The Woke Wars: Analyzing the Narrative of Success and Failure in Gaming and Entertainment

As someone who is painfully plugged into online discourse—perhaps to the point where I may soon need to retreat to an arctic cabin—I have witnessed a recurring narrative in the media landscape this year. Right-wing media consumers and influencers believe they have successfully defeated “woke” games and shows, celebrating what they perceive as victories over a cultural phenomenon they oppose. This narrative seems to gain traction monthly, and it’s time to dissect the perception versus the reality of what’s happening in the realms of gaming and entertainment.

The "Woke Losses" Narrative

Suicide Squad: Kill the Justice League (WB)

Perception: The latest installment in the Arkham universe was branded as a “woke” game, featuring characters like Harley Quinn dressed more conservatively and adorned with Pride flags in the headquarters. Critics pointed to the involvement of a consulting agency, Sweet Baby Inc., which was tasked with ensuring inclusivity.

Reality: The game failed primarily due to its live-service model, a significant departure from Rocksteady’s beloved single-player offerings. Players were met with a lackluster experience that featured repetitive gameplay, a convoluted storyline, and a reliance on a poorly received IP. Critics scored it a mere 60, one of the lowest for major releases that year, indicating that the failure was not rooted in its perceived “wokeness” but rather in its execution and concept.

Concord (Sony)

Perception: This hero shooter was dismissed as a failure due to its unappealing character designs and the inclusion of pronouns in character selection screens, which some labeled as “virtue signaling.”

Reality: Concord’s development began shortly after the launch of Overwatch in 2016, but by the time it was released, it felt outdated. The game struggled to differentiate itself in a saturated market and was criticized for its pricing strategy. It received a score of 65, lower than its competitors, highlighting that its shortcomings were not merely a result of its perceived “woke” elements.

The Acolyte (Disney)

Perception: This Star Wars series was criticized for featuring a predominantly non-white male cast and for its focus on a cult of space witches, with some characters identified as LGBTQ+. The cancellation of the series was celebrated by figures like Elon Musk, who claimed it “went woke and went broke.”

Reality: Despite its $180 million production cost, The Acolyte was the least-watched Star Wars show. Its attempt to introduce original characters disconnected from the Skywalker saga alienated many fans. The cancellation was attributed to poor viewership rather than a backlash against its inclusivity.

The "Anti-Woke Wins" Narrative

Stellar Blade (SHIFT UP)

Perception: This game was heralded as a triumph for embracing traditional gamer desires, featuring attractive female characters and fan service.

Reality: Stellar Blade is a well-crafted action game that received an 81 on Metacritic, showcasing that its success is rooted in solid gameplay rather than merely its aesthetic choices.

Helldivers 2 (Sony)

Perception: Marketed as a game devoid of “woke agendas,” it was praised for its patriotic themes, appealing to those who feel modern media neglects such values.

Reality: Helldivers 2 is heavily inspired by Starship Troopers, a satirical take on militarism and patriotism. Critics scored it an 82, placing it in the conversation for Game of the Year, indicating that its success is more nuanced than a simple anti-woke sentiment.

The First Descendant (Nexon)

Perception: The game’s popularity was attributed to its attractive female characters, which some claimed was the key to its success.

Reality: While the game features appealing character designs, its success is largely due to its well-structured looter mechanics and engaging gameplay. However, it has seen a significant drop in player count, suggesting that its long-term viability is uncertain.

Black Myth: Wukong (Game Science)

Perception: Some claimed that the game’s success was a blow against the media’s alleged desire for it to fail, citing past controversies surrounding Game Science.

Reality: Black Myth: Wukong has been a massive hit in China, where the controversies surrounding it hold little weight among consumers. The game received a positive score of 81 from critics, indicating that its success is based on its quality rather than any cultural narrative.

The Mental Gymnastics of the Narrative

The discourse surrounding “woke” and “anti-woke” media often involves mental gymnastics that can be boiled down to a few key points:

1. A game labeled as “woke” fails solely because it is perceived as such.
2. A successful game must not be “woke,” or its woke elements are downplayed.
3. A game is considered “anti-woke” for some perceived reason, and this is credited as the reason for its success.
4. Isolated comments from reviews or social media are taken as representative of broader sentiments.

This shifting landscape of definitions means that “woke” and “not woke” can be manipulated to fit whatever narrative is convenient at the moment. For instance, Baldur’s Gate 3, often cited as one of the most “woke” games, received numerous Game of the Year awards, yet its success is rationalized by pointing to its attractive characters.

Conclusion

The ongoing debate over “woke” versus “anti-woke” media is unlikely to subside anytime soon. However, it’s crucial to understand the complexities behind these narratives and recognize that success or failure in gaming and entertainment often stems from a multitude of factors beyond mere ideological labels. As consumers and critics, we must strive for a more nuanced understanding of the media we consume, moving beyond simplistic binaries to appreciate the artistry and intention behind each creation.

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