Mary Kenney, the associate narrative director at Insomniac Games, believes that the video game industry isn’t gay enough. In an interview, she stated that “every lever must be pulled” to accelerate LGBTQ+ representation in the gaming industry.
In an interview with DualShockers about a recent GLAAD report lamenting the lack of LGBTQ+ characters in video games, Mary Kenney described the findings as “heartbreaking.”
The GLAAD report collected data on LGBTQ+ gamers and their portrayal in the gaming industry, revealing that nearly one in five gamers (approximately 17%) identify as part of the LGBTQ+ community. This is more than double the average percentage of LGBTQ+ individuals in countries like the United States.
Despite this statistic, the GLAAD study also found that “less than 2%” of major releases on PC and consoles feature LGBTQ+ characters. This information was sourced from “publicly available tags and lists indicating LGBTQ-inclusive content,” according to GLAAD.
When the study was first published, I naturally objected to such a ridiculous figure. I referenced previous dubious studies that falsely claimed half of all gamers were women by including mobile gamers in their data.
This narrative has since been successfully propagated as modern gaming has expanded. Consequently, games are now extensively produced for and marketed to both women and men who have become feminized.
GLAAD’s finding that less than 2% of games feature LGBTQ+ characters is simply absurd.
This figure likely results from including nearly every game released on the PC platform since the MS-DOS era, ignoring the numerous modern games released in recent years that feature LGBTQ+ characters. If anything, LGBTQ+ characters are overrepresented in the gaming industry, much like how LGBTQ+ gamers are overrepresented compared to the general population according to their own goddamn findings.
Hades 2 heavily caters to the queer demographic, earning praise from journalists for this inclusivity. Baldur’s Gate 3 offers numerous optional gay/queer relationships between characters of any gender, including animals.
Sony’s unsuccessful Goodbye Volcano High visual novel centered around gender identity, while Hogwarts Legacy, one of last year’s most successful games, featured a transgender character named “Sirona.”
Sony’s Horizon Forbidden West features queer relationships, with the protagonist Aloy being a canonical lesbian. Borderlands 3 celebrates pride, with no recorded instance of a heterosexual relationship being canonically featured in any installment.
The Last of Us 2 depicts fan favorite Ellie as a lesbian, while the main antagonist/dual protagonist, Abby, is portrayed as an overtly masculine “female” engaged in on-screen sexual relations as Sony continues to censor and berate Japanese developers because anime girls are sexist.
In Marvel’s Spider-Man 2, developed by Insomniac Games, Black Cat appears to be portrayed as a lesbian, amidst a game that is filled with LGBT themes and side-missions. As for franchises like Life is Strange, the less said about that LGBTravesty, the better.
In just one paragraph, I’ve mentioned no fewer than eight different games released over the past few years, all featuring overt LGBT representation. Yet, according to the professional organization, it’s just 2%. So clearly, they must be right, and I must be the bigot.
Oh, and let’s not forget how rogue localization and excessive pandering to trans activists led to the co-opting of characters like Bridget from Guilty Gear and Vivian from Paper Mario: The Thousand-Year Door as being transgender. In both cases, these characters were essentially males who dressed like girls.
Further proving that authenticity means nothing to these people but rather infecting and stealing beloved franchise from actual fans in order to feel valid about their own insecurities.
I’ve said it before, and I’ll say it again: ESG/DEI agendas are an invasive cancer. Modern gaming has been infiltrated not just by an initiative to enforce behaviors and compliance for financial benefit, but also by developers who are belligerent feminists themselves.
Individuals like Mary Kenney, who defended Sweet Baby Inc by gaslighting, are deranged feminists. They aim to impose political agendas on the products they produce, seeking to hire only those who share their views.
The push for more “inclusive” characters and themes in video games doesn’t stem from genuine conviction but is rather forced and insincere.
DEI initiatives aren’t intended to naturally foster acceptance or promote more inclusive corporate practices; instead, they often stigmatize individuals based on their gender and skin color.
This is achieved through malicious hiring practices that prioritize checkboxes over skill and credibility. That’s why individuals like Mary vehemently oppose the depiction of attractive and desirable female characters in video games.
Similar to how transgender activists project their own insecurities onto virtual characters through gaslighting and altering in-game dialogue to feel represented. Modern game developers driven by progressivism seek to distort female characters in gaming, morphing them into unattractive androgynous figures, likely reflecting their own insecurities.
In her interview with DualShockers, Mary has the audacity to claim that LGBT gamers, who, as we’ve already established, constitute a significantly larger proportion of GLAAD’s reported figures than the actual LGBTQ+ population, feel neglected by developers when it comes to designing video games.
Kenney then asserted that there are “SO MANY LGBTQ game developers” in the industry, a fact that is widely acknowledged.
This abundance may explain why many modern games are saturated with progressive themes and gender politics that often feel forced and artificial to the player base. Particularly concerning is the outsourcing of diversity quotas to companies like Sweet Baby Inc by game developers with LGBTQ+ staff.
Furthermore, despite nearly every modern game release, such as Final Fantasy XVI, featuring LGBTQ+ protagonists or queer relationships, Kenney claims, “we want what players want,” a statement that couldn’t be further from the truth.
Considering Kenney’s attempt to defend Sweet Baby Inc on Twitter, especially given their involvement in notable financial failures like Rocksteady’s Suicide Squad: Kill The Justice League and Volition’s Saints Row Reboot, has drawn attention to their tactics.
Consumers are becoming increasingly aware of how developers like Kenney are imposing progressive politics on their gaming experiences, and they sure as shit don’t like it.
This awareness led to the emergence of the second iteration of Gamergate 2, sparked by a lone individual compiling a list of games associated with Sweet Baby Inc from publicly available information.
This action initiated a journalistic backlash against the individual, exposing a collusion between journalist outlets and game developers, many of whom harbor their own racial prejudices.
Mary Kenney declared that the industry needs to “pull every lever” available, including characters, community support, and mechanics, to enforce more LGBTQ+ representation in gaming. She argues that the current level of representation is insufficient and will never be enough.
The interview suggests that merely adding queer characters to video games isn’t what consumers want; they seek meaningful and authentic representation. This push for developers to normalize and promote such ideologies is portrayed as if their careers depend on it, because they are.
Due to individuals like Mary Kenney struggling to write and construct compelling stories that captivate audiences, consumers have become increasingly aware and frustrated by the disproportionate influence of the pronoun brigade on media and society.
Their sexual identities dominate their entire persona, and their agenda is less about “acceptance” or the desire to get married and more about stigmatizing, belittling, and canceling those who dare oppose them as one of the world’s most protected classes.
Gaming has always been about escapism, yet there’s seemingly no escape from propagandists like Mary, who infuse the industry with their queer-centric narratives.
They are incapable of producing authentic representation because they are driven by an agenda, they’re more concerned with turning existing characters gay.
The modern gaming market is oversaturated with queer representation and androgynous figures, leading consumers to perceive the inclusion of such characters not as genuine representation, but as mere pandering.
This finding is quite interesting; while many people openly support homosexual couples, they themselves don’t want to consume media that forces them to endure overt queer relations.
This phenomenon is evident not only in the modern American comic book industry and contemporary film and TV shows but also in video games. This is why there have been numerous layoffs recently, as woke games like the Saints Row Reboot, among others, continue to struggle in the open market.
It’s almost as if a small group of individuals has hijacked an industry primarily composed of heterosexual men. Journalists and developers regularly demonize consumers as racist, calling them “cis” scumbags, like BBC Gaming presenter Jules Hardy who called for a “final purge” of gamers who oppose DEI/ESG.
Perhaps there’s a correlation between why so many of their propagandized products end up as commercial failures. Instead of self-reflecting, they double down and demand that gaming as a whole become a vessel for their message.
