Video Games should just stop pretending they’re not political

After finishing the campaign for Call of Duty: Black Ops Cold War Super War 80s War last week it tweaked a nerve in my brain that has been getting a real workout these past months. Borne from reading the same old comments and arguments online about a lot of movies and video games that come close to dealing with real-world issues in their narratives and themes.

It’s the butting heads of irate gamers getting upset because they don’t want creators to become “political”, going up against the creators who do seem to want to say something in their work, all while their marketing team and managers frantically bow their heads and insist their games aren’t political at all.

Which is a load of crap if you ask me.

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What makes a good Harem Manga

A while back, when I was first getting back into watching anime and reading manga, I wrote a post talking about the romantic comedy genre, specifically, the harem style of story and my frustrations with it. They were the words of a person not yet versed in the tropes and archetypes that comes from well-worn genre.

That being said, I still feel like they’re words that come from an honest place. Now that time has passed and two of my favourite examples of the genre have ended, I thought I might return to the subject and do a follow-up to it. Bare in min though; I’m older, but non the wiser.

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Dragon Ball Super – Breaking down the Villain: Moro the World Devourer

I think Lord Beerus said it best; Like Goku, the Dragon Ball Super Manga can’t stick a landing for its life. While I’ll admit that the ending to the Moro/Galactic Patrol arc hasn’t been the worst Super has produced, it does carry the same old problems as the other story arc’s in the series. Mainly in that, it loses its primary antagonist as a character along in the mix.

While Moro started off the story as a unique and interesting villain, it seemed inevitable that he would simply blend into the background by the time his story was over.

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