Why camouflage controllers matter

It has come to my attention that when we dennounced camouflage controllers as a serious issue in the world of videogames, many people thought us as being alarmist or possibly even silly. Well, I’m here to disabuse such a notion and explain exactly why, far from being a waste of time, this was a bold move in our fight against imperialism.


The Spanish Republic could have stood more of a chance if they took to cultural criticism.

It’s beyond argument that this controller represents infiltration of the interests of the military-industrial complex in the videogame audience. By presenting the armed forces as an everyday aspect of our lives, they normalize imperialism attitude among the population. It’s undeniable that the Amrican armed forces are present in every facet of our daily lives, but what I’m trying to say here is that their presence in videogames is the absolutely more dangerous and insidious part of that infiltration.

A fallacy I commonly hear is that videogames have little cultural impact, thus military propaganda, or imperialist status quo apologia in general, in videogames in absolutely insignificant compared to other mediums. I thoroughly refuse to accept that.

Yes, the colaboration between Hollywood and the armed forces is almost a century old and goes to the very core of the American movie industry. Their logistic support, which includes lending military hardware for the movie scenes, is conditional upon portraying the military in a positive light, no matter how ahistorical it is. In fact, not just war movies are involved. Such collaboration can even verge on racism, and not even cartoons are immune to it, as Donald Duck and Bugs Bunny are drafted into war propaganda.

Yes, the CIA and their foreign colleagues has financed numerous artists of various mediums. They financed the publication of anti-Soviet literature by Orwell and Koestler, among others (and even altered the cinematic versions of the former’s Animal Farm and 1984), to secretly financing abstract artists like Pollock and de Kooning.

Yes, the establishment spends an ever-increasing budget monitoring the internet, as the NSA scandals revealed, and also directly influencing it via paid shills and bots posing as ordinary citizens. Guerrilla marketing is not not just for commerce, but for spreading political proganda as well.

Yes, all of those things the MIC did and is still doing are more worrying, insidious and far-reaching than their efforts on videogames, which largely consist of a shitty game series that has been more sucessful as a tool for training grunts than to actually recruiting them, brand partnership to advertise firearms that completely pales in comparison to what’s done routinely in TV shows and movies, and a shameless, self-promoting pundit that worked on a terrible series of videogames trying to ingratiate himself. And believe me, I know a lot about shameless, self-promoting pundits trying to ingratiate themselves.


Military propaganda can be so insidious that its sexism works its way backwards in time!

In the face of this evidence, it’s easy to comclude that attacking imperialism by criticizing videogames is easy, almost craven, given how ineffective it is at shaping popular culture.

And that’s correct.

But that does not make me a craven culture warrior, but rather the opposite: a cunning guerrilla culture warrior, because I’m striking at where imperialism is at its weakest! Rather than innefectively attacking the MIC where it is strong, I’m fidning its weakest link and hacking away at it with all the might of cherry-picked examples of videogame cliches! With Youtube remixes as my dagger, I’m bravely stabbing at the very heart of imperialism!

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The dark heart of imperialism, finally exposed.

And yet I am often accused of delusional thinking and slacktivism, as if ill-thought, non-debated criticism of videogames is not a tool for change. Well, if my detractors can’t see the strategic importance of my cultural criticism, too bad. Even visionaries like Luce Irigaray and Pavel Jerdanowitch had to suffer skeptics and small-minded critics.

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