tipo B", vão meter censura no Dragon Quest VII remaster e agora vão remover gênero no FFT remaster, simplesmente matando uma das mecânicas importantes do jogo, onde certos itens são usados somente por personagens femininas, justamente para balancear o nível de força com personagens masculinos.

Não sei vocês, mas eu não vou comprar. "Ah, mas esse remaster vai ter vozes", "Ah, vai ter uma mecânica nova para compensar a remoção de gênero dos personagens".
FOOOOOOOOOOODAAAA-SE! Eu prefiro ficar mesmo com as versões de PS1 e PSP. A versão de PS1, aliás, ganhou um patch recente em português que estou fazendo questão de jogar o jogo de novo, mas com esse patch, e a tradução tá maravilhosa. Sério.

A SE morreu para mim faz tempo, e agora mexer com meu segundo FF favorito não dá mais. Eu que não vou dar porra de dinheiro nenhum para uma empresa que está contaminada pelo ocidente e enfiando ideologia em seus remaster somente para agradar público lacrador.

Aqui está uma explicação que é a causa da destruição da SE, outrora uma empresa respeitada.

 

[Bloodstained]

​

 

[ELTORO]

New Steam Curator Lists Out Games Of Developers Who Celebrated The Assassination Of Charlie Kirk​

A new Steam curator list has been created that lists out games that were worked on by developers who celebrated the assassination of Charlie Kirk.

The curator is called CharlieTweetsDetected, and already has nearly 30,000 followers, and specifically notes that “developers on this list Celebrated the tragedy at the Utah Valley University on September 10th 2025. THIS IS NOT meant to be used to harass, only to fuel purchasing decisions.”

The list includes over 100 games that are labeled as “Not Recommended.” However, it also features nearly 50 games on its “Recommended” that it states “took a strong position AGAINST those would celebrate the events of Sept 10th, and should be commended.”

​

Spoiler: The games on the “Not Recommended” list include:

• Hiveswap: Act 1
• Caravan SandWitch
• Super Lesbian Animal RPG
• Shadow of the Tomb Raider: Definitive Edition
• Diablo IV
• Turok 2: Seeds of Evil
• Doom
• FTL: Faster Than Light - Soundtrack
• Doom + Doom II
• The Elder Scrolls IV: Oblivion Remastered
• Umurangi Generation
• Star Wars: Dark Forces Remaster
• Fallout 76
• Quantum Break
• Roman Sands RE:Build
• Willful
• Generation Exile
• Cruelty Squad
• Perfect Tides: Station to Station
• Quake
• Paratopic
• System Shock 2: 25th Anniversay Remaster
• Penguin Colony
• Max Payne 2: The Fall of Max Payne
• Among Us 3D: VR
• Final Fantasy XIV: Dawntrail
• Marathon
• Perfect Tides
• I Expect You To Die 3: Cog in the Machine
• I Have No Mouth, and I Must Screan
• Turok
• Indiana Jones and the Great Circle: The Order of Giants
• Coven
• PowerWash Simulator
• Psycho Patrol R
• System Shock 2
• Indiana Jones and the Great Circle
• Forsaken Remastered
• Blade Runner: Enhanced Edition
• The Elder Scrolls Online
• Fallout Shelter
• Automaton Heart
• Outlaws + A Handful of Missions
• PO’ed: Definitive Edition
• Shovel Game
• Control Ultimate Edition
• FBC: Firebreak
• Turok 3: Shadow of Oblivion Remastered
• Fallout 3: Game of the Year Edition
• Max Payne
• Strife: Veteran Edition
• State of Decay 2: Juggernaut Edition
• Shovel Game
• The Elder Scrolls V: Skyrim Special Edition
• Battlefield 6
• Revita
• Dragon Age: The Veilguard
• Overwatch 2
• Automaton Lung
• Automaton Heart
• Blood Fresh Supply
• Final Fantasy XIV Online
• Alan Wake’s American Nightmare
• SiN: Gold
• Tomb Raider
• Arcade Spirits
• Ghost of Tsushima Director’s Cut
• Doom 64
• System Shock
• Doom Eternal
• Doom: The Dark Ages
• Rise of the Triad: Ludicrous Edition
• Subnautica 2
• Fallout 4
• Destiny 2
• Adaca
• Killing Time: Resurrected
• Into the Breach Soundtrack
• PowerSlave Exhumed
• The Thing: Remastered
• Fallout: New Vegas
• Rise of the Tomb Raider
• Alan Wake
• Magic: The Gathering Arena
• Shadow Man Remastered
• Quake II
• Heretic + Hexen
• PowerWash Simulator 2

​

​

Spoiler: As for the nearly 50 games that are recommended. It includes:

• Legends of Mythology
• Along Came a Dragonfly
• DayZ
• Afterlife Reverie
• Soulash 2
• AquaDream
• Lords of the Fallen
• Tainted Grail: The Fall of Avalon
• The Great Rebellion
• All is Fair in Dust and Air
• [Neolothic] To the End
• Soulash
• Silica
• Kingdom Come: Deliverance
• Quest Master
• Ire: A Prologue
• CLIMB OUT!
• Project Haven
• Trouble In Paradise
• Victory Heat Rally
• Three Sisters
• Chronomon
• Arma 3
• Arksync

​

​

Fonte

Satisfação por eu não ter comprado nenhum desses jogos da lista (dos que comemoraram o assassinato).

 

[ELTORO]

Sweet Baby Inc. Team Member Claims Cozy Games Like Farming Sims Promote Colonialism & Must Be Changed​

At the 2025 Game Devs of Color Expo, Sweet Baby Inc. team member Tristan J. Tarwater gave a talk called “Decolonizing Cozy Games.” What unfolded was a startling presentation where even farming, families, and the four seasons themselves were framed as symptoms of colonialism. This was uncovered by MasterOfTheTDS and Writing Raven of the Gothic Therapy YouTube channel.

​

One of the opening slides attempted to redefine the genre’s foundations.

“Decolonization: Often framed as an undoing of colonial influences and structures, it is also a creative process of imagining what cultures would look like if not disrupted by the exploitation of colonialism,” it said.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games – X, @MasterOfTheTDS​

“Decoloniality/Decolonialidad: The process/practice of rejecting Euro-centric ways of knowing and being. Coined by Aníbal Quijano, this concept acknowledges how different concepts of the cosmos influenced knowledge acquisition, information storage and transfer, and ideas of the self.”

​

In other words, the designers weren’t talking about just tweaking mechanics — they were questioning the very cultural foundations that cozy games typically draw from.

Cozy Games as “Colonial”​

One slide, bluntly titled “Colonialism? In Cozy Games? Where?” spelled out what Tarwater sees as problems in the genre.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games with a checklist that includes “So Many White People” – X, @MasterOfTheTDS​

The so-called “issues” include:

• “So Many White People”
• “The Outside Individual Who Saves the Day”
• “The Land is There for the Taking”
• “Corn and Wheat Make Number Go Up”
• “Nuclear Family/Two Gen Family”
• “Monochronic Structures, 4 Seasons, Gregorian Calendar”
• “Conveniently Ancient Civilizations”
• “Spirituality is Silly”
• “Straight Up Racism”

That’s right — even farming staples like corn and wheat, or the concept of a two-parent household where the parents are a man and a woman, were presented as vestiges of colonial influence and thus deemed a problematic element of Cozy games by Sweet Baby Inc.

The Push to “Decolonize”​

Another slide asked: “How can we decolonize cozy games?”

A slide presented by a Sweet Baby Inc. team member about how to decolonize Cozy games – X, @MasterOfTheTDS​

The proposed “solutions” boiled down to developers interrogating their own design choices:

• “What does safety mean for the audience we are trying to reach?”
• “What mechanics, rewards, cultural touchstones, and character (archetypes) will we implement that will resonate with them?”
• “What is the relationship of the player character to the NPC community and how can we handle this mechanically and narratively?”
• “How many generations of people are present at any time?”
• “How is time measured and how does this play out mechanically and narratively?”

Yes, even time itself — how a game measures seasons or years — was flagged as a potential area of colonial baggage. You really can’t make this stuff up…

Promoting Their Own Work​

The presentation closed with a slide titled “Games to Check Out.” Among the titles listed were Fields of Mistria and Saltsea Chronicles — but also Tales of the Shire, a game Sweet Baby Inc. directly worked on.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games where they recommend their own game – X, @MasterOfTheTDS​

By holding up their own contracted project as the model for “decolonized” cozy games, SBI’s talk doubled as a commercial — positioning themselves as the arbiters of what counts as “acceptable” design moving forward.

The Bigger Picture​

The session, uncovered by MasterOfTheTDS and Writing Raven of Gothic Therapy shows exactly how Sweet Baby Inc. is training the industry. They’re telling developers that cozy games filled with farming, families, and seasonal cycles are racist colonial relics that must be reworked. One slide literally reduced the issue to “So Many White People.”

It’s less about player escapism and more about ideological policing. And the recommended fix just so happens to run straight through games that Sweet Baby Inc. itself has a hand in shaping. This recommendation comes at a time in which Sweet Baby Inc. games like South of Midnight are tanking with gamers.

If this is the vision Sweet Baby Inc. is pushing, the future of cozy games may look far less cozy and far more like an exercise in box-checking.


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

Os caras estão problematizando um dos únicos gêneros de jogos que você pode chegar em casa depois de um trabalho pesado e ficar de boa, aliviar estresse, relaxar...

Resumindo, ficar de boa agora é um problema.

 

[Astrus Maximus]

Os caras estão problematizando um dos únicos gêneros de jogos que você pode chegar em casa depois de um trabalho pesado e ficar de boa, aliviar estresse, relaxar...

Resumindo, ficar de boa agora é um problema.

Você não entendeu.

Você vai poder ficar de boa. Apenas vai ouvir propaganda ideológica enquanto fica de boa.

Vai haver personagens trans na mesma proporção que “binários”, assim como vão falar como o capitalismo é mau ao obrigá-lo a produzir comida na fazendinha e ter que vendê-la para obter dinheiro e que há uma alternativa que é você trocar diretamente com outros fazendeiros sem passar pelo dinheiro capitalista.

Minha companheira joga Stardew Valley, há uma empresa capitalista malvada e gananciosa no jogo, então não é que vai atrapalhar sua diversão.

Apenas todos os jogos vão mostrar os males do capitalismo e você não terá nada (no jogo) e será feliz.

 

[ELTORO]

Você não entendeu.

Você vai poder ficar de boa. Apenas vai ouvir propaganda ideológica enquanto fica de boa.

Vai haver personagens trans na mesma proporção que “binários”, assim como vão falar como o capitalismo é mau ao obrigá-lo a produzir comida na fazendinha e ter que vendê-la para obter dinheiro e que há uma alternativa que é você trocar diretamente com outros fazendeiros sem passar pelo dinheiro capitalista.

Minha companheira joga Stardew Valley, há uma empresa capitalista malvada e gananciosa no jogo, então não é que vai atrapalhar sua diversão.

Apenas todos os jogos vão mostrar os males do capitalismo e você não terá nada (no jogo) e será feliz.

Não fico tranquilo sabendo que haverão travecos por perto.
Meu cu corre perigo.

 

[Andrealphus]

Sweet Baby Inc. Team Member Claims Cozy Games Like Farming Sims Promote Colonialism & Must Be Changed​

At the 2025 Game Devs of Color Expo, Sweet Baby Inc. team member Tristan J. Tarwater gave a talk called “Decolonizing Cozy Games.” What unfolded was a startling presentation where even farming, families, and the four seasons themselves were framed as symptoms of colonialism. This was uncovered by MasterOfTheTDS and Writing Raven of the Gothic Therapy YouTube channel.

​

One of the opening slides attempted to redefine the genre’s foundations.

“Decolonization: Often framed as an undoing of colonial influences and structures, it is also a creative process of imagining what cultures would look like if not disrupted by the exploitation of colonialism,” it said.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games – X, @MasterOfTheTDS​

“Decoloniality/Decolonialidad: The process/practice of rejecting Euro-centric ways of knowing and being. Coined by Aníbal Quijano, this concept acknowledges how different concepts of the cosmos influenced knowledge acquisition, information storage and transfer, and ideas of the self.”

​

In other words, the designers weren’t talking about just tweaking mechanics — they were questioning the very cultural foundations that cozy games typically draw from.

Cozy Games as “Colonial”​

One slide, bluntly titled “Colonialism? In Cozy Games? Where?” spelled out what Tarwater sees as problems in the genre.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games with a checklist that includes “So Many White People” – X, @MasterOfTheTDS​

The so-called “issues” include:

• “So Many White People”
• “The Outside Individual Who Saves the Day”
• “The Land is There for the Taking”
• “Corn and Wheat Make Number Go Up”
• “Nuclear Family/Two Gen Family”
• “Monochronic Structures, 4 Seasons, Gregorian Calendar”
• “Conveniently Ancient Civilizations”
• “Spirituality is Silly”
• “Straight Up Racism”

That’s right — even farming staples like corn and wheat, or the concept of a two-parent household where the parents are a man and a woman, were presented as vestiges of colonial influence and thus deemed a problematic element of Cozy games by Sweet Baby Inc.

The Push to “Decolonize”​

Another slide asked: “How can we decolonize cozy games?”

A slide presented by a Sweet Baby Inc. team member about how to decolonize Cozy games – X, @MasterOfTheTDS​

The proposed “solutions” boiled down to developers interrogating their own design choices:

• “What does safety mean for the audience we are trying to reach?”
• “What mechanics, rewards, cultural touchstones, and character (archetypes) will we implement that will resonate with them?”
• “What is the relationship of the player character to the NPC community and how can we handle this mechanically and narratively?”
• “How many generations of people are present at any time?”
• “How is time measured and how does this play out mechanically and narratively?”

Yes, even time itself — how a game measures seasons or years — was flagged as a potential area of colonial baggage. You really can’t make this stuff up…

Promoting Their Own Work​

The presentation closed with a slide titled “Games to Check Out.” Among the titles listed were Fields of Mistria and Saltsea Chronicles — but also Tales of the Shire, a game Sweet Baby Inc. directly worked on.

A slide presented by a Sweet Baby Inc. team member about Colonization in Cozy games where they recommend their own game – X, @MasterOfTheTDS​

By holding up their own contracted project as the model for “decolonized” cozy games, SBI’s talk doubled as a commercial — positioning themselves as the arbiters of what counts as “acceptable” design moving forward.

The Bigger Picture​

The session, uncovered by MasterOfTheTDS and Writing Raven of Gothic Therapy shows exactly how Sweet Baby Inc. is training the industry. They’re telling developers that cozy games filled with farming, families, and seasonal cycles are racist colonial relics that must be reworked. One slide literally reduced the issue to “So Many White People.”

It’s less about player escapism and more about ideological policing. And the recommended fix just so happens to run straight through games that Sweet Baby Inc. itself has a hand in shaping. This recommendation comes at a time in which Sweet Baby Inc. games like South of Midnight are tanking with gamers.

If this is the vision Sweet Baby Inc. is pushing, the future of cozy games may look far less cozy and far more like an exercise in box-checking.


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

"Nossa, um jogo tranqüilo que um cara pode cuidar das coisas dele de boa e viver em paz. TÁ FALTANDO *****!"

 

[Bloodstained]

Gamers Boycott Henry Halfhead Due to Sweet Baby Inc. Connection — Title’s Concurrent Player Count Plummets​

Following its release, Henry Halfhead was revealed to have been developed in partnership with the deeply partisan Sweet Baby Inc., causing an uproar and calls to boycott from gamers.

​

A few individuals went online to point out this connection, intending to send a warning to any gamers who might be considering the adventure game as their next purchase.

The Reveal​

On September 17th, just one day after the debut of the indie adventure game, Sweet Baby Inc. took to Bluesky in order to congratulate the burgeoning team and promote their new title. As a knock-on effect, the post also acted as a public admission to their involvement with the project.

Sweet Baby Inc admits it helped with Henry Halfhead – BlueSky, Sweet Baby Inc.​

“It’s been incredible to see so much love for Henry Halfhead, and we’re really excited for the wonderful Lululu team,” the firm said. “We feel so lucky to have helped them bring their vision – and their Henry – to life! And if you’re looking for something sweet and creative and full of heart to play this weekend…”

The post then showed an announcement from Lululu games touting the game’s launch.

Numerous high profile voices in the gaming world, like MasteroftheTDS of the Gothic Therapy YouTube channel, wouldn’t let this go unnoticed, and shared observations on the peculiar involvement of Sweet Baby Inc.

​

The game has earned a “level 2” entry on the DEIDetected website, due to Sweet Baby Inc. consulting on the project. Perhaps this up stir is contributing to the game’s abysmal player rates.

The concurrent player count for Henry Halfhead on Steam as of Septemner 27, 2025 – Steam​

As of this writing, Henry Halfhead has only seen an all-time peak of 44 players on Steam, and the last 24-hour peak was a mere 15 players.

Henry’s Humble Origins​

The game’s press kit shares some information regarding the origins of Henry Halfhead.

Years ago, while still studying game design, some members of what would become the Lululu team were instructed to create a character with “superpowers and a disadvantage.” The crew began working on the idea, but eventually it had to shelved, as they were unable to develop the concept beyond what was immediately required.

Some time later, after graduation, the team finished their first game “Bamarang”, and released it on PC and Switch. Then, in 2021, the team returned to Henry, and began gaining support for the project through cultural grants.

Four years later, Henry Halfhead was born. It’s a game about an odd little creature who is only half of a head, but has the ability to turn into any inanimate object it chooses.

“Meet Henry, merely half a head, yet with the peculiar ability to become any object within their reach!” the game’s official description on Steam reads. “Discover every object’s unique abilities and cleverly combine them to take Henry through their not-so-ordinary everyday life.”

Fans of the game have described it as an allegory for the lived experience of disabled individuals.

The indie title was made available for purchase on September 16th, and retailed for $12.99 USD, though it immediately went on discount in order to encourage sales.

Contributions from Sweet Baby Inc.​

How exactly Sweet Baby Inc. changed the project—if at all—is unclear, but its mere involvement is enough to warrant a boycott from some gamers, in spite of any positive reviews.

Notably, the Halfhead’s preferred pronouns are “they/them” and, reportedly, the team chose gender-neutral pronouns in order to be more inclusive, in spite of the character’s obviously masculine name.

How Sweet Baby Inc. Crushes Creativity​

In a leaked clip, Camerin Wild, a member of Sweet Baby Inc., admitted to having a strong disagreement with an unknown developer regarding aspects of a character’s identity. In the video, Wild described a method of pressuring and guilt-tripping the developer until they eventually submitted to the consultant’s narrative demands. This leak confirmed the suspicions of critics, and reignited the heated controversy around the consultation studio.

Sweet Baby Inc. doesn’t just give helpful suggestions. Rather, it forces bias and aggressive ideology into every project it touches.

It appears that gamers at their core aren’t primarily concerned with differences in politics, but instead with the restriction of narrative creativity in order to promote an arbitrary, unnecessary agenda. Especially one which doesn’t reflect the experiences of most consumers.

These consumers don’t have a problem with representing minorities or disabled individuals in media, they just want original ideas to be given a fair shake. Instead, consultants like the ones found at Sweet Baby Inc. choose to stifle creativity through resentful guilt-trip tactics. Such practices destroy diversity of thought and expression within the gaming industry, a clear contradiction in the values these consultants publicly swear by.


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

​

 

[Astrus Maximus]

Gamers Boycott Henry Halfhead Due to Sweet Baby Inc. Connection — Title’s Concurrent Player Count Plummets​

Following its release, Henry Halfhead was revealed to have been developed in partnership with the deeply partisan Sweet Baby Inc., causing an uproar and calls to boycott from gamers.

​

A few individuals went online to point out this connection, intending to send a warning to any gamers who might be considering the adventure game as their next purchase.

The Reveal​

On September 17th, just one day after the debut of the indie adventure game, Sweet Baby Inc. took to Bluesky in order to congratulate the burgeoning team and promote their new title. As a knock-on effect, the post also acted as a public admission to their involvement with the project.

Sweet Baby Inc admits it helped with Henry Halfhead – BlueSky, Sweet Baby Inc.​

“It’s been incredible to see so much love for Henry Halfhead, and we’re really excited for the wonderful Lululu team,” the firm said. “We feel so lucky to have helped them bring their vision – and their Henry – to life! And if you’re looking for something sweet and creative and full of heart to play this weekend…”

The post then showed an announcement from Lululu games touting the game’s launch.

Numerous high profile voices in the gaming world, like MasteroftheTDS of the Gothic Therapy YouTube channel, wouldn’t let this go unnoticed, and shared observations on the peculiar involvement of Sweet Baby Inc.

​

The game has earned a “level 2” entry on the DEIDetected website, due to Sweet Baby Inc. consulting on the project. Perhaps this up stir is contributing to the game’s abysmal player rates.

The concurrent player count for Henry Halfhead on Steam as of Septemner 27, 2025 – Steam​

As of this writing, Henry Halfhead has only seen an all-time peak of 44 players on Steam, and the last 24-hour peak was a mere 15 players.

Henry’s Humble Origins​

The game’s press kit shares some information regarding the origins of Henry Halfhead.

Years ago, while still studying game design, some members of what would become the Lululu team were instructed to create a character with “superpowers and a disadvantage.” The crew began working on the idea, but eventually it had to shelved, as they were unable to develop the concept beyond what was immediately required.

Some time later, after graduation, the team finished their first game “Bamarang”, and released it on PC and Switch. Then, in 2021, the team returned to Henry, and began gaining support for the project through cultural grants.

Four years later, Henry Halfhead was born. It’s a game about an odd little creature who is only half of a head, but has the ability to turn into any inanimate object it chooses.

“Meet Henry, merely half a head, yet with the peculiar ability to become any object within their reach!” the game’s official description on Steam reads. “Discover every object’s unique abilities and cleverly combine them to take Henry through their not-so-ordinary everyday life.”

Fans of the game have described it as an allegory for the lived experience of disabled individuals.

The indie title was made available for purchase on September 16th, and retailed for $12.99 USD, though it immediately went on discount in order to encourage sales.

Contributions from Sweet Baby Inc.​

How exactly Sweet Baby Inc. changed the project—if at all—is unclear, but its mere involvement is enough to warrant a boycott from some gamers, in spite of any positive reviews.

Notably, the Halfhead’s preferred pronouns are “they/them” and, reportedly, the team chose gender-neutral pronouns in order to be more inclusive, in spite of the character’s obviously masculine name.

How Sweet Baby Inc. Crushes Creativity​

In a leaked clip, Camerin Wild, a member of Sweet Baby Inc., admitted to having a strong disagreement with an unknown developer regarding aspects of a character’s identity. In the video, Wild described a method of pressuring and guilt-tripping the developer until they eventually submitted to the consultant’s narrative demands. This leak confirmed the suspicions of critics, and reignited the heated controversy around the consultation studio.

Sweet Baby Inc. doesn’t just give helpful suggestions. Rather, it forces bias and aggressive ideology into every project it touches.

It appears that gamers at their core aren’t primarily concerned with differences in politics, but instead with the restriction of narrative creativity in order to promote an arbitrary, unnecessary agenda. Especially one which doesn’t reflect the experiences of most consumers.

These consumers don’t have a problem with representing minorities or disabled individuals in media, they just want original ideas to be given a fair shake. Instead, consultants like the ones found at Sweet Baby Inc. choose to stifle creativity through resentful guilt-trip tactics. Such practices destroy diversity of thought and expression within the gaming industry, a clear contradiction in the values these consultants publicly swear by.


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

​

Honestamente, não é um jogo que eu compraria mas é um jogo que eu poderia desejar tudo de bom. E até indicar à namorada, que talvez comprasse.

Mas se sabe das coisas e quer ajudar o povo Woke?

Que vá à falência como todo o resto, fico é muito feliz.

 

[Bloodstained]

Sweet Baby Inc. Client Avalanche Studios Announces Office Closure And More Layoffs After Ending Development On 'Contraband'​

Avalanche Studios, a client of Sweet Baby Inc., announced it is closing one of its offices and will be laying off more employees after it ended active development on Contraband.

In an update posted to the company’s website, Avalanche Studios announced it will close Liverpool studio and will be laying off people at the office as well as at its offices in Malmo and Stockholm.

The company stated, “In light of current challenges to our business and the industry, we have thoroughly reviewed how to best ensure Avalanche Studios Group’s long-term success. This review has led us to the difficult conclusion that we must make changes to our staffing and locations. As a result, we are proposing to close our Liverpool studio, and to initiate a collective consultation process, as required by UK law. This will impact all Avalanchers in Liverpool. The changes will also impact our other studio locations in Malmo and Stockholm, where we will reduce our workforce and restructure the teams to address our games’ needs.”

This announcement comes in the wake of the company announcing in August that it was ending work on Contraband. It stated in a blog post at the time, “Over the past several years, Avalanche Studios Group and Xbox Game Studios Publishing have collaborated on Contraband. Active development has now stopped while we evaluate the project’s future. We’re thankful for the excitement we’ve seen from the community since we announced and will give an update on what’s next as soon as we can.”

Additionally, the company had announced it laid off 10% of its staff and shut down its offices in New York and Montreal back in June 2024. They said then, “ince its inception over two decades ago, Avalanche Studios Group has grown to encompass five locations worldwide: Stockholm, New York, Malmö, Liverpool, and Montreal. Today, we regretfully announce the closure of two of those locations: New York and Montreal. This means we’ll be parting ways with around 50 valued friends and colleagues, which represents roughly 9 percent of Avalanchers worldwide.”

The statement continued, “This is an exceptionally difficult decision, but we believe it’s necessary to ensure a stable and sustainable future for the company. Our focus is now on supporting all Avalanchers through this challenging time. We’re grateful for the invaluable contributions of those leaving and remain committed to creating incredible gaming experiences for our players.”

The studio and the game were listed on Sweet Baby Inc.’s website as one its clients. Specifically, the company said it provided “sensitivity reading, character bios, and scriptwriting” for the game.

The game was originally announced back in 2021 with Avalanche describing it as a “co-op smuggler’s paradise.” The company added that the game would put players in the “roles of smugglers exploring the fictional Southeast Asian world of 1970s Bayan.”

Game Director Omar Shakir said at the time, “Contraband is our most ambitious game yet and working closely together with Xbox Games Studios has been a great experience. We can’t wait to share more about the game and the world of Bayan.”

Xbox Game Studios GM of Publishing Pete Wyse added, “We are excited to partner with the talented team at Avalanche Studios for Contraband. Experiencing the emergent, open-world craziness of an Avalanche Studios game together with your friends is something we can’t wait to bring to players.”


Fonte

 

[Bloodstained]

Development ends on Hyper Light Breaker as studio Heart Machine says it’s making layoffs​

The Hyper Light Drifter prequel has had mixed reviews while in Early Access

The studio behind Hyper Light Breaker is ending development on the game and confirmed it will be laying off some staff.

Heart Machine, which previously released the critically acclaimed Hyper Light Drifter in 2016 and the Annapurna-published Solar Ash in 2021, released Hyper Light Breaker on Steam Early Access back in January.

The game is a prequel to Hyper Light Drifter, but rather than an overhead pixel art action adventure game it’s a third-person polygonal one (much like the difference between 2D and 3D Zelda games).

User reviews for the game have been mixed during its Early Access phase, with 67% of the 2,580 reviews it’s received to date being marked as Positive on Steam’s digital storefront.

Now the studio has confirmed the Game Developer that the Early Access period is ending for Hyper Light Breaker after around nine months, with development on the game coming to an end.

Heart Machine also stated that it will be laying off staff as a result of the game’s development ending, though it hasn’t confirmed exactly how many will be affected.

​

“As we wrap up our work on Hyper Light Breaker, we’ve had to make the difficult decision to part ways with a number of talented team members,” a statement reads. “This was not our ideal path, but rather the only one available given the circumstances,” reads a statement.

“While this path will include a conclusion on the project, it reflects broader forces beyond our control, including shifts in funding, corporate consolidation and the uncertain environment many small studios like us are navigating today.”

The studio laid off some of its staff last November, but said at the time that it hoped the “strong and timely” release of Hyper Light Breaker could “rekindle opportunities” for those who were let go.

Hyper Light Breaker was originally planned to hit Early Access in 2023, but a number of delays saw this being pushed back by two years.


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

​

Quantos estúdios terão que ser destruídos até que a indústria ocidental de games aprenda a lição?

 

[Astrus Maximus]

Development ends on Hyper Light Breaker as studio Heart Machine says it’s making layoffs​

The Hyper Light Drifter prequel has had mixed reviews while in Early Access

The studio behind Hyper Light Breaker is ending development on the game and confirmed it will be laying off some staff.

Heart Machine, which previously released the critically acclaimed Hyper Light Drifter in 2016 and the Annapurna-published Solar Ash in 2021, released Hyper Light Breaker on Steam Early Access back in January.

The game is a prequel to Hyper Light Drifter, but rather than an overhead pixel art action adventure game it’s a third-person polygonal one (much like the difference between 2D and 3D Zelda games).

User reviews for the game have been mixed during its Early Access phase, with 67% of the 2,580 reviews it’s received to date being marked as Positive on Steam’s digital storefront.

Now the studio has confirmed the Game Developer that the Early Access period is ending for Hyper Light Breaker after around nine months, with development on the game coming to an end.

Heart Machine also stated that it will be laying off staff as a result of the game’s development ending, though it hasn’t confirmed exactly how many will be affected.

​

“As we wrap up our work on Hyper Light Breaker, we’ve had to make the difficult decision to part ways with a number of talented team members,” a statement reads. “This was not our ideal path, but rather the only one available given the circumstances,” reads a statement.

“While this path will include a conclusion on the project, it reflects broader forces beyond our control, including shifts in funding, corporate consolidation and the uncertain environment many small studios like us are navigating today.”

The studio laid off some of its staff last November, but said at the time that it hoped the “strong and timely” release of Hyper Light Breaker could “rekindle opportunities” for those who were let go.

Hyper Light Breaker was originally planned to hit Early Access in 2023, but a number of delays saw this being pushed back by two years.


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

​

Quantos estúdios terão que ser destruídos até que a indústria ocidental de games aprenda a lição?

Algumas vezes, é melhor parar, dar a volta e retornar lá atrás e pegar o caminho certo que continuar, por teimosia ou ignorância, a seguir pelo caminho do abismo.

Esse povo tem sido alertado há uns já 10 anos que estão no caminho errado e continuam, com todo o orgulho e ainda xingando cada um que os alerta.

Infelizmente já deixei (assim como tantos outros) de ter pena há tempos.

 

[Bloodstained]

Kim Belair Finally Admits Sweet Baby Inc’s Real Role in AAA Gaming While Railing Against Critics — “We Did Nothing Wrong”​

In a surprisingly candid new interview, Sweet Baby Inc. CEO Kim Belair has admitted her company played a much deeper role in crafting the narratives of major AAA video games than previously acknowledged—while also dismissing critics as being “against progress.”

​

The interview, analyzed by Writing Raven and MasterofTheTDS of Gothic Therapy and published in an article by Raven via DEI Detected, offered a rare, unfiltered look at how Sweet Baby Inc. operates within the gaming industry. What Belair revealed has sparked renewed debate about the studio’s influence, transparency, and ideology.

Behind the Curtain of Sweet Baby Inc.​

For years, Sweet Baby Inc. has maintained that it functions as a narrative consultancy—a company that advises studios on “inclusive storytelling.” But in the August 2025 discussion, Belair described her team’s direct creative involvement in games like Marvel’s Spider-Man 2 and Alan Wake 2 as something that goes far beyond simple narrative consultation.

According to Belair, her staff worked on “the narrative beats and character work” for both projects, including key storylines involving Kraven and Harry Osborn (Side Note: Remember in that game when Harry tells Peter that he installed a “diverse board” at their new start up to “keep us on the right track?).

​

That admission alone contradicts Sweet Baby’s long-held claim that it only provides consultation, not hands-on development or authorship.

As Writing Raven noted in her coverage, Belair’s statements “quietly confirmed” what many gamers had suspected all along: that Sweet Baby Inc. is not merely offering input from the sidelines—it’s shaping the creative heart of modern AAA games.

“No One Has Reached Out”? A Dubious Claim​

When pressed about backlash from players and journalists, Belair adopted a defensive tone.

“There are thousands of videos about us,” she said. “But of those people, no one has written to us to say, ‘Hey, can I just ask a couple questions about how this works?’”

This claim doesn’t hold up to scrutiny. Multiple creators, including Smash JT, have publicly documented attempts to contact Sweet Baby Inc. that were ignored.

This was highlighted during the Gothic Therapy livestream, with Raven calling it “a rewriting of public record.” The inconsistency reinforced a growing perception that Sweet Baby Inc. doesn’t want engagement—it wants compliance.

A “Battlefield” of Ideology​

Belair went on to describe the creative process as a “battlefield,” encouraging developers to “fight for their baby”—her phrase for personal ideas, even when they conflict with a game’s established direction.

For critics, that remark perfectly encapsulated the issue: Sweet Baby Inc. consultants aren’t merely assisting—they’re embedding their personal and ideological perspectives into someone else’s project.

A screenshot from Sweet Baby Inc.’s website​

Later in the discussion, Belair offered a sweeping defense of her company’s work:

“When people fight against wokeness, what they’re really doing is fighting against progressiveness—and in a way, fighting against themselves.”

The statement, equal parts defiant and dismissive, quickly made its way around social media—further fueling debate about the ideological slant of Kim Belair and Sweet Baby Inc. projects.

“We did nothing wrong,” Belair insisted. “We did our jobs the best we could.”

Avoiding the Real Catalyst​

What Belair didn’t mention may be just as telling. She never once acknowledged the incident that sparked the backlash against her company: the conduct of former employee Chris Kindred, whose inflammatory social media posts and attempts to get Kabrutus Rambo kicked off Steam brought Sweet Baby Inc. into the public spotlight.

Sweet Baby Inc detected Steam Curator list​

By leaving this out, Belair presented her company as a misunderstood victim rather than a participant in controversy. Writing Raven noted that this selective framing allowed her to control the narrative and deflect responsibility.

A Mask-Off Moment​

To viewers of Gothic Therapy and readers of DEI Detected, the interview was a turning point—a “mask-off moment” for Sweet Baby Inc. After years of denial, its own CEO has admitted to a creative role in shaping the very games critics accused the company of influencing.

Belair’s remarks not only validate many of those concerns but also expose the contradictions and evasions that have defined Sweet Baby’s public messaging. Whether the gaming industry at large will acknowledge the extent of this influence remains to be seen. But for gamers who’ve followed the controversy since day one, Kim Belair just confirmed everything they already knew about Sweet Baby Inc.


Fonte

 

[Madrux]

Ué, eu podia jurar de pés juntos que quando falávamos isso da Sweet Baby Inc éramos chamados de loucos, teóricos da conspiração, etc, etc, etc.

 

[Bloodstained]

The Phantom Female Gamer: How a Manufactured Demographic and Financial Blackmail Destroyed Video Games​

The numbers were a lie. The revolution was a scam. The “female gamer”—a demographic touted as the new, inclusive future of the industry—was never real. It was a phantom, a statistical ghost conjured by consultants and amplified by a captured press to provide moral cover for the systematic dismantling of our hobby. The deception unfolded in three fatal stages: the corruption of the product, the conquest of the production line, and finally, the financial lock-in that made the transformation permanent. This is the story of the Great Deception, the Trojan Horse that not only burned the citadel but also replaced its guardians and then charged admission to watch the smoldering ruins.

Phase One: The Corruption of the Content​

The groundwork was laid not in game design documents, but in corporate boardrooms and sociology departments. The first step was a cynical redefinition of the very term “gamer.” Suddenly, the term no longer described a dedicated enthusiast who sought mastery, challenge, and immersion in complex virtual worlds. It was flattened, diluted, and stretched to its breaking point to include anyone who ever tapped a candy-matching icon on a phone during a coffee break.

Farmville moms, Bejeweled addicts, and casual mobile distraction-seekers were all lumped into the same demographic bucket as the hardcore raiders grinding for epics and the tactical geniuses mastering real-time strategy. This was a deliberate, fraudulent conflation. By cooking the books and inflating the numbers, activists and their corporate allies could point to a spreadsheet and declare, “See? The audience has changed. Your old customers are obsolete. We must pivot.”

And pivot they did. The “female gamer” trope became the ultimate cudgel. Any game that appealed to the traditional, and overwhelmingly male, core audience was now deemed “problematic,” “exclusionary,” or “dated.” Development priorities underwent a hostile takeover.

Gameplay, the Very Soul of the Medium, was the First Casualty​

Challenging mechanics were sanded down for “accessibility.” Deep, complex RPG systems were replaced with simplified, on-rails experiences lest they intimidate our new, hypothetical audience. The relentless pursuit of skill-based mastery was reframed as “toxic” and “gatekeeping.” Games were stripped of their teeth and fitted with rubber nibs.

The Narrative was Installed​

Compelling stories built on universal themes of heroism, sacrifice, and adventure were replaced with shallow, moralizing lectures. Protagonists were systematically swapped out for “strong female leads,” not as an organic creative choice, but as a mandatory quota. Romanceable characters became a checklist of pronouns, their personalities secondary to their ideological utility. The goal was no longer to tell a good story, but to teach an approved lesson.

The Critics Became the Commissars​

Outlets like Kotaku and Polygon abandoned their role as reviewers and reinvented themselves as enforcers for this new orthodoxy. They championed propagandists like Anita Sarkeesian—figureheads with no design experience or genuine love for the medium—as leading theorists. Their job was not to critique the quality of a game’s systems or design, but to score it on its compliance with Critical Social Justice dogma. Dissenting developers were shamed and blacklisted. Dissenting players were branded as -ists and -phobes.

Identity Obsessed Gamers Demand Representation​

This phantom demographic then morphed, as these things do, into ever more specific and demanding factions. The “female gamer” bled into the “LGBTQ+ gamer,” which bled into the “Black female gamer.” Each iteration was used to apply more pressure, to make more demands, to justify more creative vandalism. We reached the peak of absurdity when journalists seriously questioned why they “couldn’t see themselves” in games set in Viking Scandinavia or feudal Japan. The concept of artistic vision, historical authenticity, or thematic cohesion was sacrificed on the altar of inclusive representation.

But corrupting the content was only ever Step One. The content would always be judged by the remaining holdouts in the audience and the old guard within the studios. A more permanent solution was needed.

The Human Factor: Validation and Vulnerability​

The corporate and media blitz could not have succeeded without a profound vulnerability within gaming culture itself: the deep-seated desire of many nerdy men for social validation. For decades, the archetypal male gamer was a figure of social marginalization, often valuing logic, systems, and deep mastery over traditional social status. His hobby was his identity and his refuge.

The sudden, positive attention from women entering this space was an intoxicating validation he had rarely experienced. He was no longer a loser in his mother’s basement; he was a guide to a fascinating world for an appreciative audience. This desire for acceptance made him the perfect mark, willing to overlook the warning signs in exchange for social capital.

Four Stages of Cultural Capture​

This dynamic powered a predictable, recurring social cycle observed across multiple male-dominated hobbies, a pattern often termed the Four Stages of Cultural Capture:

1. Infiltration: A niche, competency-based community gains visibility. New entrants arrive, motivated less by a passion for the craft and more by a desire for social capital, ideological conquest, or corporate careerism. The established community, operating on principles of goodwill and meritocracy, welcomes them.
2. Grievance: The new entrants begin to critique the community’s core culture, framing its standards of mastery, its traditional aesthetics, and its direct communication as “exclusionary” or “toxic.” The language of psychology and social justice is weaponized to pathologize established norms.
3. Institutionalization: The grievance gains traction with external institutions—media, corporate HR, ESG-driven investors. The newcomers leverage this power to seize control of community leadership, hiring practices, and creative direction. Competence is deprioritized in favor of identity and ideological compliance.
4. Collapse: The original purists and highest-skill contributors are driven out. The hobby is sanitized of its original spirit to suit the newcomers’ preferences. The result is a decline in quality and vitality. The newcomers, having depleted the cultural capital they came to exploit, often move on, leaving a hollowed-out shell.

This was not about gender; it was about a pattern of entryism. The “cool gamer girl” trend was the velvet glove that hid the iron fist of this process. It made the ideological takeover seem like a fun, natural evolution. The men who welcomed them for validation were ultimately the first to be labeled “problematic” for defending the very hobby they loved. They traded the integrity of their world for a fleeting moment of social approval—a devil’s bargain from which the industry may never recover.

Phase Two: The Conquest of the Studio​

The movement quickly realized that to make the changes permanent, they needed to control not just what was made, but who was making it. The rhetoric smoothly pivoted from “We need to see ourselves in the games!” to “We need to be in the rooms where the games are made!”

This is where the real, lasting damage was inflicted. The focus shifted from fictional representation to employment representation. The playbook was laid out with startling honesty in pieces like LinkedIn’s 2017 celebration, How Blizzard Increased Its Number of Female Interns by 166%.

The article is a pristine artifact of the takeover. It celebrates not the finding of brilliant new talent, but the engineering of a specific gender outcome. The five tactics outlined are a manifesto for discriminatory hiring:

1. “Asking the hard questions” was corporate-speak for initiating a struggle session. Recruiters were instructed to view traditional, skills-based recruiting pipelines as inherently flawed because they were “dominated by men.”
2. “Seeking out women-led groups” explicitly advised bypassing standard computer science departments—the hubs of technical skill—in favor of explicitly gendered organizations. Candidates were pre-sorted by identity before their portfolios were ever seen.
3. “Asking professors for female students” was a direct instruction for discrimination, encouraging recruiters to explicitly request candidates based on gender.
4. “Enlisting female employees” turned the workplace into a political rally, tasking employees with evangelizing a gender revolution.
5. “Tweaking employer branding” was the most revealing. To attract this new demographic, Blizzard admitted it had to de-emphasize its core product—making games—and instead highlight peripheral business roles. The message was clear: passion for games was optional; identity was mandatory.

This is how you institutionalize decline. You replace a culture of craft with a culture of grievance. You fill the halls with people hired not for a shared passion for building worlds, but for their membership in a preferred demographic. The intern who proudly returned to “mentor the younger ones” embodied the new ethos: her primary excitement wasn’t for the games, but for the gender composition of the cohort.

The metastasis spread to every support function. Localization teams became ideological filters, “correcting” scripts. QA testers were tasked with sensitivity readings instead of bug hunting. Marketing departments vetoed creative visions that might upset the activist press. The veteran developers—the men and women who actually built the industry—found themselves squeezed out, slandered as “old-fashioned,” and replaced. The goal was never inclusion; it was replacement.

Phase Three: The Hidden Hand of ESG​

The question remains: why would publicly-traded companies so willingly sabotage their own products and alienate their core audience? The answer is not found in the newsroom or the development studio, but on Wall Street. The movement had a powerful, silent partner: the ESG (Environmental, Social, and Governance) framework.

While activists played the role of the yelling protestors outside the gate, asset management behemoths like BlackRock and State Street were the ones who quietly handed the company’s boardroom a simple, brutal choice: comply or be financially punished.

The “S” in ESG—Social—became the weapon. A company’s “social” score was heavily weighted on its diversity, equity, and inclusion (DEI) metrics. This was not a suggestion; it was a financial imperative.

• A Poor ESG Score Meant: Restricted access to capital, higher borrowing costs, negative analyst reports, and pressure from institutional shareholders. For a publicly traded company like Activision Blizzard, this was an existential threat.
• A Good ESG Score Meant: Praise from analysts, easier access to cheap investment, and insulation from activist shareholder proposals.

The “Phantom Female Gamer” demographic was the perfect public relations shield for this financial shakedown. Executives could go to their shareholders and say, “We’re not caving to fringe activists; we’re strategically pivoting to a new, larger market!” They could point to the fraudulent demographic data and claim they were simply being good capitalists.

In reality, they were surrendering their creative sovereignty to a new form of stakeholder capitalism, where the most important “stakeholders” were no longer the customers who bought the games, but the fund managers who rated their stock. They weren’t serving players; they were serving their ESG score.

This explains the speed and uniformity of the collapse across the entire industry. It wasn’t an organic shift in consumer taste. It was a coordinated financial pressure campaign that used ESG as a crowbar to pry open studios and force the ideology inside. The invisible hand of the market was replaced by the very visible fist of social credit, and it closed around the throat of the gaming industry.

Conclusion: The Corpse of a Kingdom, Ruled by Phantoms​

We are left surveying the corpse of a kingdom. The vibrant, creative, and unapologetic world of video games has been conquered, not by a rival entertainment form, but by a parasitic ideology enabled by financial blackmail.

It began with a lie: the invention of the “Phantom Female Gamer,” a statistical fiction designed to morally justify a hostile takeover. This lie was weaponized by a captured media corps that abandoned journalism for activism, shaming developers and players into submission. The product itself was corrupted: gameplay neutered, narratives subverted, and beloved franchises hollowed out to serve a political agenda.

But the conquest was not complete until the invaders seized the means of production. Under the banner of “representation,” they executed a demographic coup within the studio walls, replacing meritocracy with discriminatory quotas and veteran talent with ideological compliance. Finally, the hidden hand of ESG provided the financial motive, turning Wall Street into the unwitting enforcer of this cultural revolution, punishing studios that dared to serve their audience instead of a spreadsheet.

The result is an industry that has committed ritual suicide. It abandoned the players who built it to chase a phantom audience that never existed, and in the process, it lost the magic, the skill, and the soul that made it great. The citadel has fallen. The halls are now occupied by the very people who despise its original purpose.

The path forward is not for the faint of heart. It requires a deliberate and defiant secession. It means supporting independent studios that prioritize craft over compliance, and investors brave enough to value talent over ESG scores. It means remembering that a game’s value is measured in the depth of its systems and the strength of its art, never in the checkboxes of its creators or its characters.

The revolution was a scam. The king is dead. It is time to build a new kingdom, one where phantoms are not welcome, and games are once again made for gamers.


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

​

 

[Bloodstained]

Sweet Baby Inc.’s DEI Overhaul​

In a little over a year, Sweet Baby Inc. has completely overhauled its website to eliminate most of it’s pro-DEI verbiage.

When DEI Detected emerged in 2024, it was no secret that not only was Sweet Baby Inc. pushing diversity, equity, and inclusion narratives in video games, but they were bragging about it.

‘We’re part of an inclusive and knowledgeable community of diverse consultants, able to cover a wide range of cultural and sensitivity topics. Our approach leads with the creation of joy in marginalized players…’​

Today, most of SBI’s website is gutted. There are no tabs for “Projects,” “Approach,” or “Outreach” that were visible in 2024. In fact, they don’t even offer a newsletter anymore; but the internet never forgets. No matter what their team says, the company always put diversity at the forefront of its projects.

“Our mission is to tell better, more empathetic stories while diversifying and enriching the video games industry,” the front page used to say. “We aim to make games more engaging, more fun, more meaningful, and more inclusive, for everyone.”

SBI boasted that its process included providing a “multitude of perspectives” while bringing “diverse voices” on-board to “solve diverse problems.”

Other services included: “Cultural Consultation, Sensitivity And Inclusivity Reading, Risk and Opportunities Assessment, and more.”

Additionally, SBI said it could “assemble and lead” teams of “new and marginalized voices,” on top of promoting near-limitless resources for “new and marginalized talent” who have the potential to “change this industry if given the proper support.”

Included on their “Outreach” page, SBI positioned itself as being dedicated to fostering new talent in the gaming industry. Along with providing resources, the company said it can get the industry “where it needs to be” by developing “diverse talent,” and (hilariously) “transparent industry dialogue.”

The company also listed portfolio reviews, mentorships, and workshops, as being available to the right person. Under a small “Baby Q&A” section, one question was answered by a “narrative designer + inclusion editor.”

Sweet Baby Inc website in 2024. Via Web Archive​

Terms like “diversity” and “representation” were rampant on the site, especially on the “Approach” page where an entire section was dedicated to “Representation.”

“We believe that representation is key to connecting players and audiences,” the website read. “We’re part of an inclusive and knowledgeable community of diverse consultants, able to cover a wide range of cultural and sensitivity topics. Our approach leads with the creation of joy in marginalized players, and seeks to be additive rather than strictly corrective.”

Any idea that SBI was never a key driver in DEI for huge franchises is not only absurd, but it’s insulting. Their former list of projects included everything from reads to complete development.

For major studio games like Alan Wake II, SBI said it worked on character arc, voices, and even provided a sensitivity reading. For God of War: Ragnarök, the company said it worked on narrative and character consultation, “with a focus on representation.”

For other games, SBI cited “narrative direction” and even “world-building,” implying a heavy hand in the production. This, in addition story consultation on franchises as big as Spider-Man 2.

Suicide Squad: Kill the Justice League — which was of course a massive failure — actually allowed SBI to do its “banter” and cut scenes. For one game called Lost Your Marbles, SBI said it did the “full game development.”

Very rarely is a DEI consultation company willing to admit to what it does; typically, when these types of consultations are brought up, the narrative-destroyers deny having any significant input and chalk up criticisms to generic forms of hate. This happens almost uniformly across the industry.

No matter how many times they use terms like “marginalized voices,” influence over DEI-injection and repulsive narratives/characters is consistently rejected, because they know *allegedly* that what they are doing is politically motivated.


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

​

 

[OUTKAST]

A equipe do Steam se pronunciou sobre o motivo pelo qual os jogos têm sido rejeitados ultimamente.

A resposta da equipe do Steam foi: "Imagens da parte traseira de uma mulher são de fato de natureza sexual, independentemente do que ela esteja vestindo".

Em resumo, mulheres vestindo roupas são suficientes para que seu jogo seja censurado e removido do Steam.

Isso não pega bem para a Valve "Steam".

​

 

[Bloodstained]

A equipe do Steam se pronunciou sobre o motivo pelo qual os jogos têm sido rejeitados ultimamente.

A resposta da equipe do Steam foi: "Imagens da parte traseira de uma mulher são de fato de natureza sexual, independentemente do que ela esteja vestindo".

Em resumo, mulheres vestindo roupas são suficientes para que seu jogo seja censurado e removido do Steam.

Isso não pega bem para a Valve "Steam".

​

A seguir: desenvolvedores fazem jogos sem personagens do sexo feminino para escapar da censura fora de controle.

 

[Zumax]

Ué, eu podia jurar de pés juntos que quando falávamos isso da Sweet Baby Inc éramos chamados de loucos, teóricos da conspiração, etc, etc, etc.

NUNCA de moral para perdedores , "gente" estupida que parece ter o dom de errar. O tempo sempre se encarrega de esfregar na cara.

 

[Madrux]

A equipe do Steam se pronunciou sobre o motivo pelo qual os jogos têm sido rejeitados ultimamente.

A resposta da equipe do Steam foi: "Imagens da parte traseira de uma mulher são de fato de natureza sexual, independentemente do que ela esteja vestindo".

Em resumo, mulheres vestindo roupas são suficientes para que seu jogo seja censurado e removido do Steam.

Isso não pega bem para a Valve "Steam".

​

E vocês esperavam o quê? É a mesma Valve que dobrou o joelho para uma empresa lixo militante chamada Collective Shout.

Cada vez mais exalto a GOG, que abraçou LoveR Kiss que a Steam removeu.

 

[Bloodstained]

Marvel Reaffirms Long-Term Partnership With Sweet Baby-Aligned Insomniac Citing Shared “Values”​

Marvel Games has officially confirmed that its collaboration with Insomniac Games isn’t ending anytime soon. In a new interview with Game Informer, Marvel Games General Manager Haluk Mentes said the company plans to continue working with the Spider-Man and Wolverine studio “for many years to come.”

This renewed commitment between Marvel and Insomniac follows a decade of partnership that’s produced some of PlayStation’s biggest modern hits — Marvel’s Spider-Man, Miles Morales, and Spider-Man 2 — with Marvel’s Wolverine now targeting a fall 2026 release.

“We have been working together for more than a decade and developed such a shorthand across multiple Marvel’s Spider-Man games that when the time finally came to bring Logan back in spectacular and visceral fashion, it was obvious to everyone on our team that Insomniac was the perfect choice,” Mentes told Game Informer.

“It was our shared culture and values that brought us together, and we’re so proud to continue collaborating for many years to come,”

That confirmation alone is major news. But for many fans, it raises a bigger question — what kind of “values” are Marvel and Insomniac planning to carry forward?

Sweet Baby Inc. and the Progressive Shadow Over Insomniac​

Longtime PlayStation fans still remember when Sweet Baby Inc. publicly announced it was working with Insomniac on Spider-Man 2 and Wolverine back in 2021. The Montreal-based narrative consultancy firm markets itself as a champion of “inclusivity and storytelling equity.” Yet in recent years, its influence has become one of gaming’s most polarizing subjects.

For some players, Sweet Baby’s approach represents creative diversity. But for many others, it’s a sign that studios are injecting political ideology and virtue signaling into beloved franchises — often at the expense of story and gameplay.

Now, with Wolverine on the horizon, fans are wondering: are the same consultants steering the narrative?

Sweet Baby Inc.’s website has since been stripped down to a single landing page listing only select past projects. The company’s radio silence — coupled with a lack of clear credits from Sony or Insomniac — has only deepened speculation that SBI might still be quietly involved in Wolverine.

​

Earlier this year, the YouTube channel Gothic Therapy, which has become the source for Sweet Baby Inc. news, reported that Sony had canceled multiple projects allegedly due to SBI’s involvement — but their presence on Wolverine is rumored to persist. So that begs the question, is Marvel’s commitment to continuing with Insomniac actually Marvel continuing to work with Sweet Baby Inc.?

Marvel’s Balancing Act​

The Insomniac Marvel partnership illustrates a tension that’s been growing industry-wide: creative freedom versus ideological branding.

Marvel and PlayStation both face pressure to prove that their storytelling isn’t being outsourced to activist consultants — especially as companies like Ubisoft, Naughty Dog, and even Square Enix have all been accused of prioritizing representation over resonance.

For Insomniac, the challenge is even steeper. The studio’s reputation was built on fun, kinetic gameplay and character-driven emotion. Fans fear that an overreliance on “narrative consulting” could transform those experiences into moral lectures.

The Bottom Line​

Marvel’s confirmation that it will continue partnering with Insomniac “for many years to come” is exciting for some and cautionary for others. It reminds fans that ideological drift — real or perceived — can threaten even the most trusted studios.

Until Wolverine releases, players are left to wonder: will Insomniac’s next chapter deliver the grit and heart that made the first Spider-Man a hit, or another round of corporate-approved moralism?


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

 

[Astrus Maximus]

Marvel Reaffirms Long-Term Partnership With Sweet Baby-Aligned Insomniac Citing Shared “Values”​

Marvel Games has officially confirmed that its collaboration with Insomniac Games isn’t ending anytime soon. In a new interview with Game Informer, Marvel Games General Manager Haluk Mentes said the company plans to continue working with the Spider-Man and Wolverine studio “for many years to come.”

This renewed commitment between Marvel and Insomniac follows a decade of partnership that’s produced some of PlayStation’s biggest modern hits — Marvel’s Spider-Man, Miles Morales, and Spider-Man 2 — with Marvel’s Wolverine now targeting a fall 2026 release.

“We have been working together for more than a decade and developed such a shorthand across multiple Marvel’s Spider-Man games that when the time finally came to bring Logan back in spectacular and visceral fashion, it was obvious to everyone on our team that Insomniac was the perfect choice,” Mentes told Game Informer.

“It was our shared culture and values that brought us together, and we’re so proud to continue collaborating for many years to come,”

That confirmation alone is major news. But for many fans, it raises a bigger question — what kind of “values” are Marvel and Insomniac planning to carry forward?

Sweet Baby Inc. and the Progressive Shadow Over Insomniac​

Longtime PlayStation fans still remember when Sweet Baby Inc. publicly announced it was working with Insomniac on Spider-Man 2 and Wolverine back in 2021. The Montreal-based narrative consultancy firm markets itself as a champion of “inclusivity and storytelling equity.” Yet in recent years, its influence has become one of gaming’s most polarizing subjects.

For some players, Sweet Baby’s approach represents creative diversity. But for many others, it’s a sign that studios are injecting political ideology and virtue signaling into beloved franchises — often at the expense of story and gameplay.

Now, with Wolverine on the horizon, fans are wondering: are the same consultants steering the narrative?

Sweet Baby Inc.’s website has since been stripped down to a single landing page listing only select past projects. The company’s radio silence — coupled with a lack of clear credits from Sony or Insomniac — has only deepened speculation that SBI might still be quietly involved in Wolverine.

​

Earlier this year, the YouTube channel Gothic Therapy, which has become the source for Sweet Baby Inc. news, reported that Sony had canceled multiple projects allegedly due to SBI’s involvement — but their presence on Wolverine is rumored to persist. So that begs the question, is Marvel’s commitment to continuing with Insomniac actually Marvel continuing to work with Sweet Baby Inc.?

Marvel’s Balancing Act​

The Insomniac Marvel partnership illustrates a tension that’s been growing industry-wide: creative freedom versus ideological branding.

Marvel and PlayStation both face pressure to prove that their storytelling isn’t being outsourced to activist consultants — especially as companies like Ubisoft, Naughty Dog, and even Square Enix have all been accused of prioritizing representation over resonance.

For Insomniac, the challenge is even steeper. The studio’s reputation was built on fun, kinetic gameplay and character-driven emotion. Fans fear that an overreliance on “narrative consulting” could transform those experiences into moral lectures.

The Bottom Line​

Marvel’s confirmation that it will continue partnering with Insomniac “for many years to come” is exciting for some and cautionary for others. It reminds fans that ideological drift — real or perceived — can threaten even the most trusted studios.

Until Wolverine releases, players are left to wonder: will Insomniac’s next chapter deliver the grit and heart that made the first Spider-Man a hit, or another round of corporate-approved moralism?


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

O trailer vai dizer um bocado se a Sweet Baby diminuiu o nível da lacração (vai ter, ninguém se engane) para “apenas” história ou se tudo vai lacrar e não lucrar.

Torço pelo último.

 

[Bloodstained]

​

É sempre... a mesma... história.

 

[Bloodstained]

Numerous Woke Activists Laid Off Amid Square Enix Restructuring​

A number of woke activists, who had found employment at Square Enix, are being laid off after the company announced a new restructuring plan where it aims to save over $19.4 million annually.

Square Enix announced this new restructuring initiative as part of its progress report on its medium-term business plan, “In the current fiscal year, a fundamental restructuring of the overseas publishing organization is being implemented with the aim of further strengthening global publishing capabilities and improving operational efficiency.”

The company added, “Implementation of structural reforms in overseas publishing organizations to further strengthen global publishing capabilities and improve operational efficiency.”

“Under the policy of shifting from quantity to quality, a selective and focused approach is being implemented,” the report continued. “As a result of reviewing development titles and development structures in overseas operations, a restructuring expense of 11.8 billion yen is expected to be recorded in the fiscal year ending March 2026.”

This restructuring process aims “to strengthen development capabilities from a Group-wide perspective and to optimize resource allocation for maximizing the value generated by IPs.”

Additionally, the company conducted a review of its development pipeline and determined “to close overseas development studios and shift toward consolidating development functions in Japan.”

Furthermore, it is also having its IP management become globally integrated after it was “previously overseen by overseas development studios.”

Finally, the company declared, “development support functions and personnel allocation, both in Japan and overseas, will be reviewed from the perspective of overall Group optimization.”

As part of this restructure a number of woke activists shared on social media that they have either resigned from the company or been laid off. The company’s Chief Publishing Officer and Head of the Western Branch of Square Enix John Heinecke announced his resignation. He wrote on LinkedIn, “Yesterday I announced to my team at Square Enix that I have decided to resign from my role as Chief Publishing Officer effective on November 21st.”

In another post he revealed over 180 employees were laid off as part of the restructure, “Yesterday, a significant number of Square Enix employees across our London and Los Angeles offices were informed that their roles were being eliminated. This will add over 180 extremely talented professionals to the already long list of those impacted industry-wide by a changing and challenging gaming market landscape.”

Heinecke had previously responded to one individual who called for employees who had embraced woke ideology to be fired by writing, “Oh piss off.”

Heinecke was not the only woke activist at Square to exit the company. As initially discovered by TheReunionVII. They include Global PR Manager for Life is Strange Izzy Jagan, who was at the company for 5.5 years and features a rainbow flag and black power fist in her X bio.

Jagan also did an interview with Gayming Mag making it clear her goal entering the video game industry was to push DEI, “I was under no illusion that I couldn’t change it alone, but I knew I couldn’t be the only one who wanted to make a change – so I went into it with the goal to meet people in the industry who I shared common ground with to join forces

Additionally, an entry on the Square Enix Collective page notes, “Izzy’s love for video games has been lifelong, and her passion is doubled by the drive to bolster Diversity, Equity and Inclusion in all areas of the video games industry. Her goal being to play even a small part in making the industry accepting and welcoming to all.”

Sanda Chau, who is an Ambassador for the feminist activist group Women in Games, announced her job is at risk, “Hi everyone! Sadly my current role is at risk so I’m seeking new opportunities and would appreciate your support.”

To be clear, Women In Games’ first sentence on its About Us page is, “We are activists.”

The group adds, “s. We believe that getting more women into games and esports should be framed as a national, international and strategic priority, a business case for stronger teams, better insights, innovative new products. We believe in more people, more diversity and more perspectives.”

Niralee Modha, a Marketing Manager, announced she was laid off as well, “Sadly, it’s my turn to say that I have been impacted as part of the latest restructure at Square Enix and my current role is at risk of redundancy, as are many of my talented colleagues. Even though this isn’t the ideal outcome, I’m hopeful that it will mark the beginning of a new and exciting chapter.”

Back in 2021, Square Enix spotlighted her with a quote on X that read, “Being a person of colour and a woman in the industry I feel it’s important to represent my heritage and make my voice heard.”

Global Brand Manager Anne-Lou Grosboi-Favreau announced she left the company. She was a LimitBreak Mentor in 2023 and 2024. LimitBreak describes itself as “the largest mentorship program for marginalised people working in the UK Games industry.”

Grosboi-Favreau shared on LinkedIn, “On the eve of my 5-year anniversary at Square Enix, I’m sad to announce I’ve left the External Studios team! I’ve met a lot of exceptional people and made some lifelong friends, so it’s been an emotional goodbye for me, but it was time to move on.”

While a number of woke activists are getting laid off and leaving the company, Square Enix still lists Diversity, equity and inclusion as important to the company on its website. It reads, “The Square Enix Group believes in the importance of fostering diverse and inclusive workplaces - across the many rich facets of the human experience, including nationality, race, religion, thought and creed, age, gender, sexual orientation, and physical condition.”

“All of our locations work to increase representation, and promote diversity, equity, and inclusion across such areas as recruiting, training, teambuilding, and employee activities. We are encouraged by the progress we’ve seen through the years in the areas of diversity, equity, and inclusion, and continue to prioritize our work in this area,” it concludes.

Additionally, the company says, “We also create opportunities for education, inspiration, and awareness of the rich backgrounds, cultures and contributions that make up our diverse world including our workforce. Our initiatives include multiplatform campaigns, cultural spotlights (including for African American History Month, Women’s History Month, Pride Month, and AAPI Heritage Month), and the work of our Pride and Women in Gaming employee resource groups.”


Fonte

 

[Krion]

Olhem este absurdo do novo trailer do "Tides of Annihilation", os devs. do estúdio chinês "Eclipse Glow Games" realmente querem colocar personagens belas em seus games.
Por quê será, que não querem seguir o exemplo dos estúdios AAA ocidentais, e "embarangar" suas personagens.

 

[Casual]

Primeira coisa que vejo num joguinho é: ao qual país o estúdio pertence; se for da zoropa ocidental ou américa do norte, eu simplesmente pulo para o próximo. Nem fodendo que vou dar minha grana pra esse bando. Por hora vem funcionando a mitigar lixo na indústria de entretenimento.

 

[:Fofo:]

Tão dizendo que as NPCs no remake de Gothic já não estão tão agradáveis como no original...

Será?

 

[yage]

Cara de tonhão.

 

[Senhor do nada]

Parecem aquelas putas velhas que ninguém quer mais e ganham 5 reais por caridade.

Aliás, achei 5 reais na rua hoje.

 

[YSolaire]

Tão dizendo que as NPCs no remake de Gothic já não estão tão agradáveis como no original...

Será?

O primeiro Gothic se passa num tipo de prisão e todas as mulheres do jogo são escravas que foram levadas para lá para "entreter" o lider do lugar. As roupas que elas usam no jogo original faz sentido com a historia do jogo.

É fanservice? É, mas é um que tem sentido. Elas estão lá para literalmente ser "eye candy", e fazerem favores sexuais para o líder do lugar.

 

[Astrus Maximus]

Olhem este absurdo do novo trailer do "Tides of Annihilation", os devs. do estúdio chinês "Eclipse Glow Games" realmente querem colocar personagens belas em seus games.
Por quê será, que não querem seguir o exemplo dos estúdios AAA ocidentais, e "embarangar" suas personagens.

Infelizmente passei da época de jogos rápidos, mas adorei ver a jogabilidade.

 

[Krion]

É disso que a galera gosta

Lords of the Fallen 2 Will Have ‘Attractive Female Characters’ in ‘Revealing Outfits’, CEO Says​

Lords of the Fallen 2 Will Have 'Attractive Female Characters' in 'Revealing Outfits', CEO Says

In a recent post on social media, the CEO at CI Games confirmed that Lords of the Fallen 2 will have 'attractive female characters'

insider-gaming.com