A Genetic Disorder That Removes Racial Bias?

Renee Ellis | Saturday, August 31, 2019

In Cyberpunk 2077, “you don’t choose your gender anymore”

Along with complaints about poor working conditions for employees at game developer CD Projekt Red, Cyberpunk 2077’s teasers were accused of including racist and transphobic stereotypes.

MJ: We do tackle a lot of. complicated subjects, I’d say. Jonkers stated “it’s good that people give us feedback”. “Our character creation menu, for instance, compared to the last demo we now give you so many more options”. For instance, you don’t choose your gender anymore. Because we want you to feel free to create any character you want.

After selecting your preferred body type, you then have the option to give your character one of two different voices. This means you could potentially mix it up with a man using a woman’s voice, and vice versa. “You can just connect them any you want”.

Jonkers also added that, compared to the previous demo, this time the options related to hair, tattoos, skin tones and other aspects of the protagonist have increased significantly, thus allowing an even deeper level of customization.

While Jonkers did mention that the change was in part due to the team’s own desire to be more inclusive, they believe they have done so in a way that is both more inviting to players that want to create non-binary characters, and more customizable for everyone.

Jonkers also talked about CD Projekt’s approach to diversity and how they’re constantly listening to feedback. “Our team is very global and very diverse but we have asked for a lot of feedback”.

“Usually you pick one class and you play as that type of person, but in our game you can combine everything”, they said. “It is a cyberpunk world, after all”, so don’t expect them not to come out in the future.

CD Projekt co-founder thinks “Cyberpunk 2077” will achieve more success than “The Witcher 3”.

The character creation system has been changed significantly, and now offers flexible and fluid options for V’s gender identity. “You can customize your character’s cyberware, skillset and playstyle, and explore a vast city where the choices you make shape the story and the world around you”.

In any case, this should only serve to bring more people into the hype surrounding Cyberpunk 2077 when it launches on April 16, 2020 for PC, PS4, Xbox One and Google Stadia.

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Cyberpunk 2077 & Ghost of Tsushima Rumoured To Release In 2020, Ahead Of E3 2019

Word is out that the likes of CD Projekt Red’s Cyberpunk 2077 and Sucker Punch’s Ghost of Tsushima are slated to be launched in 2020.

A notable source is Kotaku‘s Jason Schreier, who went on Twitter to discuss the potential release windows of the aforementioned games.

This has gotten a lot of Reddit attention so some clarity: I’ve heard from three sources that Cyberpunk was aiming for 2019, but belief around the studio was that it was an unrealistic target. I expect first half 2020 or maybe even an E3 announcement of 2019, then a delay to 2020

These two highly-anticipated games will join the likes of Ubisoft’s Skull & Bones and Watch_Dogs Legion, and also potentially Naughty Dog’s The Last of Us Part 2, who is said to have been delayed to 2020 as well, despite being rumoured to release at the end of this year.

Despite Schreier’s reputation to be a harbinger of generally accurate news, we will only find out for sure whether Cyberpunk 2077 will be released in 2020 during their press conference at E3 2019.

Of course, since Sony won’t be at E3 this year, we’ll probably have to wait a little longer for them to talk more about Ghost of Tsushima. Probably after April 2020.

2019 is by no means a pushover when it comes to gaming, what with the impending release of heavily-anticipated titles such as Borderlands 3 and Death Stranding, but it looks like 2020 will far outweigh this year in terms of the sheer volume of AAA games.

Marion has a serious RPG addiction. Sometimes it bleeds into real life; he forgets to sleep because he thinks he has a Witcher’s body clock. Forgive him in advance if he suddenly blurts out terms such as “Mind Flayer” and “Magic Missile”, because never once does he stop thinking about his next Dungeons & Dragons game.


Solo ha hecho falta una demo para acusar de transfobia y racismo a Cyberpunk 2077

Uno de los protagonistas indiscutibles del pasado E3 2019 ha sido Cyberpunk 2077. No solo porque es uno de los juegos más esperados, sino porque dada la demo a la que tuvieron acceso varios medios, se pudo tener un primer contacto con las impresiones de los profesionales del sector con este título de los polacos de CD Projekt RED. Pero la trascendencia de un título tan sonado y con tanta expectación ha suscitado varios movimientos de opinión divergentes con la mayoría de personas que han tenido contacto con el juego. Es así que se ha llegado a acusar de de transfobia y racismo a Cyberpunk 2077.

Son acusaciones muy graves para un producto cuya popularidad está en alza. Es evidente que se mira con lupa todo, pero parece que en esta ocasión se ha intentando generar una tendenciosa visión de lo que aportará Cyberpunk 2077. Que se llegue a acusar de transfobia y racismo a Cyberpunk 2077 podría ocasionar daños colaterales importantes, porque ya hemos visto que la opinión pública puede lastrar el éxito de un juego.

Por un lado, tenemos el artículo publicado por el medio Rock Paper Shotgun, donde califican la experiencia de Cyberpunk 2077 de poco innovadora y repleta de estereotipos. Entre ellos, nos encontramos con algunos elementos que parecen estar buscando acusar de racista el juego. Lo mejor de todo, es que la gente ha sido capaz de capturar algunas críticas vertidas en Twitter por estas acusaciones, advirtiendo de un detalle llamativo.

Cyberpunk 2077 sounds very racist.

Resulta que durante la demo, se exponen dos bandas de gente de color. Unos son unos haitianos llamados los ‘Voodoo Boys’ y la otra banda son llamados ‘The Animals’ o los animales. Con una violencia bastante explícita, los jugadores afrontan misiones de combate contra estas bandas callejeras. Ha sido suficiente este estereotipo de banda callejera identificada con gente de color para que se apele a que el juego es racista. Da igual que el creador, que aparece en la foto junto a la acusación de racismo, sea también pertenece a esa misma raza.

Por otro lado, a partir de las imágenes oficiales difundidas días atrás donde se demostraba el uso del Ray Tracing, ha surgido una segunda polémica. Uno de los carteles muestra como protagonista una persona transgénero, que viste como una chica, pero que denota claramente que todavía tiene pene. Con todo esto, ya surgió la polémica en torno a la interpretación ofensiva de este travesti en el cartel.

La combinación de elementos que se muestran en este cartel, anunciando una bebida llamada ‘ChromeManticore’, combinado con el eslogan ‘Mix It’, que significa mezclalo, ha iniciado una nueva ofensiva cargando contra Cyberpunk 2077.

If Cyberpunk 2077 treated girls’ dicks as just another facet of life, it would be fine. This ad shows that CDPR thinks trans people are weird, shocking, and fundamentally sexual. How do you “get” the joke? By looking at the model’s bulging erection. It’s a trope.

La Directora de Arte de Cyberpunpk 2077 habría salido a escena para responder ante esta polémica. Se intenta aclarar el contexto de una ambientación futurista, donde Kasia Redesiuk advierte, que se busca satirizar el concepto de las grandes corporaciones sobre el marketing y como usan los cuerpos de las modelos como objetos para vender cualquier producto.

“Personalmente, para mí, esta persona es sexy. Me gusta cómo se ve esta persona. Sin embargo, se usó este modelo por razones corporativas. Se muestran allí solo como una cosa, y esa es la parte terrible de esto. Cyberpunk 2077 incluye a muchas personas que no están conformes con su género, algunas de las cuales disfrutan exhibiendo sus cuerpos en público.

Además, se considera que dentro de la ambientación de Cyberpunk 2077 existen otros matices a tener en cuenta. Ya que representan el año 2077, asumen que «dada la cantidad de modificaciones corporales disponibles, creo que las personas simplemente se mezclan y combinan como quieren, como se sienten”. De hecho, excusándose frente a las acusaciones, añade que “incluso la sociedad está más abierta a diferentes tipos de relaciones”.

Con todo esto,podemos interpretar que la fama y expectación puede suscitar malas jugadas ante la inquisición que organizan algunos sectores del público. La crítica en base a la interpretación general de un contexto limitado parece algo inviable hoy día, pero vemos que es suficiente para lanzar campañas de desprestigio con temas muy sensibles y polémicos. Pero ante una clara intención de demostrar nuevamente a un título, parece que se ha podido aplacar a tiempo. Se trataba solo de una demo, que muestra un producto muy extenso donde el jugador podrá enfrentarse a una ambientación rica en matices y detalles. Al menos, al plantear el juego con un protagonista personalizado que puede ser hombre o mujer, no le han acusado de juego machista, porque sería la rúbrica.

No parece que Cyberpunk 2077 necesite de ninguna publicidad adicional, ni buena ni mala, porque ya goza de la atención de muchos usuarios que esperan ansiosos ver el gameplay de este juego. Para ver este gameplay habrá que esperar a la PAX West, y para poder disfrutarlo hasta abril de 2020.



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Gibsonian Cyberpunk is a special case of CALOMCOR fiction

Gibsonian Cyberpunk is a special case of CALOMCOR fiction

Gibsonian Cyberpunk is a special case of CALOMCOR fiction.

Culture –

CALOMCOR is a loosely-defined category including fiction stories from multiple genres. Thus some Raymond Chandler stories are CALOMCOR; W. S. Maugham’s _The Razor’s Edge_ is CALOMCOR; the Harry Canyon segment of _Heavy Metal_ is CALOMCOR.

The nature of a CALOMCOR story is that the culture surrounding the protagonist is at least as important as the protagonist. Chandler’s fictional hero, Phillip Marlowe, is less vivid than Chandler’s depiction of the Los Angeles underworld. Maugham’s hero Larry Darrell is less important than the social circles of bohemians and mystics through which he moves. Harry Canyon is less important than the dystopian version of New York City that dominates the segment. James Dean starred in _Rebel Without A Cause_, but the protagonist of that story was less striking than the tremendously alienating middle class society that motivated him to rebel.

Protagonists of adventure stories typically have useful skills; in a CALOMCOR story, those skills are particularly appropriate to the culture in question; they highlight the characteristics of the culture. E.g.: The protagonist of Brunner’s _Shockwave Rider_ is less interesting than his culture, and while he is a genius computer programmer, the skill of computer programming is particularly appropriate to his culture.

The “Culture” in CALOMCOR is usually a marginal subculture. Many “exploitation movies” and related stories of vengeful, alienated antiheroes are CALOMCOR. Blaxploitation heroes like John Shaft have the sassy street-wisdom of the ghetto permeating all of their actions, surrounding them with haloes of Black-is-Beautiful. The fictional motorcyclists of “biker films” are permeated with a similar subcultural aura of alienation. Russ Meyer’s female characters can be considered to be a repressed minority insofar as 20th century women did not have all the legal rights desired by 20th century feminists; but even within the larger repressed class of women, Russ Meyer’s women were subcultural outliers.

The premises of CALOMCOR stories are:

1 – The protagonist has skills and tools available to lower- and middle-class people. The protagonist does not have access to exotic esoteric powers (like Lamont Cranston/The Shadow), nor does the protagonist start out with kingly privileges and wealth (like Elric of Melnibone). Because the protagonist can fight with a commoner’s weapons, the protagonist is a potential rallying point for lower-class resistance to social authority.

2 – The protagonist is part of a society that motivates rebellion. The protagonist is personally oppressed, repressed, and depressed by the authorities. The protagonist is weak enough to have a realistic fear of being crushed by social authority, but the protagonist is strong enough to conduct guerrilla struggles against social authority.

3 – The cultural setting is frequently more interesting than the protagonist. Minor characters, gadgets, gimmicks and scenery are often more important to the plot than the protagonist’s personal virtues. The protagonist must NOT be omnicompetent like Doc Savage or Superman.

[This essay will be expanded later.]

Cyberpunk was the final hype storm encapsulating a pro-anarchy cause in Western fiction.

The New Wave of Sci-Fi – Brunner, Moorcock, etc. – was not necessarily anarchist. Brunner was probably a sincere Fabian socialist; he hated Christian respectability and law, but he longed for Fabian respectability and law.

Segments like the “Harry Canyon” portion of Heavy Metal and the entirety of Deathrace 2000 and Escape from New York were being written in the 1970s. All of these were written by relatively young people who saw themselves as culturally marginalized. They resented the remnants of 20th century Christian respectability.

These stories were written to soothe the frustration of young middle-class men who knew how to start violence, but who were prevented from descending into actual physical violence by RESPECTABILITY.

These stories don’t have a good collective name, but the unifying theme is that the ethics of personal violence have supplanted the ethics of respectability. In “Harry Canyon,” the New York City attitude is codified into an impossibly anti-social culture. In Deathrace 2000, the antihero actually has an implanted weapon (which, like Wolverine’s claws, was a foretaste of the numerous implanted weapons of cyberpunk).

The true heroes of these stories are not the individual men. The true heroes are the dystopian cultures.

One can take examples from some episodes of Megazone 23 – mohawk boy kicking vending machine, hero breaking traffic laws, heroine trying to whore herself (but each episode has an extremely different authorial voice.)


Cyberpunk 2077 Dev Sets New Revenue Record, Thanks To Witcher 3 On Switch

Even before the launch of CD Projekt Red’s next big game, Cyberpunk 2077, business is booming at the Polish studio. The company has released its latest earnings report, and it shows that the studio had the strongest fourth quarter of any year since the company was founded decades ago.

For 2019, CDPR posted revenue of 521 million PLN, which works out $125 million USD. That’s up a whopping 44 percent compared to the year prior. CDPR said the uptick in sales was primarily driven by the release of The Witcher 3: Wild Hunt on Switch, which sold around 700,000 copies.

The launch of the free-to-play game Gwent for mobile devices also helped improve overall CDPR sales during the year, the company said. The game is free, but it makes money from microtransactions.

It’s not just revenue that increased at CDPR in 2019. Total profit reached 175 million PLN ($42 million USD). CDPR’s division, meanwhile, brought in 162 million PLN ($39 million USD) in revenue, which was a record for the platform.

“The fourth quarter of 2019 was the best final period of the year in our history. We are extremely pleased with the unceasing popularity of The Witcher 3– especially given the fact that the game will be celebrating its 5th anniversary in just a couple of weeks,” CDPR CFO Piotr Nielubowicz said in a statement.

Cyberpunk 2077 is CDPR’s next big release, and it launches in September for PS4, Xbox One, and PC. A version of the game will also come to Xbox Series X, and the upgrade will be free for Xbox users.

CDPR’s annual earnings report also revealed massive new sales numbers for The Witcher 3 and some key details about diversity at the company.


A Genetic Disorder That Removes Racial Bias?

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This newsletter comes from the future.

People with Williams Syndrome lack 26 genes found in a typical human genome. As a result they are inordinately friendly, and experience no social anxiety. Now a new study reveals that they may also be free of racial bias.

Over at Not Exactly Rocket Science, Ed Yong talks about the new study, published this week in Current Biology. Yong writes:

Santos compared the behaviour of 20 white children with Williams syndrome, aged 7 to 16, and 20 typical white children of similar backgrounds and mental ages. To do so, she used a test called the Preschool Racial Attitude Measure (PRAM-II), which is designed to tease out traces of gender or racial biases in young children.

PRAM-II consists of a picture book where every page includes a pair of people of different genders or skin types. The researcher tells a selection of stories to accompany the images and the children have to point to the person whom they think the story is about. As they hear positive or negative adjectives, they reveal any underlying racial bias if they point to light-skinned or dark-skinned people, or men or women, more frequently.

The typical children showed a strong tendency to view light-skinned people well and dark-skinned people poorly. Out of their responses, 83% were consistent with a pro-white bias. In contrast, the children with Williams syndrome only showed such responses 64% of the time, which wasn’t significantly different from chance.

So it would seem that removing social fear from the human emotional range might also cut down on racism. Though it’s worth noting that it wouldn’t help with sexism, since Williams Syndrome kids scored close to typical kids when it came to gender bias.

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Several other scientists took issue with this study, partly because the sample size was so small (just twenty kids). But there are also problems with the PRAM test, which limits children to choosing either white people or people of color – there is no option to choose both, or “either one.” As University of Oregon’s Aliya Saperstein pointed out:

The results don’t demonstrate or prove an absence of bias. And like all similar tests, the study may tap partly into one’s knowledge of social stereotypes not just one’s personal biases.

Regardless, as Yong points out, we’re left with further evidence – backed up by fMRI studies – that racial bias and racism are connected to social fear. Now I’m waiting for the studies that show whether taking anti-social anxiety med Xanax helps eradicate racial bias too.


Club Penguin Clone Shut Down By Disney For Inappropriate Content

Since its shut down in 2017, fans have attempted to recreate the magic found in the wholesome MMO – Club Penguin. However, it seems that certain content deemed inappropriate for children has surfaced on one of these clones, leading to Disney stepping in.

Originally discovered by the BBC, a fan-made version of the child-oriented game suddenly received a massive influx of over a million new users during the COVID-19 pandemic. While this alone would justify action from any IP owner, the BBC also uncovered that the clone contained multiple instances of racist and homophobic language. The creators apparently did this by using copied source code to recreate the original game, but with the offensive language filter turned off so players could engage in what the BBC refers to as “penguin e-sex.” Of course, this resulted in the giant industry titan issuing a DCMA takedown of all servers containing unauthorized Club Penguin clones.

Source: [] It seems that this comes at the perfect time, as the BBC also reports in the same article one man with connections to the clone was arrested for suspected possession of child abuse images. As of now, officials released the man on bail.

How do you feel about this shut down? Did you ever play Club Penguin? Let us know in the comments! For more news, check out the announcement of a new Paper Mario game and the removal of Super Smash Bros. Ultimate from EVO 2020. Otherwise, keep it on Culture of Gaming for all things gaming!

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Cyberpunk 2077 Release date update from the developers is good and bad news

Cyberpunk 2077 was the darling of E3 2018, but it’s still nowhere to be seen. Developers CD Projekt Red have released a new trailer that gives us some hints as to why that is.

Not a week goes by without some tasty little tidbit about Cyberpunk 2077 being released into an unsuspecting world – though it does keep happening, so maybe we should be more suspicious.

This time the information comes courtesy of a video put together especially for PlayStation. As is usually the way with anything concerning the next title from CD Projekt Red it looks absolutely gorgeous.

It gives some insight into the inner workings of the studio and includes a fair few nuggets of information for hungry fans.

Unfortunately, the bad news is that it seems we will all have to wait quite a bit longer in order to dive into this particular dystopia.

They say art imitates life, this is clearly true as the video states “work on it is far from over”. We can definitely assume we aren’t seeing a full release this year then.

However, it will be at E3 this year which will hopefully bring exciting news like a proper release window, some more footage, and hell, maybe even some live gameplay footage.

During the video, we got to see some of the staff working on the game as they wax lyrical about it.

Fans will agree it is good to see some of the faces behind the company to remind us all that these people are hard at work on making something we will all get to enjoy.

There’s also some interesting information for fans of the game it is based on.

As well as being set sixty years after the tabletop version, it is also set in a parallel timeline.

This was done to give the people working on it more flexibility when creating it.

It must help get your creative juices flowing when you know you don’t have to follow a specific recipe.

It is beginning to feel like Cyberpunk is the ultimate tease so it is probably best to just enjoy the show until we get some more concrete details.

Thankfully, the pedigree of CD Projekt Red games is so high that Cyberpunk 2077 is sure to be a truly excellent video game and one that everyone can get lost in for many years to come.

In the meantime, we can await some more big things from E3 2019, or you could just keep an eye on the developer’s Twitter feed.


Lucien Maverick’s Den

The ramblings of a creative intellectual

Media Collusion Never Dies, Cyberpunk 2077 Edition

Back in 2014, when the #Quinnspiracy tag first came up, people started to uncover some shade-y connection between game journalists and developers. Lots of stuff was uncovered. Right before #GamerGate became a thing, there was a series of articles that all dropped in unison. They were all about the same thing – gamers are dead. The fact that they all dropped at the same time, and were all about the same thing, it was impossible not to wonder if all these media outlets had colluded to do this. If it was all part of a big conspiracy.

At the time that the unmistakable proof of collusion was coming out, the whole thing was dismissed by the apologists for the industry as a witch hunt and that nothing had been proven. It was later on that a series of chat lots from Crash Override Network (CON) were released showing that yes-indeed it was all orchestrated and that everyone in GamerGate who had been talking about this was 100% vindicated.

What does all of this have to do with today? I mean, that was 5 years ago. Who cares about it? Well, let me tell you. See, we have a new target of media collusion. One of the strangest targets I’ve ever seen. A video game and the company behind it, both of which are well-loved and the former of which has everyone very excited for. I’m talking, of course, about Cyberpunk 2077 and the company who made it, CD Projekt Red.

After the E3 2019 press conference where they definitively stole the show with Keanu Reeves, along with a closed-doors gameplay demo, there was an article written by Rock, Paper, Shotgun that quite blatantly accused the game and its developer of racism. I did a response to that article (blatant shilling! Click here!), and it was a beautiful combination of complete click-bait, and an unapologetic hit-piece. It was so absurd that Mike Pondsmith, creator of the Cyberpunk 2020 IP came out and wrote a response on Reddit defending both the game and the company, along with making a poignant point about people telling him what he should be offended by and how insulting that is.

What followed was the company’s founder coming out and attacking Pondsmith for his rebuttal, along with those who defended the game and the response. From there, more and more articles were coming out. Each one eager to demonize the game and the Polish developer. From more about racism, to how the game is transphobic, and also sexist. They hit all the talking points. Some of the Internet’s attentive people started to wonder – why all this? Why now?

The obvious answer is that this is a game that is incredibly popular. The Internet couldn’t love it or the production company who is making it more right now. CD Projekt Red is pulling out all the stops to make a game people want to play, and making their purchase worth every penny. They set themselves apart from the rank and file AAA companies and lead by example in making something that isn’t like anything else, and without all the predatory practices that the other companies are becoming increasingly notorious for, and which more and more governments are taking steps to legislate against. All the major developers must be shivering a little.

For something to be this big and this popular, if you are a “news” website that wants to get easy clicks, the obvious solution is to go after a game that everyone wants, so they will click on your article. It’s cheap, easy, integrity-free “journalism” that so many of the biggest trash fires like BuzzFeed are notorious for. Given that they all read like hit-pieces, it isn’t a stretch to make the accusation.

However, what if the connections go deeper? Just like with how the accusations of collusion for #GamerGate started as just conjecture, here it is conjecture as well. I saw a very interesting video from a YouTuber I hadn’t heard of until it popped on my feed (linked here) showing that the major gaming “news” outlets and their financial collections to the direct competitor of the PC game marketplace that CD Projekt Red owns, GoG. They all have tangential connections to their newest direct competitor, Epic Games.

So imagine the surprise when Polygon, Kotaku, and Rock, Paper, Shotgun all go after this game all at once. I do have to make very clear that this is all conjecture. There is no proof. But when there is a history of collusion between games media companies, does it make you perk up and at least have to wonder if we’re seeing this all coming back to roost? It does to me. In fact, that’s the most reasonable thing I’ve heard thus far.

It’s never been a secret that games media is bought and sold by the ads that AAA developers put on their site. These outlets have ZERO journalistic integrity. Everyone has gone after the fact that they never give any majorly-anticipated game bad reviews, unless they don’t pay them well enough. The story of Gamespot getting rid of the guy for giving a bad review of the sequel of Cane and Lynch is notorious. These companies have their nose buried so far up the ass of the companies they are supposed to give good coverage about, for better or worse, that the idea of a corporate overlord commanding all their subsidiaries to attack this latest project that is already raking them in a ton of cash doesn’t sound so far-fetched, does it?

What do you think? Is all of this just opportunistic and integrity-free “journalists” writing hit-pieces for the purpose of getting the almighty clicks, or is there something far more nefarious? The speculation behind this interests me. If it wasn’t for the fact that we’ve seen these companies do this shit before, I might be more inclined to just shrug this off as people putting on the tin-foil hats. They only have themselves to blame.

“I’m not mad! I’m the only sane one left!” – Manuel, Mass Effect


Cyberpunk 2077 is racist

It’s hard to talk about her without politics, but she’s an extreme feminist and SJW —

Sort of a Jerry Falwell, Tipper Gore, et for the new generation, except more extreme than either and unlike the former, she’s a media darling.

She collects money and organizes campaigns based on the fact that video games degrade women and are immoral. She wants sexy clothing stricken from games. She wants women in games wearing armor to not have breasts on said armor or anything that looks like a female breast. She wants things like thongs banned – while she wants men to be subjected to “man thongs” as recompense. She wants female characters to be baser and less attractive, even ugly, so that girls playing the game are not mentally wounded by not being pretty enough. and also points out that men cannot be mentally wounded when the God of War or whatever hero is more muscular and manly than we are, because we have inherent privilege and the books need to be balanced because of all the suffering we have inflicted on women as part of the (TM) “patriarchy”

Basically a 3rd wave radfem who’s hip with Vulture, CNN, Huff Post, et.

Also, she has put out fake criteria and claims. just like most preacher/sheister’s and snake oil salesmen in history. Claimed to be a lifelong gamer, yet didn’t know much at all about games and got caught in her lies a bunch of times.

She even attacked Boogie at a video game convention about a year back – a dude who is about the gentlest soul in gaming, just spewed her venom all over him, screaming and ranting

She hates video games and geek culture that appeals to men, and wants it all changed to appeal only to women.

Paint the world pink and put rainbows and puppy dogs on our games and chase out the evil men.

Aros and I would be villains in her book for our thumbnails, and worthy of “reprogramming”.

I was actually wondering that myself. is that sarcasm or is that serious? I went back and forth.

Is it scary that it’s so hard to tell these days?

JGfromtheNW wrote: Beyond microtransactions and big companies like EA attempting to gouge their own customers, this is the golden age of gaming. Whether you want competitive multiplayer, single player campaigns or co-op adventures, there is a ton of titles out there for folks to enjoy.

Great single player experiences that have come out in the last few years:
Kingdome Come: Deliverance
Witcher 3 (and the DLCs)
Dark Souls 3
Hotline Miami (1 & 2)
Tomb Raider
Rise of the Tomb Raider
Mad Max
South Park: The Stick of Truth
South Park: The Fractured But Whole
Dying Light
Fallout 4
Wolfenstein II: The New Colossus
The Evil Within series
Metal Gear Solid V

I’m sure I could go on if I started actually looking at lists. There’s plenty to choose from these days, especially on Steam with big ol’ sales going on all the time – like right now through the 5th of July.

There are some decent games out, but I’d hardly say that we’re in the golden age of gaming. There are some disturbing trends going around among the developers. The first of which being the release of incomplete games. Games are being released, and pushed out to the public in and incomplete fashion. The condition of these games in some cases is game breaking. A good example of this was The Division. On release it was horrendous, borderline unplayable. Now a days it is a respectable game but it took them a few years to get it down. This is the case with many games being released these days.

The second issue that needs to be touched on is the micro transactions that virtually every developer is pushing. It is getting to become quite absurd. A good example of this is the incoming COD game, Black Ops 4. In order to get the complete game I’ve heard it will cost you 150 dollars in total. It isn’t just Activision and EA doing this either. Rockstar is starting to jump on the micro transaction bandwagon with GTA online. The game is borderline unplayable due to the costs of essential items in the game. You either have to grind for many hours, or go to rock-star and buy “shark cards” which can cost up to 100 dollars. What is happening here is the exchange of real currency for in game currency. These cards have made Rockstar 500 million dollars alone. Rockstar used to be a franchise that released killer games anually, now they have even stated that they are going to be employing this business model in all of their games.

What is happening is games are being pushed out with minimal content, or just flat out incomplete content. If anyone wants to continue, or have a pleasurable experience they must fork out considerable amounts of money. The games you have mentioned are becoming fewer in number and farther apart.


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