I wrote up a long thing about the drama surrounding the release of Bethesda Game Studio’s Fallout 76 the other day, and did not blame the Jews for it.

I typically do blame the Jews for things, because they typically tend to be responsible for everything that goes wrong on earth.

Most people are blaming game director Todd Howard for the game. It is a confirmed fact that Howard is a deviant individual, without any scruples, and who will lie constantly – pathologically, really – to his own userbase, often when it is completely unnecessary to do so.

However, despite Howard’s deviant and deranged personal nature and lack of anything resembling what we consider to be standard human morality, the fact remains that he produced many games that people actually liked. He did Elder Scrolls 3-5, as well as Fallout 3 and 4. Particularly with the Fallout games, people take issue with the fact that the franchise was destroyed, becoming no longer an RPG but a long shooter game with “RPG elements.” However, these remain enjoyable shooter games (despite the fact that the shooting itself is horrible).

So then, I found myself asking : where is the Jew who is pushing this amoral but nonetheless demonstratively talented goy Howard to destroy his own reputation in the bizarre and vicious cash-grab that is Fallout 76?

Because I know there is one somewhere.

Then I watched this shockingly optimistic review of Fallout 76 by Camelworks.

I said in my last piece that I’ve become fixated with watching these reviews, and Camelworks’ thing is much more sympathetic than most. He goes through and says that the world itself is one of the best he’s seen in a game ever, and also says that he was able to run it on high-res, something that most are saying they can’t do even with $3,000 machines.

He of course condemns it as a completely unplayable game, but everyone is saying that, save a few randos who appear to be trolling. He says the fault of the game is mainly in the fact that it is unfinished, and is so filled with bugs that it is unplayable. Like everyone else, he takes issue with the storyline (which he uniquely claims actually exists) as well as the lack of NPCs and the basic mechanics of the online integration, which involve random servers and your base disappearing every time you start. However, even all of these issues he indicates he believes are a result of releasing an unfinished game – that is to say, they built the world and then were getting ready to figure out the NPCs and storyline, figure out a way to make online play make sense and fix the bugs – but (((someone))) who knows nothing about games but makes these kinds of decisions was like “nah, just release it now – no need for a storyline or a working game, the goyim will pay $60 for anything with our logos on it.”

I had not heard this take, but it actually makes the most sense. Much more sense than the idea that the entire team sat around plotting to ripoff their own users.

Though I certainly have not played it, I have watched many hours of gameplay and many reviews and it makes perfect sense that this was a half-finished game, intended to include many other elements, which was rushed to release by someone other than the game designers and developers.

Again, though not without talent, Todd Howard is a deviant trickster and a beta male who could easily be bullied by a Jew into taking this bizarre action.

So where is the Jew? There isn’t one at Bethesda.

Well, Camelworks happened to mention that he thinks the game was probably rushed by executives at their parent company Zenimax Media.

Let’s see here.

Zenimax Media…

Okay, so let’s check the CEO…

Yeah…

Found him. 

Robert Altman is the Jew responsible for Fallout 76.

He is a Jew lawyer who is married to Wonder Woman star Lynda Carter for some reason. That Wonder Woman was not Jewish.

And if you’re wondering why this Jew isn’t working in finance – it’s because he’s banned from working in finance by the government after being called to testify before Congress with regards to an off-shore lending scam he engaged in with wealthy Arab investors.

He founded Zenimax in 1999 with the goyish founder of Bethesda, Christopher Weaver, who he then quickly pushed out of the company. Weaver sued Altman over this move, but ended up settling out of court when it became clear that no goy on earth can defeat an organized army of Jew lawyers.

The Jew Altman is now the supreme leader of Zenimax and thus Bethesda, and I have zero doubt that this is exactly what happened:

• An online Fallout game was pitched and planned.
• Bethesda went to work on developing an online Fallout game.
• A little less than halfway through the development process, before the textures were added, before the story was fleshed out, before the NPCs had been added and long before the bug fixing had even began, Altman said “I want this game out for Xmas.”
• Todd Howard said, “you don’t mean this Christ… uh, Xmas, do you master?” and Altman replied, “indeed I do, my loyal goy servant.”
• Howard, serving his Jew master like Darth Vader serves the Emperor, went ahead and forced his team to create some kind of possibly releasable version of the game on a vastly shortened timeline, instructing them to cut NPCs and just use a bunch of notes and a few Holotapes to tell the story. I also imagine that they had originally intended to include factions (Brotherhood, Enclave, Supermutants, etc.), and have PvP work in the same way that it works in World of Warcraft or any other MMORPG, but didn’t have time to figure that out either, hence the nonsensical PvP system the game was shipped with.
• Howard presented the game at E3 in June.
• The team told Altman that no one would buy the game, and so he instructed them to do the pre-order scam.
• The game was released in time for Christmas, with the preorder oversold as including a “beta,” and the rest is history.

This narrative makes vastly more sense than the idea that the game was initially designed to simply scam the fanbase.

There is a possibility that it wouldn’t have been very good, and I imagine that it would have included microtransactions, including Lootboxes and all the other typical scams (or maybe a monthly subscription model), but it was surely intended to be a game with a story – including NPCs – and functional mechanics, a functional PvP system, graphical improvements and fewer bugs.

This is really no different than the Jews progressively turning Star Wars into a cash-grab – because Fallout 4 was a cash-grab too, arguably – and like with the Star Wars films, the games have progressively degraded, to the point where they are losing money.

The Jews just cannot help themselves.

So to those confused about the situation with this horrible fake game, I will remind you all of the Daily Stormer official slogan: “Every. Single. Time.”

I don’t play video games much anymore, but even though Call of Duty: WWII is a story told from the American point of view, it looks like it might be an interesting historical experience.

But not everyone feels that way.

One Jew who played through the game has written an angry and unhinged rant about how it doesn’t include gas chambers and it shows a few (of millions) German soldiers as human beings. He furiously juxtaposes Call of Duty with the perverse sadism-infused J-left fantasy game Wolfenstein II (which has seen abysmal sales compared to COD: WWII).

It’s fitting that he makes this comparison. Call of Duty: WWII is a game attempting to tell a believable story based on real life events, so of course there is no mention of gas chambers. Maybe this Jew reads the term “historical fiction” literally? What Jews claim happened in World War II is a fantasy tale that can only be portrayed in a whimsical and transparently white-hating political universe like (((Robert Altman’s))) latest iteration of Wolfenstein.

The butt-hurt Jew Alex Kubas-Meyer at J-left astroturf site Daily Beast is literally shaking!

The Daily Beast:

Only in 2017 can a video game advertisement proclaiming, “Make America Nazi-Free Again” provoke controversy.

Only now could a new game from a decades-old series spark a backlash for the celebration of what it has always been: a Nazi murder simulator. World War II fell out of fashion as the setting for first-person shooters ever since Call of Duty 4: Modern Warfare set its sights on the present day, and that was largely because it seemed like the Nazi-fighting thing was all played out. This was for the best, since Nazis in video games are generally just lazy shorthand for “bad guys.” You don’t need to develop your antagonists if they’re Nazis because everyone knows they’re evil. Eventually, players realized how uninteresting this was, and the Third Reich disappeared from the mainstream for about a decade. But then Nazis came back in the real world and have been pushing to make themselves mainstream, so it’s fitting that they are now, again, digital enemy No. 1.

Wolfenstein II and Call of Duty: WWII are the latest installments in storied franchises. Wolfenstein 3D popularized the first-person shooter genre, and Call of Duty has largely defined the genre as it exists today. Released within a week of each other, these games come saddled with political context that neither developer could have foreseen. I will admit that, while America is having conversations about whether it’s OK to punch a Nazi in the face, it’s nice to have new games that let me punch them in the face with bullets.

The two are about as different as first-person shooters can be. Call of Duty is historical fiction, more or less following actual battles across Europe; Wolfenstein takes place in an alternate 1960s where Nazis not only won World War II but have since taken over the United States. One documents a platoon of men who storm the beaches of Normandy, and the other follows a man who single-handedly brings a nuclear bomb into a Texan Nazi base and detonates it. Over the past few years, Call of Duty has gone in some crazy directions, culminating in last year’s space-set Infinite Warfare, and those games look more like Wolfenstein than they do this new back-to-basics Call of Duty. It’s a conflicting change, though, because while it was probably necessary to tone some of the craziness down, WWII goes too far in the other direction. In trying to hark back to the old days, the game arrives staid. And by featuring violence that feels sanitized compared to recent entries, WWII does little to portray the real evils of the Third Reich.

…

I imagine that the script of Call of Duty: WWII was written in a different time, one long before a white supremacist plowed his car into a crowd of protesters in Charlottesville, Virginia, and before the president of the United States said there were “some very fine people on both sides” of that incident. I like to imagine that someone looked back on the script after Charlottesville and cringed when they remembered the line “They’re not all bad.” Your character says it after driving by a group of dead Nazis. Someone makes a joke, and you cut them off to give the dead Nazis some credit. Because… what? Why? Maybe there could be something interesting there, were someone daring enough to dig into it, but it’s just thrown out there, everyone sort of agrees, and then we get on with it. What a pull quote: “Nazis. They’re not all bad” —Call of Duty: WWII.

In Wolfenstein, on the other hand, the earliest moments feature the half-Jewish protagonist’s not-Jewish father attacking him for playing with an African-American girl. He is a monster. So are the Klansmen who openly and eagerly wear their hoods around the Nazi-occupied American towns. So is the Nazi official who kills someone trying to help you while you’re tied up, forces a gun into your mouth, and asks how the gunpowder that killed your friend tastes. In Wolfenstein, they are the same. No subtlety. No shades of gray. It’s so over-the-top that it stops being funny and starts being disturbing again. And that’s what it should be. It should be uncomfortable to watch awful things; to pretend that they don’t exist is worse.

So, we return to Call of Duty, which shies away each time it hints at the true horrors of Nazism. A mission titled “Death Factory” might lead one to believe that it takes place in a concentration camp but instead, it’s just a forest. I continued to hold out the slightest bit of hope that Robbins hadn’t misled us all. After hours of waiting, the liberation came. Here, I thought, it must be time. But alas, no. Over a digital map and a few small images, you hear the same bad voice-acting you’ve been dealing with all game: “I thought I knew what cruelty was.” That’s all he could come up with. In the epilogue, you do see a camp, but it’s deserted. It’s been set on fire. “They wanted to hide whatever happened here,” someone says. But “they” aren’t the Nazis; “they” are WWII’s developers. They chose to use a POW labor camp, where there are implications of atrocities aimed at soldiers, not civilians. They chose to depict a World War II without gas chambers.

So in case you didn’t realize it by now, Jews who make games like Wolfenstein II see the 1-dimensional “bad guys” as stand ins for you, me and any white person (including Trump Deplorables) who isn’t a tranny or a Shabbos-Goy (Jews will kill them last).

Jews fantasize about slowly torturing us to death and seek to get enough people in the real world used to the idea through stupid video games.

Remember, all of this hate sprouts purely from the fact that we reject what Jews have planned for us and want them to leave us alone. Jews believe it is their god-given right to exploit, rape, and kill us, and that an objection to this is a default on our right to live!

But Jews better watch out. Now that they are in power they refuse to even recognize that we’re human, much less that we have grievances that are both logical and morally sound. But can this power dynamic last forever? History is fluid.

Jews love to pretend they are unique victims of history, but if you don’t consider non-Jews to be human, why complain about the taste of your own medicine? Jews are a numerical speck that behaves like Darth Vader. But just because we Westerners restrain ourselves from showing you a mirror doesn’t mean our patience will last forever.

Wolfenstein II is an anti-white video game developed and released under the auspices of Jew Robert Altman’s ZeniMax Media. It marketed itself by telling people to punch Richard Spencer, overthrow the Trump government and murder advocates of free speech, yet cowardly insisted that its intent was not political.

Apparently, there aren’t enough Jews or J-leftists to make such content profitable. The game has gotten stellar reviews (from bugman video game critics who agree with its political message) but this has not been able to save it.

As of yesterday, the heavily marketed (and presumably expensive to make) Wolfenstein II has sold only half  as many copies as its predecessor The New Order.

Push Square:

For the record, the Italian plumber’s latest did pretty well for itself, registering the largest Nintendo Switch release thus far. Unfortunately, it’s not all good news: the brilliant Wolfenstein II: The New Colossus struggled in the face of such intense competition, debuting with sales less than half of The New Order. This caps a string of poor results for Bethesda, and it’s surely going to have to consider changing its strategy now.

If you’re thinking of buying this game due to the great reviews, think again. In this objective review, the critic shows that the much celebrated “storyline” (which takes up almost half of the game) of Wolfenstein II is composed of poopy jokes, racial (anti-white) sadism, and just all around unfunny and artistically bankrupt kike trashiness.

It says a lot that a wholesome kids game like Super Mario – which is only available on one system – wrecked Wolfenstein II.

More and more young white men are boycotting Jewish propaganda because they’re waking up.

We saw this same phenomenon play out last year with Mafia III. The incredible cost of marketing the game and the many bells and whistles in it (like the licensed soundtrack) required it to sell 8 million copies to become profitable. Instead, it only sold a couple million, even after video game Judenpresse lauded it as “the best selling game ever” simply for bombarding stores with 4.5 million copies (most of which stayed to rot on shelves and in bargain bins).

Stop paying for Jewish propaganda. They can only take so many hits like Mafia III and Wolfenstein II until they go bankrupt. Let’s make it happen! 

There is only one side. #NoMoreNazis #Wolf2 pic.twitter.com/7Ctu265Mus

— Wolfenstein (@wolfenstein) October 15, 2017

The latest Wolfenstein II: The New Colossus ad features an obvious nod to the J-left meme of “Punch a Nazi” that (((media liberals))) promoted after the unprovoked assault against Richard Spencer last January.

So far, trailers for the video game show a scene of a fat woman in a Dirndl having sex with a negro (an attack on Western culture, meant to gaslight), Jewy sexual fantasies about blonde women in Nazi uniforms sadistically torturing them, and a scene where the protagonist guns down two evil Nazis engaged in dialogue about how they think free speech is worth defending.

Publisher Bethesda and developer MachineGames are subsidiaries of ZeniMax Media, which is run by the Jew Robert Altman. Woah bro, it’s just a video game about killing sci-fi nazis, not political at all!  

Well, bugman media hears (((Altman’s))) rat-whistle loud and clear.

Kotaku:

Not quite the same angle, but the allusion is pretty clear.

Bleeding Cool:

And of course, the short video accompanying the statement is a shot of the game’s protagonist punching a Nazi soldier in the face. Which does bring up the Nazi Punching debate from earlier this year, after a man punched noted White Supremacist Richard Spencer on camera and the world reacted in a variety of ways. However, things boiled down to the ‘yes, punch Nazis’ and ‘no, Nazis need hugs’ camps. Despite both Warren Ellis and Chris Evans being on the Nazi-punching side, with Captain America writer Nick Spencer being on the opposite end of the spectrum, the video game camp has been pretty clear so far.

Activision and Sledgehammer Games returned the Call of Duty franchise to the Second World War for their 2017 installment, and now we have Wolfenstein II flat out endorsing punching Nazis in the face. It’s nice to have those things cleared up. And really, video games are the ultimate in wish fulfillment, and who doesn’t want to punch literal Nazis in the face?

If you think it’s just full blown National Socialists that Robert Altman is inciting people to punch, think again!

If you voted for Donald Trump, Wolfenstein II says you should be killed by poofy Afro’d black women and blood-matzoh Kabbalah Rabbis (“good guys” in the game) as well.

Make America Nazi-Free Again. #NoMoreNazis #Wolf2 pic.twitter.com/52OESypw4P

— Wolfenstein (@wolfenstein) October 5, 2017

Imagine someone made a sequel to Red Dawn where one of the protagonists runs over an obese female communist with a Dodge Charger. Would it’s just a movie about killing communists, dude, relax! be accepted by the people defending this crap?

Well, social media communists are energized by the game’s #NoMoreNazis hashtag and ad campaign. They see it as a call to action against a real life person: Richard Spencer. He should seriously consider litigation against ZeniMax Media. A boycott against them is the second best thing. 

Buying this. Doing a Lets Play which will have a counter of how many Nazis I shoot in-game, that says "Alt-Right Jimmies Rustled:"

Not even joking. I never played Wolfenstein but now I'm willing to start because this is legendary. #NoMoreNazis pic.twitter.com/06rDNyaoJj

— K9_Pepper (@K9_Pepper) October 16, 2017

A lot of J-left assholes are conformist losers who live vicariously through consumerist culture, e.g., video games, comic books and movies. But this is a dangerous escalation by the LARPers.

They saw in Charlottesville that real world nationalists are not easy-mode AI in a participation trophy scripted shoot-em-up. That’s why so-called radical communists and anarchists ran to hide behind the Charlottesville “police” Dunkin’ Donuts Antifa, the corporate media and Mitt Romney when they tried to attack and were smashed in self-defense (paging Deandre Harris).

By all means, keep trying to punch people for having politics you don’t like. What happens when you get punched back and your health bar dwindles? Will Robert Altman be standing by to give you a green mushroom? Ha!

Head to twitter and work their hashtag #NoMoreNazis