There are two narratives in the Dissident Right regarding video games.
The first is that “vidya” is a complete and total idiot waste of time.
No time in the history of our people have we needed intelligent and strong high agency people than now. However, it is precisely such people who spend endless hours employing their gifts in the service of Skyrim quests and Minecrafting with tweens.
For those of us who are fathers and, in some cases, grandfathers, there is something inherent in embarrassing and cringe about tapping our way through Fortnite or LARPing as negroes in NBA2K.
At the same, there is a counter narrative among /ourguys/, and there is something deeply European and Western about video games.
Video games appeal to our inherent desire for quest and adventure—it is no surprise that the seminal side scroller, Super Mario, brothers is a late twentieth century riff on the typically Indo-European hero’s quest for the ideal beloved (in this case, Princess Peach, who makes an albeit comedic addition to the pantheon of Western beauties, such as Dante’s Beatrice and Petrarch’s Laura).
Many of the best video games, including The Final Fantasy series, Metal Gear Solid, Resident Evil, and, to a lesser degree, Halo, contain characters, story arcs, and, at times, dialogue that at least rivals some of the minor works of world literature.
Video games further, from their earliest incarnations in golden age arcade games like Pac Man and Centipedeto contemporary visual feasts like Red Dead Redemption, Destiny, and the admittedly deeply degenerate and subversive Grand Theft Auto, contain some of the most exquisite art work of the past fifty years.
While Christians and others of sober morality may make strong arguments for restriction and censorship of many, if not most, video games, there is little doubt that video games have meant a great deal to young men and women of our civilization.
And this is exactly why our enemies have included video games in their deconstructive dragnet that is in the process of destroying nearly every facet of European man’s existence.
The most current victim of this spiritual genocide is The Half Life series, one of most intelligent and sophisticated of the immensely popular games in the first person shooter genre.
As a sort of Call of Duty for people with triple digit IQs, Half Life first emerged in 1998 to compete with the Doom and Quake series as well as the genuinely weird Unreal.
Half Life set itself apart from its competitors with its crispy graphics, intelligent and reactive AI, as well as its intensely fun shoot outs with alien and human enemies alike.
However, what was perhaps most alluring about Half Life was its enthralling story of the “theoretical physicist” Gordon Freeman and his unfolding discovery that they aliens that had infested the Black Mesa Research facility at which Freeman was employed were working collaboratively with a mysterious governmental corporate entity.
Like the immensely popular 90s TV series, The X-Files, the world of Half Life and its 2004 sequel, Half Life 2, pits the little guy against a fundamentally corrupt and degenerate system.
Indeed, this theme is even more prevalent in Half Life 2 in which the entire world has been colonized by a grotesque alien civilization known as the Combine who control earth through a puppet government as well as a brutal and sadistic police state.
While the Clinton era Half Life largely left POC characters as minor characters with whom the player interacted, Half Life 2 introduce two significant black and brown people: Eli Vance and his biracial (black and Asian or Latina?) daughter, Alyx.
Vance, of course, is a big brained, 160+IQ, Hidden Figures-tier, Wakandan genius, and his daughter, Alyx, is a sassy and highly intelligent, “I don’t need no man,” freedom fighter against the terrible and oppressive alien system that, in Half Life 2 and its add ons, is clearly representative of the police state coming into being during the Bush Era.
Without a doubt such “talented tenthers” do, indeed, exist and, without fail, take advantage of their God-given talents as well as their designated victim status to lucrative and powerful positions.
However, in the post-apocalyptic world of the later installments of Half Life, how likely would it really be that of all the people left in the world fighting the alien invasion, such a talent tenther and his, again, biracial daughter be two of the main characters in the alien resistance?
On the other hand, one could forgive this intrusion of political correctness in the game, for the gamer (who, till this day, remains primarily a white male), could identify with the smart and strong Gordon Freeman who fought his way through the totalitarian hellscape of Half Life.
Yet, clearly inspired by Gamergate, as well as the rise of online right wing activities, the developers of the most recent Half Life installment, fitting titled Half Life: Alyx, puts the gamer in the shoes of the black and brown daughter of the ebony genius Eli Vance.
As the trailer indicates, the young POC female is, like the overwhelming majority of such women in the world, an expert markswoman and alien-slaying super genius.
As much as it is an attempt to recruit the legions of “consume product” slaves who have been brought into the West to replace Westerners, the introduction of Alyx, just like the removal of statues of European men and women throughout our countries as well as the extraction of our literature and culture from our universities and museums, is a way of telling us that we ourselves are in the process of being erased.
However, within our blood and souls lives the noble spirits of our ancestors of which the archetypal video game hero is but a pale copy, and our enemies should know that the strength that built and maintained this civilization is by no means dead, nor has it even reached its own half life.