The writer responsible for tarnishing one of my cherished video game franchises with incoherent storytelling, cringeworthy dialogue saturated with woke ideologies, now seeks to enlighten us on the qualities of what exactly makes a “good writer.”

Sam Winkler, the Narrative Director at Gearbox and lead writer for Borderlands 3 and Tiny Tina’s Wonderlands, opted to defend DEI consultation outfits such as Sweet Baby Inc by going on a Twitter tirade by labeling gamers as being bigots.

The belief that individuals, regardless of their race or gender, can create well-crafted narrative stories and develop compelling characters without the need for consulting firms like Sweet Baby Inc. is one that I personally share, akin to the principles of voice acting.

People should be hired or promoted in their respective fields based on their qualifications and excellence in their craft, irrespective of their racial background or skin color.

If they possess the skills required for the task and excel at what they do, they deserve the position, just as they do with voice acting. If you can construct immersive and well received story narratives you aught to have free reigns over your production, if you can write characters that resonate with audiences it shouldn’t matter if those characters are White or of color.

However, there are individuals like ProZD who advocate for racial segregation in voice roles, insisting that roles should only be portrayed by individuals of the same race or gender.

In contrast, Sam Winkler, the lead writer for Borderlands 3, dismisses the viewpoint that we don’t need prolific DEI peddling consultancy firms, stating, “I see this argument all the time against DEI and consultancy, and it just highlights the total misunderstanding of what being a good writer is. You don’t somehow max out your stats and learn how to write every conceivable character, plot, or prose style.”

Continuing, he posted, “Knowing you can’t, aren’t ready, or aren’t the right person to write something is one of the chief skills for a pro writer. Ideally you have a team that can cover all your bases, but if you have a gap you hire an outside expert… just like in literally any fucking other industry.”

Concluding the thread, he accused gamers of being “bigots,” stating, “Just further evidence that 99.99% of the people spewing this shit have never created a single thing in their lives that they’re proud of, and the rest are just straight up bigots.”

This narrative mirrors the one propagated by Sweet Baby Inc, which has been disseminated to mainstream media outlets who’ve omitted crucial information to relay the narrative that this innocent little company based in Canada are the victims of a harassment campaign, and not the other way around.

The claims suggest that gamers “lack understanding” when they critique video game developers who are quite clearly prioritizing DEI / ESG initiatives and that companies such as Sweet Baby Inc have little to no influence on the game development process or the finalized product, despite its co-founder, Kim Belair claiming otherwise.

It’s hard for consumers to ignore the conspicuous patterns surrounding games developed in conjunction with Sweet Baby Inc, many of which are considered the most prominent “woke” and terribly written games of the modern era with such brilliant examples including Volition’s Saints Row Reboot and Square Enix’s Forspoken, both of which faced significant backlash for their horrible story narratives that are intertwined with progressive ideologies.

Following the release of their respective games, Volition and Luminous Productions, the developers of Forspoken, have since been shuttered. It’s almost as if Sweet Baby Inc is the touch of death.

Winkler’s assertion that writers should be hired based on their identity to write characters of the same identity reflects a tired argument that has often resulted in immense financial failures. A prime example can be found in the Marvel Cinematic Universe, which has increasingly embraced woke identity politics over the past half decade, leading to immense failures such as She-Hulk: Attorney at Law, Ms. Marvel and The Marvels just to name a few.

You don’t have to be of a certain race to authentically write characters of that race. However, this is not the message advocated by Sweet Baby Inc employees. Their consultations often suggest that they can help you create true “authentic” characters of color.

Disagreeing with this narrative, along with questioning the company’s motives and its significant influence on the industry, is often met with accusations of racism or bigotry.

Ironically, numerous products associated with Sweet Baby Inc perpetuate familiar racial stereotypes. For instance, they often depict black men as sporting a dreadlock fade or simply incorporating Debra Wilson. Wilson’s frequent appearance in modern games seems more about fulfilling a diversity quota than reflecting genuine inclusivity, as she is as jarring to look at as she is at acting.

Never have I encountered anyone accusing games like Sleeping Dogs of perpetuating racial stereotypes about China and Hong Kong, despite the fact that it was written by Tim Carter and Jacob Oliver Krarup, who clearly aren’t of Chinese descent. Sleeping Dogs stands out as one of the most exquisitely crafted games of the previous decade, characterized by its thrilling combat, vibrant neon lights, and gut-wrenching story.

Sam Winkler, who labeled those against obvious DEI inclusion as “bigots,” quickly capitulated when faced with ridicule, folding like a cheap suit. It’s not difficult to comprehend why people would criticize him, especially considering he’s the one responsible for steering the Borderlands franchise into the fucking garbage.

Borderlands 3 received widespread criticism for its bombastic story narrative, which not only lacked coherence but also tarnished the portrayal of several iconic characters from the Borderlands franchise. As a fan of the original Borderlands entries, written by Mikey Neumann, the disappointing direction taken in the third mainline installment is a deep offense to me.

One cannot help but wonder why the lead writer for Borderlands 3, now positioned as the narrative director for Gearbox Software, finds himself unable to alter or rectify story elements that he himself dislikes in the very game he authored. This responsibility falls well within his job description as lead writer and current narrative director.

It raises questions about whether higher-ups are influencing decisions to bring in consulting firms and enforce DEI/ESG initiatives, which ultimately lead to undermining their work and potentially harming the franchise. Yet, they dismiss critics by accusing them of lacking creative achievements or being outright bigots.

Sam Winkler’s contributions at Gearbox, which he claims to be proud of, align conspicuously with the lowest points in the Borderlands franchise. It’s plausible to infer that his involvement in narrative direction coincides solely with the decline of the series, raising questions about his continued position within the company, especially considering the narrative disasters of the last three titles he has written.

The Borderlands franchise has a turbulent history, with its initial installment following a group of eclectic “vault hunters” on a quest to unlock a mythical alien vault rumored to hold immense riches. Along the way, they contend with various enemies, including crazed bandits, wildlife, and the military might of the Atlas Corporation, led by Commandant Steele.

The game’s fusion of first-person shooter mechanics, RPG elements, and distinctive art style is both its strength and its weakness. Midway through development, Randy Pitchford’s decision to overhaul the game’s art direction had a significant impact on the narrative, resulting in a more visually striking but narratively compromised experience. Unfortunately, this led to necessary shortcuts in storytelling as resources were diverted to accommodate the new cel shaded art direction.

Borderlands 2 diverges significantly from its predecessor, immersing players once more into the volatile world of Pandora, now oppressed by the tyrannical Hyperion Corporation led by the infamous Handsome Jack. As players delve deeper, they uncover Handsome Jack’s exploitation of a mysterious substance known as Eridium.

This rare element, discovered after the opening of the first Vault, grants incredible powers but also inflicts harm on Pandora and its inhabitants.

Throughout the game, players encounter Eridium in various forms, from potent weaponry to twisted experiments orchestrated by Handsome Jack. The quest to thwart his plans and halt the abuse of Eridium propels the narrative, leading to intense confrontations and revelations about Pandora and its Vaults.

Borderlands 2, while successful commercially, marks a shift away from traditional storytelling, embracing comedic elements at various junctures. Nevertheless, its popularity sets the stage for future entries in the franchise.

Borderlands 3 deviates from the familiar confines of Pandora, thrusting players into an intergalactic odyssey to thwart the “Calypso Twins,” a duo of millennial Twitch streamers. The supposed brains of the operation, a female twin, orchestrates their cult’s rise while her brother is portrayed as inept.

It sounds retarded and that’s because it is. Lilith has her powers stolen by the Calypso Twins at the very beginning of the game as you travel across the galaxy in a fifteen odd hour snooze fest of cringeworthy dialogue and pointless drivel.

The game prominently features progressive themes and characters, including Lorelei, a transgender character. Additionally, there’s a DLC expansion focused on the romantic relationship between Sir Hammerlock from the previous game and Wainwright Jakobs, the heir to the Jakobs corporation, exploring their homoerotic matrimony.

Borderlands 3 reintroduces iconic characters like Maya, accompanied by Ava, a whiny and arrogant child whom she’s grooming to become a Siren. Tragically, Ava’s disobedience leads to Maya’s demise at the hands of the Calypso Twins shortly after meeting them on Athenas.

The journey continues as you travel to Promethea to rescue Rhys, who’s now portrayed as a living punchline preoccupied with frozen yogurt while battling against the Maliwan corporation’s hostile takeover.

After Eden 6, the adventure continues with the rescue of Wainwright Jakobs and a series of lengthy and nonsensical side quests that offer little satisfaction. Eventually, Patricia Tannis is kidnapped, leading to a showdown in Penn and Teller’s mechanized deathtrap, the Carnivora.

After her rescue, Tannis reveals that she has inherited the Siren powers of Angel from the previous game, explaining that Siren powers can be transferred from one host to another. The journey culminates with the discovery that the Calypso Twins plan to open a new vault on Pandora, which turns out to be the entire planet itself, you kill the Calypso Twins, Lilith sacrifices herself by flying towards the moon and Ava faces absolutely zero consequences for her actions and inherits Maya’s power and Lilith’s position as commander of Sanctuary 3.

Describing the storyline as forgettable would be too kind, it was bland to the point of being utterly unremarkable. Remembered only for its horrendously poorly written villains and cringeworthy humor, Borderlands 3’s narrative feels like an endless slog. It’s no surprise that Sam Winkler is advocating for DEI consultation services, as it seems even ChatGPT could craft a more engaging story than what was delivered after Mikey Neumann’s departure.