World First: Exclusive Screenshots from Bolsheviktion 3D 2: Yurovsky’s Revenge are Included!
You may have read our previous article on how Nationalists must take back the ‘control(ler)’. Since writing that article, it has become apparent that in the wake of the Australian Defence Force’s (ADF) successful push to attract young military aged men to their ranks, the social media ban for under age 16’s and The Lead Developer of Pelican Blue Software: Christien J Mutton’s own following of our X social media page, we felt it timely to write this article.
Not only to draw attention to Christien and his team’s incredible labour of love in Bolsheviktion 3D, but also to underscore the importance of this topic and ever increasing relevance of getting a balanced message across to the youth in modern and ever polarised Australia.
Skip to the Full and Unfiltered Q & A
We interview the Creator of Bolsheviktion 3D on Woke Overreach in gaming and media, Social Media Youth Bans, and Games as Activism Catalysts
The screen crackles with retro charm: pixelated stone walls are your prison and the corridors echo with the stomp of Bolshevik guards, and your gun glints under dim Russian lights of 1918. It is the opening scene of Bolsheviktion 3D, the alt-history FPS from Australian studio Pelican Blue Software, where you storm Ipatiev House to rescue Tsar Nicholas II and his family from revolutionary doom and ritual murder. Released earlier this year (3rd April 2025) on Steam, the game flips the script on familiar tropes, swapping old and worn out Nazi foes for Bolshevik antagonists in a raycasted world built from scratch in C code.
Picture this: You start in a dingy Bolshevik prison cell, armed with just a pistol, freshly taken from the corpse of guard. As you blast through communists—you uncover secret pushwalls hiding ammo caches or royal treasures. The tension peaks in the nightmare premonition sequence, where you witness the Romanov family’s grim fate in a haunting, low-res nostalgic vision, fuelling your drive to alter history.
As the Nationalist Service Foundation (NSF) explores media that empowers rooted cultural and artistic narratives, we interviewed Christien J. Mutton; Pelican Blue Software’s founder, a nationalist developer. In correspondence and interview, he unpacks how gaming evolved into a culture war arena post-Gamergate, why “woke” titles feel placeless, and how his work bridges virtual action to real-world activism—especially timely amid Australia’s impending social media ban for under-16s. With a sequel slated for later this year (2025) and more ambitious projects on the horizon, Pelican Blue Software’s vision positions gaming as a tool for nationalist curiosity and action.
Gaming is a Cultural Battleground
A historical lesson for those too young to remember: Gamergate occurred more than 10 years ago in 2014 as a flashpoint of the current disease of wokeness within the video gaming industry. It morphed into a much broader cultural and political battleground over identity, representation, and control not just over video games, but in politics, society, civil discourse and more – it predates President Trump’s 2016 meme-war campaign which forced many silent fence sitters to further polarise to the right of centre and continue to do so up until this day.
In short, gamergate was the emergence of the modern ‘alt-right’. What initially began as fan backlash against undue female influence into a traditionally male domain and woke integrations—compounded by (sometimes terminal) ESG cancer of publicly listed gaming giants forcing diversity into established IPs without organic ties to lore or setting.
Critics (still to this day) argue this erodes the escapist joy of games, turning them into leftist ideological trash and psychological conditioning and pre-positioning for young minds. Today, games provide no escapism, no comfort, nowhere to run from the ills of modern society.
Fast-forward to 2025: The industry is still (even more) polarised. Mainstream titles like Battlefield V (2018) drew mockery for historically inaccurate girlboss soldiers in Norway, while flops like Forspoken (2023) or Concord (2024) haemorrhaged millions chasing inclusive mandates. Meanwhile, nationalist indie titles like Bolsheviktion 3D are cutting through woke nonsense with a proverbial pixelated machete.
In the pre-gamergate era, worlds were truly escapist (think Skyrim, Minecraft, etc), player agency-driven stories built loyal fans and communities through mods and fan lore. In the post-gamergate era, wokeness and underlying pro-gay, pro-trans, anti-White themes reign supreme. Such thematic overlays on legacy franchises deliberately destroys and alienates the player core and initial fans. It even has forced major IPs like Assassins Creed and it’s parent company Ubisoft to circle the depths of financial ruin. We now begin 2025 with nationalist counterpoint.
Pelican Blue Software’s Lead Developer, Christien J. Mutton, sees this as opportunity. His game targets that gap, drawing from Wolfenstein 3D’s blueprint but recreating it with Bolshevik Revolution and it’s subsequent historical horrors like the Holodomor or the more relevantly; the senseless ritual murder of the Tsar Nichols II and his family—events he notes are “barely get a mention in the entire canon of video game history… until now.”
NSF: What drove you to found this studio, and how do you see Bolsheviktion 3D and future titles introducing younger generations to nationalist ideology through either immersive, exciting and educational gaming experiences?
Christien: Unlike a movie, in which by and large the audience is simply a spectator to, games put players in the shoes of some kind of entity with agency. They make decisions which effect the outcome of their entertainment, and often “act out” the moral messages encoded in these mediums themselves in real time. If you’re given a pistol and start in a WW2 Nazi prison camp, you’re going to blast Nazis to escape.
As I became more nationalist-minded, I began to notice a continuing theme of certain enemy archetypes being ok to kill, and others curiously absent. I thought the best place to start to try and rectify that was to go back to the beginning of the era – Wolfenstein 3D itself – the archetypical Nazi killing FPS.
Children will by and large embody the conscious and unconscious messages that are attached to anything perceived as “cool.” We want to claim a major stake in this space and command the message in our favour.
I don’t consider Bolsheviktion 3D (BN3D) to have a major effect on the youth [because of its mature content], but I do see it as an important stepping stone for Pelican Blue and any fans we accrue to look back and see where it all began as we introduce more sophisticated titles.
Bolsheviktion 3D
Building Bolsheviktion 3D from scratch in C was no easy feat. Shunning engines like Unity or Godot, Mutton embraced the “suffering” of low-level coding: “I love C because it’s honest. You can get close to the hardware… But through suffering, great things are produced.” This discipline yielded a tight, nostalgic FPS with unique features—secret pushwalls, varied enemy types, and difficulty modes like “BOLSHEVIKTOR!”—introducing gamers to an anti-communist narratives.
NSF: What were the toughest challenges coding it from scratch in pure C?
Christien: I love C because it’s honest. You can get close to the hardware and it gives you a great understanding about how your game is actually working. I have found over the years that using higher abstraction languages like Python is great, but ask many Python coders how the Python interpreter is actually interacting with the CPU and you’ll get nervous fidgeting.
In C, if there’s a problem the entire game comes screeching to a halt, and it’s up to you to find out where and why that happened by examining debugger output. This can make development much slower, and it can sometimes take everything out of you. It also means if you want something, you’ve got to examine the basic building blocks of the language and figure out how you want to achieve it. Again, this takes time, and can be error prone. It certainly enforces discipline. But through suffering, great things are produced.
NSF: Would it have been easier to use a generic engine like Godot? Unreal? or Unity? Why did you decide to avoid these softwares and build from scratch?
Christien: If we think of the great works of the past, the works which really stood the test of time – a marvellous painting, a beautiful musical composition, an outstanding work of literature – what you will undoubtedly uncover is that they are the work of suffering. The artists suffered for their creation.
In fact, all good works are imbued with suffering from their creator. If we were simply to take the easy road and make a game using these engines, sure we’d get it out the door, it might even look very pretty, but it lacks that special something.
AI cannot recreate “suffering”. We keep detailed daily devlogs of how our development process goes day to day, and each day includes a comment. In some of these comments you can feel the utter despair I felt on some days with challenges I couldn’t overcome. Heart and soul will always go into our titles, that’s a guarantee.
NSF: The game’s retro FPS mechanics, unique locations, secret pushwalls, weapons, enemy types, and mode difficulties—blend nostalgia with a fresh ideological edge. Which features do you think best capture the attention of young gamers exploring nationalist themes for the first time?
Christien: The youth are acutely aware of what is slop and what is genuinely on the cutting edge. The Holodomor and the Bolshevik Revolution, and the death of the Tsar and his family are all being mainstreamed now. I’m proud to showcase these very important historical events that barely get a mention in the entire canon of video game history, until now.
As they learn about these horrific events, the game’s themes will make even more sense. I also think it’s a nice way to introduce the genesis of the FPS genre with a trip down memory lane with the technology that made it possible in Wolf3D.
NSF: Are there plans for Bolsheviktion 3D updates, like new levels, to keep the momentum going?
Christien: So Bolsheviktion 3D has received three major post-update patches which added various features and fixed various bugs. I can guarantee there will be at least one more patch, but our energies are focused on the sequel – Bolsheviktion 3D 2: Yurovsky’s Revenge, to be released near the end of 2025.
With these two games, we will have completed our use of the raycasting technique, and will move on to our next franchise unless something game-breaking is discovered that requires further attention. We will however release the level editor we used to make the game, so that fans may make their own levels and play them in-game. Ports are an interesting one – I’d love to port over to Switch or something. Let’s see if there’s a market demand for it.
Feedback and Community Response
Feedback has been strong, with Steam reviews sitting at 96% – Overwhelmingly Positive. Mutton highlights streamer Mark Collett’s playthrough as a standout: “Mark Collett’s breakdown of what he liked about the game on his stream was my favourite – I geeked out at the little details he noticed.” Collett, a long-time prominent nationalist voice from the UK, streamed the game in June 2025, praising its gameplay.
Mark Collett is one among many other famous Nationalists who have played the game with enjoyment and in support of this ideal.
NSF: Have you had any feedback from players positively responding to its anti-leftist narrative—especially the shift from typical “Nazi” villains—and what feedback (e.g., 96% positive Steam reviews) has resonated most?
Bolsheviktion 3D [due to its mature content] is probably not the title that is going to resonate a whole deal with the youth. Many of the zoomers and alphas in some of the Nationalist movements I’m in had never even heard of Wolfenstein 3D, so couldn’t fully appreciate what we’re doing with BN3D. Mark Collett’s breakdown of what he liked about the game on his stream was my favourite – I geeked out at the little details he noticed.
NSF: What motivates you and your team?
A top level priority for this team is to be a nationalist. What this means is to put the needs and concerns of your nation and its people above mere individual careerism or personal profit. We want to see the horrendous state of our countries improved. Every day we wake up with this unerring drive. We are most inspired by acts of courage and defiance against this evil global system that seeks to eradicate our way of life, and ultimately, us, and we want to make our cultural contribution to the global effort underway to take our countries back.
Games as Activism On-Ramps
With Australia’s social media ban for under-16s rolling out, like the NSF; Mutton views games as a vital bridge. “I think it’s disgusting and will not be scanning my face to access social media… Video games can definitely be a vector for proliferation of the worldview that can sidestep the asphyxiation campaign of the government.”
He envisions titles prompting age-appropriate activism: “Children will by and large embody the conscious and unconscious messages that are attached to anything perceived as ‘cool.’ We want to claim a major stake in this space.”
Drawing from stats showing over 90% & 94% of children aged 5-14 & 15-24 respectively are engaging with games, Mutton argues that Pelican Blue Software can shape worldviews lacking in mainstream education that will otherwise on paper be inaccessible to under 16 year olds.
NSF: Gaming is a cultural cornerstone for young boys – there are statistics that support over 90% of boys being at least partially involved in video games, and we believe your approach and content—could positively shape their worldview that they are lacking. How can Pelican Blue’s games foster a deeper understanding of Nationalist principles in these generations?
Christien: Our ideological enemies know these statistics very well, that’s why we’ve seen hundreds of millions of dollars poured into epic failures like that garbage Concord, or the girlboss soldiers in Battlefield V that got mocked relentlessly, or the LGBTQ missions in the new Spiderman. Let’s simply do that ourselves with our own games and beat them at their own game, and look based while doing it.
Source: igea.net
Source: rossmarshall.com.au
NSF: We saw the ADF Australian Defence Force, whom in recent years had severely underperformed on their recruitment measures recently successfully drive recruitment levels to a 15 year high through engagement with Australians through mediums such as video games and tiktok. What is your take on this and how could Pelican Blue Software potentially make a difference through this tried and true method to engage young Australians in our own spheres of influence?
Christien: As I mentioned before, our ideological foes understand that the youth, particularly young male youth, are spellbound by videogames, much as I was when I was a kid as well. The slop that they pump out to try to exploit this however will be hollow, bug ridden and require an always on internet connection. The new era of video games will be living works of art once again.
Source : abc.net.au
Source: mezha.media
Upcoming Projects and Visions
Three major patches fixed bugs and added features, plus a forthcoming level editor for fan creations. There is a sequel coming: Bolsheviktion 3D 2: Yurovsky’s Revenge, which eyes a Christmas 2025 release—wrapping up the raycasting era.
The Long-term plan is to Revive (Aussie) gaming: “There are next to no good Aussie studios left… It’s time for patriots to be in control.” At this current time, Pelican Blue Software is seeking sincere nationalists who share the philosophical ideals; especially texture artists to join and assist with development projects.
Christien dreams big in what Pelican Blue Software could eventually offer, with a kids’ game division, educational titles for homeschoolers, and parallel economies to counter government “asphyxiation.” On the previously explored ADF gaming recruitment success in recent times, he notes referring to their online games: “The slop that they pump out… will be hollow. The new era of video games will be living works of art once again.”
NSF: In context to custom-built, nationalist-focused titles. Can you tease upcoming projects—perhaps more alt-history epics or stories rooted in Australian heritage—that could further spark nationalist curiosity among young players here in Australia?
Christien: After our sequel, entitled Bolsheviktion 3D 2 – Yurovsky’s Revenge, we will start work on what we consider to be our magnum opus. I won’t give away too much right now, as we keep our projects’ development pretty close-lipped until it’s nearing release, I will say that any Aussie who grew up in public schools in the 90’s might remember a sort of Oregon Trail clone called Goldfields, where the player took on the role someone fresh off the boat from the motherland in search of gold in Victoria’s gold rush. We are going to do a modern version of that.
Images: Art from the old Goldfields game
You can play the (text based) Goldfields game online right now via this link
Bolsheviktion 3D 2: Yurovsky’s Revenge Exclusives!
Christien has been so kind as to provide us with the following WORLD FIRST images of Bolsheviktion 3D 2: Yurovsky’s Revenge, which showcase a new and updated art style, taking raycasting techniques to their absolute limit!
You can see by the images below, Pelican Blue has built upon the original style of the first game with even more detail. It makes you feel like you’re in 3D engine (think Daggerfall 1996), not a mere 2.5D Raycast engine.
Small Steps to Leaps and Bounds
Like with all precious things, they take time to develop. Diamonds and Gems are formed with patience, and Pelican Blue Software is producing something great too. In order to witness the effect it will have on gamers and our youth in time, we must get on board, follow, support and more importantly get involved in real life, spending our time to make a lasting impact on our lives and our progeny.
NSF: How are you planning to appeal to a broader audience whilst staying within the Nationalist / Patriotic sphere?
Christien: A relative of mine, who I would consider quite politically apathetic, played Bolsheviktion 3D recently. They told me they liked it and that it reminded them of Wolfenstein. I asked them what they thought about the Bolsheviks and what they did, and they just shrugged their shoulders.
What were were doing in the sub-text flew right over their head. And that’s ok! We make games first, not just ideological vehicles. A good game, just like an excellent movie, can stand on its own merits even without delving deeper into its sub-text. So we’re just going to pump out bangers.
NSF: Money is always an issue with no large financial backers yet in our spheres. Have you thought about inviting donations or crowdfunding campaigns to a worldwide audience?
Christien: We are a business, and we provide a product to customers. Our success therefore rides on our ability to sell as much to our customers as we can. We neither need nor want donations as we are selling a commercial product. Having said that, our next project about the Victorian goldfields will require substantially more resources. So either we raise the money to acquire those resources ourselves through selling the Bolsheviktion games, or, barring that, we’ll eventually tender a Kickstarter to secure capital for its development.
Ready to Play? Your Next Steps
Grab Bolsheviktion 3D on Steam today (under $10)
Engage with Lead Developer and Founder of Pelican Blue Software on X: @christienjames
Read the latest Article on Bolsheviktion 3D by Noticer News
Apply to Pelican Blue: Texture artists with their heart in the right place, DM @christienjames on X
Subscribe to Pelican Blue Software on Youtube
Visit and Bookmark the Bolsheviktion 3D website directly
Full (and unfiltered) Q&A:
NSF: What drove you to found this studio, and how do you see Bolsheviktion 3D and future titles introducing younger generations to nationalist ideology through either immersive, exciting and educational gaming experiences?
Christien: Unlike a movie, in which by and large the audience is simply a spectator to, games put players in the shoes of some kind of entity with agency. They make decisions which effect the outcome of their entertainment, and often “act out” the moral messages encoded in these mediums themselves in real time.
If you’re given a pistol and start in a WW2 Nazi prison camp, you’re going to blast Nazis to escape. As I became more nationalist-minded, I began to notice a continuing theme of certain enemy archetypes being ok to kill, and others curiously absent. I thought the best place to start to try and rectify that was to go back to the beginning of the era – Wolfenstein 3D itself – the archetypical Nazi killing FPS.
Children will by and large embody the conscious and unconscious messages that are attached to anything perceived as “cool.” We want to claim a major stake in this space and command the message in our favour.
I don’t consider Bolsheviktion3D (BN3D) to have a major effect on the youth, but I do see it as an important stepping stone for Pelican Blue and any fans we accrue to look back and see where it all began as we introduce more sophisticated titles.
NSF: What were the toughest challenges coding it from scratch in pure C?
Christien: I love C because it’s honest. You can get close to the hardware and it gives you a great understanding about how your game is actually working. I have found over the years that using higher abstraction languages like Python is great, but ask many Python coders how the Python interpreter is actually interacting with the CPU and you’ll get nervous fidgeting.
In C, if there’s a problem the entire game comes screeching to a halt, and it’s up to you to find out where and why that happened by examining debugger output. This can make development much slower, and it can sometimes take everything out of you. It also means if you want something, you’ve got to examine the basic building blocks of the language and figure out how you want to achieve it. Again, this takes time, and can be error prone. It certainly enforces discipline. But through suffering, great things are produced.
NSF: Have you had any feedback from (younger) players positively responding to its anti-leftist narrative—especially the shift from typical “Nazi” villains—and what feedback (e.g., 96% positive Steam reviews) has resonated most?
Christien: Bolsheviktion 3D is probably not the title that is going to resonate a whole deal with the youth. Many of the zoomers and alphas in some of the Nationalist movements I’m in had never even heard of Wolfenstein 3D, so couldn’t fully appreciate what we’re doing with BN3D. Mark Collett’s breakdown of what he liked about the game on his stream was my favourite – I geeked out at the little details he noticed.
What motivates you and your team?
Christien: A top level priority for this team is to be a nationalist. What this means is to put the needs and concerns of your nation and its people above mere individual careerism or personal profit. We want to see the horrendous state of our countries improved. Every day we wake up with this unerring drive. We are most inspired by acts of courage and defiance against this evil global system that seeks to eradicate our way of life, and ultimately, us, and we want to make our cultural contribution to the global effort underway to take our countries back.
Would it have been easier to use a generic engine like Godot? Unreal? or Unity? Why did you decide to avoid these softwares and build from scratch?
Christien: If we think of the great works of the past, the works which really stood the test of time – a marvellous painting, a beautiful musical composition, an outstanding work of literature – what you will undoubtedly uncover is that they are the work of suffering*.* The artists suffered for their creation.
In fact, all good works are imbued with suffering from their creator. If we were simply to take the easy road and make a game using these engines, sure we’d get it out the door, it might even look very pretty, but it lacks that special something. AI cannot recreate “suffering”. We keep detailed daily devlogs of how our development process goes day to day, and each day includes a comment. In some of these comments you can feel the utter despair I felt on some days with challenges I couldn’t overcome. Heart and soul will always go into our titles, that’s a guarantee.
The game’s retro FPS mechanics, unique locations, secret pushwalls, weapons, enemy types, and mode difficulties—blend nostalgia with a fresh ideological edge. Which features do you think best capture the attention of young gamers exploring nationalist themes for the first time?
Christien: The youth are acutely aware of what is slop and what is genuinely on the cutting edge. The Holodomor and the Bolshevik Revolution, and the death of the Tsar and his family are all being mainstreamed now. I’m proud to showcase these very important historical events that barely get a mention in the entire canon of video game history, until now. As they learn about these horrific events, the game’s themes will make even more sense. I also think it’s a nice way to introduce the genesis of the FPS genre with a trip down memory lane with the technology that made it possible in Wolf3D.
Are there plans for Bolsheviktion 3D updates, like new levels or ports, to keep the momentum going?
Christien: So Bolsheviktion 3D has received three major post-update patches which added various features and fixed various bugs. I can guarantee there will be at least one more patch, but our energies are focused on the sequel – Bolsheviktion 3D 2: Yurovsky’s Revenge, to be released near the end of 2025.
With these two games, we will have completed our use of the raycasting technique, and will move on to our next franchise unless something game-breaking is discovered that requires further attention. We will however release the level editor we used to make the game, so that fans may make their own levels and play them in-game. Ports are an interesting one – I’d love to port over to Switch or something. Let’s see if there’s a market demand for it.
NSF: How did choices like AI-generated textures/sounds enhance its accessibility and charm for a global youth audience?
Christien: Where we did use AI generation, it was usually for something to start us in the right direction to what we wanted as a final product. When you’ve got something to work with, I find it much easier to move forward than to sit and be staring at a blank Aseprite canvas.
We spent a lot of time in that program to get what we wanted out of our assets. Translations unfortunately didn’t seem to do a whole lot to break into the markets of where these languages are spoken in any particular meaningful way (yet), but for all those translations we hired real native speakers. Nonetheless I’m happy we took the time to do it, looks professional and lays the groundwork for higher take-up of the first game when our second game is released.
NSF: Do you see utilising more AI tools in future to increase the speed of production of future titles?
Christien: If anything we’d like to use less. These tools do facilitate speed of development, but working with real flesh and blood talented nationalists will always be our top priority. Nevertheless, for all the hate AI receives it can be an excellent rubber duck to a programmer stuck on a problem.
NSF: In context to custom-built, nationalist-focused titles. Can you tease upcoming projects—perhaps more alt-history epics or stories rooted in Australian heritage—that could further spark nationalist curiosity among young players here in Australia?
Christien: After our sequel, entitled Bolsheviktion 3D 2 – Yurovsky’s Revenge, we will start work on what we consider to be our magnum opus. I won’t give away too much right now, as we keep our projects’ development pretty close-lipped until it’s nearing release, I will say that any Aussie who grew up in public schools in the 90’s might remember a sort of Oregon Trail clone called Goldfields, where the player took on the role someone fresh off the boat from the motherland in search of gold in Victoria’s gold rush. We are going to do a modern version of that.
NSF: Gaming is a cultural cornerstone for young boys – there are statistics that support over 90% of boys being at least partally involved in video games, and we believe your approach and content—could positively shape their worldview that they are lacking. How can Pelican Blue’s games foster a deeper understanding of Nationalist principles in these generations?
Christien: Our ideological enemies know these statistics very well, that’s why we’ve seen hundreds of millions of dollars poured into epic failures like that garbage Concord, or the girlboss soldiers in Battlefield V that got mocked relentlessly, or the LGBTQ missions in the new Spiderman. Let’s simply do that ourselves with our own games and beat them at their own game, and look based while doing it.
NSF: Are you current looking for talent, if so. Please specify what type of roles you need to fill and what type of people should look to work with you on your next titles?
Christien: Worldview over talent. Sincere individuals who love Australia, or their country, can bring something to the table. We want to keep our teams small and focused, as we believe that a close knit team of guys can outpace a 200 person megateam full of people pulling in all different directions. I won’t give specific job openings, but I will say that texture and visual guys are a bit hard to come by for us right now.
NSF: What is your game project(s) timeline looking like for the next few months to years ahead, what can we look forward to?
Christien: Bolsheviktion 3D 2 by around Christmas if all goes to plan.
The next game before Australia’s next election.
NSF: Picture the next 5 years, where do you hope to see Pelican Blue Software and its role as a cultural icon within the Australia gaming industry?
Christien: We want to revive it. There are next to no good Aussie studios left. We think there is a serious gap in the market for our titles and a growing appetite for it. It’s time for patriots to be in control.
NSF: How are you planning to appeal to a broader audience whilst staying within the Nationalist / Patriotic sphere?
Christien: A relative of mine, who I would consider quite politically apathetic, played Bolsheviktion 3D recently. They told me they liked it and that it reminded them of Wolfenstein. I asked them what they thought about the Bolsheviks and what they did, and they just shrugged their shoulders. What were were doing in the sub-text flew right over their head. And that’s ok! We make games first, not just ideological vehicles. A good game, just like an excellent movie, can stand on its own merits even without delving deeper into its sub-text. So we’re just going to pump out bangers.
NSF: Money is always an issue with no large financial backers yet in our spheres. Have you thought about inviting donations or crowdfunding campaigns to a worldwide audience?
Christien: We are a business, and we provide a product to customers. Our success therefore rides on our ability to sell as much to our customers as we can. We neither need nor want donations as we are selling a commercial product. Having said that, our next project about the Victorian goldfields will require substantially more resources. So either we raise the money to acquire those resources ourselves through selling the Bolsheviktion games, or, barring that, we’ll eventually tender a Kickstarter to secure capital for its development.
NSF: Would you consider making and selling games designed for an Australian audience or is it difficult to do so given our restrictive video game age classifications ratings here?
Christien: I’d love to one day open a kid’s game division of Pelican Blue, to make apps for kids. On the to-do list!
NSF: What do you think of the idea of Parrallel economies/societies/culture etc. Leave video games aside for the moment, what services and or organisations do you particularly think the Nationalist adherents in Australia need in the coming years?
Christien: The Australian government and the apparatuses it has control over have been attempting a campaign of ruthless asphyxiation to the operations of nationalists in this country. We need to build parallel systems which don’t rely upon these systems in order to survive. I have a feeling that capital inflow from nationalist supporters worldwide will successfully break this siege.
NSF: Would you ever consider developing educational video games for homeschooled children, play to learn for example?
Yes!
NSF: What is your opinion on the social media ban for under 16 year olds soon taking effect in Australia? Do you think video games have a role to play for those children unable to utilise a VPN or unable to access social media to access alternative political worldviews?
Christien: I think it’s disgusting and will not be scanning my face to access social media, nor taking part in digital ID or any of the other nonsense they want to normalise. VPNs may be viable solutions for a while, until the inevitable crackdown. Video games can definitely be a vector for proliferation of the worldview that can sidestep the asphyxiation campaign of the government, and the idea of “banning” a game could work more to its favour than against it.
NSF: Lastly, we saw the ADF Australian Defence Force, whom in recent years had severely underperformed on their recruitment measures recently successfully drive recruitment levels to a 15 year high through engagement with Australians through mediums such as video games and tiktok. What is your take on this and how could Pelican Blue Software potentially make a difference through this tried and true method to engage young Australians in our own spheres of influence?
Christien: As I mentioned before, our ideological foes understand that the youth, particularly young male youth, are spellbound by videogames, much as I was when I was a kid as well. The slop that they pump out to try to exploit this however will be hollow, bug ridden and require an always on internet connection. The new era of video games will be living works of art once again.