YouTuber Warns That Gamers Should Not "Plunge Gaming Into An Era Of Debauchery And Degeneracy"
YouTuber Dreadroberts warns that gamers should not “plunge gaming into an era of debauchery and degeneracy” in order to give wokists and leftists an L.
In a post to X, Dreadroberts wrote, “Just because there are loud, annoying people on the other side screaming ‘death to beautiful female characters in gaming’ does NOT mean that we ourselves should plunge gaming into an era of debauchery and degeneracy just to give them an L. Degeneracy and debauchery is bad no matter what side you’re on.”
“There are already a crap ton of loonies inserting their sick fetishes and political stances into games,” he continued. “If we want to beat them, we need to do the complete opposite of what they’re doing, not do the same thing but better. That’s insanity!”
Next, he declared, “And let’s be real for a second since no one seems comfortable addressing this cold hard truth: Pornography DESTROYS lives. It does not save you, it does not heal you from trauma, it destroys you. It should never be used as a beauty standard either (aka ‘if you feel the desire to have sex with her, she’s designed correctly’) and we need to do away with it ASAP.”
“Kids are more receptive than EVER in this day and age, and the kind of stuff I see people on ‘our side’ promoting is going to do nothing for younger lads and ladies but send them down a dark path and push them into make bad decisions,” he asserted.
Dreadroberts then shared, “We need to secure a solid line of FUN games that appeal to the next generation at the base level and stop focusing so much on course correcting how to be a pervert.”
“We’re getting older. Our kids are next in line,” he declared. “The industry needs to be LED by adults ready to hit the ground running with positive change and ACTIVE development by prioritizing fun and story. Not by a bunch of perverts who just want hot chicks in games over ALL else. “
“Pushing that kind of message all the time hurts the efforts of those who take this fight seriously, and it’s going to have negative ripple effects, especially for young men,” he concluded.
Dreadroberts is not the only one to raise this issue. Novelist Isaac Young noted it in a much briefer post to X.
He wrote, “The West’s entertainment problem is a porn problem—driven largely by liberal women.”
Pornography is an offense against chastity. The Catechism of the Catholic Church explains, “Pornography consists in removing real or simulated sexual acts from the intimacy of the partners, in order to display them deliberately to third parties. It offends against chastity because it perverts the conjugal act, the intimate giving of spouses to each other. It does grave injury to the dignity of its participants (actors, vendors, the public) since each one becomes an object of base pleasure and illicit profit for others.”
It adds, “It immerses all who are involved in the illusion of a fantasy world. It is a grave offense. Civil authorities should prevent the production and distribution of pornographic materials.”
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Furthermore, as J.R.R. Tolkien noted in his essay On Fairy Stories, which in this author’s opinion can be applied to video games as well, the things fairy stories offer are Fantasy, Recovery, Escape, and Consolation.
Tolkien described Fantasy as such, “The achievement of the expression, which gives (or seems to give) “the inner consistency of reality,” is indeed another thing, or aspect, needing another name: Art, the operative link between Imagination and the final result, Sub-creation. For my present purpose I require a word which shall embrace both the Sub-creative Art in itself and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of “unreality” (that is, of unlikeness to the Primary World), of freedom from the domination of observed “fact,” in short of the fantastic.”
As for Recovery, he explained, “Recovery (which includes return and renewal of health) is a re-gaining—regaining of a clear view. I do not say “seeing things as they are” and involve myself with the philosophers, though I might venture to say “seeing things as we are (or were) meant to see them”—as things apart from ourselves. We need, in any case, to clean our windows; so that the things seen clearly may be freed from the drab blur of triteness or familiarity—from possessiveness. Of all faces those of our familiares are the ones both most difficult to play fantastic tricks with, and most difficult really to see with fresh attention, perceiving their likeness and unlikeness: that they are faces, and yet unique faces. This triteness is really the penalty of “appropriation”: the things that are trite, or (in a bad sense) familiar, are the things that we have appropriated, legally or mentally. We say we know them. They have become like the things which once attracted us by their glitter, or their colour, or their shape, and we laid hands on them, and then locked them in our hoard, acquired them, and acquiring ceased to look at them.”
Moving on to Escape, Tolkien noted that “its companions [are] Disgust, Anger, Condemnation, and Revolt.” Using a variety of examples he notes it allows people to be “delighted with the work of their hands” while also allowing people “to fly from … the noise, stench, ruthless, and extravagance of the internal-combustion engine.”
However, he notes there are more things one can fly from than that including “hunger, thirst, poverty, pain, sorrow, injustice, death. And even when men are not facing hard things such as these, there are ancient limitations from which fairy-stories offer a sort of escape, and old ambitions and desires (touching the very roots of fantasy) to which they offer a kind of satisfaction and consolation. Some are pardonable weaknesses or curiosities: such as the desire to visit, free as a fish, the deep sea; or the longing for the noiseless, gracious, economical flight of a bird, that longing which the aeroplane cheats, except in rare moments, seen high and by wind and distance noiseless, turning in the sun: that is, precisely when imagined and not used. There are profounder wishes: such as the desire to converse with other living things.”
Finally, Tolkien detailed, “And lastly there is the oldest and deepest desire, the Great Escape: the Escape from Death. Fairy-stories provide many examples and modes of this—which might be called the genuine escapist, or (I would say) fugitive spirit.”
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As for Consolation, Tolkien revealed that it satisfies ancient desires, but it also has a higher form, which he describes as Eucatastrophe, “The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous ‘turn’ (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially “escapist,” nor “fugitive.” In its fairy-tale—or otherworld—setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.”
Tolkien added, “It is the mark of a good fairy-story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give to child or man that hears it, when the “turn” comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality.”
In the epilogue, he discussed further, “The peculiar quality of the ‘joy’ in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a ‘consolation’ for the sorrow of this world, but a satisfaction, and an answer to that question, ‘Is it true?’ The answer to this question that I gave at first was (quite rightly): ‘If you have built your little world well, yes: it is true in that world.’” That is enough for the artist (or the artist part of the artist). But in the ‘Eucatastrophe’ we see in a brief vision that the answer may be greater—it may be a far-off gleam or echo of evangelium in the real world.”
It clear that video games especially fantasy-themed ones should be reaching to achieve that Eucatastrophe. They should be reaching to provide us with that gleam or echo of evangelium.
It is unlikely one can do so when turning to debauchery and degeneracy.
What do you make of Dreadroberts’ warning?