New ‘Dragon Age’ Video Game Indulges Trans Delusion With Avatar ‘Top Surgery Scars’ Option

[rebelmouse-proxy-image https://thefederalist.com/wp-content/uploads/2024/09/Screenshot-2024-09-24-at-11.19.45 AM-1200x675.png crop_info="%7B%22image%22%3A%20%22https%3A//thefederalist.com/wp-content/uploads/2024/09/Screenshot-2024-09-24-at-11.19.45%5Cu202fAM-1200x675.png%22%7D" expand=1]The transgender character creation elements in 'Dragon Age: Veilguard' reveal the left’s pathetic obsession with self-victimization and identity politics.

Blaze News original: Game industry veteran canceled for pro-life views helping Christian developer launch biblical blockbuster



Game developer Bible X, an Oslo-based game studio founded in 2020 as part of BCC media, is developing a semi-open world video game set in ancient Israel that is sure to generate major waves in an industry valued at over $240 billion.

While Gate Zero has multiple distinguishing features, what primarily sets it apart from other titles in the historical adventure genre is that it centers on the most important story worth telling: that of a certain Nazarene whose life, death, and resurrection forever changed the fate of mankind and serve as a reference point by which all nations still mark the years of lesser events.

'I truly believe this game can and likely will be one of the biggest things for spreading the gospel — maybe not just only this game, but the start of what this game is doing — since the printing press.'

Gate Zero is hardly the first faith-based game. However, its developers are set on making it the first proper Christian blockbuster — accomplishing for the medium what "The Chosen" and "The Passion of the Christ" managed for TV and film, respectively.

Blaze News discussed the project with Bible X's head of studio and game designer Arve Solli last year and previewed a compelling prototype of the game, which was then touted as an opportunity to "travel back in time to explore ancient Israel, interact with Gospel stories, and examine the deeper meaning of Jesus' words."

In the months since, Bible X has made several bold moves to maximize quality and impact, including the onboarding of John Gibson, an industry veteran who stepped down as CEO of Tripwire Interactive after radicals targeted him for ruin and exile in 2021 over his support for the unborn.

Solli and Gibson spoke to Blaze News this week about mainstreaming the Bible in the video game industry, the current state of the game, Bible X's fundraising efforts stateside, and remaining obstacles.

From exile to Bible X

Bible X announced in January that Gibson had joined the team as executive game consultant.

Gibson indicated that while the opportunity was providential, his path to accept it was anything but smooth or direct.

"It was kind of funny. Every time I opened social media, I was seeing ads for the game Gate Zero. It was like God was tapping me on the shoulder saying, 'You should check this out.' And I kept ignoring it and ignoring it," said Gibson.

Finally, he relented and messaged the company, noting, "I'm John Gibson. I've been developing games for a while. If any of my experience is valuable, I'd be happy to contribute."

Gibson boasts decades of experience, having worn many hats while leading Tripwire, a Georgia-based video game company he co-founded in 2005, which has sold tens of millions of games. He brought multiple well-received titles to market, including Maneater, Chivalry 2, and Rising Storm, as well as the Red Orchestra and Killing Floor franchises.

Gibson recalled that "Arve responded and said, 'I hope you don't mind me saying this: we've been praying for someone like you to come along.'"

Tragedy and misfortune had evidently primed Gibson to lean into the moment.

"I took a break from games for a while," he told Blaze News. "Just to be candid, it was a very difficult thing that I went through. … One of the things I haven't said on Tucker Carlson or some of those interviews, I don't believe, is that almost five family members — right after that whole crisis happened — including my mother at 66 years old, and my little sister at 44, just back to back to back every couple of weeks, somebody died, and it was traumatic."

Blaze News previously reported that after the U.S. Supreme Court declined to block Texas’ pro-life heartbeat law, Gibson tweeted, "Proud of #USSupremeCourt affirming the Texas law banning abortion for babies with a heartbeat. As an entertainer I don't get political often. Yet with so many vocal peers on the other side of this issue, I felt it was important to go on the record as a pro-life game developer."

Gibson told Blaze News that he had seen many of his peers in the industry condemning the law but no one daring to laud it.

"I wasn't trying to go on a big crusade," said Gibson. "But apparently I properly combined uranium to create a nuclear explosion on Twitter."

Not only was he viciously attacked online, but at least one company that conducted business with Tripwire — Shipwright — announced it was canceling all existing contracts with his company.

Various other outfits piled on, making sure to let everyone else know they disagreed with the gaming veteran's opinion and that they supported abortion.

In a statement indicating that Gibson had stepped down as CEO just over two days later, the company he co-founded even apologized on his behalf.

When asked whether he felt a little bit like Job — whether this bout of misfortune was a test of his faith — Gibson told Blaze News, "It was a crisis for me because I’m a fighter and a person of action. And when this all went down, and I get a lot of pushback from other conservatives and believers on this, but my initial reaction was to fight."

Gibson indicated that after his unceremonious exit from Tripwire, he hired one of President Donald Trump's former attorneys, intending to go on the legal warpath.

"I'm like, 'Let’s go. You want to fight? You're going to have one,'" said Gibson. "And I had absolutely no peace at all. I felt in those first few days that God was telling me to take the path of peace. I could fight and I could probably win, but the end result would be better if I just followed what He wanted to do."

Gibson indicated that it was a "battle every single day." Then came the decision to sell Tripwire to Saber Interactive.

"This was 20 years of blood, sweat, and tears," said Gibson, noting that to first get the company going, he borrowed against everything he owned, missed time with his family, and sank months of 100-hour work weeks.

After some soul-searching and counsel from a mentor, Gibson signed the contract, parting ways with his company.

Months later, he heeded the apparent tap of the divine on his shoulder, got in touch with Solli, and met the team in Norway. Shortly thereafter, he joined Bible X on a project he now figures could very well be "one of the biggest things for spreading the gospel" — something Solli noted is critical at a time of dismal Bible illiteracy.

Pulling out all the stops

Solli previously told Blaze News, "We want to create something great because we believe it's the greatest message ever told," adding that "the Christian message deserves to have the same amount of effort, if not more" than other works of entertainment.

This was a factor not only in seeking greater investment but also in adding Gibson to a team that includes individuals who previously worked at Rockstar Games on the Grand Theft Auto franchise and on Red Dead Redemption 2, as well as on the Thief and Assassin's Creed series.

"That's been the goal all the time: to bring on the best people with the best experience and the burning heart for this type of project," said Solli.

Blaze News previously asked Dr. Kevin Schut, a professor of media and communication at Trinity Western University and the author of "Of Games & God: A Christian Exploration of Video Games," about Christian video games and their apparent inability to break into the mainstream.

While the industry's aggressive and transgressive culture has long been a factor, Schut noted that "few developers of explicitly Christian games have either the experience or resources to make really high-quality games."

Bible X appears to be breaking the pattern.

Gate Zero - Screenshot from early demo

Solli noted that Gibson has brought 20-plus years of experience as a founder CEO, game developer, designer, and programmer, as well as his industry network.

"As a startup and as an indie developer — there's a lot of small challenges every day," said Solli. "The more we can shorten the decision time and shorten the time it takes to go from the wrong direction in the right direction, the more effective[ly] we can spend all the money we're using to create this game."

Gibson indicated that there were two preconditions for his involvement in the project.

First, he had to know that the team he would be working with had "the skills and the desire to make an undeniably great game, because not everybody has the skills and not everybody has the drive to do something that successful."

Second, he said Bible X would have to double its budget on Gate Zero to maximize quality and ensure that the game was a knockout.

Bible X had already satisfied the first condition and agreed to satisfy the second. However, the increased budget meant finding new ways to raise funds.

Previously, Bible X successfully crowdfunded several hundred thousand dollars in campaigns for the game on Indiegogo and Kickstarter.

"Since we talked last time, we have started an organization in the U.S. called NextGen Bible Media. The goal there is to first and foremost fund-raise for [Gate Zero], but later on, possibly for other games," Solli told Blaze News.

Bible X appears to be crafting a game that satisfies the expectations of conventional gamers while also delivering biblical content they will never have seen before.

NextGen Bible Media is a nonprofit registered through the Florida Department of Agriculture and Consumer Services set up to help fund the Gate Zero project in BCC Media. According to the NextGen Bible Media page, which has an option for tax-deductible donations, the project is already 49% funded.

"This is marking great progress, but we need additional support to reach the full target and bring this vision to life," said Solli.

Gibson noted that he is among the donors.

"I am a significant backer of Gate Zero. I'm putting my money where my mouth is," said Gibson. "I'm not just asking people to donate. I'm saying, 'Come alongside me and also donate because — and Arve talks about this a lot — Bible literacy is going down."

According to the American Bible Society's State of the Bible 2024 report, the percentage of American adult Bible users (defined as those who interact with scripture at least three or four times a year outside church or faith services) bounced around 50% for several years but then plunged to 40% in 2022. That downward trend has continued, falling to 39% last year and 38% this year.

Of Millennials, 12% are scripture-engaged, whereas 65% are Bible disengaged. While slightly less Bible-disengaged than the older cohort (61%), Gen Z adults are the least scripture engaged at 11%.

"We have an entire generation that's not engaging with the Bible," said Gibson, noting that such a game would constitute a massive evangelizing opportunity.

"I truly believe this game can and likely will be one of the biggest things for spreading the gospel — maybe not just only this game, but the start of what this game is doing — since the printing press," continued the gaming veteran. "This is how the next generation interfaces with media. Video games are bigger than all of professional sports combined. Video games make more revenue than all of movies and television. So it’s a shame that no one has gotten there yet, but it's time."

When asked whether Bible X has partnered with religious organizations and churches stateside, Solli said, "We haven’t done that yet, but it's definitely an opportunity."

Bill Donohue, president of the Catholic League for Religious and Civil Rights, previously told Blaze News that "any medium that offers an accurate account of the biblical story and encourages young people to grow in the Christian faith should be welcomed by Christians. With proper parental guidance, it can serve as a platform for more serious study. Gate Zero promises to do just that."

Although Donohue admitted to a limited exposure to Gate Zero, he indicated that it "would be an important cultural marker" should it break into the mainstream. "Young people, especially boys, are being inundated with morally debased videos, so wholesome alternatives are badly needed."

"Some parents may carp that this is not a blue-chip medium, but if a video game presents a realistic opportunity to evangelize the young, its unconventional approach should not be a factor," added Donohue.

The game — and how it has evolved

The version of the game previewed by Blaze News late last year kicks off in a cyberpunk dystopia in the year 2072. Current trends were clearly left unchecked because the soulless society of the 2070s appears to be bereft of Christianity.

Max, the playable teen protagonist, uses his time machine, Gate Zero, to travel back to the first century as part of a resistance group, keen on challenging a corrupted version of history. There, Max explores ancient Israel and follows Christ's ministry in ancient Judea and Galilee.

The sci-fi framing not only coheres the game but permits Bible X to avoid dragging two millennia of social and political baggage into the game.

"The intent behind the time machine is to bring the player back to Year Zero, back to Jesus, and to talk to the Author, basically," said Solli. "The game takes players back to the source, back to Jesus, because we believe that connecting with Jesus is what people really need today. This journey allows players to explore their own questions and find help for their current challenges."

Gate Zero - Screenshot from early demo

"We tried to weave together the story of our player character with the stories from Jesus," Solli previously told Blaze News. "They have certain meeting points where they connect, and then you can explore."

The player is free to explore an intricately detailed world that clerics, archeologists, historians, and other scholars have worked with the Bible X team to ensure is both historically and biblically accurate.

Gate Zero is not, however, a mere virtual museum. The player has agency, is met with both purpose and danger, and is rewarded for curiosity.

'We just have to do our job and be humble every day. Be humble and work hard. That's our secret ingredient.'

Since Blaze News last spoke to him in November, Solli indicated that he and his team at Bible X have been working on the core of the game and strengthening the game loop to ensure that "it's an undeniably great experience."

When pressed on specifics, Solli noted they have been working on action, stealth, and traversal mechanics, as well as on conducting further research to incorporate additional stories into the game.

Gibson said early iterations may have come across as high-quality walking simulators, but the game has radically evolved.

"We want the action parts of the game to be amazing, making it on par or better than other games in these genres," said Gibson, citing Assassin's Creed and The Legend of Zelda: Breath of the Wild as two examples. "We want the action parts to be on par with that, so that when players play it, they might come into the game going, 'I don't care about the stories, but I hear the game plays really good.'"

"One of the big improvements from what people have seen in the Kickstarter demo is the abilities that Max has to traverse the world," said Gibson. "He's climbing, jumping, and balancing on beams and has some really cool special abilities that we're not quite ready to reveal yet."

Bible X appears to be crafting a game that satisfies the expectations of conventional gamers while also delivering biblical content they will never have seen before — certainly not in a game.

Solli indicated that the primary market the company aims to target is the U.S. and English-speaking countries. However, owing to the committed and ever-growing community, he suspects that the game will be localized and translated into roughly 12 languages on day one.

As for immediate next steps, Solli said, "We just have to do our job and be humble every day. Be humble and work hard. That's our secret ingredient."

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After Woke ‘Star Wars’ Release, Ubisoft Stock Hits 9-Year Low

Adding race and sex politics to ‘Star Wars: Outlaws’ and ‘Assassin’s Creed: Shadows’ has not gone well for game maker Ubisoft.

DEI game funded by taxpayers bombs as players are encouraged to 'cancel' each other for racism



A video game that received a reported $1.4 million from the Norwegian government has immensely underperformed after gamers exposed the strange diversity-driven game mechanics.

Dustborn, created by Red Thread Games, was published by the company Spotlight by Quantic Dream. Quantic Dream is a French subsidiary of NetEase, a Chinese technology company out of Hangzhou, China.

Just two weeks into its release, Dustborn became a gigantic flop after gamers became aware of how much diversity, equity, and inclusion is jammed into the game.

The story involves a female character who essentially uses left-wing ideology to defeat enemies across the "Divided States of America."

'We have zero tolerance for hate speech, harassment, and threats of any kind.'

An X post revealed at least four skills players can use in the game.

This included "cancel," which is described as the following: "We've learned how to CANCEL someone."

"CANCEL will allow us to isolate people from their friends and compatriots. In battle, this could be a useful tool against enemies."

"Normalize" is also an option that allows users to "normalize negative emotion."

Other skills include "bully" and "sow discord."

Gameplay footage uploaded online showed off hilarious scenes that allow the user to get offended.

In one scene, a police officer asks the main character about a "black kid" she knows and if he has any information. The player is immediately given the ability to use the "trigger" function, which results in her saying, "You are racist!" to the cop.

In another portion of the game, the player is given no choice but to be cruel to a robot who is trying to give the main character a ride.

A caption reads "that machine is not coming near us," as the character freaks out and says, "Don't touch me!"

It should also be noted that the robot also has preferred pronouns.

Unfortunately, these game mechanics weren't meant to be funny.

'We have a point of view with this game.'

Just days into its launch, Dustborn's engagement on gaming platform Steam has been abysmal. At the time of this publication, it had peaked at just 76 concurrent players.

If this were an independent game, it would be one thing, but Dustborn received a reported 14 million kroner ($1.4 Million USD) from the Norwegian government/taxpayer and another €150,000 ($166,000 USD) from the European Union.

According to game developer Mark Kern, the Norwegian Film Institute raised the money while the EU contributed through its Creative EU grant program.

Gaming outlets have averaged a score of 68% in their reviews for Dustborn, while 374 user reviews on Metacritic have averaged an outstanding 1.1/10.

The backlash caused Red Thread Games to state what it sees as disrespectful criticism.

"We expected Dustborn to spark conversation and debate, and looked forward to engaging with our players in a positive and constructive fashion," the developers wrote. "Unfortunately, that conversation has been drowned out by a tidal wave of hate and abuse."

"We embrace discussion and debate. But we have zero tolerance for hate speech, harassment, and threats of any kind," the statement added.

The developers then called for a world where everyone can feel "valued and empowered to share their stories."

— (@)

"The developers made it clear they were inspired to create the game based off the 2016 Presidential campaign," said John F. Trent, editor for culture site That Park Place. "They also attempted to normalize immoral and evil behavior through its game mechanics such as the ability to 'cancel' people."

"It's a great thing that the game failed spectacularly and many gamers did not purchase it nor play it," Trent added.

Brazilian website DEI Detected called the game an actual representation of DEI itself. The site pointed out the game's "forced diversity, virtue signaling" and a "(woke) political agenda."

The outlet described Dustborn as having a "soy-filled" combat mechanic in which gamers fight with the power of words, based on the premise that words can hurt.

Any discussion as to whether or not that game was politically motivated from a leftist stance can be put to rest simply by referring to Red Thread studio leader Ragnar Tørnquist. In 2020, Tørnquist told outlet VG247 the following:

"We have a point of view with this game," Tørnquist said. "We're not stepping back and saying 'you figure it out'. We're actually saying, 'No, fascism is bad' — but we are also going to let our characters argue about it."

The studio head added that the developers "believe in" a diverse cast and setting and that the clearest theme is unity in the face of oppression.

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Politics-Free ‘Black Myth’ Sells 10 Million In Three Days As DEI Games ‘Dustborn’ And ‘Concord’ Flop

[rebelmouse-proxy-image https://thefederalist.com/wp-content/uploads/2024/08/Screenshot-2024-08-29-at-12.11.35 PM-1200x675.png crop_info="%7B%22image%22%3A%20%22https%3A//thefederalist.com/wp-content/uploads/2024/08/Screenshot-2024-08-29-at-12.11.35%5Cu202fPM-1200x675.png%22%7D" expand=1]The failures of 'Concord' and 'Dustborn' offer game developers a stark lesson: Nobody wants to buy these over-the-top woke disasters.

YouTube launches in-app gaming platform Playables to avoid app store — but are they worth playing?



YouTube has widely launched its Playables platform with dozens of flash-style mobile games to capture bored audiences on its app.

Playables, available as a direct URL on a browser or in the YouTube mobile app, hosts over 75 games from Angry Birds to simple billiards and recognizable bubble-pop games.

Millennials will remember these as flash games from the dawn of the internet, while Boomers, Gen Z, and beyond will recognize iterations that have appeared on their tablets or phones over the years.

It remains to be seen how expansive YouTube will want to make its gaming library and to what degree it takes it seriously.

YouTube describes Playables as a "fun, interactive way to experience YouTube — with lightweight, entertaining games."

The website boasted games such as Angry Birds Showdown, Words of Wonders, Cut the Rope, Tomb of the Mask, and Trivia Crack.

Most of the games are simple but could serve as an interesting, educational format for children.

For example, Words of Wonder has users spell out three- to four-letter words to complete a Scrabble-like puzzle. However, after 12 levels it still offers little to no challenge.

Trivia Crack is perhaps the most universally appealing. It consists of simple, timed trivia questions, with the goal of seeing how many the user can guess correctly in a row without getting a question wrong.

Angry Birds Showdown is easily the most enjoyable of a dozen played games, which makes sense given that the franchise has spawned a ton of sequels, TV shows, and even movies.

Overall, the platform is, at best, what one would expect: free games meant to pass the time that are fairly addicting. They offer easy-to-reach incentives that have users endlessly chasing the dragon.

One of the first questions users will ask when playing is, "Will progress be saved?" Getting to level 20 and then having to start over is certainly annoying, but it definitely gets the user sucked into the game, which ultimately benefits the designer's engagement rate.

Luckily, YouTube Playables saves progress and high scores, although it is attached to your YouTube account; you cannot play these games unless you are signed in to a YouTube profile. This appears to be an obvious trade-off for the nonexistent microtransactions, ads, or purchase fees that pop up in other games in the App Store or Google Play Store.

According to the Daily Star, Google has not indicated any plans to monetize the Playables section in the foreseeable future.

Of course, YouTube is a little late to the party in terms of nontraditional gaming platforms offering some fun. LinkedIn, the New York Times, and Netflix all have expanded into gaming.

Netflix, in particular, has a much higher bar than YouTube. This includes games like Grand Theft Auto, Immortality, and the very popular Into the Breach.

It remains to be seen how expansive YouTube will want to make its gaming library and to what degree it takes it seriously. This could be another foray into children's content, a market YouTube seems keen on trying to target.

As of now, Playables may be relegated to bored office workers and parents who have nothing else to offer their kids in terms of short-term entertainment on a train ride. Expect to find one or two favorites in a sea of forgettable experiences.

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Gen Alpha is ditching social media, prefers YouTube and mobile games, study shows



A study of children's video consumption habits showed that the youngest generation prefers to use YouTube far more than other forms of media, including social sites.

The survey of thousands of children ages 2-12, also known as Generation Alpha, asked about their daily media consumption. Surprisingly, the survey showed that youngsters are generally shifting away from social media platforms and focusing purely on video content.

When asked how they had been consuming content recently, 81% of respondents said they had used YouTube, with the second highest response being subscription video-on-demand at 62%.

Mobile games was the third-highest answer, with 55% of those surveyed saying they had played one of the games recently.

'Hollywood propaganda is like snail mail, social and user-generated content is like e-mail.'

These numbers were significantly higher than those of a traditional social media platform. Facebook, Instagram, and Snapchat bottomed out the list of ways Gen Alpha is consuming video.

However, the data — compiled by Giraffe Insights, Precise TV, and Variety — showed that children in that age group are increasingly consuming more content.

Of 3,000 respondents, 9% more reported recently using YouTube in 2024 compared to 2023.

TikTok had the highest jump year-over-year, with an 11-point increase from 33% to 44%.

Snapchat was the only listed medium with a decrease in usage (2%); however, the "other" category also saw a drop (2%).

"User-generated content is the most weaponized, beefed up propaganda in existence right now, so it's no surprise that it's the most compelling for the youngest generation," filmmaker Cody Clarke told Blaze News.

"Everything else entertainment-wise, while still propagandic, is anemic by comparison, or dinosaur-esque. Hollywood propaganda is like snail mail, social and user-generated content is like e-mail," Clarke continued.

The data reflects that even streaming platforms are more popular among the youth than typical social media; 50% of the respondents reported watching the popular video game streaming site Twitch for between two and three hours per day, the highest response by far for that category.

Clarke pointed out that while the sheer amount of video consumption among children is alarming, it is certainly a net positive that the perils of social media are being "instinctively" avoided.

"The fact that these kids are instinctively avoiding the machine in its most obvious forms says something."

"We still need to educate young minds to the fact that what they are watching on social media is often a facsimile of individuality, but the fact that they are even instinctively seeking out human shared experience is a win, just a slightly delayed one," he added.

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Review: College Football 25 could change sports gaming and NIL payments forever



It's true, EA Sports didn't blow it this time.

After seemingly disappointing fans year after year with Madden, NHL, and soccer games, College Football 25 has lived up to the hype, and the sales show it.

Electronic Arts sold more than 2.2 million presale edition copies at $100 each, GameRant reported. These copies allowed players to play the game three days before its official release. That means before the game even hit the shelves or the digital marketplace, EA had already taken in over $220 million from the long-awaited college game.

'Every team is somebody's favorite team.'

With a Metacritic score of 88/100, it's easy to imagine that EA Sports spent more time on this game than it has on any in the last 20 years. It's been a decade since the previous NCAA football-themed game was released, and with an official release window not known until early 2024, the EA team seemingly had unlimited time to get it right.

— (@)

Atmosphere

Every team in college football is authentically in the game. EA's attention to detail and motto of "every team is somebody's favorite team" mean you'll find authenticity in the stadium, fans, and graphical package no matter what team you choose.

Unique commentary, mascots, fight songs, and crowds follow every school, and it will surely impress casuals and die-hards alike. You do not feel the intensity of playing against a big school like Virginia Tech in Madden games. You might feel outmatched when playing as the Carolina Panthers against the Kansas Chiefs, but you won't have fear stabbing you in the heart as their heavy metal entrance starts.

In the NFL, every team has a minimum stadium capacity of around 67,000, and the stadiums are pretty much always packed.

In CFB '25, you could play as any number of teams with a sub-30,000-seat stadium and then head over to Michigan Stadium and have your knees buckle as crowds 100,000 strong scream at you.

Not only can you feel this intensity in the game, but the gap between powerhouse schools and struggling programs is evident, especially when you lose 57-7. The crowd noise cannot be matched, which will cause your audibles to fail, your controller to shake, and your confidence in real life to break down.

Gameplay

Perhaps everyone is blinded by excitement, but even while looking through the potential mirage, it's clear this game is a few steps ahead of the Madden games of recent years.

Gone are poor ball trajectories and quarterbacks turning 360 degrees on a dime and calling 50 audibles at the line of scrimmage.

If you think a bullet pass will sail over a defender as he foolishly pivots around despite obviously being in the path of the ball, you're wrong. You wouldn't have been wrong in the past.

Most of the simple things players have complained about in the past are seemingly gone. You can get sacks, you can return kicks for touchdowns, and the CPU can make natural mistakes.

For example, when trying to avoid a sack, I desperately threw the ball to a wide receiver running a post to the far sideline. I was so sure — due to my history playing Madden — that this ball would be knocked down or fall out of bounds that I stopped looking and started complaining. However, a diving defender missed the ball, and the wide receiver dropped to a knee to catch it with one foot inbounds.

This happened a few times, when the generational trauma of Madden ghosts kicked in and triggered assumptions that a player would run out of bounds, drop an easy catch due to minimal contact, or get suction-tackled. It rarely happened. In moments like these, shock kicks in because a decade or more of emotional pummeling from EA has taught the brain to be disappointed.

The game is not without error, but it is more in the sense of glitches than anything else. Male cheerleaders' heads appeared on female bodies, and thankfully, it seemed to be a mistake and not a political statement.

The occasional player glitching into the air appeared several times, but not until after the whistle.

The most perplexing part of the gameplay was the field goal kicking. While it is enjoyable that the kickers' skill level is much lower than the NFL's, the field goal mechanics sometimes resulted in two, three, or five misses per game, even from close yardage.

This did not overshadow the game's ability to create big moments, reward clever play-calling, or stick to a team's strengths.

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Dynasty

It's unclear whether some of the scouting mechanics were glitched or if features were left unexplained. But to the layman, a prompt that says "you do not have the available hours" to complete a task while the screen shows there are enough hours is very confusing.

Gamers from 2013/2014 will recognize the player scouting system; however, it is clearer than it was a decade ago. Look at your roster or use the "team needs" board in the scouting menu, put players on your list, and go from there.

Select "DM the player" or "Send the House" to rise in the preferred school rankings or offer a scholarship any time. The player may accept it immediately, or it could be a months-long battle for his love.

The creepy option to "contact friends and family" is there, which should remind players of every movie in which a relative tries to influence the athlete to take a car as a gift or to go to a certain school to get a kickback. A little more transparency and deviousness in the game for future iterations would be interesting.

Aside from scouting, would-be managers will assign coach points earned from games, manage the roster (of course), and check the standings to see what bowl games they may have qualified for.

The dynasty isn't all that deep or time-consuming, and the preseason won't take you long. The joy of the mode comes from knowing that even if you've lost five games in a row with a two-star team, you probably weren't making the College Football Playoff anyway, so you might as well plan for the future.

Choosing your schedule and deciding which big schools you want to sacrifice yourself to in exchange for experiencing their awe-inspiring atmosphere is a lot of fun.

The depth of the game is in the gameplay, where factors like wear and tear, crowd noise, and composure take their toll. Review the intricacies on EA's website; you'll probably need it for the scouting.

NIL is changed

Outside the game itself, EA's negotiations for name, image, and likeness representation have changed forever, and few are talking about it.

Some players didn't opt in to the game, rejecting the offer of $600 and a copy of the game in exchange for their faces. Nowadays, that sum of money doesn't seem like a net positive when it comes to the potential some players may have.

The most famous example of this was Arch Manning, the legacy quarterback of the Manning family, who initially declined to be in the game until he received a $50,000 offer from EA to advertise and be in the game.

What may seem like a meaningless drop in the bucket will empower future players to squeeze a bit more juice out of EA's orange, and they should.

It wouldn't be surprising if a group of 10, 20, or even 100 top stars of the future band together for higher payments to be included in the game. While one or more opt-outs may not cause a problem, a bunch of household players being absent among a sea of real names will surely become an issue for EA.

Famously, Barry Bonds was never featured in MLB video games, but it never caused a headache because he was the only one. But if Barry Bonds, Sammy Sosa, and Mark McGwire were 18-year-olds who wanted a big payday to ensure their financial security, a video game that makes over $220 million up front may be the place to get that.

What EA has here is a game that lived up to years of hype and sold like hotcakes, a solid 8.5/10.

If there was ever a sign to start taking more than one year to create a sports game, this was it, but that entirely depends on how much fan satisfaction the studio wants.

The threat of at least one competitor, Maximum Football, seemed to put some pep in EA's step, and maybe that will remain true for EA's soccer game, which now faces multiple enemies from major studios.

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Suicide Squad game marches on after $200M loss with new, DEI version of character Mrs. Freeze



Suicide Squad: Kill the Justice League is pushing forward with a new depiction of a classic character.

The game was released in May 2024 by Rocksteady Studios, a subsidiary of Warner Bros. Games, and was a $200 million disaster. The studio later said revenues for the entire parent company went from a reported $607 million in Q1 2023 down to just $184 million in Q1 2024, a 70% decrease.

However, the studio has seemingly taken zero cues from its audience.

Shortly after the game's freefall, Warner Bros. Games launched a leadership program for women and non-binary individuals aimed at making the video game industry less male. Announced by startup and tech community Built In, the Women and Non-Binary Leadership Program had the stated goal of upending the gaming industry's allegedly male-dominated characterization.

'They perceive femininity and female anatomy as threats to society.'

Weeks later, the Suicide Squad game is moving forward with Season 2, despite fewer than 500 people currently playing the game on the Steam platform, according to PC Gamer. These concurrent gaming stats are absolutely abysmal figures for a project of such a magnitude.

It seems at least one new character is ready for launch in the new season, and it is Mrs. Freeze — not Mr. Freeze — but his wife, whose character name is Nora Fries.

Mr. Freeze was typically portrayed as a bald man with varying degrees of scientist looks and was played by Arnold Schwarzenegger in 1997's "Batman & Robin."

At the same time, there exist near limitless depictions of Mrs. Freeze as a classically beautiful blonde woman. The character was played by model Vendela Kirsebom in the aforementioned 1997 flick.

It seems the video game studio decided not to go with anything in the vicinity of the usual portrayal of Mrs. Freeze. In previous iterations, she was cryogenically frozen by Mr. Freeze in hopes of finding a cure for her illness. Now, she is seemingly portrayed as taking over her husband's role.

One gamer even took it as far as to describe the new character as looking like a "non-binary Karen they/them."

The same account, with over 20,000 followers, suggested the studios sees feminine attributes as a threat.

"I predicted this before the game's release, and the backlash was intense. They perceive femininity and female anatomy as threats to society."

The short-haired depiction is actually so far off that outlets have theorized it must be from an alternate/timeline or universe.

— (@)

The character art follows the recent revelation from a video game artist that it is very difficult get studios to depict beautiful women in modern games.

Del Walker, an artist who has worked on Star Wars and Batman games, said that "after 10 iterations the concept or model comes back without a speck of the original beauty I pitched."

Walker added that it wasn't only the faces of the characters that have been changed but their entire likenesses, ages, and attitudes.

Gamers have pointed out the many examples of dampening beauty, such as Star Wars Outlaws character model Humberly González.

A recent remake of the classic Perfect Dark video game was also dragged for hardening the jawline of beloved hero Joanna Dark.

This appeared to be a similar instance with Suicide Squad: Kill the Justice League, as the studio has seemed unwilling to depart from the diversity, equity, and inclusion parameters it set for itself during its production by involving diversity consulting company Sweet Baby Inc.

The game has faced significant backlash and calls for boycotts throughout its time on the market.

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Gaming conference admits Sims 4 game was used to push gender ideology on its young, female audience



Video games trade fair Gamescom pointed out that a producer for the Sims 4 purposely pushed gender ideology on gamers and "pathed [sic] the way for queer characters," including through the use of preferred pronouns.

The German trade fair posted in celebration of June 2024 Pride Month and highlighted people in the gaming industry based on their sexuality or sexual preference.

"Pride Month is almost over, but that doesn't mean that queer matters will stop being important," the company wrote on X. "Today we want to introduce just a few of the many talented queer people that are an integral part of the gaming industry. Cause, whether you want to believe it or not: Gaming and being queer can go hand in hand just fine."

— (@)

'We started looking into the game itself to see how we could approach the addition of customizable pronouns.'

The company's final post included an avatar of John Faciane, who worked on the Sims games; the company noted that he carved out a special path for gender ideology in the games he produced.

"And last but not least John Faciane, who has more or less on purpose, pathed [sic] the way for queer characters in video games with his work on the Sims."

— (@)

This celebratory confession led to online commentators and writers finding other remarks by Faciane about the game in which the developer wrote about working with activists to deliver in-game messaging.

"First we started looking into the game itself to see how we could approach the addition of customizable pronouns. We went through a couple of different explorations, but ultimately where we landed was to create a system that allows for pronouns to be defined by the player and have those then be used in multiple different text strings," Faciane wrote in a since-deleted blog post for Electronic Arts.

Faciane spoke on working with GLAAD about how to properly insert preferred pronouns for transgender people.

"We reached out to our partners It Gets Better Project and GLAAD and worked with them to learn more about how pronouns are used, particularly by trans and nonbinary people. Through this research and through doing a deep dive into the game, we've learned about all of the different complex areas that binary gender was present in The Sims 4."

The producer has given multiple interviews about inserting gender ideology into the games, including when he spoke to the Guardian in 2022.

"I'm an openly gay man working in the games industry, so for me I have a vested interest in greater inclusion not just in the games we play but in those who make games," he told the outlet.

"The more we include all those people, the better it is. … A big reason that I felt comfortable to come out when I did, even though I have a wonderful, supportive, loving family, was seeing representation of gay men within games," he added.

That same year, Faciane said that he and Sims executive producer Phill Ring — who is also gay — had been contemplating putting such themes into the games for some time.

"We've been thinking about this for a very long time; it's been very near and dear to a lot of us, especially those who are members of the LGBTQIA+ community," he told Queerty. "This time around, we were seeing not only internally us advocating for this, but we also saw players saying that on Twitter and social media, and we really felt like it was time for us to be up front about it and put our best foot forward and start talking with the community about what they'd like to see."

The game designer reportedly no longer works with Electronic Arts but is now employed by Netflix as a senior producer, per That Park Place.

According to Levvvel, the Sims 4 has 10 million active users, with more than 36 million people having played in total. Gamerant reported in 2021 that 60% of the user base is young women ages 18-24. This was revealed by the game designer, who reportedly said in a job posting that it has a "very unique playerbase" and followed up by boasting about the audience demographic.

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