>>712558129 (OP)Once upon a time, the US and Canada were global powerhouses when it came to game development. Studios like BioWare, Blizzard in its prime, Irrational Games, and Naughty Dog were producing some of the most innovative, emotionally resonant, and technically groundbreaking titles on the planet. Much of that talent is still around today, scattered across studios, freelancing, or stuck in mid-level roles, but something changed. Not because the talent dried up, but because the industry chose a different path.
That shift was not driven by creative inspiration or the needs of the audience. It was motivated mostly by greed and a warped sense of cultural posturing. Instead of appealing to a broad, diverse audience grounded in common sense and shared cultural touchstones, many major studios started catering almost exclusively to a narrow coastal elite. Mainly upper-middle-class Californians with social science degrees, more concerned with ideological signaling than with compelling gameplay or immersive storytelling.
It is not that these ideological elements cannot be part of good games. They absolutely can, and sometimes they even enhance the experience. The real problem is the lack of balance. In a healthy ecosystem, for every overtly progressive narrative-driven experience like The Last of Us Part II, you would also have several games that speak to more centrist cultural sensibilities. Maybe something grounded in classic storytelling. And at least one game that leans more into traditional or right-leaning themes like patriotism, individualism, or moral clarity.
And no, this is not about games being literally political, like red versus blue nonsense. It is about cultural sensibilities. Things like tone, values, character archetypes, and emotional framing. Right now, the landscape is heavily skewed. A small group of tastemakers dictates what is acceptable, and it is not just boring, it is creatively stifling.