Yet another game with ties to Sweet Baby Inc. has gone up in flames... and the house continues to burn. Reflector Entertainment, the developer behind the heavily criticized Unknown 9: Awakening, has officially come out and announced that their game a complete failure. This marks yet another misstep from a studio that had been directly tied to Kim Belair, CEO of Sweet Baby Inc., who was the "Story Architect" for this project. It raises an important question for everyone to wonder: Just how many games need to utterly and completely flop before consultancy groups stop getting opportunities?

Unknown 9: Awakening was initially pitched as an ambitious, transmedia universe, but almost immediately failed to meet expectations on almost literally every conceivable level. They put the proverbial cart before the horse here, without gauging any audience interest and instead, just dropping an entire world of lore on everyone - a world that seemingly no one cared about at all to begin with.

Released on October 17, 2024, for PC, PS5, and Xbox Series X|S, the action-adventure title followed the story of Haroona, a young woman from India, as she dove into a secret world of supernatural mysteries. Despite their hopeful and lofty ambitions, the game fell flat with both critics and audiences, earning a dismal average critic score of 59, and a user score of... 1.7 on Metacritic. YIKES.

This isn't the first time Unknown 9: Awakening has made headlines for all the wrong reasons. Back in November 2024, I reported on the first round of layoffs at Reflector Entertainment, citing an anonymous tipster who I subsequently confirmed the information through posts on LinkedIn. At the time, multiple posts from individuals announcing their layoffs corroborated the situation, alongside several profiles newly marked as "open to work." The writing was already on the wall for Reflector Entertainment, and now it seems one of the final nails has been hammered into their coffin.

According to a post to LinkedIn by Herve Hoerdt, CEO of Reflector Entertainment and CCO of Bandai Namco Entertainment Europe, the decision to cut future development projects and adopt a single-project approach stems directly from the catastrophic reception of this game.

“This decision correlates directly with the failure of the studio’s ambitious and courageous first project, a new IP with a rich transmedia universe... The performance of the release didn’t come near the company expectations, after numerous timeline adjustments and investments, both financially and other, and didn’t warrant any further exploration in this universe.”

As a result of this failure, Reflector Entertainment has also decided to cancel a future project that was still in the conceptualization phase. This move will lead to more layoffs, though potentially some employees might be reassigned to work on an existing Bandai Namco IP... Those impacted by the layoffs will receive severance packages and extended health benefits, which is great for them for the short term, but the fallout from all of this is undeniable.

What makes this situation even more comical is how Unknown 9: Awakening was meant to be the centerpiece of the Unknown 9 Storyworld, a transmedia project spanning games, books, and other media. This entire ecosystem has now been scrapped, showing just how badly this game underperformed. It’s definitely not the first time a Sweet Baby Inc.-related project has fallen apart, but it’s certainly one of the most high-profile failures to date.

Kim Belair and her team at Sweet Baby Inc. have developed an ongoing reputation for their involvement in projects that are clearly far more focused on meeting diversity, equity, and inclusion (DEI) quotas than on creating actual engaging gameplay experiences. The repeated failures of games connected to Sweet Baby Inc. suggests to me that this approach is just NOT translating into any kind of successful game development.

It’s wild to think about how many opportunities Sweet Baby Inc. and Kim Belair have been given, despite their extensive track record of ...we'll say... underperformance, to be nice. Their influence on projects like Unknown 9: Awakening has proven to everyone that they are more of a liability than an asset. At what point do studios and publishers stop turning to them for guidance? Bandai's 'Reflector Entertainment' announcement of layoffs and project cancellations should serve as a wake-up call for the industry... But don't hold your breath at this rate.

Bandai Namco Entertainment Europe has pledged to continue investing in Western content for global audiences. It remains to be seen whether lessons will be learned from this debacle, but for now, the failure of Unknown 9: Awakening is yet another reminder of the risks associated with prioritizing ideology over quality gameplay.

The gaming industry is full of talented developers and creative thinkers who are eager for their shot. Maybe it’s time for studios to give those talented individuals a chance, rather than sticking with self-admitted unqualified consultants and studios that consistently fail to deliver anything noteworthy. Reflector Entertainment’s downfall is just the latest chapter in an extremely troubling pattern—one that needs to end if the industry is to get back to seeing trust and success in the games being worked on.

~Smash

The gaming world has been goin' WILD with controversies surrounding Kingdom Come: Deliverance 2... and not for the reasons you’d expect from a highly anticipated sequel. In a not-so-great turn of events, Warhorse Studios co-owner Daniel Vávra has found himself embroiled directly in a feud with YouTuber Rev says desu, a very highly respected channel in the gaming community and one that I personally enjoy as well.

Content creators are typically not professional video game creators, and video game creators typically have no idea how to make a YouTube video - and this situation perfectly exemplifies that.

Daniel's accusing Rev of being a “grifter” for DARING to discuss preorder cancellations in his video. But to be honest, it’s pretty damn clear to anyone paying attention that Vávra’s move wasn't just unwarranted... but a gigantic misstep that could actually alienate the very community he seeks to engage.

After a period of confusion where Kingdom Come: Deliverance 2 was accused of being "woke" by some gamers, Daniel Vávra did his best to try and clear the air on X with a detailed 10-part thread. It contains spoilers, so read through it at your own risk:

The explanations provided about the game's historical context included things like character diversity, and optional romantic scenes that were thorough and reasonable, leaving me (at least initially) inclined to sympathize with the studio's position. But nah, any of that goodwill evaporated instantly when he decided to attack Rev, a content creator who had ironically defended the game against harsher criticisms. Vávra’s unprovoked hostility undermines the credibility he worked to build, making it really hard for me to stand by his side on this one.

Here's Rev's video that started it all:

The Tweets That Followed:

Daniel Vávra began by refuting claims that preorders for Kingdom Come: Deliverance 2 had dropped due to any actual backlash. He tweeted:

Daniel Vávra "Another grifter. No. Our pre-orders haven't dropped because of backlash. The sold/returned copies ratio is the same as it was. What happened is, that the preview hype has naturally waned and 9 massively discounted games entered the chart. Monster Hunter is down as well."

This comment was directed solely at Rev, whose video discussed preorder cancellations due to controversies surrounding the game’s alleged inclusion of unskippable queer romance scenes and the behavior of Warhorse’s community manager on Steam.

Rev responded:

Rev says I love my wife "Labeling me a ‘grifter’ in a video where I defend your game from being labeled ‘woke’ over a rumored gay scene is wild. Yes, people cancelled preorders. Many did because you won’t address the actions of the community manager’s ‘code of conduct’ posted on Steam. Even now you still..."

Vávra then fired back, accusing Rev of sensationalism:

Daniel Vávra "Well, sorry, but maybe don’t use titles with phrases like 'massive exodus' to avoid confusion."

Which right away tells me that Vavra has no understanding of the world of content creation. Rev also clarified that he never used the phrase that he's being accused of:

Rev says I love my wife "I didn’t use that phrase? You have the data for preorder cancellations, I do not. I can only form an opinion based on my own observations. And as I SHOWED in my video, there are many people on Twitter, Steam, and other platforms cancelling their preorders as a result of various reasons (even some that I thought were unreasonable). And now, ironically, more people are announcing that they have cancelled their preorders as a result of these posts attacking me. I understand a lot of people are hounding you recently, but I was not one of them. This was a mistake."

Why This Was a Terrible Move

Daniel Vávra’s aggressive response to Rev is not just unnecessary but completely counterproductive. Rev’s video didn't attack Kingdom Come: Deliverance 2. In fact, it defended the game against accusations of being “woke” while offering constructive criticism on Warhorse’s communication strategy and community management. By labeling Rev a “grifter,” Vávra immediately draws attention to criticism that he could have easily addressed in a wayyyy more professional manner.

This public spat has only amplified the ongoing controversy, with more players announcing they're cancelling preorders in reaction to Vávra’s behavior. While I don't typically preorder, I did have this game on my watchlist. Now? Not so much... For a studio aiming to build goodwill and hype for its game, this approach was disastrously short-sighted.

Rev Did Nothing Wrong

Rev's a respected content creator known for fair and balanced takes on gaming controversies. His video presented observable trends without extreme sensationalism, offering his own insight into why some folks are reconsidering their preorders. Sure the developer is going to be defensive about a game they've been working on for years, but this is NOT the way to try and handle that IMHO. The accusations of "grifting" are not just baseless, but damaging to Vávra’s credibility.

The Bigger Picture

Vávra’s actions highlight to everyone a troubling pattern of developers lashing out at critics instead of engaging with their concerns. Why is it so hard to understand this simple concept? His approach alienates the very gaming community he's trying to sell his game to and also paints the entire studio in a negative light. If Warhorse wants Kingdom Come: Deliverance 2 to succeed, they need to focus on transparent communication and addressing player concerns, not attacking content creators who offer constructive criticism. I'm actually legit in shock here.

Daniel Vávra’s attack on Rev is a big misstep that now brings even further backlash against Kingdom Come: Deliverance 2. Instead of fostering dialogue, Vávra has chosen confrontation, a move that will backfire as players and content creators rally behind Rev. As the gaming community watches this drama unfold, one thing's clear: this whole feud could have been avoided easily with a more measured response.

~Smash

Corinne Busche, the controversial 'trans' game director known for injecting trans ideology into the highly-contested fantasy roleplaying game Dragon Age: The Veilguard, has officially announced his departure from BioWare. This comes as really no surprise to anyone who's been following the growing struggles within BioWare and EA over the past few months.

Grummz and I previously broke this story before it was (what appeared to be) stolen by the mainstream outlets and credited to Jeff Grubb. They really have no shame, but that's besides the point...

Now with Corinne’s departure confirmed through a series of posts on BlueSky, the situation continues to unravel.

Let’s dive into Corinne’s statements:

“Well, I suppose you’ve heard… Yes, I’ve made the decision to leave BioWare. I want to encourage everyone not to read too much into this. This was my decision so I could continue making the kind of RPGs you (we) enjoy. Thank you for the outpouring of love and support. You mean the world to me.”

Notice how he sources the Eurogamer article that sources Jeff Grubb. Again, one big club, even between the developers and journos...

Corinne went on to further express gratitude to BioWare, and specific colleagues, notably:

“Thank you for entrusting me with our dear Dragon Age. It was an honor to be a steward for the franchise, and to play a part in ensuring its continuance. Biggest of shoutouts to the wonderful @eplerjc.bsky.social, without whom I don’t know if I’d have had the fortitude.”

For additional context, eplerjc.bsky.social is John Epler, who was the creative director, writer, and as he puts it "other stuff" for Dragon Age: The Veilguard.

While Corinne tries to paint his departure as a personal decision, the broader context tells a different story. Dragon Age: The Veilguard was a significant commercial failure, rumored to sell only 1.5 million copies against a ridiculous original target of 10 million. For a franchise as storied as Dragon Age, this shortfall was nothing short of absolutely catastrophic.

Corinne’s "leadership" is widely regarded as a key factor in this failure, leaving many gamers understandably wary of any future projects he's involved with, and many I've seen assume that they wouldn't be surprised to see him "trans" back to being a man again to fit the next game company he goes on to work for.

In one final BlueSky post, Corinne hinted at their next steps:

“So extremely excited to see what BioWare does with Mass Effect, and trust that I’ll be rooting for them the whole while .”

While Corinne may be excited to move on, gamers already in the know are proactively preparing and warning others to steer clear of any projects he helms in the future. Given the damage done to Dragon Age under their watch, skepticism here is more than warranted.

BioWare and EA: A Broader Crisis

Corinne’s departure shines a light on the larger issues at BioWare and EA. The developer has been hemorrhaging talent for years, and between Mass Effect: Andromeda, Anthem, and now Dragon Age: The Veilguard, their complete inability to deliver hit games has only accelerated the terminal decline. A visit to BioWare’s career page reveals a startling lack of open positions. As of today, BioWare has zero job openings in any department. See for yourself.

There's NOTHING available anywhere at the company. Almost as if they have implemented a company-wide hiring freeze while they sort out what the next steps are. Pair this with my inside source warning about how folks at the Edmonton studio in particular are concerned that their office will be shut down completely come Feb 2025... It has to make you wonder.

This lack of hiring and job availability along side the major positions being vacated at present signals either a severe financial crisis for EA, the parent company of BioWare - or a major restructuring effort—neither of which bodes well for the studio’s future. With Mass Effect already on shaky ground after Andromeda and Anthem proving disastrous, it’s hard to imagine BioWare regaining any of the glory it once had at this rate.

What’s Next for Corinne Busche?

One of the most intriguing aspects of this story is where Corinne will land next. He's expressed a desire to continue making RPGs, but what studio would take such a risk? While Corinne implies that he has a gig lined up elsewhere already, there's been no confirmation of that beyond rumors. Corinne’s track record at BioWare is undeniably tied to the failure of The Veilguard, and any company willing to bring them on board will have to directly contend with a skeptical player base.

I’ll be following up on this story as it develops. The question of just who out there would gamble their reputation on Corinne Busche is one I’m extremely curious to see answered. For now, the departure marks yet another chapter in the ongoing saga of BioWare’s decline—and raises serious questions about the studio’s future under EA’s "guidance".

~Smash

This is all getting pretty gross... Trust in mainstream games journalism is at an all-time low (and somehow seemingly plummeting even further as the days pass), Jeff Grubb has provided everyone with yet another glaring example of why that trust has been eroding. Hours after Grummz and I broke the news via X and followed up with an article and video detailing the departure of Corinne Busche, former director of Dragon Age the Veilguard from BioWare, Jeff Grubb conveniently swoops in to pass off the scoop as if it were common knowledge or a generic conversation.

Without referencing anything or QT any source (nice journalism there, buddy), Grubb tweeted at 8:41 PM PST on January 16, 2025:

"Corinne Busche, director of Dragon Age, really is leaving BioWare. But I don't think EA is closing BioWare Edmonton. Was told there is nothing solid about that part of the rumor."

This came a full four hours after our initial report. A report that Grummz and I has been working tirelessly on for days to get it right. We knew this was huge news - if true, but credibility is paramount in this industry.

It almost feels as though he's trying to be coy and own the bad boy role to redirect the situation, as he continues:

He decided to double down after being called out for the theft by taking even more credit:

Yet somehow, Grubb’s initial vague tweet was somehow immediately elevated by the mainstream gaming media as the definitive source.

Publications like Eurogamer, PC Gamer, VG247, IGN, and so many others originally credited Grubb as the source, completely ignoring the hard work and verified sourcing done by Grummz and myself. Eventually, the game of telephone turns into sourcing Eurogamer, instead of any actual source. This is fascinating to see it in real time. Imagine if I didn't have a website, a voice. That thing any of these folks have tried to take away from me for years... But I digress. Let's get to the articles talking about it:

Eurogamer:

PCgamer:

VG247:

GamesRadar:

TheGamer:

GamesIndustry.biz then sources their own sister site instead of anyone:

IGN referencing Eurogamer, the game of telephone continues, as now Eurogamer somehow becomes the source:

...and PushSquare takes a similar approach:

It goes on and on and on. We knew this story was big. That's why we did everything we could possibly do to get it right on our end... Only to see the mainstream gaming outlets once again fall victim to it's own in incest.

A Pattern of Opportunism

Let’s be clear: Grubb didn’t corroborate the story, provide sources, or even credit any of the original reporting. Those of us in the know have witnessed the obvious connections mainstream games journalism has behind the scenes to create a narrative how they want, and make themselves look more important than they really are. It's one big club. Grubb opted for the classic mainstream move—cherry-picking the narrative to fit his agenda while conveniently sidelining any of the actual journalists doing the real legwork. Even more infuriating, Grubb has me blocked on Twitter, meaning he likely knew exactly where the information came from, but decided nah... it was easier to pretend it didn’t exist so that he could try and take credit.

This isn’t just lazy journalism; it’s intellectual theft disguised as reporting. Shout out to JayViper for tipping me off on this insanity!

Mainstream Media’s Mafia Mentality

The bigger problem here is how mainstream gaming outlets seemingly all fell in line behind Grubb’s tweet, referencing him or Eurogamer as the story’s primary source despite his severe lack of evidence, information, or original reporting. The fact that these outlets didn’t even attempt to acknowledge Grummz’s initial tweet or my subsequent article exposes a deeper issue: a cozy echo chamber designed to protect their own while ignoring independent creators. This is why no one trusts mainstream games journalism.

This mafia-like behavior ensures that the same names get credit, no matter how undeserving, while independent journalists are silenced or ignored, no matter how hard they work. It’s a blatant attempt to gatekeep the industry and control the narrative. But here’s the thing: gamers aren’t buying it anymore... and we are winning.

The Death of Mainstream Journalism

This situation is Exhibit A in why mainstream games journalism is crumbling. Publications that once long ago prided themselves on investigative work have now devolved into glorified PR outlets for AAA studios. They're prioritizing clicks and narratives over truth. Meanwhile, real gamers on platforms like YouTube and Twitter are the ones doing the actual work—digging deep, asking tough questions, and delivering accurate information without corporate filters.

Grummz and I spent days corroborating the BioWare/Corinne Busche story to get it right. We contacted sources, verified facts, and ensured the story was completely airtight before publishing. Grubb’s opportunism and the mainstream media’s complicity in immediately propping him up shows everyone their complete lack of ANY integrity, credibility, and accountability whatsoever. It's genuinely disgusting, but is anyone really surprised at this point? Will these outlets all correct their source and admit to lazy reporting? Hahaha... Don't hold your breath on that one.

The Future Belongs to US - Independent Voices

This isn’t just about credit. It’s far more about trust. When mainstream journalists take credit for the hard work of independent creators without acknowledging the actual source, they once again reinforce the belief that their industry is rotten completely to the core. Gamers see through the lies, and they’re turning to independent creators for news that’s honest, transparent, and free of the mainstream media mafia’s influence.

Jeff Grubb’s theft of the BioWare/Corinne Busche story is yet another nail in the coffin of mainstream games journalism. The future belongs to us - those who value truth over clicks—and we’re just getting started.

~Smash

The once legendary RPG studio known as BioWare has been THE cornerstone of the gaming industry for decades, but a long line of failures between Mass Effect: Andromeda, Anthem, and now Dragon Age: The Veilguard were troubling signs of a studio heading toward a catastrophic downfall. I have been passed along very credible information from an inside source that Corinne Busche, the 'man cosplaying as a woman' game director of the failed Dragon Age: The Veilguard, has officially left the company as of a few days ago, and that's just one wild piece of the puzzle... painting a grim picture for the studio's future.

Corinne Busche’s Exit: A Devastating Blow

In an email leaked directly to me that was sent out to BioWare employees, Busche recently announced his resignation, citing his decision to pursue a new challenge and project focused on his passion for making RPGs (below):

Hard to believe I'm writing these words, but here it goes: It's time for me to say goodbye. Today is my last day at BioWare and EA.

After so much contemplation, I've decided to pursue a new challenge and a new project, doing what I love most—making RPGs. It wasn't an easy decision, as I mean it when I say I love BioWare, the Dragon Age team, and what we've all accomplished together. My time with all of you has been the highlight of my career.

I want to offer my personal thanks to each of you. For your trust, your companionship, and for the many ways in which you've inspired me and helped me grow. I'll be eagerly waiting to see what great experiences you create next, and as a fan, I'll be rooting for you!

If I can leave you with any advice, it is this: We all know making games is hard. It's part of why we do it. But making games is also about the people and the reliance we have on one another. So take the time to celebrate the wins and lift each other up. The challenge and the work will always be there, but the moments we have with each other are precious and few.

Let's stay in touch!

Corinne

While his message tries it's darndest to sound optimistic, highlighting his love for BioWare and its teams, his jarring sudden departure comes across as someone who failed miserably at what they were doing, and ultimately abruptly being ushered out the door. Injecting trans scars and woke-ideologies have been rejected by gamers wholeheartedly from jump street, so I can't really say I'm surprised...

Corinne Busche announcing his departure is on top of Sylvia Feketekuty, a Senior Writer of 15 years at BioWare, announced her departure amidst the disastrous launch of Dragon Age: The Veilguard, which has sold under 1.5 million copies against expectations of over 10 million. Feketekuty, known for her work on Mass Effect 2, Dragon Age: Inquisition, and Anthem, took to BlueSky and cited a need for a break... but revealing no future plans, a detail that raises eyebrows as I covered previously. The Veilguard has faced some much-deserved harsh criticism for failing to meet even the most basic of player expectations, with its player base plummeting nearly 90% within two months of release, further fueling rumors of incoming layoffs and uncertainty about BioWare’s future... and here we are.

Rumors of Edmonton’s Closure

To confirm that the email originally sent to me regarding Busche's departure was legit, I contacted my insider, and sure enough, it's true... But it's not the only problem happening over at BioWare these days.

Not by a longshot...

A follow-up email from my source within EA adds serious fuel to this ongoing fire. According to the source, BioWare Edmonton—the studio’s flagship location—is now rumored to be on the chopping block next by EA. The studio opened this 3-story office just 5 years ago and it's already on the way out, by the looks of it. The closure is allegedly set to be announced around February 2025, just before Electronic Arts’ quarterly Town Hall meeting. The timing couldn’t be worse, as EA will now undoubtedly use this as an opportunity to discuss their fiscal performance and future plans. The closure of BioWare Edmonton would mark the end of an era and send shockwaves through the gaming community.

The Bigger Picture: A Studio in Crisis

This news comes amidst growing concerns about BioWare’s stability. The company has struggled mightily to recapture any of its former glory, with recent projects falling far short of expectations. Going to show that once again, it's not the studio that makes great games. It's the people. Untalented people make untalented games. It's a brutal industry and one definitely not for the weak of heart.

Meanwhile, the long-awaited Mass Effect sequel now remains shrouded in uncertainty while internal restructuring and a growing emphasis on DEI (diversity, equity, and inclusion) initiatives have been rapidly destroying a once treasured studio in gaming. My source was expressing serious frustration over what they perceive as a shift away from the studio’s core creative mission initially to what it's become now.

What Does This Mean for Fans?

For fans of BioWare, this is a deeply concerning development. While sure, getting rid of the dead weight and DEI hires is a great start, the news of the entire studio shutting down is something that affects everyone, including the hard working employees that were forced into brain-rot decision making for the better part of the past decade or more. The potential closure of Edmonton, combined with leadership shake-ups and unconfirmed project timelines, casts a massive doubt on the future of beloved franchises like Dragon Age and Mass Effect. These once-iconic series have defined BioWare’s legacy, but without strong leadership and stable operations, ironically will define their ultimate downfall.

A Glimpse of the End?

Busche’s email to his colleagues encouraged them to "celebrate the wins and lift each other up," a message that seems bittersweet in hindsight. While his departure tries to play it off as a 'personal' career move, the broader context tells me what everyone is already thinking - She was pushed out and this feels now as if it's the first domino in a chain reaction leading to BioWare’s collapse.

Make no mistake - This the beginning of the end for one of gaming’s most storied studios. All thanks to Diversity, Equity.... and Inclusion.

~Smash

Nintendo has (FINALLY) officially unveiled the successor to the wildly successful Nintendo Switch—Aptly naming it the Nintendo Switch 2. I know... I know, a lot of folks wanted a "Super Switch" (count me as one of them), but hey, at least its not "The Wii X". No release date has been announced yet, but 2025 stated at the end of the trailer let us know it's coming, and most likely, very soon. As soon as April or May of this year.

The announcement came out of nowhere, shadow-dropping a surprise teaser video without any warning. I can't help but think that the hasty reveal was prompted directly in reaction to the leaks at CES 2025, where Genki showcased a mockup of what the Switch 2 could look like and then Nintendo's Ninja's appeared out of nowhere trying to shut them down. The mockup included a tablet, redesigned Joy-Cons, and a new dock, potentially forcing Nintendo’s hand to go public sooner than planned.

Nintendo was reportedly PISSED. Former Nintendo PR managers Kit Ellis and Krysta Yang shared their thoughts on the potential fallout from the Switch 2 leaks in a recent video on their YouTube channel. Drawing directly from their own extensive experience of over a decade at Nintendo, they discussed how the company might be handling this situation right now, given their familiarity with addressing leaks during their tenure:

“I am 100% sure that they are really mad, to the most severe level,” Yang said. “We joke around about the hot exclamation mark emails. They are hot hot hot. How many exclamation marks could be at the end of this? They are very, very, very upset by this.”

They went on to say it was a “high stress situation” and:

“It’s a highly chaotic situation in there right now and a real pressure cooker... They do have very good people who investigate these things... They will eventually get to the bottom of it.”

Here’s what we know so far about the Nintendo Switch 2:

Larger Size, Bigger Screen

The Switch 2 is visibly bigger, boasting a much larger screen to enhance gameplay visuals. This marks a significant upgrade from the OG Switch, likely aiming to compete with current-gen handhelds in terms of display quality... Not to mention, a lot more curvy. It looks way sleeker, and I'd have to imagine feels more comfortable to hold as well, judging by the looks of it.

Dual USB-C Ports

One of the standout features is the inclusion of now having dual USB-C ports—one on the top, and one on the bottom. This opens up new possibilities for accessories, like VR glasses or additional peripherals I haven't even thought of, signaling a potential expansion of the Switch’s already pretty extensive functionalities.

Headphone Jack Stays

Nintendo has kept the headphone jack intact, ensuring support for wired headphones—a relief for gamers who prefer the reliability of wired audio. Not something I use, nor would have cared if they swapped it out for Bluetooth only, but for kids and ease of flexibility, I can see why they kept it.

Redesigned Kickstand

The kickstand has undergone a major redesign. It now features a handle-like “U” shape and can recline fully, providing added flexibility and stability for tabletop gaming.

Newly Designed 'Dock'

Redesigned Joy-Cons

The Joy-Cons retain their iconic shape, but now feature two sets of shoulder buttons when detached.

Additionally, they also now include a new docking pin connector and magnetically snap onto the console or accessories, improving both form and function. This was rumored to be the case as far back as early 2024, and now here we are, seeing it come true.

Potential New Mario Kart Game

A new installment in the Mario Kart series looks to be in the works from the looks of it. With Mario Kart 8 Deluxe being one of Nintendo’s best-selling games ever, and coming out originally on the Wii U over a decade ago, a new entry could serve as a launch title to drive excitement for the Switch 2. It would make a ton of sense.

Physical Carts & Game Compatibility

The Switch 2 continues to support physical cartridges, ensuring backward compatibility for many existing titles. However, Nintendo has stated that not all previous Switch games will work on the new system, which caught me a bit off guard. I can't imagine what games would not work, and the reasons as to why but here we are - leaving some ambiguity around compatibility.

Public Showcase Events

Nintendo will be showcasing the Switch 2 at the following locations:

North America

• New York: April 4-6, 2025

• Los Angeles: April 11-13, 2025

• Dallas: April 25-27, 2025

• Toronto: April 25-27, 2025

Europe

• Paris: April 4-6, 2025

• London: April 11-13, 2025

• Milan: April 25-27, 2025

• Berlin: April 25-27, 2025

• Madrid: May 9-11, 2025

• Amsterdam: May 9-11, 2025

Oceania

• Melbourne: May 10-11, 2025

Asia

• Tokyo (Makuhari): April 26-27, 2025

• Seoul: May 31-June 1, 2025

• Hong Kong: To be announced

• Taipei: To be announced

Exciting Tech Rumors

This is speculation so take it all with a grain of salt here, but rumors suggest that the Switch 2 will leverage advanced upscaler technology to ensure games run smoothly and efficiently, even in handheld mode. This could be a game-changer, allowing the console to maintain high performance without sacrificing portability and battery life.

Nintendo states on their Website:

"Nintendo Direct: Nintendo Switch 2 will air on Wednesday, April 2, 2025, offering a closer look at Nintendo Switch 2, the successor to Nintendo Switch releasing in 2025.

The broadcast time will be announced on this website and on our social media accounts at a later date."

Final Thoughts

While Nintendo has yet to release the specific technical details publicly, the Switch 2 already looks poised to build on the success of its predecessor. With its larger screen, redesigned features, and potential new Mario Kart title, it’s shaping up to be one of the most anticipated gaming consoles of 2025 - if not ever. The question now is how Nintendo will handle the transition, especially with some compatibility concerns looming over the launch. Regardless, excitement is already mounting as we all prepare to see the Switch 2 in action at public showcases worldwide.

~Smash

From inception, Suicide Squad: Kill the Justice League was met with peak skepticism. The controversial narrative choices, the baffling destruction of beloved characters, and kicking it all off with ...killing Batman(!) wasn't the best thing to when trying to get a good reaction from gamers.

A general lack of respect for the franchise’s legacy painted a very clear picture: this was a game written by individuals clinging to roles they should never have had in the first place.

But first, we need to talk about this elephant in the room...

The game’s climactic “twist” (above) — was just a tired and uninspired reveal that the Justice League deaths were... get this... just clones— all along. Not only was this super generic and predictable, but moreso, emblematic of the shallow, unimaginative storytelling that's been completely plaguing the game industry today.

Let’s take a closer look at SOME the individuals responsible for this narrative disaster.... Because context, especially here, matters.

Many of these folks have a connection to Sweet Baby Inc., but I find it fascinating how hard SBI is trying to hide specifics about who from their company worked on the game, as to not have to take accountability individually for the game's resounding failure. The lack of transparency is quite... on brand for them, though.

Please do not harass any of the individuals mentioned in this article. This piece is for informational purposes only, aimed at highlighting areas for improvement within the industry. With more transparency and accountability, the gaming world can heal and move forward.

Ben Schroder

Ben Schroder, credited as a narrative designer in Suicide Squad showcases his inability to move beyond clichéd tropes...

A He/Him NPC on X (you'll see that pronoun trend a lot as we go here) who helped create the clone twist—something we’ve all seen countless times in both games and other media—was emblematic of his preference for rehashing tired ideas rather than taking creative risks.

Grant Roberts

Grant Roberts’ contributions to the game’s writing reveal a troubling pattern. Rather than crafting compelling characters and meaningful storylines, Roberts seems more interested in shoehorning in divisive, politically charged elements that alienate the core audience.

The inclusion of characters like the gender-swapped Mrs. Freeze in a “Pride Outfit Pack” felt wayyy less like any kind of genuine representation and more like performative pandering, which is starting to feel like it has become a hallmark of Roberts’ career. Oh that, and blaming everyone else for his own shortcomings...

From his interview with The Gamer pushing Sweet baby Inc propaganda:

"Sweet Baby is a work-for-hire company, like a lot of these other consultant companies are. People hire us to do the work. [...] Studios come to Sweet Baby because they want help, because they want to make their game better."

...and he continues:

"Sweet Baby is a narrative development company that is hired by other companies. And sometimes that's [for] authenticity and diversity, but it's primarily a narrative company”

“One of the more frustrating things about this whole thing is like, ‘This is what Sweet Baby does. They're the DEI company."

Amy Leigh Shaw

Amy-Leigh Shaw also shows a lack of notable talent in narrative design, with her involvement in Suicide Squad: Kill the Justice League. Her current role at Sweet Baby Inc., is known for prioritizing agendas over compelling narratives, reinforces the perception that her work aligns more with industry trends than any kind of meaningful storytelling.

Good friend of the channel Endymion had already previously called out Amy-Leigh Shaw, and in hindsight, he was spot on. Specifically addressing her defense of Suicide Squad: Kill the Justice League.

He stated:

“Of course, Amy tries to take the moral high ground here, but the truth is that the damage is done and what her and the team over at Sweet Baby has done to Suicide Squad, not to mention other games like Spider-Man 2 and more. Everything they touch lessens and cheapens the stories and characters within them.”

“Now, openly stating your game has any relations to Sweet Baby has become code for people to avoid that product entirely like the plague because chances are whatever your game is, if Sweet Baby is involved, it’ll be ruined and made into a pandering mess to some capacity.”

Endymion's harsh (and deserved) critique on Amy here highlights the more widespread disdain for Sweet Baby Inc.'s influence on game narratives in the grand scheme by many gamers.

Sefton Hill

Sefton Hill, who once helmed the acclaimed Arkham series, seems to have lost his touch entirely.

His lack of leadership on Suicide Squad reflects a departure from the nuanced storytelling that made Rocksteady a household name.

Instead, Hill oversaw a project that prioritized shock value and trend-chasing over respect for the franchise’s long-established lore. His failure here to maintain the studio’s legacy goes to show that there's a broader issue of unqualified individuals holding critical positions in the industry.

A Narrative Team Without Talent

The collective failure of these writers underscores a harsh reality - one that people like this continue to offload on fans instead of being accountable: they're activists masquerading as storytellers, clinging to jobs they’re unqualified to hold.

Sorry not sorry. Someone's gotta say it.

Instead of crafting narratives that respect their audience and the source material, they churn out politically charged, uninspired slop. This isn’t just bad writing; it’s emblematic of a deeper problem within the gaming industry—a prioritization of their own selfish ideologies to hide a lack of talent.

Not Just Sweet baby Though...

There's a common thread I'm finding when looking at these bios. The activism goes well beyond Sweet Baby Inc when it comes to Rocksteady, and the games industry at large these days. He/hims, she/hers, They/this, This/That. Protected accounts, running to BlueSky, colored hair, and all include activism, with a flair for the overall hatred for the very people they're creating games for in the first place:

The Legacy of Failure

Suicide Squad: Kill the Justice League will forever live on as a reminder for the entire games industry when you allow activists to write your game, the results are financially dire. The game’s narrative failures, combined directly with Rocksteady’s steep decline, highlight the dangers of allowing these unqualified individuals to attempt and shape long-beloved franchises. We deserved a compelling story and a proper tribute to Kevin Conroy’s final performance as Batman. Instead, we were given a hollow, predictable mess that left a stain on Rocksteady’s once-golden reputation.

Many of these people were hard(er) to find, and have been deleting/removing any footprint on the internet - knowing full well in advance that people are looking for more info of who they are and more importantly, how they got to where they did in the first place...

It’s time for the gaming industry to wake up. The audiences deserves better, and the days of allowing talentless activists to run the show should hopefully, be coming to an end.

~Smash

Up-and-coming Youtuber AccolonnTV recently shared a video covering a leaked email from an employee at Ubisoft sent directly to him that completely exposed the gaming giant's currently ongoing inner destruction. Accolonn went through the details, discussing info that shed even more light on Ubisoft’s struggles, organizational inefficiencies, and their increasing alienation from their own developers and the gaming audience in general. The report perfectly exemplifies the crumbling foundation of a once-revered gaming giant of Ubisoft.

The Insider's Email: A Glimpse Behind Ubisoft’s Curtain

Accolonn not only received an email from a Ubisoft insider, but also, a very revealing PDF. This document allegedly originated from someone on Ubisoft's market research team, detailing the company’s repeated failures. What stood out to me was how Ubisoft developers laughed at the document, as all it did was highlight the very same issues they'd been raising for years—issues that Ubisoft leadership ignored until it became a crisis. The disconnect between Ubisoft's developers and upper management is nothing short of insane. Devs feel unheard, with decisions often dictated by market researchers and logistical bottlenecks... rather than creativity or any kind of real expertise in the gaming world. While the document doesn't mention DEI specifically, it's hard for me to hear all this and not immediately jump to that conclusion.

A Factory Line for Games: The Demise of Creativity

Accolonn described the insider’s comparison of Ubisoft's game development process to a factory line, where creativity gets completely suffocated by endless layers of bureaucracy... Not that anyone's really surprised at this point. As I've said what feels like a million times at this point, Ubisoft is bloated to the extreme, currently housing just under 20,000 employees in total, the company could easily slash that number in half and no one would even notice ANY changes to the games or the overall output.

The insider went on to lament the logistical nightmares they've been dealing with involved in even the most minor of tasks, such as fixing bugs. Devs face weeks of meetings just to approve a fix, making meaningful progress nearly impossible. Speaking from personal experience, when I was a Quality Assurance Tester at Sony, it breaks my heart to hear this kind of struggle. I could only imagine the QA Testers feeling helpless to even bother working hard to find any issues knowing the roadblocks ahead of them anyways. When I would find bugs, I would log it, have it sent to development, interact and have a back and forth when necessary, and even at times, sit with the dev in person to explain what specifically was happening to ensure they understood and they would have it fixed, sometimes even in the same day.

This "factory-like" approach over at Ubisoft has driven out the “superstars”—the best and brightest developers—who seek opportunities at companies that value innovation over politics and process. Any real talent at Ubisoft at this point, is all but gone, according to the leaked email.

The Developer Hierarchy: Talent vs. Activism

Speaking of 'Superstars' leaving, a striking insight from the leak was the classification of Ubisoft developers into three categories:

1. Superstars – Highly skilled and often well-known; most have already left Ubisoft.

2. Good Developers – Talented but not prominent enough to secure jobs elsewhere.

3. Deadweight – Lacking technical skill but thriving as “political activists.”

The insider went on to specifically criticize this 'third' group, suggesting they prioritize “social change” and "activism" over ....actual development, further alienating any of the actual talent that remains. Even the insider was fed up with the activism in gaming, and felt that it was genuinely detracting from the overall quality of the work being done at the company on a daily basis.

A Shift in Strategy: Focus Over Inclusivity?

The leaked PDF pointed to Ubisoft (finally) recognizing their failed attempts to cater to the "widest possible audience" (READ: The Modern Audience). While Accolonn didn't show the PDF specifically, for fear of giving away the source, everything he talks about lines up with how Ubisoft had come out with additional information on Assassin's Creed: Shadows in the days following the leaked email, so I'm inclined to wholeheartedly believe it.

The document reportedly emphasized the need for "focused video games" targeting specific audiences. Ubisoft’s research reveals casual gamers buy an average of 1.4 games per year, often following the recommendations of hardcore gamers and influencers.

Interestingly, as I stated earlier, the document avoids mentioning DEI (Diversity, Equity, and Inclusion) initiatives directly. But it's clear to anyone paying attention here that these strategies have indirectly contributed to Ubisoft’s overall failures.

The Leadership Void: When Bad Developers Become Team Leads

Team leadership at Ubisoft has devolved into a role defined by endless meetings and logistics, with little to no creative involvement. As a result, the capable developers avoid taking on any leadership roles, leaving them to the less competent individuals who perpetuate dysfunction and prioritize non-developmental agendas. It's a downward spiral where management roles are being given out to anyone but actual leaders.

A Lesson from Indies: The AAA Industry’s Crisis

The PDF reportedly compares the performance of AAA blockbusters against indie titles, many of which achieve remarkable success with bare-bones resources. Ubisoft's insanely high-budget projects always seem to lag behind smaller, focused games. This was proof that the sheer nature of Ubisoft’s current practices are unsustainable in the longrun, and highlights a complete failure to adapt to changing industry dynamics.

Out of Touch Leadership: A Recurring Theme

The insider's message corroborates long-standing criticisms of Ubisoft’s leadership being detached from both its workforce and the gamers playing their games. Ubisoft’s heavy reliance on market research, rather than.... ohhh I dunno, listening to its own developers or understanding its players... has left the company struggling to remain relevant in a rapidly evolving industry.

Shocker, I know.

~Smash

"We are not working and never worked with Sweet Baby. Never even heard of them till recently tbh"

I'm going to get this out of the way right off the bat so you know where I'm coming from here - I don't trust CEOs. They lie, cheat, steal, and follow whatever direction the wind blows. Are there exceptions? I'm sure there are... but increasingly, it feels like more and more are just straight up disingenuous, playing both sides of the proverbial fence at any and all cost.

Michal Nowakowski, CEO of CD Projekt Red (CDPR), has denied any association with Sweet Baby Inc. (SBI), the consultancy firm best known for kicking off Gamergate 2.0 (despite how mainstream media tries to ignore the true). One of their employees, Chris Kindred, attempted to get Kabrutus's Steam account banned for daring to simply create a curation group listing all games Sweet Baby Inc. had worked on.

Sweet Baby Inc. states that they promote Diversity, Equity, and Inclusion (DEI) practices in the gaming industry, but those have been, time and time again, wholeheartedly rejected by the vast majority of gamers. In reality, many gamers, including myself, feel as though they're more of an extortion mafia, forcing the hand of developers to bend the knee and work with them, or face being cancelled by their industry buddies - in my humble opinion, based off the evidence I've researched over the past year.

We're still allowed to have opinions, right...?

It all began when Philipp Weber, the Narrative Director at CDPR for The Witcher 4 (and a former Quest Designer on The Witcher 3: Wild Hunt and Cyberpunk 2077), took to X to share some of his insights on the studio's preparations for its next major title.

Weber wrote:

"2 years ago we released a new quest for The Witcher 3. New designers and writers worked on it preparing for The Witcher 4, together with one of our most senior quest designers, who is with us since the Witcher 1. All in all, it was the perfect start to getting back into the vibe."

CEO Michał Nowakowski then echoed his sentiment, Quote tweeting Philipp, stating:

"The Witcher 3 turns 10 this May. Around 100 of its developers are working with us to this day on our new projects, including The Witcher IV. Some are actually veterans from The Witcher 2 and The Witcher 1, including my esteemed co-CEO, @AdamBadowski, who has been with the series since its inception back in 2002."

However... not everyone was out there buying their attempt at creating a narrative here. Bucket (@Bucket_WFTFan on X) challenged them, stating:

"I love how they keep pushing the word that they still have staff who worked on the previous Witcher titles like we don't know they lost the prime meat from the bone. They also don't want to openly tell you about those Sweet Baby Inc employees working for them now."

In response, Nowakowski doubled down, replying:

"We are not working and never worked with Sweet Baby. Never even heard of them till recently tbh. Also, we have not lost prime meat as you put it."

This back and forth exchange highlights the growing skepticism in the communiuty (and for very good reason at this point) surrounding the CDPR CEO’s claims of "continuity" and raises some serious questions about the studio’s internal dynamics and especially - transparency when it comes to Sweet Baby Inc.

Yellow Flash replied with what many were thinking:

Evidence of Contradictions

There's been some extreme inconsistency of Nowakowski’s claims over the past few months. CDPR’s recent hiring of Mary Kenney, the former outspoken Sweet Baby Inc. employee and extremely vocal advocate for LGBTQ+ representation in games, has got to make you wonder about the studio’s ties behind the scenes to the controversial consultancy agency.

Kenney’s move to CDPR has been interpreted by some folks as indicative of a shift toward ideological hiring priorities, and how these kind of decisions directly alienate the studio’s original fan base.

Adding to that skepticism, we have to mention the elephant in the room, because sure, while not Sweet baby Inc. specifically, hiring Cian Maher. He is serving as the Franchise & Lore Designer at CDPR, and previously a "journalist" for The Gamer and other outlets. He appears to lack any real notable actual game development skills or relevant expertise... and instead, his track record is marred by a well-documented history of hostility toward gamers, including inflammatory remarks like expressing a desire to “punch” them.

Moving Teams

CDPR’s marketing push tries their best to emphasize the 'continuity' of its development team... while in reality, downplaying significant staff departures over the past few years:

Many of these former employees left reportedly because CDPR was becoming too woke, and have started their own companies. One being called Rebel Wolves, while others who have moved on to form another dubbed Blank Studios.

Nowakowski’s Dismissive Pattern

This isn’t the first time Nowakowski has faced backlash for dismissing valid concerns. In a separate exchange, he previously responded to claims from Endymion about CDPR’s struggles and DEI-driven recruitment practices by labeling them as “nonsense.”

However, CDPR’s publicly accessible DEI and ESG (Environmental, Social, and Governance) documentation contradicts his stance, showing a clear commitment to such initiatives.

These DIRECT contradictions have led many to question Nowakowski’s transparency and leadership. It feels like he's talking out of both sides of his mouth every time it comes to DEI.

A Studio Losing Its Identity

The ongoing backlash reflects the growing discontent among CDPR’s core original audience. Once celebrated for its player-first philosophy and groundbreaking storytelling, the studio now faces accusations of prioritizing corporate initiatives in DEI agendas and ideological goals at the expense of quality. Nowakowski’s continued firm denials, coupled with the evidence saying otherwise, have done nothing to restore confidence among fans.

If CDPR’s leadership continues to ignore concerns, the studio risks further alienating everyone in the community that propelled it to success initially. For many, Nowakowski’s words have become emblematic of the broader disconnect between the company’s promises and their own actions.

CDPR is in the midst of an extreme identity crisis, and they have no one to blame but themselves...

~Smash

Adam Sessler, former co-host of the iconic (and unfortunately ill-fated) Xplay on the G4 network, has been a divisive figure in the gaming community in recent years... To put it nicely. Once heralded as a voice of reason in televised video games journalism, Sessler’s fall from grace seemed spectacular, with public meltdowns left and right, and rants leading many (including myself) to question his sanity.

But in an EXTREMELY unexpected twist, it seems now that Sessler might be embarking on his redemption arc. His latest comments on BlueSky about Alyssa Mercante, the controversial former cam girl and Kotaku journalist, suggest that even he has reached his limits when it comes to what he’ll tolerate—and Alyssa is already somehow... well past them.

The Conversation on BlueSky

The discussion began innocently enough with a post from Rick, known for his Bloodborne fandom, reminiscing about the rise and fall of once-beloved gaming blogs and Kotaku, specifically:

Rick, who persistently remembers Bloodborne @bricked.bsky.social "That Joystiq clown from last night had me thinking of the rise and fall of once beloved game blogs and Kotaku absolutely takes the all-time cake of lamentable failure. Up through the Totilo era it was actually a badge of honor for a studio to have a puff piece written about them there."

Sessler chimed in, taking his own shot at Kotaku:

Adam Sessler @adamsessler.bsky.social "My god yes, it was where the conversation for the day started. They would drive me nuts frequently with their takes but they were for real and not the stinking site of shit and supposition it decayed into."

This prompted Daryl Best to steer the conversation toward Alyssa Mercante, formerly one of Kotaku’s most controversial figures:

Daryl Best @darylbest.bsky.social "Well look at bullshit Alyssa merchant put the publication through. By supporting anti-Semitic morons on Twitch. And that whole shit show over there..."

Sessler, admitting he was initially unaware of Mercante’s long and storied history, quickly ramped up the rhetoric as he looked deeper into her 'track' record:

Adam Sessler @adamsessler.bsky.social "I actually don’t know anything about her. I paid no attention to the bullshit factory that is enthusiast press after new-G4 fell apart. Is she part of that Jew-hating collection of illiterates like Maddy Myers?"

Daryl elaborated on Mercante’s controversies, including allegations of anti-Semitic behavior and internal conflicts at Kotaku:

Daryl Best @darylbest.bsky.social "She supported a lot of anti-Semitic b******* on Twitch with support Palestine and the Hezbollah b*******. That higher-ups forced her to buy out her contract (IE get fired). Then there's another battle on whole DEI stuff with YouTube Grifters that brought a lot of negative attention."

Sessler, now fully engaged, didn’t hold anything back at this point:

Adam Sessler @adamsessler.bsky.social "Doing some digging myself and, good god, how long did they let her fly her national socialist colors? F*** the gaming press five times more than they already should have been f***ed."

The exchange concluded with Daryl commenting on Mercante’s ongoing legal battles referencing her lawsuit against me for daring to actually cover gaming news for the gamers, which have become a sideshow in itself:

Daryl Best @darylbest.bsky.social "It's a whole shit show. I'm wondering if she even has a shot of winning that lawsuit she has going against one of YouTubers? Regardless, it's like watching a slow-motion train wreck happen."

A Remarkably UNEXPECTED Twist

Sessler’s willingness here to go against Alyssa Mercante's controversial approach is notable for a few reasons. It highlights his disdain for what he calls the "bullshit factory" of gaming press, a sentiment I and many gamers out there have shared more and more in recent years, but few prominent figures have actually openly expressed. Adam's extremely unfiltered critique of Mercante suggests that even someone as far "off the deep end" as Sessler... has to draw the line somewhere—and Mercante is well past it. There is definitely comedy to be found here.

The Bigger Picture

Sessler’s comments resonate with much of the gaming community here because they mark that very rare moment of clarity from someone whose recent public persona has been anything but grounded. For many in the gaming community, this moment feels like a glimmer of hope that even the most seemingly completely lost figures in gaming can rediscover a semblance of reason eventually.

The Mercante saga has become emblematic of broader issues in gaming journalism that I've touched on quite a bit in recent months, where a controversy often overshadows actual credibility. Sessler’s push back against Mercante here—and Kotaku, by extension—feels like a much-needed check on an industry plagued by narcissism, hypocrisy, ideology, and a departure from its authentically raw journalistic roots.

Maybe sanity is returning after all? Let's not get too ahead of ourselves. I'd hate to build this all up just to be let down once again...

Perhaps Sessler’s redemption arc is just beginning though.

And if Adam Sessler—once thought to be irreparably "off the rails" throughout the entire community—can see through all the nonsense, maybe there’s hope for the rest of the lost journos someday as well... Given that you're willing to forgive and move on.

...That may just be a bridge to far for most folks at this point.

~Smash

The gaming world of wild rumors has been set ablaze following reports that Nintendo’s legal team, or, better known as the Nintendo Ninjas, made a surprise appearance at Genki’s booth at CES 2025 in Las Vegas.

This incident directly followed the controversial leak involving a 3D render of the Nintendo Switch 2.

Square Enix, a company once nearly-universally celebrated for their iconic franchises like Final Fantasy and Dragon Quest, have now taken a controversial stance against gamers daring to criticize their direction. While the failing gaming giant claims to 'value feedback', their recently published "Group Customer Harassment Policy" raises some serious concerns about whether they're actually, in reality, using legal threats as a weapon to silence dissent and discourage criticism.

A Chilling Effect on Gamers?

Square Enix’s policy states that they:

"...Believe the feedback, comments and requests received from our customers are essential to the advancement of our group's products and services."

However, the company simultaneously outlines actions they deem as "customer harassment" ranging from legitimate misconduct like violence or stalking to way more concerning and very subjective offenses like "denial of personality" and "excessive pursuit or reprimand." The inclusion of these vague terms leaves a lot of room for interpretation—and, the real concern: Misuse.

The policy states that they will "cease providing support services" and then escalates further by stating that Square Enix reserves the right to even pursue "legal action or criminal proceedings" for behavior they consider unacceptable. While legal protections for employees are undoubtedly important, this kind of overarching and sweeping declaration feels far more like a direct shot at gamers who dare try and criticize the company's decisions. Especially as of late...

A Target on Gamers’ Voices

Square Enix’s move to try and codify 'measures' is part of a larger trend among companies embracing Diversity, Equity, and Inclusion (DEI) policies, prioritizing protecting corporate reputations over actual genuine engagement with their own customers.

These policies create an environment where literally any form of dissent—whether constructive or not—can (and typically will) be labeled as harassment, stifling an open forum discussion about the quality of games and the direction of the industry. In the end, it's all about power and control of the narrative.

The irony is pretty thick here. Square Enix has publicly stated that customer feedback is "essential," yet now with their new 'policy' - it directly undermines their original claim. By lumping legit concerns and criticisms into the same exact category as actual harassment, they alienate the very audience that's supported their success for decades up to this point.

The Broader Implications

This move isn’t just about protecting employees from genuinely harmful behavior; it’s about the potential misuse of legal threats to create a chilling effect on gamers approach to the hobby. Square Enix’s policy here suggests that even requesting an apology or making an "unreasonable demand" could be grounds for punitive legal action. But who determines what is "unreasonable"? The company itself, of course—making this a dangerously subjective standard.

This policy by Square Enix represents a deeply concerning shift in how some corporations have been choosing to interact with their audience these days, echoing the troubling precedent Alyssa Mercante is attempting with her lawsuit against me. The parallels are obvious: both cases involve weaponizing legal threats to stifle dissent and criticism within the gaming industry. By categorizing passionate feedback as harassment and threatening lawsuits against gamers deemed "too offensive," Square Enix is now by default, attacking their core audience and creating an environment of fear, rather than trying to be fostering any sort of constructive feedback. If this approach gains traction, it could fundamentally alter the relationship between gamers and developers, silencing criticism and paving the way for unchecked corporate overreach.

This isn't to excuse the outliers. There are certainly obvious situations where legitimate harassment and attacks from a fringe minority of people certainly exists, and you'll see that in all walks of life. The law is there for a reason, and Square shouldn't need a 'policy' to address these crazies. I'm seen this pattern all too often before, and the only reason a company would create such a policy in the first place would be to create more control and power for themselves.

The gaming community thrives on passionate discussion, feedback, and even heated debate. These interactions are the lifeblood of innovation and engagement. If Square Enix begins to wield policies like this to try and silence critics, it sets a dangerous precedent. Are we now supposed to tread carefully, fearing that their negative reviews, critical tweets, or requests for accountability might lead to legal action? It's not a great look, no matter how you slice it.

Striking a Balance

Sure, some individuals do take things too far. Harassment, threats, and abusive behavior are unacceptable and should be addressed through proper legal channels. However, here - in this case - Square Enix’s approach feels far less like a balanced response and more like an overreach designed to intimidate customers into silence. Instead of fostering trust and open dialogue, this policy completely erodes it.

Square Enix’s history was built on the passion and loyalty of its fans. By doubling down on DEI policies and introducing legal threats against gamers, the company appears to be prioritizing their failing corporate image over meaningful connections with their audience. Whether intentional or not, their policy here sends a clear message: criticism is no longer welcome, and dissent comes at an extreme risk.

I encourage everyone to always question whether this is the future we want for the industry. Can we hold companies accountable without fear of retribution? Or are we witnessing the beginning of a new era where corporations are able to dictate the boundaries of acceptable feedback, leaving us with little room to voice their concerns...?

The gaming industry—and its community—deserves better than this crap. Square Enix should reconsider their heavy-handed approach and strive for a more transparent and collaborative relationship with everyone. Otherwise, the legacy of their iconic games may soon be overshadowed by a reputation for silencing the voices that helped build them in the first place.

~Smash

Assassin’s Creed Shadows: Ubisoft’s Last Gasp?

Ubisoft’s recent announcement regarding the delay of Assassin’s Creed Shadows to March 20, 2025, may just sound like a simple extension to improve the game, but no - in reality, it reeks of desperation. This delay isn't about delivering quality; it’s about stalling for time while a sinking ship tries to plug holes. Ubisoft has already been facing EXTREME financial turmoil, and Shadows is a last-ditch effort to remain relevant—one that anyone paying attention knows will not work.

...A far cry from the industry titan they once were.

DEI Propaganda ...Masquerading as a "Game"

From inception, Assassin’s Creed Shadows was a blatant vehicle for Diversity, Equity, and Inclusion (DEI) propaganda - rather than any kind of meaningful addition to the Assassin’s Creed franchise. The inclusion of Yasuke, the black character who was NOT a samurai, but portrayed as one to fit the narrative, isn't a real 'organic' story choice... it was a box-ticking exercise - an exercise that put Ubisoft terrible shape.

This game began development in 2020, during the height of the George Floyd riots, and it’s clear by now to everyone that Ubisoft aimed to capitalize on the very prominent at the time Black Lives Matter movement by... producing a game steeped in the ideology of the moment. A narrative that makes absolutely zero sense when taking a step back. Injecting a black main protagonist in feudal Japan? Really, Ubisoft? Whoever was allowed to make this call should know that they bare the responsibility for finishing off a dying company.

Instead of resonating with fans and making a game in Feudal Japan steeped in lore and engaging experiences, Ubisoft felt to instead, take an approach that has completely backfired, with players and critics alike questioning Ubisoft’s priorities.

As I spoke about a few months ago, rumors were circulating that Assassin’s Creed: Shadows is being reworked to significantly reduce Yasuke’s role in the overall narrative, directly due to backlash from players who felt his inclusion was more about virtue signaling than any serious authentic storytelling.

This alleged 'retooling' could be a key factor behind the delay, as altering major story elements and character integration this late in development is... no small feat. At the same time, diminishing the role of a black character in a game will undoubtably be rightfully met with opposition from the black community. Ubisoft has put themselves between a rock and a hard place here.

If this is true, it suggests Ubisoft's scrambling to salvage the game’s reception by doing whatever they can to tone down the overt DEI-driven messaging, though whether this will be enough to "win back" skeptical fans ...remains to be seen.

"Valuable Feedback From Our Community"

The statement from Marc-Alexis Coté highlights how the delay is intended to incorporate “valuable feedback from our community.” While that may sound noble on the surface, we all know corporate speak by now. It begs the question: why wasn’t this feedback sought earlier in the development cycle? Ubisoft claims they’ve made “remarkable strides” as well, but if that were the case, why is this delay necessary? None of this makes any sense. The truth is likely more troubling—the game isn’t ready... and deep down, Ubisoft knows it.

“More Ambitious and Engaging Day-One Experience”

Ubisoft’s promise of a “more ambitious and engaging day-one experience” feels hollow when placed against their track record of buggy launches and underwhelming gameplay. Could this be true? Sure... but at this point... given their history, the likelihood of Shadows delivering a polished experience by March is slim at best. Most gamers aren't concerned about bugs in this game so much as the agenda injected anyways. That being the case - this statement reads like a smokescreen for far deeper issues going on within the game’s development—issues that more than likely, will never be fully resolved.

Financial Chaos at Ubisoft

The broader context here cannot be ignored.

Ubisoft’s finances have been spiraling for years, with their stock down over 80% and numerous projects delayed, canceled, or outright failing in the marketplace. Shadows isn't just another "game"; it’s a last-ditch effort to prove the company can still produce something of value. Ironically they may have saved their worst for last. Instead of focusing on delivering a quality gameplay experience, Ubisoft has chosen to double down on ideological messaging, alienating a ton of people in their core audience in the process.

A Propaganda Piece, Not a Game

Ubisoft’s decision to begin development on Shadows during a period of heightened social unrest in 2020 reveals their true intentions deep down. This was never about crafting a compelling story or refining gameplay mechanics. It was ALWAYS about capitalizing on a cultural moment to push an agenda. But as we in the gaming community have repeatedly shown, players don’t want to be lectured—we want to be entertained. By prioritizing messaging over mechanics, Ubisoft has set themselves up for failure from jump street.

What Happens Next?

The delay to March 2025 might buy Ubisoft some time, but it won’t fix any of the underlying issues plaguing Assassin’s Creed Shadows. If this game fails—as I obviously suspect it will—it could mark the end of Ubisoft as we know it.

A company that once defined gaming excellence years ago (I was there, Gandalf) has devolved into a shadow (sorry I had to) of its former self, consumed by a need to chase trends and push ideologies rather than create memorable experiences.

Assassin’s Creed Shadows might be Ubisoft’s last gasp for air, but it’s unlikely to be breathe the lifeline they so desperately need it to. As the March 20th 2025 release date looms, one thing's clear: this isn't just a test for the game—it’s a test for Ubisoft’s survival.

And the odds for that test to be passed... don’t look good.

~Smash

Seems as Though Nintendo Forgot To Announce The Switch 2 Themselves First...

We've all seen those 'potential' console leaks before, but they usually come and go without much fanfare because of just how fake they always seem to end up being... But in a bizarre twist that feels almost unprecedented for a gaming giant, it looks as though Nintendo’s highly anticipated Switch 2 is being revealed by literally anyone but Nintendo themselves.

The latest culprit? Accessory maker Genki, who's showcasing their upcoming wares for the Switch 2 at CES 2025 in Las Vegas—all STILL without any official word from Nintendo about the console’s existence or future unveiling...

Accessory Makers Spill the Beans

At CES this week, Genki unveiled accessories designed for the Switch 2, including a docking station and a carrying case.

As most of you could probably tell by a close inspection of these pictures on the showroom floor, this is clearly a 3D printed Switch 2 and the company themselves has even gone so far as to claim this is a replica of the console. Genki is claiming the Switch 2 will be launching in April 2025.

While accessory manufacturers often get advance notice about upcoming hardware, there’s no official confirmation that this is the case here. Genki’s replica could simply be a mock-up, and their statements could be based on speculation rather than insider knowledge...

But I gotta be honest, pairing this with the leak that the joycons would be magnetic from last year and seeing this in action here leads me to believe that this is a VERY real version of the Nintendo Switch 2.

Adding fuel to the growing fire, Genki has launched their own dedicated webpage titled “NS2 Accessories” with the tagline:

“The Next Evolution in Gaming is Coming… We’re working on something extraordinary for the next handheld.”

While the marketing is certainly ambitious, it raises more questions than answers: Is Genki merely riding the hype train, or do they know something we don’t?

The Mystery Features

The rumored features of the Switch 2, as reported by Numerama, include new Joy-Cons with an optical sensor on the inside that connects to the Switch 2 itself, and an all new mysterious “C” button.

They also show off the new curved dock:

These supposed upgrades hint at innovative changes to the console’s design, but... without any confirmation from Nintendo, their actual purpose remains anyone’s guess at this point. Are these features real, or is this just another layer of speculation built on the silence from Kyoto? It seems to solid to brush off at this point, which brings me to the obvious elephant in the room question...

Where Is Nintendo?

Nintendo’s radio silence on the Switch 2 is a bit puzzling... to be kind. In an industry where the hype cycle is critical to the success of new hardware, it’s wild how a third-party manufacturer like Genki steps into the spotlight while Nintendo remains silent. Historically, Nintendo has always been methodical with their announcements, choosing to reveal their hardware on their own terms... But no - in this case - the lack of any official statement is creating a vacuum that’s being filled with rumors and unofficial (but VERY real looking) reveals.

Given the Switch’s age—nearing its eighth anniversary—and the demand for a successor, the time seems ripe for Nintendo to FINALLY officially unveil the Switch 2... Yet, here we are, with nothing from Nintendo and now accessory makers hyping the console before Nintendo can even acknowledge it exists in the first place.

Why the Silence?

There are several possibilities for Nintendo’s silence. They could be holding back for a grand reveal closer to the console’s release date, most likely during a dedicated Nintendo Direct. Another theory is that delays or internal uncertainty are preventing them from finalizing any of their announcement plans. Whatever the reason, it’s beyond odd—and frankly extremely risky—to let third parties be the ones out here controlling the narrative.

A Strange Situation

Nintendo’s approach to the Switch 2’s rollout is unlike anything I’ve seen from the company before. Accessory makers like Genki are now already capitalizing on the hype - and rumors out here running wild, the ball is in Nintendo’s court... and has been for the better part of the last few years. Will they take control of the conversation soon, or will they continue to let others fill the void?

Whatever their strategy may be, one thing's clear: The gaming world is beyond ready for the Switch 2, and Nintendo’s silence is only making the anticipation more intense—and more chaotic. who knows, with how Nintendo operates, this is probably all part of a grander marketing ploy to get everyone to start talking. I wouldn't be surprised by anything at this point. For now, all we can do is wait and watch as the rumors unfold... but in the meantime... I really need to finish Echoes of Wisdom.

~Smash

Lisa Brown, or, more infamously known as "Prof Brown" to her (now former) colleagues, is out once again hunting for a new job in the video game industry. Rather than taking the proverbial "hint" and pivoting to a different career path and exiting entirely, she’s decided nope - it's time to double down and go for broke while making her triumphant return. Despite a disastrous tenure at Firewalk Studios, she is somehow undeterred, ready for whatever comes next.

According to insider sources contacting me, her presence at the studio created an extremely hostile work environment, earning her the label on the team of a walking HR nightmare. I initially spoke about this situation in greater detail in the above video. Employees reportedly walked on eggshells any time they were around her, unable to function in the toxic atmosphere she fostered. If you did not address her as she demanded, she would contact Human Resources, and try to get you written up for insubordination. Again, this is all hearsay, so take it with a grain of salt, but at he same time, seeing how things went down exactly as my insider told me they would, I'm quite confident in their take here.

To recap the disaster: Concord, the project spearheaded by the now defunct Firewalk Studios, was a catastrophic failure of epic proportions, costing Sony more than an estimated $400 million.

Not only did the game completely flop hard, but Firewalk Studios itself shut down, and all customer purchases were refunded and Concord itself was taken offline forever. It’s hard to fathom how someone with this track record on their resume would even consider resurfacing in the industry. Yet here we are... About one month removed from the crater that was created

Lisa’s LinkedIn profile boldly describes her as a “Principal Gameplay Designer with history working in the AAA console and indie spaces.” She highlights her experience with “character kits, weapons, accessibility systems, and gameplay feedback systems” and touts her commitment to “mentorship” and “continuous professional development.” But mentorship and collaboration seem ...questionable... given the accounts of her previous behavior.

The insider told me that she would often use 'mentorship' as an avenue to push authority and use them as an opportunity to try and establish a power imbalance, where she would subtly speak down to others in the meetings, for the sole purpose of propping herself up. Pair that with how she required her coworkers to address her as 'The Professor' and you got yourself a recipe for disaster.

Quotes That Raise Eyebrows

In a recent LinkedIn post, Brown announced:

“The new year is nigh, and I'm back in the job hunt game! I'm looking for senior positions in Gameplay Design, Game Feel/3Cs, and gameplay-related accessibility. HMU, down to clown.”

This nonchalant attitude seems a tad out of place, even for someone in the game industry, for someone whose last major project caused such massive losses and industry-wide embarrassment that it set the industry back decades. It’s as if she hasn’t hit rock bottom or even begun to grasp the gravity of her professional failures.

Her continued insistence on being addressed as “Prof Brown” rather than her actual name of Lisa was... ironically, reportedly part of the same problem at Firewalk Studios. According to my insider, this quirk wasn’t just a playful nickname—it became a focal point of her ego and DIRECTLY contributed to the hostility in the workplace there. Instead of fostering collaboration, her behavior alienated her peers and turned routine work interactions into a minefield.

Why Her Return Should Raise Concerns

If Brown’s LinkedIn is any indication, she seems eager to bring the same baggage to her next role - as if she hasn't learned anything at all. Her plea for “senior positions in Gameplay Design” and “gameplay-related accessibility” might resonate with studios desperate for experienced designers, but the industry needs to take a hard look at her track record. Concord’s failure is a glaring warning sign... and I'm not sure what company would take a flyer on her at this point. Wokeness in games is beginning to (hopefully) taper off, and her approach isn't one that is in demand these days.

The best course of action for Brown might be to step back and prove her capabilities independently. If she truly believes in her ideas, then creating her own indie game would be a more fitting venture. If she really cares about gaming as much as she claims and knows as much as she does about development, this is the perfect opportunity to prove it to the world going solo. Let’s see how well her concepts sell without the safety net of a major studio’s budget... But then again, I think we all already know that answer.

Godspeed to the Next Employer

“Committed to mentorship” and “down to clown” aside, Lisa Brown’s next employer is going to need more than just luck. The ripple effects of Concord’s failure and Firewalk’s closure are still being felt, and bringing her on board would potentially spell disaster for any studio making that leap. The video game industry is tough enough as it is without taking on a walking HR nightmare. IMHO, Brown’s next job hunt should involve a different industry entirely...

For now, we’ll be watching to see if anyone dares to roll the dice. This should be interesting.

~Smash

Compulsion Games, once celebrated for their ambitious title We Happy Few, has now instead become a reminder of what happens when politics, misguided corporate intervention, and disastrous management converge onto itself. Their upcoming project, South of Midnight, is already being touted as a near-guaranteed flop, and the reasons behind its impending failure paint a grim picture of a studio in turmoil. Instead of addressing the obvious issues, they choose to lash out and block critics to embolden their already ridiculous echo chamber.

Exodus of Talent and Studio Mismanagement

The core team behind We Happy Few, which propelled Compulsion Games into the spotlight, has all but vanished. Less than 10% of the original team remains, with many departing after becoming completely disillusioned with the studio’s direction post-acquisition by Microsoft. Reports coming in have told me that the extremely talented developers were hamstrung by poor hiring decisions and promotions based on DEI rather than merit. Unqualified staff have been elevated to leadership roles, creating absolute chaos within the project itself. As one former developer bluntly put it, "They have no idea how to make a game." - and as I've discovered during my research, it only goes straight down hill from here...

Sweet Baby Inc. and Microsoft’s Influence

The downfall of South of Midnight can be traced back directly to their involvement of Sweet Baby Inc. (SBI) and Microsoft. Former developers have come forward with shocking info about the project. Huge shoutout to @Grummz on X for the insights. The once-promising fantasy story inspired by the Creative Director’s upbringing in the Deep South has been transformed into a disjointed mess due to misguided external influences. SBI’s focus on diversity, equity, and inclusion (DEI) initiatives have now taken precedence over the actual game development, leaving the project in a ...poor state.

Race-Swapping and Token Representation

Among a TON of wild decisions that were made, the most controversial one was to race-swap the main character, trying to somehow better reflect a tale set in the Deep South. Butttt... this change—reportedly pushed by SBI and Microsoft—feels more like pandering than any kind of authentic storytelling. Whenever stuff like this happens, I can't help but immediately jump to the, what if the roles were reversed, and they race swapped a black character out of the game for a white one. Of course, being a 'consultancy agency', groups like Sweet baby Inc. who cosplays as the 'experts' in the room aren't allowed to be questioned.

Compounding this ridiculousness is the fact that the development team is almost entirely white ...and based in Montreal, Canada, with extremely limited experience or understanding of the culture they are trying to portray. Sweet baby Inc. is also based in Canada. How exactly are they supposed to be the historical and moral arbiter of truth when it comes to portraying the deep south of the United States? According to Grummz, A black writer was brought on board to lend 'authenticity'... but the lack of the actual genuine cultural knowledge amongst the broader team at SBI and Compulsion has left many developers feeling uncomfortable with the direction, and rightfully so. You gotta ask the obvious elephant in the room question, why are they injecting race as the main focal point of a video game that had literally nothing to do with it prior to Sweet Baby Inc's involvement in the project? The game itself should be all that gamers actually care about. The social/political messaging isn't a welcome one, and has been rejected wholeheartedly by the vast majority of the community at this point.

As far as the game itself (above), IMHO it looks like a bland, generic and very basic/safe Crash Bandicoot clone that takes place in the deep south. If this interests you, have at it, but as far as I'm concerned, the game previews don't wow me whatsoever, and in addition, I've been completely turned off by how the game company themselves have treated me personally, all along the way. They can't take criticism, and feel threatened because of being called out for it. The classic victim mentality...

A Toxic Community Manager

One of the most egregious examples of poor hiring decisions is the promotion of Katie Robinson, the Community Manager, known online as @Pikachulita. Katie has a history of, instead of focusing on her talents and creativity, using her race and sexual preferences to define her characteristics. It's what people who have literally nothing to offer the industry have found success in recent years gravitating towards, but now that gamers have woken up to what's happening, it doesn't work anymore...

Openly stating via an interview on refinery29 in 2022 that she hates white men, specifically "White male gamers were a mistake" as I stated on X:

PikaChulita, aka Katie Robinson, Community Manager for South of Midnight is an extremely racist, anti-white individual that @CompulsionGames & Microsoft's @XboxP3 felt would be a great representation to assist them in selling their upcoming game.

Her CRYSTAL CLEAR disdain for gamers, coupled with extreme racist remarks like "White male gamers were a mistake," has alienated the very audience Compulsion Games should have been trying to reach. Ironically, and I know this will sound silly based on everything I'm about to go into about her, but I don't necessarily blame Katie. She's been placed in a position to ultimately fail. It's not her fault. It falls squarely on the agenda pushing coming from the top down at Microsoft, enabling hateful people like Katie to feel empowered and in control in a position they have no business being in.

Instead of fostering a positive and engaging community, the official @CompulsionGames social media account has devolved into a platform for DEI-related retweets and promotions for other DEI games and agendas, with some slight side mentions along the way of South of Midnight.

Her behavior and lack of focus on the game have sparked outrage among gamers everywhere - not just from myself.

Based on everything I've researched on this individual, they strike me as a very negative, hateful, and spiteful person. Not someone I'd want to associate with at any organization.

A Glimmer of Hope Amid the Chaos?

Despite the grim outlook due to some of these employees, some developers within Compulsion Games are still trying to be hopeful for the project. These people, described as passionate and well-intentioned by Grummz, have been reportedly working tirelessly to salvage whatever they can of remains of South of Midnight. Unfortunately, their efforts are currently being undermined by a culture of fear that prioritizes DEI initiatives over quality and merit, alongside people being hired on that are actively making the customer base not want to support them. The culture being formed here not only stifles creativity but also - drives talented developers away, leaving projects like South of Midnight to fail. Just like nearly EVERY game Sweet Baby Inc. gets involved with. Who knows. The game has yet to release. It could be great for all we know - but I'm, just pointing out the patterns that have become all too recognizable over recent years... and anyone knee deep in this industry knows exactly where this project is headed.

What Needs to Change

For Compulsion Games to turn things around, drastic action is needed immediately. I fear that it's already too late, and South of Midnight will be the death of the studio...

1. Clean House: The studio must replace underqualified staff with experienced professionals who can lead the project to success.

2. Fire Sweet Baby Inc.: Cutting ties with SBI would signal a commitment to quality over performative gestures.

3. Hire a Gamer-Friendly Community Manager: The studio should hire someone who genuinely loves the game they're creating AND its audience, not someone who alienates fans with divisive rhetoric to push ideologies.

4. Refocus on Merit: Promotions and hires should be based on skill and experience, not DEI checkboxes.

   
   

The Bigger Picture

Compulsion Games’ struggles are symptomatic of a broader problem in the gaming industry. DEI and ESG (Environmental, Social, and Governance) initiatives ALWAYS come at the expense of merit and quality. This culture being created has left many talented developers feeling silenced and undervalued, while less qualified people are being raised up to be 'heard' - resulting in projects that fail to meet their potentials. If the industry doesn’t course-correct soon, more studios will follow in Compulsion Games’ footsteps.

South of Midnight could have been a groundbreaking title, blending fantasy with the rich culture of the Deep South. Instead, nope. It’s shaping up to be a disaster, undone by mismanagement, poor hiring decisions, and misguided priorities. Compulsion Games has to change and act swiftly to try and regain the trust of their audience and salvage their reputation... But I'm not holding my breath, because based on everything I've witnessed here, South of Midnight will go down as yet another reminder of what hiring the wrong people does to a company, and how prioritizing politics and incompetence always overshadows creativity and passion.

~Smash

In the age where anyone with a keyboard can publish their opinions, individuals with significant personal challenges are using this freedom to shift the focus from their own personal struggles to instead, sensationalized issues. One perfect recent example I've unfortunately discovered is Sarah Barrett, a "writer" for The Mary Sue, who's previously openly discussed her neuroatypicality issues and mental health challenges. From her own LinkedIn:

While it has historically 'potentially' been commendable to try and destigmatize these struggles - at least - on the surface, the real problem arises when society provides a platform for crazed individuals to write inflammatory and bad-faith articles that ultimately serve as a cry for attention rather than any kind of meaningful contribution to actual discourse.

Everyone has become either too comfortable or too afraid to call out the crazies in fear of being cancelled by the woke extremists...

The spotlight as of late shouldn't be on the subjects of the articles and the content within them, but moreso on the motivations and struggles of the writers themselves. I'm looking forward to the day we can get back to talking about what we love, but someone's gotta take out the trash...

The Case of Sarah Barrett and Race-Swapping in Spider-Man

Sarah Barrett’s recent article (archive link) defending the race-swapping of Norman and Harry Osborn in the upcoming animated series Your Friendly Neighborhood Spider-Man is a prime example of this sad, pathetic trend.

Barrett begins her piece by labeling critics as "racists" without so much as even bothering to engage with the substance of anyone's actual concerns. Her tactic being used here, while effective at grabbing headlines, is the type of writing that prioritizes clickbait and rage over the real thoughtful discussion fans of these series want to have.

The Problem with Race-Swapping Defense

Honestly, at this point, I'm personally shocked that The Mary Sue is even a thing anymore. It's a terrible waste of a website that only serves a purpose to point and laugh at. Pair that with giving a keyboard to someone who's open about their extreme autism, and I guess you got yourself a formula for disaster.

Barrett’s article is emblematic of The Mary Sue’s broader approach to cultural criticism, which constantly seems to dismiss any dissenting views as bigotry. In this case, the article fails to address several key critiques.

Yep, the same people who show up to comment “woke” and “DEI” on everything are now commenting on the Your Friendly Neighborhood Spider-Man trailer with, well, “woke” and “DEI.” Not only is Norman Black, but his son Harry (Zeno Robinson) is as well, and people who probably don’t even care all that much about the characters are completely furious.

Race-swapping characters like Norman and Harry Osborn is a lazy form of representation and it feels more like virtue signaling than a genuine effort to diversify media. Instead of creating new, original characters with rich backstories, studios opt for superficial changes that fail to resonate with audiences. Modern story writers have no talent, and to make up for that, resort to race swapping existing entities. In doing so, ironically, Disrespecting Black Audiences.

I've personally witnessed a lot of people in the black community voice frustrations with these changes, stating they feel 'pandered to' rather than genuinely represented. Barrett’s article ignores this perspective entirely, opting to generalize dissent as racism... because noticing any of this reality flies directly in the face of the agenda being pushed.

Then you have the trend of altering existing characters instead of investing in new ones is not limited to this Spider-Man series. Similar controversies, like when Disney casted of Halle Bailey as Ariel in The Little Mermaid, highlighted a disgusting recurring issue: studios prioritize performative diversity over any kind of real, actual meaningful inclusivity...

It’s absolutely ridiculous that people are throwing tantrums over some iconic characters being a different race in an adaption that was always going to do things differently. Still, if they’re storming off, we can safely say that the fandom is better off without them.

Doing this alienates fans and lead to complete disinterest, ultimately causing these projects to flop in the long run. Barrett’s article sidesteps this argument and instead doubles down on moral condemnation.

The Real Issue: Society’s Enabling of Attention-Seeking

Barrett’s writing style—and her trying to frame every single dissenter as a bigot—is way more reflective of the larger societal issue happening these days. By elevating individuals with clear and extreme unresolved mental health challenges to positions of influence, we're by default, actively creating an environment where attention-seeking behaviors are then rewarded over the intellectual and desired ones.

Instead of focusing on the topic at hand, the conversation she tries to have shifts to sensationalism, directly instead polarizing audiences... and ultimately, trivializing any of the genuine debates.

There used to be standards in media.

Now?

Everyone gets a trophy.

Responsibility Desperately Needed in Media

It’s time for everyone to critically examine the platforms it provides to individuals like Sarah Barrett. While mental health struggles should be met with compassion, they should not excuse or justify the publication of inflammatory, one-sided content. It's important to know WHO the author is, and be familiar with their history, because often times people in positions of 'journalism' these days don't really care about the issues they are writing about, but more so, care to push people to think like they do in any way possible.

The Mary Sue’s defense of the Spider-Man series’ race-swapping, as articulated by Barrett, underscores this important approach. By refusing to engage with legitimate critiques and resorting to ad hominem attacks against anyone daring to refute, the article fails both its readers and the broader discourse.

But hey, at least The Mary Sue is still good for something. Point and laugh away!

~Smash

Alyssa Mercante has officially reached the point of truly scaring me with her escalating tactics. After publicly targeting me with her lawsuit by doxing my address while redacting her own (ironically, stating out of concern for her own safety), she's now moving on to insinuating that I’m somehow stalking her and deliberately going completely out of my way to make her live in fear.

Let me set the record straight: I am literally out here just living my life with my wife and kids out in California while running a YouTube channel focused on gaming. Anything she tries to insinuate out of that is nothing more than a mind that has clearly been rotten to the core.

Her recent tweet, where she claims I showed up at an arcade she was at in San Diego just to intimidate her, is beyond absurd. In her own words:

"I didn’t talk about it because it freaked me the fuck out. I posted I was at this bar when I was in San Diego. ~1.5 hours later he shared a pic that he was there, saying it was ‘busy’ because of TwitchCon, which he knew I was attending. He lives over half an hour away."

First off, this bar is a barcade—Coin Op—is one of my favorite barcades in San Diego. NO one calls it a bar, unless they're trying to make it sound more insidious to the unknowing readers - but then again, this IS Alyssa we're talking about so par for the course at this point.

I go there all the time, as my followers on social media can attest. In response to her ridiculous accusation, I tweeted:

"Coin Op is my favorite barcade in San Diego. I go there all the time. I mean... WTF? You think I’d drive all the way there… to take a picture outside? This is getting a tad absurd. You really think I’d want to be anywhere near this person after how unhinged she’s acted about me… Yikes."

The fact that Alyssa is framing this as stalking is completely insane. I don’t plan my outings based on where she is or might be. She has me blocked on Twitter/X and I do not keep up with her antics. As far as I understand, she lives in New York, travelled to San Diego for Twitchcon, and then got mad when I went out downtown to an arcade...? Huh?

I’ll be sure to clear it with Alyssa next time she’s in town on where I’m “allowed” to go whenever I leave the house. All sarcasms aside, her levels of paranoia and obsession from her here are genuinely second to no one and IMHO, is seriously concerning for my own well being.

I found out about her latest accusation thanks to Kyle Wilson, who tagged me on Twitter/X and shared her unhinged tweet. His message to me was:

"She’s accusing you of literally physically stalking her now. Completely unhinged behavior."

What’s truly unsettling is her referencing how far away I live from Coin Op, as if saying “he lives over a half hour away” is some sort of ‘gotcha.’ All that does in the end is expose her for looking up (once again) where I live and GPSing locations and distances. This is next-level crazy. If anyone’s behavior is bordering on stalking, it’s ironically her. San Diego is not New York city. Everything is basically a 30+ minute drive for me.

Pair with that her accusations, in light of begging the community to "fight" her, "physically", her attitude here makes no sense at all. Even if I was going there to be aggressive and challenge her to a fight... isn't that what she was begging anyone for, and stating no one takes her up on it "because they're all pussies"? Seems like this is more of an admission on Alyssa's part that not only is she completely unhinged, but.. the only "pussy" here, is her... But I digress...

I go to arcades almost every weekend. I post about it often. The fact that the location she flew over 3,000 miles to visit happened to be one I frequent shouldn’t be surprising—if anything, the reality is wouldn’t it make more sense that she’s stalking me?

She flew across the country to be in my backyard and then accuses me of stalking when I show up at a place I regularly visit.

This is honestly getting too weird. To the point of scary.

For the record, I know a lot of you are tired of hearing about this nuisance and I really don’t want to keep bringing her up, but she is actively suing me. It’s important that I do my best to ensure I leave a paper trail clearing the air of her absurdity along the way. We all know what this really is. An attempt to paint me as an insane "badguy" for the court to rule in her favor - but TBH, this situation has gone from frustrating to downright scary, and it’s time people start asking who the real aggressor is here. The more she motivates her followers to come after me, knowing where they can find me and my family, the more concerning all of this is. This kind of approach is the definition of true evil. Not caring about the well being of another or their family. It's sick, twisted, and disgusting.. and from everything we've seen from her so far: Completely on brand.

~Smash

Those of you who've been paying attention as the wild year of 2024 comes to a close would instantly recognize how the gaming community has been rocked by Sweet Baby Inc. (SBI). The company infamous for their initial role in single-handedly kicking off 'Gamer Gate 2', is now working with the (once) much-beloved publisher Devolver Digital. Their partnership was exposed by MasteroftheTDS and his wife Writing Raven through their YouTube channel, "Gothic Therapy" where they discovered and highlighted the upcoming game The Crush House and its ...we'll just say, bizarre concept.

The Crush House: A Recipe for Disaster

The Crush House is being marketed as a… get this… a "thirst-person shooter" that supposedly blends dark comedy with reality TV tropes in a strange dating-simulation aesthetic. Players act as the producer of a 1999-style reality show, selecting cast members, filming drama-filled moments, and trying their best to uncover "sinister secrets" along the way in a fairly bare-bones indie graphic layout. If that premise sounds cringeworthy, the gameplay footage and marketing materials are only gonna work to amplify the complete absurdity of it all.

Highlights include a faux-gossip blog filled with exaggerated scandals and even a video tutorial for "hot dog milk" – a concoction that literally nobody asked for or wants… Once again, a game clearly intended for 'The Modern Audience'

The Summary on Steam states:

Film and produce 1999's hottest reality TV show: The Crush House! Select a crush-worthy cast, satisfy voracious audiences and keep the show on air to uncover the sinister secrets behind this darkly comic thirst-person shooter.

The game's development is done by Nerial Ltd., best known for the Card Shark and Reigns series, but its narrative design comes secretly - courtesy of Sweet Baby Inc. Who greenlit this?

Two of the studio's employees, including Maxine Sophia Wolfe (above), a full-time SBI team member, are heavily involved in crafting this ....peculiar title. What normal, sane human being takes a picture like this and then uses it as their profile pic? Where are they finding these people...? Geez... Anyways, Devolver Digital, once known for publishing critically acclaimed titles like Cult of the Lamb and Hotline Miami, among a slew of other awesome indie hits - is acting as the game's publisher here... and the decision has left many long-time fans of Devolver stunned and disheartened. Myself included.

Sweet Baby Inc.’s Troubled History

Sweet Baby Inc. has now long been a polarizing force in the gaming industry. They came under fire for their involvement in what many "journalists" have dubbed Gamer Gate 2, ignited by an SBI employee, Chris Kindred. Kindred targeted Kabrutus, a Steam user who created a curation group to catalog all Sweet Baby Inc.-influenced games in one convenient place. Kindred’s attempts to get Kabrutus’s Steam account removed perfectly exemplify SBI's continued antagonistic relationship with the gaming community.

Now, their partnership with Devolver Digital has reignited these very same concerns. For a company like Devolver, which built its reputation on innovative, indie-friendly games, collaborating with a studio like SBI seems like a gross misstep to their brand and values.

A Disheartening Blow to Devolver Fans

As a longtime fan of Devolver Digital, I gotta be honest - this news stings. Devolver has published some of the most creative and beloved indie games in recent years, earning them a very loyal following. To see them work with SBI here, a company that's been mired in controversy, feels like a betrayal to those who appreciate Devolver’s usual commitment to quality and originality.

What’s worse is that The Crush House looks like a mess, both conceptually and visually. Its premise leans heavily on outdated reality TV clichés, its marketing materials are bafflingly bad, and on top of all that - their association with SBI undermines its credibility to the core. For a publisher like Devolver Digital to put their name on this project raises serious questions about their judgment.

The Fallout

This collaboration is more than just a bad look; it’s a warning sign. If a respected publisher like Devolver Digital is willing to work with Sweet Baby Inc., what does that mean for the future of the indie gaming scene? Will SBI’s influence continue to spread, tainting more projects with their controversial reputation? It's beyond wild to me that they continue to operate in the shadows, hiding their involvement in games, only to cry victim each and every time it's discovered that they are working on a project.

For now, fans of Devolver Digital can only hope that this is an isolated misstep rather than a sign of things to come... But I'm not that optimistic. As for The Crush House, it seems destined to become another footnote in Sweet Baby Inc.’s growing list of DIVERSE game project failure portfolio. Let’s hope Devolver learns from this and steers clear of similar partnerships in the future... But at this rate, I'm not holding my breath.

~Smash

In the ongoing saga of Alyssa Mercante’s attempts to deflect accountability while at the same time proactively push a lawsuit at me for daring to cover her antics in the public sphere of gaming, Jake Steinberg has now emerged as her staunch white-knight defender, using the same old tried-and-true underhanded tactics people like this always do, to further their false narrative.

Jake, the former and failed journalist that left GameXplain to start his own venture on YouTube (failing there as well btw), isn't the biggest fan of others getting any attention, IMHO. I've covered his previous simping for Alyssa Mercante before and encourage everyone to review that for full context of this situation before continuing on:

His latest attack on me begins with a tweet reply out-of-the blue that exemplifies perfectly the strategy to try and manipulate public perception:

“The thing dumbfucks miss is that it's not about these words coming out of a harasser's mouth (though Jeff has said equally fucked stuff) it's about knowingly cultivating and profiting off a space that encourages and celebrates this behavior.”

In this tweet, Jake shares an image of superchats from another channel (Hypnotic) as part of a livestream we do each and every Saturday night called Saturday Night Hypnosis, somehow trying to imply that because I was there, I am now responsible for the content of others’ comments and contributions.

This deliberate conflation or reality—blaming me for actions that are completely outside of my control—isn't just misleading... but a blatant attempt to pin unrelated behaviors on me. It is the epitome of lying by omission, a consistent hallmark of their tactics.

Twisting Context and Ignoring Evidence

Jake’s aganda is actually pretty simple and straight forward: cherry-pick out-of-context clips and tweets to sway public opinion, ignoring any nuance or counterarguments. My reply thread to his baseless claims exposes this strategy:

“Notice how people like @JakeNoseIt operate to push an agenda. ‘Though Jeff has said equally fucked stuff’ yet for some strange reason they NEVER provide any evidence. They constantly showcase ONLY their side by using out-of-context clips/tweets to try and sway public opinion. These are loose words used to mold and fit any argument, that in the grand scheme, are completely meaningless.”

This is why people like Jake ultimately ALWAYS lose. Their arguments crumble under scrutiny because they rely on innuendos and blatant misdirection instead of concrete evidence. For instance, when Jake claims that “She didn’t dox anyone,” he completely ignores the actual issue: Alyssa Mercante’s jubilant sharing of a legal document that redacted her own information while publishing mine. This isn’t an opinion or a misinterpretation—it’s a fact, as I pointed out:

“It’s pretty clear Alyssa did in fact dox me, quite jubilantly I might add, by sharing a legal document redacting her own info but publishing mine. You guys continue to lie by omission. It is the definition of FAKE NEWS.”

IN addition to all that, Jake attempts to minimize Alyssa’s behavior with another lie by omission: “She didn’t call anyone’s family.” This rhetorical sleight-of-hand ignores the actual issue. Instead of denying Alyssa’s actions outright, Jake sidesteps the truth by reframing the argument. My response dismantles this attempt:

“My guy. We gonna really split hairs on this? Instead of saying what she didn’t do, you should CLARIFY what was done. Again fake news lying by omission. Here are Alyssa’s messages to my wife where she tried to disrupt my marriage.”

Unlike Jake, I back my statements with evidence.

I included screenshots of Alyssa’s messages to my wife, exposing her gross attempts to go way out of bounds and try to interfere in my personal life. Additionally, Alyssa herself has publicly admitted to these actions, a fact Jake of course conveniently ignores in his public smears.

The Echo Chamber Effect

What’s most telling is that Jake makes these accusations while keeping me blocked on Twitter. By doing so, he ensures I can't directly refute his misinformation to his audience. When you take a step back to see it for what this is though... it's really disgusting. This is a classic tactic of those who thrive in echo chambers—they need controlled environments to push their narratives because their claims cannot withstand open scrutiny. As I tweeted:

“Note that these tweets from @JakeNoseIt were made against me publicly while he has me blocked so that I’m unable to correct the misinformation. People like this need echo chambers to socially survive.”

Setting the Record Straight

Let me be clear: I'm not engaging in any illegal activity, nor have I ever. All the information I share is public, whether it comes from tweets, articles, or videos. My goal's always been to improve the overall quality of the gaming industry by calling out hypocrisy and holding individuals accountable. Jake’s attempts to frame me as a harasser or enabler of harassment are once again nothing more than a desperate smears designed to protect Alyssa from justified criticism.

If Jake and Alyssa genuinely believe their actions are defensible, they really should start presenting their arguments in an open and honest forum rather than hiding behind selective narratives and blocked accounts. The gaming community deserves better than these disgusting tactics of deception and omission. It's gone on for years but people are waking up to it now.

Perhaps it’s time for some serious self-reflection on their part... But we all know at this point, that's never going to happen.

~Smash