Old Video Games Lack Social Justice Drivel

Which is why retro gaming is so very popular today.


Luke is in need of fan remastering.

So what’s a hard-core gamer to do when they want modern graphics, but the modern games pester gamers with social justice propaganda?  Remaster old games that were far more entertaining, thanks to a lack of social justice dullardry of course.

I’ve written before about fan efforts for a Knights of the Old Republic game, and the 1313 video game effort.  But there are even more efforts out there.

The first is an update of the PC classic, X-Wing Fighter.  Even the SJW morons at Polygon had to admit how awesome it looked.

The next one is a fan remaster of the Star Wars Pod Racer game from Episode I, the episode that the media claims was hated universally by fans.

The next is a fan remaster of Rogue Squadron HD in Unreal Engine 4.

Only one thing is for sure.  As the social justice screeching gets louder in our entertainment, more and more of these efforts will rise, dawn, and/or awaken.  Let’s just hope that these efforts aren’t extinguished by Disney/Lucasfilm as the Knights of the old Republic effort was.  Because if they are, then they’ll become even more widespread in underground Bit Torrents.


Legacy Media Drags Natalie Portman Into Their Narrative


The legacy media puts on a strong performance.

On May 8th, 2019, the legacy media published a slurry of articles focusing on the purported backlash against the Prequel Trilogy, and Natalie Portman’s reaction to it.

MashableNatalie Portman admits ‘Star Wars’ backlash was tough

CinemaBlendNatalie Portman Had A Tough Time Dealing With The The Star Wars Prequel Trilogy Backlash

IndieWireNatalie Portman Says Negative Reaction to ‘Star Wars’ Prequels Was ‘A Bummer’

Pop SugarNatalie Portman Reflects on Star Wars Prequels Backlash: “It Was a Bummer”

Geek TyrantNatalie Portman Opens Up About the Negative Fan Response to the Star Wars Prequel Trilogy

Daily Mail‘It was a bummer because people were so excited’: Natalie Portman reflects on the negative backlash to the Star Wars prequels

Digital SpyNatalie Portman opens up about Star Wars prequel backlash

EmpireNatalie Portman: Star Wars Prequels Backlash Was ‘A Bummer

The PlaylistNatalie Portman Talks ‘Phantom Menace’ Hate & Says It Was A “Bummer” To Disappoint ‘Star Wars’ Fans

MovieHolePortman reflects on Star Wars experience, The critical panning of the films was a “bummer” says the Oscar winner

ExpressStar Wars prequels star Natalie Portman on fan BACKLASH – ‘It was hard’

Surf The SpearNatalie Portman on the negative reviews on the fans’ Prequel Star Wars “

The story even went international.

MoviePilotStar Wars: So sehr traf Natalie Portman der Hass auf die Prequels

Shop Und ServiceNatalie Portman auf den negativen Kritiken über die Prequel Star Wars Fans “


CinemasComicsStar Wars: Natalie Portman recuerda las malas críticas del Episodio I

Hobby ConsalasStar Wars – Natalie Portman muestra su decepción por las malas críticas de las precuelas

The most interesting aspect of these articles is that they were all published on May 8th, 2019, all within hours of one another.

But it’s clear that the legacy media’s intent was to manufacture another narrative similar to the ones concerning Ahmed Best and Jake Lloyd, both of which have been completely discredited.  Just as the John Boyega narrative was discredited.  Just as the Kelly Marie Tran narrative was discredited.  Just as the Daisy Ridley narrative was discredited.

So what did Natalie Portman actually say?  This:

“It was hard. It was a bummer because it felt like people were so excited about new ones and then to have people feel disappointed. Also to be at an age that I didn’t really understand that’s kind of the nature of the beast. When something has that much anticipation it can almost only disappoint.”

“With the perspective of time, it’s been re-evaluated by a lot of people who actually really love them now. There’s a very avid group of people who think they’re the best ones now! I don’t have enough perspective to weigh in.”

So Ms. Portman didn’t use the word “backlash.”  She didn’t use the word “hate.”  She didn’t use the word “tough.”  She didn’t use the word “negative.”  Rather, those were words used by the legacy media in their headlines, which were seemingly meant to characterize Ms. Portman’s actual words in a certain way.

This is very reminiscent of how an SJW will point to the NY Times piece by Kelly Marie Tran, as evidence that Kelly Marie Tran said whatever the SJW is claiming she said.  When you helpfully point out that Ms. Tran said nothing whatsoever about her Instagram account in the NY Times piece, and that it was her editor instead who inserted the comment, you get blocked.  Or when you have to point out that both Ahmed Best and Jake Lloyd blamed the media rather than the fans for their troubles from the purported backlash.

Having said all of that, this particular attempt at narrative fabrication doesn’t seem to have solidified in the parrotings of seething frothing SJWs.  Then again, it may just need more fermentation time.

Regardless, how was it that all of these media outlets knew to report on this comment all within hours of one another, and all with nearly the same messaging in the headlines?  Either the NPC meme is factual and reality-based, or there is some serious collaborative, cooperative, collusion going on in the Collective community.


Batwoman Writer Confirms That Representation Is About Narcissism

Batwoman is off topic for this blog, but I’ve touched on “representation” before, and I think it’s  important enough to revisit because it affects nearly every aspect of pop culture today.  Recently, the writer of the new Batwoman series tweeted out the following:

In classical Greek mythology, it was Narcissus who wanted to gaze upon a representation of himself in a pool of water, as Greekmythology.com recounts:

Narcissus was a hunter in Greek mythology, son of the river god Cephissus and the nymph Liriope. He was a very beautiful young man, and many fell in love with him. However, he only showed them disdain and contempt. One day, while he was hunting in the woods, the Oread nymph Echo spotted him and immediately fell for him. When Narcissus sensed that someone was following him, Echo eventually revealed herself and tried to hug him. However, he pushed her off and told her not to disturb him. Echo, in despair, roamed around the woods for the rest of her life, and wilted away until all it remained of her was an echo sound.

Nemesis, the goddess of retribution and revenge, learned what had happened and decided to punish Narcissus for his behaviour. She led him to a pool; there, the man saw his reflection in the water and fell in love with it. Although he did not realise in the beginning that it was just a reflection, when he understood it, he fell in despair that his love could not materialise and committed suicide.

So too do SJWs want to gaze upon their own representation in a pool of 4K.

Between participation trophies, and trigger warnings, and tip-toeing through safe-spaces so as not to offend their delicate dispositions, today’s SJWs have been trained for years to love themselves at the expense of everything and everyone else around them. All they’re ever interested in seeing or hearing, is themselves.

So the notion that a writer like Natalie Abrams would be proud to stare at herself all day long is not at all surprising.  It’s just unfortunate that she’s not bright enough to realize that a simple mirror from Dollar Tree can perform the same function.

Genuine heroes give us something to look up to.  An ideal to aspire to.

But when your hero is yourself, there’s no need to aspire to anything. You’re already perfect.  So why wouldn’t you want to spend the whole day gazing upon a representation of your own heroic self with proud admiration?

No wonder there are so many silly Mary Sues in today’s entertainment.  All-knowing, all-powerful, and loved by all is how SJWs see themselves.


Batwoman’s red wig distracts people from seeing that she’s wearing Batman’s hand-me-downs.


Another Dumb Book

While this book seems to have better grammar than the previous example, it comes from today’s academia so it’s likely just as stupid.  Here’s the author’s bio:

Dan Golding is lecturer in media and communications at the Swinburne University of Technology and an award-winning writer with more than two hundred international publications. He is cohost of the Australian Broadcasting Corporation TV show What Is Music and the producer of the soundtrack to Push Me Pull You. He is coauthor of Game Changers: From Minecraft to Misogyny, the Fight for the Future of Videogames and has written for popular and web-based publications such as Kotaku, Buzzfeed, The Guardian, IGN, and The Conversation.

So right away we know that Dan Golding is a GamerGate SJW.  No one in the world overuses and misapplies the word “misogyny” like the uneducated SJW academic.  And as to be expected, the perp matches Ethan Van Sciver’s prescient composite sketch.

His book, Star Wars After Lucas is also available on Amazon.  Here’s the description:


When academics use the word “critical,” what they really mean is “social justice compliant.”  So we can be certain that no actual critical thought in the genuine sense is involved here, or even thought in general.

Politics, craft, and cultural nostalgia in the remaking of Star Wars for a new age

The age of societal degredation and the New Medievalism.

Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening.

When academics state “granular textual readings,” what they really mean to say is that the texts have been excised of any material that has not been politically approved by the consensus of the collective, collaborative, cooperative, community.

There are several reviews that accompany the book description.  One reviewer and/or fraternity brother wrote the following review:

Star Wars is almost too big a subject for any one mind to grasp, but Dan Golding’s look at how the franchise maintains its nostalgic glow in the Disney era stays on target, excavating the unique combination of art and commerce that holds Star Wars together.

Adam Rogers, deputy editor of Wired and author of Proof: The Science of Booze

One man’s nostalgic glow, is another man’s schmaltzy dinge.

Have you ever wondered how people born in the 1990s and afterward could have nostalgia for movies that were released decades before they were born?

The book description continues:

A long time ago, in a galaxy far, far away—way back in the twenty-first century’s first decade—Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired

“To what Wired” what?  Who knows.

But it’s fascinating how SJWs believe the narratives that they themselves stupidly make up.  Genuine science should really study this phenomenon.

Star Wars seemed finished primarily to those who weren’t paying any attention to it.  But for genuine Star Wars fans, The Clone Wars was in production and airing on Cartoon Network, books and games were being published, merchandise was being sold unlike today, and behind the scenes George Lucas was gearing up to do a genuine Sequel Trilogy.

The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch.

But does Dan Golding explore the hostility from the production staff against critical fans?  Probably not.

At the same time he shows how Disney, even as it tapped a backward-looking obsession,

“Backward-looking obsession?”  Does that in any way refer to general success?

was nonetheless creating genuinely new and contemporary entries in the Star WarsStar Wars renaissance,

Well.  “Star WarsStar Wars renaissance” is probably pushing it a bit.  It’s far more like a StarWarsStar Wars dark age, when the franchise is now appealing to illiterate SJW savages and unthinking cosplayers.

and all figure in Golding’s deeply informed analysis: from John Williams’s music in The Force Awakens to Peter Cushing’s CGI face in Rogue One, to Carrie Fisher’s passing, to the rapidly changing audience demographic.

By “radidly changing audience demographic” what the academic really means, is the “intellectually devolving audience demographic.”

Star Wars after Lucas delves into the various responses and political uses of the new Star Wars in a wider context,

Political uses of the new Star Wars?  But SJW imbeciles were telling us that there wasn’t any political propaganda in Star Wars, right before they were telling us that Star Wars was always political.   So what political uses could they be talking about?  The deeply moronic social justice lectures?

as in reaction videos on YouTube and hate-filled, misogynistic online rants.

When an SJW uses the word “hate,” what they’re referring to is anything that they disagree with or don’t like.

Another review:

Star Wars after Lucas is a useful and welcome review of the past four decades of Star Wars, as well as the strategies that corporations are increasingly adopting in order to perpetuate franchises. In particular, Dan Golding aptly describes Lucasfilm’s struggles to balance nostalgic appeals with a growing commitment to diversity and inclusivity.

A. D. Jameson, author of I Find Your Lack of Faith Disturbing: Star Wars and the Triumph of Geek Culture

When the SJW refers to “diversity and inclusivity” in the context of Star Wars, what they really mean to say is that if SJWs want a 90 year old Bette Midler to win in a lightsaber battle against a Darth Maul in his prime, that it is going to happen and that you will like it.  Or else.

Because as genuine Star Wars fans already know, actual diversity and inclusion have been a part of Star Wars since the very beginning.  No civil rights strides are being made here, no matter how badly today’s misguided youth might want to emulate the hippies out of the romanticized tall tales from the 1960s.

Another review:

Dan Golding’s wonderful book strikes a perfect balance between criticism and knowledgeable fandom. Approaching Disney-era Star Wars, his writing provides important insights into the workings of nostalgia culture, transmedia storytelling, and the power of transnational media industries in the age of global capitalism. His readings of individual Star Wars texts are thoughtful, nuanced, and theoretically informed, while at the same time relating them back to the complexities of branding, cross-platform marketing, and global entertainment franchising. Star Wars after Lucas is essential reading for anyone with an interest in media franchising, globalization, media industries, and entertainment in the Disney era.

Dan Hassler-Forest, coeditor of Star Wars and the History of Transmedia Storytelling

SJWs are many things.  Nuanced is not one of them, no matter how well trained they are at typing the word out.

The Fandom Menace Is So Popular That People Are Writing Books About It

Available as of June 2018 on Amazon.com, the book Dark Side of the Fandom Menace: A Star Wars Story can be ordered on Kindle.  This blog post is not satire.  Whether or not the book I’m about to publicize is satire, will be up to the reader.





This is clearly a vanity press effort.  Nevertheless, there it is.  It’ll be interesting to see if this book can outsell Marvel Comics.

The Rookie Critic has the whole story, and also talks about an enemies list that SJWs are now maintaining.

Sales Of Star Wars Marvel Comics Continue To Slide


Barking at men is high adventure for Dr. Aphra.

In December 2018, I wrote a blog post about how Star Wars Marvel Comics saw a “horrible decline” since their high sales around the time of The Force Awakens release, according to Comichron.  Here were the sales comparisons then:


Shortly thereafter in February of 2019, rumors started to swirl around the interwebs that Marvel would release issue #108 of the original Legends Marvel Comic Book run.  This rumor proved to be true, and issue #108 would be published in May 2019.  It seemed as though decision makers were pulling a “member Jaxxon?” stunt in order to bring readers back to the comics.

In March of 2019, other rumors began to swirl around the interwebs which said that Disney was preparing to shut down Marvel Comics altogether.  Some suggested that it would be easy to do this if they shifted prodction of the comics to IDW, which was already producing Star Wars comics.  But then a few days later in that same March, that IDW investors were requesting to sell the company.

Here were the Comichron sales figures at that time:



A reader of this blog then offered some further analysis in the way of a spreadsheet, and you can read about that here.

Now comes an interesting series of tweets from Sr. VP of Programming of iHeartMedia, Scott Ryfun.

Maybe it’s time for a Doctor Aphra/Captain Marvel crossover event.